The narrator goes over the vanishingly small number of expressions coined during Mussolini's time that are still in use today. The song that gives the series its name is provided in full.

After the war came TV. It changed everything, and provided a new way to unify the Italian language and teach people reading and writing.

The segment looks at the Royal Academy of Italy's dictionary of Italian, which was filled with quotes from Mussolini. By the end of World War II, the dictionary had gotten to the letter “C.”

Mussolini inveighs against the middle class, saying that it is the enemy of fascism. Much of the footage in this segment features EUR, the Rome district that was built in the 30s and 40s.

This segment opens with a sort of poem, demonstrating how kids growing up in fascist Italy were expected to behave. Minority groups had a pretty hard time, too.

Schools in fascist Italy banned the study of dialects and moved to using standardized textbooks. The fascist hymn “Viva Adua nostra” refers to a battle won by the Kingdom of Italy in 1896 near Adwa, Ethiopia.

Soon after the introduction of talkies, dubbing came about in the thirties. Dubbing was extremely popular in Italy and remains so today.

The nineteen twenties ushered in sound in cinema. Italy's L.U.C.E. [L'Unione Cinematografica Educativa or Educational Film Union] was founded in 1924 and generated the fascist regime's cinematic propaganda.

In World War I, Italians who up until then had spoken their regional dialects, found themselves fighting side by side against a common enemy. But Mussolini was interested in fighting the internal enemy.

The documentary comes to a close with an interview regarding a prison cell used during the Inquisition. The cell bears the graffiti of its inmates. Pitrè had laboriously uncovered the graffiti, but it was only rediscovered in the 1970s by the writer Leonardo Sciascia and the interviewee in this segment, Giuseppe Quatriglio, who used Pitrè's writing to find it.

A Palermo doctor discusses the Integration of immigrants in Sicily and highlights the successes in healthcare. Medical assistance is provided for all immigrants, whether lawful or not.

A Palermo doctor is interviewed about his practice and the African and Southeast Asian immigrant patients that he treats.

Palermo faces the sea and has a very long history of immigration. The narrator interviews a young woman whose great grandfather came to Sicily from Sudan. She is involved in educating immigrants from Africa and Asia. Pitrè was also highly involved in education.

Giuseppe Pitrè loved attending performances of chivalric folk plays in Palermo. This segment follows a marionette player at Palermo's Opera dei Pupi, the same theater where Pitrè went to see folk epics.

A woman performs a traditional Sicilian ritual involving the sticking of pins into an onion, accompanied by prayers, in order to bring back the boyfriend of her suppliant.