Based on the Argentine novel, Thursday’s Widows is a Mexican Netflix adaptation about the shallow lives of the nouveau riche. While this adaptation changed its setting – it’s now in Mexico, long after 2001 – the series slowly reveals the ridiculous heights to which all of the affluent families would meet to achieve their luxurious lifestyles. As the series does so with one episode dedicated to each family, their absurd lifestyles reveal possible agents, motives, means, and opportunities that could explain the death of three husbands. It makes the series a compelling murder mystery, as it delves into the things only rich people could do without dire consequences.
Teresa finds her husband and his two best friends dead in the lavish community where they live. As the truth comes to light, so will dark secrets.
In a small and exclusive elite subdivision, Teresa (Ana Celentano) finds her husband (Pablo Echarri) and two of his best friends dead in a pool. As she investigates their deaths, she uncovers the community’s secrets.
As the series tackles five different families, it can be difficult to keep track of each thread of every character in the story. However, showrunner Humberto Hinojosa keeps everything clean and understandable through excellent structure and pacing. The six-part series introduces their primary routine – on Thursdays, the husbands meet at the Scaglia house, while their wives meet in the country club without them, hence why they’re given the title Thursday’s Widows. One of these Thursdays is when three of the husbands die. Each succeeding episode is dedicated to one family, along with some progression in how their community finds out about the death. It’s because of this structure that it’s easy to remember who’s who, and their respective stories. It lightens the show’s mental load, as viewers can focus on the mystery rather than needing to google their characters again and again.
I hate these people, yet they’re still so compelling to watch…
