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How it's all about contexts, contexts, contexts that frame Mafin:
BegoƱa and Luz, falling into each other's arms with reassureances of "I couldn't breathe" and "I thought I would never see you again!" while they get part of the same romance string carpet that was underneath the #561 Mafin reunion (00:01:11 in the Mafin Drive Cut). And as if that weren't enough, luzgoƱa reenact the Mafin thunderstorm near-kiss in the kitchen (#29, see post by @madronash) and then tell Digna with elation that Nieves will go free and it looks as if telling Digna they will have a baby (see post by @newsfromthegutter) and BegoƱa does not stop touching Luz even for a second.
Good to see that at least some lesbians on this show are committed without reserve and so breathlessly happy at getting to be back together.
Marta should be looking at these paint samples with Fina, but Fina has done such a thorough job of moving away from Marta and keeping her at a distance in addition that none of that is going to happen.
What happened to you in Argentina, Fina?
There's also a hefty parallel happening with Fina judging Tasio: "Before you slept with a woman that isn't your wife, nobody questioned you, Tasio".
Who else slept with a woman not her wife, and now has to face some questions? Hm, Fina?
Meanwhile, Marta is all fond and smiling and grateful around Cloe (complete with the Wrong Flutes Marloe Romance Motif, at 00:43:50), who says she might know a buyer for the Industrial, and who promptly fantasizes about kissing Marta again (Wrong Flutes keeps playing).
Marta, in another slight to core Mafin lore, tells Cloe she'd be so "honest, and brave... there are few people like you." To which is say: uuyyyyyy. (crees que no te admiro, siempre con la verdad por delanto, eres Ćŗnica para mi) Yes, there are Wrong Flutes for that. Thanks, I hate it.
Also Marta's "Me muero de ganas de..." right after the little Cloe fantasy is the writer's room pulling on the Mafin pigtails. Which is annoying, but also means that they want our attention because actually they like us (or rather, Mafin).
Cloe says she's about to have a lunch date with someone she's getting to know, Marta is intrigued, and the Wrong Flutes are still sounding, and they are back at full force at 00:45:20 when Marta, alone in her office, remains behind with a warm, intrigued smile.
"Not interested, but interesting" we called it when the narrative first chucked Cloe at Marta. And even if this will remain at "pulling pigtails" levels, why romance-code this parting glance?
(Are the Wrong Flutes the Elevator Muzak on the way down to Dante's 6th level of Hell? I believe so.)
