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Superstar (2025) Season 1 Episode 1

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Transcript
00:00I want to apologize, when I say we're on Tiempo de Marte...
00:23Tiempo de Marte has made history, and it's left its mark on a whole generation of viewers.
00:28What do you think about TV today? Do you think a lot has changed? Do we still celebrate the same things?
00:36When you've enjoyed the good fortune of having the highest ratings for the longest time with a program like Tiempo de Marte,
00:43you end up with a really good understanding of what truly sticks.
00:49Because, you know, times change, but the essentials, they always seem to prevail.
00:54Who triumphs? Those blessed with beauty, or with lots of money, or someone normal. That's it. Every time.
01:03Every time.
01:13Well...
01:14I take it back.
01:20I was lucky enough to experience first-hand an absolute phenomenon.
01:24At the turn of the millennium, for the first couple of years, the weirdest things began to happen.
01:32Never to repeat themselves.
01:34Out of nowhere, the center spotlight was commanded by kids who seemed to defy all rules of stardom.
01:40Celebrities who weren't beautiful, who weren't rich, and far from normal.
01:45The phenomenon was named Tamarismo. Tamarismo after Tamara.
01:52The woman at the heart of it all.
01:55An accidental songstress who came out of nowhere and stayed at the top of the charts for months and months on end.
02:01With a song called, No Cambie.
02:03A song that many ridiculed, but nobody, nobody could get out of their head.
02:14A song that sparked brawls, betrayals, vendettas.
02:19A full-blown televised spectacle with many protagonists, of course, each with their own version of the truth.
02:24We listen to each and every one of their versions, even though they all contradict one another.
02:31And even though each of these stories led us further away from the truth.
02:35Don't talk to my daughter like that.
02:37Can you believe, for instance, that Tamara showed up to all of her gigs accompanied by her mother?
02:44Margarita Seis Dedos got so famous just by swinging her purse to protect her daughter from the cameras.
02:51Some even went as far to say that she had a brick hidden in her purse.
02:59If that is a lie, it's the first of many.
03:05The Brian Roof.
03:35I have to use the bathroom.
03:38All right, all right.
03:45Where was it?
03:50That was silly.
03:51It's not in here.
03:55Is it here?
03:57Yeah.
04:05Floreal?
04:14Floreal?
04:17Mother of God, what is this?
04:27Floreal?
04:32Floreal?
04:35Margarita, where did you go?
04:39My goodness.
04:41My goodness.
04:43Hello?
04:45Margarita, where in God's name have you gone?
04:49I'm inside the hotel, but I don't know where.
05:01Listen to me.
05:03Come this way.
05:05Not that way.
05:10This way.
05:14Come, come.
05:17Hello?
05:18Oh, yes, I'd say.
05:19This way.
05:23Good.
05:24Keep going.
05:25Come on.
05:26Well, I'm good, no?
05:41Are you good, too?
05:42Very good.
05:46Give me a kiss, my love.
05:47Mama, what's the most important thing in your life?
06:00Being a mother.
06:03I always felt like I was missing something.
06:06But then I had you.
06:07Floreal?
06:09Floreal?
06:10Huh?
06:12Where's that strange music coming from?
06:14Hmm?
06:16Hmm.
06:16I don't know.
06:20Margarita?
06:21Oh.
06:22Look who I have here.
06:24Your baby.
06:26What a pretty little angel.
06:27Girl.
06:28She's beautiful.
06:29She is beautiful.
06:30Just perfect.
06:31Perfect.
06:32So beautiful.
06:33What's her name?
06:34Maria Del Mar.
06:36Maria Del Mar.
06:36That's lovely.
06:37Girl.
06:38And from the moment I met you,
06:45I knew you were a special girl.
06:47Come and go.
06:50Come and go.
06:52Hey!
06:54Come, come and come, come and come, come, come, chameleon.
06:58You come and go.
07:00You come and go.
08:02Have you seen my needle?
08:04No.
08:12Darling, was it you who took it?
08:14The needle?
08:15No.
08:16Are you sure?
08:17Yeah.
08:18Get off.
08:19What are you doing?
08:20You sure you didn't take the needle I was using?
08:23I said no.
08:23You didn't swallow it, did you?
08:25No.
08:26Oh, really? Come here.
08:27I said no.
08:27Let me take a look at you.
08:29No, I said get off of me.
08:31Open up.
08:32Marka, you pinned it right there.
08:34The other day, my daughter told me that they caught her dancing in the ladies' room by
08:43herself with no music.
08:45That little girl.
08:45No.
08:46Wow.
08:47Poor thing.
08:47Does anyone tell you that girl is disturbed?
08:50Well, I'm not surprised.
08:51She spends her days glued to that ghost.
08:52How could she not be?
08:53She's watching.
08:57She's watching.
08:57She's watching.
08:59God, I get so bad for her.
09:01I mean, can you imagine having a child at that age?
09:05I'm not surprised she won't let the poor girl leave her side.
09:07Poor thing.
09:08That's a bit much, isn't it?
09:10They're always together.
09:10She doesn't even have friends.
09:12Which one, though?
09:13Hmm.
09:14Oh.
09:15Do you recall that day you walked in with your face all bruised up?
09:21And even your school bag was torn?
09:22Told me two girls in your class had done it.
09:28Do you recall?
09:30Uh-huh.
09:31It was those two.
09:34It was those two.
09:36It was, wasn't it?
09:40Tell me the truth.
09:52I feel like I've heard this music.
10:11There's no way.
10:14I have heard it before, a long time ago.
10:17Impossible.
10:18It was released today.
10:20It's because it's one of those songs that someone else sang first.
10:24No, they just released it.
10:25Darling, let's go to the movies later.
10:43No.
10:43How about an ice cream?
10:47No.
10:49Well, what do you feel like doing?
10:51Dancing.
10:52Okay.
10:53Think of something we could do together.
10:55Buy me some red shoes.
10:57You want some red shoes?
11:00Mm-hmm.
11:00You have red shoes.
11:02But they're too small.
11:03How to know how to feel.
11:08With a contradiction.
11:11You come and go.
11:13You come and go.
11:17Come and go.
11:18Come and go.
11:18Come and go.
11:18What's the matter?
11:28Are they expensive?
11:38I just don't want you to keep growing.
11:42All right, Mama.
11:58Okay, so anyway, I finish by saying, um, I tell her, here's a bouquet of flowers for the most beautiful woman in the world.
12:22Then she tells me, well, where's a bouquet of flowers?
12:25And then I say, well, where's the most beautiful woman in the world?
12:29Eh?
12:30That was it?
12:33Thank you so much.
12:35And you're watching everything like it's a movie or something.
12:38Like on the outside.
12:39I was inside.
12:40At the same time, I was looking at the outside.
12:43I saw everything.
12:45There were police officers and people all around.
12:48And no one was doing anything.
12:50And there was this guy saying it was...
12:51Pardon?
12:52Do you have a cigarette?
12:53No, sorry.
12:54I don't smoke.
12:59Hey, hon.
13:00He's done with his bed now.
13:02Whenever you're ready.
13:03Okay.
13:07What you doing, Mama?
13:09Going with you.
13:10No, you're staying here.
13:15Remember, when the music starts, count to five, okay?
13:18Okay.
13:21Don't worry, Mom.
13:22You're going to do great.
14:23Hey, where's my daughter?
14:34Well, lady, she's on stage right now.
14:36That's the girl you locked in with earlier.
14:38She's on stage right now.
15:08She's on stage right now.
15:39About what?
15:40About the concert. You didn't like it?
15:43Yes. Very, very much.
15:45Mom, I'm going to do this for the rest of my life.
15:56So you can't just say you liked it very much. Give me your honest opinion.
15:59What's the most important thing in your life?
16:12I'm sorry, darling. I didn't mean to wake you.
16:25What's the matter?
16:26Darling, doesn't it make you nervous to sing in front of such a large crowd?
16:36What? There was hardly anyone there.
16:40Well, I didn't like it. People were looking at you funny. And it was all men.
16:45I don't care about that. Unless I fall for someone. But it's got to be with someone who likes my music. Otherwise, they won't fall in love.
16:56You have to be careful. With all men.
17:04Have you ever been in love?
17:05With your father?
17:08No. How do you do in the movies?
17:10No.
17:12Yeah.
17:13He was very handsome. And he'd say the loveliest things to me.
17:22I can't remember exactly. Well, some of it, I can't.
17:30But it didn't end well.
17:32How come?
17:33His family didn't like me.
17:36They said I wasn't good enough for him.
17:39And they made sure we never saw each other again.
17:43I'm sorry.
17:45I'm sorry.
17:46I'm sorry.
17:48I'm sorry.
17:49I'm sorry.
17:49I don't know what you mean. I'm by myself.
17:57At least it's the last time you take us.
18:06That day felt as though my heart had lost its heart.
18:12As if it were about to break in half.
18:19And for many years, I felt as though an infinite emptiness had taken shelter where my heart had once been.
18:43Well, if he loved you so much, why didn't he run away with you?
18:47What a fool.
18:49Well, you know what, though?
18:51I thank God every day that he actually was such a fool.
19:02Mama?
19:03Yeah, babe.
19:06Don't worry, okay?
19:07Because when I record my first album, I swear, I'll stay home more, all right?
19:11What album?
19:26Here are the CDs, Margarita.
19:28Look.
19:29Look how they've turned out.
19:30What do you think?
19:31Huh?
19:31Well, I'm, uh, I'll leave these here.
19:37All right, then.
19:39150.
19:40So let's go over this so everything's clear, okay?
19:43This is the total cost for the studio.
19:45The composing, the arranging, the lyrics, the mixing, all of it.
19:50This is what we talked about.
19:52The number we agree on.
19:54See?
19:55The number's significant, but I want us to be on the same page.
19:58The number is significant, but when it comes to her safety, no number's too high.
20:04What?
20:04What do you mean, safety?
20:05Mama, come look, come!
20:12Do you like it, Mommy?
20:16That's me singing.
20:19Isn't it cool?
20:28Do you like it, Mommy?
20:34Do you like my stage name?
20:37I look cute in that picture, huh?
20:46Margarita, here are the bands that helped Tamara record her album.
20:50Together, virtual dreams and nine and a half weeks in the back of a bus.
20:53They're great, don't you think?
20:54So great.
20:55Right?
20:56Right?
20:58If you don't dance, you can sit down from here.
21:03Bye.
21:03Goodbye.
21:04Stay safe.
21:05See ya.
21:05Goodbye, thank you.
21:06Bye.
21:07Bye.
21:08Bye.
21:12Mama, look.
21:13Look what it says here, as advertised on television.
21:18It's bananas.
21:21It's not that simple, you know?
21:23You must be really happy.
21:24You're famous now.
21:26Of course not.
21:26We still have to go to Madrid.
21:28To Madrid for what?
21:30Well, because they gotta hear our CDs.
21:33Can't you mail them or something, hon?
21:34No, of course not.
21:37Seriously, Madrid?
21:38Seriously, Madrid.
21:39So long.
21:53See ya.
21:54Goodbye.
21:54Bye.
21:57Bye.
22:00Bye.
22:18Bye.
22:21Bye.
22:22Bye.
22:22Look!
22:24Hurry!
22:26Come, Mama, look.
22:30It's Madrid.
22:32Look, it's huge.
22:34Whoa.
22:36That one's pretty cool, too.
22:52Oh, no, yes.
22:54I'm here for you.
23:22I'm an artist. Of course I don't.
23:24Oh, boy. Check this one out.
23:26Props to you, babe.
23:28This way, please.
23:34This is pathetic. We haven't even been here a month.
23:36Their problem, not ours.
23:38Our problem, ours. I want to go back, Mom.
23:40And why do you want to go back?
23:42Because we still have plenty of CDs.
23:44Look!
23:46That's me and you.
23:48We're on our way back to Madrid.
23:50Bye!
23:52See you!
23:54Hoy voy a salir
23:56a por ti.
23:58Hoy voy a salir
24:00a por ti.
24:02Hoy voy a salir
24:04a por ti.
24:06Hoy voy a salir
24:08a por ti.
24:10Hoy voy a salir a por ti.
24:12Hoy voy a salir
24:14a por ti.
24:16Hoy voy a salir a por ti.
24:38Excuse me, are you Miguel Diego?
24:40Uh, yeah, yeah.
24:42So, we had a meeting this afternoon.
24:44I'm tomorrow.
24:46What time, beautiful?
24:48Well, in the afternoon.
24:50Yeah, but it's evening already.
24:52Well, how about now then?
24:54Well, uh,
24:56right now we're heading to Guadalix, okay?
24:58So you want to hitch a ride anywhere?
25:00Or come with? We have an awesome gig lined up.
25:02You want to be in showbiz, right?
25:04Yes.
25:05Well, this would be like a master class.
25:06Come on, get in.
25:08Let's go.
25:14Well, I mean, the song is fine, yeah?
25:16I can tell that the musicians are a bit young.
25:19And the lyrics are a bit weak.
25:21I mean, you can't sing about leaving your house with...
25:23with no underwear on.
25:25Hmm?
25:26You want to know how I'd say it?
25:28That you're out on the town, on an adventure, and you...
25:31have some candy.
25:33But you have no one to unwrap it for you.
25:35You walk with your piece of candy should someone want to eat it,
25:38but first they have to carefully unwrap it.
25:40Unwrap it.
25:41Quien me quita el celofan caramelito, huese me sin celofan.
25:44Huese me sin celofan.
25:45Huese me!
25:46Huese me!
25:47Huese me!
25:48Huese me!
25:49Huese me!
25:50Huese me!
25:51Huese me!
25:52Huese me!
25:58Well, ladies and gentlemen, we have made it this far
26:00and have had an amazing time.
26:02Yeah, it's Huese me.
26:04Huese me.
26:05Like a catchphrase I made up,
26:06like, comor from Chiquito, you know?
26:08If fans remember that,
26:10I swear your career as an artist is made, all right?
26:13I wouldn't give you a catchphrase
26:15because you're not one of those stars
26:16that come to Madrid to... to be funny, you know?
26:18What do stars like you have to do in Madrid?
26:20like you have to do in Madrid?
26:21Sparkle.
26:23Huh, where's the men?
26:24Here, take this flyer.
26:27Stop by on Friday, everyone is gonna be there.
26:29I'm sure we'll find something for you, okay?
26:50Oh yeah?
26:51We get fucked, dirty little cus, fucking bitch!
26:58Paco, Paco!
26:59Okay, wait till you hear this, Paco.
27:02Oh, come on, spit it out, Tony.
27:04It turns out that Miguel was supposed to meet up with a girl.
27:07Some Basque woman, some Basque woman, this Basque woman, that blah, blah, whatever the point is, she came with her mother.
27:13Poor guy.
27:15Where?
27:16It's that woman sitting right there.
27:19Look at her, she looks like a fossil sitting out the door.
27:21Right, where is Miguel?
27:22Oh, in the bathroom, I think, with Richard.
27:24But when you see him, tell him I'm looking for him, say it's urgent.
27:27And then I'm gonna need a hand with Tiempo de Marte.
27:29I've had three floozies tell me to fuck myself.
27:31So who cares?
27:32I mean, Tiempo de Marte is hilarious because of you, man.
27:35You get up there with your turnips and read people their fortunes and whatnot, right?
27:38Well, that's what I do. They're making a fuss now.
27:41They want me to bring some slut of black eye a lawsuit against me, or they want nothing to do with me.
27:45Audiences don't want art anymore, Tony. They want trash.
27:48I'm relaxed. They want you elsewhere, Papa.
27:50Where, Tony? It's the same everywhere else.
27:52On Tiempo de Marte, on Tumbaleo, on El Reno de las Mananas.
27:56TV is becoming a sordid whore milkshake.
27:58Hey, and where's Leonardo, huh?
28:00Where are you taking me? Hang out.
28:02Mama, give me the CD. Please, quick.
28:04Thank you. For you.
28:08Oh, thank you. For you.
28:09Oh, oh, thank you.
28:10You got it.
28:12Mama, this here is Leonardo Dante.
28:16Pleased to meet you, ma'am.
28:20Hello.
28:21He's a very important composer.
28:22Well, I don't know about important. I wish I was. I do compose my own songs. And I write for very famous artists as well, like Manolo Escobar, for example.
28:31Really, wow.
28:32Yeah, he's seen Embargo. Lovely song if I say so. And it went like, your love is rose and spurs. Your love is a light in the storm. Makes me feel cold inside. At times, makes me feel warm. Sounds cool, doesn't it?
28:48Very pretty.
28:49Yeah, it's pretty.
28:51Listen, but this, this isn't the sample you mentioned, is it? This is a full-fledged record. Eleven tracks, plus a remix. All of these songs are yours?
29:00Yep.
29:01Well, tell you what, I'm gonna listen to it very closely, and I can grab your contact details from Miguel, I'll hit you up, and we'll take it from there. That work for you?
29:09Sure, yeah.
29:10Well then, thanks so much, Tamara. Lovely to meet you, ma'am. Goodbye.
29:14Take care now.
29:21What are you doing?
29:37Hey!
29:38What's up, gorgeous?
29:41Play this.
29:44Why? What is this?
29:45Just play it.
29:46Well, which one?
29:47Up to you.
29:51Well, this is an stage for His really, really fun.
30:08The world we call the phone.
30:10Even the alarm.
30:11One time had to access it.
30:13It's a camp to the channel.
30:16All right.
30:17As you just put it in,
30:18No va bien, pienso que algo no va bien
30:22Solo consigo ir junto, solo consigo ir junto
30:29Grabada en el contestador, grabada en el contestador
30:36No me pidas que te crea más
30:41Yo ya estoy cansada de esperar
30:47No me digas que tú eres así
30:54Nunca se te dio muy bien mentir
31:02Tres días sin aparecer
31:07Tres días sin aparecer
31:11No habrá disculpas esta vez
31:15No espero una explicación
31:22No espero una explicación
31:25Es el final para los dos
31:29No me pidas que te crea más
31:35Yo ya estoy cansada de esperar
31:43No me digas que tú eres así
31:50Nunca se te dio muy bien mentir
31:57No me digas que tú eres así
31:59No me digas que tú eres así
32:04No me digas que tú eres así
32:06No me digas que tú eres así
32:21No me digas que tú eres así
32:26What are you doing?
32:39Nothing.
32:40What do you mean, nothing?
32:41Nothing.
32:41What are you off to?
32:42No, nowhere.
32:43What's in there?
32:44Nothing.
32:45Let me see.
32:45Give it to me.
32:47Show me right now.
32:48No.
32:49Open it.
32:49Stop, stop.
32:51Let me see.
32:56What's this, huh?
33:01What is this?
33:03Don't scare me, please.
33:06This is a costume for some kind of strumpet.
33:09Stop!
33:13I'm leaving.
33:14I'm 30 years old.
33:15Well, I'm coming with you.
33:16No.
33:18Well, I'm going to Santorce, then.
33:21Well, go, then.
33:26What's up, gorgeous?
33:46How's it going?
33:48He's a big film director.
33:49He's expecting us.
33:50He's going to love you.
33:51You'll see.
33:56He's going to love you.
34:26Good evening.
34:48Good evening.
34:49What are you doing out here in this cold, sweetheart?
34:51I'm looking for a place to spend the evening until the bus leaves from Chalmartin.
34:56Of course, of course.
34:58Come in.
34:58Come in, come in.
35:01What's your name?
35:03Margarita Cesteados.
35:04Come with me, Margarita.
35:09So you're a northerner, huh?
35:11Yes, Santorce.
35:12Basque country.
35:13And what brought you to Madrid?
35:16My daughter.
35:16Your daughter, huh?
35:21You've given her everything, haven't you?
35:23Without a doubt.
35:24Right.
35:25Yet here you are.
35:27Yep.
35:28Mm-hmm.
35:30Don't worry, sweetheart.
35:33You'll be nice and comfy here.
35:35Come.
35:35I want you to meet the rest of the guests.
35:38But it's late.
35:39They must be asleep.
35:40Nah.
35:40It's never too late or too early here.
35:42Don't have schedules.
35:43Time is relative.
35:44Ladies, please welcome Margarita, our new housemate.
36:02Welcome.
36:03Welcome, Margarita.
36:04Hello there.
36:05Hello there.
36:05Welcome.
36:06I was just telling Margarita that all of us here have made great sacrifices for our daughters,
36:11haven't we?
36:11Yes, we have.
36:14Absolutely.
36:14Good evening.
36:15My daughter's father went off to war.
36:17I single-handedly raised her.
36:19And when she got older, she went off to find her father and abandoned me.
36:23My daughter stopped talking to us.
36:25We went bankrupt and she never spoke to us again.
36:28I broke my hip and my daughter put me in a home, remorseless.
36:34I too gave my daughter everything, but all she wanted was my essence.
36:37We ended up parting ways.
36:38Well, I gave mine a kidney.
36:41A year later, she started dating a biologist and went off to Sydney.
36:45Just like that?
36:45Took the kidney with her.
36:47Gosh, what a nightmare.
36:48I brought mine here to Spain.
36:50And when she finally turned 18, she went back.
36:53Saying she wanted to reconnect with her roots.
36:56Yes, she is.
36:56Because her roots aren't her actual mother.
36:58The one who birthed her.
36:59Absolutely.
37:00Well, I gave my daughter power of attorney.
37:03And the double-crossing piece of shit decided to spend all my hard-earned money living in opulence.
37:09She did whatever she wanted.
37:11She sold my apartment and left me in ruins.
37:14Well then, Margarita, how about I show you to your room now?
37:18Come on.
37:18Margarita?
37:28Margarita?
37:28Margarita?
37:29Margarita?
37:49After you, dear.
37:56Don't forget if you feel like eating breakfast, enjoying a card game with the ladies, a little glass of wine, or anything else.
38:04You can come downstairs.
38:07When you're in this house, there is no schedule.
38:14I'll make sure that everything you need is at your disposal.
38:17Hmm?
38:18I'll make sure you're there.
38:47Hmm.
38:47I'd like to offer an apology.
39:17Yes, I apologize for fooling you into thinking that we're on Tiempo de Marte, when it's not true.
39:24We're not on Tiempo de Marte.
39:25Well, we're not on Tiempo de Marte just yet.
39:27To be crystal clear, this doesn't officially begin until these two people come on stage.
39:34Andrei Bareche and Macarena Barcelona!
39:47All right now, all right now, what have you got for us tonight?
39:56Macarena, more of the same.
39:57No, not more of the same, no, more of the incomparable.
40:00Tomorrow.
40:01So the odd as tomorrow and more of the same don't exactly go hand in hand because there's lots of, lots of other truth is she's just making lots of balls.
40:08The ball of fruit shop, the ball of her marriage, the Paco Porras, the Blair Coyan.
40:13No, no, no, you got it all wrong.
40:29Can't you see that she leaked the tape or something?
40:32You can draw.
40:36If that's the case, you flip it over.
40:38Ace two or three and that's the best hand?
40:40I don't think she missed.
40:41No.
40:42So it's about getting rid of all your cards.
40:43Cards one to four.
40:44Gotcha.
40:45Right.
40:46So you flip it over and say close it.
41:10Margarita, let's go.
41:19Our soap opera's about to start.
41:20Calm down.
41:22That's my daughter's voice.
41:24What do you mean that's your daughter's voice?
41:27What daughter?
41:28Come on, the soap's getting juicy.
41:33Margarita, what's going on?
41:34What are you doing?
41:39Where are you going?
41:40What are you doing?
41:41Oh my god.
41:43Teodora!
41:43Teodora!
41:50Margarita, go back to your room.
41:53But why?
41:54Because you won't find your daughter out there.
41:56And why is that?
41:57Your daughter is no longer your daughter.
41:59Your daughter, she's changed.
42:01She's famous now.
42:02It's more complicated, though.
42:09This is who you'll encounter.
42:10Not your daughter.
42:11This is who.
42:23Have you read what's written on the cover?
42:27As advertised on television.
42:29And that's not easy at all.
42:31It's exceptional.
42:32It's exceptional.
42:32No cambié, no cambié.
42:55No cambié, no cambié.
42:59Sigo siendo la misma, pero ya no sufro
43:03No cambie, no cambie, no cambie
43:09No cambie, no cambie, no cambie
43:13No tengo un amor nuevo y soy yo
43:16¿Qué piensas?
43:20Beautiful
43:20¿Estás otro fan?
43:22Mucho
43:23No estoy sorprendido
43:24Ella ha sido una superstar
43:25All on her own
43:26Y sin el apoyo de la industria de la record
43:28She's an icon who doesn't follow the rules of the establishment
43:32Oh, I'm aware, sir
43:33She's my daughter
43:34No cambie, no cambie, no cambie
43:38No cambie, no cambie, no cambie
43:41Encontré un amor nuevo y con su amor
43:44Yo soy yo libre
43:46It was supposed to be for a movie
43:51I never ever thought that everyone would watch it at home just like that
43:55Tamara, when you say piece of shit, who are you referring to exactly?
43:58Miguel de Diego
43:59He was my old manager
44:01He's upset that we no longer work together
44:05And this is his revenge
44:06Hi, Mama
44:19Hello, darling
44:21You're still here?
44:24Brought you something
44:25Would you mind autographing it?
44:29I'm planning on taking it home with me
44:34And I'm gonna frame it and I'm gonna hang it next to the map of Biscay
44:39And when you appear on TV, I'm going to turn up the volume so everyone can see and hear you loud and clear
44:46When are you planning to go back now?
44:50Well, the bus leaves in a little while
44:51Oh, Mama
44:55Take me with you
44:56No, darling
44:58Yes
44:58Coming to Madrid was a mistake
45:01It was a mistake
45:02No, honey
45:03It turned into a nightmare, Ma
45:04Sweetheart
45:05Sweetheart
45:06You'll see
45:07Why, you don't believe me?
45:09Yes, darling, of course I do
45:10I think you'd still see me as a little girl
45:15Sweetheart
45:17Um, I don't
45:19I'm, I'm
45:20Here's what I'll do
45:21Let me try this
45:22I'm going to count to three
45:25And when I open my eyes
45:31I'll see you for the woman that you are
45:34You'll see
45:35One
45:38Two
45:42Three
45:45Guess that didn't work
45:51So sorry, darling
45:54I still see you as my little girl
45:56Well, don't worry, Mama
45:59Because at least you gave it a shot
46:01You're still my little girl
46:03Hidden
46:11Why is he dressed like that?
46:14Right there
46:15I'll explain later, Mama
46:16It's a long story
46:18This way
46:18Where's the men, ladies and gentlemen
46:20We've got both of them here
46:22Mother and daughter
46:23Do you know what your daughter here
46:24Tamara's up to every night?
46:25Do you know what kind of girl she is?
46:27Or are you confused?
46:28Like half the country
46:28Or perhaps you're the one
46:30Who taught her her low-life, slutty ways?
46:33What's that saying?
46:34You know the one I'm talking about
46:35Whores of a feather
46:36Flocked together
46:37Bound by greed
46:38And dressed in leather
46:39Huh?
46:41Is that right?
46:42Makes sense
46:44In case it is a bear
46:45I don't know about you all
47:01But I couldn't believe it
47:02After the video we just watched
47:04We have collectively come to the conclusion
47:06That the marismo isn't just a mara
47:08Turns out Tamara is just half of the equation
47:11And the other half of the equation is
47:13Her beast of a mother
47:17Let's give it up for
47:41Tamara and Margarita Seistenos
47:44Beautiful
47:52Love you
47:54Oh yeah
47:57An artist?
47:59Are you serious?
48:00I realize this is a world
48:01They'll roll their eyes so far back
48:03They'll be able to see their brain
48:04I'm sorry
48:05But have you seen
48:06The number of records I've sold?
48:08Cell phone ringtones
48:09Who gives a shit about ringtones?
48:10They're tacky
48:11Actually I take that back
48:12They're stupid
48:13You do not speak like that to my daughter
48:23Just what we needed
48:24Sit down lady
48:25Go on
48:25Don't hurt yourself
48:26I'm sorry
48:27Do not feel like this is a morning
48:28I won't run
48:28I qu пропад
48:28No, you want to
48:29I won't hit you
48:30No, you Jordan
48:31No, he won't hit you
48:31No, no, you don't
48:44After all, you know
48:45I don't get the whole thing
48:46I don't know
48:46until you've got that
48:47You don't know
48:48Never
48:50I haven't told you
48:51I don't know