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dccomicsnews · 6 years

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The Superhero-inspired animated comedy series Supermansion made a huge hit at NYCC. The comedy animated series is directed and produced by Zeb Wells (creator & voice of Robot Chicken), Matthew Serich (Robot Chicken) and co-produced by Academy-nominee actor Bryan Cranston (Malcome in the Middle, Breaking Bad).

The Emmy-nominated stop-motion animated comedy series returns to NYCC 2018. DC Comics News was humbly able to join the voice-acting stars Bryan Cranston, Breckin Meyer (Robot Chicken), Gary Anthony Williams (Whose Line is it Anyway?) and creators Zeb Wells and Matthew Senreich for a fun and exclusive interview. The show also features talents such as Chris Pine (Wonder Woman) as Dr. Divizo, Keegan-Michael Key (Tomorrowland), and Yvette Nicole Brown (Community). What attracted DCN to this is how familiar and close the creators are to DC Comics. Zeb Wells has created a complex and hilarious universe through his short stop-motion animation, and DC Comics have been a huge part of their holiday specials. Robot Chicken has had official 3 full-length burst-out-laughter DC-Official works (warning, not for under 14 years of age).

Supermansion carries over several similar qualities. The producers in previous interviews have mentioned hints of inspiration of their characters on the show such as the playboy, brooding billionaire. It’s more of a satire and opposites of superhero tropes. As opposed to “a flawless character” the creators present everything a superhero can be and more.

Possibly DC & Marvel Comics-inspired characters.

Interview of Cast & Crew

Questions and answers have been modified for clarity.

Bryan Cranston: [Looking at the 10s of microphones] This isn’t intimidating at all.

The show is very fun to watch. I was curious from a creative standpoint, what was the most fun for each of you in creating it?

Zeb Wells: I think it is here when the actors come in and actually bring the script to life. But then it’s also fun once the actors are done that, then the animators get to take those records and bring that to life. So that might be the most fun when you come back to a stage after the animator has been working, and you see the characters actually moving, that’s pretty cool.

Matthew Senreich: I think adding to that, we always have two sets of actors. And you know, these guys over here [gestures to cast members] we need like 20 shots to get the voice exactly the way we need it to. We have our animators there, and they have one chance to perform and make the vision. The actual visual in that one short, it’s fun.

Zeb Wells: Yeah, pretty much.

Bryan Cranston: I think the most fun is being able to take a mediocre script and build it into gold. That’s always a challenge because you know what you’re going to read on the page is direct. And so…[…]

Zeb Well: So, you’re like Rumpelstiltskin?

Cranston: I am Rumpelstiltskin! I take it and weave it.

Breckin Meyer: It’s funny, Bryan and I talk about that a lot. About how bad the script it. And then, the challenge for us as actors is to rise above the writing.

Cranston: Way above.

Meyer: But it starts down there.

Cranston: To be fair, it’s not that hard.

Meyer: No, no it’s not. It doesn’t take much but that is why we are who we are.

Gary Anthony Williams: I want to disagree with everything they said. Uh…I have a legal issue so that I can only work on this show. So to me, legally speaking, to me, this is the best thing I’ve ever done. Legally, that’s all I can say about that.

This is a follow-up question, what is the process like?

Senreich: Because there are so many characters doing so many things, you’ve got to stick to what the story thread is for the episode. But, you always want to allow the actor to rift if they want to, and then I really think once an actor has come in, and done the character a couple of times, their performance starts influencing the writing which is fun because then the writing becomes more organic and you can hear the character’s voices in your head as you’re writing. So it all sort of influences each other as the story evolves.

This is a question for Bryan. As executive producer, have you ever had to flex your power at all?

Cranston: Well, I think it’s important that people that work for you fear you opposed to respect you. So I try to instill that kind of fear-based energy throughout the course of recording. There is usually at the beginning of every season, I’ll fire someone. And nobody knows whose it going to be. And I think that creates camaraderie and good spirit within the organization because everybody is scared s***less, AND but quite frankly, they (the cast and crew) are really relieved when it’s not them. So I think there is a spree decor that is created.

Have you had any demands that were met, like writing or story choices?

Cranston: You know, this is one of four productions that my company is involved with. If everyone ran like this, we would be dancing in daisies. That’s an actual phrase.

When you’re working on an actor, producer, creator, do you have a particular formula you follow?

Wells: Yeah, I think we try not to be formulaic, and as the show progressed we have so many characters now that are all insane. That when you start trying to plug them into even the most simple story, [and] by the nature of just asking yourself how these characters will react to it? It sort of destroys the formula so that’s been a fun thing to see as the show goes on, for sure.

Senrich: Even as Zeb created this, what I like is that he’s not just created characters but a universe. And I think once you have that Universe built, you can go any direction that you want. And I think that’s where the fun is trying to come up with those storylines, is how do these characters relate to each other? And I think that allows you to break the formula.

What was your rap name again? (To Bryan Cranston)

Cranston: It was Wrapper [pronouced rapper]. With a “w.”

My question is for Liplor (Williams), and Courtney (Meyer). If you characters were to meet Trump, what would they do?

Williams: Um. Normally, my character just on the show eats stone. I would eat Trump. I would eat him and poop him out and that’s not a political thing.

Meyer: No, that’s just for taste. Starburst, it’s perfect.

Williams: Can I say more or no?

Cranston: [Laughing] I am not sure if you should.

Williams: OK.

Meyer: I don’t even know if Courtney would know the difference between Trump and Obama, he’s so oblivious. He would just be like “whoever can get me into that cool bedroom I heard so much about?” Spend the night in the Lincoln Bedroom or something. But I don’t know Courtney is up to date on current politics.

Do you think you’ll ever make a Sweet-Sixty (60) episode for Titanium Rex?

Senrich: A super sweet-60 birthday party?

Cranston: Wow. Titanium Rex, how old is Titanium Rex? He ages slower, so he must be at 180 right now. He’s got his boner pills now, that’s all he needs. Which is NOT part of a true story. I want to be very clear about that.

Do you ever edit the script yourselves?

Wells: Yeah, sometimes you edit yourself. I think there was a character in one script named Snake-Man-Dick. [Cranston: Fortunate name.] And once I read that, one of my thoughts went “maybe we don’t need to make this a puppet, and maybe no one ever needs to hear about this.”

Cranston: Good thing you didn’t tell anybody…

Wells: And every once in a while, Crackle will push back. The last time they pushed back, it was because we made a Blues Traveler joke that was very mean about Blues Traveler. They said, “do we really need to be this mean to Blues Traveler?” And I thought “No, we don’t.”

Cranston: It was a very fast meeting.

Wells: It was a good question! “No, we don’t [need to be this mean]” Let’s give Crackle a win.

Senrich: You realize now every article on us will have that?

Wells: Blues Traveler will be so happy!

For the voice actors, when putting together the voices of each of the characters, where do you draw your inspiration from?

Cranston: To do a voice that’s like the clone of Titanium Rex, I squeeze my scrotum so tightly that all that can come out was a higher pitched voice. A higher pitched voice that you recognize its the same kind of voice. When I do Titanium Rex, I don’t squeeze so tightly. There is a firmness to it. I wouldn’t say it’s a squeeze. I wonder how much problems I’m going to get for all of this?

Senrich: Only if you show the video of you recording.

Meyer: How I came up with my character’s voice is I watched a video of Bryan grabbing his junk and I went “You know how I want to sound like right now?”

Williams: For me, I came in later than anybody in this process, so I always just ask them what does he [Liplor] look like and then just go from there. I will run two or three voices by them maybe, and they’ll just say “no, do more like Bryan. Squeeze your stuff.” And then that’s it. [Kidding aside] I always just ask them what he looks like, and listen to the other voices around us.

Meyer: My thing was with Zeb because we were together on Robot Chicken, not just a robot, Zeb was clear with Courtney. And that was really early on we were just “he’s such a douche.” I was like “HOW ABOUT THIS?!” and Zeb was like “No, no, he’s a super douche, just do your voice.”

Is it more difficult to do voice-over work or regular acting?

Williams: For me, regular. I don’t know more difficult. I think to me voice-over is easier, and every time I hear a voice-over person in real life at this table, “aww it’s so hard!” well I just want to… [points to Bryan].

Cranston: Thank you for that. I would say that, and this is true, for me when I can dive into an actor-character and to fully embody that guy, I feel much more comfortable. I’m probably the worst voice-person on the show. I do Titanium Rex, I squeeze my balls, I get one other voice, and that’s about it. But when you hear a guy like Chris Pine doing Dr. Divizo, it blows me AWAY! Or what Keegan-Michael Key does. And that’s probably all I admire about the voice-actors. Those two guys and the women on the show. That’s about it.

To be honest I do the voice-over work because I think it’s challenging. Despite Gary saying, I think it’s very challenging to be able to tell a story just using your voice. And to convey an emotion, that pinpoints what that character is going through at that moment. I think it is difficult and I’m still learning that. I’m challenged by that and I would like to keep working, you know when we first started with this show 5 years ago, [I told them] it’s all about the story. It’s got to be a strong story, funny yes, but nobody cares if you don’t follow these characters and build empathy for these characters. As silly as it may seem, in animation that is the foundation of the show is to make every story make sense and that you root for these characters. And then when you add the funny to that, then you’ve really got something.

Are there any actors you want to guest-star in your show?

Wells: Micheal Keaton.

Cranston: I was hoping I could get the real Barack Obama on the show.

Senrich: I’ve always wanted to get Michael Peña on the show. He’s just hilarious and we will try.

That about wraps it up. Thank you to the brilliant and rib-cage cracking cast and crew for such a fun interview. Robot Chicken helped me so much through my teenage years, it’s inspiring to see their continued work! As well as a great big thanks to New York Comic Con, ReedPOP, and Sony Crackle for arranging this opportunity.

The cast gave us a goodbye dance.

#Supermansion #NYCC #DKN #DCN #DCComicsNews #NYCC2018 #RobotChicken Cast&Crew Matthew Senreich, Breckin Meyer, Gary Anthony Williams, Bryan Cranstan, & Zeb Wells pic.twitter.com/WIsi0hjiSp

— SharnaJay (@KatsuyaCrimson) October 18, 2018

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And check out the new trailer for the Thanksgiving Special, dropped at NYCC 2018.

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DCN Visits NYCC: Exclusive Interview With Zeb Wells and Bryan Cranstan For ‘Supermansion’ DC Heroes And Superhero Inspired Series The Superhero-inspired animated comedy series Supermansion made a huge hit at NYCC. The comedy animated series is directed and produced by Zeb Wells (creator & voice of…

#Breckin Meyer #bryan cranston #Chris Pine #Matthew Senrich #New York Comic Con #New York Comic Con 2018 #NYCC #NYCC 2018 #robot chicken #Sharna Jahangir #Supermansion #Zeb Wells

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ravensandwritings · 6 years

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Groaner is Shy As Fuck and Blackgroans better Respect That Emotional Vulnerability: the next essay.

Okay, so I'm less solid about these ideas because obvious reasons (being a Joker expy, I don't think they'll give him a solid origin/background) but let's talk Groaner (and in a bit, blackgroans.)

I would bet money that Groaner came from a single-parent family with low income. Didn't go to college, did drugs in his youth, but was willing to work to put food on the table and get things he wants (which is why he's just extra level 'this is so fucking pathetic' at Black Saturn's origin diary.) He was trying to break into something to get him out of being working-class poor but really, he knows he's not good at it and probably never will be. But it puts food on the table, and he's a guy who follows through once he's committed to something.

I get the sense that he is used to being on his own/alone and has little issue with it. Latch key kid with working mom/dad. Probably didn't have a lot of strong relationships even before his transformation, and probably didn't bother with much after. This is because of one major factor: This bitch overcompensates for crippling shyness by swinging hard in the other direction. This is a tactic a lot of shy introverts go with - I get picked on because I'm quiet/shy/dress like poindexter, so the best thing i can do is make them laugh. Bullies don't punch people who are funny! So let's be funny! He does his best, bless his heart.

This is drawn from his relative introversion as compared to the other villains and his contentedness with being alone in a cell with occasional visits from his nemesis. Typical independent introvert off the stage of life - when he's out and about he's "on stage" and performance is key to survival. Off stage, no performance needed, he can be relatively close to his real self. He lets his guard down around Saturn in Season 1 and in Season 2 he seems to have regretted that since it's no longer in a carefully controlled environment. "Let's keep it professional" is code for "I want control of my role and social space back." Saturn repeatedly violates the boundaries set because he is emotionally confused by the offstage/onstage he's seen. Which is it, dude? (The fact they have each other in their phones is hilarious, though.)

Groaner's terrified of being vulnerable, easily as much as Black Saturn is. He just has an easier time working the crowd with his on stage persona. That attempt to actually express Actual Feelings? Choked up, afraid, hesitant, putting the Real Self out there? That's a Soft Shy Boy under all that villainy, and it showed in everything from body language to vocal frision.

Black Saturn loves the performance of Nemesis vs Nemesis and the safety and structure that it gives the Saturn/Groaner relationship, but it locks Groaner into a role he's realizing isn't at all what he wants here. Worse, he knows he blew it himself and Courtney's arrival makes it impossible to address with Saturn on a one-to-one level. At first he doesn’t want to trust Courtney with his off-stage vulnerability and goes full Nemesis at the guy, but by the time we hit episode 3 that is off the rails and he openly admits to Courtney that he’s failed. (He may be trusting in Courtney being far too dim to figure out what he means.)

Groaner wants to be vulnerable with Saturn. He's willing to put himself out there, but Saturn just does not hear it because he's okay with the safety of moving it back to the Safe Space of Hero vs Villain since his own awkward overtures (and they were absolutely overtures, even if Saturn's lack of self-awareness makes him oblivious to his own libido leading him around by his nose) flopped because Groaner panicked.

Physicality is the one place where Saturn has plenty of genuine confidence. He couldn't be shamed over the sex of his partners by Lex, he isn't ashamed of his libido, and he isn't ashamed of his kinks. I don't think Groaner has that kind of confidence as he is not a man with ripped abs who knows that though he's emotionally repulsive he's got the body of a God. Groaner's soft, skinny pale and freakish. He makes it up with Massive D, but that doesn't get to be sprung on a person unless they want to see it in the first place, and getting folks from Skinny Comedy Nerd Skull Man to potential sex partner is a trial. It isn't surprising that he panicked, since it doesn't seem like he's ever been with men, and that it was Saturn was an emotional trigger button. When he tries to address it the next day, he's coming from a position of realness -- hey, buddy, I did a lot of thinking last night, let's maybe talk this over.

I am really curious to see where they go with this - I really want to see some genuine tenderness since apparently all joking aside, Black to the Future made it very clear they're openly loving with each other and take care of each other. Groaner's tried to put himself out there emotionally with confession (more than once: the mansion blow up at the end of season 1 had a confession of happiness at being frenemies and it was emotional as fuck for them both to the point that Saturn was choked up with relief when he finds Groaner alive at the S2 starter) so apparently he's a heart-on-his-sleeve kind of guy unless he's using his stage persona, so I'd like to see this actually be a sweet thing and pray to God that Saturn gets the gravity (not to mention the risk involved) and isn't 100% stupid about coming to reciprocate.

I'd also like to address the risk this is as well: Groaner's a villain. They're "pardoned" right now, but Dr. Divizo's not playing and everyone on the villain side knows he's not gonna just up and slide into heroism-- at least, Groaner is fully aware and isn't even bothering with the pretense of being actually heroic. Like he said in season 2, it could very well get him killed by sleeping with the enemy, essentially. Definitely like to see that taken to it's logical conclusion, where that gun that's been on Chekov's mantle in Season 2 is fired in Season 3, and have him put at risk, if just so we can REALLY rattle Saturn's cage with Groaner and understand what putting himself out there means for Groaner on a emotional safety level AND a physical one.

Another reason I want tenderness: I'd like it to be distincly different in emotional tenor from Brad/Cooch, because while that turned emotional and loving, it was sex based to start until Brad started seeking emotional intimacy. Groaner's looking for emotional intimacy from the get go, and I want these two relationships to be VERY distinct. Brad and Cooch's relationship was Wham, Bam Thank you Ma'am while Groaner and Saturn literally defines "Slow Burn." Not that I'll mind if they continue the tradition of wrecking bathrooms, but I just don't think that's how either of them roll. They're tender enough to love each other until they're fat, balding, and getting old, so I think that needs to be recognized.

(I will give bonus points to the Supermansion team if Saturn comes his realization of the fundamental shift in their relationship comes from a near loss of Groaner via villain action and just spills the 'no you're supposed to grow old and get married and stuff i saw it'! Combine the risk of emotional intimacy with the physical risk that Groaner’s putting himself at, please. Bonus bonus points if they get a renewal for a Season 4 that they slow burn this sucker up until the end of Season 3, risk/injury/fear and all, and give us resolution early in season 4 with Groaner finding body safety and love at the mansion and honorary league membership once everything’s gone tits up with the villains.)

#supermansion

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tuseriesdetv · 7 years

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Guía de series: Estrenos y regresos de octubre 2017

Presentadas ya casi todas las propuestas de la nueva temporada, las cadenas en abierto tendrán que tomar muchas decisiones difíciles. Aquí tenéis gran cantidad de series que no pasarán el filtro de cara al año que viene. Si no os animáis con las novedades, también vuelven muchas de las grandes.

¡Feliz octubre!

Leyenda:

Verde: series nuevas.

Rojo: series de las que haremos reviews semanales.

Negro: regresos de otras series.

Naranja: miniseries o series documentales.

Amarillo: tvmovies, documentales, especiales o pilotos.

Morado: season finales.

Morado claro: midseason finales.

Calendario de series

1 de octubre:

Wisdom of the Crowd (1T) y NCIS: LA (9T) en CBS

Bob's Burgers (8T), The Simpsons (29T), Ghosted (1T), Family Guy (15T), The Last Man on Earth (4T) en FOX

Ten Days in the Valley (1T) en ABC

Curb Your Enthusiasm (9T) en HBO

The Last Post (1T) en BBC One

2 de octubre:

9JKL (1T) en CBS

Lucifer (3T) y The Gifted (1T) en FOX

3 de octubre:

The Middle (9T), Fresh Off the Boat (4T), Black-ish (4T), The Mayor (1T) y Kevin (Probably) Saves the World (1T) en ABC

Queen Sugar (2bT) en OWN

Rellik (cambio de día) en BBC One

Doctor Foster (2T finale) en BBC One

4 de octubre:

Queen Sugar (cambio de día) en OWN

Porters (1T finale) en Dave

5 de octubre:

Scandal (7T y última) en ABC

Van Helsing y Ghost Wars (2T) en Syfy

SuperMansion (especial Halloween) en Crackle

6 de octubre:

Once Upon a Time (7T) en ABC

Suburra (1T completa) en Netflix

Superstition (1T) en Syfy

Porridge (1T) y Josh (3T) en BBC One

8 de octubre: Madam Secretary (4T) en CBS

9 de octubre:

Supergirl (3T) y Valor (1T) en The CW

Timewasters (1T) en ITV2

10 de octubre:

The Flash (4T) y Legends of Tomorrow (3T) en The CW

Our Girl (3T) en BBC One

Mr. Mercedes en Audience Network

11 de octubre:

Riverdale (2T) y Dynasty (1T) en The CW

Mr. Robot (3T) en USA Network

Chance (2T) en Hulu

The Shannara Chronicles (2T) en Spike

Mr. Mercedes en Audience Network

12 de octubre:

Supernatural (13T) y Arrow (6T) en The CW

Red Dwarf (12T) y Zapped (2T) en Dave

GameFace (1T) en E4

Fe de etarras en Netflix

13 de octubre:

Crazy Ex-Girlfriend (3T) y Jane the Virgin (4T) en The CW

Mindhunter (1T completa), The Punisher (1T completa), Kingdom of Us, The Babysitter y The Meyerowitz Stories en Netflix

Lore (1T) en Amazon

Room 104 (1T finale) en HBO

14 de octubre: Dirk Gently (2T) en BBC America

15 de octubre:

Berlin Station (2T) en Epix

Good Behavior (2T) en TNT

White Famous (1T) en Showtime

16 de octubre:

Travelers (2T) en Showcase

Liar (1T finale) en ITV

17 de octubre:

Hit the Road (1T) y Loudermilk (1T) en Audience Network

Slasher (2T) en Netflix

Rellik (1T finale) en BBC One

18 de octubre:

Freakish (2T) en Hulu

Frontier (2T) en Discovery Channel Canada

20 de octubre:

Red Oaks (3T y última) en Amazon

Haters Back Off (2T), Cuando conocí al Chapo: La historia de Kate del Castillo, Wheelman, One of Us y 1922 en Netflix

22 de octubre:

The Walking Dead (8T) en AMC

Graves (2T) en Epix

27 de octubre:

Stranger Things (2T completa) en Netflix

Blindspot (3T) en NBC

La zona (1T) en Movistar+

30 de octubre: Superior Donuts (2T) en CBS

31 de octubre: Major Crimes (6T) en TNT

Estrenos de series

Absentia (AXN)

Absentia nos trae de vuelta a Stana Katic dando vida a Emily, agente del FBI que fue secuestrada hace seis años y dada por muerta por su familia. Emily aparece ahora sin recordar lo que ha ocurrido en este tiempo y se encuentra una situación muy distinta a la que dejó: su marido (Patrick Heusinger; Casual, Girlfriends' Guide to Divorce) se ha casado con otra mujer (Cara Theobold; Crazyhead, Downton Abbey) y su hijo ha crecido. Creada y escrita por Gaia Violo y Matt Cirulnick (South Beach). Grabada en Bulgaria, se estrenará en casi toda Europa entre finales de septiembre y principios de octubre. Sony anunciará en las próximas semanas la cadena estadounidense que la acogerá. Diez episodios. Estreno: 25 de octubre

A favor: La venden como cruda y oscura, más The Bridge y menos Blindspot.

En contra: ¿No es muy raro que se estrene en todas partes menos en USA? ¿Qué pasa?

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Wisdom of the Crowd (CBS)

Basada en la serie israelí con el mismo nombre, este drama está basado en la idea de que un millón de cabezas pensando es mejor que una. Un visionario de la tecnología (Jeremy Piven, Entourage) crea un software de última tecnología basado en el crowd-sourcing para resolver el asesinato de su hija, así como para ayudar a las fuerzas del orden de San Francisco. Le acompañan Monica Potter (Parenthood) y Natalia Tena (Game of Thrones). Escrita por Ted Humphrey (The Good Wife). Estreno: 1 de octubre

A favor: Será corta, probablemente no pase de los trece episodios.

En contra: Pure Genius, CBS temporada 2016/2017. Cancelada.

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Ghosted (FOX)

Paranormal buddy comedy sobre un hombre obsesionado con lo sobrenatural (Adam Scott; Parks and Recreation, Big Little Lies) y otro escéptico (Craig Robinson; The Office, Mr. Robot) que son reclutados por una oficina del gobierno que se dedica a investigar una serie de sucesos paranormales en Los Ángeles. Escrita por Kevin Etten (Desperate Housewives, Workaholics). Estreno: 1 de octubre

A favor: La comedia chorra del año. Y quién no quiere a Adam Scott.

En contra: No tenemos pegas de momento, pero sabemos a lo que venimos.

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Ten Days in the Valley (ABC)

Kyra Sedgwick (The Closer) vuelve a la televisión dando vida a Jane, la productora de un exitoso programa de televisión sobre crímenes. Esta se encuentra en pleno proceso de divorcio, pero lo que hace que su vida dé un vuelco es la desaparición de su hija en mitad de la noche. Mientras hace todo lo posible por encontrarla, se dará cuenta de que no puede confiar en la gente que le rodea. Participan también Emily Kinney (The Walking Dead, Masters of Sex), Erika Christensen (Parenthood), Kick Gurry (Jupiter Ascending), Malcolm-Jamal Warner (American Crime Story, Malcolm and Eddie), Ali Liebert (Harper's Island, Bomb Girls) y Felix Solis (The Good Wife, The Family). Creada y escrita por Tassie Cameron (Rookie Blue). Diez episodios. Estreno: 1 de octubre

A favor: A ABC se le dan mejor los dramas serializados que los procedimentales.

En contra: Que Kyra Sedgwick tenga que volver para esto. No aporta nada nuevo.

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The Last Post (BBC One)

Conozcamos la vida del ejército junto a su familia en los sesenta a través de la historia de un destacamento en Aden (Yemen). Peter Moffat (The Night Of, Silk) ha escrito esta historia basándose en sus propios recuerdos de la niñez -su padre fue un oficial de la Royal Military Police y su madre se debatía entre lo que quería y lo que se le requería ser-. Protagonizada por Jessie Buckley (War and Peace), Jessica Raine (Call the Midwife), Amanda Drew (Broadchurch), Ben Miles (Wolf Hall, The Crown), Stephen Campbell Moore, Jeremy Neumark-Jones (One of Us), Tom Glynn-Carney (Dunkirk), Chris Reilly (Doctors) y Essie Davis (The White Princess, The Babadook). Seis episodios. Estreno: 1 de octubre

A favor: Un nuevo punto de vista sobre las guerras.

En contra: No es para los amantes de las series sobre guerras.

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9JKL (CBS)

Comedia familiar inspirada en la vida de su protagonista, Mark Feuerstein (Royal Pains, Prison Break), quien en un momento de su vida adulta vivía en el apartamento 9K, justo entre sus padres en el 9J y su hermano con su mujer y el bebé en el 9L, intentando conciliar su vida con su intrusiva pero bienintencionada familia. El propio Feuerstein escribe la serie junto a su mujer Dana Klein. En el reparto le acompañan David Walton (About a Boy), Linda Lavin (Sean Saves the World, Alice), Elliott Gould (Friends, Ocean's Eleven) y Liza Lapira (Apartment 23, Super Fun Night). Estreno: 2 de octubre

A favor: Las historias reales y familiares funcionan.

En contra: Argumento trillado y risas enlatadas.

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The Gifted (FOX)

Dentro del universo X-Men, dos padres descubren que sus hijos tienen superpoderes, lo que les obliga a unirse a un grupo de mutantes a la fuga huyendo de un gobierno que quiere darles caza. Protagonizan Amy Acker (Person of Interest, Angel), Stephen Moyer (True Blood), Natalie Alyn Lind (The Goldbergs, Gotham) y Percy Hynes White (Between) junto a Jamie Chung (Once Upon A Time), Emma Dumont (Bunheads, Aquarius), Sean Teale (Incorporated, Skins) y Blair Redford (Switched at Birth, Satisfaction). Diez episodios. Estreno: 2 de octubre

A favor: Amy Acker es la reina de la ciencia ficción y por fin se aleja de los lucidos secundarios.

En contra: Los niños, un riesgo.

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The Mayor (ABC)

Courtney (Brandon Micheal Hall, Search Party) es un rapero sin éxito que traslada el mensaje de sus letras a la alcaldía de un pueblo de California donde predomina la clase media-baja. Sólo buscaba publicidad barata para su álbum, pero termina investido como el soplo de aire fresco que las instituciones necesitaban. Yvette Nicole Brown (Community) y Lea Michele (Glee, Scream Queens) interpretan a su madre y a la nueva jefa de gabinete. Escrita por Jeremy Bronson (The Mindy Project, Speechless). Estreno: 3 de octubre

A favor: Sinceridad y autenticidad en los guiones.

En contra: Su mensaje se acabará diluyendo entre las tramas más predecibles.

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Kevin (Probably) Saves the World (ABC)

Antes conocida como The Gospel of Kevin, trata sobre un joven (Jason Ritter; Parenthood, Another Period) que, tras una mala ruptura y un intento de suicidio, se muda a la casa de su hermana viuda (JoAnna Garcia Swisher; Once Upon A Time, Reba) y su hija adolescente (Chloe East) poco antes de recibir la revelación, por parte de Yvette (Kimberly Hebert Gregory; Vice Principals, Devious Maids), una guerrera de Dios, de que es el último de las treinta y seis almas justas y ha de ungir a treinta y cinco nuevas almas con un abrazo. Creada por Tara Butters y Michele Fazekas (Agent Carter). Estreno: 3 de octubre

A favor: Jason Ritter.

En contra: El título. El título no augura renovación. El título es un asco.

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Ghost Wars (Syfy)

Un remoto pueblo de Alaska ha sido invadido por fuerzas paranormales y Roman (Avan Jogia; Tut, Victorious), un marginado, deberá superar los prejuicios de sus vecinos y sus propios demonios para dominar sus reprimidos poderes psíquicos y salvar a todos de los nuevos visitantes. Completan el cast Vincent D'Onofrio (Daredevil, Law & Order: Criminal Intent), Kim Coates (Sons of Anarchy), Kandyse McClure (Battlestar Galactica, Hemlock Grove), Kristin Lehman (Motive) y Meatloaf (Fight Club). Creada por Simon Barry (Continuum, Van Helsing). Trece episodios. Estreno: 5 de octubre

A favor: D'Onofrio se está especializando.

En contra: Es todo un poco random.

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Suburra (Netflix)

Los terrenos de un pueblo costero cerca de Roma son motivo de lucha a muerte entre la mafia, los políticos corruptos y El Vaticano. Con los productores de Gomorra, escrita por Daniele Cesarano y Barbara Petronio, dirigida por Michele Placido (Vallanzasca, Romanzo criminale) y basada en la novela de Giancarlo De Cataldo y Carlo Bonini (2013). Protagonizada por Alessandro Borghi, Giacomo Ferrara y Eduardo Valdarnini. Diez episodios. Estreno: 6 de octubre

A favor: Roma, sus calles y su gente apasionada (¿?).

En contra: Que sea ficción pero nos resulte creíble.

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Superstition (Syfy)

La familia Hastings es la dueña de la única funeraria y el cementerio de La Rochelle, Georgia. Ofrecen servicios para todas las religiones y creencias y son los guardianes de los secretos e historias del pueblo. Además, se especializan en ocuparse de las muertes inexplicables a manos de seres demoníacos y otros fenómenos que visitan el pueblo gracias a sus habilidades como armas secretas, alquimia, fuerza bruta o un profundo conocimiento de las artes oscuras. Forman el reparto Robinne Lee (Being Mary Jane, Fifty Shades Darker), Brad James (For Better Or Worse), W. Earl Brown (Preacher, Deadwood), Demetria McKinney (House of Payne), Diamond Dallas Page, Morgana Van Peebles (We The Party), T.C. Carter y Tatiana Lia Zappardino. Coproducida por Netflix. Creada y escrita por Joel Anderson Thompson (Battlestar Galactica, House). Dirigida y producida por Mario Van Peebles (Bloodline, Damages). Doce episodios. Estrenos: 6 de octubre

A favor: ¿Buffy? ¿Charmed? ¿Six Feet Under?

En contra: ¿Qué es esto exactamente?

Porridge (BBC One)

Porridge fue una sitcom emitida en BBC entre 1973 y 1977 que trataba sobre el tiempo en prisión de Norman Fletcher (Ronnie Barker). Ambientada en la actualidad, cuarenta años después de la original, esta nueva versión sigue a Nigel 'Fletch' Fletcher (Kevin Bishop; Super Fun Night, Irina Palm), el nieto de Norman, que ha acabado en prisión por una serie de crímenes online. De los creadores de la original. Seis episodios. El piloto se emitió el 28 de agosto de 2016 como parte de la Sitcom Season. Estreno: 6 de octubre

A favor: Recuerda al clásico. La original es una de las grandes.

En contra: El revival no le hace justicia. Es una copia que no suma.

Valor (The CW)

Drama militar sobre un grupo de pilotos de helicópteros entrenados para llevar a cabo operaciones clandestinas por todo el mundo. La serie se desarrolla en el presente, pero seguiremos también por medio de flashbacks una misión fallida en la que estaba involucrada la primera mujer piloto de la unidad. La historia irá mostrando las capas de los personajes mientras desvela oscuros secretos militares durante la formación de una peligrosa misión de rescate. Protagonizan Charlie Barnett (Secrets & Lies), Christina Ochoa (Animal Kingdom), Corbin Reid (How to Get Away with Murder), Matt Barr (Sleepy Hollow), Melissa Roxburgh (Star Trek Beyond) y Nigel Thatch (American Dreams). Estreno: 9 de octubre

A favor: The CW quiere tener su propia Quantico.

En contra: *continuously laughing*

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Timewasters (ITV2)

Una banda de jazz del sur de Londres viaja a los años 20 en el ascensor de un bloque de viviendas abandonado. Atrapados allí, descubren que ser negro en la era del jazz no era precisamente agradable. Creada, escrita y protagonizada por Daniel Lawrence Taylor (Uncle, Cockroaches). Le acompañan Kadiff Kirwan (Chewing Gum), Adelayo Adedayo (Skins), Samson Kayo (Youngers) y Kevin Eldon (Damned, The Halcyon). Seis episodios. Estreno: 9 de octubre

A favor: Lo novedoso es ver gente negra en dramas de época.

En contra: Que esta serie no se hace para mostrar inclusión precisamente.

Dynasty (The CW)

Reboot del famoso culebrón de los ochenta que seguirá los enfrentamientos de los Carrington y los Colby por tomar el control de sus respectivas fortunas y de sus propios hijos. Elizabeth Gillies (Sex&Drugs&Rock&Roll, Victorious), Grant Show (Melrose Place, Devious Maids), Nathalie Kelley (UnREAL, The Vampire Diaries), Rafael de la Fuente (Empire, Grachi), Alan Dale (The Killing, Once Upon A Time), Sam Adegoke (Switched at Birth, Murder in the First) y Brianna Brown (Devious Maids, General Hospital) darán vida a algunos de los míticos personajes, aunque algunos han cambiado de género. Cada episodio estará disponible en Netflix al día siguiente. Estreno: 11 de octubre

A favor: Ojalá se estén pegando todo el tiempo, sin repetir los clichés del tráiler.

En contra: Opulencia.

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GameFace (E4)

Tras la ruptura con su novio, Marcella intentará sobrellevar la treintena acompañada de su terapeuta, su familia, sus mejores amigos y su profesor de autoescuela. Creada y protagonizada por Roisin Conaty (Man Down). Le acompañan Karl Theobald (Plebs, Sick Note), Francis Magee (Witless, Game of Thrones), Pauline McLynn (Father Ted, Shameless UK), Dylan Edwards (Misfits, Wasted), Damien Molony (Crashing, Being Human), Nina Toussaint-White (Uncle), Dustin Demri-Burns y Caroline Ginty. Seis episodios. El piloto se emitió en 2014. Estreno: 12 de octubre

A favor: ¿No suena a la nueva Fleabag?

En contra: Ya puede tener gancho, porque como concepto es la nada más absoluta.

Mindhunter (Netflix)

Dos agentes de la unidad de crímenes en serie del FBI desarrollan técnicas de perfilado en su persecución de asesinos y violadores en los años setenta. Protagonizada por Jonathan Groff (Glee, Looking) y Anna Torv (Fringe). Dirigida y producida por David Fincher (Seven, Zodiac, House of Cards) y basada en el libro 'Mind Hunter: Inside FBI's Elite Serial Crime Unit' de John E. Douglas y Mark Olshaker. Trece episodios. Estreno: 13 de octubre

A favor: Fincher. Poco más hay que decir, es la serie más esperada del mes.

En contra: Suena a visto. Esperamos un final que lo cambie todo.

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The Punisher (Netflix)

Tras la buena acogida del personaje en la segunda temporada de Daredevil, nace este spin-off protagonizado por Jon Bernthal (The Walking Dead, Show Me a Hero) sobre el vengativo veterano militar Frank Castle. Completan el cast Deborah Ann Woll (Daredevil, The Defenders) como Karen Page, Ben Barnes (Sons of Liberty, The Chronicles of Narnia), Ebon Moss-Bachrach (Girls, The Last Ship), Amber Rose Revah (Emerald City, Indian Summers), Paul Schulze (Nurse Jackie, Suits), Jamie Ray Newman (Bates Motel), Michael Nathanson (The Knick), Daniel Webber (22.11.63) y Jason R. Moore. Escrita por Steve Lightfoot (Hannibal, Casualty). Trece episodios. Estreno: 13 de octubre

A favor: Este personaje tiene otras motivaciones para combatir el mal.

En contra: Este universo ya se está expandiendo demasiado.

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Lore (Amazon)

Antología adaptación del podcast de terror de Aaron Mahnke que contará una historia diferente en cada episodio, historias reales que dieron lugar a las leyendas más conocidas, combinando narraciones documentales, reconstrucciones y ficción. Participan Kristin Bauer van Straten (True Blood, Once Upon A Time), Adam Goldberg (The Jim Gaffigan Show, Fargo), Holland Roden (Teen Wolf), Colm Feore (House of Cards, The Borgias) y Robert Patrick (Scorpion, Terminator 2). Producida por Mahnke y Gale Anne Hurd (The Walking Dead). Seis episodios. Estreno: 13 de octubre

A favor: La realidad siempre da más miedo que la ficción.

En contra: Llevamos una mala racha de series de terror.

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White Famous (Showtime)

Floyd Mooney (Jay Pharoah, Saturday Night Live) es un joven comediante afroamericano cuyo talento le está llevando al estrellato. Y ahora le toca mantener su credibilidad, porque se está convirtiendo en un "white famous". Creada y escrita por Tom Kapinos (Lucifer, Californication, Dawson's Creek) sobre una idea original de Jamie Foxx, que participará como recurrente, basándose en sus experiencias en el negocio. Completan el reparto Lonnie Chavis (This Is Us), Megalyn Echikunwoke (Damien, The 4400), Utkarsh Ambudkar (The Mindy Project) y Jacob Ming-Trent (Feed the Beast). Participan como recurrentes Stephen Tobolowsky (One Day at a Time, Silicon Valley), Jack Davenport (Smash, FlashForward), Michael Rapaport (Prison Break, Justified), Lyndon Smith (Parenthood), Cleopatra Coleman (The Last Man on Earth), Lucien Laviscount (Scream Queens, Snatch), Natalie Zea (The Following, The Detour) y Kendrick Sampson (How to Get Away with Murder, The Vampire Diaries). Diez episodios.

Estreno: 15 de octubre

A favor: Mostrar la hipocresía y el racismo.

En contra: La hipocresía y el racismo.

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Hit the Road (Audience Network)

Jason Alexander (Seinfeld) protagoniza y produce esta comedia creada por él mismo junto a Dean Craig (Death at a Funeral) y Peter Tilden. Trata sobre una disfuncional familia que viaja por el país en un bus turístico sacrificando privacidad, comodidad y dignidad y tomando malas decisiones mientras intentan triunfar como banda pop rock sin sentir que fracasan como familia. Participan Amy Pietz (The Office, No Tomorrow), Natalie Sharp, Nick Marini (Chicago Med), Tim Johnson Jr. y Maddie Dixon-Poirier (Hell on Wheels). Diez episodios. Estreno: 17 de octubre

A favor: ¿Habrá canciones originales?

En contra: Sabemos poco para decidir.

Loudermilk (Audience Network)

Comedia creada por Peter Farrelly (Dumb and Dumber, There's Something About Mary) y escrita por Bobby Mort (The Colbert Report) que se centra en Sam Loudermilk (Ron Livingston; Band of Brothers, The Conjuring), un alcohólico en recuperación y monitor de otros adictos. Con una pésima actitud ante la vida y sin complejos ni autocensura, vive con su mejor amigo y esponsor Ben Burns (Will Sasso; Another Period, Shameless), que intenta reconducirle, porque mantenerse limpio es la parte fácil cuando tu vida es un completo desastre. Completan el cast Laura Mennell (Van Helsing, Alphas), Anja Savcic, Toby Levins (The 100, Beyond), Mark Brandon (Riverdale) y Timothy Webber (Once Upon A Time, Men in Trees). Farrelly dirige los diez episodios. Estreno: 17 de octubre

A favor: Contar una realidad.

En contra: Estamos cansados de antihéroes.

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