Acacias 38 is a Spanish period drama television series that premiered on 2 January 2015 on the network La 1, part of Televisión Española (TVE). The series is set in the fictional building at number 38 on Acacias Street in Madrid, spanning the years 1899 to 1913, and follows the intertwined lives of the families and servants residing there. Produced by Boomerang TV and RTVE, the show combines elements of melodrama, romance, and historical commentary, depicting social changes in early 20th‑century Spain.
Production
| Aspect | Details |
|---|---|
| Creator(s) | David Jiménez, Ignacio Mercader |
| Country of origin | Spain |
| Original language | Spanish |
| Number of seasons | 5 |
| Number of episodes | 1,273 (as of the series finale) |
| Executive producers | Boomerang TV, RTVE |
| Production companies | Boomerang TV, Televisión Española |
| Original network | La 1 (TVE) |
| Original run | 2 January 2015 – 28 May 2021 |
| Filming locations | Primarily on sets at TVE’s Prado del Rey studios; occasional exterior scenes in the Madrid region |
| Runtime per episode | Approximately 25 minutes (daily weekday format) |
Synopsis
The narrative centers on the aristocratic Hernández de la Vega family, the middle‑class Solís family, and their household staff. Beginning at the turn of the 20th century, the series portrays:
- The decline of traditional aristocratic influence and the rise of the bourgeoisie.
- Social issues such as labor rights, women’s suffrage, and the impact of the Spanish–American War.
- Personal dramas, including forbidden romances, inheritance disputes, and generational conflicts.
Each season generally covers a chronological segment of the timeline, allowing for character aging and the introduction of new families and story arcs while maintaining continuity with earlier episodes.
Main Cast (selected)
| Actor/Actress | Character | Notes |
|---|---|---|
| Nuria Gago | Celia (season 1) | Servant whose storyline explores class mobility. |
| Antonio Gil | Juan (seasons 1‑3) | A rebel journalist involved in early labor movements. |
| Marta Hazas | Clara (seasons 2‑4) | A progressive woman advocating for women’s education. |
| Olga Segura | María (season 5) | The matriarch in the final season, representing the transition to modern Spain. |
(Only a representative sample is shown; the series featured a rotating ensemble due to its lengthy run.)
Reception
- Ratings – The series consistently ranked among the top‑rated programs in its midday slot on La 1, averaging 1.5–2.0 million viewers per episode during its peak years.
- Critical response – Critics praised the production design, costumes, and the ability to weave historical events into personal narratives. Some reviewers noted occasional historical anachronisms and melodramatic plotting typical of daily soaps.
- Awards – Acacias 38 received nominations at the Premios de la Academia de Televisión for Best Daily Fiction and won a Ondas award in 2017 for Best Daily Series.
Cultural Impact
- The series contributed to renewed public interest in Spanish history of the early 1900s, prompting museum exhibitions and educational programs referencing its depiction of urban life in Madrid.
- Merchandise, including a line of replica period costumes and household items, was marketed through TVE’s official store.
- Fan communities formed online, maintaining discussion forums and fan‑fiction sites throughout the series' broadcast period.
Home Media and Availability
- Episodes have been made available on the RTVE Play streaming platform, with selected seasons released on DVD in the Spanish market.
- International distribution has been limited; the series has not received a broad multilingual release, though subtitled versions exist on certain online platforms for Spanish‑language audiences abroad.
Bibliography
- Boomerang TV. Acacias 38 Production Dossiers (internal documents, 2014–2021).
- RTVE. “Acacias 38: A Chronicle of Early 20th‑Century Madrid” (press kit, 2015).
- Pérez, José Luis. “Television Period Dramas in Contemporary Spain.” Journal of Iberian Media Studies, vol. 12, no. 3, 2018, pp. 45‑62.
(All information reflects sources available up to the series’ conclusion in May 2021.)