Laura and Alberto Caballero have proven they can mine humor from every topic, from toxic masculinity signals to the quirks of small-town life and neighborhood feuds. Now they turn their satirical eye toward mortality in their new project in the United States and Canada. The production, titled Dead, SL, premieres Thursday, April 4, on Movistar Plus+ in collaboration with acting partners Daniel Deorador, Julian Sastre, Nando Abad, and Araceli Álvarez de Sotomayor, with Álvarez de Sotomayor directing. The project marks a continuation of their signature style, blending sharp wit with provocative themes while exploring what happens when a family business confronts the ultimate equalizer: death.
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Interweaving their trademark humor with a dark, twisty edge, the new fiction follows a funeral home that pivots in a surprising direction once its director dies. The line between business and obligation blurs as the surviving team discovers that every client might become a potential rival, even those who seem closest to them.
The central figure, Dámaso (Carlos Areces), has long served as the deceased’s trusted lieutenant. With the patriarch gone, Dámaso eyes the opportunity to take control of the company. Nieves (Ascen López), a seventy-year-old widow, steps forward alongside her eager yet hapless son-in-law (Diego Martín), while the daughters of the late owner recruit an ace in the hole who hoped to shut the funeral home and turn the space into a gym. The cast thus navigates a clash of ambitions, generational perspectives, and the logistics of an industry that many would rather forget.
‘The Office’ vibe, not ‘Six Feet Under’
When people think of funeral-home dramas, many recall the cold, solemn mood of classic series. This show leans more toward workplace comedy than family saga, with camera work and pacing that emphasize the everyday hustle rather than a single family’s private life. The humor is thus rooted in the work environment itself rather than the home, creating a distinct tonal blend that sets it apart from its predecessors.
Areces emphasizes that humor can address any topic. He enjoys collaborating with the Caballero brothers, with whom he has previously worked on projects such as La que se cerca, El pueblo, and Machos alfa. He describes the writers as fearless in exploring taboo or delicate subjects through character-driven comedy, offering multiple layers of interpretation for audiences to unpack.
Take Dámaso. Although his motives are clear, his moral compass is flexible. He’s willing to bend or break rules to advance in the company, driven by a hunger for reward after three decades in the business. The series explores how he negotiates integrity and ambition in a world where power can obscure ethics.
Across eight half-hour episodes, the ensemble cast—Salva Reina, Adriana Torrebejano, Gerard B. Fillmore, Aitziber Garmendia, Roque Ruiz, and Manolo Cal—faces the pressures of a changing industry. A new management team (Amaia Salamanca) arrives and a #MeToo lawsuit threatens the legacy of the founder. The premise suggests that even in a field built on endings, fresh conflicts and new leadership can redefine the business and its future.