‘El Extraño Retorno De Diana Salazar' Returns For Final Season On ViX
Angelique Boyer, Sebastián Rulli, Arap Bethke and Cassandra Sánchez-Navarro return for the ... More conclusion of a love story that transcends time.
El Extraño Retorno de Diana Salazar returns for its dramatic conclusion as ViX premieres the third and final season of its hit original series, starring Angelique Boyer ('El amor invencible,' 'Amar a muerte') and her real-life partner Sebastián Rulli ('El dragón,' 'Lo que la vida me robó') as star-crossed lovers and soulmates who have reincarnated and once again face an uphill battle to be together. Arap Bethke ('La rebelión,' 'Amores permitidos') and Cassandra Sánchez-Navarro ('Consuelo,' 'El juego de las llaves S3') are part of the love triangle that has transcended time.
First announced at TelevisaUnivision's upfront for the 2023–2024 television season, this modern remake of Televisa's iconic 1988 telenovela - starring legendary Mexican actress Lucía Méndez and Argentine actor Jorge Martínez in the lead roles - reimagines the story for contemporary audiences. Diana, originally a student in the classic series, is now a doctor navigating her supernatural powers, a cursed love triangle, and a far more sensual storyline - complete with steamy scenes that are a bold departure from the chaste kisses of 35 years ago.
The first season introduced Diana (Boyer), a woman marked by an unusual destiny, as she uncovered mysteries that defied logic and revealed secrets from her past lives. She found herself torn between two men - Mario (Rulli) and Joaquin (Bethke). In the second season, Diana began to understand the dangerous potential of her powers while uncovering more about her past and its connection to the present. The love triangle intensified as Joaquin refused to hide his feelings for Diana, and Mario, consumed by jealousy, struggled with Irene's (Sánchez-Navarro) growing presence in his life.
Now, in the third season, Diana fully embraces her powers and fights to break the cycle of suffering that binds four souls across lifetimes. After being released from a psychiatric ward, she struggles to control her abilities while facing the consequences of her past actions. Mario - also a doctor and researcher - remains torn between his love for Diana and his disbelief in the supernatural, while Joaquin grows closer to her. Meanwhile, Irene, consumed by her connection to the past, spirals into obsession and kidnaps Diana in her desperate search for answers.
El Extraño Retorno de Diana Salazar is executive produced by Patricio Wills and Carlos Bardasano. This new version was developed and written by Esther Feldman ('Isla brava,' 'El dragón,' 'Los ricos también lloran,' 'Los exitosos Pells') and Carlos Algara ('Isla brava,' 'El dragón') and directed by Luis Manzo ('Los ricos también lloran,' 'Si nos dejan,' 'Betty en NY'), Pável Vázquez ('Travesuras de la niña mala,' 'El dragón,' 'Los ricos también lloran'), and Carlos Santos ('Los ricos también lloran,' 'La doña').
All episodes of the final season dropped April 11 and are now available exclusively on ViX's premium plan.
Hashtags
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
Yahoo
8 hours ago
- Yahoo
Princess Diana's Letter Two Days After Her Wedding Reveals Early Issues in Marriage To King Charles
A letter Princess Diana sent two days after marrying King Charles III in 1981 speaks volumes about the early stages of their marriage. The letter is one of 300 pieces available for auction by Julien's Auctions. The extraordinary collection, Princess Diana's Style & A Royal Collection, is one of the largest auctions of items that once belonged to the late Princess of Wales in history. More from SheKnows Meghan Markle & Prince Harry Reportedly Considered Another Last Name Before Embracing Sussex Dated July 31, 1981, the letter is from Diana to Mark Simpson, a footman at Buckingham Palace, whom she appears to be thanking for helping her early transition into life in the Royal Family. The letter reads, 'Dear Mark, I just wanted to thank you for all your kindness + patience you've showed towards me since I moved into B.P. My stay was made so much easier by your company as it was so terribly lonely + we had so many laughs for that I can't thank you enough. Do hope you were able to enjoy Wednesday + that you liked my dress? I'm off to Britainia tomorrow, what with all those men around. I will have to keep a watchful eye on Evelyn! The bad news is that I haven't eaten any cereal — sob. How am I going to cope without my bowls of cereal….[smiley face]. A large thank you for being you — Much love, Diana.' Just days after marrying the then-prince in a lavish London ceremony that was watched by upwards of 700 million people around the world, Diana makes no mention of her new husband and instead discusses feeling 'terribly lonely' in her new home. 'It's like a couple of days after she got married. She'd been living in Buckingham Palace as she was transitioning from being a normal person to being a royal and the future queen,' Martin Nolan, co-founder and executive director of Julien's Auction, told People about the letter. 'So she had to learn from the Queen Mother and the Queen about curtsying and all that. But she had fun with Mark Simpson, the footman. And he was about the same age, a little bit older than her,' Nolan adds. 'And she talks here, it speaks of how she was lonely when she was in the palace.' The letter shows early signs of distance between Diana, who turned 20 weeks before her wedding, and her 32-year-old husband Charles. The couple would go on to welcome sons William and Harry in 1982 and 1984, respectively, before separating in of SheKnows All the Men Marilyn Monroe Reportedly Had Relationships With Throughout Her Short Life 30 Photos of Marilyn Monroe's Too-Short Life, From 1947-1962 Every Time Heidi Klum's Gorgeous, Colorful Fashion Choices Stopped Us in Our Tracks
San Francisco Chronicle
9 hours ago
- San Francisco Chronicle
Why ‘Next to Normal' is your grief and rage catharsis in 2025
Many of us might want to yowl like a rock star, shut ourselves off in a fantasy world, alternately numb ourselves with pills and fling them in the trash or simply indulge a fit of histrionics. To all that, Ray of Light Theatre's 'Next to Normal' says, 'Hold my beer.' One of musical theater's sacred duties, exemplified by the production that opened Saturday, May 31, at the Victoria Theatre, is to give expression to all the chest-beating, teeth-gnashing, hair-tearing grief and rage that all of us feel but most of us suppress. Actors rip off their shells, and we sit quietly in the dark, thinking, 'Yes, that's what it's like,' and feel cleansed. Brian Yorkey and Tom Kitt's 2010 Pulitzer Prize winner begins with a facade. Diana (Anne Warren Clark) sings of her 'perfect loving family, so adoring.' But before long, she's frantically making sandwiches on the floor, while her husband and kids back slowly away and look at her like she's a crazy person. Diana zings to life in a tango with her psychopharmacologist Dr. Fine (Courtney Merrell), with one dancing her fingers up the other's body. Under the frisky direction of Jenn BeVard, Dr. Fine grinds powders with a mortar and pestle like it's a kink, and Diana recites her side effects, including constipation, like she's a movie star giving an Oscar acceptance speech. The pill-popping Diana doesn't just have bipolar disorder, anxiety, depression and a grab bag of other hazily defined maladies that append to her diagnosis whenever she says the right thing at the right time. She's also bearing a herculean grief that's metastasized and hobbled her, preventing her from interacting with her family in the way they crave. In Yorkey and Kitt's brilliant writing, that mourning takes human form, singing with a voice of pure joy. It understands, condoles and boosts, and in Christian Mejia's lighting design, it's as colorful as a jar of candy. Between it and demanding, unhappy family members, why wouldn't Diana choose the former? Yorkey and Kitt's writing keeps turning over stones to unearth the creepy-crawlies underneath. It dares to let a mother admit she doesn't love her child that much or that a wife finds her husband 'boring.' Caring for a mentally ill family member is 'just a slower suicide,' Diana's husband Dan (Albert Hodge) sings. Elsewhere, asking her what she's so afraid of, he adds, 'Can you tell me why I'm afraid it's me?' In a show where agony succeeds agony, performers don't always find ways to show how one fresh hell is distinguished from the last, and voices aren't as tuneful as they might be. But as Diana, Clark is sensitive to microbeats within microbeats. When she remembers her younger self, singing, 'I miss the mountains,' it's as if she has a whole mighty peak within herself. When Diana realizes that in her life, 'nothing's real,' and decides to throw away all her pills, Clark combines the shock of discovery with the rage of all the time she's wasted by pretending. If 'Next to Normal' doesn't cure Diana or elbow its way into a hunky-dory ending, nor does it force its characters to just sink deeper into a quagmire of despair. The show gives Diana and her family permission to say the status quo isn't working and make different choices — still suboptimal, but at least different. In a genre famous for happily-ever-afters and kicklines, such down-to-earth restraint is a balm and a gift.
Chicago Tribune
10 hours ago
- Chicago Tribune
Review: ‘Diana' at Theo Theatre was no ordinary opening night
Back in 2021, I reviewed a widely reviled musical flop called 'Diana, the Musical' on Broadway. Soon after I returned to Chicago, I found myself at Theo Ubique Theatre (now Theo Theatre) reviewing a show and talking to its voracious artistic director, Fred Anzevino. I recall the humorous conversation as going something like this:Opening night for Anzevino's long-awaited staging of 'Diana' (music and lyrics by David Bryan and book by Joe DiPietro) arrived some four years later on Sunday night, but alas, Anzevino himself did not live to see it. The giant of tiny Chicago theater died during the rehearsal process. His co-director, Brenda Didier, followed his specific instructions to make sure his beloved project made it to the stage. I caught Didier's eye on Sunday night; she seemed at once elated, relieved and deeply sad. I recount all of that to tell the reader that this is hardly a normal theater review for me. I admired Anzevino's directing work very deeply, and consider some of his Theo Ubique productions, mostly shows staged about a decade ago, as masterful productions that were among the very best storefront theater I ever saw in Chicago. (I thought of him as the David Cromer of Chicago musicals.) 'Diana' was, to put it mildly, a passion project for Anzevino, a gay man who was around the same age as Diana, Princess of Wales, who died in a car crash in 1997 at the age of 36. I am only a little younger myself. Anzevino had lived for years with the HIV virus and told me several times how profoundly grateful he had been in 1987, when she held the hand of a hospitalized AIDS patient, a gesture she had chosen to reduce the stigma felt by AIDS patients at the time. By 1991, Diana's handshakes had become hugs. Some of those scenes are in the musical; they were very hard to watch on Sunday. Frankly, the whole show was very hard to watch, so you'll have to take this review in that context. It must also have been very difficult to perform in this context, even though some in the cast are young performers who did not have a long history with Anzevino. However, I don't doubt they know the level of respect in which he was held. 'Diana' did not magically become a great American musical, of course, much as I might wished such a transformation in Anzevino's memory; it simply does not have that level of insight. But he turn what was a campy affair on Broadway into something with heart, passion and integrity. Anzevino changed the show, which had seemed to all about a tabloid love triangle in New York, into a loving tribute to the woman he so admired. 'Diana' is not the first musical to look ridiculous on Broadway, only to work much better in a little room in Chicago (well, Evanston) with a young, hungry cast pouring their hearts and talent into the work. And, frankly, the passing years have been kind to the show in various ways. The young Kate McQuillan, who plays the title role, is charming as she scurries from one wig and costume into another (as designed by Patty Halajian and Kevin Barthel). Jack Saunders is delightfully dotty as Prince Charles, out-maneuvered at every turn, and Collette Todd, a veteran of many Theo shows, mercifully avoids all tempting stereotypes as Camilla. I also don't want to suggest the show is maudlin. It's not. It's fun. Especially if you watched all of 'The Crown.' That's an apt comparison of tone and veritas, although this show certainly did not have a writer of the caliber of Peter Morgan. But then, 'The Crown' did not have power ballads like 'Pretty, Pretty Girl' and 'As I Love You.' Go in with the right spirit and you'll have a good time. Drinks are to be had at the bar. One final note: Anzevino was spectacular when it came to casting young talent. Aside from those already mentioned, here he found a young guy named Matheus Barbee, a recent Northwestern University graduate who plays one of the AIDS patients, among other small ensemble roles. Barbee acts with real honesty and sounds fantastic in what, at this particular production, actually is the most important role in the show. Though no official star rating appears with this review, four stars for Anzevino's life in the theater. Review: 'Diana' When: Through July 6 Where: Theo Ubique Theatre, 7321 Howard St., Evanston Running time: 2 hours, 30 minutes Tickets: $51-$66 at
