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  • 2 days ago
Superstar Season 1 Episode 1
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 Seistedos 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 Groove
03:12Why the Brian Groove?
03:17Why the Brian Groove?
03:21Why the Brian Groove?
03:26How to take care of and take care of?
03:29How to take care of?
03:31I 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.
04:01Floreal?
04:14Floreal?
04:17Mother of God, what is this?
04:28Floreal?
04:28Floreal?
04:31Floreal?
04:36Margarita, 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.
04:52Listen to me, come this way.
05:03Come this way.
05:08Not that way.
05:10This way.
05:14Come, come.
05:17Hello?
05:18Yes, that's it.
05:19This way.
05:23Good.
05:24Keep going.
05:25Come on.
05:35Well, I'm good now.
05:40Are you good too?
05:42Very good.
05:46Give me a kiss, my love.
05:57Mama?
05:58What's the most important thing in your life?
06:02Being a mother.
06:03I always felt like I was missing something.
06:05But 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.
06:27Oh, my baby girl.
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.
06:37Oh, that's a baby girl.
06:43And from the moment I met you,
06:46I knew you were a special girl.
06:47You come and go.
06:50You come and go.
06:52Hey!
06:53Come, come, come, come, come, come, come, come, chameleon.
06:58You come and go.
06:59You come and go.
07:01You come and go.
07:03Oh, oh.
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?
08:26Come here.
08:27I said no!
08:27Let me take a look at you.
08:29No!
08:29I said get off of me!
08:31Open up.
08:32Marca.
08:33You 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 music?
08:46No.
08:46No.
08:46Poor thing.
08:47Listen to me, 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.
08:56She'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 you want what the poor girl we've ever said.
09:07Poor thing.
09:08That's a bit much, isn't it?
09:10We'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?
09:20And even your school bag was torn?
09:23Told me two girls in your class had done it.
09:28Do you recall?
09:30Mm-hmm.
09:31It was those two.
09:34It was those two.
09:36It was, wasn't it?
09:40Tell me the truth.
09:53I 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.
10:25Every day is like survival.
10:29You're my lover.
10:32Love my rival.
10:35Every day is like survival.
10:38Darling.
10:40You're my lover.
10:41Let's go to the movies later.
10:43No.
10:45How about an ice cream?
10:47No.
10:49Well, what do you feel like doing?
10:51Dancing.
10:52Okay, think 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.
11:27What's the matter?
11:30Are they expensive?
11:38I just don't want you to keep growing.
11:42All right, Mama.
11:43All right.
12:06Okay, so anyway, I finish by saying, I tell her, here's a bouquet of flowers for the most
12:20beautiful woman in the world.
12:22Then she tells me, well, where's the bouquet of flowers?
12:25And then I say, well, where's the most beautiful woman in the world?
12:29And that was it.
12:33Thank you so much.
12:35And we're watching everything, like it's a movie or something.
12:38Like on the outside.
12:39I was inside, but at the same time, I was looking at it from the outside.
12:43I saw everything.
12:45There were police officers and people all around, and no one was doing anything.
12:50And there was this guy saying there was a...
12:51Pardon, do you have a cigarette?
12:53No, sorry, I don't smoke.
12:59Hey, hon, he's done with his bin now.
13:02Whenever you're ready.
13:03Okay.
13:05What you doing, Mama?
13:09Going with you.
13:10No, you're staying here.
13:16Remember, when the music starts, count to five, okay?
13:21Don't worry, Mom.
13:22You're gonna do great.
13:23Okay.
13:23Don't worry.
13:44Let's go.
14:14Hey, where's my daughter?
14:34Hello, lady.
14:35She's on stage right now.
14:36That's the girl you walked in with earlier.
14:44She's on stage right now.
15:14Hey, you haven't said a word.
15:39About what?
15:40About the concert.
15:41You didn't like it?
15:43Yes.
15:44Very, very much.
15:51Mom, I'm gonna do this for the rest of my life.
15:54So you can't just say you liked it very much.
15:59Give me your honest opinion.
16:03What would you rather I say?
16:10What's the most important thing in your life?
16:12You.
16:22I'm sorry, darling.
16:23I didn't mean to wake you.
16:25What's the matter?
16:32Darling, doesn't it make you nervous to sing in front of such a large crowd?
16:36What?
16:37What?
16:38There was hardly anyone there.
16:40Well, I didn't like it.
16:42People were looking at you funny.
16:44And it was all men.
16:46I don't care about that.
16:49Unless I fall for someone.
16:51But it's gotta be with someone who likes my music.
16:54Otherwise, they won't fall in love.
16:56You have to be careful.
16:58With all men.
17:04Have you ever been in love?
17:06With your father?
17:08No.
17:08How do you do in the movies?
17:10No.
17:10He was very handsome, and he'd say the loveliest things to me.
17:24I can't remember exactly.
17:27Well, some of it I can.
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.
17:38And they made sure we never saw each other again.
17:51Yes, yes, yes.
17:53Where's the arch?
17:54I don't know what you mean.
17:55I'm by myself.
17:57At least it's the last time you take up some food.
17:59That day felt as though my heart had lost its footing.
18:12As if it were about to break in half.
18:14And for many years, I felt as though an infinite emptiness
18:40had taken shelter where my heart had once been.
18:44Well, 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,
19:10I'll stay home more, all right?
19:23What 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 agreed on.
19:54See?
19:55The number's significant, but I want us to be on the same page.
19:58The number is significant.
19:59But when it comes to her safety, no number's too high.
20:03What?
20:04What do you mean, safety?
20:05Mama, come look!
20:07Come!
20:14Do you like it, Mommy?
20:16That's me singing.
20:19Isn't it cool?
20:20Margarita, here are the bands that helped Tamara record her album.
20:48Together, 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?
20:56Bye.
21:03Goodbye.
21:04Bye.
21:04Bye.
21:04See 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.
21:19It's not that simple, you know?
21:23You must be really happy.
21:24You're famous now.
21:26Of course not.
21:27We still have to go to Madrid.
21:28To Madrid?
21:29For 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.
21:39Bye.
21:39Bye.
21:39Bye.
21:39Bye.
21:39Bye.
21:39Bye.
21:40Bye.
21:40Bye.
21:41Bye.
21:41Bye.
21:41Bye.
21:42Bye.
21:42Bye.
21:42Bye.
21:42Bye.
21:42Bye.
21:43Bye.
21:43Bye.
21:43Bye.
21:43Bye.
21:43Bye.
21:43Bye.
21:43Bye.
21:43Bye.
21:43Bye.
21:43Bye.
21:43Bye.
21:43Bye.
21:44Bye.
21:45Bye.
21:45Bye.
21:45Bye.
21:52Salon.
21:52See ya.
21:54Bye.
21:55Bye.
21:57Me miro en el espejo, sonrío mientras pienso que voy a salir dispuesta a que mueras por mí.
22:12Un poco más de rimel.
22:14Mama, look!
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.
22:44Hoy voy a salir a por ti.
22:52Hoy voy a salir a por ti.
23:14Listen to them and we'll be in touch.
23:16I think we'll wait, right, Mama?
23:18Of course.
23:20Don't you have anything better to do?
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.
23:49Look!
23:50That's me and you.
23:52We're on our way back to Madrid.
23:54Bye!
23:55See you.
24:12My family!
24:13Come on.
24:14Come on.
24:28Careful with the car.
24:29How much?
24:30Come on, come on. Let's go.
24:31Let's go, ladies. Come on!
24:33Let's go.
24:34Watch out for the cars, please.
24:35Come on.
24:36Excuse me, are you Miguel Diego?
24:41Uh, yeah, yeah.
24:43So, we had a meeting this afternoon. I'm tomorrow.
24:46What time, beautiful?
24:48Well, in the afternoon.
24:49Yeah, but it's evening already.
24:51Well, how about now, then?
24:54Well, uh, right now we're heading to Guadalix, okay?
24:58So you want to hitch a ride anywhere?
25:00Or come with?
25:01We have an awesome gig lined up.
25:02You want to be in showbiz, right?
25:04Yes.
25:04Well, this would be like a masterclass.
25:06Come on, get in.
25:13Well, 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 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 have some candy.
25:32But you have no one to unwrap it for you.
25:35You walk with your piece of candy should someone want to eat it, but first they have to carefully unwrap it.
25:41Who will take me off the cellophane caramel?
25:43A little sms without a cellophane.
25:45I can't see my cellophane.
25:47A little sms.
25:47A little sms.
25:48A little sms.
25:48A little sms.
25:49Well, ladies and gentlemen, we have made it this far and have had an amazing time.
26:02Yeah, it's, it's Wessamen.
26:04Wessamen, like a, a catchphrase I made up, like comor from chiquito, you know?
26:09If fans remember that, I swear your career as an artist is made, all right?
26:14I wouldn't give you a catchphrase because you're not one of those stars that come to Madrid to, to be funny, you know?
26:19What do stars like you have to do in Madrid?
26:22Sparkle.
26:23Huh?
26:23Wessamen.
26:24Yeah, take this flyer.
26:27Stop by on Friday.
26:28Everyone is going to be there.
26:29I'm sure we'll find something for you, okay?
26:49Ow!
26:51Oh, yeah?
26:52Get fucked, dirty little cunt.
26:54Fucking bitch!
26:54Okay, where do you hear this, Paco?
27:02Come on, spit it out, Tony.
27:04It turns out that Miguel was supposed to meet up with a girl.
27:07Some basketball woman, some basketball woman, this basketball woman, that blah, blah, whatever the point is, she came.
27:12With her mother!
27:14Poor guy.
27:16Where?
27:16It's that woman sitting right there.
27:19Look at her, she looks like a fossil sitting out the door.
27:21Where is Miguel?
27:22Oh, in the bathroom, I think, with Richard.
27:24But when you see him, tell him I'm looking for him.
27:26Say it's urgent.
27:27And then I'm going to need a hand with Tampa de Marte.
27:29I've had three floozies tell me to fuck myself.
27:31So who cares?
27:32I mean, Tampa de Marte is hilarious because of you, man.
27:35You get up there with your turnips and read people their fortunes and whatnot, right?
27:39Well, that's what I do.
27:39They're making a fuss now.
27:40They want me to bring some sleight of black eye, a lawsuit against me, or they want nothing to do with me.
27:46Audis's don't want art anymore, Tony.
27:48They want trash.
27:48Relax, they'll want you elsewhere.
27:50Where, Tony?
27:51It's the same everywhere else.
27:52On Tampa de Marte, on Tamaleo, on El Reno de las Mananas.
27:56TV has become an assorted whore milkshake.
27:58Hey, and where's Leonardo, huh?
28:00Where are you taking me?
28:02Hang on.
28:03Mama, give me the CD, please, quick.
28:09For you.
28:09Oh, thank you.
28:10What do you got?
28:13Mama, this here is Leonardo Dante.
28:17Hey, Mama.
28:19Pleased to meet you, ma'am.
28:20Hello.
28:21He's a very important composer.
28:23Well, I don't know about important.
28:24I wish I was.
28:25I do compose my own songs.
28:27And I write for very famous artists as well, like Manolo Escobar, for example.
28:31Really, wow.
28:32Yeah, he's seen Embargo.
28:34Lovely song, if I say so.
28:35And it went like,
28:37Your love is rose and spurs.
28:39Your love is a light in the storm.
28:42Makes me feel cold inside.
28:44At times, makes me feel warm.
28:47Sounds cool, doesn't it?
28:48Very pretty.
28:49Yeah, it's pretty.
28:50Listen, but this, this isn't the sample you mentioned, is it?
28:55This is a full-fledged record.
28:57Eleven tracks, plus a remix.
28:59All of these songs are yours?
29:00Yep.
29:01Well, tell you what, I'm going to listen to it very closely,
29:03and I can grab your contact details from Miguel.
29:06I'll hit you up, and we'll take it from there.
29:08That work for you?
29:09Sure, yeah.
29:10Well then, thanks so much, Tamara.
29:12Lovely to meet you, man.
29:14Goodbye.
29:14Daycare now.
29:15What are we doing?
29:36Hey!
29:38What's up, gorgeous?
29:41Play this.
29:42Bye, what is this?
29:45Just play it.
29:46Well, which one?
29:47Up to you.
29:48See you.
30:08Fuelvo el teléfono y después.
30:12Fuelvo el teléfono y después.
30:15Pienso que algo no va bien, pienso que algo no va bien
30:22Solo consigo oír tu voz, solo consigo oír tu voz
30:29Grabada en el contestador, grabada en el contestador
30:36No me pidas que te crea más
30:41Yo ya estoy cansada de esperar
30:48No me digas que tú eres así
30:55Nunca se te vio muy bien mentir
31:02Tres días sin aparecer
31:07Tres días sin aparecer
31:11No habrá disculpas esta vez
31:14No habrá disculpas esta vez
31:18No espero una explicación
31:22No espero una explicación
31:25Es el final para los dos
31:29Es el final para los dos
31:32No me pidas que te crea más
31:36Yo ya estoy cansada de esperar
31:43No me digas que tú eres así
31:51Nunca se te vio muy bien mentir
31:58No me digas
31:59No me digas
32:00Yo ya estoy cansada de esperar
32:01No me digas
32:16What 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.
32:50Stop, stop.
32:51Let me see.
32:57What'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.
33:22What's up, gorgeous?
33:28What's up, gorgeous?
33:32How's it going?
33:47He's a big film director.
33:49He's expecting us.
33:50He's going to love you.
33:51You'll see.
33:52You're going to love you.
33:55You'll see.
33:56I don't know.
34:26I don't know.
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.
35:05So you're a northerner, huh?
35:11Yes, Centaursay.
35:12Basque country.
35:13And what brought you to Madrid?
35:16My daughter.
35:18Your daughter, huh?
35:20You've given her everything, haven't you?
35:23Without a doubt.
35:24Mm, right.
35:25Yet here you are.
35:27Yep.
35:28Mm-hmm.
35:28Don'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, it'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.
36:02Hello.
36:02Welcome.
36:03Welcome Margarita.
36:04Hello 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?
36:12Mm-hmm.
36:13Yes, 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.
36:27I 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 assets.
36:37We ended up parting ways.
36:39Well, I gave mine a kidney.
36:41A year later, she started dating a biologist and went off to Sydney.
36:45Just like that.
36:46Took 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?
37:17Oh, terrible.
37:18Come on.
37:18Oh, goodness.
37:19Yes.
37:19Yes.
37:19Yes.
37:19Yes.
37:19Yes.
37:19Yes.
37:19Yes.
37:19Yes.
37:20Yes.
37:20Yes.
37:20Yes.
37:20Yes.
37:20Yes.
37:20Yes.
37:21Yes.
37:21Yes.
37:22Yes.
37:22Yes.
37:22Yes.
37:23Yes.
37:26Yes.
37:27Yes.
37:28Yes.
37:28Yes.
37:28Yes.
37:29Yes.
37:29Yes.
37:30After you, dear.
37:56Don't forget if you feel like eating breakfast,
37:58enjoying a card game with the ladies,
38:00a 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?
38:17I'll make sure that everything you need is at your disposal.
38:23I'll make sure that everything you need wäre well.
38:25Okay.
38:25Let's go.
38:26Let's go.
38:28Let's go.
39:37So clear.
39:39This doesn't officially begin until these two people come on stage.
39:41All right now, all right now, what have you got for us tonight?
39:55Macarena, 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
40:05lots of, lots of the truth is she's dressing lots of balls, the ball of the fruit shop,
40:09the ball of the marriage, the bottle of Boras, the Blair Cayenne.
40:13Oh, the end is okay.
40:15It's called closed, so the game is won.
40:17I'm going to go over here.
40:19I'm going to use cards.
40:21Oh, that's just one way.
40:23Or you can switch it out by switching your hand, okay?
40:25You see?
40:27No, no, no, you got it all wrong.
40:29Can't you see that she leaked the tape or something?
40:31You can draw.
40:35Oh.
40:36If that's the case, you flip it over.
40:38Ace two or three and that's the best hand?
40:40I think she's crazy, I 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.
41:01Margarita, let's go, our soap opera's about to start come down.
41:20That's my daughter's voice.
41:23What do you mean that's your daughter's voice?
41:26What daughter?
41:28Come on, the soap's getting juicy.
41:32Margarita, what's going on?
41:36What are you doing?
41:39Where are you going?
41:40What are you doing?
41:41Oh my god.
41:42Teodora!
41:43Teodora!
41:50Margarita, go back to your room.
41:52But why?
41:53Because you won't find your daughter out there.
41:55And why is that?
41:56Your daughter is no longer your daughter.
41:58Your daughter, she's changed.
42:00She's famous now.
42:04It's more complicated though.
42:08This is who you'll encounter, not your daughter.
42:10This is who.
42:11This is who.
42:23Have you read what's written on the cover?
42:26As advertised on television.
42:28And that's not easy at all.
42:30It's exceptional.
42:31It's exceptional.
42:32What do you think?
42:33Is that right?
42:34Is that right?
42:35You know?
42:36Or is it an alarmist?
42:37It's so.
42:38No, no, no, no.
43:08No, no, no, no.
43:38No, no, no, no, no.
44:08hi mama hello darling you're still there brought you something
44:25would you mind autographing it i'm planning on taking it home with me and i'm gonna frame it
44:36and i'm going to hang it next to the map of this game and when you appear on tv i'm going to turn
44:42up the volume so everyone can see and hear you loud and clear when are you planning to go back now
44:49well the bus leaves in a little while
44:51oh mama take me with you no darling yes coming to matured was a mistake it was a mistake
45:02no it's turned into a nightmare ma sweetheart you'll see what you don't believe me yes darling of course
45:10i do i think you still see me as a little girl sweetheart um i don't i'm i'm here's what
45:21i'll do let me try this i'm going to count to three
45:25and when i open my eyes i'll see you for the woman that you are you'll see
45:35one two three guess that didn't work so sorry darling i still see you as my little girl
45:56well don't worry mama because at least you gave it a shot you're still my little girl
46:03why is he dressed like that i'll explain later mama it's a long story
46:18where's the men ladies and gentlemen we've got both of them here mother and daughter do you know
46:23what your daughter here tomorrow's up to every night do you know what kind of girl she is or
46:27are you confused like half the country perhaps you're the one who taught her her lowlife slutty
46:31wave what's that saying you know the one i'm talking about whores of a feather flock together
46:37bound by greed and dressed in leather huh is that right
46:42makes sense to keep it into the family i mean
46:46i don't know about you all but i couldn't believe it after the video we just watched
47:04we have collectively come to the conclusion
47:06that tamarismo isn't just tamara.
47:09Turns out tamara is just half of the equation.
47:11And the other half of the equation is...
47:14her beast of a mother.
47:34Let's give it up for...
47:42Samara and Margarita Seistenos.
47:51Beautiful!
47:53Lovely!
47:56Oh, yeah!
47:58An artist? Are you serious?
48:00I realize that the world will roll their eyes so far back
48:03they'll be able to see their brain!
48:04I'm sorry, but have you seen the number of records I've sold?
48:08Cell phone ringtones?
48:09Give the shit about ringtones! They're tacky!
48:11Actually, I take that back! They're stupid!
48:20You do not speak like that to my daughter!
48:23Just what we needed. Sit down, lady.
48:25Go on, don't hurt yourself.
48:33Go on, don't wait for the phone
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