Vanesa Cañete-Jurado University of Nevada Las Vegas

TV Remakes of Contemporary Spanish Fiction in the : Appropriation, Subjectivity, and Cultural Production

ABSTRACT

In recent years, U.S. production companies have adapted a number of popular Spanish TV series for American networks. Contemporary Spanish fiction has drawn the attention and interest of many producers, who have signed on to localize culturally esteemed formats that have gone on to achieve a covetable and lasting success in the United States. Albeit underutilized as a tool for critical analysis, these remakes always shed light on the underlying dynamics of dissemination and influence of ideas in any given culture, since factors of re-appropriation, dominance and self-awareness are always at stake. This study aims to explore the phenomenon of TV remakes of contemporary Spanish fiction on a practical level in order to critically analyze the challenges posed by processes such as multiplicity, fragmentation, and repetition and to show how these processes subvert the role of a subjectified viewer, especially in the context of the contemporary American society.

KEY WORDS

Spanish television, TV Adaptation, Remake, U.S. fiction, Appropriation

1. Introduction

Even though the United States has enjoyed an advantageous and longstanding position as a top exporter of TV shows to the rest of the world, in recent years the number of foreign productions being remade and adapted for American audiences has seen a small yet steady increase (Bielby & Harrington, 2008; Straubhaar, 2007). Despite the obstacles that the distributors of shows produced abroad face when they attempt to expand their presence into the United States, cultural reproduction (in the form of sequels, remakes, or adaptations) lies at the center of the American screen life now more than ever. In the current audiovisual climate, in which innovative strategies of globalization and localization are radically changing

TranslatoLogica: A Journal of Translation, Language, and Literature, 2 (2018), p. 140-155 TV Remakes of Contemporary Spanish Fiction in the United States: Appropriation, Subjectivity, and Cultural Production the media markets all around the globe, Spanish production companies have become influential stakeholders with an ever-increasing profile among U.S. networks. The emergence of new distribution channels and video on demand (VOD) platforms such as Netflix, Hulu, or Amazon Video, has been gradually tipping the balance in favor of including foreign shows in mainstream U.S. programming (Forrest & Martínez, 2015; Levisalles, 2004; Mirrlees, 2013). As a result, the number of -produced television shows made available to American audiences has experienced a surge in the last decade.1 While there has been a tendency to contextualize the number of Spanish-language shows that are being broadcast in the United States “within the broader milieu of market growth, management strategies and regulatory environment” (Wilkinson, 2015, p. 5), not much scholarly attention has yet been paid to the case of television series that were originally aired in Spain but later have been recreated (with new sets, casts, and scripts) specifically for the U.S. market. This is mostly because this phenomenon is quite novel. Although there have been some instances of Spanish TV remakes in other European countries since 2005 (Diego & Grandío Pérez, 2018), the first explicit instance in the United States dates back only to 2012 (Table 1).

Table 1 U.S. remakes of Spain-produced TV fiction series Spanish Title Year(s) U.S. Title Year(s) Física o química 2008 – 2011 Relaciones peligrosas 2012 Los misterios de Laura 2009 – 2014 The mysteries of Laura 2014 – 2016 Polseres vermelles 2011 – 2013 Red Band Society 2015 – 2016 El Ministerio del 2015 – 2017 Timeless 2016 – present Tiempo2 Motivos personales 2005 Personal motives In development (ABC/Calamity Jane)

1 At the time of publication, Casa de papel (Money heist), a Spanish television series originally developed by Álex Pina, was considered “the most watched non-English series on Netflix ever” (Netflix, 2018, p. 3). 2 The inclusion of Timeless as a remake of is not exempt of controversy. In September 2016, El Ministerio del Tiempo’s producers filed a copyright infringement lawsuit against NBC’s Timeless, claiming that the American executive producers had “ripped off” their idea (Pedersen, 2016) after negotiations had stalled. The lawsuit was eventually dismissed in May 2017 when both parties agreed to settle out of court (Patten, 2017). The information provided by the plaintiffs in the lawsuit complaint, however, gives enough ground to consider the unusual degree of similarity and affinity between the two productions despite the lack of legal recognition. 141

TV Remakes of Contemporary Spanish Fiction in the United States: Appropriation, Subjectivity, and Cultural Production

El barco 2011 – 2013 Magellan In development (WBTV) Gran Hotel 2011 – 2013 Grand Hotel In development (ABC/UnbeliEVAble) El chiringuito de Pepe 2014 – 2016 In development (20th TV) Los Serrano 2003 – 2008 In development (20th TV) Cuéntame cómo pasó 2001 – present Remember when Rights sold to New Media Vision Velvet 2014-2016 Rights sold to Lionsgate

The level of transformation of the shows listed in Table 1 differs significantly from one title to another; however, they all share the common interest to adapt socio-cultural specificities of the source production to the target culture. This tendency has been at times perceived as “glocalization” (Robertson, 1992; 1995), which can be understood as “the interpenetration of the global and local resulting in unique outcomes in different geographic areas” (Ritzer, 2004, p. 77). When it is accomplished, the series’ origins are masked so well that viewers in the United States are unlikely to even notice that a show in question is a remake of a product created in Spain. Although a fair amount of scholarly interest has been dedicated to the notion of transnational remakes (paying special attention to the particular case of U.K.-produced fiction), the phenomenon of interlingual TV remakes as an object of study within audiovisual translation remains largely unexplored in spite of its significant implications for our understanding of the discipline:

The double categorization of translation as a textual and an institutional category mirrors that of remakes.

Remakes, then, and especially interlingual remakes that involve a movement between languages, are

conceptually similar to translations. Both show a repetition of narrative, though there may be variation in

that narrative. Both are recognized by readers or viewers as offering a full scale reworking of a previous text.

(Evans, 2014, p. 306)

While some translation scholars insist on distancing themselves from many of the debates around the distinction between translation and rewriting, adaptation, or recreation, others have wholeheartedly embraced the notion of remake as a subcategory of translation

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(Mazdon, 1996; Evans, 2014). In this vein, Grindstaff (2002, p. 277) states that, despite the fact that remakes “are not translations in any conventional sense, U.S. adaptations of foreign films certainly raise many of the same concerns about fidelity, superiority, and appropriation as do literary translations of foreign texts.” If we consider the intricate dynamics of the decisions involved in the many stages of the TV development process, “[r]emakes suggest another way of reading translations, as a form of rereading across languages that can offer a deeper interaction with the text, enhanced by the extra dimensions of the target language” (Evans, 2014, p. 310). The purpose of this study is, therefore, to explore the emerging television remakes of contemporary Spanish fiction for U.S. audiences in order to critically analyze the challenges posed by processes such as appropriation, multiplicity, fragmentation and repetition, and how they subvert the role of the viewer as a passive observer. As a process and a product, the remake-as-translation can be used as a wide-ranging methodological tool to conceptualize the complex dynamics of alterity at play. Such a comparison of contemporary Spanish TV shows and their American counterparts will further expand our understanding of audiovisual translation by (a) underscoring the ways in which remakes, as cultural artifacts, appeal directly to their audience's emotions, their desires and fears, and to their often-unexamined attitudes and beliefs; and (b) analyzing Spain-produced TV shows and their remakes in the U.S. through a multidisciplinary lens that moves beyond the notions of fidelity and derivation. The idoneity of remakes as research tools will be explored through an analysis of two recent remade productions: Los misterios de Laura/The mysteries of Laura, and El Ministerio del Tiempo/Timeless. The complexity of these shows will illustrate how remakes may repeat and echo the narrative structures of their source productions on the surface while considerably varying from their counterparts in the realm of ideology.

2. Remakes and market expansion

Despite the fact that “each act of translation carries Western civilization across,” (Vieira, 1998, p. 175), the role of translation in the American TV market has failed to attract mainstream attention over the past decades:

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[T]he presence of translation is ubiquitous in audiovisual media, even though this fact often goes unnoticed:

audiovisual products are often transnational productions borne between cultures, in translation, and which

not only portray, but which also negotiate and translate a credible image of certain cultural and social

identities for a given audience; they also involve translation in the sense of rewriting and transformation of

previous texts across genres, media and cultures. (Martín Ruano, 2016, p. 265)

Such invisibility was put into question by Los misterios de Laura as soon as the U.S. remake had been confirmed and promotional materials started circulating (Andreeva, 2013). Despite the United States’ long tradition of detective fiction, the show was able to produce a “bidding war” because it rescued and modernized a genre that had been forgotten for decades in Spain- produced TV fiction. The very favorable reception of the show set a precedent for female-led fiction both in Spain and in Europe before the idea was marketed to U.S. distributors.

2.1. Los misterios de Laura (2009-2014)

Although Los misterios de Laura, a series created by Carlos Vila and Javier Holgado, produced by Boomerang TV, and broadcast by the Spanish public service network Televisión Española (TVE), was canceled after only three seasons, the production became an interesting phenomenon of audience engagement and fandom in Spain (Crisóstomo, 2016, p. 109). The premise of the show is grounded on redefining female archetypes and the cultural values embedded in family and institutional networks. Conceived as a procedural comedy- drama, the series is centered around a seemingly clumsy and distracted Laura Lebrel (played by María Pujalte), who constantly struggles to balance her personal (as a single mother of rebellious twins) and professional life (as a police detective), especially after her recent divorce from Jacobo Salgado (Fernando Guillén Cuervo), chief officer in Laura’s police station. However, her Sherlock Holmes-like powers of observation and attention prove to be essential to successfully solve crimes at the end of each episode in ways that are reminiscent of crime procedurals such as Columbo or Murder, she wrote. Indeed, Elsa Moya and Ana Illana, scriptwriters of the show, emphasize the role of the viewer as an active participant in the unfolding of the narrative:

There are time we have chosen the classic scheme of Agatha Christie where there is a murder and four

suspects that Laura interrogates and, in the end, she gathers everyone to reveal them who is the killer and,

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sometimes, we have chosen Colombo’s scheme where the viewer watches from the start who the killer is,

but not how the crime what committed nor why. (Quoted in Diego & Grandío Pérez, 2018, p. 837)

In a major departure from other examples of the detective fiction genre, female bonding and relationships play a predominant role in both character and plot development. Laura’s antithesis in the police station is Lydia Martínez (Laura Pamplona), who relentlessly follows a scientific and systematic methodology. The juxtaposition of these two characters usually involves a slow build-up of tension: “cold, intelligent and scientific Lydia should be the winner of all unspoken professional duels with Laura, but very much to our pleasure she is not” (Louis, 2016, p. 186). The other female figure in the story is Laura’s mother, Maribel del Bosque (Beatriz Carvajal). Although it could seem that Maribel plays only a marginal role in the overall narrative, she is usually the one who sets the resolution of the crime in motion (directly or indirectly) by supporting Laura in her endeavors:

Laura has always found her master in her incomparable mother, for it is she who always drives the detective

work forward. The mother’s function is that of an innocent bystander outside the police station, who

approaches the mystery with nosy nonchalance and is, thus, the closest to the viewer’s own position, when

we watch the series trying to guess what is going to happen next. (Louis, 2016, p. 186)

2.2. The mysteries of Laura (2014-2016)

Following the success of Los misterios de Laura in Spain, and joining the ranks of other remakes in Russia, Holland, and , The mysteries of Laura was picked up for development by NBC in 2013, with Jeff Rake as the showrunner. In the American remake, the plot closely resembles that of the Spanish production: Debra Messing stars as Laura Diamond, an overwhelmed NYPD homicide detective who has difficulties managing her cases, her twin boys, and her unhelpful and flirtatious soon-to-be ex-husband Jake Broderick (Josh Lucas). While discussing the potential impact of The mysteries of Laura on American culture, Rake admitted in an interview that the show aimed “[to] celebrate and acknowledge the everyday heroism of a working parent, and in particular working moms,” since Laura could be considered “an everyday hero in the sense that –like all the millions of working parents out there– she just manages to get through the day” (Schwartz, 2014). Yet early reviewers criticized the show’s inability to convey such a message to modern audiences:

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Mysteries‘ real problem is its irritating, relentlessly hammered premise: that it’s not just challenging for Laura

to be both a mother and a detective, but that it’s downright staggering, even absurd. Laura is not a mom and

a cop and an alien, secretly preparing the planet for colonization by her species. She’s not a mom and a cop

and a hundred tiny ducks wearing a Debra Messing costume, in order to pursue their collective dream of

fighting crime and raising human children. (Poniewozik, 2014)

The dissonance was also mirrored by the other female character in the main cast. Meredith Bose (Janina Gavankar), Lydia’s counterpart, is initially introduced as Laura’s rival in the precinct due to her uptightness and rigid procedural methods. Despite her effectiveness and progressive acceptance of Laura’s character, viewers fail to empathize with Meredith (and Laura, by extension) because of her failure to present a complex a multidimensional depiction of female empowerment on screen. Most importantly, Laura’s mother has been totally erased from the narrative, disembodying Laura from any collective attachment beyond the space she has created with her children. As a compensation, viewers are constantly exposed to constructions and reproductions of subjectivities in the form of race and diversity not anticipated in the Spanish production. Leaving aside the potential negative images and stereotypes that could emerge as a result, the choice of New York City as a locus of multiculturalism in constant motion paves the way for a higher exposure to alterity. Besides the push for a more diverse casting, Laura’s partner Billy Soto (Laz Alonso) alternates between English and Spanish depending on the communicative context. The implications of this are manifold: not only is this a demonstration of more openness to alterity on the part of a non-Spanish-language broadcaster, but also acts as a reminder of the “heritage” of the show (Schwartz, 2014) in a time when the invisibility of culture (Adler, 1983, p. 361) as well as translation/adaptation (Venuti, 1995) remains uncontested in the American imaginary.

3. Time, memory, and temporality

Both The Ministry of Time and Timeless underscore a forceful and idiosyncratic notion of transformation versus preservation, of fidelity versus reinvention. Their exercise of continual construction, invention, and manipulation allows for an examination of translation (as a process and product) from different perspectives.

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Despite the fact that Timeless has not been legally recognized as a derivative work (see Footnote 2), the strong structural similarities between the two bring questions of representation, memory, and preservation of meaning to the fore. According to Evans (2014, p. 304), “remakes could include all [products] where there are elements of narrative repeated from other[s], whether or not they could legally be considered derivative.” A closer analysis will reveal how viewers can be challenged to react to different reworkings and iterations of a text, since the same overarching meta-narratives lie at their core: the construction of memory (and meaning) through the television experience, the (im)possibility of representing faithfully the past as external time, the ethical implications of altering or manipulating memory (and meaning).

3.1. El Ministerio del Tiempo (2015-2017)

El Ministerio del Tiempo, created by Javier and Pablo Olivares and produced by Onza Partners and Cliffhanger, started broadcasting in 2015 on TVE. The series follows the adventures of a squad working for the fictional Department of Time, a government institution tasked with preventing any major disruptions associated with time travel. In each episode, the three protagonists (a female intellectual, a paramedic, and a soldier; all hailing from different time periods) are entrusted with a mission to thwart a villain’s plans to shape history for his or her own benefit. Thus, the goal of the eponymous organization is to “serve as a historical guardian, hiding an intricate network of doors in its basements that permit travel to the past to prevent that past from being modified” (Rueda Laffond & Coronado Ruiz, 2016, p. 88). The show takes the viewers on a tour to revisit many significant events of Spanish history, portraying major cultural icons and key figures in a new and unexpected light. As a result, Queen Isabella, Christopher Columbus, Cervantes, and even Napoleon Bonaparte, are demythologized and depicted as ordinary individuals, thereby constructing “a new image of these figures, different from that included in textbooks but still emphasizing certain canonical meanings for the sake of national affirmation” (Rueda Laffond & Coronado Ruiz, 2016, p. 88). The narrative structure is rather consistent in every episode. In the opening part, a disruption sets in motion a chain of events that threats to alter history as we know it: Picasso’s “Guernica” is at risk of not being delivered to Spain, Cervantes has failed to submit on time the manuscript for his famous Don Quixote… Such unexpected interferences with the course of history motivate the trio of protagonists, Amelia Folch (Aura Garrido), Julián Martínez

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(Rodolfo Sancho), and Alonso de Entrerríos Fresneda (Nacho Fresneda), to come up with inventive ways to preserve the world as we know it. This potential diversion from and eventual preservation of history operates not as a mere substitute for a narrative set in the present day, but as a way to (re)present and (re)construct collective memory. By presenting on episodes of historical magnitude and political caliber for audiences who share a common past, the viewers become active participants in the unfolding of their own historical narrative. This emotional dimension is strengthened by the insertion of archival footage whenever possible to blur the distinction between historical fact and narrative fiction. By constructing and representing both real and imagined events, viewers gain, not only a better understanding of the fictionalized accounts, but also of themselves. Balibar (1991) agrees that all communities claiming a shared national identity are imaginative constructs, given the fact that they rely on a particular textualized conceptualization of collective memory: through a potentially translatable language, members of the community create and reinforce a national imaginary. Thus, in order to imagine a nation, individuals have to invariably construct a fictionalized account of a shared memory, which reinforces the feeling of belonging to a “community.” As past and present merge on screen, spectators are left only with the possibility of an open future to be shaped by their will. Through both emotional identification and the distancing that encourages critical reflection and judgment, the fundamental attitudes and beliefs of the audiences toward Spanish history are put to the test. The construction of a collective memory, therefore, must comprise a process of selection and textual mediation, which inextricably links an imagined community to a constructed past or to put it briefly “a past that has never been present, and which never will be” (Derrida, 1982, p. 81).

3.2. Timeless (2016-present)

Timeless is a series created by Eric Kripke and Shawn Ryan that has been broadcast by NBC since October 2016, although it found itself on the verge of being cancelled multiple times due to low ratings (Andreeva, 2017). The plot of this TV series is built around the idea of a time travel machine being invented by an engineering genius named Connor Mason (Paterson Joseph) – a character inspired by Elon Musk, a tech mogul and the co-founder of Tesla. When Garcia Flynn (Goran Višnjić), a former NSA asset, steals the machine with the intention to stop a secret organization called Rittenhouse, the Department of Homeland Security intervenes

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“multidirectional memory” to characterize the “productive, intercultural dynamic” underlying “a series of interventions through which social actors bring multiple traumatic pasts into a heterogeneous and changing … present.”

4. Conclusions

With the advent of the 21st century and the implementation of new paradigms of distribution, Spain has become one of the top five exporters of TV fiction formats in the world (MIPTV/MIPCOM, 2014, p. 11). The quality and universal appeal of its productions have managed to secure international agreements for direct broadcast or adaptation (Smith, 2017). In this context, the dissemination of Spanish fiction (whether in the form of marketing recontextualization, reworking, or remaking) brings to light questions of appropriation and displacement and reveal the far-reaching implications of cultural mediation as an unavoidable symbol of our time. In the particular case of the U.S. market, the ubiquity of remakes as the preferred form of distribution of foreign language productions for non-specialized audiences could initially be perceived as an echo of Venuti’s (1998, p. 82) preconized translation ethics of sameness:

Institutions, whether academic or religious, commercial or political, show a preference for a translation ethics

of sameness, translating that enables and ratifies existing discourses and canons, interpretation and

pedagogies, advertising campaigns and liturgies –if only to ensure the continued and unruffled reproduction

of the institution.

In the same vein, remakes have been stigmatized as non-original, or unfaithful: “[a]ccording to some cultural critics, remakes accomplish nothing more than to cheapen filmic discourse. From this perspective, film remakes are seen as mere copies that are derivative” (Lukas & Marmysz, 2010, p. 1). As such, the scholarly studies on the role of the remake in the target culture have largely been limited to notions of “originality” and “creativity,” since remade productions come to be seen as inferior to the so-called originals. However, new approaches and conceptualizations have revealed the importance of remakes as cultural artifacts that underscore an intricate network of multiplicity and reproduction characterized by “intertextuality and plural meanings” (Mazdon, 2004, p. 10). The seemingly dissimilar cases of Los misterios de Laura/The Mysteries of Laura and El Ministerio del Tiempo/Timeless serve to

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These forms of multiplicity volatilize the original by underlining its insufficiency, by announcing that there is

a “more” that the urtext does not contain and likely does not anticipate, in the process revealing that there

is a desire for continuation or repetition that the original cannot satisfy. (Klein & Palmer, 2016, p. 4)

Albeit underutilized as a tool for critical analysis, remakes always shed light on the underlying dynamics of dissemination and influence of ideas in any given culture, given that factors of reappropriation, dominance and self-awareness are always at stake. The interlingual aspect adds an interesting dimension to the comparative analysis of remaking strategies, since it draw more scholarly attention to the phenomenon of retranslation by identifying the factors that are at play when a previously U.S.-remade show finds its way back to Spain via dubbing, subtitling, or adaptation.

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Contributor’s Bio: Vanesa Cañete-Jurado is an Assistant Professor of Spanish Translation at the University of Nevada Las Vegas. She studied Translation and Interpreting at the University of Málaga (Spain). After gaining master’s degrees in Comparative Literature and Italian Studies, she obtained a PhD in the field of Translation Studies from SUNY Binghamton. Her scholarly interests include adaptation studies, contemporary cultural production and critical theory.

E-mail address: [email protected]

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