The Family’s Little Goddess

About this drama

Maya Brown grows up in a North-American slum, and the story starts with a frame-up. Her classmate Victoria engineers a sexual encounter between Maya and Jackson Smith, the intoxicated heir of the Smith family, and the aftermath expels Maya from school, pregnant. She raises her daughter Lila alone on multiple jobs. Years later Lila runs a fever, and Doctor Ethan Parker spots the thunderbird birthmark on the child's chest, a hereditary trait unique to the Smiths, which is how Jackson learns he has a daughter he's never met. The reunion is industrial, not warm. Maya takes a janitorial job at a Smith Group mall to survive, and Victoria, now in management, jealous of Maya and infatuated with Jackson, comes at her in waves: framing Lila for spilled cleaning fluid, spreading Maya's photos, getting Maya drunk at a victory banquet. Each time Jackson steps in, protecting Maya fiercely and finally announcing in public that he's pursuing her. Then the escalations arrive together. Maya is pregnant again, with triplets, and Ethan overhears her humming a nursery rhyme and recognizes the missing biological daughter of the Parker family, Cecilia, gone for twenty years. Victoria, it turns out, pushed young Cecilia off a cliff as a child and assumed her identity for decades. Exposed in public and sentenced for intentional bodily harm and attempted kidnapping. Jackson proposes at a grand banquet, Maya marries into the Smiths as the true Parker heiress, delivers three baby daughters seven months later, and with Lila the family counts four little princesses. Seventy-six episodes, and you even get the one-year-later garden scene, slum girl to matriarch, complete love, family affection, and respect. A full map, which is rare.

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