#torrera

[figgyg1]

So I recently started introducing a friend to MMU, and in one of my rambles about the series I mentioned Martita Torrera and she was like "Do elaborate please", so I did, and now my friend will forever refer to Martita as 'the 80 year old woman' for some reason.

Help me lol

[deepdeanvsweston]

Do you have any thoughts on the Martita/Theresa/Frances found family dynamic?

I used the word 'also' and 'which' way too much in this answer please excuse that

Reread that scene where Theresa becomes ill and Bridget takes her home as it's really prominent on my mind regarding this ask! (Page 92-95 in DITS if anyone is curious!)

My first thought is that I'm a fool who can't pick up on cues and did not realise they were lesbians upon my first read 😭 (listen I was like. 12 and knew lesbians existed but existing in fiction was apparently a reach to me).

My second thought is that I'm really curious as to their actual dynamic - does Martita see them as mother figures? Do they see themselves as mother figures? Martita says "Frances has been better to me than my own mother" so of course she's going to look towards anyone who could be a mother figure but it does beg the question how good was Martita's mother? What's the standard here? If better than her own mother simply means food on the table and a roof over her head, then of course Frances seems better! I believe Frances takes advantage of Martita:

There's this one bit about Miss Crompton saying to Martita "(...) because noone wants to see an actress called plain old Marta Pao. That's show business (...)" and it sounds to me that Frances views Martita as more as a project than anything, and as something good for the theatre. This really comes through in her resentment at Rose for the special treatment she's receiving, and also emphasises that Frances views Martita as a project as she seems more than happy to move onto the next one (Rose) and then back again.

Although on the other hand, Martita's resentment of Rose could be because she's scared of being replaced (on top of the jealousy) because Frances and Theresa have been so good to her and taken her in like family. This is a very small line in the book and possibly a stretch, but Hazel mentions that Martita's room at the flat is very untidy, which could be a sign that Martita feels comfortable around Theresa and Frances.

I don't know how much I see them as found family, especially as on page 90, Martita says "Even the families you make yourself - they betray you. Sometimes you have to protect yourself." Martita did obviously trust them at some point, and truly like them, though I'm unsure if she's formed a close attachment to them simply because Theresa and Frances took her in as Frances saw her as a project and wanted to 'work' on her, and Martita saw this as a form of love rather than a beneficiary move for the theatre. I think it's interesting to note that Martita says "families you make yourself" - in her mind, she views this dynamic as something she has created, where in actual fact I think it was a purely selfish move on 2 theatre workers parts. Additionally, Frances seems perfectly happy to let Rose insult Martita and someone Martita was very close to, Simon - Frances seems to truly not care about Martita, or Simon's, feelings and only focuses on her darling star of the show. That of course does not reflect well on Miss Crompton and no wonder Martita wanted to gtfo of there?

Also interesting to consider how Rose would have reacted if she knew that Theresa and Frances were together? I'd take a bet that she'd be at the absolute best, uncomfortable and the worst, disgusted (which I suppose is a reflection on Rose and how fickle she can be). Martita must have known about them, and been loyal, but Rose would NOT have been. Surely Frances and Theresa would have known this, but continued to revere Rose instead of Martita, proving their loyalties lie in the theatre and not with Martita.

Theresa is also guilty in all of this as she is a Bystander, and in fact sometimes seems to let Frances take charge and blindside Rose.

TLDR: I don't think they're found family and Martita is viewed as a project they took on for the theatre's benefit, rather than the goodness of their hearts.

Thankyou for the ask!!!

[random-deepdeanite]

martita and simon are pandora and reg variants

[inkroseinc]

Meet Coach Torrera, the PE Teacher at Noiramore Academy!

[jentelmx-blog]

Cellnex se desprende de su negocio en Austria por 803 millones de euros

Vende el 100% al consorcio formado por Vauban Infrastructure Partners, EDF Invest y MEAG. Esta operación permitirá a la torrera española reducir su deuda.

Agencias Vende el 100% al consorcio formado por Vauban Infrastructure Partners, EDF Invest y MEAG. Esta operación permitirá a la torrera española reducir su deuda. Cellnex Telecom y el consorcio formado por Vauban Infrastructure Partners, a través de Core Infrastructure Fund IV SCSp y Core Infrastructure Fund IV SCA SICAV RAIF, EDF Invest y MEAG, el gestor de activos de Munich Re y ERGO,…

[tallulaah]

“Porté Disparu” de Lili Buvat

solo chorégraphique.

en résidence à la maison des métallos 

[daisy-and-amina]

martita: how are you?

daisy: spectacular (why is this beautiful lady coming to talk to me??)

martita: smirks

daisy: 😳 (OMIGOD OMIGOD OMIGOD)

(pt. 2 of the mmu x hp crossover series)

240921

[deepdean-detectives]

Daisy: Honestly Watson, I don’t know why you bother with love. It’s completely useless and detrimental to your detecting skills

Also Daisy: *Looks at Martita* Also Daisy: *Looks at Amina*

Daisy: Yes love is 100% percent awful and I would never be as ridiculous as to fall in love, stop looking at me like that!

[mat2modblog]

Never heard of a hero named “The Bullfighter” before.

I even checked and the closest is the Daredevil villain Manuel Eloganto, The Matador, which also translates to “The Bullfighter” but apparently the difference is that matadors are toreros who actually killed a bull in a bullfight.

Also “torerra” ends with an a instead of an o, which means this individual is female. What makes that interesting is that torreras were forced out of Spain during the civil war due to a ban on women bullfighting.

[invertiryespecular]

La colocación acelerada de Hutchison le hace daño a Cellnex

La colocación acelerada de Hutchison le hace daño a Cellnex

El problema no es CELLNEX son las TELECOMUNICACIONES en Europa, a excepción de Deutsche Telekom están todas las demás tocadas del ala, Cellnex no es una operadora es una torrera, es decir una empresa dedicada a dar infraestructura y cobertura a la telefonía móvil. A esto hay que sumarle la  noticia de alcance corporativo que ha sufrido de forma directa  por una operación de Hutchison que ha hecho…

[nonej]

Quma y Las Bestias - Making of - 02 from Tamandua Estudio on Vimeo.

Luego de más de tres años de trabajo en “Quma y las Bestias”, les presentamos el segundo clip de making of. Les agradecemos enormemente a nuestras familias, al equipo de trabajo, nuestros colegas, mentores y tutores por acompañarnos en este proceso.

///

After three years of working on “Quma and the Beasts”, we introduce you to the second “making of” clip. We want to thank our families, the crew, our collegues, mentors and tutors for joining us in this process. /// Dirección e idea original: Iván Stur - Javier Ignacio Luna Crook Producción General: Fernanda Torrera Guión: Diego Salinas Slemelson Dirección de Animación: Iván Stur Dirección de Arte: Verónica Arcodaci Dirección de Fotografía: Lucas Timerman Asistente de Iluminación: Julian Planes Dirección de Sonido: Julia Castro Música Original: Julián Stur Storyboard y Color Script: Constanza Oroza Asistente de Storyboard: Sebastián Conen Asistente de Dirección: Javier Stoyanoff Jefa de producción: María Fernanda Torrera Producción ejecutiva: Gustavo Alonso Coordinación de producción: Mailén Gayoso Coordinación administrativa: Lucila Aguilar Asistente de producción: Jeannely Iriarte Animación Stop Motion: Iván Stur - Belen Tagliabue - Gala Moser - Alejandro Samandjian - Malena Martínez - Mariana Dias Animación 2D: Franco Pelliciaro - Alejandro Samandjian - Sebastián Conen - Adrián Mirandeborde Concept Art: Nacho Malter - Graciela Goncalves - Giancarlo Rojas Marin Diseño de personajes y bestias: Roger Hoyos - Verónica Arcodaci Diseño de escenarios: Verónica Arcodaci Vestuario: Tamara Gómez Asistente de Vestuario: Eugenia García Asistentes de arte: Natalia Belén López - Mariana Dominguez - Eugenia García - Ángela Molina - Vanesa Bettinelli - Nayla León - Quimey Orcellet Producción de Puppets y Estructuras: Andrea Godoy Coordinación de Puppets: Javier Ignacio Luna Crook Supervisión de Puppets: Luciana Digiglio Finish Puppets: Verónica Arcodaci Asistentes de puppets: Agustina Daniela Ceballos Ghibaudi - Antonela Pires - Mariana Dominguez - Maximiliano Cuevas - Leila Antonovska - Indiana Simanauskas Battistoni - Ivan Zen - Florencia Tabanera - Luciana Chanllio Escultores: Maximiliano Canosa - Juan del Prado - Juan Ignacio Clo Diseño y prototipado 3D: Emilio Ibarra Warnes Diseño, modelado y realización de mecanismos: Giancarlo Rojas Marin Impresión prototipado 3D: Gonzalo Fernández - Paolo Cavalieri (SOLID INK) Diseño y realización de estructuras metálicas: Zacarías Iglesias Santi Diseño y realización de estructuras resina acetálica: Luis Liendo Realización de Estructuras metálicas: Fernando Alvino - Maximiliano Cuevas - Ignacio Viana - Gala Moser - Rigoberta del Tesouro Supervisión de Postproducción: Diego Gambarotta Postproducción y Motion Graphics: Adrián Mirandeborde Identidad Gráfica: Paula Caia - Verónica Arcodaci Consultoría Paleontológica y Arqueológica: “Equipo extensionista "Caminando..." de la UNLP Consultoría Arqueológica: Nora Flegenheimer y Natalia Mazzia Consultoría Paleoarte: Jorge González Agradecimientos: Cristina Sommer (Itaú Cultural) - Adrian Giacchino (Fundacion Azara) - Alberto Arcodaci y Guillermo Schödlbauer (Fundasur) - Hugo Nicolás Pailos (Laboratorio de Animatrónica y Control Dinámico. FCEFyN) - Juan María Raggio (Jumara Films) - Francisco González Táboas / Claudia Nardini (Aves Argentinas) - Esteban, Sergio, Analía, Facundo, Mechi, Victoria y Wone ("Caminando...") - Yiyo Adam e Isabel Macias (IDAC) - Fabian Ortega (Platamadre) - Noemi Bono - Diana Cordoba - Pablo Turcatti - Abril Barrado - Dani Soto - Ayelen Mattaini - Santi Pozzi - Fer Arditi - Ana Godoy - Matias Veneri - Malena Laiño - Marthe Pierot - Andreina Alessio - Marcelo Arias - Mariangeles Gelosi - Florencia Giacomini - Catalina Sirkoski - Axel Oil - Paula Suko - Lucas (Kino) - Léa Enjalbert - Ana Luz Chiarello - Lis González - Josefa Carla Claude Celsi - Gimena Ruiz Díaz - Emi Ávalos - Magalí Tyszberowicz - May Gil - Lucila Manara - Romane Nardreb - Florentina Gonzalez - Julieta Juncadella - Nayra Insua - Aldana Puchetti - Maribel Rombolá - Lui Salas - Agustina Buigues - Matías Castellano - Mauro Aversa - Kevin Bouchet - Dan Gorosito - Neyen Lencina - Guido Claverie - Lu Rossi - Mariela Sartori - Julian Villanueva - Gabriela Peró - Lucia Feulliet - Gabriela Fernandez - Juan y Caro (Estudio Guardabosques) - Santiago Riquelme - Tomás Montalvo - Mart Aire - Cof - Inés Fragueiro - Guadalupe Perez Cortés - Luis Avila - Nadia Banicki - Vivi, Diego, Zule, Pato y Fran (Semillero BA) - Lean y Sophie - Juampa Zaramella - Mab, Becho y Sebas.

Tamandua Estudio 2017

[flamencoagency]

Torrera Ballet 💃 Click on the link below to see more about this show! https://bit.ly/2DpE5NJ Photo © David Carbajo #flamenco #ballet #dance #show #spain #culture #art #performingarts https://www.instagram.com/p/Bs5GTgdAaMr/?utm_source=ig_tumblr_share&igshid=bv5lb1l2jmad

[bandidoguapo]

Quma y Las Bestias - Making of - 01 from Tamandua Estudio on Vimeo.

Luego de mas de tres años de trabajo en “Quma y las Bestias”, les presentamos nuestro primer clip de making of. Les agradecemos enormemente a nuestras familias, al equipo de trabajo, nuestros colegas, mentores y tutores por acompañarnos en este proceso.

Dirección e idea original : Iván Stur - Javier Ignacio Luna Crook Producción General: Fernanda Torrera Guión: Diego Salinas Slemelson

Dirección de Animación: Iván Stur Dirección de Arte: Verónica Arcodaci Dirección de Fotografía: Lucas Timerman Dirección de Sonido: Julia Castro Música Original: Julián Stur Storyboard: Constanza Oroza

Asist. de Dirección: Andreina Alessio Meritorios de Asist. de Dirección: Javier Stoyanoff - Marcelo Arias

Jefa de producción: María Fernanda Torrera Coordinación de Produccion: Mailen Gayoso Coordinación administrativa: Lucila Aguilar Asist. de producción: Andrea Godoy Meritorio de producción: Julieta Juncadella

Animación Stop Motion: Iván Stur - Javier Ignacio Luna Crook - Florencia Giacomini - Belen Tagliabue - Gala Moser - Lucas (Kino) Animación 2D: Franco Pelliciaro Meritorios Animación Stop Motion: Catalina Sirkoski Meritorios Animación 2D: Sebastian Conen - Axel Oil - Paula Suko - Alejandro Samandjian - Adrian Mirandeborde

Concept Art: Giancarlo Rojas Marin - Nacho Malter Diseño de personajes: Roger Hoyos - Graciela Goncalvez (Animalito Land) - Giancarlo Rojas Marin Diseño de escenarios: Verónica Arcodaci

Vestuario: Mariangeles Gelosi Meritorios de Vestuario: Tamara Gomez

Coordinadora de realización: Angela Molina Asistentes de arte: Tamara Gómez - Natalia Belén López Meritorios de arte: Léa Enjalbert - Ana Luz Chiarello - Lis González - Josefa Carla Claude Celsi - Gimena Ruiz Díaz - Emi Ávalos - Magalí Tyszberowicz - May Gil - Lucila Manara - Mariana Dominguez.

Dirección de puppets: Javier Ignacio Luna Crook Supervisora de puppets: Luciana Digiglio Finish puppets: Veronica Arcodaci Meritorios puppets: Agustina Daniela Ceballos Ghibaudi - Antonela Pires - Juan del Prado - Juan Ignacio Clo - Maximiliano Canosa - Lui Salas - Agustina Buigues - Matías Castellano - Mauro Aversa - Kevin Bouchet - Dan Gorosito.

Rigger y Estructuras Metalicas: Zacarías Iglesias

Estructuras Resina Acetálica: Luis Liendo Meritorios Estructuras: Fernando Alvino - Andrea Godoy - Dan Gorosito

Asistente de Iluminación: Julian Planes Meritorios de Iluminación: Ana Luz Chiarello - Neyen Lencina -

Supervisor de Postproducción: Diego Gambarotta

Postproducción y Motion Graphics: Adrián Mirandeborde

Diseño Gráfico: Paula Caia

Making of: Ayelen Mattaini - Julian Planes - Adrián Mirandeborde

Diseño Prototipado 3D: Emilio Alejandro Ibarra Warnes Meritorios 3D: Guido Claverie - Lu Rossi

Consultor biólogo: Daniela Soto Consultor arqueología: Nora Flegenheimer y Natalia Mazzia Consultor Paleontologia: "Equipo extensionista "Caminando..." de la UNLP Consultor Paleoartista: Jorge Gonzalez Consultor Anatomía Animal: Abril Barrado

Agradecimientos: Hugo Nicolás Pailos - Juan María Raggio (Jumara Films) - Francisco González Táboas / Claudia Nardini (Aves Argentinas) - Adrian Giacchino (Fundacion Azara) - Juan y Caro (Estudio Guardabosques) - Pablo Turcatti - Santiago Riquelme - Tomás Montalvo - Matias Veneri - Malena Laiño - Mariela Sartori - Julian Villanueva - Lucia Feulliet - Mart Aire - Cof - Ines Fragueiro - Guadalupe Perez Cortés - Luis Avila - Nadia Banicki - Noemi Bono - Diana Cordoba.

Sponsors: Lucas y Carolina de Suprabond, Denise y Stefanie de Tecnarte, Verónica Taboada de Fila Group, Marcos Santa Cruz de Pautassi - Marcela Cánepa de Eterna

Tamandua Estudio 2017

[inkroseinc]

(Repost due to some proportional issues) Coach Torrera teaches PE and fencing to the students of Noiramore. She comes from a country south of Corveth called Vattador! Her father taught her the art of monster slaying, a skill which she used in her youth to defend miners from the evils of the Inked Wastes.

[jentelmx-blog]

Cellnex vende su negocio en Austria

La operación, que se firma por la transmisión de su filial On Tower Austria, fija un valor de empresa de la compañía vendida de 803 millones de euros…

Agencias Cellnex sigue en modo venta. La torrera de comunicaciones acaba de comunicar a la Comisión Nacional del Mercado de Valores (CNMV) que ha llegado a un acuerdo con un consorcio de fondos formado por Vauban, EDF Invest y MEAG para vender su negocio en Austria. La operación, que se firma por la transmisión de su filial On Tower Austria, fija un valor de empresa de la compañía vendida de 803…

[random-deepdeanite]

to be clear, martita is reg and simon is pandora. shitty parents & all bark but no bite (and also probably trans)? martita & reg. dealing w prejudice (racism & ableism, respectively) with a smile on your face? pandora and simon. both pairs of besties are mlm wlw solidarity & probably assumed to be a couple sometimes, and also all of them are autistic.

martita and simon are pandora and reg variants