Original subtitles

[TV program jingle]

-[man] I want to apologize. -[rewinding audio]

[man] When I say we're on Tiempo de Marte…

-[music over loudspeakers] -[indistinct chatter]

[woman] Tiempo de Marte has made history,

and it's left its mark on a whole generation of viewers.

What do you think about TV today?

Do you think a lot has changed? Do we still celebrate the same things?

[inhales]

When you've enjoyed the good fortune

of having the highest ratings for the longest time with a program like

Tiempo de Marte you, uh…

Well, you end up with a really good understanding of what truly sticks.

Because, you know, times change, but the essentials?

They always seem to prevail.

Who triumphs?

Those blessed with beauty, or with lots of money. Or someone normal.

That's it, every time.

[dramatic music playing]

Well…

[music intensifies]

I take it back.

I was lucky enough to experience firsthand

an absolute phenomenon.

At the turn of the millennium, for the first couple of years,

the weirdest things began to happen, never to repeat themselves.

Out of nowhere,

the center spotlight was commanded by kids who seemed to defy all rules of stardom.

Celebrities who weren't beautiful, who weren't rich,

and far from normal.

-The phenomenon was named "Tamarismo." -[dramatic buzz]

Tamarismo after Tamara.

The woman at the heart of it all.

An accidental songstress

who came out of nowhere and stayed at the top of the charts

for months and months on end with a song called, "No Cambié."

["No Cambié" by Tamara playing on electric guitar]

[Joaquín] A song that many ridiculed,

but nobody, nobody, could get out of their head.

A song that sparked brawls, betrayals, vendettas,

a full-blown televised spectacle, with many protagonists, of course,

each with their own version of the truth.

We'd listen to each and every one of their versions,

even though they all contradict one another,

and even though each of these stories led us further away from the truth.

[woman] Don't talk to my daughter like that.

Can you believe, for instance,

that Tamara showed up to all of her gigs accompanied by her mother?

Margarita Seisdedos got so famous

just by swinging her purse to protect her daughter from the cameras.

[brick scraping faintly]

Some even went as far to say

that she had a brick hidden in her purse.

[ominous scraping]

[Joaquín] If that is a lie…

[thud echoes]

[Joaquín] …it's the first of many.

-[bridal march playing] -[applause, whistles]

[guests] To the bride and groom!

[bells ringing]

[bridal march continues]

[bridal march ends]

["Amiga Mía" by Los Brincos playing on radio]

[man grunts]

[inhales, exhales]

I have to use the bathroom.

All right, all right.

[woman] Where was it?

[door creaks]

That was silly. It's not in here.

Is it here?

Yep.

[song fades]

[metallic clatter]

Floreal!

Floreal!

[gurgling]

Mother of God, what is this?

[sighs]

[low rumbling]

Floreal?

[low rumbling continues]

Floreal?

-[tinkling] -[Floreal] Margarita, where did you go?

[Margarita] My goodness.

My goodness.

Hello?

[Floreal, echoes] Margarita, where in God's name have you gone?

[Margarita] I'm inside the hotel, but I don't know where.

[ominous music playing]

[Floreal] Listen to me. Come this way.

[rhythmic pumping]

[Floreal] Not that way. This way.

Come, come.

[rhythmic pumping continues]

-Hello? -[Floreal] Yes, that's it. This way.

[buzzing]

[Floreal] Good, keep going. Come on.

-[buzzing fades] -[song fades up]

[song ends]

[both sigh]

Well, I'm good now.

Are you good too?

Very good.

[Floreal sighs]

-Gimme a kiss, my love. -[sighs]

[Floreal sighs]

[Margarita sighs]

["Karma Chameleon" by Culture Club playing]

[girl] Mama, what's the most important thing in your life?

-[Margarita] Being a mother. -[snoring]

[Margarita] I always felt I was missing something.

But then I had you.

-Floreal? -[snores] Hmm? Huh?

-Where's that strange music coming from? -Hmm?

-[song continues faintly] -Hmm. I dunno.

-Margarita. -[Margarita] Ah.

-Look who I have here. -My baby.

-Your baby. -Ah.

-What a pretty little angel. -My baby girl.

-She's beautiful. -[Margarita] She is beautiful. Perfect.

-[nurse] Perfect. -So beautiful.

-[nurse] What's her name? -María del Mar.

-[nurse] María del Mar. That's lovely. -Baby girl.

-[song continues] -[baby gurgles]

[Margarita] And from the moment I met you,

I knew you were a special girl.

♪ You come and go, you come and go… ♪

[baby cries]

SUPERSTAR

♪ You come and go, you come and go ♪

EPISODE 1

MARGARITA SEISDEDOS DROPS A BRICK

[nostalgic music playing]

SANTURTZI BASQUE COUNTRY

[indistinct voice on TV]

[music stops]

[on TV] For Bilbao we have, Iribar, Lasa, Guisasola, Alexanko,

Escalza, Villar, Irureta, Churruca, Dani, Amorrortu, and Rojo the First.

The stage is set. Lasa makes his way towards the center.

-[gentle music playing] -[indistinct commentary continues]

-Have you seen a needle? -[Floreal] Hmm?

-Have you seen my needle? -[Floreal] No.

[indistinct commentary continues]

-Darling. Was it you who took it? -[Marimar] What?

-The needle? -No.

-Are you sure? -Yeah.

Get off! What are you doing?

You're sure you didn't take the needle I was using?

-I said no. -You didn't swallow it, did you?

-No! -Oh, really?

-I said no. -Let me take a look at you.

[Marimar] No. I said get off of me!

-Marga. Marga. -[Margarita] Open up.

[Floreal] You pinned it right there.

[drumroll]

[woman 1] My daughter told me they caught her dancing

in the ladies' room, by herself. With no music.

-[woman 2] The little girl? -[woman 3] Wow, poor thing.

[woman 2] I'm telling you, that girl is disturbed.

[woman 3] Not surprised. She spends her days glued to that ghost.

How could she not be?

[children giggling]

She's watching. She's watching, she's watching.

God, I feel so bad for her.

I mean, can you imagine having a child at that age?

I'm not surprised she won't let the poor girl leave her side.

-Poor thing. -But it's a bit much, isn't it?

They're always together. She doesn't even have friends.

-Which one though? -[stifled chuckles]

Do you recall

that day you walked in with your face all bruised up

and even your school bag was torn?

Told me two girls in your class had done it.

Do you recall?

[Marimar] Mm-hmm.

It was those two.

It was those two. It was, wasn't it?

Tell me the truth.

["Karma Chameleon" by Culture Club playing faintly]

♪ I'm a man who doesn't know ♪

♪ How to sell a contradiction ♪

♪ You come and go, you come and go ♪

♪ Karma, karma, karma, Karma, karma, chameleon ♪

-♪ You come and go… ♪ -I feel like I've heard this music.

There's no way.

[Margarita] I have heard it before. A long time ago.

Impossible. It was released today.

It's 'cause it's one of those songs that someone else sang first.

[Marimar] No, they just released it.

-♪ Every day is like survival ♪ -♪ Survival ♪

♪ You're my lover, not my rival ♪

♪ Every day is like survival… ♪

Darling.

Let's go to the movies later.

[Marimar] No.

How about an ice cream?

No.

Well, what do you feel like doing?

Dancing.

Okay, think of something we can do together.

[Marimar] Buy me some red shoes.

You want some red shoes?

-Mm-hmm. -You have red shoes.

But they're too small.

♪ …how to sell the contradiction ♪

♪ You come and go, you come and go ♪

[song distorts, fades]

[door creaks]

What's the matter?

[thunder rumbles faintly]

Are they expensive?

[thunder continues]

I just don't want you to keep growing.

[celestial tinkling]

All right, Mama.

[door creaks]

-[intense thunder] -[celestial tinkling]

[jazz piano playing]

[clock ticking]

[thunderclap]

Okay, so anyway, uh, I finish by saying,

Um… I… I tell her,

"Here's a bouquet of flowers for the most beautiful woman in the world."

Then she tells me, "Well, where is the bouquet of flowers?"

And then I say, "Well, where's the most beautiful woman in the world?"

[laughs] Huh?

That was it.

[woman] …that thing about dreams?

[comic] Thank you. Thank you so much! Thank you.

[woman] And you're watching everything like it's a movie or something.

Like, from the outside.

I was inside and at the same time,

it seemed as if I was looking at it from the outside.

I saw everything.

There were police officers,

and people all around and no one was doing anything.

-And there was this guy saying… -Pardon!

-Do you have a cigarette? -No, sorry. I don't smoke.

[thunder rumbling]

[indistinct chatter]

Hey, hon. He's done with his bit now. Whenever you're ready.

[Marimar] Okay.

[billiard balls clacking]

-What are you doing, Mama? -Going with you.

No, you're staying here.

Remember, when the music starts, count to five, okay?

Don't worry, Ma. You're gonna do great.

[billiard balls clash]

[clank, faint buzzing]

[rainfall pattering]

[high heels approaching]

[single piano chord plays]

["Lobo-Hombre en París" by La Unión playing]

[woman singing in Spanish]

[bottle rattles]

[in English] Hey, where's my daughter?

Well, lady. She's on stage right now.

That's the girl you walked in with earlier.

[song continues]

[music distorts]

-[song distorts] -[music turns ominous]

[brick scraping]

[brick scraping]

[ominous humming intensifies]

[brick shatters]

[drumroll]

[celestial tinkling]

[brick shatters]

[Marimar] Hey, you haven't said a word.

-About what? -About the concert. You didn't like it?

Yes. Very, very much.

[cars passing]

Ma, I'm gonna do this, for the rest of my life.

So you can't just say you liked it very much. Give me your honest opinion.

What would you rather I say?

What's the most important thing in your life?

You.

[thunder]

[sighs]

I'm sorry, darling. I didn't mean to wake you.

What's the matter?

Darling,

doesn't it make you nervous to sing in front of such a large crowd?

What? There was hardly anyone there.

Well, I didn't like it. People were looking at you funny.

-And it was all men. -I don't care about that.

Unless I fall for someone.

But it's gotta be with someone who likes my music.

-Otherwise, I won't fall in love. -You have to be careful.

With all men.

[sighs]

Have you ever been in love?

With your father?

-No, how they do in the movies. -No.

[suspicious buzzing]

Yeah.

-[thunder] -[ticking]

[Margarita] He was very handsome. And he'd say the loveliest things to me.

I can't remember exactly. Well, some of it I can.

But it didn't end well.

[Marimar] How come?

[Margarita] His family didn't like me.

-[barking] -They said I wasn't good enough for him.

[car doors slam]

And they made sure we never saw each other again.

-[barking] -[man 1] Adrián!

-Adrián! -[man 2] Adrián!

-[barking continues] -[man 1] Where are you?

-[Adrián] Yes? Yes, yes. -[man 1] You're with her, aren't you?

[Adrián] I don't know what you mean. I'm by myself.

[man 1] Right. Well this is the last time you take us for fools.

-[blows] -[Adrián grunts in pain]

[brick scrapes]

[Margarita] That day, I felt as though my heart had lost its footing.

[blows, groans continue]

[Margarita] As if it were about to break in half.

[threatening buzzing intensifies]

[ominous silence]

[scrape]

[soft tinkling]

-[ominous buzzing] -[tinkling intensifies]

[Margarita] And for many years, I felt as though an infinite emptiness

had taken shelter where my heart had once been.

Well, if he loved you so much, why didn't he run away with you?

What a fool.

Well, you know what though?

I thank God every day that he actually was such a fool.

[gentle music playing]

Mama?

Yeah, babe?

Don't worry, okay?

'Cause when I record my first album, I swear… I'll stay home more, all right?

[gentle music continues]

What album?

[strident whistle]

[man] Here are the CDs, Margarita.

Look! Look how they've turned out. What do you think?

Huh?

Well, I'm, uh… I'll leave these here.

All right, then.

A hundred and fifty.

So, let's go over this so everything's clear, okay?

This is the total cost for the studio.

The composing, the arranging, the lyrics, the mixing, all of it.

This is what we'd talked about. The number we agreed on.

See?

The number's significant but I want us to be on the same page.

The number is significant,

but when it comes to her safety, no number's too high.

What… What d'you mean, "safety"?

[Marimar] Mama! Come look! Come!

["La Noche" by Tamara playing]

[Marimar] Do you like it, Mommy?

That's me singing.

Isn't it cool?

[song continues]

[Marimar] Do you like it, Mommy?

Do you like my stage name?

AS ADVERTISED ON TV

[Marimar] I look cute in that picture, huh?

[muffled song continues]

Margarita, here are the bands that helped Tamara record her album.

Together Virtual Dreams

and Nine And A Half Weeks In The Back Of A Bus.

-They're great, don't you think? -[Marimar] So great!

[man] Right?

[song intensifies]

-Goodbye! -[Marimar] Goodbye.

-[man] Be safe! See you. Bye! -[Margarita] Goodbye, thank you.

-[Marimar] Bye! -[Margarita] Bye!

[crows cawing faintly]

Mama, look. Look what it says here. "As advertised on television."

It's bananas.

It's not that simple, you know?

[Margarita] You must be really happy. You're famous now.

[Marimar] Of course not. We still have to go to Madrid.

To Madrid, for what?

Well, because they've gotta hear our CDs.

-Can't you mail them or something, hon? -No, of course not.

-Seriously, Madrid? -Seriously, Madrid.

["A Por Ti" by Tamara playing]

-So long! -See you.

[Margarita] Goodbye.

[song continues]

-[Marimar] Mama, look! -[door slams]

-[click] -[Marimar] Holy moly!

Look!

Hurry.

Come, Mama, look.

-It's Madrid! -[click]

Look, it's huge!

Whoa!

That one's pretty cool too.

[song continues]

[song ends]

[phone ringing]

[woman] Hi, good morning. Are you Loly?

That's me, Lolita de Granada.

-At your service. -Ah!

I didn't think you'd still be here.

Well, yeah, you still haven't listened to my CDs.

Uh, we will listen to them and we'll be in touch.

I think we'll wait. Right, Mama?

Of course.

Uh, don't you have anything better to do?

I'm an artist. Of course I don't.

Oh, boy. Check this one out!

Props to you, babe.

This way, please.

[Marimar] This is pathetic! We haven't even been here a month!

Their problem, not ours.

Our problem! Ours. I wanna go back, Ma.

And why do you wanna go back?

Because we still have plenty of CDs.

["A Por Ti" by Tamara playing]

[bus brakes whoosh]

Look!

That's me and you. We're on our way back to Madrid.

-Bye! -See you!

[song continues]

[celestial tinkling]

[song ends]

GUESEMEN TALENT AGENCY

[doorbell]

[indistinct chatter from inside]

[man 1] C'mon. Let's go. [man 2] Careful with the car.

[man 1] C'mon, c'mon, let's go.

-[woman 1] Let's go, ladies. C'mon! -[woman 2 laughs]

-Excuse me, are you Miguel de Diego? -Uh, yeah, yeah.

So, we had a meeting this afternoon. I'm Tamara.

What time, beautiful?

Well, in the afternoon.

-Yeah, b… but it's evening already. -Well, how about now then?

Well, uh… Right now, we're heading to Guadalix, okay?

So, you wanna hitch a ride anywhere?

Or come with.

We have an awesome gig lined up.

-You wanna be in showbiz, right? -Yes.

Well, this would be like a masterclass. Come on, get in.

[distant sirens]

-[ominous buzzing] -[bell tolls]

-["A Por Ti" playing] -Well, I mean, the song is fine, yeah?

I can tell the musicians are a bit young, and the lyrics are a bit weak.

I mean, you can't sing about leaving your house

with… with no underwear on.

Hmm? You wanna know how I'd say it?

That you're out on the town, on an adventure,

and you… have some candy,

but you have no one to unwrap it for you.

You walk with your piece of candy should someone want to eat it.

But first they have to carefully unwrap it.

[in Spanish] ♪ Who will unwrap my candy? ♪

♪ Guesemen, candy with no wrapper ♪

-[ominous music playing] -♪ Someone needs to unwrap it, Guesemen! ♪

♪ Thank you for your love ♪

GUADALIX FEEDS FESTIVAL

[in English] Well, ladies and gentlemen, we have made it this far

and have had an amazing time!

Yeah, it's "Guesemen." Guesemen.

A… a catchphrase I made up. Like "Comor?" from Chiquito, you know?

If fans remember that, I swear,

your career as an artist is made, all right?

I wouldn't give you a catchphrase because you're not one of those stars

that come to Madrid to be funny, you know?

What do stars like you have to do in Madrid? Sparkle.

-[drumroll] -[Miguel] Huh? Guesemen.

Yeah, take this flyer.

Stop by on Friday. Everyone's gonna be there.

I'm sure we'll find something for you, okay?

-[drumroll] -[applause]

[ominous music playing]

CLEARANCE CLUB

Asshole!

Oh, yeah? Well, get fucked! Dirty little cunt! Fucking bitch!

[man chortling]

Paco. Paco!

-Okay! Wait till you hear this, Paco. -Come on. Spit it out, Tony.

Turns out that Miguel was supposed to meet up with a girl.

Some Basque woman. "Basque woman" this, "Basque woman" that, blah, blah.

Whatever. Point is, she came.

With her mother!

[Paco laughs]

-[Paco] Poor guy. Where? -[Tony chortling]

[Tony] That woman sitting there. Look at her.

She looks like a fossil, sitting out to dry.

No, where is Miguel?

Oh, in the bathroom, I think. With Richard.

When you see him, tell him I'm looking for him. Say it's urgent,

and I'm gonna need a hand with Tiempo de Marte.

I've had three floozies tell me to go fuck myself.

So? Who cares?

I mean, Tiempo de Marte is hilarious 'cause of you, man.

You get up there with your turnips

and read people their fortunes and whatnot, right?

Yeah, that's what I do. They're making a fuss now.

They want me to bring some slut, a black eye, a lawsuit against me,

or they want nothing to do with me.

Audiences don't want art anymore, Tony.

-They want trash. -Ah! Relax.

-They'll want you e… elsewhere, Paco. -Where? It's the same everywhere else.

On Tiempo de Marte, on Tamboleo, on El Reino de las Mañanas…

TV has become an assorted, whore milkshake.

Hey, and where's Leonardo, huh?

[man] Where are you taking me? Hang on.

Mama, gimme the CD. Please quick.

[salsa music playing in the background]

-Thank you. For you. -Oh.

-Oh, thank you. -You got it.

Mama, this here is Leonardo Dantés.

Um…

-Pleased to meet you, ma'am. -Hello.

He's a very important composer.

Well, I dunno about important. I wish I was.

I do compose my own songs.

I write for very famous artists as well, like Manolo Escobar, for example.

Really? Wow.

Yeah, "Y sin Embargo." A lovely song, if I say so.

And it went like,

"Your love is rose and spurs."

"Your love is a light in the storm."

"Makes me feel cold inside."

"At times, makes me feel warm."

-Sounds cool, doesn't it? -Very pretty.

Yeah, it's pretty.

Listen, but this… This isn't the sample you mentioned, is it?

This is a full-fledged record. Eleven tracks, plus a remix.

-All of these songs are yours? -Yup.

Well, tell you what. I'm gonna listen to it very closely,

and I can grab your contact details from Miguel.

I'll hit you up and we'll take it from there. That work for you?

-Sure, yeah! -Well then, thanks so much, Tamara.

Lovely to meet you, ma'am. Goodbye.

Take care, now.

[music fades]

[music intensifies]

What are you doing?

[Marimar] Hey!

Sup, gorgeous?

Play this.

-[DJ] Why? What is this? -Just play it.

-Well, which one? -Up to you.

[CD clicks]

["No Me Pidas" by Tamara playing]

[song continues]

[song continues]

[song continues]

[Leonardo muted]

[snoring]

[applause, whistling]

[fans cheering]

[cheering, applause]

[song continues]

[song ends]

-[snoring] -[distant sirens]

[soft footsteps]

[drawer scraping open]

[unsettling music playing]

[metallic tinkling]

[music builds]

[drawer scraping shut]

[Margarita] What are you doing?

-Nothing. -What do you mean "nothing"?

-Nothing. -Where you off to?

No… nowhere.

-What's in there? -Nothing.

[Margarita] Let me see. Give it to me!

Show me, right now.

[Marimar] No!

-Open it. -Stop. Stop.

-Let me see. -[Marimar panting]

What's this, huh?

What is this?

Don't scare me, please.

-A costume for some kind of strumpet! -Stop!

I'm leaving. I'm 30 years old.

Well, I'm coming with you.

No.

Well, I'm going to Santurce then.

Well, go then!

[melancholic music playing]

[door opens]

[door closes]

[somber buzzing]

[Miguel] Guesemen. What's up, gorgeous? How's it going?

He's a big film director.

He's expecting us. He's gonna love you, you'll see.

[unsettling music playing]

[ominous drumbeat]

[door slams]

[motor fades]

[bricks shatter]

[barking]

[melancholic music playing]

[celestial music playing]

PARADAI'S GUEST HOUSE

-[doorbell] -[door opens]

-Good evening. -Good evening.

What are you doing out here in this cold, sweetheart?

I'm looking for a place to spend the evening

until the bus leaves from Chamartín.

Of course, of course. Come in, come in, come in.

[distant barking]

-[woman] What's your name? -Margarita Seisdedos.

Come with me, Margarita.

[classical music playing on radio]

So, you're a northerner, huh?

Yes, Santurce, Basque Country.

And what brought you to Madrid?

My daughter.

Your daughter, huh?

-You've given her everything, haven't you? -Without a doubt.

Hmm, right. Yet here you are.

Yeah.

[woman] Mm-hmm.

Don't worry, sweetheart.

You'll be nice and comfy here. Come.

I want you to meet the rest of the guests.

[Margarita] It's late, they must be asleep.

Nah. It's never too late or too early here.

We don't have schedules. Time is relative.

-[music intensifies] -[clocks ticking]

[cuckoo clock chimes]

[women murmuring]

Ladies…

[murmuring stops]

…please welcome Margarita, our new housemate.

-Hello, Margarita. -Welcome. Welcome, Margarita.

Hello there!

Welcome.

[woman] I was just telling Margarita that all of us here have made sacrifices

for our daughters, haven't we?

[all] Mm-hmm.

-Yes, we have! -Good evening.

My daughter's father went off to war. I single-handedly raised her.

And when she got older,

she went off to find her father and abandoned me.

My daughter stopped talking to us.

We went bankrupt and she never spoke to us again.

[sighs]

I broke my hip…

-My daughter put me in a home. -[woman 1] Poor thing.

-Remorseless. -I too gave my daughter everything.

But all she wanted was my assets. We ended up parting ways.

Well, I gave mine a kidney.

A year later,

she started dating a biologist and went off to Sydney.

-Just like that? -Took the kidney with her.

-[woman 2] Gosh, what a nightmare. -[woman 3] I brought mine here to Spain.

And when she finally turned 18, she went back,

saying she wanted to reconnect with her roots.

Because her roots aren't her actual mother.

-The one who birthed her. -[woman 2] Absolutely.

Well, I gave my daughter power of attorney.

And the double-crossing piece of shit decided to spend all my hard-earned money

living in opulence.

She did whatever she wanted.

She sold my apartment and left me in ruins.

[woman 4] The audacity.

Well then, Margarita, how about I show you to your room now?

Come on.

[murmuring continues]

[classical music playing on radio]

Margarita.

After you, dear.

[jazz music playing]

Don't forget, if you feel like eating breakfast,

enjoying a card game with the ladies, a little glass of wine,

or anything else, you can come downstairs.

When you're in this house, there is no schedule.

[celestial tinkling]

I'll make sure that everything you need is at your disposal. Hmm?

[gentle music playing]

[door creaks, shuts]

[door locks]

-[traffic outside] -[uplifting music playing]

[music fades]

[TV program jingle]

-[applause] -I'd like to offer an apology.

Yes, I apologize for fooling you

into thinking that we're on Tiempo de Marte,

when it's not true.

We're not on Tiempo de Marte. Well, we're not on Tiempo de Marte just yet.

To be crystal clear,

this doesn't officially begin until these two people come on stage.

Andréi Ibarretxe and Macarena Barcelona.

-[upbeat music playing] -[wild applause]

[strident trumpet blasting]

[crowd cheering]

Joaquín. Hi, darling.

-[cheers, applause continues] -[boing]

[elephant trumpets]

All right now, all right now, what have you got for us tonight?

Macarena, more of the same?

No, not more of the same, no. More of the incomparable. Tamara!

To be honest, Tamara and more of the same don't exactly go hand in hand

because there's lots of…

The truth is she's juggling lots of balls at the moment.

The ball of the fruit shop, the ball of her marriage to Paco Porras…

…to get three cards in the…

[Macarena] The ball of her pregnancy with Paco Porras,

who didn't see it coming. It took him by surprise.

It took him by surprise? By surprise. Some clairvoyant, huh?

Some clairvoyant, didn't see it coming. Well, we have the porn video.

[Joaquín] The sex tape with the manager?

No, no, no. You've got it all wrong. Can't you see she leaked the tape herself?

[Macarena] Exactly! Of course she made it up.

-That one you can drop. -[woman] Oh!

-If that's the case, you flip it over. -[woman] Ace, two, or three?

I think she's busy. I don't think she noticed.

[woman] So getting rid of all your cards?

-Cards one to four. -[woman] Gotcha.

Right.

So you flip it over and say, "Closing."

[bells toll]

[faint traffic]

["No Cambié" by Tamara playing faintly]

Margarita! Let's go. Our soap opera's about to start.

Come down.

That's my daughter's voice.

[woman] What do you mean that's your daughter's voice?

What daughter?

Come on. The soap's getting juicy.

Margarita, what's going on?

What are you doing?

Where are you going? What are you doing? Oh my God.

Teodora, Teodora!

Margarita, go back to your room!

But why?

Because you won't find your daughter out there.

-And why is that? -Your daughter is no longer your daughter.

Your daughter… She's changed! She's--

Famous now!

It's more complicated though.

This is who you'll encounter. Not your daughter. This is who.

[wheels slamming]

Have you read what's written on the cover?

"As advertised on television."

And that's not easy at all.

It's exceptional.

[dramatic sting]

[uplifting music playing]

[music stops]

[sirens blaring]

["No Cambié" by Tamara playing]

[in Spanish] ♪ I didn't change I didn't change, I didn't change ♪

♪ I didn't change I didn't change, I didn't change ♪

♪ I'm still the same girl But I'm no longer aching for your love ♪

[song continues on radio]

♪ I didn't change I didn't change, I didn't change… ♪

[crayon scratching]

♪ I found a new love And with his kisses… ♪

-[artist, in English] What do you think? -Beautiful.

Are you another fan?

Much so.

I'm not surprised. She's become a superstar all on her own,

and without the support of the record industry.

She's an icon who doesn't follow the rules of the establishment.

Oh, I'm aware, sir. She's my daughter.

[song continues]

[muffled voice over TV]

It was supposed to be for a movie.

I never ever thought everyone would watch it at home like that.

[reporter] When you say "piece of shit," who are you referring to exactly?

Miguel de Diego. He was my old manager.

He's upset that we no longer work together,

and this is his revenge.

[sobbing]

[sniffling]

[Tamara sobbing] Hi, Mama.

Hello, darling.

[Tamara] You're still here?

Brought you something.

[emotive music playing]

Would you mind autographing it?

I'm planning on taking it home with me and I'm gonna frame it.

And I'm gonna hang it next to the map of Biscay.

And when you appear on TV, I'm going to turn up the volume

so everyone can see and hear you loud and clear.

-When are you planning to go back now? -Well, the bus leaves in a little while.

[sobs]

Oh, Mama. Take me with you.

-No, darling. -Yes.

Coming to Madrid was a mistake. It was a mistake.

-No, honey. -It's turned into a nightmare, Ma.

Sweetheart.

-You'll see. -What, you don't believe me?

Yes, darling, of course I do.

I think you still see me as a little girl.

Sweetheart, um… I don't…

I'm… I'm… Here's what I'll do. Let me try this.

I'm going to count to three…

[chair scrapes]

…and when I open my eyes,

I'll see you for the woman that you are.

You'll see.

[celestial music playing]

One…

two…

three.

Guess that didn't work.

So sorry, darling.

I still see you as my little girl.

Well, don't worry, Mama, because at least you gave it a shot.

You're still my little girl.

[sirens]

Him.

Why's he dressed like that?

They're right there. Come on.

I'll explain later, Mama. It's a long story.

This way. Guesemen, ladies and gentlemen.

We've got both of 'em here, mother and daughter.

Do you know what your daughter here Tamara's up to every night?

What kind of girl she is? Are you confused, like half the country?

Perhaps you're the one who taught her her lowlife, slutty ways?

[brick scraping]

What's that saying? You know the one I'm talking about.

Whores of a feather flock together, bound by greed and dressed in leather.

-[ominous buzzing] -[Miguel] Huh?

[distorted voice] Is that right?

[more distorted] Makes sense to teach your little girl, I mean…

-[ominous buzzing intensifies] -[bricks scraping]

[dramatic sting]

[uplifting music playing]

[Joaquín] I don't know about you all, but I couldn't believe it.

After the video we just watched,

we have collectively come to the conclusion

that Tamarismo isn't just Tamara.

Turns out Tamara is just half of the equation.

And the other half of the equation is…

["No Me Pidas" by Tamara playing]

…her beast of a mother.

[song continues]

[scraping]

Let's give it up for…

Tamara and Margarita Seisdedos!

[wild cheering]

[song continues]

Beautiful! I love you!

[cheering continues]

Gorgeous!

An artist? Are you serious?

The real artists of the world will roll their eyes so far back

they'll see their brains!

I'm sorry, but have you seen the number of records I've sold?

-[cash register dings] -Cell phone ringtones?

Who gives a shit about ringtones? They're tacky! I take that back.

-They're stupid! -[bullets ricocheting]

[bullet whooshes]

You do not speak like that to my daughter.

Just what we needed. Sit down, lady. Go on, don't hurt yourself.

[brick cracks]

-[glass shattering] -[man screaming]

[song continues]

[song ends]

[nostalgic music playing]

[music ends]