Month: January 2026

no one knows how to do it right

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It’s not a shot in the air. Both Apple and OpenAI are clear that the future of AI devices is not in the smartphone: It is on devices without a screen. Apple’s aims to be a kind of airtag with a microphone system and with which we can interact through the new Siri based on Gemini. The one from OpenAI, headphones that will be placed behind the ears and They will allow us to interact with their AI. The problem? No one has been able to demonstrate that these formats can be a commercial success. The exhaustion of screens. The smartphone is exhausted as a format, we see it year after year. So much so that the only great revolution in recent years has to do with one of the few weak points that remained to be resolved: autonomy. 10,000mAh batteries They arrive to give us the three/four days of battery life that many users dreamed of, but the rest of the specifications are reaching the ceiling. Smartphones do not need more power or more RAMnot even for current AI. We are reaching the peak in screens: we cannot make them bigger nor can we make them shine much brighter. The classic format is the one that works, the folding ones have been failing for years. We have spent years with minimal improvements and clone models compared to their predecessors. AI as a companion. Both OpenAI and Apple seem to be clear about something that companies like Humane failed at: small wearables are the device of the future. One that we can take everywhere, without the friction that using the smartphone requires (taking it out from wherever it is, unlocking, holding our hand). The challenges. The problem is one that we have been dealing with for decades: no one is yet clear how to create a device that replaces the smartphone. Humane failed. Rabbit failedand there are no guarantees that giants like Apple or OpenAI will achieve it. In fact, the information leaked to date warns of a very limited production for the launch of the device that Apple plans. The hope. Until now, attempts to materialize AI in ultra-compact formats lacked something essential: the economic, technological and strategic muscle of companies like Apple or OpenAI. They also didn’t have the real pressure of an industry leader willing to lead the way and take the risk of defining a new standard. Eyes on Apple. If Apple manages to be minimally competitive in AI—even if it needs to rely on partners like Google—the entire industry will look in its direction. Apple has never needed to be the first or invent a category to impose it. It is enough to get the format right for the rest of the market to take it as a reference. Image | Xataka In Xataka | Since it can no longer be the biggest or the best, OpenAI has chosen its new priority: having the fastest AI

what is the plan of one of the most powerful studios in the world

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The 33% collapse in Ubisoft’s stock market after announcing in January 2026 the cancellation of six projects and the closure of several studios marks a turning point for one of the most emblematic publishers in the industry. With a valuation of 11,000 million euros in 2018, Its market value has fallen to just 606 millionwhile projecting operating losses of €1 billion for fiscal year 2026. Project massacre. The official list includes six games in development, including the remake of ‘Prince of Persia: The Sands of Time‘, a project that had gone through multiple studies and reboots. The leaks point to a greater drain: an ‘Assassin’s Creed’ set after the American Civil War was shelved due to political fears. They have also dropped a ‘Splinter Cell’ in early development, a sequel to ‘Star Wars Outlaws’ and the ‘Watch Dogs’ franchise, definitively buried after the failure of ‘Legion’. Added to these titles are seven delayed games. The most significant, according to industry speculation, would be ‘Assassin’s Creed IV: Resynced’, a remake of ‘Black Flag’ now scheduled for 2027. The financial impact amounts to 650 million euros in amortizations. How we got here. The last two years have been a string of setbacks for Ubi. ‘Skull and Bones’, after over a decade of development since 2013arrived in February 2024 with a cost between 200 and 850 million dollarswhich did not prevent a certainly lukewarm reception. Guillemot called it an “AAAA” game, but months later it barely had 400 simultaneous players on Steam. ‘Star Wars Outlaws’ sold less than a million copies40% below expectations. ‘XDefiant’, the shooter free-to-play, It was closed in December 2024 after only seven months on the market. Despite its 15 million players, it did not retain enough audience. The closure caused 277 layoffs. ‘Assassin’s Creed Shadows‘, the last game in the company’s quintessential saga, and still the main best-seller along with ‘Just Dance’, also had a complicated trajectory. suffered multiple delays since November 2024 and was involved in an unusual controversy for the franchise, around cultural inaccuracies and technical problems. And above all: more than 3,000 employees laid off from 2023a figure much more painful than any puncture in lists. Tencent had to inject $1.16 billion in 2025 to keep the company afloat. Debatable business decisions. Ubisoft has announced a strong commitment to “player-oriented” generative AIsuggesting that it will appear directly in the games. The measure has generated rejection in the community, increasingly sensitive to the use of AI for creative issues. As a cherry on top, Ubi has given the order to return to the office five days a week, which contrasts with trends in the sector and is another obstacle when it comes to retaining talent. Many employees consider these measures “hidden layoffs.” The houses. Ubi has reorganized its franchises into five “Creative Houses” with financial responsibility over specific genres, but has already raised doubts about its effectiveness. The appointment of Charlie Guillemot, son of the CEO, as co-CEO of Vantage Studios, the first of these houses, nepotism accusations reopen. From there they will be in charge of ‘Assassin’s Creed’, ‘Far Cry’ and ‘Rainbow Six Siege’. The second house will have ‘The Division’, ‘Ghost Recon’ and ‘Splinter Cell’. The third, ‘For Honor’, ‘The Crew’, ‘Riders Republic’, ‘Brawlhalla’ and ‘Skull & Bones’. The fourth, ‘Anno’, ‘Might & Magic’, ‘Rayman’, ‘Prince of Persia’ and ‘Beyond Good & Evil’. The fifth, ‘Just Dance’, ‘Idle Miner Tycoon’, ‘Ketchapp’, ‘Hungry Shark’, ‘Invincible: Guarding the Globe’, ‘Uno’ and the Hasbro games. The future for Ubisoft. The projects that have survived are few. ‘Assassin’s Creed’ has acquired existential overtones: it must work or the star franchise will be damaged. ‘The Division 3’ is the commitment to keep another important saga going. Four unannounced IPs are added, including ‘March of Giants’, acquired from Amazon, although all these massive cancellations have begun to raise doubts. Ubisoft has withdrawn its forecasts for 2026-2027recognizing that the situation is too volatile. Project cuts of an additional 200 million until March 2028, which implies more layoffs. Fixed costs should fall from 1,750 million in 2023 to 1,250 million in 2028. The results of February 2026 will determine if the plan is viable or if the company ends up absorbed by Tencent, fragmented or worse, on sale. The Guillemot family had considered purchase offers in 2024, and the deterioration means that option is back on the table. It only remains to be seen if Ubisoft, capable of creating iconic franchises, continues to retain some of what made it great. In Xataka | ‘Star Wars: Outlaws’ is one of Ubi’s most ambitious games, but some details keep it from a perfect ‘space GTA’

A man rented two asbestos-filled buildings for 99 years. They were the Twin Towers, and six weeks later he made a fortune with 9/11

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There are stories that seem like an urban legend because they fit too well with a movie script: a contract signed at the last minute, an invisible risk that no one wanted to look at in the face, and finally an event that changes everything. That’s why the story of an investor who decided attack to a ruinous business, it does not seem real, and the truth is that it was. A contract changed its meaning forever. In July 2001, the businessman Larry Silverstein signed the rent or lease at 99 years of the iconic World Trade Center complex, a deal then valued at around $3.2 billion that gave it operational control of a global symbol. Everything was more or less normal if it weren’t for the fact that a few weeks later 9/11 arrived and that business movement became a almost impossible story to tell without it sounding like a script: the “greatest real estate trophy” in Manhattan became the epicenter of the largest attack on American soil, with all that it implied in losses, contractual liability and clash with the State, public opinion and, above all, insurers. A ruinous business. The World Trade Center was not just any building, it was a logistical monster with expensive maintenance, complex technical decisions and a typical legacy of the great construction of the 20th century: asbestos, used for years as part of “fireproofing” projected onto steel and other materials, and which ended up being a problem health and economic huge for countless homeowners. In the case of the Towers, the use of materials with asbestos in construction phases, especially on the ground and middle floors of the North Tower, and that reality turned any renovation into a minefield of costs, controls and legal risks. In practice, the iconic value coexisted with an asset that was difficult to manage: expensive to maintain, delicate to intervene and with a liability that forced us to think about insurance as if it were part of the structure. Larry Silverstein The key insurance. When the complex collapsed, the debate stopped being “what happened” and became “what exactly does what was signed cover”, and there appears the detail that explains years of judicial war: at the time of the attack not all the definitive policies were closed, and part of the coverage rested on preliminary documents and debatable conditions. This allowed insurers cling to certain definitions and Silverstein to argue that the contractual framework should be read in the way that most protected its financial position. It was not a theoretical discussion, it was the difference between being ruined or having the resources to continue, rebuild and politically survive the earthquake that came after the disaster. The war of a word. The heart of the case was whether 9/11 counted as a single insured event or as two different events, since two planes and two towers were impacted. Silverstein defended that the terrorist attack was actually two attacks separated and, therefore, two events, one in each insured building, which justified aiming for figures close to double the “per occurrence” limit. The insurers, on the other hand, tried to fix it as a single event so as not to duplicate the exposure. The courts did not leave a clean and single ending, but rather a panorama divided into blocks: for some sections and insurers, interpretation was imposed of “an occurrence”and for others the door was opened to consider it two, creating a possible high compensation ceiling, but not necessarily automatic. The final amount. In the popular narrative it has been repeated that the man “tried to charge double” and that is essentially true, because his claims came to be raised in the around 7,000 million of dollars under the logic of two events. It turns out that the real framework was narrower: the total coverage “per occurrence” (building) moved around of the 3.2–3.5 billion and the litigation was cutting, distributing and limiting the maximum exposure according to which insurers fell under which definition. In practical terms, the story was not “he got paid twice and that’s it,” but rather that “he fought for two, partially won, and the system left him in a middle ground” that for years became in the great suspense Financial of Ground Zero. The big deal. After almost six years of battle and litigation, the outcome that mattered above the headlines was reached: an extrajudicial agreement of no less than 2 billion dollars with seven insurers announced with the intervention of the governor of New York, Eliot Spitzer, and the state superintendent of insurance, Eric R. Dinallo. That pact was presented as closing all claims pending and, above all, as the elimination of the last great barrier so that the publicized reconstruction of the complex could advance without the permanent brake of judicial uncertainty. Beyond the number, the key was the effect: resources and clarity to fulfill obligations and continue building in a place where each delay was a political, economic and symbolic problem at the same time. How it was distributed. The agreement was not a single check with a single destination, because in the same two actors lived together: the Port Authority as the public owner of the site and Silverstein himself as the private tenant and developer. The agreed distribution left approximately 56% for Silverstein and 44% for the Port Authority, and a direct implicit message: it was not about “getting rich” in a conventional sense, but about sustaining a project that had been tied to contracts, commitments and reconstruction. Furthermore, the confidentiality about how much each insurer paid separately reinforced the typical idea of ​​these endings: a functional closure to be able to turn the page and (re)build. The real story behind the myth. I counted ago a few years Snopes all the hoaxes that were given around the fascinating Silverstein story. Legend often tells it as an almost obscene stroke of luck, but the reality is more uncomfortable: Silverstein signed a huge lease just before the disaster, yes, … Read more

El Corte Inglés leaves this top LG laptop with 1 TB and 32 GB of RAM at more than half the price

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If you were looking for a very top laptop to work, study or even play, we have found a very interesting offer during the “Save the VAT” campaign of El Corte Inglés. It’s about this LG gram 14Z90Sa 2024 model but still a very good purchase option. Although when entering the product page, it appears available for 881.06, everything seems to indicate that it is a price errorsince when the product is added to the basket, it costs 1,078.33 euros. However, it is a good offer, considering the LG official websitethis laptop is available for about 1,200 euros (similar price to what it has in other stores). Furthermore, before, this device cost 2,649 euros, so now you can take it with almost 60% discount. LG gram 14Z90S-G.AD78B laptop, Intel Core Ultra 7-155H, 32GB, 1TB SSD, 14″, W11 The price could vary. We earn commission from these links A very top laptop at a totally unbeatable price now The screen of this ultrabook of the Korean firm is one of its main hallmarks. It is of type 14 inch IPSs with a resolution of 1,920 x 1,200 pixels and anti-reflective treatment. In addition, it features a 16:10 format and a wide DCI-P3 color range of 99%. Your brain is the processor Intel Core Ultra 7-155Hwhich is accompanied by 32 GB RAM and internal storage SSD of 1 TB. In the graphics section, it comes with an Intel Arc graphics card, which will allow you to work with 4K UHD content with maximum fluidity. This laptop is ultralight, so It only weighs 1.1 kgso you can carry it comfortably anywhere backpack. In addition, its battery is another of its highlights, as it offers a range of up to 29.5 hours. You may also be interested in these accessories ZINZ Slim and Expandable Laptop Backpack The price could vary. We earn commission from these links BENFEI Laptop Stand with Docking Station USB C 7 in 1 The price could vary. We earn commission from these links Some of the links in this article are affiliated and may provide a benefit to Xataka. In case of non-availability, offers may vary. Images | LG In Xataka | This is the gaming tower that I would buy. The computers with the best quality-price ratio for gaming recommended by Xataka In Xataka | Best gaming laptops: which one to buy and eight recommended computers from 770 to 3,000 euros

the entrance to adulthood is shrinking

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In Japan, January starts with its own festival, the Seijin no Hieither ‘Coming of Age Day’a day during which the country congratulates young people who have made the leap from children to adults. The problem is that this celebration is less and less celebrated. And not because Japan doesn’t love its new generations. On the contrary. If he Seijin no Hi loses steam is basically because the population that leaves adolescence and enters adulthood is ‘shrinking’, which means a bucket of cold water (one more) for a nation in crisis. Old holidays, new worries. When demography sounds like tragedy. To Japan it’s not going well in demographic terms. That is something known and required. While waiting for the final balance of 2025, the first data that the country manages show that it has not managed to correct the birth rate crisis in which it has been immersed for years: during the first half of the year the Government registered 339,280 births3.1% less than in the same period in 2024. And during the second half the picture was not much better. The initial projections of Asashi Shimbuncarried out with data from December 23, suggest that Japan said goodbye to 2025 with 667,542 newborns, the lowest figure since at least 1899, the year in which the historical series begins. Not only that. The data is below what the authorities expected. When the Population Research Institute did the math in 2023, it estimated that in 2025 there would be about 749,000 babies, 681,000 in the worst case scenario. An increasingly less festive party. With that background it is much better understood that Seijin no Hi has become a bittersweet tradition. ‘Coming of Age Day’ is a day in which the country honors the part of its population that makes the leap from child to adult. It is celebrated at the beginning of January and its protagonists are young people who have turned (or are about to) turn 20, although in 2022 the Government set the legal age of majority in 18 years. The ceremony is showy because young people usually dress in brightly colored kimonos and traditional costumes. The problem is that in a country with fewer and fewer babies, twenty-somethings are also beginning to be missing for Siejin no Hi. What does the data say? The figures disclosed by The Japan Times They leave little room for doubt. As of January 1, the number of people who had reached the age of majority in the last year amounted to 1.09 million people (560,000 men and 530,000 women), the second lowest figure since records began. In fact, it is only surpassed by that of 2024, when that indicator was at 1.06 million. These are interesting data because (unlike other statistics) they include both the local population and foreigners who have been in the country for at least three months. Are there so few? Yes. At least if we take into account the number of young people who were in a position to celebrate the Siejin no Hi not so long ago. In 1994 there were 2.07 million and in 1970 2.46 million, more than double that of the current year. It is true that the data for 2025 is slightly higher than that for 2024 and the proportion of new adults has increased, but as remember The Japan Times It is a poor consolation in a country where the birth rate continues to plummet, draining the territory. Only between January 2024 and January 2025 did the number of Japanese citizens decrease by more than 900,000 peoplethe biggest drop since the 60s. More than a curiosity. That there are fewer people celebrating the Siejin no Hi It could be a simple curiosity if it weren’t for the fact that it is basically an indicator of a much bigger problem: a birth rate crisis with implications that branch out to other areas of the country. Right now in Japan just 59% of the population is of working age (between 15 and 64 years), significantly below the world average, which according to the OECD is usually around 65%. This percentage threatens to strain Japanese society, politics and economy. Especially because (despite their multiple attempts) the authorities have not yet found the key to increasing the birth rate and there are those who warn that the country is running out of time. 2025 marked the ‘red line’ in which a good part of the population born during the Baby Boom of the late 1940s exceeded 75 years of age, an age from which the employed population plummets and the dependent population rises. Images | Bruce Dailey (Flickr) and Wikipedia In Xataka | While Japan’s population is sinking irremediably, Tokyo is growing. There is an explanation: ikkyoku shūchū

Vibe coding wants to help Open Source. But developers don’t want AI botches

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If you like Open Source software, vibe coding now gives you a fantastic opportunity: to take that code and modify it to your liking with the help of vibe coding and the AI ​​agents that program. Let them tell it to me. You may have good ideas and the AI ​​will solve them with new code generated with these tools, but there is a problem: the quality of that code may not be adequate. what has happened. Steve Ruiz (@steveruizok) is the creator and responsible for TLDrawa nice Open Source application that allows you to turn your browser into a canvas so you can easily draw whatever you want on it. On January 15, Steve posted a message on X in which he announced something very striking: he would stop accepting code contributions (pull requests, PRs) in the TLDraw GitHub repository. We don’t need low quality code. “Due to the influx of pull requests of low quality, we will soon close those requests to external contributors,” said the person responsible for a project in an additional post on the official blog of the project. The message was clear: although people’s intentions are surely good when trying to contribute their ideas to an existing project, this developer soon realized that the code contributed by new programmers, fans of vibe coding, was of low quality. Solution? Ban those contributions made with AI. AI-generated code can serve. In that article I indicated that this was not a measure against vibe coding, but against code (any code, human or AI) of poor quality. Ruiz explained how: “We already accept code written with AI. I write code with AI tools. I hope my team uses those AI tools too. If you know the project’s code base and know what you’re doing, writing great code has never been easier thanks to these tools.” AI Slop, but from code. Although we often talk about “slop created by AI“(AI Slop) in reference to low-quality text, images, music and videos, the term can also be applied to code. Ruiz explained how in September he began to detect many requests for code contributions that seemed correct but that after a deeper analysis, although they worked, could potentially introduce future problems and complexity to the project. I correct here, I correct there. In addition, many of the contributors had profiles in which they could be seen jumping from Open Source project to Open Source project and then disappearing. They simply contributed without following the policies or requirements of the project and moved on to another. This is a plague. In the debates that this decision generated in Hacker News and x Ruiz found himself with a surprise: people not only did not protest, but they valued the measure positively. He commented how “this seems to be the standard experience for all public repository maintainers right now.” He cited the example of Excalidrawanother similar project that “received more than twice as many PRs in the fourth quarter of 2025 than in the third” in your repository. More and more vetoes of low-quality AI code. Other projects are going through that same phase. ghosttya terminal emulator for macOS and Linux, recently published their “AI policy” in the site’s public GitHub repository with important notices. For example, that “PRs created by AI must have been fully verified with human use”, and further that “all use of AI in any way, shape or form must be disclosed.” That’s cheating. Curl, a very popular utility for command line users, had announced the opening of a bounty program to detect bugs and vulnerabilities in its code. What have many people done? Use AI to find them and take the money. Those responsible for the program have announced that They will close it this month in the face of the avalanche of low-quality vulnerability reports clearly generated by AI. Linus already said it. Linus Torvalds, creator of the Linux kernel, admitted to using vibe coding tools for some small personal project. While recognizing that these tools can be great, he warned of the danger of all that AI-generated code: “AI will be a tool, and it will make people more productive. I think vibe coding is great for getting people to start programming. I think (the code it generates) is going to be horrible to maintain… so I don’t think programmers will go away. You’ll still want to have people who know how to maintain the output.” AI code works, but it is not usually “quality”. The developer community has been warning and experiencing this for some time. Although AI tools can help program and solve many routine tasks, the generated code must be reviewed by a human programmer to avoid future problems. It is reasonable to think that this code will be increasingly better and of higher quality, but today in many cases the situation is clear: it may work, yes, but that is not enough for many projects in production, especially when they are used by thousands (let alone millions) of people. In Xataka | Bill Gates and Linus Torvalds had been rivals for 30 years. The funny thing is that they just met and took a selfie

The director of Sirat criticizes commercial cinema. But meanwhile, four out of ten directors film once a decade

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Oliver Laxe’s statements comparing commercial cinema to “bimbo bread”, especially pointing out the contradiction of making films for Netflix. have generated an unexpected controversy in the Spanish audiovisual sector, relativizing the extraordinary career of ‘Sirat’. The film not only got five statuettes at the European Film Awardsbut it has also received eleven Goya nominations and two Oscar nominations. The debate arises at a significant moment: a study by the European Audiovisual Observatory reveals that four out of every ten European directors and screenwriters who released a feature film in 2015 did not sign another one during the following ten years. A complicated metaphor. Oliver Laxe conceded an interview with The World in which offered his diagnosis on the crisis of youth attendance at the theaters: “It is our fault and our responsibility that young people do not go to the cinemas. They have been given fodder, bimbo bread and their palates are accustomed to sugar and processed foods.” The food metaphor did not stop there. Laxe went on to argue that when these viewers are offered “a rye bread or a pure cereal,” the palate is not prepared, although he insisted that “the sensitivity is there.” The filmmaker, whose film has exceeded three million euros at the Spanish box office and has attracted precisely a young audience, closed his reasoning with a resounding statement: “Having very political proclamations, but then making a movie with Netflix seems like a pure contradiction to me that nullifies your speech.” The accounts don’t work out. The answer did not take long to materialize. Jota Linares, a filmmaker from Cádiz who has often filmed for Netflix, replied in the SER questioning Laxe’s analysis. Linares challenged the simplification of the problem: “I will tell you what allows me to continue maintaining political ideas and express them freely despite having directed series and films for Netflix: my social class.” And he added: “I assure you that, due to my social class, I would be incapable of supporting myself by making only auteur films spaced over time for about two or three years. It doesn’t work out for me, although I see that it does for you.” Finally, he concluded that “you don’t hack the system from within with a six million euro movie with thirty publicists working at your feet. No, dear Oliver. That’s being at the top of the mainstream.” ‘Sirat’s’ money. The contrast between both positions reveals broader tensions in the sector. Laxe speaks from a relatively privileged position, since his film had the financial backing of Movistar Plus+ and is now enjoying an international campaign that has taken him to the Oscars. Linares, for his part, represents a silent majority of filmmakers who fight to get each new opportunity. Precariousness as a backdrop. The debate takes on a more urgent dimension when confronted with the data that published El País based on the study of the European Audiovisual Observatory. The research, which analyzes the careers of 38,762 professionals, covering some 30,000 projects, provides revealing figures: 40% of those who released a feature film in theaters during 2015 did not sign another film again in the entire subsequent decade. At the same time, more than half of the films released each year are debut films. The report’s conclusions leave no room for doubt: there is “an impressive turnover and great precariousness.” Cinema versus television. The document also shows a growing separation between film and television. Only 11% of directors and scriptwriters worked in both formats between 2015 and 2024, dismantling the idea of ​​fluid transfer between screens. On television and platforms, 85% of screenwriters and 91% of directors active in 2015 continued working later, compared to the 60% that disappear from theatrical cinema. “The majority survive poorly. Those who endure have family financial support behind them,” explained director Cristina Andreu in 2021. Little seems to have changed since then. Structural contradiction. Can the industry demand “rye bread”, as Laxe says he does, when the system expels 40% of its creators after a film? Is it fair to hold the public responsible for having a palate “accustomed to processed” in an ecosystem where professional continuity is more the exception than the norm? Laxe himself acknowledges that ‘Sirat’ was considered “a suicide” during the search for financing. If even an ultimately successful project faced that initial diagnosis, what happens to proposals from filmmakers without a safety net? The tension between the discourse of cinematic quality and the precarious reality of European production raises uncomfortable questions about who can afford to cultivate discerning palates. When, furthermore, the system itself does not guarantee anything. In Xataka | Many agree that ‘Stranger Things 5’ lowers the quality of the series. But that doesn’t change Netflix’s ambitious plans.

technical sheet, photos, characteristics, price, date

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There are good reasons why the Volvo EX60 has received great attention at its launch. The firm continues to bet on the mid-size electric SUV segment, and the new update of the EX60 inaugurates a new technological era for the manufacturer, including new features in the platform, battery, autonomy, safety and more. Below these lines we tell you all the details. Volvo EX60 (2027), technical sheet P6 Electric p10 awd electric p12 awd electric BODY TYPE. D-SUV D-SUV D-SUV MEASUREMENTS AND WEIGHT. 4,803 meters long, 1,908 meters wide, 1,635 meters high and 2,970 meters wheelbase. 2,190 kg weight. 4,803 meters long, 1,908 meters wide, 1,635 meters high and 2,970 meters wheelbase. 2,350 kg weight. 4,803 meters long, 1,908 meters wide, 1,635 meters high and 2,970 meters wheelbase. 2,405 kg weight. TRUNK. 634 liters in the rear trunk. 1,647 liters with rear seats folded 634 liters in the rear trunk. 1,647 liters with rear seats folded 634 liters in the rear trunk. 1,647 liters with rear seats folded MAXIMUM POWER. 275 kW (374 hp) 375 kW (510 hp) 500 kW (680 hp) WLTP CONSUMPTION. 14.7 kWh/100 km according to the WLTP cycle. Electric range according to WLTP cycle: up to 620 km 15.7 kWh/100 km according to the WLTP cycle. Electric range according to WLTP cycle: up to 660 km 16 kWh/100 km according to the WLTP cycle. Electric range according to WLTP cycle: up to 810 km ENVIRONMENTAL DISTINCTIVE. Zero emissions Zero emissions Zero emissions DRIVING AIDS (ADAS). Automatic emergency braking, intelligent speed limit information, detection of vehicles in the blind spot, intelligent cruise control, 360º parking camera, rear parking sensors, lane keep and change assistance, rear cross traffic alert, cameras in the rearview mirrors. Further Automatic emergency braking, intelligent speed limit information, detection of vehicles in the blind spot, intelligent cruise control, 360º parking camera, rear parking sensors, lane keep and change assistance, rear cross traffic alert, cameras in the rearview mirrors. Further Automatic emergency braking, intelligent speed limit information, detection of vehicles in the blind spot, intelligent cruise control, 360º parking camera, rear parking sensors, lane keep and change assistance, rear cross traffic alert, cameras in the rearview mirrors. Further OTHERS. Android Automotive software compatible with wireless Android Auto and Apple Carplay 11.4″ screen for the instrument panel and 15.04″ curved OLED panel for the central unit Matrix LED headlights Android Automotive software compatible with wireless Android Auto and Apple Carplay 11.4″ screen for the instrument panel and 15.04″ curved OLED panel for the central unit Matrix LED headlights Android Automotive software compatible with wireless Android Auto and Apple Carplay 11.4″ screen for the instrument panel and 15.04″ curved OLED panel for the central unit Matrix LED headlights ELECTRIC HYBRID. No No No Plug-in HYBRID. No No No electric. Yeah Yeah Yeah price and launch From 64,900 euros before discounts From 67,925 euros before discounts From 73,975 euros before discounts New platform and technologies The EX60 debuts the SPA3 platform, which they assure It is the most advanced developed by Volvo to date. Unlike the EX90which uses the SPA2 architecture, this new SUV incorporates important new features, starting with its manufacturing process. And Volvo has opted this time for megacastinga technique that drastically reduces the number of individual parts by using recycled aluminum cast in large sections. The idea is to streamline production and reduce costs and weight. Another key innovation is the use of CTB batteries (“cell-to-body”) for this model, which integrates the batteries structurally into the chassis. According to Volvo, this system improves energy density by 20% and allows 31% higher charging speeds, all while taking up less space and reducing the overall weight of the vehicle. The EX60 also boasts an 800-volt electrical system, which translates into ultra-fast reload times, as long as our charger supports itclear. Its three versions can charge from 10 to 80% of the battery in just 18-19 minutes using a direct current fast charger (400 kW power). Three motor and battery configurations Volvo will offer the EX60 in three engine and battery configurations. The entry-level model, the P6 Electric, is equipped with rear-wheel drive, an 83 kWh battery and develops 374 HP (275 kW) with 480 Nm of torque. According to the technical sheet offered by Volvo, this version reaches 100 km/h in 5.9 seconds and offers up to 620 kilometers of autonomy in the WLTP combined cycle, reaching up to 740 km in urban use. The P10 AWD Electric features all-wheel drive and a 95 kWh battery. Its power amounts to 510 HP (375 kW) and 710 Nm of torque, which allows it to accelerate from 0 to 100 km/h in about 4.6 seconds. The autonomy is 660 km in the combined cycle and up to 790 km in the city. The jewel in the crown goes to the P12 AWD Electric, which has a generous 117 kWh battery and develops about 680 HP (500 kW) with 790 Nm of maximum torque. This model promises to reach 100 km/h in just 3.9 seconds and, the most notable thing, is that offers up to 810 kilometers of autonomy in the WLTP cycle combined, promising up to 980 km in an urban environment. If we take a simple look, we will see that this is one of the highest autonomy figures in the current electric vehicle market in this segment. On the other hand, it should be noted that they have a towing capacity that varies between 2,000 kg for the P6 and 2,400 kg for the all-wheel drive versions. Minimalist line design with the Volvo touch Aesthetically, the EX60 maintains the trend that Volvo has been showing us over the last few years, but this time it goes through a somewhat more modern and aerodynamic interpretation. The Thor’s hammer-shaped lights are still present, as well as the vertical rear lights, although with an updated finish. Factors such as the low hood, the stylized sides and the descending roof line contribute to an aerodynamic coefficient of 0.26, something that in … Read more

Their fortunes set a new record, growing by 2.2 billion dollars

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While millions of workers suffered massive layoffs, budget cuts and uncertain tariffs of the Trump administration, the 500 largest fortunes on the planet added a new record, adding 2.2 trillion dollars to their combined wealth, which already rises to 11.9 trillion dollars. However, even in this bullish context, there are figures in which this growth has been especially striking. The most notable, of course, the growth of the fortune of the richest person in the world. His assets have increased by no less than $358 billion in just 12 months. Record growth. He Bloomberg Millionaires Index recorded the largest annual increase in wealth in history for the 500 largest fortunes in the world. No less than 2.2 trillion dollars in 2025. If we look for someone responsible for this meteoric growth, we find some important clues in the profitability of the S&P 500 index, which has reached 17% thanks to the behavior of the 7 Magnificentas well as in the gold revaluation and other raw materials. Precisely the good stock market performance of the Big Tech It is responsible for the fact that 23% of those profits were concentrated in only eight individuals who, (oh, coincidence) are its founders or main directors. As and how they point from Bloombergthe total assets of those 500 largest fortunes in the world reached $11.9 trillion in 2025, surpassing any previous record. Millionaires among millionaires. But when it comes to naming names, Elon Musk is one of the most notable. The CEO of Tesla far led the level of profits, surpassing for the first time the ceiling of 600 billion dollars thanks to SpaceX valuation before its IPO. His fortune went from 421.2 billion in January up to the 788.1 billion dollars that are currently attributed to it. That implies an increase of 87.1% in his assets in just one year. On the other hand, Larry Ellison added 57.7 billion to his fortune for the role of Oracle in the development of AI, leaving its founder with a fortune of $231 billion. For its part, the evolution of other regular millionaires in the Top 10 with the highest fortunes, such as Jeff Bezos, Larry Page and Mark Zuckerberg, linked their increase in wealth to the performance of their companies on the stock market. Larry Page and his founding partner of Google, Sergei Brin, they escalated quickly in the heat of the last Gemini trading moveswhile Amazon and Goal suffered to stay in the mix.​ Impact on billionaires. Beyond the increase in assets of the ultra-rich participants in the race for AI, the wealth boom among billionaires has been a global phenomenon, registering growth of more than 16% in 2025, three times the average of the last five years, as noted the report from Oxfam Intermón. This jump, quantified at about 2.5 trillion dollars, is equivalent to the assets of 4.1 billion people, the poorest half of the planet. On the other hand, the report focuses on the increase in the number of billionaires, that is, those people with assets greater than 1,000 million dollars. For the first time, there were more than 3,000 billionaires in the world, which is further proof of the trend towards the concentration of resources in a few hands. Wealth in Spain. 2025 was also a year of growth for millionaires in Spain. In fact, for the first time there is 32 billionaires in Spainmostly men and with an average of age over 80 years. In 2024, this select club only had 27 members. Their combined wealth is estimated at 197.5 billion euros, the maximum recorded. This record represents an increase of 28.3 billion compared to 2024, which implies a real growth of 13.6%, more than four times the forecast for the national economy of 2.9%.​ However, there is one figure that accounts for a good part of that total amount: Amancio Ortegawith a fortune estimated at more than $142.6 billion. “This means that Spanish billionaires earned on average more than 77 million euros a day,” indicate the authors of the report from Oxfam Intermón. In Xataka | The emir of Qatar travels in a private jet so big it helped upgrade Sardinia airport Image | Flickr (Oracle, Gage Skidmore), GTRES

The war in Ukraine is the most Looney Tunes in history

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In Ukraine, camouflage has ceased to be a tactical detail and has become an issue immediate survival. The front is no longer just a line of trenches but a space permanently illuminated by sensors, reconnaissance drones and attack FPV that appear in seconds and punish any routine. In that scenario the difference between ingenuity and desperation is a blurred line for hiding. The new battlefield. The consequence is simple and brutal: what previously served to hide from a soldier with binoculars now it is insufficient in front of an electronic eye that does not get tired, does not blink and can observe from above, repeating passes until it finds the smallest error. At that point, Russia is forced to improvise new forms of concealment for his troops, not because it is an aesthetic eccentricity, but because the alternative is being exposed in an environment where detection is almost automatic and punishment comes with surgical precision. “Realistic” camouflage. One of the most striking adaptations has been the use of camouflage covers that are no longer limited to breaking silhouettes with spots of color, but incorporate materials and shapes designed to mimic terrain elementsas if it were a hand-built scenario: fake rocksrough surfaces, textures that imitate rubble and irregularities that deceive the view from above. The idea is simple and quite logical in a front saturated with drones: if the enemy watches from the air, it is not enough to “look green”, there is that “seem terrain”integrate into the visual noise of the landscape and reduce the clues that give away a position. It is an attempt to gain those minutes of invisibility that separate a possible advance from a failed ambush, and it fits with an evolution in which Russia tries to rely more in small and mobile attackswith small groups, assuming that massive concentrations and obvious deployments have become a gift for Ukrainian surveillance. Urban debris like skin. The same logic is transferred to devastated urban areas, where the terrain is not a forest or an open field but a broken brick, fallen walls and dust, and where the most useful camouflage is not so much the traditional “military” one but the one that makes you in part of the destruction. There appear nets and covers designed to look like rubble, construction remains and fragments of buildings, as if the soldier was not hiding behind the ruin but rather merging with it. It is also the response to constant pressure: the impact of drones on the Russian infantry has become so frequent that the front is transformed in a crusher of small movements, and each exposed position can become a scene repeated thousands of times. It is still another paradox in a landscape of rubble, one where effective camouflage is what turns you… in rubble. Debris camouflage “tarps” Field booths. Then there is the image that seems to be taken from a parody, although possibly born of real tactical desperation: soldiers taking refuge in individual vertical structureslike capsules or covers that cover them almost completely and only leave a small gap to observe. They are not typical tents, nor shelters to live in, but rather packaging designed to reduce visual signature and, above all, thermal, against drones that search for targets and finish them off with precision. The logic is simple: if the drone finds you, you are dead, so the first thing is to prevent it from finding you. That said, the price to pay can be enormous because hiding like this means give up all mobilityreaction and situational awareness, just what a soldier needs when danger comes quickly and from any angle. Thermal camouflage The great invisible enemy. It we have counted these days. The most decisive turn, however, is not only in what is seen, but in what is felt: the heat. In winter, thermal cameras become even more lethal because the contrast increases and everything that emits a constant temperature (human bodies, engines, electronics, heaters) stands out like a light signal on a frozen background, even at night. Ukrainian bomber drones, nicknamed “Baba Yaga”they have exploited that advantage effectively: they search for formations or positions, identify thermal anomalies, and release ammunition with an ease that turns concealment into an almost mathematical problem. In these conditions, visual camouflage is of little use if the position “glows” in infrared, and even what seems insignificant (recent footprints in the snow, repeated activity at a fixed point) can become a clue. That’s why it appears thermal camouflagewhich does not eliminate heat because that is impossible, but tries to break the silhouette and blend it with the environment, even if it is degrading the signal instead of erasing it. The great Russian dilemma. The situation forces Russia to move in an impossible balance: If you try to advance towards death zones under drones, the exposure multiplies, and if you decide to stay in fixed positions, persistent observation ends up discovering patterns, entrances and exits, moments of activity, small routines that a drone can record until the attack arrives. The result is that each defensive measure brings with it a new limitation: hiding better usually means seeing less and reacting worse, moving more usually means being detected sooner. And while Ukraine reserves thermal cameras for reusable drones because they make the system more expensive and cannot be used in everything, also play with smart combinations, using a drone with good optics to detect and cheaper ones to execute. Looney Tunes, but with real casualties. If you also want, all this leads us to an idea that sounds like a joke that is not: the war in Ukraine is resembling an episode from Looney Tuneswith soldiers hiding in vertical capsuless, networks that imitate bricks and camouflages that look like movie props. There is no doubt, the background is terribly serious, because this absurd aesthetic is born from a real technological pressure, from an environment where air It is full of sensors and camouflage no longer competes against human eyes, but against machines … Read more

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