Yes, the prim and proper abuela was in a decades-long, passionate romantic relationship with the woman her son would later marry. This is the core romantic storyline anchoring Teresa’s entire arc. Virginia and Teresa’s affair began in the cabaret’s heyday. While the show plays it for dark comedy, the emotional weight is staggering: Virginia loved Teresa, but when Teresa became pregnant with Ernesto’s child (Paulina), Virginia orchestrated a marriage between Teresa and her son to keep Teresa “in the family.” Teresa’s primary romantic storyline is not with her cheating husband, but with the memory of Virginia. In flashback sequences, we see a younger Teresa—vulnerable, passionate, and utterly devoted to Virginia. Their scenes together are intimate and tender, a stark contrast to the cold, transactional marriage Teresa has with Ernesto. Virginia was Teresa’s great love, but she was also her jailer. By forcing Teresa to marry Ernesto, Virginia ensured Teresa would never leave her orbit—but also condemned her to a life of pretending.

This is why Teresa is so acerbic, so detached. Her heart died the day Virginia chose the family’s reputation over their love. When Vika enters the picture, Teresa sees a reflection: another woman trapped by the de la Mora men, forced to perform a role. But initially, that reflection is distorted by jealousy and resentment. On the surface, Vika (Paulina de la Mora) has the most chaotic romantic storyline in the series. Her arc is a desperate, often hilarious, search for validation through men and women. Unlike her mother’s buried passion, Vika’s sexuality is loud, anxious, and constantly performed. The Failed Engagements: María José and the Men Vika begins the series engaged to María José (Paco’s sister), a sweet but bland florist. This is Vika’s first openly lesbian relationship, but it’s fragile. Vika uses María José as a shield from her family’s expectations, not as a genuine partner. When that falls apart, Vika careens through a series of disastrous hookups—including a brief, cringe-inducing attempt at a throuple with a married couple. Each relationship fails because Vika is looking for external fixes for internal voids: her need for her mother’s approval, her father’s attention, and her own sense of worth. The Narcissist’s Mirror: Vika and Julián Her most toxic romance is with Julián , the charismatic, sociopathic drug lord who is also her half-brother (unknowingly at first). This storyline is pure telenovela horror. The show uses their brief, incestuous relationship to highlight Vika’s utter lack of boundaries and self-respect when starved for affection. It is a relationship born of narcissism: they see their own grandiose misery in each other. When the truth emerges, it shatters Vika, forcing her to finally confront the de la Mora legacy of secrets and lies.

But through this wreckage, something shifts. Vika’s romantic storylines stop being about finding a partner and start being about reclaiming her agency. And that is where her story finally crosses back into Teresa’s orbit. One of the most brilliant, subtle threads in La Casa de las Flores is the unacknowledged jealousy between Teresa and Vika. It is not a sexual jealousy—Teresa does not desire Vika. Rather, Teresa is jealous of Vika’s freedom to be openly queer.

This is the moment their relationship transforms from antagonistic to symbiotic. Vika realizes her mother is not a cold matriarch—she is a heartbroken romantic who sacrificed everything for a love that could never be public. Teresa realizes her daughter is not a frivolous party girl—she is a survivor of the same predatory family dynamics, just wearing a different mask. By redirecting their energy, both women find healthier romantic resolutions in the show’s final seasons. Teresa’s Final Love: Reclaiming Her Future Teresa’s romantic conclusion is bittersweet but empowering. Having purged the ghost of Virginia, she leaves the de la Mora mansion for good. In a subtle, beautiful storyline, the show implies Teresa rekindles a romance with a woman from her cabaret past— Nacha , the former housekeeper and confidante. It’s understated, but the final images of Teresa laughing, holding hands with another older woman, free from the mansion’s shadows, is the show’s truest happy ending. She finally gets the public, peaceful love she was denied for 40 years. Vika’s Mature Romance: From Chaos to Stability Vika’s final romantic arc is her most controversial yet most mature: she ends up with Diego Olvera , a kind, boring accountant. After seasons of chasing drama, danger, and women, Vika chooses a man who is stable. But the show cleverly frames this not as Vika “turning straight,” but as Vika choosing a partner based on character, not gender. Diego loves her for her chaotic energy, not despite it. Their romance is cute, low-stakes, and functional—which, for Vika, is the most shocking plot twist of all. More importantly, her relationship with Teresa heals. They become a team, running the new, legitimate version of The House of Flowers together—mother and daughter, co-conspirators in survival. Conclusion: The Legacy of Their Romantic Storylines The relationships of Teresa Ferrer and Vika are not traditional romances. There is no “will they / won’t they” between them. Instead, their shared narrative is a profound exploration of intergenerational queer trauma, repressed passion, and the radical act of choosing oneself.