Classic

The latest trick for AI companies to appear less artificial is to use classic fonts. It’s the arrival of ‘Tasteslop’

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It has rained a lot since the Will Smith who had a hard time eating spaghetti and the AI videos we have nowwith the potential for us to swallow them if we don’t pay attention. More curious is that, not so long ago, AIs were useless when it came to representing letters in an image, but they have improved so much that they have even converted a specific font into something that denotes that a text has been made with AI: the serif font. And it is a huge problem. Suspicious typography. AI is in everything. In recent days, non-E3 has been held, the week in which different video game companies present their new products for the coming months, and many players were on the lookout. Many video game companies have found in AI a quick way out to speed up development (and fire employees along the way) and it seems that they are in a competition to see if they can sneak it in. Titles like the new ‘Stellar Blade 2’ or ‘1666 Amsterdam’ (with AI assets when they declare themselves as a “team of craftsmen”) are two examples. Others classify it as a “carcinogenic” technology. AI is in everything and, as they point out in this article from Wired, also in typography. The improvement of this technology when it comes to representing texts is so notable that AI companies are training them to use a specific typeface: certain varieties of sarif or sarifa (depending on the program you use to edit texts). In fact, writer and designer Keya Vadgama has noticed so many companies using the typeface that he has coined the term “the serif renaissance” to describe the phenomenon. Why sarif? This font is very interesting because it has “thanks” or “punchlines”. The serif fonts are some like Times, Georgia or Courier, while then there are the sans-serif fonts, which are the ones that would not have those endings. The endings are the decorations that copyists used to use in books and it is a warmer and more human source and, precisely, that is the key. Vagama explains that “it’s not that hard to guess why native AI companies are attracted to serif fonts.” According to his thesis, it is because AI is a cold technology, soulless and incapable of creating, but a font with those endings in the letters brings that soulless creation of AI closer to the warmth of human calligraphy. “It connotes a very human and fluid way of making letter shapes,” notes Vadgama. ‘Tasteslop‘. And since everything on the Internet must have a name, this trend has been framed within a term that already existed and in which it fits perfectly: ‘tasteslop‘. What that means is that it’s something with that aesthetic that wants to look sophisticated and curated, but is actually a collage of superficial design decisions that are simply guided by templates and generative models, not by deeper criteria. Visually it is curated, it is powerful, it is elegant, but the problem is that it is still a machine posing as a human. It is replicable with a prompt. And we are talking about simple text, yes, but also about an intention that shows that, in the world of marketing, there is no stitch without a thread and the objective is to leave the cold sans-serif typography aside to opt for a more human and warm one that, subconsciously, causes us less rejection. The answer. Claude, Manus, Runway or Perplexity, among others, use serif typography and, after asking, Wired received a response from a Perplexity representative who pointed out that why wouldn’t they have a human design… if Perplexity is for people. The curious case of Anthropic. The logo is sans-serif, it has sans-serif fonts, but also serif Implications for the designer. If AI is already taking this space (too) to simulate that it is not a machine, but something created by a human, now is the time for designers (again) to have to move to find a new space. We are already seeing that, if someone creates an image and it is very perfect, there are comments on networks like “that’s AI.” Or the more ‘Bro’ version of “hey Grok, is that AI?” And it is a problem because artists and designers are seeing how a technology that has plundered their work is imitating them perfectly in many aspects. As models absorb that serif font boom and AI learns from AI and its aesthetics, humans will be the ones who have to adapt to find a new visual code that indicates that there is craftsmanship there. It is to carry the battlefield art/prompt to fonts, something that would seem absurd until not long ago, but we are already seeing that it is giving something to talk about. Especially when the AI ​​is already asked to make images with text that appear human in aesthetics and less tech. I wish they used Comic Sans. The identification problem. In the background there is something much more serious: how we separate the wheat from the chaff, the slop from the artisanal. Trying to achieve enough perfection to confuse us is something we are constantly seeing in AIs. In the generation of images, fingers and letters were the clues we had left to know if something was human or not, but they are overcoming the limitations by leaps and bounds. The United States Department of State, for example, went from a sans-serif font to a Times New Roman with those serifs in the letters, and there are already those who have raised an eyebrow. Are communications made in images with AI? Well, it is not known, but this adds another complication: separating what is made with AI and what is not. In this image, if we draw a line from a point in the figure to the same point reflected in the mirror, we see that the lines do not converge at a single point either. We will have to study a degree … Read more

Tomorrow the new version of a classic sordid thriller that gave Scorsese one of his masterpieces comes to streaming

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John D. MacDonald published his novel ‘The Executioners’ in 1957. Since then, the same character (Max Cady, the ex-convict who returns to civilian life determined to destroy the life of the lawyer who locked him up) has survived two films, a television series, 69 years of life and three generations of leading actors (Mitchum, De Niro, Bardem) giving him life. Now, ‘Cape Fear‘ comes to Apple TV+ with Javier Bardem in the role of Cady and a premise that, this time, puts a woman in the eye of the hurricane. This is the most visible modification compared to the movies: a former lawyer (Amy Adams) who works in an NGO dedicated to exonerating unjustly convicted prisoners, is married to a lawyer for wealthy clients (Patrick Wilson). This time there is an intimate and forbidden relationship at Cady’s (Javier Bardem) trial, which accentuates the idea of ​​a family with a dysfunctional point that the villain wants to blow up. The series format also helps to expand the children’s characters: one goes through depression and is a victim of social isolation, another carries the label of “perfect daughter” while her parents overprotect her problematic brother. The person responsible for the series is not a newcomer to the genre. Nick Antosca is the creator of the magnificent anthology horror series inspired by creepypasta ‘Channel Zero’, and showrunner of the award-winning ‘The Act’, which turned an apparent story of true crime in a tortuous descent into the abysses of the mind. Some perfect precedents for a story that wins the murkier it appears. The main comments of the series, as it could not be otherwise, will be brought together by Javier Bardem in his new incarnation of Max Cady, especially because the comparison with his two predecessors is inevitable: Robert Mitchum captured a subtle evil, De Niro opted for biblical and explosive madness, and Bardem brings us sexual charisma and contained violence. Without a doubt, it will be a good way to see if this old story continues to stand the test of time. In Xataka | Today on HBO Max: the latest film directed by one of the greatest masters in the history of cinema

Tom Hanks refuses to participate in the remake of this classic Hollywood film

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In 2000, during the promotional tour for ‘Náufrago’, a journalist asked Tom Hanks If you would be willing to put yourself in the shoes of the protagonist of a remake of ‘The Invisible Harvey’, the 1950 fantasy comedy whose cast already led James Stewart and a rabbit that doesn’t exist. The response was blunt: “It’s like saying that we are going to make a new version of ‘It’s a Wonderful Life!’ For what? Leave her alone. ‘Harvey’ is perfect as it is, thank you.” Harvey: Origins. Before being a movie, ‘Invisible Harvey’ was a play. Its author, Mary Chase, took two years to write and premiered it on Broadway on November 1, 1944. It lasted 1,775 performances, until 1949, and in 1945 it won the Pulitzer Prize for Drama. In it, Elwood P. Dowd is an affable, bar-loving man who finds a good friend in Harvey, a six-foot white rabbit-like pooka (creature from Celtic mythology) that only he can see. His sister tries to put him in a clinic in a play that asks what exactly it means to be sane. The movie. When Universal bought the rights, James Stewart was the natural choice for the lead. The film hit theaters in December 1950 and performed reasonably well: around $2.6 million in revenue, but insufficient to cover the high rights costs for the work. Josephine Hull won the Oscar for Best Supporting Actress and Stewart was nominated, but the memory of the film eventually faded in time, recovering decades later as a piece of unintentionally lysergic friendly fantasy cinema. Other remakes… by Tom Hanks. Hanks rejected the project in 2000, but it cannot be said that the actor is opposed on principle to updating stories from the past. Or at least it wouldn’t be in a short time: in 2004 he starred in ‘The Ladykillers’ by the Coen brothers, a remake of Alexander Mackendrick’s 1955 British crime comedy ‘The Quintet of Death’. In 2022 he made ‘The Worst Neighbor in the World’, directed by Marc Forster, a direct adaptation of the Swedish ‘A Man Called Ove’ (2015) by Hannes Holm. A remake that has a tail. ‘The Invisible Harvey’ has been on the verge of materializing on numerous occasions, without ever coming to fruition. Don Gregory acquired the rights in 1996 and ended up selling them to Miramax, which He didn’t do anything with them either.. In November 2003, John Travolta was in negotiations to star in a remake co-produced by Dimension Films and MGM, which also fell through. The most serious attempt came in 2009, when Steven Spielberg he was interested in directing the film under the umbrella of Fox and DreamWorks. Spielberg’s first choice for Elwood was his frequent collaborator Tom Hanks, but when Hanks turned down the role, Spielberg shelved the project. Later the names of Robert Downey Jr. and other actors such as Jim Carrey or Adam Sandler circulated, without any of those names reaching beyond speculation. In December 2018, Netflix announced that it had picked up the rights to the project, with the writers of ‘Shrek 2’ and ‘The Smurfs’ on board. But since that announcement no progress has been made. The versions that did exist. Although the film remake was never made, the film does have history on television. The first remake came in 1958, with Art Carney in the title role. It was well received at the time, but without leaving too much of a mark. In 1972 it was James Stewart himself who returned to the character, in a Hallmark Hall of Fame production for NBC. Stewart accepted this second opportunity because he was dissatisfied with his performance in the original film: the result was a darker version and more faithful to the play than to the film. In 1996 the most forgotten version arrived: an adaptation for CBS with Harry Anderson as Elwood, and with Leslie Nielsen in the cast, with added scenes and a change of tone that was not very convincing. That same project was the one that Don Gregory ended up selling to Miramax when the rights to the film remake continued to float around. Header | Dick Thomas Johnson In Xataka | Originality is dead in Hollywood: ‘Moana 2’ culminates a year where only sequels triumph at the box office

The ambitious adaptation of a literary classic with 70 million copies sold comes to Prime Video

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In 1993, Meryl Streep, Jeremy Irons and Antonio Banderas starred in the first adaptation of ‘The spirit house‘but Isabel Allende’s novel did not turn out very well, because the film left its Latin identity behind. Thirty-three years later, Prime Video premieres the first television adaptation in Spanish of the work, filmed entirely in Chile, with an Ibero-American creative team and Allende herself acting as executive producer. Published in 1982, the novel has sold more than 70 million copies worldwide and is considered a classic of 20th century Latin American literature. The Amazon adaptation was conceived by Francisca Alegría and Fernanda Urrejola, who co-wrote the pilot, who were later joined by Andrés Wood, director of ‘Machuca’ and the series ‘News of a Kidnapping’, who directed four of the eight episodes and served as co-showrunner. Isabel Allende herself and Eva Longoria are on the list of executive producers, in a proposal where Wood recognizes a very extensive female presence. The series follows the Trueba family through several decades of the 20th century in an unnamed South American country (although it is unmistakably Chile) undergoing profound political and social upheavals. At the center is Esteban, an ambitious, authoritarian and violent patriarch who builds his fortune by subjugating the peasants who work on his hacienda, Las Tres Marías. In front of him, Clara del Valle, a woman with supernatural gifts, who is gifted with clairvoyance and communicates with spirits, and whose sensitivity contrasts with the brutality of Esteban, whom she ends up marrying. The story unfolds through three generations of women, each facing power in their own way. The series is part of Prime Video’s commitment to Latin American content: according to data from Parrot Analyticsstreaming originals in Spanish and Portuguese grew 266% between 2020 and 2024, outpacing the growth rate of content in any other language. For this series, the platform is betting on a staggered premiere, with three first episodes available from this Wednesday, April 29, two new ones on May 6 and the three on May 13. It is a formula that Prime Video has used with other productions to keep the conversation active for several weeks, unlike the Netflix model. In Xataka | A porn video club in Valladolid in 1998: Prime Video gets naked with ‘Cochinas’

This is how the Asian jungle of Stallone’s classic became

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In 1985, ‘Rambo: Cornered II’ transported audiences to the jungles of Vietnam with devastating realism. But what the viewer took to be the Vietnamese jungle were the banks of the Coyuca Lagoon, the slopes surrounding the El Salto waterfall and the hangars of the Military Air Base No. 7 in Pie de la Cuesta, Acapulco. All in the state of Guerrero. And the interior scenes, the Churubusco Studios in Mexico City. What happened. The production initially considered filming in Thailand, a destination with the most appropriate geography and vegetation density to recreate Vietnam, but the plan did not prosper. Producer Andy Vajna attributed the change to logistical and economic considerations (filming in Mexico was significantly cheaper and operationally less complex), although Stallone even mentioned in an interview that what made it unviable were the insects, something that Vajna denied. Whatever the real reason, filming began in August 1984 in the surroundings of Acapulco. She’s not the only one. The practice of using Mexico as a substitute for Asia was not unique to this production. For example, in 1987 ‘Predator’ was filmed in Palenque, Chiapas; and several Reagan-era films resorted to the same device. Mexico offered dense rainforest, real military structures available for filming, and a technical industry already consolidated around the Churubusco Studiosoperational since 1945 and still active today in the Coyoacán mayor’s office of Mexico City. Where was it. That the viewer did not notice the deception speaks well of the localization work. Each of the outdoor settings was chosen for its ability to suggest a remote and hostile landscape, and they were these: The El Salto Waterfallin the Valle del Río community, municipality of Coyuca de Benítez, more than two thousand meters above sea level. It was a practically virgin place, which made filming a lot easier. There Rambo ascends among rocks brandishing his bow. A specialist died in the waterfall. The Coyuca de Benítez Lagoon and the area known as “The Jungle” in Pie de la Cuesta served for the scenes in which Rambo sails towards his objective. He Omitlan Bridgein Tierra Colorada (municipality of Juan R. Escudero), was the scene of the destruction of three jeeps with explosive arrows, perhaps the most remembered action sequence of the film. The Military Air Base No. 7 of Pie de la Cuesta. Their hangars appear as the base from which the mission departs. The Mexican military themselves acted as extras and the real equipment of the installation served as props. To “Vietnamize” the Mexican landscape, rice fields, quarries and a giant Buddha statue made of gold-painted polystyrene were built. The consequences. The then Federal Directorate of Security (DFS) prepared detailed reports on the filming, later declassified and revised. In 1984, union leaders, the General Directorate of Radio, Television and Cinematography (RTC) and representatives of the Ministry of the Interior met to resolve a filming interruption caused by union demands. Filming later resumed, creating employment for approximately 500 people in the port. Four decades after filming, the Guerrero locations are still open to the public. El Salto Waterfall receives visitors and is known, even today, as Rambo’s waterfall. In Xataka | The special effects of 2025 are worse than those of 2010. And part of the blame lies with us viewers

The most watched film in history on television is not a Hollywood success, but a classic from the most carpet-loving Spain

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You will have heard on more than one occasion that every time ‘Pretty Woman’ is broadcast on television, audiences skyrocket. Nowadays it is no longer so true: Telecinco broadcast it a couple of days ago and the result It wasn’t spectacular.. In any case, not even the film by Richard Gere and Julia Roberts has come to live up to what is the greatest milestone in television cinema: the most viewed film in history in Spain has nothing Hollywood about it. Neither cathete nor cathete. On January 14, 1992 (that is, with the private ones already at full capacity, but still unable to stand up to depending on the customs of the Spanish viewer), the broadcast on La 1 of ‘Cateto a port’ had an average audience of 10,078,000 viewers and a stratospheric share 60.5% (for comparison, the final of the last Copa del Rey, the most watched in years, it didn’t reach 50%and the daily program that exceeds 15% is rare). Tremendous landism. ‘Cateto a port’ is a 1970 Spanish comedy starring Alfredo Landa. In it, a simple young man, after multiple attempts to avoid military service in order to take care of his little brother, ends up joining the Navy, having to face multiple difficulties due to his lack of experience. The film uses simple humor for all audiences, contrasting the naive protagonist (the recruit Cañete, whose name will soon become iconic) and the highly regulated environment of the Navy. All seasoned, of course, with its mild military propaganda, showing the modernity and friendliness of the institutions. Why do you like ‘Cateto a port’? His conciliatory tone, so typical of the last years of the Franco dictatorship, guaranteed him notable box office success, and above all, as with other stars of the time such as Paco Martínez Soria, the favor of the public. Its comedy of manners with a very friendly tone makes ‘Cateto a port’ very digestible by audiences of all ages, just what brought ten million people to the television screen. The most aggressive landismo was yet to come, full of plots with Spanish boys chasing Swedish women among images of medium intensity eroticism. It would be inaugurated, precisely, that same 1970 with a film by the same director, ‘You will not desire the neighbor on the fifth floor’. Relative milestone. Of course, we are talking about an absolute record… since there have been measurements, something that started in Spain in 1986. In 1992, audiences had already atomized due to private ones, so it is possible to think that in the seventies and eighties, when the population’s primary entertainment was television, the audiences for other films (or even this one) could have been much larger. Before measuring with audiometers, The audience was measured through the General Media Study (EGM) since 1968, which used interviews to estimate consumption. Other successes. There are only four feature films registered that have exceeded 9 million on average: the humorous western by Clint Eastwood and Shirley McLaine ‘Two Mules and a Woman’, with 9,598,000; the tremendous ‘The Priest’s Son’ by Fernando Esteso, with 9,287,000 spectators; We were talking about ‘Pretty Woman’ and there it is, with 9,223,000 viewers; and finally, ‘Dirty Dancing’ with 9,110,000 viewers. Be careful, because they are all broadcasts from 1992 (with the exception of ‘Pretty Woman’, from 1994), which suggests that, despite the arrival of private broadcasts, there was a general increase in people watching television in the early nineties.

PlayStation VR2, the Samsung Galaxy Watch8 Classic, TV offers and more in Mediamarkt, today 21 September

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There are few offers that Mediamarkt has through its many campaigns such as Outside operation out or the Apple Days. That is why in this article we have wanted mobile, televisions, smartwatch and much more. PlayStation VR2 by 369 eurosa good accessory to enjoy a large portion of PlayStation 5 video games. LG OLED55B56LA by 913.08 euros By adding it to the cart, an excellent television that comes with an OLED screen. Samsung Galaxy Watch8 Classic by 449 eurosan elegant and very complete watch that has rotating bezel. iPhone 16E by 599 eurosone of the best prices that Apple’s mobile has had to date. Samsung Galaxy Tab A9+ by 169.15 euros By adding it to the cart, a good tablet to see multimedia content. PlayStation VR2 The PlayStation VR2 They are not a device that we have found too many times of offer, so it is appreciated that from time to time they lower substantially price. Mediamarkt has them right now for 369 euros And they are interesting especially to get into The good catalog of virtual reality video games that is available for the platformbeing ‘Horizon Call of the Mountain‘One of the most striking. The price could vary. We obtain commission for these links LG OLED55B56LA Although they usually find offer, televisions with 55 -inch OLED televisions rarely fall from 1,000 euros, although there are obviously exceptions. After taking time for approximately 999 euros, the LG OLED55B56LA Finally it has dropped to the 913.08 euros as long as we add it to the Mediamarkt cart; otherwise the discount will not appear. It is a smart TV that offers a 120 Hz soda rate, it is compatible with HDR10 And it comes with filmmaker mode, its speakers are compatible with Dolby Atmos and incorporates gaming functions and technologies G-SYC or FREESYNC. LG OLED55B56LA (55 struggles) The price could vary. We obtain commission for these links Samsung Galaxy Watch8 Classic There are few stores that have put offer the Samsung Galaxy Watch8 Classic In its 46 mm Bluetooth configuration, and of course Mediamarkt is one of them. By 449 euros We talk about an off -road smartwatch that stands out mainly for its rotary bezelfor its performance, for the excellent screen that accompanies it and for its operating system Wearos. Samsung Galaxy Watch8 Classic (46 mm) The price could vary. We obtain commission for these links iPhone 16E If there is an iPhone that has received a huge amount of offers since its launch is the iPhone 16EApple’s assumption. Although it was launched for a somewhat high price, it is now 599 euros. It is an excellent mobile for those who want to make the jump to the brand without missing too many news from other models such as the iPhone 17is compatible with Apple Intelligence, It comes with a good Apple A18 processor and is quite compact, since its screen is 6.1 inches. The price could vary. We obtain commission for these links Samsung Galaxy Tab A9+ On the other hand, if what you are looking for is a good tablet to see multimedia content, especially in streaming, the Samsung Galaxy Tab A9+ has dropped in price in Mediamarkt to the 169.15 eurosalthough only the discount will appear if we add it to the cart. It is a tablet that is accompanied by an 11 -inch screen with 90 Hz soda rate, the Snapdragon 685 processor assembles and has 6 GB of RAM and 128 GB of internal storage, although if you fall short You can add up to 1 TB through a microSD card. In addition, one of the key points is that it comes with a speaker system that is compatible with Dolby Atmos. Samsung Galaxy Tab A9+ (128 GB) The price could vary. We obtain commission for these links Some of the links of this article are affiliated and can report a benefit to Xataka. In case of non -availability, offers may vary. Images | Mediamarkt and Buyardation (header), PlayStation, LG, Samsung, Apple In Xataka | Better virtual reality glasses. Which to buy and seven recommended models for all budgets In Xataka | The best smartwatch (2025): their analysis and videos are here

“The Clio will never be electric.” And the fault has a whole classic

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Just a few days ago we moved to a ship on the outskirts of Paris to learn about the new Renault Clio. In a small advance before officially showing it in public during the IAA Mobility of Münichthe French confessed to us all the details of one of the most urban proposals of the brand. So we already knew that the new Renault Clio I would only have a pure combustion engine, one that works with natural gas and a 160 hp hybrid And ridiculous consumption that, of course, is the great star of the range. As we said in the article in which we described our sensations with the new model, which we will lead later, there are two powerful reasons to include this propeller. The first is that with him they get CO2 emissions to be below 93.6 g/km of CO2 that, In 2027, they will make the difference between good and evil. The second is that, before an expected price increase in the model, Renault has chosen to deliver an engine to the height that justifies that (very likely) increasing. “It will never be electric” Renault’s presentation has been welcomed among the public as one would expect. Those who show a greater rejection of the electric car congratulate that a car with combustion engine, low and, although small consumption, is available, the promise of taking you anywhere with solvency if we attend to its 160 hp. On the contrary, there is no lack of who claims an electric version among those who are more prone to the electricity jump. Fabrice Cambolive, new Renault CEO (brand) that has taken the reins in the middle of a general restructuring after Luca de Meo’s departure as general head of the Renault group, has been clear about this movement: “The Renault Clio is not an electric model or will ever be. It is a hybrid model that responds to other needs, including it, “said Cambolive to L’Automobile. In the words collected by the French media, the French brand’s CEO explains that this electricity place is occupied by the Renault R5 and that the captur and the Renault R4 They play a very similar role for those who prefer a SUV option. They are “four segment B cars that we have decided to place in a complementary way (…) have positions, designs, profits and a mixture of completely different customers,” says Cambolive. In his answers, the Renault CEO also suggests that if Renault goes with lead feet before the electric car instead of following messages that talk about this technology as the only one in the future is because the electric market in Europe “is still in its beginnings.” Other reasons must be taken into account. The Renault Clio has been created on a platform designed to host a combustion engine and powerful hybridization, while the Renault 5 has been designed, directly, on a designed platform From scratch to house a completely electric car. Therefore, it is very likely that transforming the clio into an electric and the Renault 5 into one of combustion worse both cars. In general, electric cars mounted on platforms for combustion vehicles have worked badly because their autonomies and load powers have always been more limited than the electric created from scratch. This latest version of the CLIO has been mounted on the CMF-B platform that already mounted the outgoing generation, which allows the French manufacturer for enormous cost savings. What anticipates Cambolive is that if the plans are maintained as expected, the Renault Clio will end up discontinued or, in the best case, on a last platform with plug -in hybridization. Keep in mind that from 2027 the average emissions of the manufacturers They cannot exceed 93.6 gr/km of CO2 If you don’t want to stick to huge fines. This version manages to be below but in 2030 that limit wants to reduce by half, pressing the brands so that the vast majority of their sales are electric or highly electrified, With just space For combustion engines. Photo | Renault In Xataka | When Renault wanted to test his Renault 4, he did something most reasonable: torture him with three million kilometers

Wetaca doubles benefits thanks to the classic digital world trick: hooking to a subscription

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602,000 euros of net profit in 2024, twice as much as the previous year. Wetaca has achieved what seemed impossible in the competitive world of food at home: grow in sales (23%) and improve margins at the same time, according to their 2024 accounts that he collects Five days. The turn. The company, founded by former Masterchef Efrén Álvarez consistent, has ceased to be a company that sells Tápers to become one that you subscribe. The automatic subscription model, launched in 2021generate weekly orders that are sent unless the client modifies or cancels them. You no longer have to remember to ask: the menus arrive alone. This apparently subtle change has changed the business. The recurrence has become the Holy Grail of Wetaca, which has invested more than 1.1 million euros in marketing to capture subscribers, twice as much as in 2023. In perspective. The prepared food sector lives a paradox: Dark Kitchens They left their best moment behind and the aggregators of Delivery They have a complicated profitability, but Wetaca is thriving with a model that seemed to have a difficult fit with the current offer. Centralized cuisine in Villaverde. Tápers that are sent cold. Menus that last a week in the fridge. Model that asks for a conscious and planned purchase, not impulsive. The difference is in the economic equation. Without RIDERS No commissions to platforms, without the pressure of delivering in half an hour. Only efficient production and customers that automatically repeat each week. And now what. With 94 employees and a debt of 5.2 million (1.5 in the short term), Wetaca will need subscriptions to continue flowing. The commitment to new machinery seeks precisely that: producing more maintaining the margins that have cost them so much to achieve. Between bambalins. The founders Álvarez and Casal maintain 71% of the company, while Cabiedes & Partners control almost 20%. This concentrated shareholding structure has allowed them to bet on the long term instead of pursuing growth at any price, the curse of so many delivery startups. The subscription model not only allows them to sell more: that model is a prediction machine demand, optimize production and reduce waste. When you know how many tápers you will cook every week, everything becomes more efficient. In Xataka | Glovo officially abandons the model that made her famous: all her riders will be used before the end of the year Outstanding image | Wetaca

Your classic search engine is blurred to give way to searches for AI

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The transformation is underway. Millions of people around the world are seeing how a New button on Google’s home pagethat same that has marked the internet pulse for decades. It is not a secondary addition or a tab that goes unnoticed. It is the new Ai mode. With this movement, artificial intelligence becomes the protagonist of the search experience, displacing the classic formula which has defined the search engine since its origins. And with this there are changes that not only affect users: they also challenge the information industry and Google’s own business model. From the links to the answers: a jump that changes the rules Ai mode is available, for the moment, only in English, Although its global deployment has already begun. For those who press the aforementioned button, the search engine will stop functioning as until now: the consultations no longer show the lifelong links, but in responses prepared directly by the AI. The land had already prepared with the Google ai overViewsgenerated summaries that occupy the most visible part of the results page. If a couple of years ago you were looking for something like “Cafeterias in Paris with good wifi and quiet corners to work”, Google showed well positioned pagesRecommendations in blogs or forums, and some Google Maps block. Example of results with Google Ai Overviews With the Overviews the dynamics changed: before reaching the links, the user was a summary created by AI as the following: “To enjoy a modern Parisian experience with good wifi and quiet workplaces, consider X place. For its modern environment. X place It also offers a cozy atmosphere. ” Thus the tool responded, linking to the sources he had used to elaborate the generative summary. That jump placed the information processed and summarized in the foreground, but also opened a debate: AI can be wrong. His “hallucinations” They have already left uncomfortable holders, from non -existent presidents to poorly cited years. On the other hand, the impact was immediate: less traffic for content creators, less advertising impressions. And this also reaches Google, that still controls much of the advertising that is inserted in third -party sites. With that context, the launch of AI Mode is another step in this direction. Press the new button, The list of life results disappears. If we repeat the search for Parisian coffee shops, the answer is no longer limited to a contained recommendation. Now a more elaborate compendium is shown: coworking spaces, specialty coffees, interactive maps, quiet areas to work and even practical advice on how to find the best options. Example of results with Google AI Mode In the desktop version some links continue to appear in a reduced module to the right, but the message is unequivocal: Google wants you to solve everything without leaving its ecosystem. The experience is conversational. You can ask for a specific place, ask for comparatives or add nuances, and The system keeps the thread of conversationfeeding on the web to give you the answer. Google summarizes it on its official page: “Are you trying to understand a new topic? Are you looking for specific recommendations? Do you need help to decide between two products? Just ask us.” All this works with Gemini 2.5 In its standard version, although users can access Gemini 2.5 Pro Reasoning capabilities. With AI Mode and AI Overviews, Google takes a radical turn: the search ceases to be a catalog of links to become a response system. And that transition not only redefines how we find information, but opens a new chapter in The balance between the open webthe creators of content and the giant who, to a large extent, controls the entrance door to the Internet. Images | Google | Screenshots In Xataka | Tiktok stole the searches, Depseek beat them in Ia: Baidu discovers that being “the Chinese google” is no longer enough

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