The contrast between two seemingly irreconcilable worlds: the Mexican cockfighting arena, with its festive and popular atmosphere, and the solemn Palace of Fine Arts.

Through the perspective of narrator Andrés Vargas, we discover his personal memories of Juan Gabriel intertwined with the story of María Esther Pozo, who in 1990 witnessed the "collective madness" phenomenon that Juan Gabriel provoked and conceived the idea of bringing him to the Palace of Fine Arts with the National Symphony Orchestra, immediately facing rejection from her boss, who believed a popular artist had no place in Mexico's premier cultural venue.

The story of how María Esther Pozo navigated the complex labyrinths of power to make the concert a reality.

After her boss's rejection, she discovers that President Salinas's wife, Cecilia Occelli, is a Juan Gabriel fanatic and uses this connection to secure presidential approval.

The episode reveals tensions between conservative intellectuals who considered the concert "the end of Bellas Artes" and figures like Carlos Monsiváis, who publicly endorsed the event. It also explores the project's financial aspects and how Juan Gabriel agreed to donate his earnings to benefit the National Symphony Orchestra.

The intense preparations and last-minute obstacles before the historic concert.

With just days until the debut, organizers face multiple crises: the principal conductor refuses to direct, sheet music arrives in dribs and drabs, and coincidentally, the funeral of one of the most respected men among the conservative elite occurs at the same Palace during the only scheduled rehearsal.

Tension escalates when the Presidential Security detail requests that Juan Gabriel greet the president after the show, a request the artist rejects with a memorable response. The episode culminates with a strike threat from Bellas Artes technical staff, which jeopardized the first show in May 1990.