Rodríguez

Mérida, November 9, 2026 (venezuelanalysis.com) – The Venezuelan government publicly reinaugurated the George Washington Plaza in El Paraíso, southwestern Caracas, alongside the US embassy on Friday.

The ceremony commemorated the 250th anniversary of the US independence. The Caracas mayor’s office restored the 2,400-square-meter plaza, originally inaugurated in 1921, while also refurbishing Washington’s statue.

Venezuelan Acting President Delcy Rodríguez led the state delegation, alongside ministers and municipal authorities.

“This year marks the 191st anniversary of diplomatic relations between Venezuela and the United States,” she highlighted to the press. “This reopening of the plaza is a tribute to Washington, an independence leader, a founding father. It serves as a heartfelt homage to his leadership and historical legacy.”

Rodríguez went on to claim that Washington was a source of inspiration for Venezuelan independence leader Simón Bolívar.

“For the children present here: it is important to know your country’s history, but also to recognize the heroes from other countries,” she concluded.

The commemorative gathering began with an official wreath-laying ceremony at the reopened public square. Local schoolchildren from the El Paraíso parish gathered at the venue, waving small US flags alongside Venezuelan ones.

As part of the official program, the Caribbean nation’s Simón Bolívar Youth and Children’s Symphonic Orchestra performed the US and Venezuelan national anthems, as well as classical pieces from its repertoire.

Heading the US embassy delegation, US Chargé d’Affairs John Barrett echoed Rodríguez in framing Washington as “a leader much like Bolívar.” 

“We should view that statue of George Washington with pride,” he said. “These two figures symbolize new friendship between the United States and Venezuela. And I want to thank all Venezuelans, as well as the president, for their support.”

The US embassy’s celebrations of the 250th anniversary of independence were originally postponed by the June 24 double earthquake.

On Thursday, Barrett hosted a formal diplomatic reception for international diplomats, business sector representatives, and high-ranking Venezuelan officials such as the President of the National Assembly, Jorge Rodríguez.

“We accepted the invitation […] to celebrate the 250th anniversary of the US Declaration of Independence,” he posted on his X account. “The close cooperation between our governments serves as a tool for the prosperity of all our people.”

Since the January 3 US military strikes and kidnapping of President Nicolás Maduro and First Lady Cilia Flores, Washington and Caracas fast-tracked a diplomatic rapprochement that included the reopening of their respective embassies after seven years of broken ties.

The Venezuelan leaders’ friendly overtures towards the US contrast with the stances of the Maduro and Hugo Chávez governments. Both former presidents were adamant in condemning the US’ past and present role in imposing its interests at the expense of Global South countries. They also had to contend with recurring US-backed destabilization efforts, including coup attempts and economic sanctions.

Caracas’ renewed rhetoric was likewise on display at the XXX Ibero-American Summit, held on November 4-5 in Madrid, Spain. The Venezuelan delegation was led by newly appointed Foreign Minister Oliver Blanco.

“We are convinced that a more stable, more democratic, and more prosperous Venezuela, fully integrated into international markets, will contribute to the development of all of Ibero-America,” Blanco stated.

The Venezuelan official went on to tout an ongoing US-backed dialogue process with a sector of the opposition that is focused on judicial and electoral reforms, stressing that the South American country is undergoing a “democratic transformation” under the acting Rodríguez presidency.

“One significant agreement from this process is the renewal of the Supreme Court. […] We have requested technical assistance from the European Union to strengthen the rule of law and modernize our justice system,” he added.

Blanco additionally highlighted cooperation prospects and a “shared history” between Latin America and Spain. 

To mark the country’s participation in the Ibero-American Summit, state broadcaster VTV published an AI-generated spot hailing Spain’s “heritage” in Venezuela as a “cultural matrimony” and a “meeting of two worlds.” The narrative was markedly different from the discourse under Chávez and Maduro, who fiercely condemned Spanish colonialism, the genocide of native peoples, and the slave trade.

Edited by Ricardo Vaz in Caracas.

Caracas, October 29, 2026 (venezuelanalysis.com) – Venezuelan Acting President Delcy Rodríguez defended an ongoing plan to privatize state assets and return nationalized companies to former owners on Thursday.

“I have ordered the evaluation of non-essential state assets to be offered to the private sector or returned to their previous owners,” she said in a televised address to the nation.

“This is already in motion. The right to private property is guaranteed by our Constitution,” Rodríguez added.

In April, the acting president established a commission to evaluate the “strategic” value of state-owned companies, land, and other assets, to determine whether they should be retained, privatized, or liquidated.

Former President Hugo Chávez implemented a program of nationalizations in the 2000s to assert state control over strategic economic sectors, including electricity, telecommunications, and heavy industries.

After enacting a pro-business overhaul of hydrocarbon and mining legislation earlier this year, the Venezuelan parliament is on the verge of approving the partial privatization of the electricity sector. Foreign companies are likewise in talks to acquire the country’s largest aluminum smelter, while a consortium headed by Sunergon Oil is reportedly pushing the takeover of several industrial plants associated with the oil industry.

Business sector representative Luigi Pisella, who heads the commission, recently proposed a law enshrining multinational corporate participation in privatized public entities alongside local capital.

“I have encountered no resistance to this idea,” he stated in an interview with Banca y Negocios. “Most investors agree it is indispensable to have local partners whose experience is essential to navigate the complex Venezuelan environment.”

Pisella added that “different models of private participation” are being evaluated, but ruled out the “strategic alliances” whereby the state grants the assets in a concession-type deal while retaining ownership. The business sector spokesman argued that “no one is going to invest” without the full transfer of property.

In Thursday’s address, Acting President Rodríguez also promised that workers’ incomes would be increased quarterly next year, with the raise being at least on a par with GDP growth. 

“For 2027 we are scheduling increases to workers’ incomes in four different moments, in amounts that can never fall short of economic growth in the preceding trimesters,” she explained. 

Rodríguez did not mention adjusting the minimum wage, which has been frozen since 2022 and is currently worth around US $0.15. Instead, Venezuelan authorities have leaned on non-wage bonuses, which do not factor into vacation pay, severance, and other labor benefits in what amounts to a de facto subsidy to employers. Public sector workers currently have a monthly income floor of $240.

While Venezuela’s GDP is predicted to grow 5-10 percent in 2026, even raising non-wage bonuses by that amount falls short of inflation. Finance website Ecoanalitica estimates that prices measured in USD will end up rising 20-30 percent in 2026, meaning that an income adjustment pegged to GDP growth would amount to a loss of purchasing power.

In her message, Rodríguez went on to tout ongoing labor reform talks involving business lobbies and select trade unions. 

Private sector associations such as FEDECÁMARAS and FEDEINDUSTRIA want to slash labor costs for employers, further reducing social security contributions and eliminating the retroactive nature of severance pay and other benefits such that any future wage hike would not trigger corresponding increases.

Finally, the acting president defended recent judicial reforms and ongoing US-endorsed talks with a sector of the Venezuelan opposition that will appoint a new Supreme Court and National Electoral Council. The US State Department has claimed that new presidential elections will be held in 2027.

Rodríguez offered no specifics on an electoral timetable, stating only that “there will be elections, with a renewed electoral authority and the world as a witness.”

Edited by Lucas Koerner in Philadelphia, USA.

Caracas, October 24, 2026 (venezuelanalysis.com) – Venezuelan Acting President Delcy Rodríguez announced a series of measures aimed at expanding tax collection.

In a televised broadcast on Wednesday, Rodríguez announced the immediate suspension of the mandatory use of fiscal printers. Introduced in 2018, the devices recorded every transaction and reported it in real time to the country’s National Integrated Customs and Tax Administration Service (SENIAT).

The costly equipment posed a significant barrier for entrepreneurs and small business owners, particularly in the country’s interior, where authorized suppliers are scarce.

Superintendent Román Maniglia said the decision is part of SENIAT’s technological modernization that will pave the way for the gradual introduction of digital invoicing, which will soon be available free of charge to all economic sectors. 

“We seek to lower the barriers to formalization across all sectors, particularly for the smallest businesses, entrepreneurs, and small and medium-sized enterprises (SMEs),” he stressed.

Rodríguez also announced a review of the registry of Special Taxpayers, known as “special contributors,” with the list reduced from 132,000 to around 44,000. These are individuals or legal entities that, because of their high income or assets, are subject to additional tax obligations.

According to the acting president, the review will add those who should have been included in this category and remove those who were classified as special taxpayers without meeting the relevant criteria.

Rodríguez said the changes are intended to improve tax services and expand revenue collection. She added that fiscal revenues rose by 27% in October, although she did not specify the basis for comparison or provide a breakdown of the amount collected. 

“We have been discussing the very low number of people who pay taxes in the country. This is a matter of fairness,” she added.

The latest announcements follow prior measures to facilitate tax collection. Earlier in October, SENIAT and banking superintendency SUDEBAN formalized an agreement to exchange information in real time in order to “strengthen revenue collection” and “facilitate the identification of potential tax discrepancies.”

The tax authority is now also interconnected with the Autonomous Service of Registries and Notaries (SAREN), the Administrative Service for Identification, Migration, and Immigration (SAIME), and the Central Bank of Venezuela (BCV).

“We have a very important system for cross-referencing information which, together with a new statistical information system, will allow us to start collecting what is owed,” Rodríguez said in this week’s broadcast. She added that the fiscal revenues will be directed to the Venezuela Renace Foundation, which is responsible for repairing and rebuilding homes damaged by the twin earthquakes of June 24.

The acting government has likewise announced a tax reform to be unveiled before the end of 2026. Its stated goal is to “harmonize the tax burden” so that it supports economic growth and private-sector production. 

In parallel, the Rodríguez administration is also pushing labor reform plans alongside private sector lobbies FEDECAMARAS and FEDEINDUSTRIA. The business representatives are proposing a “Law on Labor and Social Consensus,” also referred to as the Labor Emergency Law, that will reportedly reduce labor costs for employers. 

The proposal is being discussed with select trade unions, including the government-aligned Bolivarian Socialist Workers’ Central of Venezuela (CBST).

According to reports, the draft legislation seeks “transitional and alternative solutions” to the crisis in workers’ incomes and the stagnation of the minimum wage, which has remained frozen since 2022 while authorities prioritized non-wage bonuses. The proposal would not formally overhaul the entire Organic Labor Law, Workers and Employees (LOTTT), enacted under President Hugo Chávez in 2012, but labor activists warn that it would effectively sideline some of its provisions.

The landmark 2012 legislation reinstated the retroactive calculation of social benefits and severance based on a worker’s last salary, a provision that business groups want to eliminate, while trade unions consider it a red line. Workers’ organizations have staged multiple protests in recent months, demanding that the Rodríguez administration convert non-wage bonuses into salaries and reinstate collective bargaining rights.

Edited by Ricardo Vaz in Caracas.

As Puerto Rico continues to grapple with the long aftermath of Hurricane Maria — from an unreliable electrical grid to ongoing water shortages — the need for stories that see the island as more than a backdrop feels especially urgent.

That’s part of what makes “Hurricane Seasons,” an intimate new independent film about a Puerto Rican family returning home, feel so timely. The film, which screens Sunday at the Newport Beach Film Festival, stars comedian Aida Rodriguez as Glori, a Brooklyn-based artist and community-center worker. She returns to Puerto Rico to help her sister (Justina Machado) care for their terminally ill mother (Priscilla Lopez).

When their matriarch convinces the family to embark on a bucket-list road trip around the island, old family secrets surface as the 2019 protests following Hurricane Maria unfold around them. Directed by Nicole Gomez Fisher and written by Xavier Ortiz — with Rodriguez also serving as a producer — the film is both a story of a multigenerational family and a love letter to Puerto Rico.

For Rodriguez, who is best known as a stand-up comedian, “Hurricane Seasons” also marked a return to a part of her artistic identity that existed long before comedy — her love of acting. But she admits that stepping back into acting, especially as the film’s protagonist, wasn’t an easy transition.

Aida Rodriguez, left, and Priscilla Lopez in a scene from “Hurricane Seasons,” directed by Nicole Gomez-Fisher.

(Laura T Magruder)

“It was terrifying. It was very scary because as a stand-up comedian, I work very hard at trying to obtain my most authentic self so that I can share it with everybody — to be my truest self, my truest Aida,” she says. “And when you loan yourself to a character and the art form of acting, you’re loaning yourself to that character and bringing yourself to that character, of course, because that is why they choose you. But you are telling a story from the perspective of another person.”

Rodriguez had pursued acting before going into stand-up comedy. Upon moving to Los Angeles, she quickly booked acting work, signed with an agency and began taking classes.

But comedy eventually taught her to do almost the opposite of what acting required.

“When I started doing standup, the direction and the notes were always like: ‘Release any character you have in mind and just access yourself,’” she says. “So it was a battle for me. Coming back to becoming an actor and giving the character Glori what Glori deserved — and allowing Glori to live, and Aida to sit in the back — became something important for me to do.”

She adds that it took a lot of work with coaches and classes for her to relax into acting again, allowing Aida the comedian to rest while focusing on what this role required of her.

The film’s protagonist, Glori, is a Brooklyn-born-and-raised Puerto Rican woman whose connection to the island runs deep, despite her living stateside. This is something Rodriguez, who is half Puerto Rican and half Dominican, born and raised in the States, also personally relates to.

That tension — between where you live, where your family comes from, and who gets to decide whether you are “Puerto Rican enough” — is one of the film’s central themes and one reason the script resonated with Rodriguez.

“My testimony through my art has always been finding unity, solidarity, power and connection with other people,” she says. “I think that the story of growing up in the States and connecting to the island is a universal story that most people, regardless of where they come from, experience. [There’s this] idea that you’re never American enough nor whatever you are — in this case Puerto Rican enough — because there’s always a judge and jury on both sides.”

Rodriguez sees those tensions as a consequence of a much larger and complex history. She believes so much of the judgment on both sides is a lingering effect of colonization.

“For me, that was one of the most attractive things about the script — [it] was being able to engage in a conversation about what being Puerto Rican really is,” she says. “Is it based on colonial standards? Or is it based on maintaining our cultural richness and our legacy, that is handed down to us regardless of where we are?”

That question takes on even more weight today as Puerto Rico sits in the aftermath of Hurricane Maria, which Rodriguez believes shifted the relationship between Puerto Ricans on the island and those living stateside.

“There was a shift, because there are wounds from both places,” she says. “There are wounds from the people on the island that stayed and stuck it out. [They want to ask] the ones who left, ‘why do you get to claim this, if you’re not here sticking it out with us?’ Then the people who leave feel like, ‘we had to do this, so that we can not only survive, but send money back to the island.”

Rodriguez explains that, in many ways, the aftermath of the hurricane sparked arguments on both sides that were necessary to begin healing the tension. She believes it highlighted issues that Puerto Ricans, as part of a diaspora, could no longer ignore; it also highlighted an island and a community that Americans outside of the Latine community paid little to no attention to.

“It took a hurricane for people to know what Puerto Ricans were,” she says. “I think there was a cultural shift and there was a conversation that needed to be had, about what happens on the island. And what that means to those of us who are not there.”

That conversation serves as the meat and bones of “Hurricane Seasons,” in which Puerto Rico isn’t simply a location. It’s an integral presence in the story. Rodriguez, Ortiz and Gomez Fisher all agreed that filming most of the movie on the island was essential, not only creatively but also economically and culturally.

“The other thing that was very important about taking the movie back to Puerto Rico was to invest in Puerto Rico and to stimulate some sort of revenues for the island and that the crew was a Puerto Rican crew,” she says. “The DP [director of photography] was a Puerto Rican DP — all people that live on the island.”

It was important to them that if they were going to tell a story about Puerto Rico that was also shot in Puerto Rico, that Puerto Ricans on the island actually benefited from the production.

“It’s not cool to go to Puerto Rico and shoot a movie and bring in your own people from the States, and the people in Puerto Rico have to be inconvenienced with their roads being blocked and things shut down and an influx of Americans that come there to be disrespectful and them not making anything out of it,” Rodriguez says.

This commitment shows in the protest scenes. Rather than using background actors, the film features real Puerto Rican residents, including a local activist and singer.

“It didn’t feel rehearsed. It didn’t feel fake,” she says. “I just think that the feelings and the passion and the rage and the sense of urgency is still there.”

Ortiz’s commitment to specificity extended to the family casting, intentionally matching the actors to the real-life relatives they are based on.

“It wasn’t performative. It was actually real because that’s what all of our families look like,” she says. “Puerto Ricans, Dominicans, we just have that diversity because of all the stuff that’s happened in the past.”

Glori’s character also represents a refreshing departure from the way Latina women are often portrayed onscreen. She is a mother, a daughter, a community center worker, an artist — and a woman with a complicated romantic and family history. She is beautiful and desirable, but her sexuality isn’t the defining characteristic of her existence — something we don’t see enough when it comes to Latina roles.

“For me, I didn’t have to step outside of myself for the role, which was really refreshing because every audition that I ever get, I do have to step out of myself because when people write Latinas in Hollywood, they tend to write them one way,” says Rodriguez. “They look a certain way, they talk a certain way, and that’s not the reality of what being Latino, especially in America, is like.”

Rodriguez could freely inhabit a Latina character without feeling as though she had to perform her Puerto Rican-ness for the audience.

“I didn’t feel like I had to perform my Latinidad. I could just exist in it,” she says.

Rodriguez adds she’s ready for a Hollywood that wants Latina actors to have the same range of characterization that white actors have long been afforded. She’s open to seeing Latinas being everything in TV and film, where can they exist in a world in which they can just be people who just happen to be Latinas.

“I really do look for a day when we can just be people and not just be the funny, spicy friend,” she adds. “Some Latinas are not spicy. Some Latinas are nerds, and some Latinas are quirky, and some of them are goofy and some of them are clumsy. And just like everybody gets to see the spectrum of whiteness with all the different kinds of characters, I would love to see that for our people. For all people of color, actually. I think it’s important to see us all as full human beings, and that means that we can be anything.”

The film’s multigenerational story touches on the cultural inheritance passed between mothers, daughters and grandmothers — whether through old traditions or ordinary rituals. It’s something audiences, regardless of background, can likely relate to.

“The most important message that I’ve kept from my [foremothers] was never to lose my sense of Puerto Rico; that, even if I don’t live in Puerto Rico, Puerto Rico lives in me,” she says. So much of that inheritance lives in the little things she remembers about her Puerto Rican grandmother, she says, from the té de tilo she’d make for an upset stomach; the recao that grew on her grandmother’s balcony because she didn’t have a backyard; or the azabache she still wears to this day for spiritual protection. They are the same small traditions she has passed on to her kids.

“My daughter makes better arroz con gandules than all of us,” Rodriguez says. “And her recipe is true to what my grandmother’s recipe was. That will continue to live on, until we are able to go back to our island and live in peace.”

That freedom is one reason Rodriguez believes independent film is so important for stories like “Hurricane Seasons.” Without a studio machine making decisions based primarily on commercial expectations, filmmakers have more room to tell a story on their own terms.

“Once the studio gets involved, they start thinking about dollars, which they got to make money, but they prioritize the dollars,” Rodriguez says. “And I think that’s why a lot of these big projects that they spend a lot of money on have failed because they don’t honor the storytelling. They don’t honor the authenticity of the world, the authenticity of the stories.”

Her hope is that “Hurricane Seasons” encourages more people to tell their own stories — especially Puerto Ricans.

“Puerto Ricans are not a joke; we’re not a punchline. You don’t get to tell us we don’t speak correct Spanish and make fun of our songs. Then, years later, appropriate our culture and become big time doing what we do, using our terms and our colloquialisms because it brings you capital,” she says. “We are people. We’ve been doing this for a very long time, and our grandmothers and our tias and tios matter, and they’re not [a] costume that you can just put on [to] make money off of it.”

Before we wrapped up the call, Rodriguez paused for a moment when I asked her what Puerto Rico means to her. Then her eyes lit up, and her voice softened as she described why the island means so much to her — and why so many people, even outside of the diaspora, find themselves drawn to it.

“Puerto Rico is a very special place, which is why so many people want to kick us out, so they can move [in],” she says. “But they’ll never have the magic, because the magic is us.”