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The few video game magazines that remain in print have retro content. That’s why ‘Micromanía’ returns in sheet format

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In times when the traditional video game press, on paper and sold in kiosks, has practically disappeared from the map (only with some glorious exception that barely resists), products aimed at the nostalgic waterline of the most veteran players are, however, in very good health. They know it well in Made with Pixelswho publish not only a magazine dedicated to retro (‘Pixels‘), but also official continuations of kiosk icons such as ‘microhobby‘ and now, ‘Micromania‘… in sheet format! Two-year hiatus. In January 2024, just over 24 months ago, the veteran ‘Micromania‘, the magazine of microcomputers first, PC later, which would accompany several generations of gamers. Its first issues, in traditional format, covered current 8-bit machines such as Spectrum 48K, Amstrad CPC and Commodore 64. They revolutionized newsstands with their second stage, the most iconic, in a tabloid format that multiplied the content and served as a bridge to 16 bits. A third stage, again in a traditional format, would focus on the PC world. A mixed return. In this new incarnation the format will be somewhat smaller: 25cm x 35cm, that is, larger than any other magazine, but without reaching the brutal excess of the original. The magazine will be bimonthly, and can be purchased in digital format in PDF (5.99 euros), in paper (11.99) or both (13.99). The layout and design are inevitably reminiscent of the original style and the contents will be comparable: analysis in the classic style of Amiga, Atari ST, MS-DOS, Game Boy, NES, Master System, Mega Drive, SNESm, etc., arcade games, news on the current retro scene, solutions and maps… What’s in number one. For now, the contents of the first issue that we know are: Cover dedicated to Monkey Island, with report on Ron Gilbert and the complete saga Two gift posters on the central pages of each issue in giant size Damned Castile Requiem– Exclusive review and downloadable demos for Mega Drive and Dreamcast Interviews with original editors of Hobby Press (Microhobby, Micromanía, Hobby Consolas) Reunion with Turbo Girlset of the first cover in sheet format, 38 years ago Who is behind. Without a doubt, this is the most interesting detail of this proposal: behind the writing of the magazine there are a good number of names from the classic age of video game journalism in Spain, which guarantee that the style of the reviews and articles will be in line with what was done then. It is directed by José Luis Sanz, who was already in charge of ‘Hobby Consolas’, and he is accompanied by Marcos García, who directed magazines, paradoxically, in the competition: ‘Superjuegos’ and ‘Revista Oficial Playstation’, among others. They are joined by editors such as Jesús Martínez del Vas, José Luis Rodríguez, J. Luis Molina and Juanjo Muñoz, among others. Bet on the past. As it could not be otherwise, the magazines that survive on paper, with few exceptions, rely on retro content, or at least retro has a strong presence in their pages. In addition to the aforementioned Hecho con Pixels titles, publications such as the Spanish edition of ‘Retro Gamer’, also by Axel Springer, are added. The new incarnation of ‘Micromanía’ is aimed, obviously, at those who bought it at the time: a juicy market of forty-somethings looking to return to even the most spectacularly uncomfortable format in the history of our newsstands. In Xataka | A programmer’s ingenuity turned a fatal error in this classic video game into a congratulatory message

Netflix spends 17 billion on producing content and YouTube does it for free. And that’s why YouTube is winning the game

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Alphabet first revealed in its Q4 2025 earnings report that YouTube generated more than 60 billion dollars over the past year, adding advertising revenue and subscriptions. The figure is 33% higher than the 45,000 million that Netflix reached in the same period and places the video platform above all the entertainment giants except Disney, which had a turnover of 95.7 billion. The data confirms what many in the industry already sensed: YouTube is not simply another competitor in the online video market, but the main beneficiary of the transformation in audiovisual consumption habits. Paradigm shift. YouTube’s victory reflects a profound transformation in how we consume video. While subscription platforms opted for the Netflix model (closed catalogs of professional productions), YouTube added in July 2025 13.4% of total television viewing time in the United States. It expanded its lead over Disney (9.4%) to establish the largest difference recorded since these measurements began. Youtube on your TV. Time spent watching YouTube on television has grown 53% since February 2023. The traditional streaming market, meanwhile, is going through what is known as “subscription fatigue“: the average number of subscriptions per consumer in the European market has stagnated at 2.35 in both 2023 and 2024, after growing systematically for years. This saturation has caused structural changes: the number of original series released in the United States fell 11% in 2025third consecutive year of declines from the 2022 peak. The difference in the plan. Breaking down where the money comes from can point to the reasons for this triumph. Of the 60,000 million in YouTube revenue, we have: Advertising revenue in the last quarter of the year was 11.38 billion dollars, with a growth of 8.7% year-on-year 325 million paid subscriptions on all your consumer services, such as YouTube Music or YouTube Premium For its part, Netflix: It reported revenue of $12.05 billion in the fourth quarter of 2025, with a growth of 17.6% For the year as a whole, the platform reached $45.2 billion, with more than 325 million paid memberships The most notable difference lies in the business model. While YouTube maintains a hybrid model where advertising remains dominant, Netflix revealed its advertising figures for the first time: in 2025, its third year selling ads, advertising revenue exceeded $1.5 billion, multiplying by more than 2.5 compared to 2024. The company projects double that ad revenue in 2026. Why YouTube wins. YouTube’s competitive advantage lies in features that traditional platforms cannot replicate. On the one hand, the radical democratization of content creation: Netflix invests 17 billion dollars annually to produce, while on YouTube the creators assume the production costs. The base of 69 million creators generates a volume of content that is impossible to match: every minute 500 hours of video are uploaded to the platform The second differentiating factor is the algorithmic recommendation system. YouTube’s recommendation system uses large-scale language models that can handle massive amounts of data. This allows YouTube to do something that closed catalog platforms cannot: recommend videos based not only on general categories, but by fine-tuning suggestions based on specific interests. In 2025, YouTube’s recommendation system is the most sophisticated and user-focused. The third advantage is the absence of entry barriers for the public. While Netflix requires a mandatory subscription, YouTube offers free ad-supported access, with premium subscription as an option. This hybrid model maximizes potential reach: YouTube’s monthly active user base reached approximately 2.7 billion people in early 2025. This means that more than 25% of the world’s population uses YouTube in any given month. What it points to. YouTube’s triumph over Netflix in annual revenue represents more than a change in leadership: it signals a structural transformation in how audiovisual content is produced, distributed and monetized. The centralized studio model, a direct heir to the Hollywood system, is giving way to a decentralized ecosystem where millions of creators generate content for hyper-segmented audiences. And the implications for the industry are very profound. Header | Photo of NordWood Themes in Unsplash In Xataka | A YouTube video that lasts 140 years has gone viral. Nobody is clear why

YouTube has begun to fill with AI-generated content. Spain appears in an unexpected position

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Something has noticeably changed in the YouTube experience. A recent analysis points to a notable change in the type of videos that make their way into the feed, with a high presence of content generated with artificial intelligence and with Spain standing out within that context. We are not talking about a passing fad or experimental creativity, but rather a pattern that responds to how attention is rewarded today. To understand what we are talking about, it is worth clarifying the terms that are repeated in the studies. “AI slop“is used to describe automatically generated videos, with very low standards and designed to be mass produced, prioritizing quantity over content.”brainrot” expands that idea and encompasses pieces that, with or without artificial intelligence, seek to retain the viewer based on repetitive stimuli and without a clear narrative. They are disputed labels, but useful to describe a type of content designed above all to capture attention. How the phenomenon has been measured. To put figures to this trend, Kapwing reviewed the 100 YouTube channels considered “trend” in each country through Playboard and isolated those he identified as AI slop. From there, he collected public data on views, subscribers, and estimated revenue with Social Blade and added them by country. Additionally, the team created a new YouTube account and reviewed the first 500 Shorts in the feed to see what a user with no previous history finds. What exactly does the data say about Spain. When breaking down the results by country, Spain stands out for a very specific reason. Channels of this type that fall into the “trend” category accumulate more than 20 million subscribers, more than any other country analyzed. However, the number of channels is small. The study itself indicates that this combination reveals a strong concentration of audience in few profiles, a key factor to understand why Spain appears so high in the ranking. The comparative analysis shows that there is no single global pattern. There are countries that stand out for the number of channels identified, others for the total number of views and others for the loyalty of their audiences. South Korea, for example, has a much higher number of views than the rest, while the United States is among the first in terms of aggregate volume of followers. This diversity reinforces a central idea of ​​the report: the impact of this type of content depends both on the local ecosystem and how algorithms respond in each market. Patterns that repeat in the videos. When reviewing this content, very recognizable formulas appear: animals with human features and cartoon aesthetics, with an almost photographic finish, placed in “story” mini-scenes that can be understood in seconds. Examples usually include baby monkeys that star in emotional or exaggerated situations, animals that “save” people in impossible accidents, or everyday scenes turned into fables, such as a cat shopping in a market. The Guardian highlights that many pieces dispense with a clear narrative and work by immediate impact, repetition and familiarity, three ingredients that fit well with the logic of the feed. Why this model is attractive. According to The Guardianmany creators approach this type of content not out of creative affinity, but out of pure profitability. Automated tools reduce costs and allow you to test ideas almost unlimitedly, while monetization programs promise income that is difficult to match in other local jobs. The result is a constant trial logic, where what works is replicated and what doesn’t is discarded, in an environment in which the algorithm decides more than the author. Regardless of who produces these videos, the impact is clearly perceived from the other side of the screen. Kapwing created a new account and counted the first 500 Shorts in the feed: 104 were AI-generated content, 21%, and 165 fit into “brainrot”, 33%. The Guardian summarizes that finding as “more than 20%” of AI slop in a new user experience. The data does not allow us to describe all of YouTube, but it does suggest that this material is part of the initial menu offered by the algorithm. The official response and its limits. YouTube maintained in statements to the aforementioned newspaper that videos generated with AI must meet the same standards as any other content and that it acts when its policies are violated. However, the platform does not offer public figures that allow us to know how many views correspond to this type of materials or how they influence the total. This opacity forces us to rely on external studies and leaves open the question of whether the algorithm prioritizes these videos or simply reflects their proliferation. Images | Ganes AI official 5286 | Lily Video AI | Dipto Fun Tv | Sparks Adventures (YouTube) | Kapwing In Xataka | We believed that Stack Overflow was essential for programming. AI is proving the opposite

Netflix decided to kill sending content to the TV. Apple has taken advantage of the gap to score a great goal

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Netflix decided to start the month of December by eliminating one of the most basic and useful functions of its mobile application: the ability to send content (cast) from our smartphone to any television with Android TV either Google TV. An essential tool to find content quickly on your mobile and send it to your TV. What we did not expect is that, in less than two weeks, Apple has responded indirectly by bringing its Apple TV for Android the feature that Netflix has decided to kill. Better late. Goodbye to Netflix Cast. It was easy to realize this. At home I have a Google Chromecast with Google TV and a Google Nest. Every time I wanted to send content from my mobile to my television… only the Google Nest appeared. That’s when I read the confirmation of the disaster: Netflix had loaded the Cast without any explanation. The exceptions. In the Netflix support page An exception is specified to continue using the Cast function: having a third-generation or earlier Chromecast device. In other words, versions without remote control. The second, have a plan without ads. If you don’t pay, you can’t send content to TV. Cast icon on Apple TV, make a wish. Given the gap in the squad, great goal. Since yesterday, a couple of weeks after Netflix’s move, the Apple TV application for Android is compatible with Google Cast, a function that was missing since the launch of the app at the beginning of the year on the rival platform. It is necessary to have the app updated to version 2.2 to be able to send our content to the television on any Chromecast. Apple being less Apple. Apple has had to respond to Netflix in the face of an undeniable reality: its service is a minority within the ecosystem of streaming platforms. Netflix is ​​the absolute king, followed by Prime Video and Disney+. And one of the reasons was one that we know quite well: using Apple is using a product tied to its ecosystem. Despite this, Apple TV+ is dangerously close to HBO Max, about to take fourth place in the ranking, according to data from JustWatch. In this context, the introduction of Cast goes beyond a minor function: It is a surrender (more) from Apple towards a more open ecosystem. And this works in your favor Allows Apple TV+ to sneak into homes with Android phones and tablets Reduces friction of use Reduce dependence on Apple’s hardware ecosystem What are you doing to win in Spain. Apple’s strategy to continue growing in Spain is clear: swim against the current with a strategy that does not introduce advertising in the app, a small catalog but with a large presence of proposals (expensive) and own and, now, simplifying the use of its app to reduce friction that had been artificially introduced. It won’t be enough. We told it a year ago and the numbers reaffirm it: there is hardly any war in streamingsince most of the content is converging on Netflix. The post-pandemic stage forced platforms to fight to distinguish themselves, while Netflix went public at the end of December 2024 at pre-pandemic levels. Be that as it may, given the growth of Apple TV in 2025, fight head to head against an HBO focused on quality It is great news for the company. Image | Xataka In Xataka | The best streaming platforms 2025 | Comparison of Disney+, Netflix, HBO Max, Prime Video, Movistar Plus+, Filmin, Apple TV, SkyShowtime and Rakuten TV: catalog, functions and prices

OpenAI knows that it needs to continue generating memes and virals. That’s why she’s willing to pay Disney a lot of money for her content.

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Disney and OpenAI have announced a three-year licensing agreement that will allow users to create short videos featuring more than 200 Disney, Marvel, Pixar and Star Wars characters through soraOpenAI’s AI video generation platform. The operation includes an investment of $1 billion by the Mickey Mouse company in the AI ​​startup. Change of sight. Disney has gone from sue AI platforms like Midjourney for unauthorized use of its characters to become OpenAI’s first major content licensing partner. The company also sent a cease and desist letter to Character.AI in September for the same reason. This change in strategy gives clues to Disney’s move, choosing to monetize and control the use of its intellectual property instead of trying to stop it completely. What users can do. Starting in early 2026, according to OpenAI, Sora users will be able to generate short videos for social networks with characters such as Mickey Mouse, Iron Man, Darth Vader, Elsa, Simba or Groot, as well as iconic costumes, accessories, vehicles and settings from these franchises. From ChatGPT, users will also be able to create static images of these same characters using text instructions. The agreement expressly excludes the faces and voices of real actors. The business model behind the agreement. OpenAI need viral content to maintain the attention of users, and in recent months it has made it clear to us that this route is its current main source of income to attract more users who want to go through the hoops of its subscription plans. Disney characters are precisely the type of content that fits this vision. That is why the company is willing to pay to license this intellectual property. Disney as a corporate client of OpenAI. Beyond the license, Disney will become a “major customer” of OpenAI, under the terms of the agreement. The company will deploy ChatGPT to its employees and use OpenAI APIs to build new tools, products and experiences, including functionality for Disney+. In fact, perhaps the most striking thing about the agreement is that a curated selection of videos generated by Sora It will be available to play from the streaming platform. Investment and purchase options. Disney will provide $1 billion in equity investment and will receive warrants to acquire additional stakes in OpenAI in the future. The transaction is still subject to negotiation of definitive agreements and approvals prior to closing. Commitments on responsible use. Both companies say in the joint statement that they will maintain “robust controls” to prevent the generation of illegal or harmful content, respect the rights of content creators and protect the use of people’s voice and image. OpenAI is further committed to implementing age-appropriate policies and other safety measures on the service. The vision of the CEOs. Bob Iger, CEO of Disney, assures that “the rapid advance of artificial intelligence marks an important moment for our industry” and defends that collaboration will allow “extending the reach of our narrative in a thoughtful and responsible way.” For his part, Sam Altman, head of OpenAI, affirms that the agreement “shows how AI companies and creative leaders can work together responsibly to advance innovation.” What’s coming now? It remains to be seen if this licensing model extends to other studios and large content owners. Everything indicates that it certainly will not be the only large company to take advantage of this type of agreement. The litmus test will be when all the content in Sora is released and if it gains enough traction on networks for OpenAI to consider it a small victory in its quest for make ChatGPT a profitable tool for your business. In Xataka | Quietly, a country is becoming a technological power thanks to data centers: India

so you can watch our channel for free with technology and science content

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We are very happy to announce that Xataka TV is now available on all Samsung televisions with Samsung TV Plus. This is our FAST channel with a selection of our technology and science audiovisual content. After debuting in the entertainment services of Xiaomi, TCL, Plex and Tivify, it now arrives at Samsung, which will make it easier for more people to access our most successful formats for free. YouTube channel. How to watch Xataka TV on your Samsung TV? You don’t need to register or subscribe to anything. If you have a Samsung TV, you just have to go to Samsung TV Plusthe free platform to watch movies, series, sports and more from Samsung, and search within the Entertainment channels. There you will see our logo in green, although you can also access directly by going to channel 4205. Your remote probably has direct access to Samsung TV Plus, so it’s even easier. Once you click on Xataka TV, you will automatically begin to see the selection of content that we have prepared for you, including the best of our recent gala of the Xataka NordVPN Awards 2025. Samsung TV Plus is also available on Galaxy smartphones and tablets with Android 11 or higher. Keep in mind that you will need an Internet connection to watch Samsung TV Plus and Xataka TV. What if I don’t have a Samsung TV? At Webedia and Xataka we are committed to bringing our content to more platforms than traditional ones, and connected television is one of them. For this reason, our Xataka TV channel is also now available on: Xiaomi TV+ TCL TV Plus Plex Tivify (dial 97) What can you see on Xataka TV? As a leading technology medium in Spanish and with more than 20 years of experience, we take care of our productions so that you have a good time with us and, above all, help you as best as possible with: Test and comparisons of tech products Tricks and tips to squeeze our products Reports Purchase recommendations Curiosities about science and technology We are waiting for you on Xataka TV! In Xataka | Samsung TV Plus: what it is, how it works and what channels it offers Tivify: what it is and how to use it to watch your channels for free and without registration

Disney+ wants viewers to create AI content of its characters. The precedents are not very encouraging.

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The company that literally changed copyright laws To prevent Mickey Mouse from falling into the public domain, it wants its subscribers to create content with its ultra-protected characters. The company’s CEO announced that Disney+ will integrate generative AI tools so that viewers can produce short videos with characters from the house. Contradiction or strategy? Perhaps it is the first diffuse step towards something more radical: a future where studios tolerate spin-offs created by fans. The advertisement. In its last communication of results to shareholdersCEO Bob Iger announced that platform users will be able to create and consume self-generated content, primarily short videos. He has called these changes the most significant since 2019, and Iger confirmed that in addition to its already known alliances with companies with Epic Games, Disney has conversations with AI companies that have not been revealed. His priority, as he has commented, is to protect the properties of the house, which undoubtedly contrasts with the idea of ​​letting viewers generate content to their liking. Where are the shots going? The model Disney is likely exploring already exists. Showrunner, from Amazon-backed Fable Studio, calls itself the “Netflix of AI”. The platform allows you to generate complete animated episodes using simple 10-15 word descriptions. Its SHOW-2 technology automatically manages aspects such as script, animation, voices and editing. Last year they created nine unauthorized episodes of ‘South Park’ that racked up 80 million views. Edward Saatchi, CEO of Fable Studio, has confirmed that he has had conversations with Disney about licensing intellectual property. Saatchi’s vision: specific models where fans pay subscriptions to create stories within official universes. Users could even insert themselves into episodes by supplying photos or videos. Of course, the limitations are abundant: we are talking more about a gimmick with episodic content than about a real possibility of extensive narrative arcs. Showrunner also currently only produces animation. But it represents exactly what Disney seems to be trying: turning its passive audiences into co-creators, all under strict controls. Why now. According to the Deloitte Digital Media Trends 2025 study56% of Generation Z affirm that content on social networks is more relevant to them than traditional series and movies. They don’t just want to passively watch: they also want to participate. On the other hand, Disney+ added 3.8 million subscribers in the last quarter, but needs to differentiate itself in the saturated streaming market. And AI, in which Platforms like Netflix are also enteringgives that opportunity that will reward the fastest, which also has clear precedents in the publishing world: the fanfic phenomenon. Where are we going? We can guess. In the short term, we could see basic tools that allow creating short clips with limited characters and strict moderation. The content probably cannot be exported or taken to social networks. In the medium term, things get interesting. If the model workswe could see more complex narratives and a change that would be truly revolutionary: the entry into the canon of fan content that is especially popular. In an ideal world, compensation models would arrive for featured creators, in a similar way to partner programs that we already see on YouTube or TikTok. New rates could be proposed for platforms that allow creation, compared to cheaper ones that only allow content to be consumed. Again, we have very clear precedents: the communities of modding of the video games that have turned games like ‘Minecraft’ into fully participatory experiences. And before that, games like ‘DOOM’ they grew to infinity thanks to the contribution of the fans. The risks. For the brand, they are very clear: the loss of control of what can and cannot be shown. Disney would have to implement very strict and possibly costly moderation strategies to avoid situations like the memorable chaos generated by ‘Fortnite’ players when they started interacting with Darth Vader’s voice. Then there’s the legal maze: who actually owns the authorship of fan-generated content? Is it a derivative work, a collaboration, or a complete property of Disney or whoever it may be? Not to mention sexual or violent content that breaks laws: who is responsible for that? Beyond the legal implications are the concerns of artists: as Kotaku statedthis may be a way for large corporations to bridge the agreements reached after the 2023 strikes. If it is the viewers who work for free… why pay professional story creators? In Xataka | The chaos of streaming is causing a phenomenon that we thought was in recession: downloads are increasing

pop divas have changed songs for content

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On October 3, the new and successful album by Taylor Swift, at least if we understand that “coming out” means the physical fact that the vinyl is available to buy in stores and that you can already listen to the songs on Spotify. Because the reality is that the North American singer-songwriter lives in a perpetual state of promotion born from the fusion a few years ago of his private life and his work as an artist. We are not with the hackneyed “the album began when the artist faced the blank page”, but with a conscious effort to maintain attention for longer than the 41 minutes and 40 seconds it lasts. The Life of a Showgirl. We can say that the album started with her presentation on her now fiancé’s podcast, she continued with that Instagram announcement of your wedding with 37 million likes and continued with his “documentary”, the second highest grossing film October in the United States. To tell the truth, Taylor Swift, while continuing to dedicate herself mainly to making songs, has mutated into a politician. More than anything because it is in a constant campaign for the attention of his fans. or even if we want to see it from a more well-intentioned and not so commercial prism, he carries out a kind of public service for his followers. It can’t produce 12 songs every month, but it is capable of leaving small recurring crumbs to keep voracious fans in need of content entertained. ‘I Bet You Think About Me’ If for a mere mortal it is impossible to please everyonemuch less if you are the North American singer-songwriter, accustomed to criticism directed more at the person than at the music itself. Nor should the chapter of Taylor Swift in ‘Family Guy’‘, where they booed her for being happy with her boyfriend and writing songs about that instead of her disappointments in love; but there is some evident point and separation between the stage Eras Tour which closed about a year ago and The Life of a Showgirl. It’s not just Taylor Swift that the conversation around her new job is going to last weeks or even months. The album came out earlier this month, but how long have your fans been talking about it? His discography is his biography and each Was It is an approach to a chapter in the life of the singer from Pennsylvania. Her followers keep Swift relevant, whether because of re-recording of his previous albumsthe recovery of his masterstheir love relationships, your friends… Not only is his discography his biography, but both have a symbiotic relationship. Few details of her life are unknown to her fans, and with each new release, Swift creates new satellite experiences. She is fully aware of the attention she receives and of the entourage that will be willing to participate in everything she proposes; how to discover countless Easter Eggs to events unthinkable for other types of creators: yaa in 2014, anticipating the release of his album 1989Swift held a series of «1989 Secret Sessions» at his different residences around the world where carefully selected fans were told that they were going to attend some kind of secret event, without knowing what awaited them. Another example is the event that accompanied the re-recording of Grid and the launch of ‘All Too Well’ (10 minute version) (Taylor’s Version). On this occasion, Swift decides to present and give her fans a romantic and heartbreaking short film video clip. So, seeing how the author usually operates and seeing that the end of the pharaonic last tour was approaching, her audience was already rambling about what her new project would be. And, as always, Swift left them a clue: in her last show she went, after finishing her last song, to an orange door, beginning the color and the entrance of the new Was. (Taylor’s Version) With the singer-songwriter we have the impression that we are in a perpetual happening of You were and vinyls. The Life of a Showgirl It came out on October 3 but we were already in the loop of their new work and experiencing their new album since that ‘Karma’ at the end of the Eras Tour. It’s all part of a person’s life showgirl: their love relationship, their NFL appearances to see his fiancé, the revelation of his new job on his own sports podcast Travis Kelce and his brother Jasonthe promotion of the different vinyl versions that we can buy even without listening to a single, the announcement of his marriage and the conversation around his engagement ring. Perhaps it all started organically thanks to its global relevance, but there is little doubt that this continuous state of promotion is a marketing weapon that it uses to its advantage. It is curious that the fact of making all the songs on the album known to the public seems like another important step, but not even the main one. We not only talk about everything lore that is created just before the release, or the enormous and lucrative anticipation of fans that ends when they finally get to hear the songs. In the case of Swift it goes much further and is renewed with each new release: On this occasion the success of The Life of a Showgirl came accompanied by an event very box office in the form of a party/launch like ‘The Official Release Party of a Showgirl’. While waiting for the doors to the room to open, a girl of about seven years old arrived accompanied by her mother. Full of glitter and wearing a dress appropriate for the occasion, the man from the cinema asked her if she was coming to a birthday; “No, I’m coming to Taylor’s,” he snapped before looking for someone to exchange his words with. friendship bracelets. And like her, groups of friends or couples add up to a number of viewers well above the average for a Friday afternoon screening. This community … Read more

ZonaGemelos generates the darkest content on the Spanish internet. They had to cancel their own ‘Big Brother’ in nine hours

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Extreme content has always existed on the Internet, but until recently it was part of the exclusive redoubt of the network’s sewer: deep webforums in which you had to register to enter, P2P circuits closed to the general public. Social networks, however, are increasingly expanding their themes in more aggressive directions. The lack of moderation and the avalanche of content has created monsters like ‘The House of Twins’, a reality show inspired by ‘Big Brother‘ which was canceled nine hours after its premiere. But who are you? Daniel and Carlos Ramos are brothers and content creators under the label ZoneTwins. They have become known for debate videos that revolve around controversy, morbidity, arguments and sometimes live violence between the guests of their program. Their accounts have hundreds of thousands of followers (just over 300,000 on YouTube, almost 400,000 on TikTok) and their style is reminiscent of entertainment programs from the beginning of the century like ‘Crónicas Marcianas’, and also dating shows like ‘First Dates’ or challenge shows, but in a more extreme way. Among its regulars are Paco Porras or Simon Perezand also include betting and gambling content (in casinos like LocoWin, with high-risk bets). What is ‘The House of Twins’? A reality show for networks which premiered on October 12 on Kick (the twins are banned from Twitch) and YouTube and was canceled in the early hours of the next day, due to violent incidents and serious confrontations between the seven participants, especially between two women who are regulars in the ZonaGemelos debates: la Falete and Triana Marrash. The latter had its fifteen minutes of fame on a national scale thanks to ‘Tardear’ and an alleged disappearance that turned out to be a setup to gain followers. What happened? Three contest participants voluntarily left the program before its cancellation, given the direction the program was taking, with the participants becoming increasingly drunk. Among other things, constant fights could be seen, attempts to quilting with three people involved, inappropriate comments on sensitive topics such as the war in Ukraine and destruction of the house and furniture. The organizers, when announcing the closure, spoke of “a second edition with some basic rules of coexistence and a few hours to sleep.” Some figures. In its first hours, the program was followed by more than a million live viewers, which makes it clear that we are not exactly facing a niche product. The hashtag #LaCasaDeLosGemelos became a trending topic on X and YouTube ended up cutting the broadcast due to the questionable content. Of course, as happens in reality shows, it soon began to generate lots of derivative content from other creators commenting on what happened in the house. extreme youtube. The type programs reality streaming like The House of Twins raise moral and ethical questions that have been object of study: emotional manipulation, exploitation of participants, loss of privacy, psychological and social effects on those who participate and consume this type of entertainment… Producers usually edit and manipulate recorded material to provoke conflicts and extreme reactions that keep the public’s attention. This strategy generates economic benefits, but results in the emotional exploitation of the contestants, who may suffer anxiety and psychological deterioration. Other key moral dilemma revolves around the actual consent of the participants. In many productions, contestants sign contracts that allow them to be constantly filmed, without effective control over their image once broadcast: participants are recorded in moments of emotional and physical vulnerability, such as arguments or personal crises. And if these issues are considerable in realities traditional, its impact is multiplied on the internet, where algorithms amplify emotionally conflictive content to maximize public interaction. In Xataka | Now I regret what I uploaded about myself to the internet when I was a teenager

Sora’s AI is resurrecting dead celebrities to turn them into cheap viral content: it’s technological nonsense

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What of digitally resurrect deceased public figures It’s not new, but Sora 2 by OpenAI is crossing the line from homage to pure morbid entertainment, with videos ranging from harmless humor to the most explicit cruelty. This phenomenon, which has provoked the indignation of relatives of the daughter of actor Robin Williams, raises serious ethical and legal questions. What is happening. Michael Jackson shows up at a KFC and steals a man’s fried chicken while dancing away. Pope John Paul II does some skate tricks. Albert Einstein gives an interview after a UFC fight. These are just a few examples of what people are doing with Sora 2. There’s more: Martin Luther King, Kennedy, Nixon…many videos have a humorous and seemingly harmless tone. Others, however, are in very bad taste, such as those that show a Stephen Hawking being abused brutally. And the worst thing is that no one seems to be stopping it. The Robin Williams case. Zelda Williams, daughter of the late actor, has used her Instagram account to show her rejection of this trend. “Please stop sending me AI-generated videos of dad. Stop believing that I want to see them or that I will understand them. I don’t want them and I won’t understand them,” he said in his message. Although he does not give details about whether the videos he has received are made with Sora 2, his complaint comes just a few days after its release. The cameos. They are the great novelty of Sora 2 and one of the reasons for its popularity. In fact, the app was launched with a cameo by Sam Altman that has already generated all kinds of memes. With cameos you can create funny videos of yourself or a friend, but Sora won’t let you make videos of real people unless they have given their consent. Except if those people are dead. Blurred boundaries. In it Sora security document 2OpenAI states that “only you can decide who can use your cameo, and you can revoke access at any time. We also take steps to block depictions of public figures.” However, they don’t say anything about public figures who have died, and from what we’re seeing, it doesn’t seem like these guidelines apply in the same way. According to the TechCrunch teststhe app does not allow you to create videos of Jimmy Carter or Michael Jackson (although there are published videos), but it does not cause problems when doing so with Robin Williams or Richard Nixon. defaming the dead. Although it is ethically questionable, at a legal level things change. In the United States, where OpenAI operates, legally it is not possible to open a process for defaming a deceased personso the company would not have any responsibility. In Spain it is similar; the Organic Law 1/1982 includes the right to honor, personal and family privacy and one’s own image. However, according to the article 32 of the civil codecivil personality is extinguished after death. Yes, it could be the case that heirs claim the right to honor of the deceasedbut it is a complex process and full of nuances. The new AI dump. At the beginning of the year we talked about how Junk AI or ‘AI Slop’ had flooded the networks. Were most disturbing videosof very bad tastebut they were clearly made with AI. With Sora 2 a dangerous door opens and it is that of a new AI dump more realistic than ever. If we add to this the use of the image of deceased people as if they were toys with which we can do whatever we want, no matter how legal it may be, it sets a very worrying precedent. Image | tiktok In Xataka | OpenAI and AMD have just signed more than just an AI agreement: it’s the barter of desperation

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