#manuel ignacio

[sorata-ayumi]

¿En qué palabra me enamoré de ti? Manuel Ignacio

[white-fang-22]

“Naufragué tanto, que ya no sé cómo salir de este profundo océano que me está ahogando”

-------- Manuel Ignacio

[recuerdos-melancolicos]

Hoy vi un video que me hizo recordar a como hacíamos el amor, era como sentirse en el paraíso, y al mismo tiempo en el infierno por no poder estar en ese recuerdo tan exitante y nuestro.. Tan tuyo.

[loadednachosao3]

how do you guys think it went when Nacho got shot and stayed at his dad's place for the night. like. do you think he went into his childhood room and looked around at how Manuel kept it the same as it was since he moved out. do you think he mourned for a life he could have lived. do you think his father kissed him on the forehead before he drifted off to sleep like he used to when Nacho was young, before he decided to give up the simple life for a dangerous dream

[operation-annihilate]

Post wedding photography

More lacho wedding doodles I forgot to post 🤷please enjoy

[nostalgic-shamefest]

What your favourite Better Call Saul character says about you according to me:

[hyper specific]

Jimmy: people didn't come to your childhood parties and even though you got really popular in college that feeling never left you

Kim: you thought I was gonna say over achiever? nope. But your older sibling is

Lalo: horny get help. / Incel to phonk edit to gay pipeline

Nacho: you're silly but you wish you were serious. You think a lot about how you would die easily in the apocalypse.

Gus: you go on webmd for fun and say slay when you're sad

Chuck: you suck ass and you're the grammar police

Rebecca: you go on incognito mode and search "how to be the cool aunt"

Howard: you've got the kind of daddy issues where your dad was too good of a person

Mike: you've got regular daddy issues and you say "don't talk to me until I've had my coffee" unironically

Tuco: you'd like to top a butch cis man so bad it makes you look stupid

Marco: you always wanted a pet lizard

Leonel: but parents bought you a goldfish instead

Manuel Varga: you want to volunteer at the community center but you keep making up excuses and you don't

Francesca: you like being told what to do. You had a crush on your principal growing up

Huel: cracking jokes is your coping mechanism but you carry a deep sadness within you

Bill Oakley: you're getting too old to call yourself a twink and that's giving you a mid life crisis / you're a mom of three

[wexlervsgoodman]

better call saul (2015 - 2022) // being christlike - ted hughes

[erik--alonso]

La caminata de varios días que a sus doce años hizo Ignacio Manuel Altamirano junto a su padre desde Tixtla, Guerrero, para cursar estudios en el Instituto Literario de Toluca, en 1848, donde había obtenido una beca.

Altamirano realizó esa caminata descalzo, con sus zapatos anudados al cuello para no gastarlos.

Llegaron tarde, cuando las clases ya habían comenzado, pero el joven Altamirano se pudo inscribir.

Nunca me olvido del todo de esa caminata, desde que Edgar me la contó hace poco más de diez años, en una de nuestras ociosas caminatas mientras hacíamos nuestro trabajo de investigación para la Enciclopedia de la Literatura en México. Contarnos esas anécdotas era una de nuestras estrategias para darnos ánimo en una tarea que nos rebasaba y que no queríamos hacer.

Entre mi repertorio mental de caminatas necesarias, la de Altamirano es, sin duda, una de mis favoritas.

Porque si había una que debía realizarse, era justamente esa.

La de Altamirano llegando para ser alumno y bibliotecario, para quedar prendado del temperamento combativo, crítico y ateo de su maestro Ignacio Ramírez "El Nigromante", ahí, donde años después, cuando la escuela les quedó demasiado pequeña, ambos serían expulsados por sus ideas radicales, donde el alumno seguiría los pasos del maestro, y sería uno de los escritores fundamentales de la literatura mexicana, además de un revolucionario destacado en los tiempos de la Guerra de Reforma y de la Invasión francesa.

Pero antes de todo eso, había que llegar, desde Tixtla, descalzo, acompañado de su padre, aunque fuera tarde.

[comicweek]

Ángel Manuel Soto on Cultural Specificity in Blue Beetle

Rafael Motamayor : There is a cultural specificity to the film that we haven't really seen before in superhero movies, and the Reyes family members aren't just Pan-Latino, but specifically Mexican. Why was this important for the film?

 Ángel Manuel Soto: I think we've been psychologically and pathologically inculcated a fallacy by the hegemony that our specificity is not universal, that the white and gringo are universal. The truth of the matter is that we're all universal if we embrace our true selves. We Latinos watch Korean movies, Japanese movies, European movies, and we connect with their specificity because Latinos were never given that change because we were told you couldn't, and I never agreed with that feeling, that thought. It is an institutionalized philosophy, and Hollywood has perpetrated it.

So for me, I wanted to start from the premise that the universality of our cultures exists in our specificity. And if we are honest and free to be authentically us, and we don't have to be like someone else, it can still reach a general audience even if they don't look like us. To me, it was important for writer Gareth Dunnet-Alcocer as a Mexican, for me as a Puerto Rican, and to the actors as Mexicans, to be themselves, to allow this to be a movie where we take ourselves seriously, but also enjoy ourselves and express ourselves freely. To me, it was important to not have to reinvent the wheel at the first try, but to instead use nostalgia to make a throwback to the movies we liked as kids and insert ourselves in those scenes as the heroes of the movie, embracing authenticity. After, we can reinvent the wheel.

The only thing that could have prevented this was the studio, and from the beginning, I told them if they were going to tell me how big the explosions were going to be, they could not tell me how Latino my movie was going to be.

RM: One thing I love was the references to cultural touchstones like "El Chapulín Colorado" and "María la del Barrio." Could you talk about those references and introducing these things to a wider audience?

AS: Just as we consume other countries' popular cultures, we can't leave other people ignorant to the things that connect us as Latinos, because though our countries have their own idiosyncrasies, truths, and specific cultural identities, there are also more things that unite us within a Latin American collective. For me, it was very important not only to pay homage and honor that first Latin American hero we all collectively grew up with, but highlight that a Mexican in Querétaro like Gareth, and a Puerto Rican like me, being so far away, still can say that our first exposure to a superhero was El Chapulín, because he was in every Latin American's home.

So we thought, why not embrace the characters or elements that are specific, which also have a Pan-Latino appeal? And through that, we can celebrate the intersectionality of our cultures. It doesn't have to be Mexican for me to say it is also mine, it is also yours. Same with Puerto Rico: Reggaetón is no longer ours. It belongs to the world, even if it came from there. Same with "Maria la del Barrio," and novelas. The references in the movie are both a celebration to the things that unite us collectively as Latino, and also references we are canonizing in this fictional world.

RM: Speaking of Carapax, his story is fascinating in that it brings in the real history of the School of the Americas. Can you talk about the decision to bring in that part of the story?

AS:

To me, it was important to explore that in Hollywood, Latinos are always introduced in the middle of the paragraph. We enter a scene and we're gangsters and narcos, we are violent and dishonest people, and no one questions why that is. And when a movie or a show explains why, it just says that we are like that because that's our nature. So, we've never been given the chance to explore the history of blood behind the violent behaviors in Latin America. And, come on, you don't have to be a rocket scientist or an erudite to do a simple Google search and learn about Yankee interventionism, and why that interventionism started in 1954 to protect the American [United] Fruit Company in Guatemala.

It was important for me to be able to show this villain who is not just Latino, but indigenous, and show why he is the way he is to a certain point. Because even though he is responsible for much of his actions, the reason why he is a villain is because his trauma was weaponized. And when you see it, you understand he is a victim of the endless perpetuating of violence in Latin America by the CIA through the School of the Americas, but no one talks about that. No one talks about the start of neoliberalism in the School of the Americas in 1973 with the murder of Allende and the placement of Pinochet.

It was important that the film reflected that reality that is not taught at school. It is why Susan [Sarandon's character] represents the Military Industrial Complex, and the rampant imperialism that exists in Latin America. She is a person that has been perpetrating trauma, and then using that trauma like the School of the Americas, which trained the locals so they'd invade their own people. There is nothing more nefarious than that, so it was important to me to have that exist in this movie, if only for a minute. Using fantasy to raise curiosity could help us be better informed and more emphatic.

When I joined the project, I wanted the movie to be somewhat anchored in realism, in real traumas that Latin America has experienced historically. But I wanted it to be recent, not to just go all the way back to Columbus, though we do tumble a statue of Columbus in the movie. We talk about the more recent and relevant history, the one that is not talked about, but should be remembered so it is not repeated.

And the name is a bit ridiculous, and some people may not realize this is actual history, so we intercut Carapax's flashbacks with archival footage of the School of the Americas to make it clear this is real. RM: The character is also indigenous, and you bring Carapax's native language into the movie, too. AS: Yes, we had him unlock his memory, and his language. It is an allegory for how colonized or imperialist education works overtime to erase our history and make us forget where we come from, because it makes it easier to control. We wanted to make this situation where, at the end of the day, his memory is freed and he can look back to the source of the trauma, and understand everything that happened to him. His being able to talk in his native tongue is the most explicit way to show that he could return to his origin and empower himself by that origin, to close that chapter and sacrifice his own master for the greater good.

[luegootravez]

Jessie Bloemendaal & Nacho Penin by © Jean-Daniel Lorieux

[roaldamundsen]

Something that has been bugging me. Yes, Manuel is an honest man, but that does not mean that he is a good one. He is also very naive if he thinks going to the police would do him or Nacho any good. And no, I don’t blame him for not preventing Nacho from getting in the game, but one could… 

He waited outside the house for a bit once the man to arrived and entered before he slid out of his car and walked towards the door. Opening it was childsplay and he found Varga Senior in the kitchen, sitting at the table with some pre-cooked meal, it was pitiful. The whole situation was just sad. But Salamancas did not do sad and he was here to set the record straight so he could move one. No, so they could move one.

As expected the old man started to protest and threaten with the police, and wasn’t that just a running theme? But showing off the gun tucked away in Lalo’s waistband sufficed to make him shut up, and sit down.

Lalo sat down and watched him for a moment, the stubborn expression that was so often mirrored on Nachitos face, then he took out the fake ID he took from his beloved safe and placed it on the table. The reaction was instant “I won’t run…” “Si, si, si I know,” Lalo interrupted him, “You are an honorable and stupid man.” Manuel huffed in indignation and Lalo leaned forwards on the table to look at the man's face “You don’t think you’re stupid? Hm?” The cold glare that earned him shot a spart of fondness through his chest, yeah that was where his cariño got that from, so cute. “See,” he sprawled back again, “I think you are either stupid, or very misinformed. And I want to know which it is. So you will have” he waved his hand at the cooling plate “whatever that is, and we will talk, and then I will leave. All very civilized, entendido?” not expecting an answer he went on “See your son loves you very much, but I’m not sure you love him, since all you ever tell him is to die. Ah ah ah, “ he stopped Manuel’s protest in its tracks “Civilized, remember? Don’t be rude, I am talking now, you’ll get your turn.”

He picked up the ID off the table and looked at it for a moment before leaning back in the chair “Now where was I? Ah yes, wondering why you want Ignatio to die, or maybe you don’t, maybe you think he is such a chingon? That all he needs is to go to la tira tell them all he knows and they can take down the entiiiiire” he spreads his arms to emphasize the word “cartel. You think that, hm? You think he knows so much that the DEA and the federales can just arrest and convict every single cartel member, eh? No? Hm?” he picked up the ID again turning it between his fingers.”No, I don’t think so. Which only leaves stupid you see. What do you think would happen if he followed your advice? He goes in, they arrest him. He can give them some of the ground operations, my cousin, yes but, hell, he can’t even give them all of Albuquerque! He can’t give them enough for witness protection,” he leans forward again lowering his voice “He can give them just enough to piss the cartel off. And what then?” Hm?.” He sits back and lets the silence that fills the room speak for itself for a while. The now cold food looked even worse than before. Slowly he took a knife from his pocket and slid it open. “I can tell you what, first they would someone here. Someone mean and creative, some who took their time and then some pictures.” he starts to clean his nails with the knife, “And then they would send those to poor Nachito, all locked up and alone. You think they could not get to him inside? You think those pigs would protect him?” his spits a bitter laugh “They couldn’t and they wouldn’t. Your son would sit there with pictures of his bloodied and broken Papa, and they would leave him alive for just long enough for the pain to really sink in. And then someone would shiv him, probably in a bathroom. Spill his blood before he can even appear in court to give his statement. That, “ he points the knife at the older man ”is what it means to be an honest man in this life.”

Manuel remains stoic, a copy of his son then finds his voice “That is the life he chose.”

“But you didn’t stop him, isn’t that what a good honest man would have done?”

“He is a man grow.” the old man insists “He was only sixteen when we got him.” Lalo slimes serenely as he drops that bomb, watching the fight drain out of Varga Senior and being replaced by shock. “Wasn’t he still your responsibility back then? Yours to make a good and honest man out of him? Hm?” There was no answer and he didn’t expect one, he plucked the ID from the table and leaned forward. “An honest man would go to the policia but a good man, a good man would see the pain and despair in his son's face and he would go with him. But you didn’t, so here is what will happen. I will make Ignatio a deal, you will be safe and he will be mine.” he smiled waiting if the old man would say something. Nothing came so he cut a strip off the ID “He will be mine to take care of and protect” another cut “and you will be a thing of the past “and another cut “left behind for your own safety” and yet another cut “and most importantly for mi cariños peace of mind. He does not need your petty judgment, the postering of a man who could not keep his own son save when it counted and would not sacrifice his precious pride when his son begged.” he finished cutting and put the knife away.

“Don’t look so gloom suegro!” he pushed himself off the chair and stepped behind Manuel, placing his hands on the man's shoulder and leaning down “I’ll take of our Nachito, he will want for nothing, I promise.” he moved to leave the house but stopped and turned around at the door “You had your chance, now I’ll have mine, don’t mess this up for me papa. It would break Ignacio’s heart if anything would happen to you but there are always accidents, eh?”

He left with a pep in his step, he’ll cook something special tomorrow, offer his father's safety to Nachito and enjoy his gratitude. Something to look forward to.

ANON IM SORRY. I'm sorry I've let this one sit for so long. oh my god. meeting the parents gone terribly wrong

[theanticool]

Ignacio Bahamondes stops Manuel Torres in the 1st round!

I think this is one of the funnier "tall fighter runs into taller fighter" fights that we've seen in MMA. Torres, a big LW at 5'10, just had 0 clue on how to pressure Bahamondes without straight up flurrying at him full charge. And got knocked down twice on a step back right hand from Bahamondes. It's not like Bahamondes is a typically effective counter puncher, but Torres was literally swinging at air with no type of defensive thoughts going through his head. He really wanted to push Bahamondes back but just did not have the form to do it.

[enterfilm]

AQUERONTE (Manuel Muñoz Rivas, 2023)

[loadednachosao3]

thinking abt how Manuel had to know Nacho would die due to the drug trade someday. about how he just didn't know when, and probably lived with that worry since the moment he found out what Nacho was involved in. how, when Mike came to him and told him his son would never be home again, he probably felt some measure of relief; finally, finally, he doesn't have to wonder and wait and worry. and how guilty he must have felt over that relief. how he felt like he failed his son in every way possible, and is failing him one last time now by being glad it's over.

hold on. hold on. i need a minute

[lairreparablefugadeltiempo]

Brigada criminal (Ignacio F. Iquino, 1950)

[nostalgic-shamefest]

Ignacio Varga was a forest fire