The Disney+ series 'Echo' has been met with a lukewarm reception, criticized for its lack of compelling storytelling and character development. The series, which follows Maya Lopez, a secondary character from the Marvel comics, struggles to provide an engaging narrative or character evolution. Despite Alaqua Cox's impressive physical performance, the series is deemed apathetic and fails to balance serious drama with the excitement expected from Marvel's action scenes. The show's attempt to offer adult drama without the usual Marvel cinematic exaggerations ends up being tedious, overshadowing the potentially interesting elements of Maya's ancestry, motivations, and internal conflict.

Disney's 'Wish: The Power of Wishes' is an epic adventure film with good songs and self-referential nods to celebrate the company's 100th anniversary. Directed by Chris Buck and Fawn Veerasunthorn, with a script by Jennifer Lee and Allison Moore, the film features a voice cast including Ariana DeBose and Chris Pine. It tells the story of Asha, a young woman who discovers that the powerful wizard and leader of her town is a dictatorial figure, prompting her to lead a revolution. The film is filled with numerous references to Disney's history and is designed to appeal to both nostalgic adults and the important child demographic with its empowered heroine and adventurous epic. Despite the controversy over the use of AI in song creation, the film successfully blends classic and modern elements, with animation that pays homage to Disney's golden age.

Guillermo Coppola, former manager of Diego Maradona, faced a turning point in their relationship following a fire at a rented house in Barrio Parque in 2002, which culminated in a downward spiral for Maradona. The fire, which started from fireworks stored by Maradona, resulted in a lawsuit against Coppola for over four million dollars, leading to the near loss of his assets, including his luxury apartment. The incident is depicted in the series 'Coppola, El representante.' Despite the challenges, Coppola managed to avoid the auction of his apartment through the support of friends, reflecting on the transient nature of money and the value of friendship.

Following the return of democracy in Argentina in 1983, the film 'Las lobas' (1986) emerged as an example of cinema that capitalized on the 'revealing' trend, with Camila Perissé as the leading figure. Despite its attempt at comedy, the film was criticized for its lack of cinematic merit and is remembered as a low point for its cast members. While it marked the end of Juan Carlos Thorry and Ana María Campoy's film careers, Leonor Benedetto used it as a turning point to seek more meaningful roles. For Perissé, the film was part of a personal struggle with addiction and a search for roles that resonated with her beyond her physical appearance. 'Las lobas' is largely forgotten today, except as a career pivot for its actors and as an example of objectification in cinema.