#patricia fernández

[getintok]

I just have such a soft spot for Patricia. I believe she just did 6 semesters of Finance in San Marino because she met her first husband, he must've promise her a wealthy life without any kind of trouble or hardship, I'm sure he told her it was pointless to keep studying and graduate college because she won't need it anyway so she did. Sadly, because she has always been pretty (and because of the ysblf universe) I'm sure everything was always given to her on a silver platter without any effort on her part so it must have been a shock for her to understand that she needed more than beauty for a marriage to function :/ and for her to suddenly be practically a homeless person with a Mercedes if not because of her father and Marcela.

[condesadayra]

dicen que todo se parece a su dueño, que antipática la secretaria de Daniel Valencia (Nancy)

[armando-triplepapito]

“yes, I’m a proud peliteñida do you know how expensive it is to be rubia???!!!”

Now that I think about it, I can’t believe Patricia never used that comeback! After all it’s so in character 🤨

it’s the way I have my own little universe of betty la fea where manny jacinto plays nicolás and lee soo hyuk plays armando (but in my AU nicolás and patricia have a different arch) betty is afro latina and also is patricia (to play even more with the “peliteñida” nickname” “yes, I’m a proud peliteñida do you know how expensive it is to be rubia???!!!”) marcela remains white to match her personality

nicolás mora

armando mendoza !!!!!

[garadinervi]

Magdalena Fernández, 4em994, (stainless steel; dimensions variable), 1994 [Contemporanea-mente, Galleria Avida Dollars, Milano, 1994] [Colección Patricia Phelps de Cisneros. © Magdalena Fernández]

[delaruecaalapluma]

El discurso religioso femenino en la Edad Moderna hispánica

El discurso religioso femenino en la Edad Moderna hispánica. Mística, cristianismo y fenomenología

Mística, cristianismo y fenomenología. El discurso religioso femenino en la Edad Moderna hispánica es el título de la última obra de Patricia Fernández Martín, publicada en octubre de 2024 en acceso abierto por editorial Ultreia (Universidad Católica de Valencia San Vicente Mártir). El tercer capítulo puede ser de especial interés para nosotros, pues está dedicado al fenómeno místico carmelitano,…

[lapostaldemardelplata]

Alerta en el Gobierno por la derrota del PJ en Chubut en la cuenta regresiva hacia las PASO

“En votos no influye demasiado, en imagen sí”, expresó algo resignado y en voz baja uno de los referentes del peronismo bonaerense que se jugará su continuidad en las elecciones que vienen en relación a la ajustada derrota del Partido Justicialista (PJ) gobernante en Chubut, donde ganó el senador nacional Ignacio Torres (Juntos por el Cambio). Más allá de acusar el golpe, que se suma a las…

[carlos-chavarria]

Infants du Pays for M le Mag/Le Gout de M Spain issue

Gabriel Escámez from Cobalto Studio

Omar Sosa, Nacho Alegre & Marco Velardi from Apartamento

Raquel Vita & Pedro Paz from Canoa Lab

Patricia Urquiola

Vito Oliva from Talla Restaurant

Blanca Miró from La Veste

María, Marta & Claudia Madera Fernández from Vestige Collection

Cristina Sanchez from Sansoeurs

Marta Jurado & Louis Chagnaud from Bisa Studio

Marga Massanet & Jacobo Cobian from Masscob

[jartita-me-teneis]

@ Patricia Fernández 

[el-moscorrofio-y-el-mercachifle]

It's crazy to me how different the first half of ysblf is compared to the second half.

The genuine empathy and distress you feel towards Patricia when Daniel is constantly harassing and SAing her, how she cries after Daniel's first visit to her apartment, compared to the laughing stock she eventually becomes and how the whole thing with Daniel is basically forgotten with the exception of the occassional nod to it.

How Daniel was a genuine treat always looming above everyone, wanting to constantly humiliate and make everyone feel inferior. His want to prove everyone is beneath and an idiot, especially Armando.

How it was aluded to that Betty was Daniel's ideal woman, but and then when he acted on it it was very... short and forgetable, giving up way too easy, unlike how he persecuted Patricia, tricked her, harassed her and cornered her until he had what he wanted. It felt rushed and our of chqrqcter for him to just give up.

How mature themes like sexuality was incredibly open and suggestive, particularly all those scenes suggesting SA.

How characters like Olarte or Beata simply disappeared as if they never had any relevance. No closure or even using their full potential even though they were often onscreen in the early episodes.

How Armando used to be the paranoid one but after the embargo Mario became the more paranoid one. Mario was much more relaxed and less wild with his proposals and plans at the beginning.

Even Armando’s stress ball suddenly disappeared!

But I also love to compare the character growth and/or regression. Marcela was a much happier and relaxed person at first and ended up an angry and bitter mess. Mario became more obviously a bad influence and completely drifting away from Armando emotioanlly and morally-wise. How Betty stopped fantasizing about being loved and accepted by people who evidently despised her like Marcela and Hugo and fully stopped wanting that from them. I really liked all these characters' progression/regression and redemptions/corruptions. They evolved so naturally. They all started much more neutral but with clear tendencies to "goodness" or "evilness" and as the story profrssed they followed their respective paths.

Man i just love this show so much, even when I still have beef with how some of the characters (I'm looking at u, Patricia Fernández) became by its ending.

[kainamendozasolano]

El diario de Betty

Nota #30

"Le contamos la historia de los dos, sin el engaño.

Y, aún, para mi papá fue difícil asimilarlo.

Por primera vez un hombre se atrevía a decirle, cara a cara, que amaba a su hija y que tenía una relación con ella.

Y fue duro para él. Pero era, apenas, la primera noticia dura que afrontaba sobre mí."

“Ahora me tocaba a mí enfrentar a su familia.

Desde que nos reconciliamos yo jamás me volví a ver con ellos, pero ya no podía eludirlos más.

No sabía cómo iban a tomar la noticia. Sé cuánto querían a doña Marcela y cuánto anhelaron que ellos se casaran.

Imaginé que iba a ser difícil que ellos aceptaran, especialmente la mamá. Parece que ya se había      

hecho la idea de que doña Marcela no volvería, ya habían pasado varios meses desde que ella y Patricia Fernández se fueron para siempre de Ecomoda.

No fue fácil convencer a Nicolás que lo mejor era que terminara con esa ilusión. Él dice que entiende que es lo mejor, que no iba a ninguna parte con ella. Y se prometió olvidarla. Pero yo lo entiendo, una cosa es la razón, otra el anhelo. Pero sé que lo superará pronto, ya está dando indicios.

Tenía fe en que saliera pronto de su depresión. ¿Y qué mejor que el universo de Ecomoda? Donde aparecen cada rato rubias como las que lo despeinan.

A pesar de que doña Margarita se encargó de los preparativos, tuve que compartir mi trabajo con todo lo que me implicaba casarme.

Doña Margarita era muy exigente en cada detalle de la ceremonia y por supuesto en el vestido de novia.”

“Afortunadamente él estaba de acuerdo, porque yo igual estaba a punto de renunciar a un matrimonio pomposo. Pero sabía que no sería fácil decírselo a su familia.

Y citamos a sus padres de nuevo para comentarles la decisión. Debo admitir que me molestó que hablaran en secreto, no sabía qué era lo que pasaba y sólo lo entendería hasta el día de mi matrimonio.”

"Espero que cuando él me vea, siga sintiendo que soy la mujer de sus sueños."

[getintok]

Estoy llorando 😭 Patricia tiene el peor abogado de matrimonios y divorcios

[elsareyblog]

Aura María al Cuartel de Feas: "mírenme feo el día que yo esté metiéndome con un hombre casado o quitándole el novio a alguien. ahí sí me voy directico para el infierno"

Betty: uy quieta

Patricia Fernández: xd

[mariacallous]

On Sunday, November 19, Argentines cast their votes for president in the aftermath of a globally watched campaign. Argentina’s election pit establishment candidate Sergio Massa, a Peronist figure active in politics since 1989, against insurgent candidate Javier Milei, a self-described “anarcho-capitalist” newer to the political sphere. During the campaign, attention often focused on Milei’s surprising success, outlandish persona, and political gimmicks.

However, a dire economic situation and anger toward political elites played a critical role in shaping each campaign and fueling Milei’s rise. With frustration boiling over, Milei received the highest number of votes for any candidate in Argentine history, beating Massa in the second round by nearly 12 points.

A crisis foretold

In many ways, the results of the presidential election are unsurprising. Across Latin America, the pro-incumbent political force has won just one of the past 18 democratic elections. And in democracies, economic conditions are among the most important in determining the outcome of an election. Argentina’s economy has been unstable for decades, with economic growth stagnant, 40% of the population living below the poverty line, and soaring inflation.

Unsurprisingly, Argentine voters have become less and less satisfied with the economy over time, making the election ripe for repudiation of the establishment candidate (Figure 1). To add to this challenge, over the past year, the political leader attempting to right the country’s course was Massa, who served as the minister of economy in the cabinet of Argentina’s deeply unpopular incumbent, President Alberto Fernández.

As if the headwinds were not already daunting, voter confidence in the presidency had also consistently declined over the past two decades (Figure 2). During this period, a Peronist figure in some form has helmed the federal government for all but four years, when center-right businessman Mauricio Macri held the office. As a result, Massa’s attempt to project moderation in the face of such visceral disappointment failed to gain enough traction, as he struggled to distance himself from a movement with which he was so intertwined throughout his political career.

For at least some Argentines, a vote for Milei was less about the candidate or his policies and more about rejecting a status quo and political establishment that they felt would lead to more of the same frustration. Instead, they chose to dive headfirst into the unknown, opting for the mercurial Milei, nicknamed “El Loco” (“The Madman”), and his untested “shock therapy” approach.

What can we expect from Milei?

It’s unclear which Milei will show up to the Casa Rosada come December of this year. During the campaign, Milei called climate change “a lie of socialism,” equated abortion to “murder,” and downplayed violence during Argentina’s military dictatorship as “excesses,” among other controversial statements.

Yet, prior to the second round of voting, Milei was forced to moderate his more outlandish behavior — including losing a chainsaw as a campaign accessory — in order to lure voters and endorsements from a conservative political class whom he had previously referred to as part of the “parasitic, stupid, and useless political caste.” He failed to persuade everyone but forged ties with the third-place conservative candidate, Patricia Bullrich, and Macri, the former president, whose endorsements helped him surpass Massa in the final vote tally.

Despite a somewhat tempered style since his election victory, there are several notable policy positions where Milei has remained firm. His biggest campaign promises pertain to the economy and public spending, where he has pledged to cut the government budget by 14% of Argentina’s GDP. To accomplish this lofty objective, he plans to privatize public enterprises, including the media, consolidate government ministries, and cut back on subsidies for utilities, such as electricity, among other changes.

Milei has also vowed to “dollarize” the Argentine economy, eliminating the peso in favor of the U.S. dollar. Critics have called the move a blow to national sovereignty that would eliminate the ability of the Argentine government to maneuver in times of crisis. Yet Milei lacks a mandate in Congress, and some of these signature proposals will require legislative approval to enact. As a result, the president-elect will likely have to compromise or put eligible proposals up for a popular vote.

Milei on the world stage

Milei’s bombastic rhetoric will likely also have a tangible impact internationally, where he will be less hamstrung by divisions in Congress but instead beholden to historic ties vital to turning around an already dismal economic situation. The president-elect has voiced a dogmatic disdain for the Chinese government, threatening to halt “trade with an assassin” during the campaign. And with the regional heavyweight to the north, Brazil, relations have already soured. Brazilian President Luiz Inácio Lula da Silva congratulated “Argentinian institutions” and “the Argentinian people” on a successful election, but did not mention Milei by name; in the past, Milei referred to Lula as a “crook” and a “Communist.”

Brazil and China are the top destinations of Argentine exports, and despite this rhetoric, Milei’s team has indicated at least some recognition of the importance of these ties. Regardless of what Milei does, provinces in Argentina can also forge their own ties directly, as was the case when the governor of Jujuy province signed an agreement with China’s Tsingshan Mining Development S.A. to spur the production of lithium carbonate. Whether a more tempered Milei — or an emboldened one — appears on the world stage will also likely be shaped by what happens in the 2024 U.S. elections.

Lessons for future elections

Beyond questions about the viability of his political agenda, Argentina’s elections have again spotlighted two worrying trends. The first is the continued willingness of candidates to undermine democratic norms. Much like leadership in Brazil and the United States, Argentina’s president-elect sought to cast doubt on the electoral process throughout the campaign. Just days before the second round of elections, Milei’s campaign surrogates accused the police of stuffing ballots in support of Massa, a claim that echoed earlier criticism that he had been robbed of votes in the August primaries too. In each of these cases, they lacked evidence to corroborate their claims.

With a resounding victory, Milei and his team back-peddled on allegations of fraud, claiming the elections “were transparent.” It is clear, however, that these types of accusations may resurface down the road, and it should not be surprising if this becomes a global trend. Around the world, voters and political leaders gambling on change at the ballot box must still guard their democratic processes against these illiberal tendencies.

The use of generative AI during elections

The second area of concern pertains to the use of artificial intelligence. Much commentary has focused on the potential for generated images, videos, and text to upend democratic elections by turbocharging the production of fabricated information. In the absence of such sweeping campaigns thus far, some have dismissed their potential transformative impact already. These tools will undoubtedly contribute to bizarre photos and video montages akin to those produced by the Massa campaign, but they may also shape the election cycle moving forward in other important ways.

We saw glimmers of this in Argentina, where the mere possibility of deepfakes and other generated content allowed politicians to dismiss potentially true scandals as fabrications — a phenomenon known as the “liar’s dividend.” While it is still unclear what happened during the campaign, Bullrich, the third-place candidate, repudiated leaked audio in which one of her economic advisors allegedly offered jobs in return for sexual favors as AI generated and part of a “dirty campaign,” potentially denting the recording’s impact among voters.

This is not the first time or the only way that generative AI has played a meaningful role in an election. In Slovakia’s elections in late September, a deepfake audio purported to show a political leader and a journalist discussing how to rig an election just two days before voters were heading to the polls. These “October surprises” are notoriously difficult for the media to investigate and widely debunk. To address these challenges, it will be critical to develop safeguards and expand education efforts tied to the use of generative AI during elections.

In 2024, 40 countries will hold national-level elections. Collectively, they will decide who governs 41% of the world’s population and 42% of global GDP. With Argentina as an early example, the stakes are too high to ignore these emerging trends.

[notasdevivi]

Lombadi en el PFW

Prime Video anunció que Hugo Lombardi (Julián Arango), el ícono de la moda en Betty La Fea y diseñador líder de Ecomoda, estrenará su nueva colección durante la Paris Fashion Week 2024 (PFW), marcando su retorno oficial a las pasarelas de moda después de 20 años. Marcela Valencia (Natalia Ramirez) y Patricia Fernández (Lorna Cepeda)  leyendas de Ecomoda, están confirmadas para estar en primera fila de la pasarela, junto con editores, periodistas, bloggers de moda e influencers de todo el mundo.

Los antagonistas de Betty la Fea se reunirán una vez más para estrenar la sensacional colección en un lugar icónico y secreto el 27 de febrero, el segundo día de PFW, compartiendo fechas con icónicos diseñadores como Saint Laurent y Dior, entre otros. En el 2023, El exclusivo evento contará con piezas selectas del genio real detrás de la colección, Andrés Otálora, el célebre diseñador ready-to-wear, que se ha especializado por más de dos décadas en crear diseños que destaquen en la escena internacional y en las fashion weeks de Nueva York y París.

El evento contará con la participación de Cali Flow Latino, el grupo pionero de salsa choke que fusiona la música urbana con la salsa y que creó la exitosa canción "Ras Tas Tas", nominada a un Latin Grammy y escuchada por todo el mundo.

[brandonshimoda]

THE BOOKS I READ IN 2022, in the order in which I read them (*books I read before, that I was reading again):

Alexandra Chang, Days of Distraction 

Elizabeth Miki Brina, Speak, Okinawa 

Cynthia Dewi Oka, Fire Is Not a Country 

Hanif Abdurraqib, Go Ahead in the Rain: Notes to A Tribe Called Quest 

*Cathy Park Hong, Minor Feelings 

Victoria Chang, Dear Memory 

*Etel Adnan, Of Cities & Women (Letters to Fawwaz)

Sun Yung Shin, The Wet Hex 

traci kato-kiriyama, Navigating With(out) Instruments 

Raquel Gutiérrez, Brown Neon

Solmaz Sharif, Customs 

*Etel Adnan, Journey to Mount Tamalpais 

Lucille Clifton, Generations: A Memoir 

Emerson Whitney, Heaven 

Kim Thúy, em, tr. Sheila Fischman 

Angel Dominguez, Desgraciado (the collected letters) 

Janice Lee, Separation Anxiety 

*Theresa Hak Kyung Cha, Dictee

*Cathy Park Hong, Translating Mo’um 

Kyoko Hayashi, From Trinity to Trinity, tr. Eiko Otake 

Lao Yang, Pee Poems, tr. Joshua Edwards & Lynn Xu 

Yuri Herrera, A Silent Fury: The El Bordo Mine Fire, tr. Lisa Dillman (

Mai Der Vang, Yellow Rain

Chuang Hua, Crossings 

José Watanabe, Natural History, tr. Michelle Har Kim

Walter Lew, Excerpts from: ∆IKTH 딕테/딕티 DIKTE, for DICTEE (1982) 

*Bhanu Kapil, The Vertical Interrogation of Strangers 

Vasily Grossman, An Armenian Sketchbook, tr. Robert & Elizabeth Chandler

Hiromi Kawakami, Parade, tr. Allison Markin Powell 

Lynn Xu, And Those Ashen Heaps That Cantilevered Vase of Moonlight 

*Etel Adnan, Sitt Marie Rose, tr. Georgina Kleege 

Jennifer Soong, Suede Mantis/Soft Rage 

*James Baldwin, No Name in the Street 

*Hilton Als, The Women

Dot Devota, >She 

V.S. Naipaul, The Return of Eva Perón 

Yasushi Inoue, The Hunting Gun, tr. Sadamichi Yokoo and Sanford Goldstein

Molly Murakami, Tide goes out 

Adrian Tomine, Shortcomings 

Hisham Matar, A Month in Siena 

Leia Penina Wilson, Call the Necromancer 

Gabriel García Márquez, News of a Kidnapping, tr. Edith Grossman 

Amitava Kumar, Bombay-London-New York 

Elizabeth Alexander, The Trayvon Generation 

Ryan Nakano, I Am Minor 

Constance Debré, Love Me Tender, tr. Holly James 

Hilton Als, My Pin-up 

Victoria Chang, The Trees Witness Everything 

Leslie Kitashima-Gray, The Pink Dress: A Story from the Japanese American Internment 

Emmanuel Carrère, Yoga, tr. John Lambert 

Ronald Tanaka, The Shino Suite: Sansei Poetry 

Patricia Y. Ikeda, House of Wood, House of Salt

Soichi Furuta, to breathe 

Kiki Petrosino, Bright 

Sueyeun Juliette Lee, Aerial Concave Without Cloud 

Nanao Sakaki, Real Play

Esmé Weijun Wang, The Collected Schizophrenias 

Francis Naohiko Oka, Poems 

Geraldine Kudaka, Numerous Avalanches at the Point of Intersection 

Steve Fujimura, Sad Asian Music 

Augusto Higa Oshiro, The Enlightenment of Katzuo Nakamatsu, tr. Jennifer Shyue 

Julie Otsuka, The Swimmers 

Salman Rushdie, The Jaguar Smile: A Nicaraguan Journey 

Margo Jefferson, Constructing a Nervous System 

Hua Hsu, Stay True 

Barbara Browning, The Miniaturists 

Kate Zambreno, Drifts 

*Julie Otsuka, When The Emperor Was Divine 

Louise Akers, Elizabeth/The Story of Drone

Wong May, In the Same Light: 200 Poems for Our Century from the Migrants & Exiles of the Tang Dynasty 

Gabrielle Octavia Rucker, Dereliction 

Trung Le Nguyen, The Magic Fish 

Jessica Au, Cold Enough for Snow 

Tongo Eisen-Martin, Blood on the Fog 

Lucas de Lima, Tropical Sacrifice 

*Like a New Sun: New Indigenous Mexican Poetry, ed. Víctor Terán & David Shook 

Billy-Ray Belcourt, A Minor Chorus 

Kazim Ali, Silver Road 

*Sadako Kurihara, When We Say Hiroshima, tr. Richard Minear 

Simone White, or, on being the other woman

*James Baldwin, The Devil Finds Work 

Christina Sharpe, Ordinary Notes 

*Raquel Gutiérrez, Brown Neon 

Marguerite Duras, The Man Sitting in the Corridor 

Gayl Jones, Corregidora 

*Bhanu Kapil, The Vertical Interrogation of Strangers 

*Etel Adnan, Seasons 

Gwendolyn Brooks, to disembark 

Cristina Rivera Garza, The Taiga Syndrome, tr. Suzanne Jill Levine and Aviva Kana

Gwendolyn Brooks, In the Mecca 

Nona Fernández, The Twilight Zone, tr. Natasha Wimmer

Selva Almada, Dead Girls, tr. Annie McDermott

*Theresa Hak Kyung Cha, Dictee

Valerie Hsiung, To Love an Artist

*Theresa Hak  Cha, Exilée and Temps Morts

Dao Strom, We Were Meant To Be a Gentle People

Randa Jarrar, Love Is An Ex-Country

*Dao Strom, Instrument

Osamu Dazai, Early Light, tr. Ralph McCarthy and Donald Keene

Osamu Dazai, The Setting Sun, tr. Donald Keene

Rachel Aviv, Strangers To Ourselves: Unsettled Minds and the Stories That Make Us

Mahmoud Darwish, Journal of an Ordinary Grief, tr. Ibrahim Muhawi