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Guía de series: Estrenos y regresos de abril 2017

Estamos en un momento del año en el que hay más despedidas que estrenos, pero qué estrenos. Hay más adaptaciones de novelas y películas que series originales, eso sí, pero no sabemos si eso es bueno o malo. En cualquier caso, lo importante es disfrutar de nuestra afición seriéfila. ¡Feliz abril!

Leyenda:

Verde: series nuevas.

Rojo: series de las que haremos reviews semanales.

Negro: regresos de otras series.

Naranja: miniseries.

Amarillo: tvmovies, especiales o pilotos.

Morado: season finales.

Morado claro: midseason finales.

Calendario de series

2 de abril:

The Kennedys: After Camelot en Reelz

Big Little Lies en HBO

Black Sails (series finale) en Starz

The Walking Dead (7T finale) en AMC

4 de abril:

iZombie (3T) en The CW

Prison Break (5T) en FOX

Dimension 404 (1T) en Hulu

Imaginary Mary (cambio de día) en ABC

Agents of S.H.I.E.L.D. (vuelve) en ABC

Legends of Tomorrow (2T finale) en The CW

New Girl (6T finale) en FOX

Schitt's Creek (3T finale) en CBC

5 de abril:

Brockmire (1T) en IFC

Archer (8T) en FXX

Henry IX (1T) en Gold

Catastrophe (3T finale) en Channel 4

6 de abril:

The Trip to Spain (3T) en Sky Atlantic

Jordskott (1T) en Shudder

Colony (2T finale) en USA Network

7 de abril:

The Get Down (1bT completa) y Win It All en Netflix

American Playboy: The Hugh Hefner Story en Amazon

8 de abril:

The Son (1T) en AMC

Training Day (cambio de día) en CBS

9 de abril:

The Kennedys: After Camelot en Reelz

Homeland (6T finale) en Showtime

Crashing (1T finale) en HBO

10 de abril:

Better Call Saul (3T) en AMC

Angie Tribeca (3T) en TBS

11 de abril:

Brooklyn Nine-Nine (vuelve) en FOX

Imposters (1T finale) en Bravo

Detroiters (1T finale) en Comedy Central

The Fosters (4T finale) y Switched at Birth (series finale) en Freeform

12 de abril:

Return of the Mac (1T) en Pop

The Path (2T finale) en Hulu

Major Crimes (5T finale) en TNT

13 de abril:

Guerrilla en Sky Atlantic

The Blacklist: Redemption (1T finale) en NBC

Sun Records en CMT

14 de abril:

Mystery Science Theater 3000: The Return (1T) y Sandy Wexler en Netflix

MacGyver (1T finale) en CBS

15 de abril:

Doctor Who (10T) en BBC One

Ransom (1T finale) en CBS

16 de abril:

Veep (6T) y The Leftovers (3T y última) en HBO

The White Princess en Starz

Girls (series finale) en HBO

The Good Fight (1T finale) en CBS All Access

17 de abril:

24: Legacy (1T finale) en FOX

2 Broke Girls (6T finale) en CBS

Broadchurch (series finale) en ITV

18 de abril:

Pretty Little Liars (7bT y última) y Famous in Love (1T completa) en Freeform

Outsiders (2T finale) en WGN America

19 de abril:

Fargo (3T) en FX

The Magicians (2T finale) y The Expanse (2T finale) en Syfy

Hap and Leonard (2T finale) en SundanceTV

20 de abril: The Blacklist (vuelve) en NBC

21 de abril:

Bosch (3T completa) en Amazon

Girlboss (1T completa), Hot Girls Wanted: Turned On y Sand Castle en Netflix

22 de abril: The Immortal Life of Henrietta Lacks en HBO

23 de abril:

Silicon Valley (4T) en HBO

El Chapo (1T) en Univision

Mary Kills People (1T) en Lifetime

Feud (1T finale) en FX

When Calls the Heart (4T finale) en Hallmark Channel

Saints & Sinners (2T finale) en Bounce TV

24 de abril:

Gotham (vuelve) en FOX

Bates Motel (series finale) y Bates Motel: The Check Out en A&E

APB (1T finale) en FOX

25 de abril:

Genius: Einstein (1T) en National Geographic

Great News (1T) en NBC

Outsiders (2T finale) en WGN America

26 de abril: The Handmaid's Tale en Hulu

27 de abril: Inside the FBI: New York en USA Network

28 de abril:

Dear White People (1T completa), Las chicas del cable (1T completa), Small Crimes y Casting JonBenét en Netflix

Catastrophe (3T completa) en Amazon

Let It Fall: Los Angeles 1982-1992 en ABC

Rosewood (2T finale) en FOX

Lucky Man (2T finale) en Sky1

30 de abril: American Gods (1T) en Starz

Estrenos de series

Dimension 404 (Hulu)

Antología tecnológica que toma su nombre del conocido error 404 de Internet y contará una historia distinta sobre el lado raro de la red en cada episodio. Lea Michele (Glee, Scream Queens), Robert Buckley (iZombie, One Tree Hill) y Joel McHale (Community, The Great Indoors) protagonizarán el primero, sobre una cita amorosa concertada desde una app. Ryan Lee (Trophy Wife) y Sterling Beaumon (Lost, The Killing) están en el segundo, sobre una máquina de arcade que induce visiones de pesadilla. Constance Wu (Fresh Off The Boat), Megan Mullally (Will & Grace), Tom Noonan (12 Monkeys, Damages) y Malcolm Barrett (Timeless, Dear White People) protagonizan el tercero, sobre una psicóloga militar que debe ayudar a un agente de la NSA a superar sus problemas. Ashley Rickards (Awkward, One Tree Hill) y Utkarsh Ambudkar (Pitch Perfect, The Mindy Project) deberán ayudar a sus compañeros de universidad a recordar a su héroe de dibujos animados preferido en el cuarto episodio. En el quinto, Sarah Hyland (Modern Family) deberá convencer a Patton Oswalt (Veep, United States of Tara) para que le deje ir al cine con Daniel Zovatto (Fear The Walking Dead, Don't Breathe) a conocer la nueva experiencia sensorial cinematográfica. El sexto y último episodio, sobre una bebida energética que ralentiza el tiempo, contará con Lorenza Izzo (Feed the Beast) y Matt Lauria (Kingdom, Friday Night Lights). Creada por Dez Dolly, Will Campos, Dan Johnson y David Welch. Seis episodios.

Estreno: 4 de abril

A favor: Mientras esperamos los seis nuevos episodios de Black Mirror, aquí tenemos seis nuevos episodios de Black Mirror.

En contra: Dando por hecho que los acontecimientos de Black Mirror podrían ocurrir, esta es un pelín más fantasiosa.

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Brockmire (IFC)

Basada en un corto del programa de sketches Funny or Die protagonizado también por Hank Azaria (The Simpsons, Friends), sigue a Jim Brockmire, famoso locutor de la Major League Baseball que enloqueció en directo al saber que su mujer le engañaba y vuelve, tras diez años de retiro, como comentarista de una liga menor en un pequeño pueblo en decadencia. Amanda Peet (Togetherness, Studio 60) y Tyrel Jackson Williams (Lab Rats, Nobodies) acompañan a Azaria interpretando a Jules, presidenta de uno de los equipos de béisbol, y Charles, becario de Jim. Escrita por Joel Church-Cooper (Undateable) y dirigida por Tim Kirby (Veep). Ocho episodios. Estreno: 5 de abril

A favor: Azaria, su forma de adaptarse a cualquier personaje y el camino que éste va a recorrer.

En contra: El retrato del hombre decadente como ejemplo que no debemos seguir.

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Henry IX (Gold)

El rey de Reino Unido (Charles Edwards; The Halcyon, Downton Abbey) está en la edad perfecta para tener una crisis. Incluso está viendo nacer una relación con Serena (Kara Tointon; EastEnders, The Halcyon), su florista. Tras una reunión con unos raperos, decide enfrentarse a siglos de tradición y abdicar en su hijo Alastair (Daniel Quirke), de veintitrés años, que conectará mejor con su generación. Sus planes se complican con el comportamiento de su distante esposa Katerina (Sally Phillips; Bridget Jones's Diary, Miranda), su chiflada madre Charlotte (Annette Crosbie; One Foot in the Grave, Calendar Girls), su leal pero ultramonárquico ayudante de cámara Gilbert (Don Warrington; Death in Paradise, The Five) y su caballerizo Francis Hornsby-Bray (Colin Salmon; Arrow, Limitless). Y no ayuda que Alastair sea gay y quiera casarse con su amante australiano Quinton (Kirk Barker) en Westminster Abbey. Escrita por Dick Clement (Porridge, The Likely Lads) junto a Ian La Frenais. Completan el reparto Gina Bellman (Emerald City, Leverage), Pippa Haywood (Scott & Bailey, Brief Encounters) y Robert Portal (The King's Speech, My Week with Marilyn). Tres episodios. Estreno: 5 de abril

A favor: Es una parodia muy real. ¿Lo pillas? Real.

En contra: Como es rey y tal...

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Jordskott (Shudder)

El drama sueco, emitido allí en 2015, se emitirá en el servicio de streaming de AMC a razón de dos episodios por semana. Josefine, la hija de la investigadora Eva Thörnblad (Moa Gammel), murió ahogada en el lago Silverhojd hace siete años. Eva todavía trata de lidiar con el duelo, pero cree que su hija no murió, sino que fue secuestrada. Cuando un niño desaparece en la misma zona, Eva se aventura a investigar más a fondo el caso. Göran Ragnersta, Richard Forsgren y Lia Boysen acompañan a Gammel. Diez episodios. Ya está renovada por una segunda temporada. Estreno: 6 de abril

A favor: Aunque lo parezca, no es lo de siempre. Giros increíbles, cliffhangers y final cerrado.

En contra: Episodios largos y con algo de relleno.

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The Son (AMC)

Basada en la novela de Philipp Meyer, y adaptada por él mismo junto a Lee Shipman y Brian McGreevy, muestra la transformación de Estados Unidos en superpotencia gracias al petróleo de Texas tomando como referencia la vida de Eli (Pierce Brosnan; James Bond, Remington Steele), el patriarca de los McCullough, que de niño fue raptado y criado por comanches y, en consecuencia, sesenta años después, se ha convertido en un despiadado dueño de un rancho que tortura a sus enemigos y no soporta a los mexicanos, ideas que chocan completamente con las de su hijo pequeño (Henry Garrett, Poldark). Completan el reparto Carlos Bardem (Perdita Durango, Celda 211), Zahn McClarnon (Fargo), Paola Nuñez (Reina de corazones), Sydney Lucas (Fun Home), Jess Weixler (The Disappearance of Eleanor Rigby, The Good Wife), Jacob Lofland (The Scorch Trials, Justified) y Manuel Uriza (Better Call Saul). Diez episodios. Estreno: 8 de abril

A favor: ¿El talento de Brosnan?

En contra: Las críticas son pésimas. Además de ser un muy poco innovador western que vuelve a utilizar como eje a un hombre blanco de dudosa moralidad y oscuro pasado, satura con flashbacks redundantes y personajes estereotipados y sin carisma.

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Return of the Mac (Pop)

Comedia antes conocida como The Joey Mac Project inspirada en la vida del cantante Joey McIntyre, del grupo New Kids on the Block, y protagonizada por él mismo y su familia real -su esposa Barrett y sus hijos Griffin, Rhys y Kira, de ocho, seis y cinco años-, en la que Joey intentará ser tomado en serio como actor y acabará como presentador de un talk show en una nueva cadena de cable. Completan el reparto Adam Ray, Jamie Denbo, Katie Wee, Punam Patel y Jordan Black. Contará con la participación de Donnie Wahlberg y Jenny McCarthy y con cameos de Joey Lawrence, Joey Fatone, Chris Kirkpatrick, January Jones, Jack Osbourne, Aisha Tyler, David Koechner y Gilles Marini. Producida por McIntyre, Wahlberg y McCarthy. Ocho episodios. Estreno: 12 de abril

A favor: Como no sean los cameos...

En contra: ¿A quién le importa este señor?

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Guerrilla (Sky Atlantic)

Thriller de John Ridley (American Crime, 12 Years a Slave) sobre el activismo negro en Londres durante los años setenta que imagina una nueva situación en la que se hubiera recurrido a la violencia en las protestas. Idris Elba (Luther), Freida Pinto (Slumdog Millionaire) y Babou Ceesay (National Treasure, A.D. The Bible Continues) protagonizan. Rory Kinnear (Penny Dreadful), Zawe Ashton (Fresh Meat), Nicholas Pinnock (Fortitude), Brandon Scott (Grey's Anatomy), Patrick Gibson (The O.A.), Bella Dayne (Humans, Plebs), Nathaniel Martello-White, Denise Gough (Stella) y Daniel Mays completan el cast. Seis episodios. Estreno: 13 de abril

A favor: Una historia incómoda muy bien contada y con grandes interpretaciones.

En contra: Es increíble lo difícil que es seguir la pista a Sky Atlantic, parece que no quieren audiencia. Por suerte, Showtime la emite con pocos días de diferencia.

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The White Princess (Starz)

Secuela de la miniserie de BBC The White Queen (2013) y adaptación de la quinta novela de la saga The Cousins' War (Philippa Gregory, The Other Boleyn Girl), que se centra en Elizabeth de York (Jodie Comer; My Mad Fat Diary, Doctor Foster), primogénita de Edward IV y Elizabeth Woodville, y su matrimonio con Henry VII (Jacob Collins-Levy). Participan también Essie Davis (Game of Thrones), Joanne Whalley (The Borgias), Michelle Fairley (Game of Thrones, Resurrection), Andrew Whipp (Outlander), Amy Manson (Once Upon A Time), Suki Waterhouse (Insurgent), Rebecca Benson, Rhys Connah (Happy Valley), Caroline Goodall (The White Queen, Berlin Station), Kenneth Cranham (In the Flesh, Maleficent), Vincent Regan (The Royals, A.D. The Bible Continues) y Patrick Gibson (The O.A.). Escrita por Emma Frost (The White Queen, Shameless) y dirigida por Jamie Payne (The White Queen, Call the Midwife). Ocho episodios. Estreno: 16 de abril

A favor: Starz ha apostado por continuar la historia.

En contra: A BBC no le compensó producir la original y se bajó del carro con la secuela.

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Famous in Love (Freeform)

Basada en la novela de Rebecca Serle (2014) y desarrollada para televisión por la propia Serle junto a I. Marlene King (Pretty Little Liars). Paige Townsen (Bella Thorne; Shake It Up!, Scream) es una estudiante universitaria normal y corriente que se presenta a un casting y es elegida para protagonizar la adaptación cinematográfica de una exitosa saga de novelas. Su vida cambia por completo de la noche a la mañana, cambiando su pueblo y su anonimato por la fama, Hawaii y un complicado y peligroso triángulo amoroso tanto en la pantalla como fuera de ella. Completan el reparto Carter Jenkins (Sweet/Vicious, The Following), Keith Powers (Faking It, Recovery Road), Charlie DePew (Awkward, The Amazing Spider-Man), Perrey Reeves (Entourage), Pepi Sonuga (Ash vs Evil Dead, The Fosters), Mark Valley (Fringe, Boston Legal), Niki Koss, Georgie Flores, Katelyn Tarver (Big Time Rush) y Tanjareen Thomas (Family Time). Temporada completa online el mismo día. Diez episodios. Estreno: 18 de abril

A favor: Todo un drama.

En contra: The shade, the shade of it all.

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Girlboss (Netflix)

Comedia escrita por Kay Cannon (Pitch Perfect) adaptación de la novela autobiográfica de Sophia Amoruso sobre una joven (Britt Robertson; Under The Dome, Tomorrowland) que deja de vender ropa por Internet a fundar una gran empresa. Completan el cast Dean Norris (Breaking Bad, Under The Dome), Alphonso McAuley (The Middle), Ellie Reed, Johnny Simmons (The Perks of Being a Walflower, 21 Jump Street) y Norm Macdonald (Saturday Night Live, The Middle). Producen Amoruso, Cannon (New Girl, 30 Rock) y Charlize Theron. Trece episodios. Estreno: 21 de abril

A favor: El emprendimiento dando frutos.

En contra: No os dejéis adoctrinar, es mejor trabajar por cuenta ajena.

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El Chapo (Univision)

Joaquín "El Chapo" Guzmán (Marco de la O) es el líder del cártel de Sinaloa. La serie contará su ascenso en el negocio del narcotráfico, desde sus comienzos 1985 como miembro de bajo rango del cártel de Guadalajara, hasta su última caída. Completan el reparto Alejandro Aguilar como su sicario Toño, Tete Espinoza como su amante Chío, Juan Carlos Olivas como su socio "El Güero", Valentina Acosta como su primera esposa, Juliette Pardau como su segunda esposa, Cristina Michaus como su madre, Humberto Busto como "Don Sol", Rodrigo Abed como el capo mexicano Amado Carrillo y Luis Rábago como el asesor de seguridad nacional General Blanco. Creada por Silvana Aguirre Zegarra y dirigida por Manuel Cravioto y Ernesto Contreras. Ya está renovada por una segunda y tercera temporada y, al parecer, este será su final. Estreno: 23 de abril

A favor: Una historia con un final tan cercano que resulta inevitablemente atractiva.

En contra: Sería tremendamente decepcionante que no apareciesen Sean Penn y Kate del Castillo.

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Genius: Einstein (National Geographic)

La primera serie original de la cadena es una antología que contará la historia de un genio en cada temporada, y Geoffrey Rush (Shakespeare in Love, Pirates of the Caribbean) interpretará a Einstein en la primera. Le acompañan Emily Watson (Apple Tree Yard, The Book Thief), T.R. Knight (Grey's Anatomy, The Good Wife), Johnny Flynn (Lovesick), Nicholas Rowe (The Crown), Michael McElhatton (Game of Thrones), Seth Gabel (Fringe), Vincent Kartheiser (Mad Men), Claire Rushbrook (My Mad Fat Diary), Robert Lindsay (Galavant) o Shannon Tarbet (River). Producida por Brian Grazer (Arrested Development, Felicity, Friday Night Lights) y Ron Howard (A Beautiful Mind, The Da Vinci Code), que dirige el primer episodio. Diez episodios. Estreno: 25 de abril

A favor: La teoría de la relatividad.

En contra: Pasará desapercibida.

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Great News (NBC)

Katie (Briga Heelan; Ground Floor, Love) es una prometedora productora de informativos de televisión que descubre que su controladora madre (Andrea Martin, Difficult People) ha entrado al canal como becaria. Completan el reparto Adam Campbell (Mixology, Unbreakable Kimmy Schmidt), Kimrie Lewis-Davis (Scandal), John Michael Higgins (Ally McBeal, Wilfred) y Horatio Sanz (Saturday Night Live). Una comedia escrita por Tracey Wigfield (30 Rock) y producida por Tina Fey (Unbreakable Kimmy Schmidt, Mean Girls). Trece episodios. Estreno: 25 de abril

A favor: Es muy 30 Rock.

En contra: El éxito de esta serie depende completamente de la madre.

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The Handmaid's Tale (Hulu)

Adaptación de la novela de Margaret Atwood (1985) escrita por Bruce Miller (The 100, Eureka). En un futuro distópico cercano, Gilead es un gobierno totalitario y fundamentalista cristiano que dirige los antiguos Estados Unidos en plena guerra civil y somete a las mujeres, a las que prohíbe trabajar, controlar dinero o incluso leer. La contaminación medioambiental ha favorecido la infertilidad, así que las pocas mujeres fértiles son reclutadas y esclavizadas en las casas ricas, donde los hombres las embarazan. Offred (Elisabeth Moss; Mad Men, Top of the Lake), cuyo nombre significa que su amo es Fred, ha sido enviada a la casa de un comandante (Joseph Fiennes; Shakespeare in Love, American Horror Story: Asylum) y su esposa (Yvonne Strahovski; Chuck, Dexter). Bajo unas estrictas normas y una vigilancia constante, una palabra o acción indebida podría conducirle a la ejecución. Offred recuerda su vida anterior, con un marido (O.T. Fagbenle; Looking, The Five), una hija y con un nombre propio, pero ahora solo puede seguir las reglas de Gilead con la esperanza de ser liberada algún día. Samira Wiley (Orange Is the New Black), Alexis Bledel (Gilmore Girls), Madeline Brewer (Orange Is the New Black, Black Mirror), Amanda Brugel (Orphan Black, Eyewitness), Ann Dowd (The Leftovers, Masters of Sex), Ever Carradine (Shameless, Major Crimes) y Max Minghella (Agora, The Social Network). Reed Morano (Looking, Halt and Catch Fire) dirige los tres primeros episodios, que se estrenarán el mismo día. Diez episodios. Estreno: 26 de abril

A favor: Tiene todos los ingredientes para triunfar y ser recordada.

En contra: No apta para detractores de las distopías.

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Dear White People (Netflix)

Adaptación de la película escrita, dirigida y producida por Justin Simien (2014), es una dramedia satírica que cuenta cómo se adaptan varios estudiantes negros en una universidad privada predominantemente blanca donde las tensiones raciales se esconden bajo la alfombra. Logan Browning (Hit the Floor, Powers) protagoniza en el papel de Samantha, que presenta un sarcástico programa de radio llamado "Dear White People" y ha publicado un libro titulado "Ebony and Ivy", en los que critica a estudiantes y administración. Brandon P. Bell y Marque Richardson retoman los papeles de Troy y Reggie. Ashley Blaine Featherson, Nia Jervier y Jemar Michael, que también participaron en la película, interpretarán a personajes distintos en la serie. A ellos se suman Nia Long (The Divide, Uncle Buck), Antoinette Robertson (Hart of Dixie), John Patrick Amedori (Hindsight, The Butterfly Effect), Brant Daugherty (Pretty Little Liars), Jeremy Tardy (War Dogs, Bone Tomahawk), DeRon Horton y Wyat Nash. Simien escribió y dirigió el primer episodio. Diez episodios.

Estreno: 28 de abril

A favor: La película ha dado alegrías -financiación, premios, etc.- a su creador desde antes de producirse.

En contra: White trash.

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Las chicas del cable (Netflix)

Blanca Suárez (El internado, El barco), Ana Fernández (Los protegidos, Cuestión de sexo), Maggie Civantos (Vis a vis) y Nadia de Santiago (Amar es para siempre, Musarañas) serán las chicas del cable, jóvenes de toda España que viajan a Madrid en 1929 para trabajar en una empresa telefonista revolucionaria. Ana Polvorosa (Aída), Yon González (Gran hotel, Bajo sospecha), Martín Rivas (El internado, Sé quién eres), Concha Velasco (Gran Hotel, Motivos Personales) completan el reparto de esta coproducción de Bambú (Gran Hotel, Velvet) y Netflix. Nueve episodios. Ya está renovada por una segunda temporada. Estreno: 28 de abril

A favor: Una historia adictiva, con ritmo y sin relleno, según Bambú (son episodios de 45 minutos, por fin). Y nadie podría quejarse del reparto.

En contra: Que nuestra primera serie original vuelva a ser lo mismo de siempre, un culebrón con una visión idealizada de nuestro pasado.

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American Gods (Starz)

Adaptación de la novela de Neil Gaiman (2001) con Bryan Fuller (Hannibal, Pushing Daisies) como showrunner. Shadow Moon (Ricky Whittle; The 100, Mistresses) es liberado de prisión antes de lo previsto debido a la muerte de su mujer, Laura (Emily Browning; Pompeii, A Series of Unfortunate Events), en un accidente de tráfico en el que también muere su mejor amigo (Dane Cook; My Best Friend's Girl, Dan In Real Life). Todos sus planes de futuro se han venido abajo. Cuando Mr. Wednesday (Ian McShane; Deadwood, The Pillars of the Earth) le contrata como guardaespaldas, encuentra un mundo escondido donde está gestándose una batalla entre los dioses antiguos, que han ido perdiendo poder por la falta de fe, y los nuevos, como Internet y los medios de comunicación. Completan el reparto Gillian Anderson (The X-Files, The Fall), Kristin Chenoweth (Pushing Daisies, Glee), Pablo Schreiber (Orange Is the New Black, The Wire), Cloris Leachman (Butch Cassidy and the Sundance Kid, Young Frankenstein), Peter Stormare (Fargo, Prison Break), Orlando Jones (Sleepy Hollow), Jonathan Tucker (Kingdom), Crispin Glover (Back to the Future), Jeremy Davies (Lost, Justified), Corbin Bernsen (Kiss Kiss Bang Bang, L.A. Law), Demore Barnes (12 Monkeys), Omid Abtahi (Argo), Chris Obi, Mousa Kraish (Feed the Beast), Yetide Badaki (Sequestered) y Bruce Langley, Diez episodios. Estreno: 30 de abril

A favor: Exitazo de novela que mezcla el folclore estadounidense con otras mitologías y un reparto espectacular para darle forma, nada puede fallar.

En contra: No basta con una temporada. Literalmente. La primera no abarcará toda la trama.

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#series tv #television

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mothiepixie · 1 year ago

Text

You're Bad for Me

Don!Boysen x Motti

If there was one thing Motti had ever thought she would end up doing is tailoring for a well renowned mobster.

She had fantasized about how her life would go- she would find a nice shop to work at, work there for a few years and save every penny to open up her own. And then she would spend the rest of her life making beautiful suits and dresses until she was old and grey.

And so when she found this job, it paid extremely well, reasonable hours, and plus, walking distance to her apartment complex. She was excited and thrilled her life was going on track and so conveniently too, but she could have never accounted that she would be working with none other than Boysen, a mobster. And not just any ol' mobster, a Don.

To say the least, her heart dropped in her stomach when he made his way into the shop. However, to her surprise he was quite cordial and patient. Not at all like the rumors Motti heard about him.

He made her nervous in the beginning, walking on eggshells and even afraid to breathe in his direction. He was a man of very few words, and he had a gaze so sharp she could swear it cut down into her very soul. His face was scarred and only enhanced his tough exterior, but Motti could not deny he was rather handsome.

But over time the nervousness of being around him lessened. He made quips towards her, teasing Motti about her short stature here and there. It ruffled her feathers each time and she made a few comebacks herself, albeit they held no weight and would often make the mobster smirk.

She doesn't even remember when it started when he brought her bouquets, but she remembered that they used to be a lot smaller in the beginning. And now, she would lug bouquets big enough to block her view as she walked home.

Motti even remembered she first declined this gorgeous sapphire broach and the way she saw Boysen's shoulder drop just a centimeter that it tugged at her heart strings. To anyone else, Don Boysen was unperturbed and carried himself with dignity, he didn't utter a word as he set the broach on the counter and did not take it with him when he left. Motti knew she hurt his feelings, she didn't know how, but she felt it inside.

She took the broach home and the next time he came in he saw it clipped to her collar. He spent the whole appointment there making harmless snarky comments and Motti could just tell he was elated.

Somehow their relationship became more natural and easy going. Motti complained whenever Boysen would bring in a tattered suits. Some of the suits could be salvageable, others so torn and stained red Motti would just throw it in the incinerator outback. In the beginning it made her queasy with what the stains could be. She knew what they were, but for her sanity, Motti pushed it in the back of her mind. Now she just gripes to him openly if he even dared to bring in a suit that far gone.

Grillby, the shop manager and owner of his own bar, would frequently check up on the shop and often gave her knowing looks when Boysen would not appear for some time. Boysen often made trips there every week or two, but sometimes weeks would go by with no sign of him. Grillby would point out her sulking and Motti would often brush it off and tell Grillby it's because she's had Boysen's order ready and she just needs it out of her work space. The flame monster would flicker as he stared at her. Sometimes Motti would see his shoulders shake and just knew he was chuckling at her.

As much as she was denying it openly to her boss and even her friends, Motti knew she was developing feelings for Boysen. Part of her was scared, but then there was the other half of her that was thrilled by a powerful gangster fancying her. Sometimes the way he would speak to her made her feel on top of the moon. A strong, silent skeleton monster that was a powerful mobster completely putty in her hands.

The power and thrill it gave her, knowing that if she so willed it, Boysen would give her the city. Yes, it was thrilling but also terrifying. Motti knew his hands were stained. Sometimes she would lie awake at night riddled with fear at the realization that this man has killed and could possibly put her in danger. And other times she thinks she must be mad, taunting and scolding such a person knowing his suits were ruined because of his line of work.

But something about Boysen made her forget all of it. Made her mind turn to mush and all she could think about was his rare smile. His raspy soft voice gracing her ears and just making her feel safe…. Wanted. Desired.

What were they? She would often ponder. They haven't openly stated their feelings to each other. Motti and him have only shown affection through gifts and teasing quips. She could consider him a friend, she supposed. Even though both of them knew they were pining for each other.

But Motti was scared. What would it mean if she became his? Would her life change? Would her life goals be altered now this terrifying but charming monster entered her life? Can she still picture herself mending clothes with wrinkly hands in the future?

What if her life was cut short.

Would being Boysen's be worth it?

Time had gone by since Motti last saw Boysen. Longer than usual and to say the least, Motti was worried. She went about her work, but each day her thoughts drifted to him. Was he okay? Did he perhaps find a different tailor shop to go to? Her heart sank at the thought of him finding someone else, but they weren't anything exclusive! Right?

As the work day was ending, Motti was clearing her station when the shopbell rang. Making her way to the front she was shocked to see Crust, Boysen's brother and right hand. He looked at her wearily, and seemingly nervous.

"Aren't you a sight for sore eyes." Motti jest with a forced light tone.

Crust gave a crooked smile, "Yeah…been a while, hasn't it."

Motti tapped her fingers nervously on the counter, trying so hard not to immediately ask about his brother. "What can I do for you?"

Crust shifted where he stood and shrugged his shoulders before looking off to the side, "Am here to pick up some suits. Gotta be quick about it though."

Quick? How come? Motti looked at him quizzically but retreated to the back to gather the suits. As she walked back, she gazed at the atricle of clothing in her arms. Feelings of uncertainty and anxiety washed over her as she pictured Boysen.

When she handed the suits to Crust, she noticed he could barely keep eye contact. He handed her a slip and she barely registered that she grabbed it. He went to turn when her voice spoke up, "H-how's Boysen?"

He visibly stiffened, but did not turn around when he answered. "S'okay." He walked toward the entrance when Motti came around the counter fast on his heels.

"Is he ok- I mean- is his services being taken elsewhere?" She tried to ask and keep it professional. He may be just a mob boss, but he's a customer and she's just a seamstress. Right? Can she justify that? "Was…was our service unsatisfactory?"

At this Crust turned around and looked confused. "Whaddya mean? He ain't going to any other place."

She had to swallow the wave of relief and keep her face from looking too pleased at that. "Then… is he-" but she couldn't seem to justify why she was asking. Wanting to know more. Where has he been?

Crust shifted uncomfortably, and muttered how this was a 'pain in the ass'. He sighed, "Ya know you can just be honest."

Motti was taken aback and began to speak when Crust cut her off.

"Look.. I ain't supposed to tell ya, but it's annoying keeping it under wraps." His gaze softened as he looked down at the much shorter woman. "Not when you're so desperate to know where he is."

Motti flushed in embarrassment and Crust couldn't help but smirk.

"He's comin' back." He reassured, looking at Motti with soft mirth.

Motti fiddled with her fingers, "Is he okay?"

At that, Crust's brows furrowed and his jaw tightened. Motti was overcomed with another wave of anxiety. "Crust." She goaded. "Is he okay?" She stressed again.

He sighed and clicked his tongue.

"Crust."

"He's…not dead?" He answered awkwardly.

Motti could feel tears brimming at the corner of her eyes and looked at him frustrated.

"Ah- no. No, don't do that. I can't stand tears." Crust grumbled and sighed, exacerbated that this dame could make anyone soft.

"Can I see him?" Motti was surprised by her own question.

"Er… I don't know…"

"Crust…" Motti stepped forward, her eyebrows furrowed. "I won't stop bothering you until I do."

Crust could have laughed, which he will later, but seeing this tiny redhead sizing him up and being assertive, he could see how Boysen grew fond of her. A little spitfire, she was. "Fine, but I'm putting all the blame on you."

He turned and grumbled, "And ya owe me for a drink too."

Motti quickly grabbed her things and locked up the shop as she followed the tall monster.

When they pulled up to an estate behind a grand gate, Motti began to wonder just how powerful and rich Boysen was. Motti couldn't believe with her eyes to see such rich and grand items decorating just the foyer alone.

Crust and Motti went upstairs and he directed her to heavy dark oak doors. Without knocking, Crust let himself in.

"I don't know where you get off without announcing yourself, Crust, but I have half a mind to-" Boysen's threat fell short when Motti stepped out from behind Crust.

His expression went from surprise to clear anger and annoyance which he directed at Crust.

Crust held up his hands in defense, not really at all perturbed by his brother's intense glare. "She twisted my arm." And he turned on his heel and winked at Motti as he shut the door.

The silence felt heavy and suffocating while the pair didn't know how to address each other. Motti took in Boysen lying in his bed, he was battered and covered in bandages. She knew monsters had abilities to heal faster than humans, but seeing him laid up and covered with gashes and bandages made her stomach hit the back of her throat. He looked at Motti with an expression she didn't know quite how to decipher, but her heart was beating fast in her chest with hot searing waves of grief and pain running through her nerves seeing him so injured.

"What happened?" Was all Motti could muster out. No hello's or howdy do's. No time for formalities.

Boysen looked at her with a composed stare. His shoulder rising with his sigh and leaning back into his nest of plush pillows. "Would you like something to drink?"

"Stop it." She snapped, "Answer me." She stepped closer and Boysen kept his expression cool as he watched her approach his bedside. Her voice quivered with frustration, "Who did this to you?"

If Motti wasn't so filled with worry and vexed, she would have noticed the fleeting turn of his smile before his face fell neutral again.

"Are you going to hunt after them?"

"Don't tease me." Motti knit her brows together, clearly not in the mood for his jests.

Boysen's head tilted to the side, his eye light flickering about as he looked at her face. "You're crying." He simply stated.

"I-" She started, but she was flustered and embarrassment rising up, "I'm not crying. I'm just-" What was she to say?

She couldn't say she was angry that he's been gone, could she? She couldn't say that she was appalled to see the reason why was because he was so heavily injured.

Boysen leaned forward, his face wincing just the slightest as he did so, and touched the tear that slipped from Motti's eye. He rubbed the tear between his thumb and forefinger as he raised a brow at her.

"I am just frustrated and I-" Motti hastily wiped at her eyes, "I have a difficult time expressing myself without crying. It doesn't mean a-anything." She was so angry with herself. Motti wished she could be composed like Boysen.

"It doesn't?" His raspy but comforting voice rang in her ears. Oh, how she missed it. He placed a hand on her cheek, and stroked his thumb under her eye to wipe away the stray tears.

She couldn't help herself and leaned into his touch, placing her hand on top of the one on her face. Her breath shuddered as she sighed, "I shouldn't be here. I don't know if I have the strength for this."

The thumb stroking her cheek stopped, but still held her face. "Elaborate." His tone stiffened.

Motti felt she could crumble. Break into a million pieces right then and there. "I don't know if I can see you hurt like this. I don't like it."

"I am far too deep to change my lifestyle now, Gem." He said so matter of factly, it frustrated her to no end. She could curse at him for using his little petname for her. "But you're not too far in. If you so wish, I can make arrangements to give you a start elsewhere."

"What??"

His expression was neutral, devoid of any sort of emotions while Motti was crushed with pain.

"You're gonna send me away?" She asked incredulously. "Do you want that?"

"Not even in the slightest. But is that not what you want?" Again, his voice is ever so even.

"I.. I don't know what I want." She said more to herself than to him.

He sat back, the sensation of his hand fading from her cheek and she already missed it. "Why are you here then?" It really wasn't a question, but his tone was softer. This time Motti caught a certain tone of pain.

Silence befell the two while Motti wasn't sure how to answer. Her next words would decide her stance; stay or leave him. It would decide the kind of person she was. But what would that be? A mad woman falling for a criminal? Or just a hopeless romantic afraid to let go of an unexpected good thing in her life? In so many ways, he was bad for her.

"I missed you." She finally answered.

Boysen stayed silent at her confession but he grabbed her hand as she plopped herself down on the side of his bed.

Motti looked frustrated, the tears building up in her eyes again. "I don't like this. This is all too real now. But I-" She looked away, gritting her teeth and holding back from stomping her foot in frustration. She sighed defeated, "I am in too deep. I think I'm nuts, but the thought of never seeing you again is worse than anything I can deal with."

Boysen's grip on her hand tightened.

Motti looked back at him, taking in all his injuries; the cuts, the bandages and his crisp clean silk pajamas that contrasted with his disheveled appearance. "I don't want to see you like this, but-" Motti shifted closer, Boysen letting Motti gently rest her forehead on his shoulder.

"I'll be damned if I let you get another tailor." She laughed lightly and hopelessly resigned to her feelings. Boysen chuckled so slightly and gently ran his fingers in her hair.

"I wasn't planning to."

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