Mobile Tech & Gadgets

There are those who claim that AI is going to kill software. Most likely, just the opposite will happen.

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It was 1993 and a young man named Marc Andreessenstill with his hair intact and a lot of ambition, set out to create a web browser with a colleague who worked with him at the National Center for Supercomputing Applications (NCSA) at the University of Illinois. They called it Mosaic. That browser allowed you to explore the newborn World Wide Web with the click of a mouse, something amazing because to date the browsers that had been developed were in text mode and were used with the keyboard. Suddenly the web could include images and even multimedia content. A little later Andreessen met Jim Clark, founder of the legendary Silicon Graphics, and he encouraged him to embark on an adventure with his web browser, so together they decided to set up their own startup and that led to the creation of one of the mythical browsers in history: Netscape. Marc Andreessen. Source: Wikimedia. That made Andreessen a multimillionaire, and from 2005 his interest changed. I no longer wanted to start a business, but rather help others start a business. He ended up founding the venture capital firm Andreessen Howoritz and became richer and richer (while losing more and more hair). His successes and bets in the technology industry are notable, but also he left some famous phrases. The most notable is probably the one delivered in 2011 when saying “Software is eating the world.” His argument was compelling: the companies that were growing the most were software or had software as one of their key pillars. He was not wrong—today these companies are absolute technological giants—and that quote became one of those seemingly immutable laws. And then AI arrived. Is AI eating software? The appearance in November 2022 of ChatGPT caused an extraordinary impact, although it had been clear for a year and a half that something was changing in the software world. In July 2021 we talked about GitHub Copilot when the conversation around generative AI was still awakening. That project allowed machines to program for us. This concept has become over the years the clearest example that AI can change things– Developers have embraced this tool like no other industry, but they know that they cannot trust her 100%. Still, we are living in an exciting time for software. One in which the rise of vibe coding is absolute. Andrej Karphaty I thought about it these days and explained that when coined the term A year ago maybe he was wrong with that way of calling it. Now he proposed changing it to “agent engineering” to reflect the type of tool it has ended up being. Be that as it may, the vibe coding/agent engineering has sparked a fever for software development. In many ways it has democratized it and turned us all into potential developers. I am experimenting myself with Open Source tools that I am modifying to my liking, and others are doing exactly the same in this era of “custom micro-applications”. But in recent days we have also experienced a disturbing phenomenon. The threat of the “SaaSpocalypse” The generative AI models and AI agents that have appeared in recent months have ended up having an extraordinary impact on the software world. In fact we are not referring to vibe coding as suchmore aimed at occasional programmers or users without knowledge who are encouraged to create their own apps. We are referring to what has happened to the large software companies that for years have controlled the market with the SaaS (Software as a Service) philosophy. This model has made it possible to convert, for example, Photoshop or Office no longer into software that was sold in boxes and you installed on your PC, but into applications that run in the cloud and that you can use from a browser. Applications are no longer applications, they are services. And you don’t pay for them by buying them at once: you subscribe to them. But AI appears to threaten that model. Last week, software companies lost a total of $300 billion on the stock market overnight. The shares of MongoDB, Salesforce, Shopify or Atlassian lost between 15 and 20% in value in a few hours, and talk of the “SaaS apocalypse” began (“SaaSpocalypse“). Source: Perplexity These falls are obvious if you take a look at Google Finance or any monitoring platform for these companies. Or if you ask Perplexity like I did, which creates a nice (and worrying) graph about some of the companies consulted: the collapse in the last month is really terrible, although it seems that the trend seems to have stopped. Be that as it may, this “SaaS apocalypse”, whether it exists or not, raises a question that is precisely in line with what Andreessen said. If software ended up eating the world, Will AI eat software? Will it kill him? Software is not going to die. Just the opposite What is happening at the corporate level with these falls has of course to do with AI, but also with the model and philosophy of these companies themselves. Those SaaS platforms that dominate the world They have not stopped abusing their dominant position for years with aggressive price increases and rigid contracts. We have seen it with companies like Salesforce, whose customers have seen prices rise 35% in the last two years, or the mind-blowing case of Broadcom, whose customers in Europe were facing price increases of 1,500% in your VMware virtualization software licenses. This has created an ideal breeding ground for clients of these and many other companies with SaaS platforms to look for alternatives, and also look for them in AI. Artificial intelligence is not only offering efficiency, but is giving many customers that “key to the cell” that allows them to escape from their suppliers, who treated them like hostages. In fact, the current correction in stock market valuations can also be understood as a post-bubble hangover from 2021, when the pandemic boosted all these companies. We saw it with … Read more

This year more will be invested in data centers than what the US spent to reach the Moon

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We are witnessing live a technological race that is no longer measured only in announcements or demonstrations, but in tangible investments that grow at a speed that is difficult to ignore. In the United States, and also in other regions, large companies are allocating increasing amounts of money to build and expand the infrastructure that supports the current deployment of artificial intelligence services and the expansion of computing capacity that these companies pursue. Some speak of excessive enthusiasm and even a possible bubblebut the money already invested is part of the economic reality of the sector, while the projected figures point to an even larger scale. The question, therefore, is not whether the bet exists, but how big it really is. The numbers. If the first step is to assume that the investment exists, the second is to quantify it precisely. Data collected by The Wall Street Journal They suggest that Meta, Amazon, Microsoft and Alphabet (Google) could concentrate a joint expenditure of up to $670 billion in 2026 aimed at artificial intelligence infrastructure. We are talking about capital outlays associated with data centers, hardware and capacity expansion, not just “brick”. When a single annuity reaches that order of magnitude, the conversation shifts from expectations to measurable economic consequences. Dollars are not compared. What the analysis proposes is not a direct equivalence between amounts spent in different times, but rather a way of measuring the economic weight of each effort in its own historical context. Instead of adjusting old figures to current prices for inflation, the article uses the percentage of gross domestic product (GDP) as a common reference for separate projects over time. That shift in focus shifts the conversation from absolute money to relative magnitude within the U.S. economy. And it is precisely there where the investment associated with artificial intelligence acquires a historical dimension that is difficult to ignore. The investments. Among the great economic milestones that are often used as historical references in the United States, there are episodes as different as the Louisiana Purchase, the railroad expansion of the 19th century or the construction of the interstate highway system, all of them with different relative weights within the economy of their time. Using that same metric, this effort has been estimated around the following magnitudes: Louisiana Purchase: 3% of GDP Railway expansion: 2% of GDP Interstate highways: 0.4% of GDP Apollo Program: 0.2% of GDP As we can see, the planned investment in artificial intelligence infrastructure is around 2.1% of GDP. It’s not the same, but. Historical parallelism functions as a scaling tool, not as institutional equivalence. The large projects with which the current moment is compared were, in many cases, public initiatives financed directly or indirectly by the federal State, while investment in AI infrastructure corresponds mainly to corporate spending. That distinction is important, however, from a strictly economic perspective, the relative size of the effort remains comparable. The State does not pay the main bill. That the bulk of investment is private does not mean that the public sector remains on the sidelines. It’s no secret that the U.S. government influences the pace and shape of deployment through regulatory decisions, permitting, energy planning, and federal land use for new data center infrastructure. This set of levers is not a substitute for corporate capital, and at the same time it fits with a broader strategy aimed at preserving American leadership in the global race for AI. Historical comparison. This ends up pointing out something deeper than a simple number: it indicates the type of priority that a society decides to give to certain technologies at a specific time. When investment in AI infrastructure reaches a relative weight comparable to that of major American economic milestones, reading transcends the technology sector and enters the strategic realm. Images | POT | freepik In Xataka | Daniela Amodei, co-founder of Anthropic: “studying humanities will be more important than ever”

With the consumer segment drowning, Samsung is the first to manufacture HBM4 memory. And it will be for NVIDIA, of course

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Samsung is one of the names of this February. They are expected to present the Galaxy S26but they have something on the table that will be a shock not only to their coffers, but to the engine of the South Korean economy. We refer to high bandwidth memories because, in the midst of the RAM and SSD crisisSamsung is prepared to mass produce the HBM4 memories. And it will be for the AI, How could it not be any other way?. In short. The South Korean company has not confirmed it, but recent reports published by Reuters and local sources such as Korea JoongAng Daily They point out that Samsung will begin mass manufacturing HBM4 memory chips starting next week. It will be the first of the three companies that dominate the production of memory chips (the others are the South Korean SK Hynix and the American Micron, the which is gone from the RAM consumption) in starting to manufacture in large quantities these fundamental memories for the artificial intelligence. HBM4. This type of memory, as its name suggests, has enormous bandwidth. This is crucial for GPU needs and while NVIDIA has remained faithful to GDDR memory for its graphics cardsAMD did flirt with the stacked technology of the HBM chips for their Vega GPUs. However, it is not a technology for consumption, not because its performance is inadequate, but because it is too expensive. Making HBM memory is more expensive than making traditional DRAM chips, but the advantages are there. With HBM4, for example, the density of stacked chips allows Double the bandwidth of the previous generation. This is key to transmitting more data per second, but they also consume up to 40% less energy than HBM3 memories. NVIDIA. The most interested is, as we have said on previous occasionsNVIDIA. And if NVIDIA benefits, practically the entire leading artificial intelligence industry will take advantage of it because its chips are what are currently moving the industry. It is estimated that Samsung memories will go to NVIDIA’s Vera Rubin acceleration systems In fact, it has been reported that Jensen Huang himself has urged to accelerate and increase the production of these chips. Well, Huang has asked the entire semiconductor industry to manufacture components for his cards. let’s get the batteriesit is not something that concerns only Samsung. Spearhead. According to a Korea KoongAng Daily source, “Samsung has the world’s largest production capacity and broadest product line. It has demonstrated a recovery in its technological competitiveness by becoming the first to mass produce the highest-performance HBM4 memory.” Because, in this field, its main competitor, the neighboring SK Hynix, is expected to begin mass manufacturing its response between March or April, enough time ahead for Samsung to begin sending its memory to NVIDIA. And, here, Samsung’s great advantage is that it does not depend on TSMC: it has its own foundry and the HBM4 modules are based on 4 nanometer photolithography. Looking to the future. SK Hynix’s delay is not because they have rested on their laurels: they are the ones who they lead the way in the previous generation thanks to the HBM3E memory, but due to their schedule and they did not need it, they started developing the new generation later than Samsung. But of course, although HBM is the standard in current AI systems, we have already said that they are expensive chips and, in addition, they heat up a lot, requiring dissipation equipment to match. And that’s where companies are combining HBM4 memory production with a new generation of DRAM memory. The idea is to find a way for this memory – slower, but cheaper and ‘fresh’ – to compete in bandwidth with the HBM. Samsung and SK Hynix are in it, but they will have to compete against someone who didn’t play in this league: an Intel that does not arrive alonebut from the hand of the Japanese giant SoftBank. In short: Samsung has decided to get back on its feet when it comes to manufacturing muscle. And most important of all, all the companies that make memory modules remain focused on one thing: they make hardware for artificial intelligence while components such as RAM and SSD consumption they have the prices through the stratosphere. Images | Maxence Pira, Choi Kwang-moNVIDIA logo (edited) In Xataka | Huawei has kept its promise: it has found a way to boost China’s competitiveness in AI compared to the US

an 11-meter-long “ghost jellyfish”

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A dark red creature, without stinging tentacles but with fleshy arms that extend like theater curtains, sailing silently in the absolute darkness. This, which can be quite scary, This is exactly what a scientific expedition has found in the Argentine Sea: a specimen of Stygiomedusa giganteaa jellyfish which has surprised by its large size when compared to that of a school bus. Hard to see. The Stygiomedusa gigantea It does not receive the nickname “ghost jellyfish” on a whim, since, despite its large size, the truth is that It is very difficult to find because of how elusive it is. To give us an idea, since the first specimen was described in 1910, hardly any have been officially recorded. about 130 sightings throughout the planet for more than a century. This makes this sighting that was made by the expedition ‘Lives in extremes‘ be really striking, although what has mattered is the quality and detail of the data obtained. How it was done. The scientific team, aboard the R/V Falkor research vessel, used the SuBastian ROVa remotely operated vehicle capable of descending to abyssal depths and transmitting 4K video. It was this robot that captured the jellyfish on the Argentine continental slope that has left many with their mouths open. The images point to a huge size of 11 meters when it has its ‘arms’ extended, which makes it comparable to a school bus. But also, unlike other jellyfish, the Stygiomedusa It does not sting, since it does not have poisonous tentacles. What it does have are four massive oral arms that it uses to catch prey and bring it to its mouth. Its color. Its reddish-brownish tone makes it practically invisible in the depths, where the red light of the solar spectrum is the first to be absorbed by water. To the eyes of other deep-sea animals, this jellyfish is effectively black and invisible, which makes it very easy to find food. Beyond the jellyfish. Although it has received practically all the attention due to its large size, the true scientific “treasure” of the expedition could be on the seabed. And the researchers from CONICET and the University of Buenos Aires were not only looking for pelagic fauna, but They wanted to map and study the underwater canyons, like the Colorado-Rawson canyon. And there, the SuBastian ROV’s sonar and cameras found something unexpected: the largest cold-water coral reef known to date in the region. Its characteristics. It is nothing less, since we are talking about an ecosystem dominated by the species Bathelia candida, a scleractinian coral that forms complex three-dimensional structures. The data indicates that one of its patches covers 0.4 square kilometers and extends the known distribution range for this species some 600 kilometers to the south. This is a vital discovery, because this coral acts as an “ecosystem engineer”, providing shelter, breeding and feeding grounds for an immense variety of fauna, including fish of commercial interest. Use of technology. The ship that has given rise to all these discoveries has traveled more than 3,000 kilometers from Buenos Aires to Tierra del Fuego, carrying out a systematic sweep of the ocean floor. To do this, they have used robots like the SuBastian, which allows marine biologists to do something that traditional trawl nets could not: observe the behavior of species in their natural habitat without harming them. This type of mission reminds us of a recurring maxim in modern oceanography: we know better the surface of Mars than the bottom of our own oceans. Finds like this giant jellyfish or new coral reefs are not just curiosities; They are key pieces to understanding how to protect biodiversity in a rapidly changing ocean. Images | Schmidt Ocean Institute In Xataka | Thousands of people are hooked on the most popular streaming of the moment: seeing rare fish 3,900 meters under the sea

The consequence has also reached payrolls, according to Levante

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We live in a world where cyberattacks have a growing impact on everyday life. It’s no longer just about data leaks capable of compromising privacy or fueling new waves of cyber scams. Nor only from rescheduled flights because the systems of an airport or an airline they have been committed. Cybersecurity incidents can also, indirectly, delay something as basic as collecting a payroll. This is what the employees of a Spanish agricultural company would have recently experienced. The cyber attack. Levante-EMV points out that Agriconsathe Valencian company responsible for the juices and preserves of the same name, suffered a computer intrusion at the beginning of last week. Official details are scarce, but the incident would have altered the company’s normal operations for several days. Subsequently, activity would have been restored normally, which suggests a relatively quick response capacity on the part of the actors involved, including an external company whose specific role has not been specified. Delay in payrolls. Agriconsa workers found themselves in an unusual situation this February. Instead of receiving their payslips on the scheduled date, the payment arrived late. Sources consulted by the aforementioned newspaper assure that the cyberattack caused a “total blockage of the computers.” As a direct consequence, essential processes such as order management, sending invoices or paying payrolls were temporarily affected. What they say from the company. Levante-EMV collects statements from José Juan Felici, director of the company in Algemesí. According to the manager, “the external company” that collaborates with them reacted quickly and allowed normality to be recovered progressively. Felici acknowledges that it took them “a couple of days to recover,” but maintains that the problem is now completely resolved, while regretting the inconvenience derived from the cybersecurity incident. One of the most revealing elements of his words is that the external company in charge of the systems carries out updates and implements improvements. Even so, the company ended up suffering from the attack. This highlights that even organizations that invest in protection can become victims of malicious actors whose primary motivation is often to obtain illicit financial gain. Ransomware attack? In an incident of these characteristics, one of the first hypotheses usually points to the participation of a ransomware group. This is what the sources consulted by Levante-EMV suggest, who maintain that the release of the systems depended on the payment of a ransom. Felici, however, denied to that medium that he had received any financial demand to restore the equipment, although he did confirm the existence of the computer incident. Companies, in the spotlight. Companies continue to be one of the priority targets of cybercriminalslargely due to the possibility of obtaining a payment in exchange for unlocking previously encrypted systems. In some cases, preventive measures are insufficient and even backups may be compromised. In others, restoration is possible without having to give in to the attackers’ demands, which shows the diversity of scenarios that can occur after an attack of this type. From Xataka we have contacted Agriconsa to obtain more information about what happened and we will update this article as soon as we receive a response. Images | Google Maps | freepik In Xataka | How to know if your passwords have been leaked on the Internet

We have been dreaming of stopping aging for centuries. The question is if we are finally achieving it: Crossover 1×37

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Myths such as that of the fountain of eternal youth have helped human beings through the ages. let’s dream of not aging and living forever. Reality is still cruel: Although life expectancy has increased, we age without seeming to slow it down. But there are those who argue that there may be. In this episode we have spoken with Dr. José Hernández, longevity expert and founder of a clinic specialized in Age Reversal, to understand what aging really is, why it is considered a disease today, and what technologies could allow us to go back biologically. In this debate we talk about information theory and epigenetic damage, cellular reprogramming, or how there are already large companies —and some billionaires— investing significantly in this. In fact, the most advanced science is accompanied by methods that seem much more effective not so much in slowing down aging but in ensuring that our physical condition is much better when this process affects us: Physical exercise is an absolute pillar of longevityassures this expert. Of course there are other factors that influence – diet and genetics, of course, do – but we are dealing with a question that has opened numerous avenues of research, some of which are promising. Who knows what can happen. On YouTube | Crossover In Xataka | Don’t tell me your age, tell me your grip strength: how simple gestures tell us how well we are aging

“studying humanities will be more important than ever”

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When a student finds himself at the doors of the PAU (University Access Test) and considers what studies to start If you want to dedicate yourself to the development of AI, you will likely opt for computer engineering or a STEM career. In a way it would be the right decision and proof of this is the high job placement rates that, year after year, mark technical engineering. However, according to Daniela Amodei, co-founder and president of Anthropic, the humanities are the key to future of work with AI. To program Claude is already there. Less machine, more human. In a recent interview granted to ABC NewsDaniela Amodei, a graduate in Literature from the University of California in Santa Cruz and sister of the co-founder of Anthropic, Dario Amodei, argues that “studying the humanities is going to be more important than ever.” His argument is based on the same discourse that other AI executives such as Jensen Huang have been supporting for some time: “our job is to create computer technology so that no one needs to program.” Huang said. at a conference in 2024. “A lot of these models are actually very good at STEM, right? But I think this idea that there are things that make us unique as humans, understanding ourselves, understanding history, understanding what motivates us, that’s always going to be really important.” That is, what Amodei considers to be really valuable in the future They are not people who know how to programbut rather teach AI models to think like a human. At Anthropic they are already on that path. The president of Anthropic assured that at the time of hire new employeesalready prioritize profiles of “great communicators, who have an excellent emotional quotient and people skills, who are kind, compassionate and curious and want to help others.” For the directive, “the things that make us human will become much more important instead of much less important.” In fact, Amodei does not see the future of work as a scenario of human vs AIbut of humans plus AI. “The combination of humans and AI creates more meaningful, more challenging, more interesting and highly productive jobs,” stressed the president of Anthropic, “And I believe it will also open the door to greater access and opportunities for many people,” she added. The harsh labor reality in Spain. The job placement rate of the humanities branch in Spain paints a very different picture. According to data According to the BBVA Foundation and the Ivie, 77.6% of young university students obtain a job according to their degree. Students who study computer and software engineering obtain an average employability rate of 89.4%. Instead, according to the report ‘The employability of young people in Spain 2025’ from the Knowledge and Development Foundation (CYD), the branch of Arts and Humanities are the ones that offer the fewest professional opportunities with an average affiliation rate of 63.5%. A complicated present. Amodei foresees a very different future in which AI will liberate the technical to enhance the human. But the truth is that currently graduates in Arts and Humanities are the ones with the lowest salaries. Only 36.4% of graduates in humanities branches exceeds 1,500 euros per monthcompared to engineering companies that charge an average of 2,900 euros gross per year. In Xataka | Finding a job had always been a good way to escape poverty: in Spain it is no longer true Image | Anthropic, Unsplash (Tai Bui)

A Brazilian has shown that having Internet in mid-flight is possible with Starlink. It has also shown that it is a real danger

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If the Internet does not reach the plane, let the plane reach the Internet. One of the Azul Linhas Aereas travelers must have thought something like this, who along with another hundred passengers began to discount the first minutes of their flight. A flight that began on the ground but has not yet ended. And our protagonist tried to connect to the Internet during takeoff using a Starlink antenna and a battery that far exceeded the maximum allowed capacity. The flight has landed but is not over. And the company is now investigating what happened. On Instagram. It’s where the Azul Linhas Aereas traveler has published his invention with the following text: “Who hasn’t suffered the frustration of getting on a four-hour flight and not having Internet? When you get on the plane and the WiFi doesn’t work… Your problems are over.” The video briefly shows how the passenger places the Starlink antenna on the window and hooks it to the window blind. From it, a cable hooks up to a large battery stored in the pocket of the front seat. Click on the image to go to the original post What is Starlink? Starlink is a internet service through satellite connection designed by SpaceX, Elon Musk’s company. The system is simple, with thousands of satellites orbiting around the earth, the service seeks to ensure that a small antenna can provide Internet to anyone anywhere in the world, no matter how remote it may be. To do this, the customer mounts the antenna and points it towards the sky. From there a signal arrives that is interpreted by a router included in the pack to, in turn, multiply the signal so that we can connect to the network. Its latency is high compared to fiber optics, so it is not a system to compete with home connections, it is designed to provide Internet to areas without 4G or 5G coverage. And does it work on a plane? Of course, the operation is exactly the same as if we placed the antenna on the ground. In this case, what the airline passenger did was put the antenna in the window pointing outside to improve signal reception. For the rest, it works exactly the same as if we contracted Starlink to have Internet at home. In fact, Starlink service is being offered to airlines. And although it has been the trigger between the latest tantrum between Elon Musk and Michael O’Leary (CEO of Ryanair), the truth is that Starlink will be offered this year on Iberia, British Airways or Vueling flights. And the first tests with United Airlines They were already very satisfactory. Starlink improves what is already known because, although a plane also connects via satellite to offer Internet on its flights, the bandwidths that customers demand and its applications are increasing, which has been reducing the speed of data transfer that each device on board can enjoy. But it’s a danger. However, what this passenger has done is a real danger that is being investigated by the airline. In the Brazilian State Post Office They explain that the Starlink antenna was powered by a 60,000 mAh portable battery. Its 222 Wh capacity is far from the 100 Wh maximum that can be carried on board a plane according to Brazilian aviation regulators. Large power banks can be a danger on board, so Aeronautical authorities limit them in size and number. And it is that batteries can self-combust if a thermal leak occurs, which may be caused by overheating or a blow that results in a short circuit. The problem is already huge if we are on land But it can be much more serious if the plane is fully operational because lithium ion batteries are very difficult to turn off and, in addition, they release gases that are harmful to our health. That is why the size of the battery is limited and if an incident occurs, it is manageable by the crew. Photo | Wikimedia and Fallon Micheal In Xataka | Airlines are beginning to regulate and restrict the use of power banks on airplanes: South Korea leads the way

Zara dressed Bad Bunny at the Super Bowl. That says much more about Zara’s plans than about Bad Bunny

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On the grass of Levi’s Stadium, at halftime of the Super Bowl, the Puerto Rican artist made history Bad Bunny. At an event where ads cost $16 million a minute, he didn’t appear dressed in Gucci or Dior or Versace. Benito Antonio Martínez Ocasio “materialized” with a total look creamy white, almost angelic. A monochrome suit designed to float rather than step on, visually blending with the lime lines of the field. The big surprise was not only aesthetic but also corporate: behind that sobriety was Zarathe flagship brand of Inditex. It was a movement of contrasts. Just a week before, the singer had swept the Grammys with a spectacular design Schiaparelli haute couture. Going from the most exclusive Parisian craftsmanship to retail Arteixo’s overall performance in just seven days is not an accident, but rather a declaration of intent in the most expensive setting on the planet. The architecture of an “anti-luxury” look What we saw on stage was not off-the-shelf clothing, but a designer piece bespoke (custom made). The initial outfit consisted of pleated pants, a shirt, a tie, and a key piece: a padded sports-inspired t-shirt (linebacker) that evoked the protections of American football. All in a sober and calculated, stylized cream tone by his regular collaboratorsStorm Pablo and Marvin Douglas Linares. The design evolved in real time. Midway through the performance, Bad Bunny transformed his silhouette by adding a double-breasted double-breasted blazer in the same hue, elevating the sporty tone to classic sartorial elegance. However, so that no one forgets that sobriety is an aesthetic choice and not an economic necessity, the Puerto Rican maintained a single nod to status superstar on your wrist: an Audemars Piguet Royal Oak watch. A piece of yellow gold 18 carat with a malachite dial that served as a silent reminder: the suit may be democratic, but Bad Bunny’s time is money. Zara’s choice stood out even more due to the contrast with her companions on stage. While he wore the mark of high street par excellence, Lady Gaga appeared with a design from the Luar brand and a brooch representing the flor de maga (the national flower of Puerto Rico), maintaining the dialogue between fashion and cultural identity. This movement represents an alliance where both parties gain cultural capital, but from opposite directions: Zara seeks to rise towards luxury and Bad Bunny seeks to “come down to earth” towards authenticity. According to experts consulted in Guardianlike Professor Andrew Groves of the University of Westminster, seeing a Zara suit on a Super Bowl stage is a statement about the “power shift” (power-shifting). The suit projects authoritybut that authority comes from Bad Bunny’s cultural position, not the seal of a luxury house. It’s a way of saying that style doesn’t lie in price, but in narrative. Furthermore, there was an undeniable language connection. Being the first artist to perform at halftime entirely in Spanish, challenging the Anglo-Saxon hegemony of the event, the choice of a global brand of Hispanic origin came full circle. As they pointed out from the Vigo Lighthouse“Zara is Spanish, as is its music”, the shared language functioning here as a tool for mass projection in the American market, beyond the complex historical legacies. Fast Couture and the commercial counterpoint For Zara, this is the culmination of a strategic shift. The brand issued a statement highlighting that “artistic vision” was prioritized and clarifying a crucial point: this outfit will not be made available for sale. By renouncing the immediate mass sale of the product, Zara positions itself as a creator of culture and visual narrative, moving away from the image of a seller of quick copies. They have preferred the prestige of having been there to the immediate cash benefit. However, the commercial machinery did not stop completely. Here lies the genius of the strategy: while Zara capitalized on the immaterial prestigethe tangible business was at the feet. The sneakers that completed the set were not from Inditex, but rather the BadBo 1.0his most personal collaboration with Adidas. Unlike the unaffordable tailored suit, these did go on sale just 24 hours after the show for about 160 euros. The artist achieved the perfect balance: narrative exclusivity for clothing, mass consumption for footwear. Benito’s clothing functioned as a canvas for encrypted messages that the internet attempted to decode in real time. On the one hand, the padded T-shirt read the artist’s maternal surname, “OCASIO”, along with the number 64. Speculation soared: Was it the year of birth of his mother, Lysaurie? A reference to the victims of Hurricane Maria? A nod to a Billboard music record? Finally, the most intimate answer was given Complex Magazine: The number was a tribute to his late uncle, who wore that number during his time as an American football player. Bad Bunny turned a sports shirt into a family love letter. On the other hand, white as a political response. The color cream/white It wasn’t accidental either. Colorimetry experts They point out that this tone conveys transparency, purity and leadership (“I have nothing to hide”). This visual message gains strength after his speech at the Grammys, where he protested against ICE (Immigration Service) stating: “We are not savages, we are humans.” Wearing angelic white in front of millions of spectators visually counteracts the narrative of danger associated with Latino immigration in certain political discourses. Marta Ortega’s plans To understand why Zara invests resources in dressing a superstar without then selling the clothes, you have to look your recent business strategy. Inditex, under the presidency of Marta Ortega, is trying to distance Zara from the stigma of fast fashion to bring it closer to fast couture or “affordable luxury.” A clear example is the recent reopening of its store in Barcelona, ​​designed by the Belgian architect Vincent Van Duysen with an aesthetic of boutique deluxe. Zara no longer wants to compete only on price with Shein or Primark; wants to compete in image and experience with luxury brands, maintaining affordable prices. Dressing Bad … Read more

The special effects of 2025 are worse than those of 2010. And part of the blame lies with us viewers

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When James Cameron released ‘Avatar’ in 2009, the film industry contemplated what seemed the future of visual effects. The film set a technical standard that, paradoxically, today’s cinema not only has not surpassed, but often does not even reach. The problem is not technological: software tools have advanced exponentially since then. But the industry has evolved in a way that everything looks worse than before. The sooner, the better. It is not necessary to go to the undisputed peak of the digital image that represented Cameron’s movie. ‘Pirates of the Caribbean: Dead Man’s Chest’ featured Davy Jones and his beard of tentacles, one of the best live-action CGI integrations ever seen. ‘Interstellar’ featured the participation of astrophysicist Kip Thorne for their spatial sequences. It is enough to compare the photorealistic texture of Na’vi or Jones with the plasticized finishes of Marvel or DC to see that something fundamental has changed in the way of producing special effects. The common denominator in all of them was time. In this analysis about the visual effects crisisit is explained that the productions of that decade had post-production calendars that ranged between 18 and 24 months. ‘Avatar’ He had two full years for the effects phase. Its consequences have started from comparable times. The spectacular images in ‘Inception’ of the city folding in on itself, another milestone of the era, took months of planning. Luxuries that are practically unthinkable today. Increasingly. The problem is the quantity. The latest studies indicate that while a commercial film from 2010 contained approximately 600 shots with visual effects, current productions usually exceed 3,000 shots. This 400% increase has not been accompanied by proportional budgets or calendars. Quite the opposite: hasty effects, poorly worked compositions and a digital homogenization that detracts from the personality of the images. Tremendous expectations In your situation analysisTreehouse Detective explains the case of the prequel to ‘The Thing’, which in 2011 remade John Carpenter’s 1982 classic. The special effects team Studio ADI, led by Alec Gillis and Tom Woodruff Jr., built physical creatures with animatronics and prosthetics over several months of pre-production. After test screenings, Universal Pictures made a decision that Gillis would rate how devastating: Almost all practical work was replaced by CGI in post-production. Audiences expected to see digital effects in a science fiction horror film and considered practical effects “old-fashioned.” Paradigm shift. This case illustrates a profound cultural shift in expectations. During the 2010s, CGI went from being an exceptional tool for what was thought unattainable with practical effects to becoming the standard. The irony is that the greatness of films like ‘Alien’ or ‘Jurassic Park’ (where CGI was mixed with practical effects) was built precisely on the tangibility of their creatures. But the industry, and with it the audience, developed a dependence on digital finishing that is associated with prestige and quality, regardless of whether the final result can be improved with traditional effects. The economy of effects. The proliferation of streaming platforms has radically reconfigured the economics of special effects. Films produced directly for Netflix, Amazon Prime or Disney+ operate with significantly lower budgets than productions destined for cinemas, while the public maintains their visual expectations. This impossible equation has put pressure on the entire FX production chain. The era of auctions. The contract awarding system has evolved towards an auction model that prioritizes cost and speed over quality. The studios put projects into competition between multiple effects companies. The one who offers to complete the job in less time and for less money gets the contract. This process creates a competitive spiral in which small studios accept unsustainable conditions in the hope of maintaining their position in the market. Studies that close. It is a system that sometimes has extreme consequences. ‘Sonic the Hedgehog’ case: after the public’s rejection of the character’s original design, Paramount ordered a complete redesign. Moving Picture Company, the studio responsible for the effects, had to redo hundreds of shots without a deadline extension or significant additional budget. The studio closed its Vancouver headquarters shortly after, with multiple sources indicating that the project had contributed significantly to their financial problems. It is not an isolated case: Rhythm & Hues, winner of the Oscar for the effects of ‘Life of Pi’ in 2013, declared bankruptcy weeks before the awards ceremony. The company had agreed to complete the job at a loss to maintain its reputation, a pattern that media outlets such as VFX Voice have documented. Visual effects artists and technicians frequently operate in crunch to meet deadlines that were unfeasible from the beginning. The lower union rate In the visual effects sector, unlike other technical departments in film, it leaves these professionals without protection against abusive working conditions. The causes. The deterioration in the quality of the special effects does not respond to a single cause, but to pressures from two opposite directions. Movie studios have optimized their production structures to maximize profit margins, outsourcing visual effects work to companies competing in a wild race. The public has developed inflexible expectations about the omnipresence of CGI, rejecting alternatives. As technology advances, the time and money available to apply it decreases. Just compare budgets: ‘Avatar’ operated on a total budget of $237 million, of which a substantial portion was allocated specifically to technological development and visual effects over several years. Meanwhile, an MCU production distributes a similar budget among multiple items (salaries, marketing) while compressing post-production calendars to just six or eight months to meet immovable release dates, established years in advance. In Xataka | Either CGI designers get their act together or our televisions will continue to put their movies on the ropes

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