Arena

The new Chinese model Kimi K3 is already number one in Frontend Code Arena. And it’s unleashing madness on the Internet

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It seems like yesterday when DeepSeek R1 called into question an idea that many took for granted: that the race for advanced artificial intelligence It still had a clear owner in Silicon Valley. The emergence of the Chinese model helped trigger a massive sale of technology and led NVIDIA to suffer a loss daily capitalization unprecedented until then. As the months passed, that image lost intensity, but the message remained: the Chinese technological ecosystem was not willing to limit itself to keeping pace with the United States. The following notice now has a different name: Kimi K3. Moonshot AI has just presented a model with 2.8 trillion total parameters that, as soon as it arrived, was placed at the top of Frontend Code Arenaahead of some of the most powerful proposals from Anthropic and OpenAI. But the story is not limited to a classification: developers and fans are already using it to create interfaces, games and recreations that anyone can see and, in some cases, try. That’s where this article really begins. It is worth dwelling on the details of that classification. At the time of writing, Kimi K3 reaches 1,679 points in Frontend Code Arena, ahead of Claude Fable 5with 1,631, and GPT-5.6 Sol xHigh, with 1,618. The improvement compared to the previous generation is also striking: Kimi K2.6 was in 18th placewhile his successor leads six of the seven domains evaluated. For now, Arena maintains the label of preliminary result, so it is convenient to read this position as a very significant photograph, but still susceptible to change. We are not facing a universal programming exam, but rather a very specific test. Frontend Code Arena compares web applications created by different models and lets users evaluate which one solves the task better, which one works more reliably, and which one presents a better experience. That approach is especially useful for measuring visible and practical capabilities, but it also has obvious limits. That Kimi K3 leads here tells us a lot about its frontend performance, although it doesn’t automatically allow us to extend that advantage to complex repositories, backend, mathematics, or general reasoning. Outside of this specific terrain, photography remains favorable, although more balanced. Vals AI places Kimi K3 second among 38 models, with 74.70%just behind Claude Fable 5, which reaches 75.14%, and above GPT-5.6 Sol, with 73.12%. Artificial Analysis also places it among the most advanced systems in its classification, with 57 points and third place overall. Where Kimi K3 seems to feel most comfortable is in tasks that combine programming, visual context and several chained steps. Arena supports its ability to build web interfaces, while Vals AI also records high performance in agent programming tests. Moonshot adds that the model can traverse large repositories, use terminal tools, and review screenshots of its own work to correct the output on the fly. That last capability, which the company calls “vision in the loop,” helps explain why it excels at transforming visual references into interactive products. There are also several cautions before interpreting Kimi K3 as a definitive victory. Moonshot presents it as an open weight model, but those files have not been published yet and the company promises to release them no later than July 27. Nor should we confuse this openness with complete open source, because details about the license and the rest of the system are still missing. Its 2.8 billion total parameters belong to a sparse architecture that activates 16 of its 896 experts. The company itself recommends configurations with 64 accelerators or more, very far from what a conventional computer can offer. The community reaction helps understand why Kimi K3 is attracting so much attention. One of the most striking examples is a recreation of macOS 27 which works within the browser and which its creator attributes to a swarm of model agents working for about three hours. They add to it Ballista, an interactive panel with a 3D balloon and several comparisons against Claude and GPT. They are not independent benchmarks, but demos shared by their own creators, but they allow you to see what kind of results the model is producing outside the tables. To create something like the macOS simulation or the ballista game, we don’t need to model every element by hand from scratch. We can describe the resultattach a reference and commission Kimi to build a functional application, for example with HTML, JavaScript and various graphics libraries. The project is then tested, modified, and finally published or recorded for sharing. Kimi K3 can be used from Kimi.comKimi Work, Kimi Code or tools connected to its API, although it is not confirmed which specific environment was used in several of the examples we have seen. It is still early to turn this launch into a definitive change of leadership. Fable 5 and GPT-5.6 Sun They are still ahead in several evaluations, the Kimi K3’s weights are not yet available and many of its capabilities will have to be verified with more time. Even so, what we have seen is already difficult to ignore: a Chinese company can compete for leading positions, offer competitive results and get the community to transform that capacity into real applications almost immediately. The race continues, but the margin between its main protagonists seems increasingly narrower. Images | Kimi | Screenshot In Xataka | China has a plan to win the AI ​​war against the US. And DeepSeek is its champion

Their songs about Greek myths on YouTube have filled the Movistar Arena. Twice

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Almost two years after announcing their temporary retirement from the stage, Álvaro Pascual and Rodrigo Septién return to the same place where they said goodbye. On January 3, 2026, Gutting History returns to the Movistar Arena with a new proposal called ‘The Dawn of the Gods’. They had closed their previous tour, ‘Loki Tour’ in January 2024 before thousands of attendees in Madrid, then declaring a break without a return date after mobilizing more than 75,000 spectators between Spain and Latin America. But they are back. How it started. Gutting history It started on YouTube in 2017, combining dissemination of stories and mythology with parody songs and handmade animations. The project started applying the format “draw my life“, popular on YouTube during those years, with his own songs until he ended up developing songs as diverse as the authentic ones. myths that inspired Disney movies or the stories of classical mythology, just as they were originally born. Origins. After a few humorous videos starring themselveshis video about the origin of Valentine’s Day established a formula that they would not abandon for a long time: very schematic illustrations on a white board, with rudimentary animations, catchy melodies and a humorous and demystifying tone. From there they would evolve until reaching the current state, where they exhibit animations much more sophisticated. The data. Currently the channel is approaching six million subscribers and according to HypeAuditor datahas a monthly growth of 0.16%. These are figures that position it as a benchmark for this type of educational content in Spanish. Monetization has evolved beyond YouTube: the platform’s advertising revenue estimates place its earnings between $4,100 and $5,700 per month for that channel alone, also according to HypeAuditor. However, the real commercial muscle came with diversification: they published books like ‘Gods of Olympus’, ‘The Craziest Gods’ or ‘The Craziest Monsters’, comics like ‘The Greatest Villains’, and they have developed merchandising that includes even dolls based on their characters. The ‘Loki Tour’ that closed in 2024 mobilized 75,000 attendees and took them outside of Spain, to countries such as Mexico, Colombia, Peru, Argentina and Chile, as well as nine Spanish cities, a figure comparable to tours by established musical artists. A recurring jump. The jump from digital content to physical venues is not exclusive to Destripando la Historia. In the Anglo-Saxon sphere, several projects on mythology and history have consolidated sufficient audiences to monetize in-person events. The podcast Let’s Talk About Myths, Baby! takes an irreverent approach to Greco-Latin mythology similar to Gutting History, while Mythologyproduction of Spotify Studios with theatrical finish combines dramatizations with historical analysis. Our Fake Historywhich debunks historical urban legends through hour-plus episodes, represents the more academic end of the spectrum. The case of Critical Role. However, the closest reference to the Guttering History model is Critical Rolea group of voice actors that has broadcast ‘Dungeons & Dragons’ games since 2015. Its expansion illustrates the commercial potential of this type of content: in October 2023 They filled the OVO Arena Wembley in London with 12,000 attendees. Their 10th anniversary tour in 2025 included Radio City Music Hall in New York and they already have an animated series on Amazon Prime, ‘The legend of Vox Machina‘, and they have founded a board game publishing house and a charitable foundation. The secret of success. There are several reasons to explain the impact of Ripping History, beyond the indisputable quality of its content. First, its hybrid format turns educational content into musical entertainment. Three-minute songs generate complete plays and relistens, which certainly pleases the algorithm. But they have also achieved something unusual: a transgenerational audience. Children enjoy the references to movies and myths they know through Disney, teenagers connect with the hooligan humor and adults appreciate the irony behind the proposal. The future. The question, once completely artisanal growth is established for the channel (unlike Critical Role, which rotates for months and has 180 employees) remains: can a duo sustain continuous content production without evolving towards a more business format, with specialized teams? Or, formulated another way, does the return to the Movistar Arena confirm that the model works in cycles, alternating digital creation with in-person peaks, instead of aspiring to the permanent machinery of Critical Role? In Xataka | The king of podcasting is no longer Apple or Spotify. It’s Google

They are eight more than the Roig Arena in Valencia

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On September 6, the Roig Arena, the stadium of the owner of Mercadona. It is a covered venue that will be the new home of Valencia Basket and also the new reference center for events and concerts. It has 20,000 seats, which makes it the covered venue with the largest capacity in Spain. Now Madrid has proposed taking the title away from them. Well, me more. Isabel Diaz Ayuso has presented a Self-Protection Plan with which the Movistar Arena will be able to increase its capacity, which is currently 17,543, to 20,008 spectators. The capacity of the Roig Arena is 20,000 seats, so Madrid would only overtake it by 8 seats. Until the inauguration of the Mercadona owner’s stadium, the largest covered venue in Spain was the Palau Sant Jordi with 18,500 seats. Why it is important. Concerts have become the favorite cultural event of the Spanish. According to SGAE datathe music business grew 77% this year, compared to declines in other cultural sectors such as cinema or television. The macro concerts that saturate ticket sales platforms and the exorbitant resales They are clear symptoms of this exacerbated culture of eventism. Ayuso’s plan is a declaration of intentions: to become the city with more, better and larger venues. TObasketball forum Ayuso’s plan also includes increasing the number of seats for sporting events from the current 13,000 seats to 15,000. During her visit to the venue, the president of the Community of Madrid stated that the change will be a boost for the celebration of Eurobasket in 2029 and that it could open the door to major sporting events, such as NBA games. However, in the case of basketball, the Movistar Arena will not be able to say that it is the venue with the largest capacity since the capacity of the Roig Arena is 15,600 seats. A short, but intense career. Since its inauguration on September 6, the Roig Arena has already received more than 1 million spectators, as noted in Lift-EMV. Of all of them, 600,000 have attended concerts, many of them with the sign ‘sold out’. Currently, there are already events scheduled until January 2027 and among the confirmed artists are Aitana, Amaia, Rod Stewart and Hans Zimmer. It is a fact: the Roig Arena has become one of the country’s leading music venues in record time. Madrid and the concerts. As we said, this plan underlines the importance of being the reference city for holding large concerts. A year ago Madrid believed it had its mega-concert cathedral at the Santiago Bernabeu. Pharaonic works were carried out to hide the grass and make an underground parking lot to accommodate all visitors. The problem came with sound problems, specifically poor soundproofing that has forced cancel concerts and move them to the Riyadh Air Metropolitan. While this is resolved, Madrid’s plan is to praise another of its reference venues. Images | Roig Arena, Movistar Arena In Xataka | The problem with concerts in Spain is not the lack of audience, it is the distribution of money. And Wegow is the best example

We have been at Roig Arena, the stadium that the owner of Mercadona will open in Valencia. If you don’t have more screens it is because they can’t

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He already owns The most successful supermarket chain in the countryhas a foundation known for the Valencia Marathon Sponsorshiphas Your own startup accelerator And it is even owner of a basketball team. He only lacked the stadium. We talk, of course, Juan Roig. The owner of Mercadona has been embarked on the construction of the pavilion that bears his name and will be the new home of Valencia Basket, in addition to a space for concerts and shows. We have been visiting the works and if we had to summarize it in a word we are clear: screens. 1,700 square meters of screens, to be exact. The eye. Before entering we find a screen giving us welcome. They call it “the eye” and measures 10 meters high by 48 wide. Like the other screens, it has installed it LG that tells us the challenge that has meant such a large panel, resistant to the outside and also looks when the sun affects it. It is on the northwest facade of the enclosure and just at the time that there will be many events (about seven or eight in the afternoon) the sun will be putting on. This screen we have not been able to see it on because they were still installing it, so we cannot judge how it looks. Visuals will be projected in it to announce which event or game will have that day. Screens inside and out The videomarker. Within the sand is the jewel of the crown: a videomarker with 250 square meters of surface that, according to LG, has the highest resolution in Europe. It is in the center of the pavilion and forms four screens, but as it has the rounded edges and the image they project is continuous, it gives the feeling that it is a single panel that wraps the entire structure. In addition, in the inner face there are two more screens in which information will be seen from the basketball matches that are held. More screens. There is no thing left, the interior of the Roig Arena is literally lined on screens (see the first photo). There is a kind of band that they call ‘Ribbon LED’ that surrounds the stadium and separates the lower stand from the superior. And there is even more. Inside is also the largest videowall in Europe, with an area of 500 square meters. Both the Videowall and the Ribbon and the videomarker do have seen them on and has surprised us with the sharpness and luminosity. Folded and deployed bleachers Two ages. The enclosure has a particularity and that is that the capacity is variable. You can house 15,600 people in Basket mode and up to 20,000 in concert mode. This is achieved with a retractable bleachers system in the first level. In a basketball game they will be deployed, creating one more level of seats that extend to the edge of the field, while in the concerts they will fold them so that they are hidden on the sides and the track is larger. Investment. The idea of making a new pavilion for Valencia Basket years ruminating And finally Juan Roig confirmed that he would build an enclosure with a capacity for about 15,000 people. In 2018 He traveled to Berlin to know the Berlin Arenastadium in which the project was inspired, and the works began in 2020. The total investment in the enclosure will be, according to its general director, more than 300 million euros And there is already date for its inauguration: on September 6. Basket and more. In addition to being the new home of the Valencian team, which leaves the mythical (but quite outdated) La Fonteta PavilionRoig Arena was also conceived as a space for concerts and shows. In fact, although it does not open until September, they already have confirmed concerts for all next year, Many of them with Sold Out. Images | Xataka, Roig Arena In Xataka | Juan Roig believes that cooking at home has no future. There are eight million Spaniards who are already giving the right

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