Mario Talarico is a Neapolitan master umbrella maker. He and his finely crafted products have been featured in newspapers around the world.

Fellini describes his relationship to a producer who became so exasperated by the director, that he drank ink in mock suicide.

Adriano, a big Palermo soccer fan, highlights important dates and the many name changes for Palermo's beloved stadium.

Francesca finds a note on the windshield of her car. Her driving instructor has to explain that it's not a note, but a parking ticket.

Donatella Versace, go-to designer for movie stars and rock stars, talks about her love of color, designing the various Versace collections, and the legacy of her brother.

Claudio Capotondi discusses his marble and travertine sculpture entitled PortaRoma, created in 2000.

Marika tells us about the euro in Italy. Learn or review the names of the coins and bills, and go with Anna to buy some items she needs for school.

Fellini, interviewed at the Trevi Fountain, during the filming of La Dolce Vita, discussed his relationships with producers.

Adriano finishes showing us how to make "spaghetti alla carbonara." Ingredients for 4 servings: 500 grams of pasta, 300 grams of bacon cubes, 4 eggs, extra virgin olive oil, salt, pepper, Parmesan cheese, and parsley.

Marika shows us the various pots and pans, plates and silverware used every day in Italian kitchens, dining rooms and restaurants.

An exclusive interview with the world-famous Italian film director and screenwriter, Federico Fellini.

Pasta alla carbonara is a characteristic dish from Lazio, and more specifically, from Rome. It's made with "humble" ingredients but that doesn't prevent it from being wonderfully tasty, and a favorite with pasta lovers everywhere. This is the Adriano's own version.

Francesca and her travelling companion have just gotten a flat tire. Learn the steps for changing a tire along with Francesca.

Marika takes us through the vegetables used in Italian cooking. Buon appetito!

"Innercore" is the title, inspired by an article in the New York Times, of Claudio Capotondi's masterpiece. He talks about the significance of the sculpture, and about the special kind of stone he used to make it.