Season 1 · Episode 12
Club de Cuervos
Chava has the worst birthday ever as scandal engulfs Aitor and Isabel seizes an opportunity.

The most ubiquitous Mexican masculine address term between familiars. Can be directed at male or female speakers in casual contexts, though primarily male-to-male. Tone shifts radically with intonation: warm and friendly in relaxed conversation, exasperated when drawn out, dismissive when clipped. Its near-constant presence in spontaneous speech acts as a discourse filler and social lubricant simultaneously.
A high-intensity expletive expressing sudden anger, frustration, or shock. Functions as a standalone exclamation or as part of longer constructions. Its force comes from the root verb 'chingar,' which carries broad connotations of harm, violation, and ruin. Used almost exclusively in informal, emotionally charged speech; its appearance signals that a speaker has lost patience or composure.
Expresses complete indifference or dismissal. The phrase strips something of any importance or relevance in the speaker's eyes. Far stronger than a neutral 'no importa'; it signals that the speaker actively rejects the idea that something deserves consideration. Very common in heated arguments to signal that objections or outside opinions are irrelevant.
Extremely versatile Mexican expletive expressing disbelief, indignation, surprise, or contempt. Literally built on a vulgar root but its sharp edge softens with very high frequency of use. Younger and urban speakers use it almost reflexively. Can convey positive surprise as well, though in charged conversations it typically signals rejection or exasperation.
One of Mexican Spanish's most semantically flexible terms. Among close male friends it is affectionate and roughly equivalent to 'man' or 'buddy.' Directed at an adversary or used in description, it becomes a genuine insult meaning a cunning, ruthless, or contemptible person. Context and intonation are everything; the same word in the same room can signal warmth or hostility.
Refers to someone who acts selfishly, callously, or treacherously. Anatomically derived but used purely as a character insult in everyday speech. Less common than 'cabrón' but more specifically targeted at behavior that is mean-spirited or petty. Appropriate between people who know each other well enough to be blunt.
Positive superlative derived from 'chingar.' Describes a person of exceptional skill or something of outstanding quality. Used enthusiastically to express approval or admiration. Despite its vulgar root, it appears constantly in casual Mexican speech without shock value among familiar speakers, though it remains inappropriate in formal or professional contexts.
Expresses that someone has reached the absolute limit of their tolerance. The phrase is structurally similar to 'estar harto' but far more emphatic and emotionally raw. Signals a breaking point that demands action or at minimum a strong emotional release. Used in conflicts where patience has finally run out.
Borrowed into the dialogue from Rioplatense Spanish and spoken by a character who uses Argentine Spanish. Within the show's Mexican context it is treated as a foreign flavor marker. In Mexican Spanish itself this word is largely absent from everyday speech; its presence here signals the speaker's non-Mexican origin as much as any content. Notes are given here on its function in the dialogue rather than as a Mexican term.
Strong affirmative expressing enthusiastic agreement or triumphant confirmation. More emphatic than 'claro' or 'sí.' Often accompanies the realization that something has gone well or that a long-awaited outcome has arrived. Used almost exclusively in informal male speech in moments of excitement or vindication.
Describes someone who is arrogant, self-important, or disagreeably smug. Also used to call out petty or annoying behavior with a lighter touch than 'ojete.' In direct address as an imperative ('no seas mamón') it functions as a warning to stop behaving in a tiresome way. Widely used and instantly understood across Mexican social contexts.