Someone was singing “Original Me” in an alleyway near Sixth Street, matching the original song’s vocals pitch for pitch. Surprisingly, it wasn’t Astra herself singing, or even another woman. A tabby Thiren man wearing a suit walked around the corner, stopping his singing immediately when he saw the other person. His ears lowered as his fur stood on end, eyes hidden behind shades. “You, uh…you realize now I have ta kill you…”
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Sergio was surprised that the bunny girl he met yesterday was so affectionate so quickly. Wide-eyed, he slowly wrapped his arms around her. “Uh…w-was you really this happy ta see me?”
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La llamada adicción al azúcar no se entiende solo como un problema nutricional o de autocontrol, sino como una formación de compromiso entre el cuerpo, el deseo y la historia afectiva del sujeto.
1. El azúcar y la experiencia oral primitiva.
Freud ubica en la fase oral una de las primeras fuentes de placer. Comer dulce remite inconscientemente a:
El pecho materno,
La satisfacción inmediata,
La sensación de calma y contención.
Cuando el sujeto recurre compulsivamente al azúcar, no busca solo sabor, sino reproducir un estado psíquico de apaciguamiento. El dulce funciona como un sustituto de algo perdido:
Cuidado, presencia, amor o seguridad.
2. El azúcar como objeto transicional fallido.
Desde Winnicott, el dulce puede operar como un objeto transicional que intenta calmar la angustia cuando el objeto primario (la figura cuidadora) no fue suficientemente confiable o disponible.
La diferencia es que aquí el objeto:
No simboliza,
No se internaliza,
Se consume y desaparece, obligando a repetir el acto.
Por eso el ciclo es: ansiedad → consumo → alivio breve → culpa/vacío → nuevo consumo.
3. Compulsión a la repetición y pulsión.
El consumo excesivo de azúcar puede leerse como una compulsión a la repetición: el sujeto repite un intento fallido de satisfacción.
No se trata de placer (Eros), sino de una modalidad cercana a la pulsión de muerte:
Se come aun sin hambre,
Aun con malestar físico,
Aun con culpa o consecuencias negativas.
El acto no apunta al bienestar, sino a anestesiar una tensión psíquica.
4. El Superyó, la culpa y el castigo.
Frecuentemente aparece un Superyó severo:
“No debería comer esto”
“No tengo control”
Paradójicamente, la culpa alimenta el circuito: el sujeto se castiga comiendo, y luego se castiga por haber comido. El azúcar funciona como autoagresión encubierta.
5. Falta, vacío y dificultad para simbolizar.
En muchos casos, la adicción al azúcar señala una dificultad para tramitar la falta por la vía simbólica (palabra, vínculo, elaboración psíquica).
En lugar de pensar, sentir o decir, el sujeto come. El cuerpo habla donde la palabra falla.
6. Dimensión clínica.
Desde una lectura clínica psicoanalítica, la pregunta no es:
“¿Por qué comes tanto azúcar?”
sino:
¿Qué angustia se intenta callar?
¿Qué vacío se tapa?
¿Qué objeto perdido se intenta recuperar?
¿En qué momentos aparece el impulso?
Reflexión final
Desde el Psicoanálisis, no se deja el azúcar solo con fuerza de voluntad, porque no es el objeto el problema, sino la función que cumple.
Cuando el sujeto puede poner en palabras lo que hoy se traga, el acto pierde su necesidad compulsiva.
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Serigo: Carl, look! You got a letter!
Carl: A letter? I didn’t hear the mail truck. A letter for me?
Sergio: The return address says “North Pole”.
Carl: Oh my gosh, it must be from Santa! Santa sent me a letter! Wow! Gee!
Sergio: Read it! Read it!
Carl: “Dear Carl, you rotten little kid…” OH NO!! SANTA CALLED ME ROTTEN! I’M DOOMED!
Sergio: Keep reading.
Carl: “I made a list, but I didn’t bother checking it twice, because obviously you’re the naughtiest kid in the whole world.” AUGH!
Sergio: What else?
Carl: “I’m writing to give you one last chance. You’ve got seven days to get on the ‘good boy’ list.” SEVEN DAYS!!! Oh no! What can I do??
Sergio: Maybe he says.
Carl:"I’d suggest you start by being kind to animals. Perhaps you know an animal who would like a snack soon. Or maybe you should let an animal read your comic books sometime. Think about it.”
Sergio: Sounds like sage advice.
Carl: “Signed, Santa Caws.” Santa Caws? Wait a minute! I recognize this handwriting! It’s yours! Santa didn’t write this at all!! Give you a snack, huh? How about a knuckle sandwich?!
Sergio: Hmph. Well, it’s what Santa would’ve written if he wasn’t so busy now.
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Aurora sends Andrew pictures of things that amuse or inspire her the same way a mom would, closing off every message string with a verse from Lathanderian text and an “I love you.”
If you’ll allow a bit of cheating since this involves other characters, Chiasa realizes that Sergio’s a whiz at math, so she asks her to help teach Kachi math. He’s also great at estimating prices, so Chiasa may also ask him to help with accounting for the temple, despite the silent protests from Himiko for working with a weird cat man.
Iyana coming out to Grollor, or at least trying to:
Iyana: Hey, I’m lesbian.
Grollor: I thought you were South African…?
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3. What was the first thing you decided on, the character’s name, appearance, personality or their role in the story?
Role in the story - that being ✨love interest✨
He actually changed quite a lot from the original image, though
4. And reverse, which one of the four things did you struggle with the most?
Honestly, it all came together pretty easily once I started developing him and the plot… but I guess name, because of his last name. It was originally Hyland, then I realized I couldn’t use that for a family of immortals because of Highlander. It took a bit of searching to find an alternate with the right vibe
5. How did you choose their name and why? Was it simply based on vibes or is there any specific meaning behind the name? Are the reasons behind their name different in- and out of universe?
The cool name list - so vibes. But it is kind of interesting that it means “servant.” In universe I made sure it fit with his dad’s name - they’re both used in multiple romance languages. But his name came first, out of universe.
12. Do you have a playlist for the character? What songs do you associate with them and why?
I have a story playlist, which is of course 95% just about him and/or Kestrel. If I were to pick one song as a theme song for him, it would be Third Eye by Florence + the Machine. Others include Gold by Imagine Dragons and The Archer by Taylor Swift.
16. Is there any memes or running jokes associated with the character, both in- and out of universe?
Out of universe I have a joke with some pals about how upset he is that Taylor Swift is in a relationship with a football player.
Thank you so much for all the questions!!
Answer
“I mean…she’s aight, like…”
Never mind the fact that Astra had been Sergio’s top artist on streaming services for a couple years now. Hugo and Vivian both knew that “Original Me” was his ringtone, and both had caught him singing it when he thought he was alone at the art gallery.
. . .
“Jordan’s a great guy. A good-looking guy, too. But he’s too serious. I swear, he’s gonna get grey furs before 30 if he keeps this up. I told him that modeling could help offset the bills, but the big, strong, muscle-y tiger suddenly gets shy when you suggest something like that.”
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Don’t know who needs to hear this, but you can cheese the Lv10 Team Rank Challenge in Currency Wars using the AOE tutorial.
Just don’t buy any characters once you get the required tutorial team set up, only purchase exp, then sell any remains to pay for Lv 10 when you reach the 3rd Plane Boss.
…And maybe do some laundry while you wait or something. Hey though plus 20 free jade.
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Sergio Tofano by Truus, Bob & Jan too!
Via Flickr:
Italian postcard by Ed. Art. Alberani. Portrait by Nanni. Behind Sergio Tòfano the character of Signor Buonaventura si shown, Tofano’s popular creation.
Giovanni Nanni (1888-1969) was a renowned Italian painter and illustrator of postcards, famous for his WWI postcard portraits of elegant ladies with capricious hats and his 1920s and 1930s Art Deco styled publicity for brands such as Olivetti, Pirelli, and Fernet Branca.
Sergio Tòfano (20 August 1886 – 28 October 1973) was an Italian actor, director, playwright, scene designer and illustrator.
Tofano was born in Rome. In 1909, he made his first appearance on stage with Ermete Novelli, then joined Virgilio Talli’s company (1912–23). He soon specialized as a comic actor, giving his role a new elegance and complexity. He interpreted works of multiple authors going from Molnár to Shaw, from Romains to Pirandello, from Machiavelli to Molière, from Anton Checkov to Henrik Ibsen, Kaiser, an Bertolt Brecht. In 1924-26 Tofano worked with director and playwright Dario Niccodemi, and in 1927-1930 with Luigi Almirante and Giuditta Rissone, co-acting with Elsa Merlini, Vittorio De Sica, Evi Maltagliati, Gino Cervi and many others. During those years, he made his memorable performances as Doctor Knock in Jules Romains’ homonymous play, and as Professor Toti in Luigi Pirandello’s Pensaci, Giacomino!. He also led important theatrical firms. After the Second World War, he worked with the most important innovative stage directors such as Luchino Visconti and Giorgio Strehler .
In 1917 Tofano invented, for a children’s magazine, Il Corriere dei Piccoli, a famous character, Signor Bonaventura, whose adventures lasted for more than forty years. He used to sign as Sto. He wrote and illustrated several children’s books and illustrated The Chess Set in the Mirror by Massimo Bontempelli.
After a one off performance in the silent film Tigrana (Edouard Micheroux de Dillon, 1916), Tofano’s film acting career really set off with his part of the usher Otello in the early sound film comedy La segretaria privata (Goffredo Alessandrini, 1931), starring Elsa Merlini and Nino Besozzi. Many other comedies at Cines-Pittaluga followed in the early 1930s, such as La telefonista (1932) with Isa Pola and Paprika (1933) with Elsa Merlini, while he had the lead in O la borsa, o la vita (Carlo Ludovico Bragaglia, 1933) and in Seconda B (Goffredo Alessandrini, 1934). Over the years, Tofano would work with a wide range of directors such as Mario Mattoli, Luigi Comencini, Pasquale Festa Campanile, Nanni Loy, Bernardo Bertolucci and Mario Monicelli. He would also direct two films, Cenerentola e il Signor Bonaventura (1941), shot at the Pisorno studios in Tirrenia, and Gian Burrasca (1943). From the start of television in Italy, Tofano acted in teleplays in the 1950s and 1960s such as Orgoglio e pregiudizio (Pride and Prejudice, 1957), L'idiota (The idiot, 1959), Mastro don Gesualdo (1964), Il conte di Montecristo (1966), I promessi sposi (The Betrothed, 1967), Le mie prigioni (1968, after the eponymous novel by Silvio Pellico), and I fratelli Karamazov (The Brothers Karamazov, 1969), plus two performances in the first (1965) and third (1968) season of Le inchieste del commissario Maigret.
Tofano married in 1923 with actress Rosetta Cavallari (1902-1960). They had a son, Gilberto Tofano, later on stage and TV director. In 1953 Tofano started teaching at the Roman theatre academy. After his retirement in 1960, he still continued teaching and having parts in television. In the same year, his wife, who suffered from depressions, killed herself. In 1973 Tofano died himself and was buried at the family tomb in Milan, next to his wife.
In his text on Tofano, Sergio Romano remembered in Corriere della Sera (2012), how impressive Tofano’s part had been of the old servant Firs in the final scene of The Cherry Orchard, directed by Visconti in 1965 and one of Tofano’s last stage performances. “But on the almost empty stage appeared Firs, forgotten by those to whom he had dedicated his life. In those few last minutes, while laying down on a sofa, he remembered the past and mumbled his last sentences. Tofano stole the show from Paolo Stoppa, Rina Morelli, Massimo Girotti, Lucilla Morlacchi, Ottavia Piccolo. In that momento the applause and some tears too were all for him.”
Source: English and Italian Wikipedia, IMDB, www.lungomarecastiglioncello.it/persone/DIVERSI/Tofano/~S….
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does anyone write for characters they dont know abt because i need x reader fanfiction of sergio from the phoenician scheme IMMEDIATELY
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More Meet My Ship templates filled out because I felt like talking about more of themmmm
Teddy is the only one of my Sims who is currently in a relationship with a Townie, and they’ve been together for like … 2 irl years? Across three(?) save files. I don’t like my Sims with townies that much anymore, but I do think Teddy and Sergio are a wholesome pair… the whole cheating scandal aside LOL
Template is by @lilmoonberry. Since I wasn’t tagged in this, anyone can fill it out if they want.