“100 días para enamorarnos” arrived on Telemundo on 28 April 2020 carrying a premise that sounds like a dare: two marriages, two long separations, one hundred days to decide whether either couple still wants what it has. The series ran two seasons and 92 episodes, ending 14 July 2021. It is a comedy drama created by Ricardo Alvarez Canales, and it is an adaptation of an Argentine telenovela, “100 días para enamorarse,” created by Sebastián Ortega. A Chilean version with the same name had landed on Mega in 2019.
The show’s hook is arithmetic. Constanza Franco, a lawyer, agrees with her husband to take a 100-day break. When the count runs out, they either keep the marriage or they don’t. That is the whole engine, and it is enough.
Constanza Franco and the Break That Has a Deadline
Ilse Salas plays Constanza Franco: sophisticated, successful as a lawyer, a mother and a wife. She is the one who signs up for the clock. The break is not a divorce and it is not a reconciliation. It is a pause with a date attached, and the series gets its tension from the fact that a date cannot be argued with.
Her closest friend is Remedios Rivera, played by Mariana Treviño. Remedios is also a mother and a wife, but the show draws her as a free spirit who cannot keep her life in order. Where Constanza’s story is a countdown, Remedios’s story is a spill.
Both women decide to end 20 years of marriage with their respective husbands. Twenty years is a long time to put on a table, and the series treats it as the real subject.
Remedios Rivera, the First Love, and the Mess
Remedios’s life gets complicated in two directions at once. She decides to separate from her current husband, and her first love reappears. The show does not make that coincidence subtle, and it should not. The reappearance is the point.
The two friends are built as opposites who stay close anyway. Constanza has order and a schedule. Remedios has neither. The series puts them side by side so the audience can watch the same question land differently on each: after two decades, is leaving a failure or a correction?
Erick Elías plays Plutarco Cuesta and David Chocarro plays Emiliano Leon, the two husbands on the other side of those decisions. The show gives them enough room to be more than obstacles.
Aurora Villareal, Jimena Sosa, and the Wider Cast
The series runs on an ensemble, and the supporting cast is where the show’s range shows. Sylvia Sáenz plays Jimena Sosa. Sofía Lama plays Aurora Villareal. Héctor Suárez Gomís plays Luis Casas. Humberto Zurita plays Ramiro Rivera. Andrés Almeida plays Max Barrios. Xabiani Ponce de León plays Daniel Cuesta. Sheryl Rubio plays Mariana Velarde. Lucas Velazquez plays Pablo Franco.
That is a lot of names for 92 episodes, and the show uses them. The friends, the exes, the children and the new arrivals all get their own versions of the same problem, which is that a relationship can be restarted or ended but not frozen.
The series drew media attention for its LGBTQ characters. Wikipedia’s passage on one of them, Alejandra Rivera, is garbled: it describes the character exploring romantic feelings for a woman and then embracing “his” gender identity. That is not a coherent description, and it should not be reported as one. What is clear is that the thread brought the show attention, and attention is not the same as execution.
Netflix, Blim TV, and Where Season Two Went
Season two was made available for streaming outside the United States on Netflix and Blim TV on 10 February 2021. That release matters for how the show was actually consumed. A Telemundo broadcast in the U.S. and a streaming drop abroad are two different audiences watching the same 92 episodes on two different clocks.
The first episode got a special pre-release online on 21 April 2020, 30 minutes of it, a week before the 28 April premiere. That is a marketing move. Whether it moved anyone is not something the source establishes.
| Version | Year | Where it aired |
|---|---|---|
| “100 días para enamorarse” (original, created by Sebastián Ortega) | Argentine telenovela | Argentina |
| Chilean version, same name | 2019 | Mega |
| “100 días para enamorarnos” (this series, created by Ricardo Alvarez Canales) | 2020–2021 | Telemundo |
Three versions of one idea in roughly two years is not a coincidence. It is a format that travels, and the American version is the one that added the most episodes and the most characters.
What the 100-Day Rule Actually Does
The mechanic is the smartest thing in the show. A separation with no deadline can drift forever. A separation with a deadline forces a decision, and a forced decision is drama that does not need a villain.
Constanza’s agreement with her husband is a contract between two people who may not want the same outcome. The series understands that the countdown is not the obstacle. The countdown is the excuse.
Remedios gets the messier version. Her separation and her first love arrive at the same time, which means she never gets a clean 100 days to think. The show is honest about that asymmetry: Constanza gets a schedule, Remedios gets a collision.
Where the series strains is in its length. Ninety-two episodes is a lot of runway for a premise that resolves on a calendar. The middle stretches, and the ensemble keeps adding people to a story whose central question was already clear in episode one.
The Score
TMDB users rate “100 días para enamorarnos” 7.7 out of 10, based on 1,041 votes. That is an audience score, not a critic’s verdict, and it is the only published number the record offers.
The show is a remake that earns its own run. Salas and Treviño carry the two leads as a matched pair, and the show’s best scenes are the ones where the lawyer and the free spirit compare notes on the same wreck. The 100-day rule gives the series a spine that most relationship dramas lack, and the adaptation from Ortega’s Argentine original keeps the premise tight even when the episode count does not.
The weaknesses are structural, not performative. The show is 92 episodes long and behaves like it. Subplots multiply, and the LGBTQ thread that brought the series media attention is handled with less care than the attention implied. A shorter run would have made the same points harder.
But the core holds. Two women, 20 years each, and a clock that will not stop. That is a clean idea, executed with two strong leads and a supporting cast deep enough to fill a Telemundo schedule. The Chilean version got there in 2019 and the Argentine original got there first. Which of the three drew the most viewers is not something the source says, and this paper will not guess. What it does say is that the format keeps getting remade, and that the American one spent the most time on it.
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