Majo’s daliance with a washed-up actor will soon prove to provide her with a little more drama than she’d bargained for. Gloria senses that his role might not be the hero’s but Majo is oblivious. Meanwhile Gala meets one of those cincuentones (guy in his fifities) that Melina has promised her.

¿Qué bolá? That’s ¿Qué pasa? (What’s Up?) in Havana, where your “homeboy” is your “monina,” your “consorte,” or simply ‘asere.’ Here we find musical giants Orishas back in the old barrio of Vedado.

Belanova is appreciative and proud that so many of Latin America’s and Mexico’s biggest stars, such Joselo and Coti saw fit to take the time to join them on their tour. The band is humble, but not without ambition; they have set their sites beyond the habla hispana, seeing potential fans in Australia, Italy and even Japan.

Imagine the shock to Natalia’s parents when they first saw another couple on the TV claiming that she was their child. Unfortunately, such a thing was not, in fact, entirely impossible. A blood test, however, proved the sad couple wrong. Natalia’s starring role in Ricos Y Famosos would soon bring Natalia, and her actual mom and dad, back to the top of the world.

Nelly Ocacia and Benjamín Moldonado are both 19-year-old university students, and enjoy dancing with the Ballet Folklórico Guamanique when not studying. We caught up with them at the airport in San Juan, where they were welcoming new arrivals and seeing off departing passengers, much to the delight of travelers.

The effort to de-mine Central America is truly an international one, with assistance coming from the U.S., Germany, Spain, France, England, Japan, Canada and Sweden (who’s ambassador is featured here, speaking eloquent Spanish). Also we hear from soldiers on the pleasure of serving a mission of peace, as opposed to one of war.

Mauro thought he’d seen the last of Juan when he fired him from the record store, only to find the boy raiding his kitchen fridge! Mauro attempts to throw him out but his mom intervenes. It turns out that Mauro’s sister Teresa has convinced her mother to pay Juan to teach her to play the piano. Mauro is not amused.

Elena is absolutely certain she will not be calling Mariano, her estranged, cheating boyfriend. She professes this fact repeatedly. But when Vero drops by, still tipsy from the club, discussion of lonely reality has its effect. She breaks down and picks up the phone…

When a strange man insists he is Natalia’s true father, she is oddly sympathetic, “we all know about el proceso.” But do we? The “process” is shorthand for the era of military dictatorships that engulfed the Southern Cone in the mid 70’s. During this era, untold numbers of infants of suspected “subversives” were kidnapped, often taken by police or military members to raise as their own.

Why is it that some musicians have such synergy together? Belanova describes the fusión that is created when each distinct musical personality comes together, and how this unique “fusion” has brought them from after-class practice to stadium-filled tours.

Joan Planas continues to pull no punches, taking on NGOs, television, and the Catholic church. Oddly enough, despite his firebrand rhetoric, the film ends on a rather conservative note, suggesting that perhaps what poor nations need is not so much charity but rather a change in actitude, or “attitude,” so as to reflect the mindset of people in successful nations. Tune in to find out the details.

Not only did poor Manuel Rosales lose the election for president, but winner Hugo Chavez’ supporters are trying to knock him out of his post as governor of Zulia. In a faux futuristic recounting of a would be history, this wildly hopeful presidential campaign ad (disguised as a movie trailer) not only dared Venezuelans to vote for change, but dared to sell a bearskin before actually catching the bear.

Bienvenido al sueño is the first solo effort by the artist formerly known as Rubén Albarrán—of Café Tacuba / Café Tacvba fame. (‘Tacuba’ became ‘Tacvba’ after a lawsuit, according to this Wikipedia entry.) Check out Sizu’s wild video to the album’s title track. Nice hats, no?

Not only does our filmmaker continue with his diatribe against the state of society as he finds it in Nicaragua, but the story takes an investigative turn. We find that not only doesn’t sponsored-child Christina del Carmen match the photo that had been supplied by Ayuda en Acción, she is also not yet enrolled in a school.

In this installment of the dispute documentary we hear Mexican revolutionary Emiliano Zapata quoted over a protester’s loudspeaker. As Zapata said: “¡Victoria o muerte!” (“Victory or death!”). To protest the taking of their farmland, the people of Atenco are using stronger and stronger language. Listen in.