The rest of the family had been kept in the dark for years, with matriarch Virginia shocked to find out about the cabaret, which bears the same name, 'La Casa de las Flores' ('The House of Flowers'), as her successful florists.

Ernesto, overcome by grief, has joined a Scientology-esque scam cult, and a challenge to Virginia's long-awaited will brings the family back together, Paulina returning from Spain to take care of business.

María José finds happiness supporting the trans women and drag queens at the cabaret, though her relationship with Paulina fractures and she returns to Spain, being hounded by her overbearing sister Purificación.

[33] Thematically, the show explores some cultural issues within Mexican society, including casual racism and homophobia[34][35][36] and the country's class diversity, with the contrasting House of Flowers establishments used to illustrate the socio-economic and racial divides in modern-day Mexico City,[5][37] and to introduce discussions of the ethics behind money.

[43] In August 2018, Castro announced that she would not reprise the role of Virginia for potential future seasons because she felt that her "character's journey is over",[28][44] with Caro later confirming the amicable departure and explaining that should the show be renewed, it would focus on the de la Mora children.

[47] Caro explained in 2019 that the writers had previously outlined the stories for the children independent of Virginia, knowing Castro was only contracted for one season;[13] he also said that exploring how the family works without the matriarch's presence is an important topic.

[52] The third season incorporates a story from 1979, which Caro said he had two reasons for including: he is a big fan of shows from the time, and he wanted a way to bring back Virginia de la Mora.

[53] The casting of Verónica Castro, referred to as "Mexican telenovela royalty", was seen by Manuel Betancourt to be a real achievement on the part of creator Manolo Caro, who in effect was "getting her out of retirement" to make the show.

[61] León also commented on the use of María José's characterization, with her being a trans woman, as part of the show's narrative arc, saying that "[she] goes by the rejection she receives, but throughout the series you realize that she is the most sane and focused, is emotionally more stable, her mental balance is greater than the rest of the family's.

[85] The large portraits of the de la Mora family that hang in the atrium of the house are used as plot points in the show, and versions of the artwork for each season are animated in their respective title sequences.

[88] According to her, the image of Julián – intentionally in black and white – was the hardest to paint, because each reference photo she was sent of Yazbek Bernal had a different expression,[93] while Ernesto was a challenge because Ríos had not yet been cast when she started work.

[121] The posters feature slogans which satirize homophobic and transphobic ones, including an image of trans character María José and her partner Paulina accompanied by "This is not natural ... we are obviously wearing make-up", among others.

[141] Two of the songs on the soundtrack are original to the series: the main theme by Yamil Rezc, and the "El Triste" cover by Alexa de Landa, which she performed as character Micaéla in the second season.

[141] Smith notes that beyond merely being an openly transgressive telenovela, the show "boasted a self-conscious and ironic reference" to the tradition it was leaving behind by taking the veteran actress Verónica Castro as its star.

[156][CN 1] Writing on another voice, a section of Avila's article is given to describing the cultural impact of Paulina's diction and comparing it against the similar speech of Cuca, la telefonista in The Disobedient Son.

Choosing María José as a subject of analysis, and noting comparisons between this character and the one of the same name(s) in the 1970s Spanish film Change of Sex,[161] Arjona Bueno writes that despite coming from a typically privileged position – María José is ethnically Spanish (and therefore white), and wealthy and educated, which enabled her to access her job as a lawyer, giving a higher social standing – the character has lived within a conservative family that is concerned with appearances, in Mexico, and so presents as "an oppressed identity, withstanding the tensions, pressures and impudence of [this] society".[162][transl.

38] Arjona Bueno's determination on the representation provided by the character is mixed: he writes that, though she has a good job and social position, María José is mistreated by her family (the de la Moras),[163] including being deadnamed at times,[161] and has had surgery to justify her female identity.

[164] Ortiz González, in his thesis, also looks at transgender representation; discussing the casting of a cisgender male actor, he notes that while other series sometimes show the character transitioning, María José in The House of Flowers is long since past this, with the coming out flashback scene "lasting only seconds".[165][transl.

In a similar moment mentioned, María José cannot settle on a name to give to people looking for Bruno and reverts to just saying that she is his father, which Ortiz González says is "a thing that, however much she is a woman, does not cease to be true".[166][transl.

[171] Netflix had previously created a telenovela-esque spoof of Orange Is the New Black, during a time when it had a deal with Televisa in 2016, borrowing the character Soraya Montenegro, who had become an Internet meme representing the excesses of melodrama.

[178] While Cornelio-Marí concludes that Netflix has used algorithms to "decode the formula for cultural proximity" in order to create the most internationally marketable telenovela-adjacent television shows and "influence the evolution of melodrama in the years to come",[179] she also includes that there is a "need to conduct deeper textual analysis of titles like La Casa de las Flores and its paratexts as transmedia expansions (e.g., memes, advertising, viewers' comments, etc.

[187] In terms of pushing generic conventions, David Lopez of Instinct wrote that the show, especially considering season 2, marked a turning point in Mexican television and its approach to modernity, keeping the telenovela classics but embracing more open topics both intelligently and humorously.

[203] By the time Suárez responded, over 69,000 fan videos had been shared;[197] only a few days after the first season was released, a petition had been started to include Paulina's voice as an option on the GPS navigation app Waze.

[205] Verónica Calderón of Vogue also notes that Paulina's voice is demarcating of the fresa stereotype ("yuppie") that her character plays with, and is not unusual in upper-class neighborhoods like Las Lomas, suggesting that it could be used as part of the show's socio-economic commentary.

[206] Scholar Smith explained that clips of Paulina's memorable lines uploaded to the Internet by fans have received hundreds of thousands of views, and that t-shirts featuring the quotes were shortly after being sold on Amazon.

58] Espinosa also suggested that the show has had a positive social effect on families in Mexico; León affirmed that he had been told stories of parents in Guadalajara who now "no longer fear that their son is gay",[transl.

[32] Suárez believes that these aspects have been more easily accepted because of the familiar genre of telenovela that all Mexicans relate to, and because of Caro's intelligent writing around taboo subjects that allows audiences to be entertained by them as an opening to discussion.

With a show focused on family and identity, offering melodrama, complex narratives, and plenty of pop culture trends and top hits, it's hard not to feel that Almodóvar touched this project.

[226] For the 2020 Platino Awards, the show received the third-most television acting nominations (three), including two for Mariana Treviño and Juan Pablo Medina in the new Supporting categories;[227] only Suárez won, repeating her Best Actress win from 2019.

[209] In 2019, Caro was included on their list of the best showrunners for creating, writing, and directing it, with Scott Roxborough saying that he "has a knack for [mixing] telenovela plots with a sharp ear for dialogue and a stand-up's sense of timing".