Narm / Estoy Vivo

General

• The Walkway's technology being a weird steampunk mix complete with antennae, even in their guns, which is actually lampshaded by Márquez himself. This was toned down in the second season and replaced with futuristic Ascetic Aesthetic tech at the third.
• The inconsistency about Iago's fighting abilities is so notorious that it becomes distracting in every fight scene, often killing all the drama. It's hard to become invested when one honestly cannot know whether Iago will get his ass completely kicked or will completely kick someone's ass instead, with no middle step.

Season 1

• The Liaison's first fight scene showcases some nice acrobatics, but the fact that Alejo Sauras is obviously not a trained fighter destroys the moment in which he throws a superman punch towards the camera, as he flails his hand loosely in a way that would have broken his wrist in real life. Even worse, this was exactly the piece of action RTVE chose for its promotional materials, meaning the goof was exhibited over and over in the channel rather than passing unnoticed.
• Bea's initial character is so similar to the classic Hollywood nerd girl (she is a NASA-level genius at her age, has access to a shocking amount of tech, is part of a trio with a black Token Minority and a loser archetype, is tormented by an Alpha Bitch, and has very conventional opinions, like liking the original Star Wars but disliking the Prequel Trilogy) that is hard not to find her giggling-inducing trite. This and the next point below fueled theories that Estoy Vivo was being tailored specifically to be easily sold to United States's TV channels.
• Laura and her constant motherly rants about what means to be a Vargas. A Spaniard referring to himself as "a [surname]" in order to define his identity is extremely unusual, if not completely limited to the aristocratic/upper class where blood relations and family business are of utmost importance. Laura's point is particularly egregious because wives are not required to change her surname in Spain, and thus neither she nor her daughters are technically Vargas (Bea and Susana are Vargas Beltrán, as children inherit both of their parent's first surnames, so it would have to be a deliberate choice for them to favor a parent's family name to the detriment of the other). The "a [surname]" expression is characteristic to countries in which marrying surname changes are enforced, like United States, United Kingdom or Ireland. In Spain, however, it only makes Laura's rants sound like a huge, amusing case of Eagleland Osmosis.
• The Hostiles looking just like humans with random reptilian traits. As with the Walkway technology, it seems the producers themselves eventually realized this, as later Hostiles were portrayed as resembling regular humans with nasty stares.

Season 3

• The Eagleland Osmosis hilarity comes to a peak when Márquez and Adrián visit a Madrid slum to find a local drug lord, as a viewer who paid little attention to their lines might accidentally come to believe they are visiting United States. The place's inhabitants, while looking vaguely like Spanish louts, are shown listening to Gangsta Rap in English; there are at least one random Scary Black Man, some Detroit biker-looking fellows and a couple Asian men among them; the drug lord resembles a weird mix of an Italian-American mafioso and a Mexican narco; and it turns out that just every scoundrel in the vicinity is carrying a gun, which would be almost fantastical within the limits of Spain's gun control. One can almost hear Márquez and Adrián calling the FBI or the federal judge after arresting the guy.
• In the second to last episode, the mooks fought by Iago open their ranks dramatically to reveal the true villain of the season... and it is someone the viewers had never seen before! Not exactly so, as DH72 had actually appeared earlier in the series, but she is such an anodine character (especially among other Walkway workers) that it is a challenge to remember her at all, which nullifies all the scene's gravitas. The moment becomes worse by Iago's reaction, as it implies the viewers are supposed to share his shock at the revelation, when probably even the fiercest fan of Estoy Vivo would be wondering who's that woman.

Season 4

• The season's overuse of Márquez's Catchphrase "me cago en mi puta vida" ("fuck my life"). While it had been used to punctuate dramatic moments in previous seasons, this one showcases it roughly once per episode.
• The cult's fancy stasis chambers looking like changing stalls with a glass in front.