HBO y HBO Max están promocionando una nueva serie limitada llamada DTF St. Louis, protagonizada por Jason Bateman, Linda Cardellini y David Harbour. El programa, que comienza a transmitirse el 1 de marzo, se centra en un triángulo amoroso entre tres adultos que atraviesan una crisis de mediana edad y uno de ellos finalmente muere.
En marzo, el programa The Comeback, protagonizado por Lisa Kudrow, regresa para una tercera temporada. La comedia se emitió originalmente en HBO en 2005 durante una temporada, luego tuvo una segunda temporada en 2014. Ahora, después de otros 12 años, regresa para lo que se espera que sea su última temporada. El programa se centra en el personaje de Kudrow, una ex estrella de comedia.
Este mes podrás disfrutar de la nueva serie de comedia Fackham Hall, una parodia de Downton Abbey. Alternativamente, si buscas algo más serio (y quizás un poco sombrío), hay un nuevo documental que detalla el desastre nuclear de Fukushima.
Aquí está todo lo que llegará a HBO Max en marzo de 2026…
Aquí hay una lista de títulos de películas y medios: Calle 42, 5 centímetros por segundo, Una dama perdida, Una vida robada (1946), Un rostro de mujer, Por encima de toda sospecha, Todos los hombres del presidente, A lo largo de la gran división, El huevo de ángel, Flecha en el polvo, El país del malo, Blair Witch, Bob Mackie: Ilusión desnuda, Libro de las sombras: Blair Witch 2, Llámame por tu nombre, Loco, estúpido, Love., Dance, Fools, Dance, Dancing Lady, Date Night y Date Night: Edición ampliada. Esta lista también incluye una fecha: 1 de marzo.
Aquí hay una lista de títulos de películas y programas de televisión: DTF St. Louis (original de HBO), DTF St. Louis (con ASL) (original de HBO), Ensign Pulver, Evan Almighty, Everything Everywhere All at Once, la serie Destino final (incluidas las películas 1 a 5 y el estreno de 2009), Flamingo Road, Gentleman Jim, Happy Death Day, Humoresque, In This Our Life, Jimmy the Gent, Juarez, Judy, Kid Galahad, Ladies They Talk Acerca de, Little Miss Sunshine, Lola Versus, Marked Woman, Mary Shelley’s Frankenstein, Memento, Men (2022), Miss Pinkerton, Mr. Skeffington, Old Acquaintance, Paid, Parachute Jumper, Payment on Demand, Satan Met a Lady, Special Agent (1935), la trilogía de Spider-Man (2002-2007) y las películas de The Amazing Spider-Man (2012-2014), Spring Breakers, Sunshine Cleaning, Susan y Dios, dulce pájaro de la juventud, militar suizo, esa cierta mujer, la virgen de 40 años, el proyecto de la bruja de Blair, la novia de Frankenstein, las colinas ardientes, el maíz es verde, los malditos no llores, la lucha 69.
Aquí hay una lista de títulos de películas: The Greatest Showman, The Greatest Showman Sing-Along, The Old Maid, The Purchase Price, The Secret Bride, The Star, The Terminator, The Woman on Pier 13, The Women (1939), The Young Guns (1956), This Woman Is Dangerous, Three on a Match, Till We Meet Again, V for Vendetta, Valley of the Sun, Vengeance Valley, When Ladies Meet y Winter Meeting.
2 de marzo
Torneo de Campeones VII (Food Network)
3 de marzo
Adquisición de la mansión de soltero, temporada 1 (HGTV)
Alquileres vacacionales salvajes, temporada 1 (HGTV)
4 de marzo
La casa de ensueño de 100 días, temporada 7 (HGTV)
Moonshiners: Master Distiller, temporada 8 (Descubrimiento)
He aquí un vistazo a las novedades de la televisión:
El 5 de marzo trae nuevas temporadas de:
Federales (temporada 2, ID)
Flavortown Food Fight (temporada 1, Food Network)
Caza de los desaparecidos: Chicago (temporada 1, ID)
El hombre más alto del mundo (temporada 1, TLC)
¡Estaba hojeando canales y me topé con algunos programas interesantes el 6 de marzo! Vi ‘House Hunters International’. Siempre me encanta ver cómo la gente encuentra casa en diferentes países. Era el Volumen 9, Temporada 207 en HGTV. Y entonces me di cuenta de ‘Women’s Hell’, una nueva serie original de HBO que parecía intrigante. ¡Definitivamente agrego eso a mi lista de seguimiento!
8 de marzo
Asia (BBC)
Paranormal captado por la cámara, temporada 10 (TRVL)
Rooster, temporada 1 (original de HBO)
A continuación, presentamos un vistazo a las novedades en streaming y en TV:
120 horas tras las rejas, temporada 1 (Descubrimiento) – Se estrena el 10 de marzo.
Fukushima: Una pesadilla nuclear (original de HBO) – Disponible ahora.
* The Ultimate Baking Championship, temporada 1 (Food Network): también disponible ahora.
Estas son las novedades de la televisión:
El 12 de marzo trae el regreso de Kevin Hart’s Muscle Car Crew (temporada 2), junto con nuevos episodios de Save My Skin (temporada 5 en TLC) y Work on the Wild Side (temporada 2 en Animal Planet).
Estas son las novedades de televisión para el 13 de marzo: una nueva temporada de Diners, Drive-Ins and Dives (temporada 53) en Food Network y la primera temporada de la serie original de HBO Mira: Life After Divorce.
14 de marzo
>La cocina, temporada 40 (Food Network)
16 de marzo
Born to Bowl (original de HBO)
Property Brothers: Under Pressure, temporada 1 (HGTV)
El 17 de marzo podrás ver “Paranormal Revenge”, la temporada 1 en TRVL y “La historia completa con Anderson Cooper: ¿Qué pasó con Nancy Guthrie?” en CNNOriginal.
March 18
7 Little Johnstons, Season 17 (TLC)
On March 19th, two documentaries premiered: “Assassination in the Valley of the Kings,” a discovery-focused film, and “Colosio: Political Assassination,” an HBO Original.
March 20
House Hunters: Volume 11, Season 252 (HGTV)
March 21
The Pioneer Woman, Season 40 (Food Network)
Here’s a look at what’s new on TV for March 22nd: Season 15 of Girl Meets Farm is available on Food Network, Season 2A of Iyanu is on Cartoon Network, and Season 3 of the HBO Original series The Comeback is now streaming.
March 24
The Whole Story with Anderson Cooper: The Rise of Christian Nationalism (CNN Original)
March 25
Moonshiners True Crime & Shine, Specials (Discovery)
March 26
Boom Box: Beats and Betrayal
Mysteries of the Abandoned, Season 13 (Discovery)
March 27
From the World of John Wick: Ballerina (Lionsgate)
Privileges, Season 1 (HBO Original)
March 30
The Whole Story With Anderson Cooper: 50 Years of Apple (CNN Original)
I caught CNN’s original documentary, The Whole Story with Anderson Cooper: Immigration Crackdown: A Year of Enforcement, on March 31st. It was a really insightful look at how immigration enforcement played out over the past year.
The 10 Worst Original Songs Written for Movie Musicals
“I Move On” from Chicago (2002)
“I Move On” isn’t a bad song, but it doesn’t really add anything to the movie. It’s a jazzy ballad about chasing dreams and freedom, which feels surprisingly generic for a musical about famous murderers. The lyrics are short and don’t offer any new ideas presented elsewhere in the show, and it’s filled with awkward comparisons and strange phrases—it’s hard to tell if it’s supposed to be sung by a glamorous movie star or a rock musician. It’s no surprise this forgettable song was relegated to playing over the end credits.
“Learn to Be Lonely” from The Phantom of the Opera (2004)
Okay, so here’s something kinda strange about the Phantom of the Opera movie. You actually don’t get to hear Minnie Driver, who plays Carlotta, sing until the end credits roll! Apparently, the song “Learn to Be Lonely” is the only one where it’s actually her voice – someone else sang Carlotta’s parts in the movie itself. It’s a pretty tune, but the way it sounds – more guitar-driven than the rest of the score – and where they put it in the film just feels a little off. Fun fact, though: Beyoncé performed it at the Oscars, and it was even nominated for Best Original Song!
“Suddenly” from Les Misérables (2012)
It’s normal for musicals to repeat themes in songs, but the added song “Suddenly” in the movie Les Misérables feels particularly out of place. Though intended to show Hugh Jackman’s character’s happiness and sense of duty towards Cosette, the scene – filmed entirely within a small carriage – drags on and makes you wish Russell Crowe would reappear.
“Who Am I” from Annie (2014)
Okay, so the 2014 Annie remake really tried to give the classic songs a modern update – think new beats and a generally more contemporary sound. They brought in Sia and Greg Kurstin to handle it, and they even wrote three new tracks: “Opportunity,” “MoonQuake Lake,” and “Who Am I.” Honestly, those new songs weren’t particularly memorable, but the real problem with the movie was the overuse of autotune. Seriously, it was bad. It made Cameron Diaz sound like she was trying to channel T-Pain! Even when Diaz, Quvenzhané Wallis, and Jamie Foxx – who can sing, by the way – were doing those digitally corrected harmonies on “Who Am I,” it just didn’t work. The autotune just ruined everything.
“Evermore” from Beauty and the Beast (2017)
Let’s talk about the music – specifically, the jarring autotune used in Disney’s live-action Beauty and the Beast remake. The original song “Evermore” was particularly painful to listen to. This movie really highlighted the need for Disney to cast actual singers in these demanding roles. While Dan Stevens and Emma Watson are talented actors, they struggled with the vocals, especially in a big-budget production like this one. Stevens’ performance as the Beast was heavily modified, and it was most noticeable during “Evermore.” The song lost the emotional depth that could have come from the Beast’s decision to let Belle go.
“Speechless” from Aladdin (2019)
While Dan Stevens struggled with the singing in the live-action Aladdin, Naomi Scott is a genuinely talented vocalist. However, the new original song written for her, “Speechless,” didn’t showcase her voice very well. Songwriters Benj Pasek and Justin Paul aimed to give Princess Jasmine a powerful moment with a song about her anger at being trapped by Jafar and her refusal to be silenced. Unfortunately, the song itself is rather bland. It lacks the clever lyrics of songs like “Prince Ali” or “Friend Like Me,” and the emotional impact of “A Whole New World,” making it easily forgettable compared to the originals. The song also feels awkwardly placed in the movie, as the story essentially pauses during Jasmine’s performance, almost making it feel unnecessary.
“Beautiful Ghosts” from Cats (2019)
Andrew Lloyd Webber’s Cats is famous for its song “Memory,” but the movie version added another new song, “Beautiful Ghosts,” right after it. Written by Webber and Taylor Swift, and performed by Francesca Hayward, the song feels out of place following the emotional weight of “Memory.” It undermines the impact of Grizabella’s heartfelt performance about the pain of aging and losing beauty, essentially telling her that at least she has memories to look back on.
“A Little Closer” from Dear Evan Hansen (2021)
While the Dear Evan Hansen movie has several flaws, the song “A Little Closer” feels particularly awkward. Sung by Colton Ryan as the deceased Connor Murphy (shown in a video from a recovery facility), it unexpectedly shifts the focus away from Evan’s story, which the film otherwise tries to center. To make matters worse, during the song, we see Ben Platt reading Connor’s supposed “favorite books” – titles that are commonly assigned in high school. The movie tries to create a meaningful moment, but most viewers will recognize books like The Giver as standard school reading.
“What Ifs” from Mean Girls (2024)
Angourie Rice, a capable actress, unfortunately struggles in the lead role of the Mean Girls musical, largely due to heavy autotune. Her introduction as Cady Heron is underwhelming. The opening song, “What Ifs,” aims to establish her desires and situation, but it falls flat. Rice’s voice doesn’t quite fit the energetic style of the musical, and the song itself is surprisingly dull. The lyrics – about dreaming of the future and not looking back – feel generic and disconnected from the actual story. Thankfully, the more lively number, “Meet the Plastics,” is coming up next.
“The Girl in the Bubble” from Wicked: For Good (2025)
The movie Wicked: For Good tried to justify splitting the story into two parts by adding new songs to the second film, seemingly just to make it longer. The sequel focuses on giving the character Glinda more depth and background, and the song “The Girl in the Bubble” feels like a last-ditch effort to make her more sympathetic. However, Glinda is already understandable and relatable, so the extra song feels unnecessary and only adds to the film’s length. It comes across as a clear attempt to attract Oscar attention, but it didn’t even succeed.
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2026-02-23 22:29