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Cable Girls
Cable Girls
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Cable Girls
SpanishLas chicas del cable
Genre
Created by
  • Ramón Campos
  • Gema R. Neira
Starring
Narrated byBlanca Suárez
Opening themeSalt
Ending themeMy Night
Country of originSpain
Original languageSpanish
No. of seasons5
No. of episodes42
Production
Executive producers
  • Ramón Campos
  • Gema R. Neira
ProducersNetflix
Bambú Producciones
Production locationSpain
Running time35–63 minutes
Original release
NetworkNetflix
Release28 April 2017 (2017-04-28) –
3 July 2020 (2020-07-03)

Cable Girls (Spanish: Las chicas del cable) is a Spanish period drama television series that ran from April 2017 and concluded in July 2020.[1] Set in the late 1920s, it stars Ana Fernández, Nadia de Santiago, Blanca Suárez and Maggie Civantos.[2]

The first season, consisting of eight episodes, premiered on Netflix, worldwide, on 28 April 2017.[3] The first half of the fifth and final season was released on Netflix, on 14 February 2020.[4] The second half of the fifth and final season was released on Netflix on 3 July 2020.[5]

Plot

[edit]

In 1928, a modern telecommunications company begins to operate, in Madrid. The series tells of how the lives of four young women change, after they start working for this company, which offers them decent pay and some independence. Each woman has a different reason for joining the company. Alba Romero, who goes by the name Lidia Aguilar, to conceal her identity, seeks a job at the telecommunications company, to complete a mission. Ángeles Vidal is a young mother who works to help provide for her family and is the most experienced switchboard operator at the telecommunications company. Carlota Senillosa wants a job at the telecommunications company, to escape her controlling father and her rigid high society life, and Marga Suarez joins the company to start a new chapter of her life. The four women begin to form a close friendship, and together, they navigate their sentimental lives and their work. The show reveals the hardships that working women faced, in 1920s Spain, and especially the severe restrictions on the rights of Spanish women in a male-dominated society.[6]

Production

[edit]
Season 1 promotional poster featuring Nadia de Santiago Capell, Maggie Civantos, Ana Fernández García, and Blanca Suárez

Cable Girls was the first Spanish original produced by Netflix, made in collaboration with Bambú Producciones.[7] The idea for the series began with Ramon Campos and Gema R. Neira, who worked together on the screen writing, along with José Rustarazo, Jaime Vaca, Carlos Portela, Almudena Ocaña, Paula Fernández, and Flora González Villanueva.

The series is filmed in Spain's capital, Madrid, in various locations across the city had been given a makeover to transport viewers back to the 1920s.[8] The most prominent locations, in the series, include La Plaza del Alamillo, where the protagonists live, with the Pension Dolores serving as their home, and the street Lope De Vega, serving as their route to work.[9] The series surrounds four women who work at a telecommunications company, a location in the show that required historical accuracy.[10] The scenes in the National Telephone Company, where the women work, are filmed in the Fundacion Telefonica building on Grand Via.[11]

The first season was released, worldwide, on 28 April 2017, and the second season was released on December 25, of the same year. The third season aired on 7 September 2018, and the fourth season was released on 9 August 2019. The fifth and final season of the series was released in two parts: Part 1 on 14 February 2020 and Part 2 on 3 July 2020.

For the final season Netflix recorded a trailer in the form of a short documentary about the 'last cable girl' of Spain, Magdalena Martín. She operated a manual telecommunications station in Polopos, Granada, until it closed in December 1988.[12]

Cast

[edit]
Character Portrayed by Seasons
1 2 3 4 5
Part 1 Part 2
Main characters
Lidia Aguilar Dávila Blanca Suárez Main
Carlota Rodríguez de Senillosa Ana Fernández Main
María Inmaculada "Marga" Suárez Pazos Nadia de Santiago Main
Ángeles Vidal Maggie Civantos Main Guest
Carlos Cifuentes Martiño Rivas Main
Doña Carmen de Cifuentes Concha Velasco Main Guest Main
Elisa Cifuentes Ángela Cremonte Main Main
Francisco Gómez Yon González Main
Sara Millán (Óscar Ruiz) Ana Polvorosa Main
Carolina Moreno Iria del Río Main
Miguel Pascual Borja Luna [es] Main
Mario Pérez Sergio Mur Main[13]
Pablo Santos Nico Romero Main
Julio Santos Main Main Guest
Inspector Beltrán Carlos Kaniowsky Main
Cristóbal Cuevas Moreno Antonio Velázquez Main
Sebastián Uribe Ernesto Alterio Main
Pedro Guzmán Luis Fernández Guest Main
Sofía Perez Vidal Denisse Peña Main
Felipe Raúl Merida [es] Main
Isidro Miguel Diosdado [es] Main
James Lancaster Alex Hafner Main
Camila Valentina Zenere Main
Recurring characters
Ricardo Cifuentes y Navarro Simón Andreu Recurring
Emilio Rodríguez "El Halcón" Joan Crosas [es] Recurring Recurring
Pilar de Senillosa Luisa Gavasa Recurring Recurring
Dolores "Doña Lola" Tina Sainz Recurring
Eulalia María Garralón [es] Recurring
Victoria Kiti Mánver Recurring
Miriam Zafra Carlota Baró Recurring
Lucía Anna Moliner [es] Recurring
Perla Patricia Peñalver [es] Recurring
Antonio Castro Cristóbal Suárez [es] Recurring
Sergio Andrade Carles Francino Recurring
Gregorio Díaz Juan Carlos Vellido Recurring
Magdalena Lucía Perlado Recurring

Episodes

[edit]
SeriesEpisodesOriginally released
1828 April 2017 (2017-04-28)
2825 December 2017 (2017-12-25)
387 September 2018 (2018-09-07)
489 August 2019 (2019-08-09)
510514 February 2020 (2020-02-14)
53 July 2020 (2020-07-03)

Season 1 (2017)

[edit]
No.
overall
No. in
season
English titleSpanish titleDirected byWritten byOriginal release date
11"Chapter 1: Dreams"Capítulo 1: "Los sueños"Carlos SedesStory by : Ramón Campos, Gema R. Neira, Teresa Fernández-Valdés & María José Rustarazo
Teleplay by : Ramón Campos & Gema R. Neira
28 April 2017 (2017-04-28)
In 1928 Madrid a young woman named Alba with dreams of living a new life in Argentina is wrongfully accused of murder. A corrupt police officer agrees to let her go if she pulls off a heist for him at the telephone exchange.
22"Chapter 2: Memories"Capítulo 2: "Los recuerdos"Carlos SedesStory by : Ramón Campos, Gema R. Neira, Teresa Fernández-Valdés, María José Rustarazo & Almudena Ocaña
Teleplay by : Gema R. Neira, María José Rustarazo & Jaime Vaca
28 April 2017 (2017-04-28)
Francisco makes a deal with Lidia. Marga is worried about what she saw at the party, and Carlota's father interferes in her life.
33"Chapter 3: Lies"Capítulo 3: "Las mentiras"David PinillosStory by : Ramón Campos, Gema R. Neira, Teresa Fernández-Valdés, María José Rustarazo & Almudena Ocaña
Teleplay by : Carlos Portela & María José Rustarazo
28 April 2017 (2017-04-28)
The Police are called in when Lidia's identity is questioned. Francisco's wife is suspicious and asks Carolina for help.
44"Chapter 4: Feelings"Capítulo 4: "Los sentimientos"David PinillosStory by : Ramón Campos, Gema R. Neira, Teresa Fernández-Valdés & María José Rustarazo
Teleplay by : Carlos Portela
28 April 2017 (2017-04-28)
Marga has a lunch date with Pablo. Angeles finds out more about Mario's infidelity.
55"Chapter 5: The Past"Capítulo 5: "El pasado"Carlos SedesStory by : Ramón Campos, Gema R. Neira, Teresa Fernández-Valdés, María José Rustarazo & Jaime Vaca
Teleplay by : Carlos Portela
28 April 2017 (2017-04-28)
Carolina threatens to reveal Lidia's true identity. Miguel tells Carlota to make a decision about their relationship. Everything changes for Ángeles.
66"Chapter 6: Family"Capítulo 6: "La familia"Carlos SedesStory by : Ramón Campos, Gema R. Neira, Teresa Fernández-Valdés, María José Rustarazo & Jaime Vaca
Teleplay by : Estíbaliz Burgaleta & María José Rustarazo
28 April 2017 (2017-04-28)
Lidia helps Ángeles with her escape from town. Carlota works for Sara to get out of prison. Carlos has a fight with his father, with tragic consequences.
77"Chapter 7: Loss"Capítulo 7: "La pérdida"David PinillosStory by : Ramón Campos, Gema R. Neira, Teresa Fernández-Valdés, María José Rustarazo & Jaime Vaca
Teleplay by : Carlos Portela, María José Rustarazo & Jaime Vaca
28 April 2017 (2017-04-28)
The Cifuentes family mourns their recent loss. Lidia has to be honest with Carlos and tells him who she really is.
88"Chapter 8: Love"Capítulo 8: "El amor"David PinillosStory by : Ramón Campos, Gema R. Neira, Teresa Fernández-Valdés, María José Rustarazo, Jaime Vaca & Carlos Portela
Teleplay by : Carlos Portela & Jaime Vaca
28 April 2017 (2017-04-28)
New technology from the rotary divides Lidia's loyalty when she must make a choice between Carlos and her friends.

Season 2 (2017)

[edit]
No.
overall
No. in
season
English titleSpanish titleDirected byWritten byOriginal release date
91"Chapter 9: The Choice"Capítulo 9: "La elección"Carlos SedesRamón Campos, Gema R. Neira, Teresa Fernández-Valdez, Maria José Rustarazo, Carlos Portela, Jaime Vaca, Flora Gonzáles Villanueva & Paula Fernández25 December 2017 (2017-12-25)
As 1928 turns into 1929, Lidia reports to a new boss, Carlota is blackmailed, Marga gets a hidden surprise, and all three rush to Angeles's rescue.
102"Chapter 10: The Pact"Capítulo 10: "El pacto"Carlos SedesStory by : Ramón Campos, Gema R. Neira, Teresa Fernández-Valdez, Maria José Rustarazo, Carlos Portela, Jaime Vaca, Flora Gonzáles Villanueva & Paula Fernández
Teleplay by : Almudena Ocaña
25 December 2017 (2017-12-25)
Lidia directs a cover-up plan, but a theft complicates things and Marga is caught in a lie. Carlos and Francisco negotiate an alliance.
113"Chapter 11: Jealousy"Capítulo 11: "Los celos"Antonio HernándezStory by : Ramón Campos, Gema R. Neira, Teresa Fernández-Valdez, Maria José Rustarazo, Flora Gonzáles Villanueva & Paula Fernández
Teleplay by : Almudena Ocaña
25 December 2017 (2017-12-25)
Marisol tries to separate Marga and Pablo. Sara awakens Carlota's suspicion. Lidia sees a decisive difference between Carlos and Francisco.
124"Chapter 12: Guilt"Capítulo 12: "La culpa"Antonio HernándezStory by : Ramón Campos, Gema R. Neira, Teresa Fernández-Valdez, Maria José Rustarazo, Flora Gonzáles Villanueva & Paula Fernández
Teleplay by : Flora Gonzáles Villanueva, Paula Fernández & Maria José Rustarazo
25 December 2017 (2017-12-25)
Sara reveals a secret to Carlota. Angeles learns Inspector Cuevas's weakness. Pablo shows Marga his undying love. Lidia helps end an operator strike.
135"Chapter 13: Secrets"Capítulo 13: "Los secretos"Roger GualStory by : Ramón Campos, Gema R. Neira, Teresa Fernández-Valdez, Maria José Rustarazo, Flora Gonzáles Villanueva & Paula Fernández
Teleplay by : Almudena Ocaña & Maria José Rustarazo
25 December 2017 (2017-12-25)
Sara seeks medical advice. Lidia gets news that complicates her choice between Francisco and Carlos. Marga learns Pablo is hiding a delicate problem.
146"Chapter 14: Loneliness"Capítulo 14: "La soledad"Roger GualStory by : Ramón Campos, Gema R. Neira, Teresa Fernández-Valdez, Maria José Rustarazo, Flora Gonzáles Villanueva & Paula Fernández
Teleplay by : Flora Gonzáles Villanueva, Paula Fernández & Maria José Rustarazo
25 December 2017 (2017-12-25)
Lidia gets a tempting offer. Carlota and her friends respond to a plea for help. Angeles takes a risky step in order to learn the witness's identity.
157"Chapter 15: Opportunities"Capítulo 15: "Las oportunidades"David PinillosStory by : Ramón Campos, Gema R. Neira, Teresa Fernández-Valdez, Maria José Rustarazo, Flora Gonzáles Villanueva & Paula Fernández
Teleplay by : Maria José Rustarazo, Flora Gonzáles Villanueva & Paula Fernández
25 December 2017 (2017-12-25)
The police find a body. Ángeles learns who's been spooking her. Francisco gives Lidia space, while Carlos gives her a surprise. An arrest is made.
168"Chapter 16: Innocence"Capítulo 16: "La inocencia"David PinillosStory by : Ramón Campos, Gema R. Neira, Teresa Fernández-Valdez, Maria José Rustarazo, Flora Gonzáles Villanueva & Paula Fernández
Teleplay by : Almudena Ocaña, Teresa Fernández-Valdez, Flora Gonzáles Villanueva & Paula Fernández
25 December 2017 (2017-12-25)
Carlota gets news about Miguel. Guilt-stricken Marga goes into seclusion. Lidia learns Francisco has made a decision. Ángeles finds herself cornered.

Season 3 (2018)

[edit]
No.
overall
No. in
season
English titleSpanish titleDirected byWritten byOriginal release date
171"Chapter 17: Time"Capítulo 17: "El tiempo"Roger GualStory by : Ramón Campos, Gema R. Neira, Teresa Fernández-Valdez, Maria José Rustarazo, Flora Gonzáles Villanueva & Paula Fernández
Teleplay by : Almudena Ocaña, Paula Fernández, Maria José Rustarazo & Flora Gonzáles Villanueva
7 September 2018 (2018-09-07)
Six months later, a catastrophic event deeply affects Lidia, Marga, Carlota, Ángeles and their loved ones. Marga gets a surprise visit from an in-law.
182"Chapter 18: Death"Capítulo 18: "La muerte"Roger GualStory by : Ramón Campos, Gema R. Neira, Teresa Fernández-Valdez, Maria José Rustarazo, Flora Gonzáles Villanueva & Alberto Grondona
Teleplay by : Almudena Ocaña, Maria José Rustarazo, Flora Gonzáles Villanueva & Alberto Grondona
7 September 2018 (2018-09-07)
With her friends' help, Lidia puts her plan into action. Carlota decides what to do with her inheritance. Ángeles tries to earn Pedro Guzmán's trust.
193"Chapter 19: Truth"Capítulo 19: "La verdad"Antonio HernándezStory by : Ramón Campos, Gema R. Neira, Teresa Fernández-Valdez, Maria José Rustarazo, Flora Gonzáles Villanueva & Alberto Grondona
Teleplay by : Estíbaliz Burgaleta & Maria José Rustarazo
7 September 2018 (2018-09-07)
Lidia's desperation worries Carlos and spurs Francisco to offer support. Marga helps Julio cover Pablo's job. Carlota finds a way to promote her cause.
204"Chapter 20: Revenge"Capítulo 20: "La venganza"Antonio HernándezStory by : Ramón Campos, Gema R. Neira, Teresa Fernández-Valdez, Maria José Rustarazo, Flora Gonzáles Villanueva & Alberto Grondona
Teleplay by : Estíbaliz Burgaleta & Maria José Rustarazo
7 September 2018 (2018-09-07)
Lidia and Francisco visit an orphanage to gather info. Complications arise with Marga when Julio impersonates housebound Pablo, who sneaks back to work.
215"Chapter 21: Sin"Capítulo 21: "El pecado"Carlos SedesStory by : Ramón Campos, Gema R. Neira, Teresa Fernández-Valdez, Maria José Rustarazo, Flora Gonzáles Villanueva & Alberto Grondona
Teleplay by : Almudena Ocaña
7 September 2018 (2018-09-07)
Ángeles must deflect Guzmán's suspicion of a mole. Carlos learns his mother's car was sabotaged and confronts Lidia. Marga has a horrible realization.
226"Chapter 22: Fight"Capítulo 22: "La lucha"Carlos SedesStory by : Ramón Campos, Gema R. Neira, Teresa Fernández-Valdez, Maria José Rustarazo, Flora Gonzáles Villanueva & Paula Fernández
Teleplay by : Estíbaliz Burgaleta & Maria José Rustarazo
7 September 2018 (2018-09-07)
To protect her child, Ángeles accepts a deal with Guzmán. A phone call gives Lidia a hunch on Eva's whereabouts. Carlota responds to her attackers.
237"Chapter 23: Hope"Capítulo 23: "La esperanza"Roger GualStory by : Ramón Campos, Gema R. Neira, Teresa Fernández-Valdez, Maria José Rustarazo, Flora Gonzáles Villanueva & Alberto Grondona
Teleplay by : Maria José Rustarazo, Flora Gonzáles Villanueva & Alberto Grondona
7 September 2018 (2018-09-07)
Lidia turns the tables on her captor. During the king's visit, those fighting for Carlota's cause take drastic measures, forcing her to choose sides.
248"Chapter 24: Destiny"Capítulo 24: "El destino"Roger GualStory by : Ramón Campos, Gema R. Neira, Teresa Fernández-Valdez, Maria José Rustarazo, Flora Gonzáles Villanueva & Alberto Grondona
Teleplay by : Maria José Rustarazo, Flora Gonzales Villanueva & Alberto Grondona
7 September 2018 (2018-09-07)
As the situation escalates, Lidia tries to get to Eva, Marga shocks Pablo, Carlota takes a risk, Ángeles learns a truth and Francisco attempts a rescue.

Season 4 (2019)

[edit]
No.
overall
No. in
season
English titleSpanish titleDirected byWritten byOriginal release date
251"Chapter 25: Equality"Capítulo 25: "La igualdad"Antonio HernándezStory by : Ramón Campos, Gema R. Neira, Teresa Fernández-Valdez, Maria José Rustarazo, Flora Gonzáles Villanueva & Alberto Grondona
Teleplay by : Maria José Rustarazo, Flora Gonzáles Villanueva & Alberto Grondona
9 August 2019 (2019-08-09)
Carlota's new political career faces a major obstacle as Marga suffers heartbreak. Meanwhile, Lidia returns to work and Angeles pitches an idea to her.
262"Chapter 26: Liberty"Capítulo 26: "La libertad"Antonio HernándezStory by : Ramón Campos, Gema R. Neira, Teresa Fernández-Valdez, Maria José Rustarazo, Flora Gonzáles Villanueva & Alberto Grondona
Teleplay by : Maria José Rustarazo, Flora Gonzáles Villanueva & Alberto Grondona
9 August 2019 (2019-08-09)
As her memory starts to slowly come back, Carlota's friends try to clear her name. Angeles begins teaching classes. Lidia's former enemy returns.
273"Chapter 27: Justice"Capítulo 27: "La justicia"Roger GualStory by : Ramón Campos, Gema R. Neira, Teresa Fernández-Valdez, Maria José Rustarazo, Flora Gonzáles Villanueva & Alberto Grondona
Teleplay by : Maria José Rustarazo, Alberto Grondona & Estabaliz Burgaleta
9 August 2019 (2019-08-09)
Lidia and Carlos argue over a loved one's medical treatment. Óscar makes a shocking discovery about Dulce. Marga gets to know her boss better.
284"Chapter 28: Fear"Capítulo 28: "El miedo"Roger GualStory by : Ramón Campos, Gema R. Neira, Teresa Fernández-Valdez, Maria José Rustarazo, Flora Gonzáles Villanueva & Alberto Grondona
Teleplay by : Maria José Rustarazo, Alberto Grondona, Estabaliz Burgaleta & Teresa Fernández-Valdez
9 August 2019 (2019-08-09)
With Carlota's future looking perilous, Óscar starts falsifying evidence to get her out of prison. A different doctor gives Lidia new hope.
295"Chapter 29: Life"Capítulo 29: "La vida"Antonio HernándezStory by : Ramón Campos, Gema R. Neira, Teresa Fernández-Valdez, Maria José Rustarazo, Flora Gonzáles Villanueva & Alberto Grondona
Teleplay by : Maria José Rustarazo, Flora Gonzáles Villanueva, Alberto Grondona & Estabaliz Burgaleta
9 August 2019 (2019-08-09)
The friends begin concocting a plan to free Óscar from prison and Marga turns to Pablo for assistance. Carlos is surprised by his friend's condition.
306"Chapter 30: Doubt"Capítulo 30: "La duda"Antonio HernándezStory by : Ramón Campos, Gema R. Neira, Teresa Fernández-Valdez, Maria José Rustarazo, Flora Gonzáles Villanueva & Alberto Grondona
Teleplay by : Maria José Rustarazo, Flora Gonzáles Villanueva, Alberto Grondona & Almudena Ocaña
9 August 2019 (2019-08-09)
Carmen creates a deception while Carlos continues to keep Lidia in the dark. Carlota tries desperately to escape from her captor.
317"Chapter 31: Happiness"Capítulo 31: "La felicidad"Roger GualStory by : Ramón Campos, Gema R. Neira, Teresa Fernández-Valdez, Maria José Rustarazo, Flora Gonzáles Villanueva & Alberto Grondona
Teleplay by : Maria José Rustarazo, Flora Gonzáles Villanueva, Alberto Grondona & Estabaliz Burgaleta
9 August 2019 (2019-08-09)
Lidia is confused and hurt by Carlos's betrayal. An unlikely ally is enlisted to try to free Óscar. Carmen's calculating plan starts falling into place.
328"Chapter 32: Luck"Capítulo 32: "La suerte"Roger GualStory by : Ramón Campos, Gema R. Neira, Teresa Fernández-Valdez, Maria José Rustarazo, Flora Gonzáles Villanueva & Alberto Grondona
Teleplay by : Maria José Rustarazo, Flora Gonzáles Villanueva, Alberto Grondona & Estabaliz Burgaleta
9 August 2019 (2019-08-09)
When the prison break is set in motion, the team faces unforeseen consequences. Lidia makes a heartbreaking decision in order to protect Eva.

Season 5 (2020)

[edit]
No.
overall
No. in
season
TitleSpanish titleDirected byWritten byOriginal release date [14]
Part 1
331"Chapter 33: War"Capítulo 33: La guerraAntonio HernándezStory by : Teresa Fernández-Valdez, Maria José Rustarazo, Flora Gonzáles Villanueva & Alberto Grondona
Teleplay by : Estabaliz Burgaleta, Flora Gonzáles Villanueva, Alberto Grondona & Maria José Rustarazo
14 February 2020 (2020-02-14)
Lidia leaves New York and returns to Madrid in search of Sofía, who has run away to join the Republicans in the Spanish Civil War.
342"Chapter 34: Hate"Capítulo 34: El odioAntonio HernándezStory by : Teresa Fernández-Valdez, Maria José Rustarazo, Flora Gonzáles Villanueva & Alberto Grondona
Teleplay by : Flora Gonzáles Villanueva, Alberto Grondona, Paula Fernández, Curro Serrano & Javier Chacáretegui
14 February 2020 (2020-02-14)
Lidia's friends - both old and new - help her attempt to force Carlos to call Sofía back from the front lines. Pablo looks for ways to avoid enlisting.
353"Chapter 35: Courage"Capítulo 35: El valorAntonio HernándezStory by : Teresa Fernández-Valdez, Maria José Rustarazo & Flora Gonzáles Villanueva
Teleplay by : Flora Gonzáles Villanueva & Maria José Rustarazo
14 February 2020 (2020-02-14)
Óscar and Carlota risk their journalistic integrity in exchange for helping Lidia with Sofía. Marga falls ill while running a dangerous errand.
364"Chapter 36: Control"Capítulo 36: El controlManuel Gómez PereiraStory by : Teresa Fernández-Valdez, Maria José Rustarazo, Flora Gonzáles Villanueva & Fran Navarro
Teleplay by : Flora Gonzáles Villanueva, Fran Navarro & Maria José Rustarazo
14 February 2020 (2020-02-14)
Carlos and Lidia encounter trouble in their search for Sofía. Carlota visits the western front with James, to Óscar's chagrin. Pablo goes missing.
375"Chapter 37: Insanity"Capítulo 37: La locuraAntonio HernándezStory by : Teresa Fernández-Valdez, Maria José Rustarazo, Flora Gonzáles Villanueva & Fran Navarro
Teleplay by : Flora Gonzáles Villanueva, Fran Navarro & Maria José Rustarazo
14 February 2020 (2020-02-14)
When Madrid falls to the Nationalists, Lidia and most of her friends must face widespread grief and devastation, with long-term consequences.
Part 2
386"Chapter 38: Power"Capítulo 38: El poderAntonio HernándezStory by : Teresa Fernández-Valdez, Maria José Rustarazo, Flora Gonzáles Villanueva & Fran Navarro
Teleplay by : Flora Gonzáles Villanueva, Carlos Portela, Paula Fernández, Maria José Rustarazo
3 July 2020 (2020-07-03)
Lidia's defiance gets her into trouble at the prison camp, while Francisco concocts a plan to free her. Marga confides her secrets to Isidro.
397"Chapter 39: Patience"Capítulo 39: La pacienciaAntonio HernándezStory by : Teresa Fernández-Valdez, Maria José Rustarazo, Flora Gonzáles Villanueva & Fran Navarro
Teleplay by : Maria José Rustarazo, Flora Gonzáles Villanueva, Fran Navarro
3 July 2020 (2020-07-03)
Lidia is desperate to save her imprisoned friend. Elisa discloses Carlos' fate. Marga realises who betrayed her. Carmen targets Lidia's loved ones.
408"Chapter 40: Pain"Capítulo 40: El dolorGustavo RonStory by : Teresa Fernández-Valdez, Maria José Rustarazo, Flora Gonzáles Villanueva & Fran Navarro
Teleplay by : Maria José Rustarazo, Flora Gonzáles Villanueva, Fran Navarro
3 July 2020 (2020-07-03)
Elisa reveals a startling secret as more of Lidia's friends are endangered. Sofía turns to an old friend for help protecting the prisoners from Carmen.
419"Chapter 41: Defeat"Capítulo 41: La derrotaGustavo RonStory by : Teresa Fernández-Valdez, Maria José Rustarazo, Flora Gonzáles Villanueva & Fran Navarro
Teleplay by : Maria José Rustarazo, Flora Gonzáles Villanueva, Fran Navarro
3 July 2020 (2020-07-03)
An unexpected ally seeking the ultimate revenge helps Lidia try and enact her plan to free all the prisoners from the women's prison camp.
4210"Chapter 42: The End"Capítulo 42: El FinalCarlos SedesStory by : Teresa Fernández-Valdez, Maria José Rustarazo, Flora Gonzáles Villanueva & Fran Navarro
Teleplay by : Maria José Rustarazo, Flora Gonzáles Villanueva, Fran Navarro
3 July 2020 (2020-07-03)
When the final phase of their escape plan is threatened, Lidia, Carlota, Marga and Óscar make a momentous decision together.

Awards and nominations

[edit]
Year Award Category Nominee(s) Result Ref.
2017 64th Ondas Awards Best Fiction Web Series or Online Show Won [15]
4th Fénix Awards Best Drama Series Nominated [16]
2018 5th Feroz Awards Best Supporting Actress (TV) Ana Polvorosa Nominated [17]
27th Actors and Actresses Union Awards Best Supporting Actress (TV) Ana Polvorosa Won [18]
5th Platino Awards Best Ibero-American Miniseries or TV Series Nominated [19][20]
Best Actress in a Miniseries or TV Series Blanca Suárez Won
29th GLAAD Media Awards Outstanding Scripted Television Series (Spanish-language) Won [21]

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia
from Grokipedia
Cable Girls (Spanish: Las chicas del cable) is a Spanish-language period drama television series created by Ramón Campos and Gema R. Neira that premiered on on 14 April 2017 and concluded after five seasons on 3 July 2020. Set in 1920s during Spain's social and technological transformations, the series follows four women from diverse backgrounds hired as operators at the National Telephone Company, as they confront romance, friendship, envy, and the evolving modern workplace while challenging traditional roles. The show marked 's first original production in Spanish, contributing to the platform's expansion into non-English content and garnering a dedicated for its portrayal of female solidarity amid historical upheaval. It received positive reception for its engaging ensemble cast, including , , Ana Fernández, and , and holds an average rating of 7.5 out of 10 on based on over 17,000 user reviews, with Season 1 earning 100% on from critics.

Overview

Premise and Setting

Cable Girls is set in in the late , during a period of technological and in . The series follows four women from diverse backgrounds—Lidia, Carlota, Ángeles, and Marga—who secure positions as operators at the National Telephone Company of Spain, a pioneering institution that introduces modern to the country. This environment symbolizes emerging opportunities for , as the company hires female operators to manage the expanding telephone network amid rapid and industrialization. The core storyline revolves around their intertwined lives as they navigate personal ambitions, romantic pursuits, friendships, and professional hurdles within the company's hierarchical structure. Lidia arrives in motivated by a desire for retribution against past injustices while embracing new prospects at the telephone company, which propels her arc of resilience and adaptation. The quartet forms a bond of mutual support, challenging the rigid societal and gender constraints of the era, with key events spanning from onward into the advent of the Spanish Second Republic in 1931.

Historical Context

Spain experienced political instability in the under the dictatorship of , who launched a military coup on September 13, 1923, against the , suspending the constitution, dissolving parliament, and establishing authoritarian rule with initial royal endorsement. His regime pursued economic reforms, including and development, which fostered short-term growth through favorable export conditions until the late , when fiscal strains from the and mounting opposition forced his resignation on January 28, 1930. Municipal elections in April 1931 delivered anti-monarchist victories, culminating in the proclamation of the Second Spanish Republic on April 14, 1931, which introduced democratic reforms amid polarized ideological tensions. Economic modernization during this era emphasized infrastructure expansion, notably in , with the founding of Compañía Telefónica Nacional de España in using one million pesetas in capital to deploy telephone networks nationwide. By 1929, the company advanced Spain's position in through automatic switching technology, reducing reliance on manual operations while central switchboards proliferated in urban centers like . These developments coincided with rural-to-urban migration driven by industrialization, elevating literacy rates and service-sector demands, yet the economy grappled with uneven growth, agricultural stagnation, and emerging unemployment by the early 1930s. Social conditions reflected entrenched conservative Catholic influences and patriarchal norms, confining most women to domestic spheres with workforce participation below 10% by 1930, primarily in or emerging urban roles despite legal barriers like restricted property rights. operations, expanding in from the mid-1920s, hired women for manual dexterity but imposed rigorous standards—hiring exams testing dictation, arithmetic, and telephonic clarity—alongside moral codes mandating unmarried status and oversight of personal conduct to uphold propriety. The Second Republic's 1931 granted women on December 9, 1931, alongside divorce and reforms, challenging church-reinforced traditions while debates persisted over integrating women into public life without destabilizing family structures.

Production

Development and Creation

Cable Girls (known in Spanish as Las chicas del cable) was created by Ramón Campos, Teresa Fernández-Valdés, and Gema R. Neira for , a Spanish founded in 2007 by Campos and Fernández-Valdés to develop television fiction projects. The series originated from Campos's concept, inspired by the historical role of female telephone switchboard operators in early 20th-century , which was fictionalized into a centered on four women navigating personal and professional challenges at Madrid's National Telephone Company during the . Announced in March 2016 as 's first original Spanish-language series, the project emerged from discussions between executives, including content acquisition head Diego Ávalos, and Bambú Producciones following the international success of the company's prior period drama . aimed to tap into the global appetite for period dramas featuring strong female ensembles, similar to successes like , while adapting content for its streaming model. The partnership emphasized co-production elements, with providing resources that enabled greater production ambition compared to traditional Spanish television. Pre-production focused on a planned five-season arc to explore evolving themes of agency amid Spain's social upheavals from the through , selected for their potential to resonate with diverse international audiences seeking stories of women's historical struggles and triumphs. Scripting prioritized an ensemble of leads to drive interconnected narratives of , romance, and dynamics, with episode structures tailored to Netflix's format—featuring sustained tension and character development over traditional weekly cliffhangers—rather than linear broadcast pacing. This approach allowed for denser serialization while maintaining dramatic momentum across 42 episodes released in batches.

Filming and Technical Aspects

Principal photography for Cable Girls occurred primarily in , , utilizing a combination of on-location shoots at historical sites such as , Plaza de Callao, Gran Vía, Atocha station, and the Círculo de Bellas Artes, alongside studio facilities to recreate interiors. Filming for the first season commenced in August 2016 and wrapped prior to its April 2017 release on , with subsequent seasons shot annually from 2017 through 2019 to align with the series' progression toward the prelude of the in later plotlines. Production spanned five seasons, produced by Bambú Producciones, emphasizing logistical coordination for period exteriors that required street closures and set dressings to evoke early 20th-century . Set design focused on practical constructions to achieve historical fidelity, including detailed replicas of the National Telephone Company's switchboard rooms featuring manual analog plugboards and operator consoles sourced or custom-built to simulate operations. These sets, combined with location work at sites like the Museo del Ferrocarril de for railway scenes, addressed technical challenges such as wiring authentic-looking equipment without modern electrical hazards, often relying on props and minimal for operational realism. , handled by Studio, were sparingly used for enhancements like crowd extensions in urban scenes but prioritized practical effects to maintain the era's tactile quality. Costume and production design incorporated period-accurate attire reflective of 1920s Spain, blending flapper-inspired silhouettes—such as dropped waists and cloche hats—with conservative Spanish influences like high-necked blouses and modest lengths to align with the cultural context of the dictatorship era. Sourcing involved archival research and custom fabrication for operator uniforms, ensuring fabrics and patterns matched the transition from post-World War I modernity to pre-Civil War austerity, while technical aspects like dye-fastness for repeated takes preserved visual consistency across the 2016–2019 production timeline.

Cast and Characters

Main Characters

Lidia Aguilar, initially introduced under the alias Alba Romero, enters the National Telephone Company of as a novice operator after being blackmailed into following a wrongful of in a personal dispute involving a friend's abusive partner. Her primary motivation stems from a quest for personal redemption and justice, driving her to navigate workplace intrigue while concealing her past, which propels her arc from a vulnerable outsider reliant on deception to a resolute leader coordinating the group's survival amid escalating threats. Carlota Rodríguez de Senillosa, hailing from an affluent family, joins the company as an operator in defiance of her parents' expectations, prioritizing autonomy over inherited privilege and embracing suffragist ideals that challenge prevailing class and sexual conventions of 1920s . Her traits include unyielding confidence and outspokenness, evident in her willingness to forsake familial wealth for professional independence, with her arc involving romantic entanglements that test her commitment to and evolving alliances within the group. Ángeles Vidal serves as the seasoned , a married whose core drive is securing stability for her young daughter, Sofia, amid domestic strains and hidden personal burdens that demand constant compartmentalization of her professional and family lives. Her character embodies quiet resilience, progressing through subplots of marital discord and protective instincts that force confrontations with betrayal and loss, reinforcing her role as the group's emotional anchor. Marga Suárez arrives from rural as an idealistic newcomer, motivated by aspirations for through formal education and career advancement, transitioning from about urban professional life to sharpened awareness via encounters with exploitation and ambition. Her arc highlights growth in assertiveness, intertwined with romantic pursuits and rivalries that expose vulnerabilities, ultimately fostering her integration into the collective dynamic. The protagonists' bonds form the narrative core, with their telephone company friendships catalyzing mutual support against external pressures, as individual threads of clandestine romances—such as Lidia's with engineer Francisco Gómez—and internal betrayals or competitive tensions propel collective resolutions to crises spanning , family upheavals, and societal constraints across the series' five seasons from to 2020.

Recurring and Supporting Roles

Francisco Gómez, the director of the National Telephone Company, acts as a key by enforcing rigid corporate hierarchies and policies that constrain the operators' professional and personal lives, often prioritizing business interests over individual agency. His ambitions and decisions precipitate workplace tensions and ethical dilemmas for the protagonists across multiple seasons. Pablo Vidal, husband to Ángeles Vidal, embodies conservative marital expectations and exerts controlling influence, including instances of domestic that underscore traditional pressures and catalyze Ángeles' pursuit of independence. His presence highlights familial conflicts rooted in societal norms of the and . Sara Millán, Lidia Aguilar's steadfast ally and confidante, assists in covert activities such as hiding identities and evading pursuit, providing emotional and logistical support that influences Lidia's riskier choices without leading the central arcs. Her role evolves to include personal transformation, reflecting broader themes of identity amid constraints. Carlos Cifuentes, scion of an affluent family, engages in romantic pursuits and strategic maneuvers that forge temporary alliances but also introduce betrayals, particularly as political divisions intensify toward the ; his ties in later seasons amplify external threats to the group. Additional supporting figures, such as Miguel Pascual, offer relational stability and encouragement to characters like Marga Suárez in navigating class barriers, while composites of elites, revolutionaries, and authority figures—evolving through deaths and introductions tied to historical upheavals—propel subplots involving scandals, ideological clashes, and shifting loyalties without overshadowing primary narratives.

Themes and Ideology

Feminist and Empowerment Narratives

The series Cable Girls centers its narrative on the bonds of among its four protagonists—Lidia Aguilar, Carlota Rodríguez de Senillosa, Marga , and Ángeles Vidal—who, as switchboard operators at Madrid's National Telephone Company in the , collectively defy patriarchal constraints through mutual support. This sisterhood motif recurs as a primary mechanism for overcoming isolation, enabling the women to confront workplace , familial pressures, and personal traumas in a male-dominated society. For instance, their alliances facilitate interventions against and economic dependence, portraying collective action as essential to individual resilience. Carlota's storyline exemplifies activist defiance, as the privileged daughter of a wealthy family rejects arranged marital prospects and familial control to advocate for and sexual freedom, ultimately facing disownment for prioritizing and ideological commitments over traditional roles. Her arc amplifies early-20th-century suffrage movements for dramatic effect, framing against paternal authority as a path to . Similarly, Lidia's underscores entrepreneurial risks, transitioning from precarious circumstances—including wrongful incarceration and survival-driven schemes—to leveraging her position for and covert operations that challenge class and hierarchies. The ideological underpinning ties to economic self-sufficiency, with the protagonists' telephony jobs symbolizing entry into the and rejection of communal traditions in favor of personal agency. This framing endorses , as characters prioritize over societal expectations, such as Marga's pursuit of amid clerical constraints and Ángeles' flight from abusive marriage, all reinforced by the group's collaborative defiance of institutional barriers.

Portrayal of Social and Gender Dynamics

The series depicts pronounced class divides among its female protagonists, who hail from varied socioeconomic backgrounds, including working-class origins that underscore rural-urban disparities in early 20th-century Spain. For instance, characters navigate tensions between provincial upbringings and the cosmopolitan demands of urban Madrid, where elite interventions by company executives and affluent families exacerbate conflicts over labor and personal agency. These divides manifest in workplace hierarchies at the National Telephone Company, where lower-class women confront exploitation and limited mobility, reflecting broader societal stratifications that pit proletarian aspirations against bourgeois privileges. Politically, Cable Girls frames social conflicts against the turbulent transition from the of through the Primo de Rivera dictatorship to the Second Republic, portraying and as pivotal causal forces. Anarchist undercurrents appear in labor unrest and subversive activities among workers, while conservative monarchist elements enforce traditional hierarchies, fueling clashes that mirror Spain's pre-Civil War polarization. The narrative highlights how these ideologies intersect with class struggles, as conservative forces resist republican reforms, contributing to interpersonal and collective tensions without endorsing any faction. In terms of gender realism, the show portrays patriarchal structures through depictions of , honor codes dictating female subservience, and scant legal recourse for abused women, as enshrined in the 1889 requiring spousal permission for basic autonomy. Male characters embody dual roles as oppressors—enforcing control via and societal norms—and occasional redeemers offering protection amid systemic barriers, illustrating the era's causal reliance on male authority for female survival. is explicitly shown, with one enduring physical assaults and resultant injuries, underscoring empirical barriers to . Counterbalancing rebellious impulses, the series integrates duties and religious influences as persistent anchors, with Catholic imposing constraints that prioritize marital and over individual pursuits. Women face pressures to uphold familial obligations, often clashing with professional ambitions, while religious doctrines reinforce patriarchal without idealization, presenting these elements as realistic impediments rather than virtues or villains. This portrayal avoids romanticization, emphasizing the causal weight of in perpetuating inequities.

Episodes and Release

Season Breakdown

Season 1, set in 1929 Madrid, introduces the core group of telephone operators at the National Telephone Company as they navigate initial challenges of the modern workplace, including strict hierarchies and personal vulnerabilities. Lidia Aguilar, operating under a false identity after being framed for murder, seeks funds to flee to Argentina while concealing her past; she forms alliances with Marga, who pursues education and romance amid family pressures, Carlota, an heiress advocating for women's suffrage, and Angeles, enduring spousal abuse. Across eight episodes, workplace intrigues escalate with eavesdropped secrets, romantic pursuits, and scandals, building to a finale where betrayals and revelations strain their budding friendships and expose individual deceptions. Seasons 2 and 3 advance the timeline into the early , deepening romantic entanglements and introducing betrayals tied to emerging political shifts toward the Second Spanish Republic proclaimed in 1931. The operators intercept sensitive calls revealing conspiracies, forcing choices between loyalty and survival; Lidia's deceptions unravel, leading to confrontations and forced separations, while Carlota's activism intersects with personal losses, and Angeles grapples with infidelity and protection of her child. Marga's ambitions clash with societal expectations, amplifying group tensions. Key turning points include investigations into sabotage and moles, culminating in life-altering decisions that propel personal stakes into broader republican fervor, with Season 3's eight episodes heightening drama through coerced abortions, abductions, and ideological rifts. Season 4, spanning 1932 amid pre-Civil War unrest, depicts escalating separations and perils as republican ideals fracture under mounting authoritarian pressures. The protagonists face kidnappings, prison escapes, and political maneuvering; Carlota enters confronting equality barriers, while Lidia contends with custody battles and vendettas, leading to comas and fractured alliances. Over eight episodes, individual arcs converge on survival amid divorces and betrayals, foreshadowing with turning points like botched rescues and ideological clashes that isolate the group. Season 5 shifts to 1939 in the Spanish Civil War's aftermath, climaxing the series with war's devastation forcing reunions and resolutions under Francoist repression. Lidia returns from New York to rescue her adopted daughter , afflicted with a heart condition, from frontline perils and subsequent imprisonment; the operators orchestrate mass prison breaks and navigate divided loyalties across battle lines. Spanning ten episodes split into parts, the narrative resolves arcs through sacrifices, escapes, and reflections on enduring bonds, transitioning personal crises to collective endurance against national trauma.

Broadcast and Distribution

Cable Girls premiered as a original series, with all five seasons exclusively available for streaming on the platform worldwide. The first season launched on April 28, 2017, followed by subsequent seasons released in batches: the second on December 25, 2017, the third in 2018, the fourth in 2019, and the fifth split into two parts, concluding with the final five episodes on July 3, 2020. Each of the first four seasons consisted of eight episodes, while the fifth featured ten episodes released in a two-part format to extend availability. employed a binge-release model, dropping all episodes of a season (or part) simultaneously to facilitate uninterrupted viewing. This approach, standard for originals, allowed global audiences immediate access without weekly scheduling constraints typical of traditional television. The series was distributed digitally only, with no traditional television broadcasts or reruns on linear . Content was adapted for international viewers through and in multiple languages, including English, to broaden appeal beyond Spanish-speaking regions. As Netflix's first original commission from , it targeted a diverse , particularly in and , via the platform's localized language options.

Reception

Critical Reviews

Critics praised Cable Girls for its high production values, including lavish costumes and meticulously recreated sets that evoke the period drama style of shows like . The series' visual aesthetics and pacing were highlighted as strengths, with reviewers noting the smooth integration of ensemble performances and romantic subplots that maintain narrative momentum across episodes. Season 1 earned a 100% Tomatometer score on from six reviews, reflecting approval for its technical execution and stylistic flair. The cast's chemistry, particularly among the four lead operators, was commended for adding emotional depth to interpersonal dynamics and subplots, though some international critiques observed that later seasons occasionally succumbed to melodramatic excesses reminiscent of telenovelas. Spanish reviewers appreciated the show's polished execution in capturing urban energy and character interactions, describing it as a light yet competently styled period piece with effective use of wardrobe to advance visual storytelling. Repetitive conflicts in romantic and arcs were cited as a weakness, potentially diluting tension despite strong . Globally, the series was viewed as an accessible entry into Spanish period television, with its brisk pacing and ensemble-driven execution appealing to audiences seeking escapist , while local critics valued the cultural nuances in stylistic choices like dialect-infused dialogue delivery. Overall, professional assessments emphasized the show's artistic merits in visuals and performance over plot innovation, positioning it as a visually engaging with solid craftsmanship.

Audience and Commercial Performance

Cable Girls, as Netflix's inaugural Spanish-language original series, demonstrated robust commercial viability by sustaining audience growth across its five seasons from 2017 to 2020. In , demand for the series surpassed eight times the average for television programs in 2018, categorizing it as "outstanding" among digital originals and ranking it alongside top performers like La Casa de Papel. The fifth season's first part, released on February 14, 2020, ranked as the third most-binged subscription video-on-demand series globally in its debut week, according to data. Domestically, the series captured a substantial share of streaming viewership in , accounting for 12.6% of platform consumption in a 2020 analysis of top series, trailing only La Casa de Papel at 19.9%. Its production by Bambú Producciones elevated the studio's international profile, establishing it as a key player in Netflix's European expansion and facilitating subsequent Spanish content exports. The series marked Netflix's longest-running non-U.S. original at the time, reflecting strong retention and that broadened the platform's appeal beyond initial viewers to trans-generational audiences, including growth among those over 45. Fan engagement centered on themes of female solidarity, evidenced by social media activity on official and fan accounts, with profiles amassing over 300,000 followers and engagement rates exceeding 4-11% on promotional posts. Long-term, the series remains available on , influencing the proliferation of Spanish period dramas and contributing to the platform's strategy for localized originals that drove subscriber gains in .

Historical Accuracy and Criticisms

Factual Depictions and Anachronisms

The series depicts the operations of Spain's national telephone company, Compañía Telefónica Nacional de España, with fidelity to its 1920s expansion in , including the recruitment of women as switchboard operators—a practice initiated around 1928 to handle growing urban demand, as the company employed over 1,800 staff in its new Gran Vía headquarters by 1929. Fashion elements blend imported European silhouettes, such as dropped waists and cloche hats, with restrained Spanish adaptations reflecting Catholic-influenced modesty under the Primo de Rivera regime, where overt displays of modernity coexisted with conservative norms limiting hemlines and emphasizing propriety. The portrayal captures era-specific economic optimism from dictatorship-era infrastructure booms, including telecommunications advancements, alongside moral panics over jazz-age influences eroding traditional values, as evidenced by contemporary debates on urban . Depictions of female independence, including young unmarried women securing housing and employment without familial oversight, diverge from historical constraints; the 1889 subjected adult daughters to patria potestad (paternal ) until , rendering solo living for single women legally and socially improbable without guardianship, as family units enforced dependency amid dictatorship policies reinforcing gender hierarchies. emphasizing explicit consent in intimate relations introduces anachronistic , contrasting 1920s legal frameworks where marital duties under canon and civil law prioritized spousal over personal agency, with no codified recognition of non-consent within and husbands wielding control over family matters. The narrative underplays the causal weight of church-state alliances in upholding role compliance, as Primo de Rivera's regime, aligned with Catholic institutions, promoted traditional domesticity through education and , yielding documented near-total adherence among women to prescribed norms rather than widespread defiance.

Ideological Critiques

Cable Girls has drawn praise from certain scholarly analyses for illuminating women's historical roles in Spain's sector during the and for foregrounding themes of female agency and in defiance of patriarchal structures. Proponents argue that its depiction of protagonists navigating professional independence and personal relationships fosters greater awareness of gender-based struggles, challenging entrenched norms through narratives of and diverse representations including LGBTQ+ identities. Critiques, particularly from perspectives, contend that the series dilutes its feminist aspirations by reverting to archetypal romantic entanglements and visual conventions that perpetuate , such as extended focus on female physiques that align with the rather than dismantle it. Instances like lead character Alba employing to obtain underscore a reliance on male intermediaries for female progress, thereby qualifying claims of uncompromised . The incorporation of modern musical cues and attire into 1920s settings exemplifies a projection of contemporary onto a more stratified society, which critics assert obscures the stabilizing functions of traditional divisions, including voluntary role adherence that underpinned family and economic units prior to expansive welfare provisions. Within academic discourse, often inclined toward postfeminist interpretations amid noted left-leaning institutional biases, the program is characterized as embodying a postfeminist sensibility via economically self-reliant heroines and bonds of sisterhood, yet faulted for its equivocal handling of that shies from substantive ideological confrontation. This ambiguity fuels contention over whether the feminist lens genuinely empowers or revises historical dynamics to prioritize modern , potentially sidelining the causal benefits of complementarities—such as mitigated workforce hazards for men and cohesive pre-welfare familial support—that traditional frameworks provided, even as the series casts them predominantly as impediments to personal liberation.

Awards and Nominations

Major Wins

Cable Girls secured the Ondas Award for Best Fictional or Online Show in 2017, recognizing its excellence as a pioneering Spanish online production. This from the prestigious Spanish media awards underscored the series' innovative storytelling and rapid popularity following its debut. In the acting categories, received the Spanish Actors and Actresses Union Award for Best Supporting Actress in Television for her portrayal of Sara Millán in 2018, highlighting her performance's emotional depth amid the series' themes of friendship and resilience. Similarly, won the Platino Award for Best Actress in a or Television Series at the 5th edition in 2018 for her lead role as Lidia Aguilar Dávila, affirming the quality of individual performances that contributed to the show's critical traction. The series also earned the 29th for Outstanding Scripted Television Series in the category in 2018, awarded for its inclusive representation of LGBTQ+ characters and narratives. These wins collectively validated Cable Girls' global appeal, production standards, and ability to blend with contemporary social issues, distinguishing it among international streaming content.

Other Recognitions

Cable Girls garnered several nominations at the Premios Feroz, including for as Best Supporting Actress in a Television Series in 2018, reflecting recognition of the cast's performances over other aspects like writing. In the international sphere, the series received nods at the 5th Platino Awards in 2018 for Best Ibero-American or Television Series, alongside a for in the Best Actress in a or Television Series category. These honors, spanning primarily 2017 to 2018 with limited extensions into later years, underscored its appeal in Ibero-American contexts but remained secondary to domestic major awards. Further afield, it was nominated for Outstanding Scripted Television Series in at the 2018 Media Awards, and for Best Drama Series at the 2017 Premios Fénix, patterns that emphasized acting strengths rather than technical or narrative elements.

References

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