Valeria Vegas, born in Valencia in 1985, is best known for writing a biography that captured public attention. Cristina Ortiz, Poison, with a title that leaves little to the imagination: I say! Neither a bitch nor a saint. This book became the foundation for the Javies to shape their acclaimed series Veneno, where the journalist also contributed as a screenwriter. Vegas is now releasing her first novel Best Supporting Actress, published by Temas de Hoy, Planeta, while her sequel Vestidas de azul and a documentary about another woman breaking boundaries are scheduled to premiere in 2019. Atresplayer Premium, Nadiuska.
Her debut novel again centers on a woman, an assistant, and an actress during off-hours, and it explores one of her recurring themes: the darker side of fame.
Yes, there are many elements in this novel that fascinate the author. I walked into a video store at the turn of the millennium, watched a lot of Spanish cinema, and became obsessed with actresses, sunsets, and the rise and fall of fame. The goal was to tell the story from an outsider’s point of view, and who better to observe than a servant who visits many homes? Readers can place themselves in the maid’s shoes and observe the actress through that lens.
There was also a facet of the author’s own life in Venom through the relationship depicted. What inspired this element?
The seed dates back to news years ago when Gracita Morales passed away. It was said that in recent times they had faced severe financial and moral struggles, even paying for a maid. Neither the assistant nor the actress was chosen by Gracita. With that information, the author believed it would be compelling to meet the helper, the woman who could carry forward the narrative.
Today, the author has collaborated on shows like Rocío, tell the truth to survive and And now, Sonsoles. Does this raise fears of being forgotten?
There is awareness that appearing on television or in Veneno can transform a person into a character. While that publicity is welcomed, it comes with trade-offs. The author remains mindful and well prepared. The media exposure stems from work, yet a life in reality television is not something she would pursue.
Veneno has brought visibility as a writer and screenwriter, first through the biography and then through the Javies series. Could that reference backfire in any way?
With today’s perspective, Cristina would be a counter-reference in her own right, because she was someone who did not always have a clear self-view. Yet the fascination with flawed individuals who deviate from norms remains strong, and it is from that angle that the significance of this reference emerges. When La Veneno appeared on television, the public learned how she was mistreated by her hometown and family, a reflection of similar experiences across many towns and families in Spain, including those in the broader trans and gender-diverse communities. She embodied many truths from her life.
Was it the first reference for the author?
It was not the first, but it was a reference that captivated because a certain Venom had been discussed in schoolyards since childhood. The mystery surrounding it drew the author in from a young age and became a guiding force.
Vestidas de azul, a sequel to Veneno and another project drawn from the author’s work, awaits its premiere with the Javies. What should audiences expect?
For the 2019 article, the 1983 documentary Vestidas de azul served as a reference. The new series centers on the character of Valeria, as seen in Veneno, and the shared focus lies in the writing process behind that book. The project travels back in time to illuminate the history of the six women highlighted in the documentary, marking Spain’s first commercially broadcast documentary addressing transsexuality.
Has there ever been a sense of gratitude for being born in a later era and avoiding what the women in Dressed in Blue endured?
Absolutely. The new generation often speaks with a blunt skepticism, and while it is easy to dismiss, looking back can be both strange and grounding. Reflective individuals have always existed and will continue to, yet at the levels of health, law, rights, and society, the 83 years of past struggles were indeed harsh.
The author acknowledges the challenges faced when starting life as a trans woman and the mixed reception in school. Growing up in a supportive family in a country that allowed some freedoms helped ease the path, though school days were difficult. The author dealt with taunts by responding firmly, realizing that the broader pattern showed systemic mistreatment of anyone who deviated from the norm. This realization shaped a stance of resilience and authenticity.
In Veneno, more intimate moments from the author’s life surfaced. Was it difficult to reveal them?
There was a period of significant risk, but it became clear that sharing these details was necessary. It was not meant to cast the public figure as a character, but a creative decision by the Javies to bridge generations. The aim was to present a meaningful evolution through the portrayal of La Veneno by the actor who embodied her, creating a dialogue between generations.
Has history ever treated La Veneno fairly?
Fair treatment was rare for many icons of that era. Cristina often stood as a stranger within the scene, even to some in the community. The show became a landmark for younger audiences, though some statements were controversial and would likely invite harsher judgment today. The figure remains provocative by design.
The author notes that the sense of sin and rebellion surrounding early prominent women affected how they were perceived. She is drawn to actresses who challenged norms without apologizing, and she objects to the idea that their films must bear sole responsibility for artistic outcomes. The director and others were part of the equation too, not just the performers.
Clearly, a documentary about another overlooked icon, the debuting actress Nadiuska, is slated for release.
The project will premiere in the spring on Atresplayer Premium. The aim is for younger generations to discover this iconic figure, who was not merely an actress but a social phenomenon in 1970s Spain and whose life concluded in a manner worthy of a novel.