If Pedro Almodóvar made a film in Ecuador, this animated show would be it

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In the 1980s, an increasing number of Western women moved up the career ladder into professional jobs. This rise in influence led to a need for stylish and powerful work attire.

In the same vein, the Spanish businesswoman Marioneta Negocios (voiced by Pepa Pallarés) is one of them, who is as ruthless as she is alluring. She makes her debut in Gonzalo Cordova’s stop-motion animated series, “Women Wearing Shoulder Pads,” Adult Swim’s inaugural Spanish-language production. This series premiered on Sunday.

In a South American nation, guinea pigs, known locally as cuys, are often consumed. However, the cunning Marioneta seeks to alter this perspective, promoting them instead as household pets. This idea sparks resentment in Doña Quispe (Laura Torres), who profits from selling cuys for food, resulting in a dramatic conflict.

Marioneta, much like her name suggests, is a puppet reminiscent of the character Pepa, portrayed by Carmen Maura in Pedro Almodóvar‘s 1988 film “Women on the Verge of a Nervous Breakdown.” This production carries a strong resemblance to the world created by Almodóvar.

Thirty-nine-year-old Cordova resided in Ecuador and Panama until he was six; then, his family relocated to South Florida. He immersed himself in American culture primarily through extended periods of TV viewing, with “The Simpsons” and comedian Conan O’Brien significantly shaping his perceptions.

He expresses delight about the TV show that beautifully combines reminiscences of his Ecuadorian childhood, along with influences from television and cinema, creating a unique blend.

During the peak of the COVID-19 pandemic, the idea for “Women Wearing Shoulder Pads” was born. Originally working on a Mexican American project, Cordova felt the urge to develop a narrative uniquely representative of his Ecuadorian heritage instead.

Previously employed as a story editor and producer for the animated show “Tuca & Bertie”, Cordova cultivated ties with Adult Swim, the mature-audience programming sector of Cartoon Network. He proposed an unusual concept to them, drawing inspiration from Almodóvar’s ’80s films, Ecuadorean culture, and his affection for the Bob Baker Marionette Theater, a renowned Los Angeles institution.

Initially, Cordova didn’t disclose to Adult Swim his intention for the show to be in Spanish. Instead, he attempted to subtly introduce the idea. “I didn’t bring it up in the initial pitch,” he confesses. “They showed a bit of curiosity, and when I was drafting the script, I began suggesting, ‘This would work exceptionally well in Spanish.’ Yet, I had always been aware that this was the best approach.

Executive team unexpectedly welcomed his proposal for the trial, with the condition that they could alter their approach if needed. “I won’t sugarcoat it,” says Cordova, “It wasn’t all smooth, but Adult Swim genuinely listened to me and showed great support throughout. They took a significant risk.

He believed there must be a particularly amusing rendition of this TV show in Spanish, stemming from his background in writing humor and experimenting with jokes in front of live audiences.

For eight years, he performed stand-up comedy in New York, and he emphasizes that if you lack conviction or full dedication, your efforts won’t succeed. He explains, “The audience can sense it.” Performing in Spanish was simply an aspect of his complete devotion to the comedy routine he was presenting.

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The HBO Max series “Los Espookys” inspired confidence in Cordova’s creative drive, as it demonstrated that American productions could debut in Spanish. He explained further, saying, “That show made me bolder in requesting this.

In Cordova’s own words, the show “Los Espookys” – produced by Julio Torres, Ana Fabrega, and Fred Armisen – captures a distinctive Latin American flavor and humor, which he characterizes as slightly eccentric and peculiar. This same unique and somewhat unconventional tone was the one he aspired to achieve in his own series.

Initially, Cordova penned “Women Wearing Shoulder Pads” in English, utilizing a diverse team of Latino writers who varied in their Spanish fluency, over the course of two months. Writing in their primary language, English, enabled them to express themselves freely and spontaneously, as he describes it – “shooting from the hip.” The production leans heavily on absurdism, a style that is strongly tied to instinct, which he clarifies was vital for this project.

To prevent the humor from getting lost due to language barriers, Cordova collaborated closely with Mireya Mendoza, a translator and voice director based in Mexico, who was working on the show. After refining the Spanish translation, they enlisted Pancho Viñachi, an Ecuadorean consultant, to help make the dialogue and overall portrayal feel more true-to-life and authentic.

Pancho began using distinct terms, not just colloquialisms but also Quechua phrases, which gave the script a uniquely Ecuadorian feel,” Cordova explains. “I regarded this detail carefully as well. We likely spent an equal amount of time translating these terms as we did in the initial writing process.

The show ‘Women Wearing Shoulder Pads,’ which features no speaking male characters, was created by Cordova as a means to emphasize even more the marginalization of men in traditional women-centric dramas or ‘women’s films,’ where the female roles often outshine the male ones.

In simpler terms, he states with a smile, “When you rule out male characters, your show will be characterized as LGBTQ+.” He further explains that the absence of sexual relationships or romantic passion in a parody of such work would limit its appeal. So, he decided to make it more explicitly queer.

In his own words, Cordova attributes Adult Swim for influencing the choice of stop-motion animation in the show. He explains that during the initial pitch, he aimed to create an Almodóvar film using marionettes, but Adult Swim sensibly advised him that this approach would only add complications. Instead, they proposed stop-motion and introduced him to Cinema Fantasma.

Located in Mexico City, Cinema Fantasma is a studio renowned for its expertise in stop-motion animation. Founded by the Ambriz brothers, Arturo and Roy, they are also the masterminds behind Mexico’s first full-length stop-motion animated film, titled “I Am Frankelda.

During the entire production process, Cordova took tours through the studios, which further increased his admiration for the intricate method where each detail is meticulously handmade.

Creating “Women Wearing Shoulder Pads” for Cordova was about diving into his memories from Ecuador in the late ’80s, including being surrounded by exaggerated, partly fictionalized family anecdotes during his upbringing. These nostalgic fragments significantly influenced the design of the puppets.

In crafting our project, I incorporated numerous cinematic nods, making some characters reminiscent of Pedro Almodóvar’s film universe, as if plucked directly from his films. Yet, I didn’t stop there – I shared a vast trove of personal family photos with Cinema Fantasma. We began to envision ‘Doña Quispe,’ merging her likeness with that of certain relatives and characters from the comic series ‘Love and Rockets.’

In the television series, cuy (guinea pigs) were prominently featured, reminding him of his initial shock upon seeing them served or kept in cages when he went back to Ecuador after residing in the U.S. for an extended period as a teenager. Now, he views this practice from a more mature and understanding standpoint.

As a devoted cinephile, I find myself acknowledging that the film, much like savoring a succulent dish of duck in a fine dining establishment, presents an experience equivalent in its own right. Yet, this cinematic piece doesn’t just stop at equating itself to a gastronomic delight; it subtly drives home a powerful message, but simultaneously manages to maintain my cherished childhood perspective on the subject matter through various characters.

In an intriguing blend, the boundary separating creativity and personality became more indistinct as numerous costumes mirrored designs initially conceived by Cordova’s mother during her studies in fashion design in Panama. These designs were believed to remain hidden, but instead, they emerged into public view.

Despite finding the tribute delightful, his mother’s assessment of the show took him by surprise. As Cordova chuckles, he shares, “My mom found it intriguing, remarking, ‘It’s simply a captivating drama.’ For her, the comedic aspects weren’t central; instead, she expressed curiosity about what would happen next, which I hadn’t anticipated.

In focusing intently on Ecuador and crafting this humorous mosaic, Cordova paid a unique homage to those he cherished.

During the show, there were numerous instances where my relatives would exclaim, ‘That’s Auntie’s name! That’s your sister’s pet name!’ Cordova reminisces, likening it to how superhero films incorporate Easter eggs, these being references exclusive to his family.

However, there’s another perspective Cordova is keen to gather, directly from Almodóvar himself. He fervently hopes that, by some chance, the renowned Spanish director might stumble upon the show, and in doing so, feel a sense of appreciation from him.

Cordova explains, “I genuinely hope he watches it, understanding that the production is deeply influenced by his work but not a theft. I ensure to clearly acknowledge my sources. While I might have taken quite a lot from him, I wish he recognizes it’s done with immense admiration.

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2025-08-20 22:31