#Mario Patiño

[postguiltypleasures]

My Peak TV Journey *Betty la Fea La Historia Continua*

I need to say upfront, that I was really excited about this series, and I remain mostly satisfied. I look forward to the second season continuing (and wrapping up?) this story. I also finished watching the edited-for-Peacock version of the original.  I will say that the sequel is for people like me, people who think the original loses steam after the return from Cartagena. Also, while they can show Armando in touch with his emotions, they don’t show him having any idea how to act on them in a healthy manner. Despite this he and Betty accept that they’re still in love, generally better together so they get together without resolving Betty’s deep trust issues, or how Armando still needs to learn anger management and better communication skills. It’s amazing they lasted as long as they did.

I don’t want to fight anyone over the quality of the series, but there are some things I have to defend. Namely the structural differences between the sequel and original. By structural, I mean mostly pacing, cast size, and how information is revealed. The differences between setting up a story that will most likely run through through hundreds of episodes more or less uninterrupted for over a year vs something that the two episode once a week, for a total of ten where continuation will be indefinite continuation is essentially a change of medium. The techniques and rules for storytelling change. The now. de-cannonized sequel spinoff Ecomoda is criticized for being too much of a sitcom when figuring out how to deal with this.  La Hisotria Continua is more like the original telenovela in tone and plot points, but it has to unfold differently than the original. (Also in being more like the original, it’s going to torture its main characters a new. If you can’t accept it, don’t watch and don’t comment.) In the original an early episode is dedicated to Betty and Nicholas reading a magazine covering an event Ecomoda had, with flashbacks to event, where we really get to know many of the major characters, what they are up to and then we watch what’s happening next. This season comes with the assumption that we are familiar with most of the characters, but we don’t really know what they’ve been up to, and most importantly, we don’t know how they relate to the new ones. Crucially, it isn’t laid out so we know what kind of danger Betty is walking into like in the original. Int the original the intrigue was “what will happen?” Here it’s more “what has happened?” This comes with mixed results. The first episode especially felt needlessly confusing. And even by the end of the season, there were things, like how and why Majo got involved with Ecomoda, that I wish had been clarified by then. However, there was a moment in the second episode made it more clear that they knew what they were doing. This starts with Betty telling Bertha and Sandra that she was not a good president of Ecomoda because she only made the rich richer. I took this as a sign that this was taking on the extreme classism in the original, how it was mostly treated as “that’s the way the world works” kind of way. 

The series opens at Don Roberto’s (Armando’s father) funeral. Armando’s relationship with his father was always  fucked up though the original series seemed to loose interest in the more negative aspects of his character as it went on. One of the messed up things about their relationship was how accommodating Roberto was to Daniel, so of his former business associates and Armando’s rivalry. The not too subtle subtext is that Roberto thought of Daniel as a more serious minded person for business and wished Armando was more like him, while also showing little to know interest in anything else about who Armando is as a person. He didn’t have much interest in who Daniel was as a person either. This all business approach helped him appear to be out of the fray, when he really very much was in it. In the new series, through  a video of his will, Roberto sets up a plan for Ecomoda that manipulates a reluctant Betty back while telling Armando how he once again failed as president.  No wonder after Roberto’s death Armando is haunted by visions of Roberto saying he should have spent more time in prison, and that he doesn’t deserve someone as wonderful as Betty. The latter statement is pretty ironic, given that Roberto treated Betty pretty coldly. Everyone ignores the fact that in the original series when they first met he refused to shake her hand. Roberto definitely deserves some of the blame for how Marcela became a lingering presence over Betty and Armando’s marriage, and Betty never feeling entirely welcome in the Mendoza family. And of course as we later learn, her fired Betty to appease Marcela, when that was bad for everyone.

Looking back after the season, I think Marcela might have been the character who most benefited from the changes in structure. The story was put into motion by her worst qualities, her anger, lack of curiosity, the ways she isolates herself. But she didn’t have enough air time to for these traits to become too tiresome and have us give up on her. And she is left in a position where she has to make some life changing decisions. We learn early on Marcela blames Betty for Daniel’s downfall. Betty was aware that something was wrong with the company financially, alerted the police and the investigation led to Daniel being arrested for money laundering and then being murdered in prison. But, for the plot of this series, the real issue is how aggressively Marcela only sees what she wants to see. Marcela seems to have natural blinders towards so much in life. She wants vengeance of getting rid of Betty and Armando and then taking over Ecomoda with Ignacio. But she is not paying attention to what Ignacio is doing. When she learns if a lot of it in the last episodes she’s appalled. But she mostly doesn’t want to. Her relationship with Ignacio is the inverse of how she treated Armando as a boyfriend, but reminiscent of how she never had interest in the running of Ecomoda, never check in on Armando and Mario’s business schemes and ignored how her brother sexually harassed her best friend. So her not checking in more on Nacho feels in character, but is part of the way she’s always been frustrating. After the reveal that Ignacio is her half brother, instead of her nephew as she believed, I began to wonder if it was a revelation to force her to change this aspect of her character? Does knowing her father had a second family make her aware that this isn’t just keeping her head high out of the muck? (Or whatever she says to herself.) She’s ignoring things that matter. It also made me think are we supposed to reassess her constant monitoring of Armando during their relationship as some kind of subconscious way of making up of all the ways she ignored the poor behavior of the men in her immediate family? For most of the season the relationship between Marcela and Nacho was treated as a mystery, much of the office assuming that he was her boyfriend, while fans knew he was a secret member of the Valencia family and having the full answer include how much Marcela doesn’t look at or explore things involving her familys interesting. I hope the next season follows up on this. Some of the follow up will involve Pascual, Nacho’s secret parter and Marcela’s new love interest. I’m not sure Pascual will actually be good for Marcela in the long run.  She needs to have her single minded desire to hurt Betty and Armando broken by other desires. And I don’t think she’s thought of wanting anything else for a while. But he gives mixed messages all the time. As a secret patter who express interest in becoming part of the high society fashion world. But in his first scene he says the line “Para mi papero y papito son los mismos nombres.”  Indicating he’s not that interested in changing his identity.  He has a couple of ugly divorces and says he wants to be fawned over by models, but he also is instantly smitten with Marcela and pursues her with the most blunt and crass language I can imagine.  He also has as little interest in remaking Ecomoda’s image as he does his own image, to Nacho’s presumed chagrin.

Marcela also had surprisingly little interaction Patricia, which did affect a lot of the show. It’s an interesting way showing of how people have changed and stayed the same. During the first episode I hated Bertha and Sandra’s jokes about Patricia’s husband. They were gross and agist.  (Later meeting him at the quinceñera flash back made Patricia’s relationship  seem like elder abuse. But, I kind of like that Patricia’s in a relationship that she wants to be known, but doesn’t want to bring attention to. It’s a change of pace from the original where she was single, desperate and frequently saying how she could have a boyfriend whenever she wanted. The change seems like an appropriate response to Daniel regularly offering to pimp her out to his friends. I also like that she was promoted to Gutierrez’s position as a way to show everything being different but similar. Patricia was always about bossing around el cuartel. Gutierrez also seemed to think of his job as chiding people back into looking busy whenever. The change in position a good reason for Bertha and Sandra’s renewed hatred for Patricia a fits with the ways Gutierrez was awful. Bertha’s obsession with “chisme” might actually make her good at the job, She can make people feel seen and heard and communicate between workers and executives. People could feel more motivated to work when they understand more of what is going on in the company. But it doesn’t fit with the intense classism that rules Ecomoda. It would be a view of the position completely alien to Gutierrez.  

As I was saying earlier, whatever is going on with Majo, Mario and Armando seems more needlessly confusing than intriguing. Why is Armando friendly with Majo again after her kiss at the end of the first episode causes such disruption? Those scenes with the them at the club were weird. I don’t for a second believe she’s an alternate love interest, but why should I care? As the season went on I find myself more intrigued by the lack of scenes between Majo and Mario. He talks her up whenever he’s alone with Armando and even expected her to have a conjugal visit with him in prison. Yet she never talks about him, and they never talk directly to each other. I’ve come to think of her as not so much wanting Armando, as wanting Armando to want a divorce because that what Mario, her secret real employer wants. But this is based on absence, rather than what’s on screen. For what does Mario want control over Armando? And why is he still so bad at vetting potential business alliances? I hate the character of Mario, but the season could have improved by filling in some gaps about what he’s up to.

Betty’s alternate love interest, Esteban, isn’t a better defined character than Majo, but at least he’s not supposed to have created some kind of bond with the main characters off screen in the time between series’s.  He’s a better alternative love interest than Michel in that he’s a better listener and has more in common with Betty. But he’s still too boring to compete with Armando.

As someone who always thought Armando didn’t show up enough what he learned, of that he necessarily knew how to be, I kind of loved events on the third and fourth episodes as revisiting things in the original series, including punch Esteban like he punched Nicolas in the original for being a perceived romantic rival. While that was a new low originally, it didn’t motivate Armando to change his behavior. If anything, the original series suggests that violently lashing out is fine when you’re lashing out at the right people as demonstrated by him later punching Mario. His attempt to change includes joining a group therapy with Freddy. This leads to revisiting Armando in drag, only this time to better understand Betty’s point of view, not simply be emasculated for the failures of his toxic masculinity and homophobia as in the original. In some ways I felt for him more in this series than I did in the original. He just seemed so lost, but also not putting himself at the center of everything as he did in the original.  Betty briefly made him VP of Finances, a roll to which he is not suited, but doing so gives him the time to confess to his misdeeds on his own time, I found myself wishing that they made Armando majoring in something more mechanical a bigger part of his character. Then I could say “that’s what he’s good at.” But he seems otherwise most interested in maintaining vendor and supplier relations which seems closer to Marcela’s specialty. Being at Ecomoda is bad for him as a person. During the flashback to the fight while Betty left him he says he sacrificed his social circle for their relationship. There is a truth to this. Mario’s ability to slip back into his life is a sight of how real it feels. But the bigger truth is that between the hours he spent at Ecomoda, and the class rigidity of the institution, he never had the opportunity to make new friendships. This is poignantly present in his scenes with Freddy, where we see how hard it is to accept Freddy as a friend. 

All this talk about how social hierarchies having ruinous effect on personal it’s time to do a brief, segue about the uses of “usted” and “tú” in both series, with the caveat that I am neither a native Spanish speaker nor a Colombian nor someone who’s ever been to Colombia. I know I’m missing a lot of cultural context. I have heard that Colombia uses usted more than other Spanish speaking countries. Still, the use in the original seemed extreme. It helped illustrate the ingrained classicism of the original. Betty and Armando reverting to “usted”  even en a flashback to happier times, after beginning to use “tú” near the end of the original is a bad sign. It adds opportunity to misunderstand one another and hints that they haven’t quite gotten over the class divide after years of marriage. In the original it sometimes seems like one has to be upper class to deign tutear. The Cuartel, Betty’s parents within their relationship with each other and with Betty, as well as Betty with Nicolás all use “usted” with each other despite being personally close. In contrast to this Patricia’s use of tú comes off as impudent,  and Nicolás only uses tú when trying to impress Patricia by pretending to have more money than he’s worth. This language barrier, in the original Betty sees herself as an extension of Armando who always had to prove herself. (This is common amongst Ecomoda employees, see Berta’s reluctance to share Gutierrez’s home phone number while he was sexually harassing Aura Maria and Sandra’s self flagellation after lying to Mario.) By the new series Betty strongly associates more with the employees of Ecomoda than any of its owners. Which explains her return to “usted,” and Mila’s regular use of “tú” as a sign of how hard it is for them to get each other. The continuation seems pretty aware that this emphasis on formality was a not great set up for life.

Mila starts the season very angry with her mother and ends angry with her father. While taking notes I surmised that all the hurtful things Mila said to Betty early on showed a fear of understanding what happened between her parents. She knew it was too potentially painful. She chose to support Armando because she thought he wanted to reconnect in a way Betty didn’t. This fear is completely founded, and when she does find out about her parents history, the reason her mother quickly abandoned trust in her father, she switches allegiance. Though this happens right around the time Betty is starting to consciously realize that her reaction 

Early in the season Betty says something about needing to break vicious cycles. She’s right about that need,  but her technique of just cutting off all contact is by now her own contribution vicious cycle, and therefore counter productive. She would have known more about what she was walking into returning to Ecomoda if she opened those emails. Also, while she definitely had the right to be angry with Armando about how his failed negotiations with Roberto and Marcela affected her, and the way she was cut out of them, it would have been better for all if after a couple of days of cooling down they decided to meet for counseling. The extended radio silence was just bad for everyone. Also I would like more detail on what Betty and Nicolas were up to in their time away from Ecomoda. I am under the impression that Doña Julia was ill and died during that time period, so Betty spent a lot of time with her mother during her last days and shut off any contact Armando tried to make simultaneously. But what else? What was she thinking about as possible futures? Nicolas is even more of a blank slate. All I know is that Mila has apparently t been telling I’m for yeas that the amount of hair gel he uses makes him look older than necessary. She is right, see any picture of Mario Duarte out of character. 

While I wish more detail was given to Betty’s life away from Ecomoda, I like pretty much everything about how she acts after she returns. As I said before, I like how explicitly she relates to non share holding staff instead of favoring the actionistas. This includes her room ring Freddy and demoting Mario. I hope there is more follow up on that next season. More concerning this season’s plot, I like that Betty got the heads up about financial shenanigans from Hugo. It was unexpected, but in character for both. Also it reflects poorly on Marcela, who could have gotten answers to what Armando was doing if she just talked to Hugo like an equal. 

I don’t know anything about the Colombian’ legal system. So I can’t say anything about how realistically or not Armando turning himself and Gutierrez in between the episodes. The important thing is how it plays in comparison to his downward spiral after Betty exposed the Terramoda scheme in the original. Which is that he’s more willing to take responsibility for his actions, go public and not pick fights. Betty also has changed since then, demonstrated by going to visit him in jail and talk. Then they have sex in a scene reminiscent of their first time in the original, only with some roll reversal. This is emotionally confusing for Betty. In someways exactly why she justified cutting him off with no contact. On the other hand she gets to speak to someone who cares about the real emotional turmoil affecting her and learns more about Ecomoda’s quagmire. 

Another aspect recently revealed aspect of Betty I would like to see more of is the things that led Betty to tell her father that he wasn’t a great husband. He wasn’t, but it was something that couldn’t be articulated outside of some face making Doña Julia did, and the way she and her mother hid things from him. It fits with a theme of the series of saying things they couldn’t say in the original. Hermès’ dogmatism is in conflict with Betty’s journey of becoming more of a humanist. 

I’m now going to wrap this up by writing about the new generation followed by some thoughts on finish the original series in a more complete way than ever before.

Other than Mila, Ignacio is the best defined of the new characters. Viewers were quick to say he has the Daniel Valencia role of the original. After all he is someone aligned with Marcela acting antagonistically towards Betty and Armando. And while this series played with that assumption, the two characters are most interesting in their differences. Ignacio is charming while Daniel was aggressively not. To the extent Daniel had a charm, it’s based on the idea that he’s saying to your face what other people say behind your back. As a guy setting up a mass surveillance program through Ecomoda, Ignacio not going to pretend that he’s the one person telling the truth to your face. But he sincerely does like Mila, even though the circumstance means he’s betrayed her before anything started between them. At the end of this season I found myself wishing that there was more time spent on Jeff and Carmen so that the love quadrangle that Mila and Ignacio are with them felt juicier. It’s got long running soap potential. 

Finishing the original while watching this has brought back some of the dread that I had going into the last section of the novela. Much of the post Cartagena plot feels like the show is spinning its wheels before deciding how to hastily rush to the finish line. Contributing to this feeling is the over reliance on flashbacks. The scenes involving Betty’s return to Ecomoda are particularly bad with this, and they didn’t even cut them from the Peacock edits. (These would have been some of the first edits if I were supervising it.) This section drops  various subplots, including Inesita’s estranged husband coming home to die, which real does make the way the series doesn’t know what to do stand out. Theresa are some high points likeel desfile del Cuartel. But that is also supposedly the resolution of the Sofia/Jenny plot, and it’s not satisfying as such. I get that the cast and crew were exhausted, and some of them had signed contracts to work with other tv networks lessening their availability. But on a level of pure drama, these plots points are simply inexcusable. Also dropping the cuartel’s pilots makes them worse friends. They suddenly only have gossiping about Betty going on and no respect for boundaries or treating her like an actual person, instead of the lead in a telenovela. Equally inexcusable is how because Armando now is conscious of his feelings for Betty, the fact that so much of the way it’s shown involves violating her boundaries by stalking her on meetings he wasn’t invited to and secretly steeling and reading her diary, is why I can’t be too angry at Betty for dropping him the way she did.

This time around I was aware of how often real life designer Bettina Spitz had her name dropped and showed up on screen. Didn’t even realize I was missing that before. 

[marcmarcmomarc]

RWBY Spanish dub

Team RWBY

Ruby Rose: Valentina Souza

Weiss Schnee: Romina Marroquín Payró

Blake Belladonna: Alondra Hidalgo

Yang Xiao Long: Mireya Mendoza

Team JNPR

Jaune Arc: Óscar Flores

Nora Valkyrie: Analiz Sánchez, Regina Carrillo (young)

Pyrrha Nikos: Berenice Vega

Lie Ren: Alan Fernando Velázquez, Zoe Mora (young)

Team STRQ

Summer Rose: Ale Pilar

Taiyang Xiao Long: Arturo Mercado Jr.

Raven Branwen: Fernanda Robles

Qrow Branwen: Germán Fabregat

Beacon Academy

Professor Ozpin: Mario Arvizu

Glynda Goodwitch: Maru Guzmán

Peter Port: Francisco Colmenero

Bartholomew Oobleck: Beto Castillo

Salem’s Inner Circle

Salem: Irasema Terrazas

Cinder Fall: Dulce Guerrero

Roman Torchwick: Sergio Gutiérrez Coto

Emerald Sustrai: Alicia Vélez

Mercury Black: Erick Salinas

Neopolitan: Agustina Cirulnik

Dr. Arthur Watts: Armando Réndiz

Tyrian Callows: Miguel Ángel Ruiz

Hazel Rainart: Octavio Rojas

The Hound: Mario Castañeda

Leonardo Lionheart: Humberto Solórzano

Vernal: Rebeca Patiño

Tock: Simone Brook

Atlas Military

James Ironwood: Dafnis Fernández

Winter Schnee: Xóchitl Ugarte

Penny Polendina: Cristina Hernández

Caroline Cordovin: Magda Giner

Ruby’s Group

Oscar Pine: Luis Leonardo Suárez

Maria Calavera: Ángela Villanueva

Dr. Pietro Polendina: Gerardo Reyero

Team SSSNN

Sun Wukong: Alexis Ortega

Scarlet David: Alberto Bernal

Sage Ayana: Abraham Vega

Neptune Vasilias: Enzo Fortuny

Nolan Porfirio: Pepe Vilchis

Team CFVY

Coco Adel: Liliana Barba

Fox Alistair: Geezuz González

Velvet Scarlatina: Carla Castañeda

Yatsuhashi Daichi: Óscar Garibay

Ace-Ops

Clover Ebi: Raúl Anaya

Vine Zeki: Eduardo Giaccardi

Elm Ederne: Gabriela Guzmán

Harriet Bree: Karla Falcón

Marrow Amin: Ricardo Tejedo

Happy Huntresses

Robyn Hill: Erica Edwards

May Marigold: Ruth Toscano

Joanna Greenleaf: Yvette García

Fiona Thyme: Lupita Leal

The White Fang

Ghira Belladonna: Emilio Guerrero

Kali Belladonna: Rebeca Manríquez

Adam Taurus: Alejandro Orozco

Corsac Albain: Emmanuel Bernal

Fennec Albain: Eduardo Garza

Ilia Amitola: Monserrat Mendoza

Schnee Manor

Jacques Schnee: Arturo Mercado

Whitley Schnee: Moisés Iván Mora

Willow Schnee: Yolanda Vidal

Klein Sieben: Jesse Conde

Ancient Times

Ozma: Roberto Salguero/Ricardo Bautista

God of Light: José Luis Orozco

God of Darkness: Salvador Reyes

Jinn: Danann Huicochea

Ambrosius: Rubén Cerda

Xiong Family

Hei “Junior” Xiong: Eduardo Fonseca

Lil’ Miss Malachite: Leyla Rangel

Miltia and Melanie Malachite: Lourdes Arruti

Team CRDL

Cardin Winchester: Raúl Anaya

Russel Thrush: Yamil Atala

Team FNKI

Flynt Coal: José Ángel Torres

Neon Katt: Meli G

Arc Family

Saphron Cotta-Arc: Erika Ugalde

Terra Cotta-Arc: Carla Medina

The Ever After

Little/Somewhat: Angélica Villa

Curious Cat: Ángel Balam

Blacksmith: Carmen Sarahí

Jabberwalker: Víctor Hugo Aguilar

Jinxy: Jaime López

Red Prince: Pascual Meza

Herbalist: César Bono

Alyx: Julia Bilous

RWBY: Grimm Eclipse

Dr. Merlot: Sebastián Llapur

RWBY: Arrowfell

Amoncio Glass: Alfonso Grau

Hanlon Fifestone: Óscar Gómez

Bram Thornmane: Trujo

Olive Harper: Leslie Gil

Bianca Prisma: Cecilia Gómez

Roane Ashwood: Alicia Barragán

Ivy Thickety: Edurne Keel

Ruda Tilleroot: Jessica Ángeles

Minor characters introduced in Volume 1

Shopkeep: Eduardo Tejedo

Xiong Goons: Ricardo Mendoza “El Coyote, Carlo Vázquez

Cyril Ian: Víctor Ugarte

Lisa Lavender: Alondra Hidalgo

Police Officers: Daniel Lacy, Patricio Lago

Sailors: Marc Winslow, Noé Velázquez

White Fang Goon: David Bueno

Penny’s Driver: José Luis Miranda

Minor characters introduced in Volume 2

Tukson: Octavio Rojas

White Fang Lieutenant: Roberto Gutiérrez

“Deery”: Alicia Barragán

Perry: Arturo Castañeda

Councilman: Kevin Adrián

Minor characters introduced in Volume 3

Bolin Hori: José Antonio Macías

Nadir Shiko: Edson Matus

Brawnz Ni: Abraham Vega

Bartender: Carlos del Campo

Nebula Violette: Karla Falcón

Dew Gayl: Jessica Ángeles

Ciel Soleil: Camila Díaz Fraga

Amber: Ximena de Anda

Atlas Ship Captain: Víctor Hugo Aguilar

Minor characters introduced in Volume 4

Mayor: Alfredo Gabriel Basurto

Blacksmith: Jesús Ochoa

Dying Huntsman: Nando Estevané

Captain: Víctor Trujillo

News Reporters: Eduardo Fonseca, Sonia Casillas, César Costa

First Mate: Paulina García Casillas

Oscar’s Aunt: Kerygma Flores

Higanbana Waitress: Claudia Garzón

Businessman: José Luis Orozco

Businesswoman: Karina Altamirano

Henry Marigold: Emilio Treviño

Angry Businessman: Héctor Estrada

Trophy Wife: Ximena de Anda

Husband: Arturo Cataño

An Ren: Kerygma Flores

Kuroyuri Blacksmith: Alan Bravo

Boys: Luistio Comunica, Regina Blandón, Ana Layevska

Li Ren: Idzi Dutkiewicz

Mistral Pilot: Manuel Campuzano

Atlas Pilot: Hernán Bravo

Minor characters introduced in Volume 5

Mistral Pilot: Irene Jiménez

Menagerie Guards: Tatul Bernodat, Mark Pokora, Andrea Coto

Bartender: Víctor Covarrubias

Shay D. Mann: Esteban Desco

Sienna Khan: Lileana Chacón

Saber Rodentia: Ricardo Brust

Mata’s Mother: Gloria Obregón

Mata: Luis Fernando Orozco

Yuma: Bruno Coronel

Ramen Shop Owner: Ángel Mujica

Small Girl: Ivanna Corona

Trifa: Miriam Aceves

Mistral Police Captain: Rommy Mendoza

Minor characters introduced in Volume 6

Dee: Dan Osorio

Dudley: Alejandro Orozco

Mistral Woman: María Álcazar

Nubuck Guards: Raúl Solo

Red-Haired Woman: Rossy Aguirre

Terminal Soldier: Miguel Ángel Leal

Minor characters introduced in Volume 7

Drunk Mann: Raúl Aldana

Drinking Buddy: Héctor Emmanuel Gómez

Forest: Moisés Palacios

Fria: Isabel Martiñón

Councilman Sleet: Daniel del Roble

Councilwoman Camilla: Graciela Gámez

Minor characters introduced in Volume 8

Atlas Commander: Itatí Cantoral

Shovel Mom: Denisse Aragón

Disgruntled Grandmother: Diana Santos

Fiona’s Uncle: Gabriel Pingarrón

Crimson: José Luis Rivera

Madame: Rona Fletcher

Step-Sisters: Annie Rojas

Rhodes: Idzi Dutkiewicz

CCT Voice: Sonia Casillas

Minor characters introduced in Volume 9

Mouse Leader: Betzabé Jara

Townsperson: Kate del Castillo

Toy Soldiers: Ricardo Mendoza “El Coyote”, José Arenas, Ramón Bazet, Diego Becerril, Óscar Gómez

White Pawns: Cecilia Gómez, David Bueno, Enrique Cervantes, Ramón Bazet

Toy Guard: Roberto Carrillo

Hawker: Erick Selim

Teapot Lady: Maythe Guedes

Paper Pleasers: Iván Bastidas, Luis Carreño, Irwin Daayán, Gaby Cárdenas, Denisse Aragón

[double-croche1]

[BERLIN 2023] SÉLECTION

La Berlinale débute ce jeudi et se déroulera jusqu’au dimanche 26 février. Rendez-vous à partir de jeudi sur notre page dédiée pour suivre en direct notre couverture de cette édition ! COMPÉTITION Films datés : 08/03 : ‘Music’ d’Angela Schanelec 12/04 : ‘Suzume’ de Makoto Shinkai 19/04 : ‘Sur l’Adamant’ de Nicolas Philibert 03/05 : ‘Disco Boy’ de Giacomo Abbruzzese 06/09 : ‘Le Ciel Rouge’ de Christian Petzold 06/09 : ‘Le Grand Chariot’ de Phillipe Garrel 11/10 : ‘Mal Viver’ de João Canijo 13/12 : ‘The Survival of Kindness’ de Rolf de Heer 13/12 : ‘Nos vies d’avant’ de Celine Song 14/02/24 : ‘20 000 espèces d’abeilles’ d’Estibaliz Urresola Solaguren Films non datés : ‘Someday We’ll Tell Each Other Everything’ d’Emily Atef ‘Manodrome’ de John Trengove ‘Ingeborg Bachmann – Journey into the Desert’ de Margarethe Von Trotta ‘BlackBerry’ de Matt Johnson ‘Till the End of the Night’ de Christoph Hochhäusler ‘The Shadowless Tower’ de Zhang Lu ‘Limbo’ d’Ivan Sen ‘Art College 1994’ de Liu Jian ‘Tótem’ de Lila Avilés ENCOUNTERS Films datés : 11/10 : ‘Viver Mal’ de João Canijo 17/04/24 : ‘White Plastic Sky’ de Tibor Bánóczki et Sarolta Szabó Films non datés : ‘In Water’ de Hong Sang-soo ‘Orlando, ma biographie politique’ de Paul B. Preciado ‘The Adults’ de Dustin Guy Defa ‘The Echo’ de Tatiana Huezo ‘The Klezmer Project’ de Leandro Koch et Paloma Schachmann ‘Here’ de Bas Devos ‘In the Blind Spot’ d’Ayse Polat ‘The Cage Is Looking for a Bird’ de Malinka Mustaeva ‘Mon pire ennemi’ de Mehran Tamadon ‘Family Time’ de Tia Kuovo ‘The Walls of Bergamo’ de Stefano Savona ‘Samsara’ de Lois Patiño ‘Eastern Front’ de Vitaly Mansky et Yevhen Titarenko ‘Absence’ de Wu Lang PANORAMA Films datés : 28/06 : ‘Passages’ d’Ira Sachs 28/06 : ‘La Sirène’ de Spidah Farsi 05/07 : ‘Au cimetière de la pellicule’ de Thierno Souleymane Diallo 16/08 : ‘La Bête dans la jungle’ de Patric Chiha 23/08 : ‘Reality’ de Tina Satter 20/09 : ‘Silver Haze’ de Sacha Polak (DVD) 18/10 : ‘A l’intérieur’ de Vasilis Katsoupis 25/10 : ‘Sisi & I’ de Frauke Finsterwalder 29/11 : ‘Kokomo City’ de D. Smith Films non datés : ‘Perpetrator’ de Jennifer Reeder ‘Adversaire’ de Milad Alami ‘After’ d’Anthony Lapia ‘All the Colours of the World Are Between Black and White’ de Babatunde Apalowo ‘Al Murhagoon’ d’Amr Gamal ‘Ambush’ de Chhatrapal Ninawe ‘And, Towards Happy Alleys’ de Sreemoyee Singh ‘El Castillo’ de��Martin Benchimoi ‘Do You Love Me?’ de Tonia Noyabrova ‘Drifter’ de Hannes Hirsch ‘The Eternal Memory’ de Maite Alberdi ‘Femme’ de Sam H. Freeman et Ng Choon Pin ‘Green Night’ de Han Shuai ‘Hello Darkness’ de Soda Jerk ‘Heroic’ de David Zonana ‘Joan Baez I Am a Noise’ de Karen O’Connor, Miri Navasky et Maeve O’Boyle ‘Matria’ d’Álvaro Gago ‘Property’ de Daniel Bandeira ‘Sages-femmes’ de Léa Fehner ‘Sira’ d’Apolline Traoré ‘Stams’ de Bernhard Braunstein ‘Stille Liv’ de Malene Choi ‘Transfarina’ de Joris Lachaise ‘The Teachers’ de Loungeİlker Çatak ‘Under the Sky of Damascus’ de Heba Khaled, Talal Derki et Ali Wajeeh BERLIN SPECIALS Films datés : 31/03 : ‘Kill Bok-soon’ de Byun Sung-hyun (Netflix) 07/04 : ‘Du tennis à la prison : l’histoire de Boris Becker Pt. 1’ d’Alex Gibney (AppleTV+) 07/06 : ‘Dernière nuit à Milan’ d’Andrea Di Stefano 26/07 : ‘La Main’ de Danny Philippou et Michael Philippou Films non datés : ‘Infinity Pool’ de Brandon Cronenberg ‘Laggiù qualcuno mi ama’ de Mario Martone ‘She Came to Me’ de Rebecca Miller ‘Superpower’ de Sean Penn et Aaron Kaufman ‘Golda’ de Guy Nattiv ‘Kiss the Future’ de Nenad Cicin-Sain ‘Loriots große Trickfilmrevue’ de Peter Geyer et Loriot ‘#Manhole’ de Kazuyoshi Kumakiri ‘Ming On’ de Soi Cheang ‘Seneca’ de Robert Schwentke ‘Sonne und Beton’ de David Wnendt ‘Der vermessene Mensch’ de Lars Kraume A&B

[semtituloh]

Lukas Avendaño’s "Lukas y José" (2017)

Photo: Mario Patiño.

[laguaridadelnagual]

Denuncian corrupción en Magdalena Contreras

Las y los trabajadores de la Alcaldía La Magdalena Contreras anunciaron durante un evento de MORENA las malas prácticas y autoritarismo del gobierno priista en Contreras, por lo que decidieron separarse del gobierno que estructuró Luis Quijano Este sábado 4 de mayo de 2024, durante un evento que resaltó la unidad de MORENA en La Magdalena Contreras, encabezado por los candidatos Fernando Mercado Guaida, quien busca ser alcalde, los candidatos a Dip. Emilio Guijosa y Daniel Campos y donde también asistieron Sebastián Ramírez Mendoza y Citlalli Hernández, dirigentes de Morena en la CDMX, más de 15 trabajadores de estructura de la actual administración contrerense denunciaron el autoritarismo del gobierno priista y anunciaron su renuncia, este grupo de trabajadores esta encabezado por el Director Ejecutivo de Gobierno, Juan José Quiroz Gaytán, la Directora de Desarrollo Económico Blanca de la Rosa Cruz, entre otros directores de área, subdirectores y jefes de unidad departamental. El grupo de trabajadores que renunciaron, denunciaron que durante estos casi tres años de gobierno del PRI, este se ha caracterizado por tener malas prácticas en la administración, se ha visto autoritario tanto con empleados como con las y los vecinos y es muy común la represión para lograr los objetivos que les plantean diversos actores. Esta nueva crisis en el gobierno de Contreras se suma a la del pasado mes de febrero, cuando más de 30 trabajadores y trabajadoras renunciaron por la represión de la cual eran parte, este grupo entonces encabezado por Emilio Guijosa, denunció que la administración de Quijano se ha distinguido por tener colaboradores prepotentes, ademas, coinciden con las denuncias de malas prácticas que violan los derechos de los trabajadores de base. Esto agrava la situación administrativa de la Alcaldía, ya que vecinas y vecinos han expresado que en lo que va del 2024 no se ha visto ninguna acción por parte del gobierno, además que durante 2023 las obras y solicitudes vecinales se realizaron con muy mala calidad, tal es el caso de andadores en las zonas altas, los cuales no duraron ni un mes. Dentro del personal que renunciaron, se encuentran: • Juan José Quiroz Gaytán-Director Ejecutivo de Gobierno • Blanca de la Rosa Cruz-Directora de Desarrollo Económico de la Alcaldía • Alfredo González Patiño-Subdirector • Javier Castro Vázquez • Mirna Flores Parra - JUD • Reyna López - JUD • Christian Bassoco Chavero - JUD • Pablo González Cortés - JUD • Miguel Correa • Claudia Flores Vázquez • Noé Santiago. • Mario Quiroz Gaytán - JUD Los trabajadores que renunciaron y denuncian el mal gobierno de Luis Quijano aseguran que el PRI en La Magdalena Contreras esta viviendo sus ultimas épocas, tal y como sucede en gran parte del país. Read the full article

[acapulcopress]

Falleció Benito Castro, 'Papiringo' de "La Güereja" y 'patiño' de Paco Stanley

CIUDAD DE MÉXICO * Septiembre 11, 2023. ) Apro El actor, comediante e intérprete Benito Castro falleció a los 77 años, luego de estar brevemente hospitalizado debido a una caída en su casa. Según su sobrina Denise Castro, en entrevista con un programa de Tv Azteca, el cómico se cayó de las escaleras esta mañana, se lastimó el tórax y se golpeó la cabeza. “Había perdido sangre cuando se lo llevaron en la ambulancia. Lo operaron, y en menos de media hora, falleció; no aguantó la operación”, relató. Tras conocerse el deceso, la Asociación Nacional de Intérpretes (ANDI), la Asociación Nacional de Actores (ANDA), el Teatro de la Ciudad de México, y la Filmoteca de la UNAM, lamentaron el deceso. “Había perdido sangre cuando se lo llevaron en la ambulancia. Lo operaron, y en menos de media hora, falleció; no aguantó la operación”, relató. Tras conocerse el deceso, la Asociación Nacional de Intérpretes (ANDI), la Asociación Nacional de Actores (ANDA), el Teatro de la Ciudad de México, y la Filmoteca de la UNAM, lamentaron el deceso. El actor se encontraba de gira con la puesta teatral “¿Por qué las queremos tanto?”, en donde comparte créditos con César Bono, Luis de Alba, Carlos Bonavides y Alejandro Suárez. La obra ha recorrido distintos recintos del país. De Los Hermanos Castro a "Papiringo" de La Güereja Castro fue hijo del comediante Arturo "El Bigotón" Castro, actor de la época del cine de oro, y formó parte de la agrupación Los Hermanos Castro, dinastía artística junto a sus primos Gualberto y Arturo, en donde Benito tocó la guitarra y realizaba armonías. También realizó colaboraciones con el programa La Carabina de Ambrosio en los años ochentas. Tuvo una cercana amistad con el fallecido comediante Paco Stanley, de quien fue su “patiño” en una primera etapa, antes de Mario Bezares, y en el más reciente documental sobre Paco, Castro confesó que él y Stanley llegaron a consumir drogas juntos, además de haber conocido a algunos líderes de cárteles. Fue reconocido de manera más reciente por su papel de “papiringo” en la serie de comedia dosmilera “La Güereja y algo más…”, de Televisa, en donde hacía de papá de una niña (María Elena Saldaña); la relación padre-hija y sus vicisitudes en medio de momentos de comedia hicieron que el dúo realizara una gira teatral por todo el país. En el cine dejó huella en los filmes “El misterio de los hongos alucinantes” (1968) y “La sangre de los inocentes” (1995). Arturo Benito Castro Hernández nació en la Ciudad de México el 5 de junio de 1946 y tuvo una trayectoria artística de unas cinco décadas. ] Síguenos en Facebook.com/acapulcopress ] Síguenos en Facebook.com/angelblanco.press Read the full article

[atletasudando]

Jeisson Suárez triunfó en el maratón de Medellín

(Foto: RunningColombia) Más de 18 mil inscriptos tuvo la gran jornada de atletismo de fondo de este domingo 3 de septiembre en Medellín, que incluyó la nueva edición del Maratón de la ciudad colombiana y también, el medio maratón. El maratonista olímpico Jeisson Alexander Suárez, uno de los mejores fondistas de su país en la última década, fue el triunfador en el maratón con 2:17:24, seguido por Carlos Mario Patiño (2:18:24) y el keniata Paul Kipkemoi Kipkorir (2:19:31), quedando cuarto otro colombiano, Franklin Téllez con 2:20:21. En damas, la vencedora fue la keniata Caroline Chepkurui Tuigongo con 2:39:25 y luego llegaron la peruana Margarita Núñez con 2:42:08 y Sandar Marcela Rosasa, la mejor entre las locales, con 2:44:58. Otro keniata, Joseph Kiprono Kiptum, fue el ganador del medio maratón con 1:05:06, seguido por Miguel Angel Anador con 1:05:27 y el ecuatoriano Christian Vasconez con 1:05:32. En damas ganó la boliviana Jhoselyn Camargo con 1:14:14, escoltada por la peruana Rocío Marisol Cántara  con 1:15:28 y Alexandra Aldana con 1:17:13. Read the full article

[infinitemovielist]

[5wredactor]

Ofrecerá la Osidem sinfonía de Mozart, en línea

Ofrecerá la #Osidem sinfonía de #Mozart, en línea

[huariqueje]

LATINOAMÉRICA OPINIÓN POLÍTICA

Perú despierta y Vargas Llosa agoniza 

LATIN AMERICA POLITICAL OPINION

Peru wakes up and Vargas Llosa is dying

By José Steinsleger 9 Junio, 2021

Some experts in psychoanalysis and psychiatry describe as schizophrenia the condition that prevents the distinction between fiction and reality, and considering that it is a serious mental illness.

On the other hand, when political issues are discussed colloquially, the term is often used loosely to disqualify those who deny or misrepresent reality. Unfair and unpleasant rapture that undeniably calls into question good manners.

Example: since La ciudad y los perros, I have read almost all of Vargas Llosa's fictional works, and a good part of his political articles, in which he developed, in my opinion, a tortuous vision of reality. Conclusion: unmatched mastery to travel from reality to fiction and vice versa.

Despite this, more than half a century of reading Vargallosian has not been enough for me to solve a dilemma that, I suspect, no disciple of Freud or Lacan could solve: when did Mario Vargas Llosa screw up?

Tributary to the ex-pongo and today Marquis, the Andean-indigenous-mestizo culture has produced unique writers, although marked by their inferiority complex compared to colonial culture. Emblematic case: Alcides Arguedas (1879-46), paid writer for the tin magnate, Simón Patiño. In 1909, Arguedas published Pueblo Sick in Barcelona, ​​making clear his reasoned contempt for Bolivian society..

In Pueblo Sick, the author regrets that the mixture of fatal biological laws, historical reasons and environmental circumstances have made the indigenous a stunted and diseased race. Celebrated by the great Miguel de Unamuno, the book is no longer read. But its contents make it possible to unravel the chronic racial hatred of those who (not only in Bolivia and Peru) are scared when they see that the peoples begin to break the chains of colonialism.

In the antipodes of the Bolivian Arguedas, the Peruvian José María Arguedas (1911-69) and a book published shortly before his suicide: The fox from above and the fox from below, a deep reflection on Peru that Vargas Llosa despises to such a degree, that in 1996 he dedicated a long essay to him: The archaic utopia and the fictions of indigenismo.

The fox above and the fox below alludes to the foxes of indigenous legends collected in Quechua at the end of the 16th century, and they tell of a world divided into two: the coastal zone and the mountainous area, which were the center of the history of the country in pre-Columbian times, as well as the coast would be from the conquest.

Observations that for some mysterious reason, shot me after reading On the Tightrope, Vargas Llosa's latest article, published on the eve of the ballot that just took place in Peru (El País, 5/6). Quickly, I underline themes and passages related to a continent that, according to the master of fiction and reality, seems determined to resurrect the Marxism-Leninism that Europeans and Asians have been in charge of burying.

Brazil: “The judges have released Luiz Inácio da Silva […]. If foreigners could vote, Lula, his darling, would sweep away. Brazilians are more cautious: they remember above all that several sentences weigh on him, for taking advantage of power and for corruption ”.

Chile: “in this country that seemed to have done its homework and grown to distance itself from the rest of Latin America and reach European levels, now it is absolute chaos… with young people of both sexes dreaming of a uniformed nation, with a state-controlled economy that would ruin a a society that seemed to be the first in Latin America to end underdevelopment ”.

Colombia: “[…] It burns everywhere and President Iván Duque is attacked even by his own party and his teacher, former President Álvaro Uribe, accuses him of being weak and of not resorting to the army to appease the violent people who, guided by the Venezuelan hand, they want to take power away ”.

Bolivia: Evo Morales' forces have returned to power and he has a candidate whom he calls brother and cholito… But he is not Bolivian but Peruvian: Pedro Castillo ”.

Peru: “[…] Immediately favorite target for the Cuban, Venezuelan and Nicaraguan axis. If Pedro Castillo wins the election, Marxism-Leninism-Mariateguism […] would be the most ferocious and bloodthirsty dictatorship of all that the country has known throughout its history ”.

And the pearl that Ripley cries out for: Political suicide [in Peru], which would close forever, or for a long time, the country's possibility of recovering its old history when it was, in the pre-Hispanic past, the head of an empire that gave of eat everyone, or in the 300 colonial years, when the Peruvian viceroyalty was the most prosperous in America. All this to become an agent at the service of Cuba and Venezuela.

I understand the dialectic of the converted leftist, which tends to be more eloquent and fierce than the reverse option. But if any specialist can confirm the diagnosis of yore, I am willing to qualify my criticisms and, from now on, treat Vargas Llosa as a brilliant mental patient.

By José Steinsleger 

https://www.elclarin.cl/2021/06/09/peru-despierta-y-vargas-llosa-agoniza/?fbclid=IwAR3rcbPk72HBEEGmTOgwXakvVQzY4vvyy159uViTVWT48wsrVUJDe38g3vc 

[mundoequinocomco]

RESULTADOS CAMPEONA JOVEN TROTE Y GALOPE EXPOSICIÓN EQUINA DE JAMUNDI GRADO B 2022 CAMPEONA JOVEN TROTE Y GALOPE Florecita De Yacare (Aaron X Colegiala De La Joya. Abm Cancun De La Liliana) Monta Carlos Mario Penagos 1 Duqueza De La Chancerita (Tormentoso De La Duquesa X Ilusión De Villa Adriana. Abm Hermano Sol De Villa Milena) Monta Jhon Anderson Aponte 2. Peluza De Los Lagos Bendecido De La Caprichosa Jj X Protagonista De Los Lagos. Abm Monarca Jr De Los Lagos) Monta Eugenio Patiño Giraldo 3 Shalom De La Esmeralda Bendecido De La Caprichosa De Jj X Amaranta De San Silvestre (Hermano Sol De Villa Milena) Monta Raul Fernando Motta 4. Aurora De La Siria (Aaron X Canelita Abm Travieso De Villa Manuela) Monta Gonzalo Molina 5.Victorioso De Agropecuaria La Milagrosa (Bendecido De La Caprichosa De Jj X Medalla De La Ceiba. Abm Consul De Gran Dinastía) Monta Hector Ignacio Vallejo @asdeoccidente.oficial #asdeoccidenteoficial #mundoequinocomco https://www.instagram.com/p/Ch1F7C3OEDw/?igshid=NGJjMDIxMWI=

[hablemosdeequinos]

RESULTADOS CAMPEONA JOVEN TROTE Y GALOPE EXPOSICIÓN EQUINA DE JAMUNDI GRADO B 2022 CAMPEONA JOVEN TROTE Y GALOPE Florecita De Yacare (Aaron X Colegiala De La Joya. Abm Cancun De La Liliana) Monta Carlos Mario Penagos 1 Duqueza De La Chancerita (Tormentoso De La Duquesa X Ilusión De Villa Adriana. Abm Hermano Sol De Villa Milena) Monta Jhon Anderson Aponte 2. Peluza De Los Lagos Bendecido De La Caprichosa Jj X Protagonista De Los Lagos. Abm Monarca Jr De Los Lagos) Monta Eugenio Patiño Giraldo 3 Shalom De La Esmeralda Bendecido De La Caprichosa De Jj X Amaranta De San Silvestre (Hermano Sol De Villa Milena) Monta Raul Fernando Motta 4. Aurora De La Siria (Aaron X Canelita Abm Travieso De Villa Manuela) Monta Gonzalo Molina 5.Victorioso De Agropecuaria La Milagrosa (Bendecido De La Caprichosa De Jj X Medalla De La Ceiba. Abm Consul De Gran Dinastía) Monta Hector Ignacio Vallejo @asdeoccidente.oficial #asdeoccidenteoficial #mundoequinocomco https://www.instagram.com/p/Ch1GCN-ulkz/?igshid=NGJjMDIxMWI=

[gustavomundoequino]

RESULTADOS CAMPEONA JOVEN TROTE Y GALOPE EXPOSICIÓN EQUINA DE JAMUNDI GRADO B 2022 CAMPEONA JOVEN TROTE Y GALOPE Florecita De Yacare (Aaron X Colegiala De La Joya. Abm Cancun De La Liliana) Monta Carlos Mario Penagos 1 Duqueza De La Chancerita (Tormentoso De La Duquesa X Ilusión De Villa Adriana. Abm Hermano Sol De Villa Milena) Monta Jhon Anderson Aponte 2. Peluza De Los Lagos Bendecido De La Caprichosa Jj X Protagonista De Los Lagos. Abm Monarca Jr De Los Lagos) Monta Eugenio Patiño Giraldo 3 Shalom De La Esmeralda Bendecido De La Caprichosa De Jj X Amaranta De San Silvestre (Hermano Sol De Villa Milena) Monta Raul Fernando Motta 4. Aurora De La Siria (Aaron X Canelita Abm Travieso De Villa Manuela) Monta Gonzalo Molina 5.Victorioso De Agropecuaria La Milagrosa (Bendecido De La Caprichosa De Jj X Medalla De La Ceiba. Abm Consul De Gran Dinastía) Monta Hector Ignacio Vallejo @asdeoccidente.oficial #asdeoccidenteoficial #mundoequinocomco https://www.instagram.com/p/Ch1F6hBuGXH/?igshid=NGJjMDIxMWI=

[tlatlandblog]

Redes Intelectuales

Redes intelectuales y redes textuales. Formas y prácticas de la sociabilidad letrada Liliana Weinberg (Coord.) En las últimas décadas se ha dado una notable proliferación de estudios dedicados a las redes intelectuales, que se suman a otro extraordinario número de trabajos orientados al seguimiento de formas y prácticas de sociabilidad letrada establecidas a través de cartas, viajes, encuentros y debates, circulación de textos y lecturas, intervenciones en el espacio público, fundación de asociaciones e instituciones, organización de empresas culturales y proyectos editoriales, entre muchas otras manifestaciones de diálogo e intercambio de ideas. Todo ello hizo posible avanzar en el reconocimiento de fenómenos de confluencia entre redes intelectuales y redes textuales. Estos estudios han enriquecido nuestra comprensión de ese ámbito que Alfonso Reyes llamó "la inteligencia americana" y han mostrado el papel que dichas formas y prácticas desempeñan en la vida de nuestra cultura. De allí el propósito central del presente volumen colectivo: dejar testimonio, a partir de distintos acercamientos centrados en el siglo XX, de los fenómenos de cruce entre redes intelectuales y redes textuales, a través del estudio de revistas, proyectos culturales e iniciativas editoriales, así como de algunas figuras nodales que contribuyeron a hacer converger y potenciar las distintas modalidades de la sociabilidad letrada. La idea central que anima a este libro es por tanto que las publicaciones y los distintos proyectos culturales en que participan diferentes sectores de la inteligencia americana son lugares de confluencia y multiplicación de lazos entre creadores y críticos a la vez que contribuyen a tejer y consolidar esos vínculos. Dicho de otro modo, las redes literarias e intelectuales convergen en redes textuales en un continuo proceso de retroalimentación, al tiempo que por su parte constituyen nudos que las consolidan y permiten a su vez retomar el tejido de muchas formas de la sociabilidad letrada. Participan: Badenes, Daniel Bustelo, Natalia Cervantes Becerril, Freja De León Olivares, Isabel Frank, Marco González, Alexandra Pita Guardini Vasconcelos, Sandra Jaramillo Restrepo, Sandra Jitrik, Noé Lamoso, Adriana Lida, Miranda Manzoni, Celina Mendoza, Juan José Moraes Medina, Mariana Nállim, Jorge A. Oliva Medina, Mario Patiño, Roxana Rocca, Pablo Rogers, Geraldine Salto, Graciela Soltero Sánchez, Evangelina Soto-Ramírez, Marybel Vázquez Hernández, Irán Francisco Weinberg, Liliana Zambrano, Gregory Zuluaga Quintero, Diego Alejandro Disponible Aquí

[gardeniahungma]

Estrella Damm - Amor A Primera Vista (International Version) from Ian Pons Jewell on Vimeo.

DIRECTED BY: Ian Pons Jewell WRITTEN BY: Oriol Villar CAST

Mario: Mario Casas Mariona: Mireia Oriol Lucia: Laia Manzanares Miguel: Nao Albet Monica: Monica López Fisherman: Pep Cruz Gloria: Tamara Ndong Julio:Daniel Ibañez Enric: Joan Amargos Rigoberta Bandini as herself

DIRECTOR OF PHOTOGRAPHY: Mauro Chiarello EXECUTIVE PRODUCER: Mario Fornies EXECUTIVE PRODUCER: Zico Judge EP / PRODUCER:Laia Vidal POST PRODUCER: Emmanuelle Le Chat PRODUCTION DESIGNER: Maruxa Alver PRODUCTION MANAGER: Yolanda Gata TALENT COORDINATOR: Marta Muntane LOCATION MANAGER: Joan Cobos STYLIST: Buki MUH ARTIST: Alma Casal ART DIRECTOR: Nina Caussa EDITOR: Tobias Suhm POST PRODUCTION COORDINATOR: Marc Farreras

SET MANAGER: Victor Macià LOCATION ASSISTANT: Pep Ferrer LOCAL PRODUCTION: Rosa Preto 1ST AD: Lluís Casacuberta 2ND AD: Carlos Santana 3RD AD: Oriol Rovira 3RD AD: Rafael Sanz VERSE ADVISOR: Daniel Orviz SCRIPT: Marieta Torrents PRODUCTION COORDINATOR: Marta Vega PRODUCTION COORDINATOR: Carla Vila PRODUCTION ASSISTANT: Nerea Soms RUNNER: Javier Nieto RUNNER: David Ceballos RUNNER: Aleix Lladó RUNNER: Ramón Novellas RUNNER: Nitus RUNNER: Raul Mata RUNNER: Nico Santa Maria RUNNER: Marc Didac RUNNER: Ana Perez RUNNER: Elisabet Talens RUNNER: Maide Patiño

VFX: Carsten Keller MAKING OF: Yosigo

1ST AC: Alicia Galiña 2ND AC: Raul Mulas 2ND AC: Sergi Lafuente CAMERA OPERATOR: Teo Lopez VIDEO ASSISTANT A: Lucia Forner VIDEO ASSISTANT B: Carlos Nava DIT: Jose Manuel Ochando STEADICAM OPERATOR: Nico Lasarte SOUND Carles Prats SOUND ASSISTANT: Alberto de Ros SOUND ASSISTANT: Kemen Longo KEY GRIP: David Arres KEY GRIP ASSISTANT: Daniel Vergara KEY GRIP ASSISTANT: Andres Enrique KEY GRIP ASSISTANT: Antonio Espejo GRIP ASSISTANT: Rodrigo Alvarez GRIP ASSISTANT: Sergi Mestres

GAFFER: Mario Scattoloni BEST BOY (THEATER): Dani Vazquez SPARK: Ferran Grau SPARK: Daniel de Jose Homs GENNY: Carlos Vila BEST BOY B: Jose Antonio Danta TECHNICAL SPARK: Joel Sitjes SPARK: Alex Postius SPARK: Albert Cantallops SPARK ASSISTANT: Pere Llopart SPARK ASSISTANT: Pablo Marqués SPARK ASSISTANT: Antonio Salcedo Rueda SPARK / GRIP ASSISTANT: Joan Francesc Bagur SPARK ASSISTANT: Luis Andrés Mendoza SPARK ASSISTANT: David Gottschelg

ASSISTANT STAND BY PROPS: Heura Marimon SET DRESSER: Diego Oicco LEAD PAINTER: Zaida Sabatés CONSTRUCTOR: Jose Manuel Ramirez CONSTRUCTOR: Juan Carlos Alvarez SET DRESSER: Pau Albi ART PA: Nicolas Juaneda PRODUCT MASTER: Pau Arregui STYLIST ASSISTANT: Yahir Hernandez STYLIST ASSISTANT: Emiliano Nicolas Denis STYLIST ASSISTANT: Jonathan Morales MUH ASSISTANT: Sonam Airtel MUH ASSISTANT: Pili Urena

CAMERA EQUIPMENT:Servicevision LIGHT EQUIPMENT: Zeferino LIGHT CREW: Backlight PRODUCTION: Location Support VANS SCOUT: Ok Mobility VANS RECCE: Coches Menorca VANS RECCE: Hiper Rent A Car NURSE ON SET: Juaneda SANIEC: Jaume Ventura GRIP EQUIPMENT: Gripsupport CATERING: Julio Cordoba Ruiz

POST-HOUSE: MPC Executive Producer: Dafydd Upsdell Senior VFX Producer: Mireille Antoine Line Producer: Chitra Vinod Colour: Ricky Gausis Colour Producers: Caitlin Forrest/Ivana Banh Creative Directors: Anthony Bloor Carsten Keller VFX Supervisor: Judy Roberts Comp: Pavel Vicik Zeki Doru Ondun Mauro Nodari Tri Do Shaik Ahamed Bashra Gijo George CG Lead: Mike Little FX Lead: Christopher Honninger FX: Platon Filimonov Selcuk Ergun Arnau Gilabert Rob Richarson Alok Dwivedi Sandeep Goje Amaranth Reddy Hari Prasad Anumula Lighting: Jack Enever Giovanni Bianchet Vittorio Barabani Pritesh Krishnappa Assets: Shashi Kumar S Sunil Mohapatra Animation: James Bown Ambalika Nandy GRADE: Ricky Gausis

Sound Designer/Music Supervisor: Tim Harrison Sound Effects Editor : Sam Mason Mix Technician: Pär Carlsson

Film Out – Adrian Bull Film Processing and Scanning - Cinelab Film & Digital. Film Processing – Andy Hudson, Tony Puzas, John Gurney, Steve Sheridan, Derek Collins, John Allaker. Film Scanning – Rob Wickings Film Lab Commercials Dailies Producer - Aarti Mahtani Special thanks - Cinelab Film & Digital.

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Atractiva nómina para el 21k y el maratón de Medellín

Fuente: RunningColombia El Maratón Medellín 2023 de este 3 de septiembre será la carrera de las cifras récord, para la prueba que llega a su edición 29, ya que competirán 18.600 atletas, se tendrá la Expo Runners más grande y se contará con el lote de atletas élite más numeroso de su historia. En total serán más de 50 atletas profesionales en las distancias de los 42 y los 21 kilómetros. El grupo lo encabeza Jeison Suárez, del Equipo Élite Asics, campeón del año pasado en la distancia de maratón, en la que su compañero Franklin Téllez terminó segundo, y también estará en la línea de partida. Jeisson impuso el mejor tiempo de la carrera (2:15:53), desde que se llevó a cabo la distancia de los 42 km por primera vez, en 2012, en la prueba que nació en 1994 y que desde 1996 comenzó a disputarse como media maratón. Jeison Suárez es el actual campeón y recordista del Maratón Medellín (2:15:53) En total, para la XXIX edición de la carrera medellinense se inscribieron más de 18.600 atletas, de los cuales 3.500 serán para los 42 km, más de 8.000 para los 21 km, 5.000 para 10 km y 1.500 para 5 km. Y en cuanto a los atletas élite habrá un lote de más de 20 corredores y más de 30 para los 21 kilómetros, lo que garantiza un gran espectáculo en estas dos distancias, que partirán a las 5:30 de la mañana de este domingo 3 de septiembre. Nómina élite maratón varones: Número Atleta Representación 1 Jeison Suárez Colombia – Equipo Élite Asics 2 Emmanuel Oliaulo Kenia 3 Dickson Kimeli Cheruiyot Kenia 4 Paul Kipkemoi Kipkorir Kenia 5 Franklin Téllez Colombia – Equipo Élite Asics 6 Carlos Mario Patiño Colombia – Caldas 7 Víctor Hugo Ocampo Colombia – Antioquia 8 Sergio Rodríguez Colombia – Caldas 9 Edison Guanarán Colombia 10 Yesid Orjuela Colombia – Bogotá 20 Rito Antonio López Colombia – Antioquia 41 Jonathan Camilo Castillo Colombia Nómina élite maratón damas: Número Atleta Representación 11 Margarita Núñez Perú 12 Yuliana Navarro México 13 Sandra Marcela Rosas Colombia – Boyacá 14 Ana Milena Orjuela Colombia – Bogotá 15 Yolanda Fernández Colombia – Bogotá 16 Caroline Chepkirui Tuigong Kenia 17 Francy Jerop Kenia 18 Mildrey Johana Echavarría Colombia 19 Aideth Anaya Colombia – Antioquia Nómina élite media maratón varones: Número Atleta Representación 33 Joseph Kiprono Kiptum Kenia 34 Crhistian Vásconez Ecuador 35 José Luis Rojas Perú 36 Fabián Jimmy Gómez Ecuador 37 John Tello Colombia – Arroz Zulia 38 David Gómez Colombia – Porvenir 39 Cristian Moreno Colombia – Equipo Élite asics 40 Javier Peña Colombia – Fuerzas Armadas 42 Santiago Zerda Colombia – Bogotá 43 Oscar Quitián Colombia 44 Oscar Acosta Colombia 45 Rodrigo Jaramillo Colombia 46 Robinson Reinoso Colombia 48 Edinson Bernal Colombia – Fuerzas Armadas 49 Yeisson Parra Colombia 50 Miguel Amador Colombia – Bogotá 51 Juan Camilo González Colombia 52 Juan Camilo Morales Colombia 53 Robinson Ordóñez Colombia 54 Helber Zúñiga Colombia 55 Yony Erazo Colombia Nómina élite media maratón damas: Número Atleta Representación 23 Muriel Coneo Colombia – Porvenir 24 Diana Landi Ecuador 25 Carolina Tabares Colombia – Antioquia 26 Leidy Lozano Colombia – Marathon 27 Jhoselyn Camargo Bolivia 28 Rocío Marisol Cántara Perú 29 Alexandra Aldana Colombia – Boyacá 30 Daniela Montero Colombia 31 Sonia Catalina López Colombia 32 Sandra Milena Gutiérrez Colombia Read the full article