content

all plans, content, monthly and annual price

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We bring you a small guide in which you can see What are the DAZN subscription prices? in 2026. Thus, in case you want to hire this sports streaming service, you will be able to know how much it will cost you depending on what you want. In this article we are going to talk to you about the different packs that you have available, detailing what each of them offers. We will also tell you how much they cost, something that will depend on the payment method you choose. What DAZN includes DAZN has five different subscriptions, each aimed at a different type of audience. Therefore, What DAZN includes depends on the subscription you choosebecause each of them can include different sports packages. You should also know that the price of each pack is different. Wanting to watch all football is not the same as wanting to watch all basketball, and focusing on American sports is the cheaper option. How much does DAZN cost: plans, content and prices Now we are going to leave you a table in which you can see contents and prices of each of the plans available on DAZN. Remember that prices may change, since from time to time there are some specific promotions. subscription content price free One match per day of LALIGA EA SPORTS One NFL game a week One NHL game a week premium LALIGA EA SPORTS (5 LALIGA matches: 5 matches in 35 of the 38 matchdays and the open match on every matchday) ALL LALIGA HYPERMOTION, Premier League, Bundesliga, Serie A and League F​ ALL Formula 1®, MotoGP™, NASCAR and WSBK​ NBA: 180 regular league games + All-Star Weekend + Playoffs + Conference Finals (one live and one on demand) + NBA Final on demand All acb competitions: Endesa League, Copa del Rey and Endesa Super Cup NFL: 5 weekly games, the playoffs, the Super Bowl and Game Time. All in Spanish. Also RedZone in English Annual single payment: 351.99 euros (now promoted to 219.99 euros) Annual with payment in installments: 31.99 euros per month for 12 months (now promoted to 19.99 euros per month) Monthly payment: 44.99 euros per month engine The entire Formula 1® World Championship The entire MotoGP™ World Championship NASCAR, WSBK and DTM Special content: previews, interviews and documentaries All the competitions on the Red Bull TV and Eurosport channels: Australian Open, Roland Garros, selected UFC fights, all cycling…​ All the content of the Premium plan at no extra cost, outside the motor season Annual single payment 219.99 euros Annual with payment in installments: 19.99 euros per month for 12 months Monthly payment: 29.99 euros soccer LALIGA: 5 matches in 35 of the 38 days and the open match of all days ALL LALIGA HYPERMOTION, Premier League, Bundesliga, Serie A and League F​ NFL: 5 weekly games, the playoffs, the Super Bowls and Game Time. All in Spanish. Also RedZone in English All the competitions on the Red Bull TV and Eurosport channels: Australian Open, Roland Garros, selected UFC fights, all cycling…​ All the content of the Premium plan at no extra cost, outside of the football season Annual single payment: 219 euros (now promoted to 109 euros) Annual with payment in installments: 19.99 euros per month for 12 months (now promoted to 9.99 euros per month) Monthly payment 29.99 euros Basketball All acb competitions: Endesa League, Copa del Rey and Endesa Super Cup NBA: 180 regular league games + All-Star Weekend + Playoffs + Conference Finals (one live and one on demand) + NBA Final on demand Special content: previews, interviews and documentaries All the competitions on the Red Bull TV and Eurosport channels: Australian Open, Roland Garros, selected UFC fights, all cycling…​ All the content of the Premium plan at no extra cost, outside of the basketball season Annual single payment: 109 euros Annual with payment in installments: 9.99 euros per month for 12 months Monthly payment: 14.99 euros Made in usa NBA: 180 regular league games + All-Star Weekend + Playoffs + Conference Finals (one live and one on demand) + NBA Final on demand NFL: 5 weekly games, the playoffs, the Super Bowls and Game Time. All in Spanish. Also RedZone in English All NASCAR races All the competitions on the Red Bull TV and Eurosport channels: Australian Open, Roland Garros, selected UFC fights, all cycling…​ Annual single payment: 54.99 euros Annual with payment in installments: 4.99 euros per month for 12 months Monthly payment: 7.99 euros In addition to the content that appears in the table, the DAZN app offers you information with all the results and statistics of the matches, statistics and fanzone. you also have multi-screen optionwith which you will be able to have several events at the same time on a single television. How many devices can it be used on? You can see DAZN content on two devices at the same time. Of course, there is an important restriction, and that is that both must be connected to the same network access point. Come on, both devices they must use the same WiFi. This is a measure to prevent users from sharing their accounts and subscriptions with third parties. In Xataka Basics | Scheduling on DAZN: how to see upcoming events and activate reminders to let you know when they are going to start

In a new chapter of “you never buy anything digital, you only rent it,” PlayStation Store will remove another batch of content

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When we buy something in a digital store, the word “buy” has more tricks than it seems. We pay, we receive a confirmation, we see the content in our library and we get used to thinking that it is already part of ours. The problem is that, in many services, that feeling of ownership It rests on a much less solid structure: an active account, terms of use, servers and licensing agreements that can change over time. This framework has just had a very specific translation in PlayStation Store Spain. On an official page of its legal sectionPlayStation advises that, starting September 1, 2026, users will no longer be able to access previously purchased StudioCanal content and that this content will be removed from its video library. The company attributes the measure to its content licensing agreements, a brief formulation but sufficient to understand the scope of the notice. The notice does not remain a generic note: PlayStation accompanies the communication with an extensive list of affected titles. It doesn’t make much sense to reproduce it in full here, but it is worth emphasizing that recognizable movies and series appearfrom ‘Paddington’ and ‘Paddington 2’ to ‘Moonlight’, ‘Carol’, ‘Source Code’, ‘Train to Busan’, ‘The Imitation Game’ or ‘Terminator 2’. If you want to check case by case what content is included, You can check the complete list on the official website.. The measure does not only affect Spain. PlayStation too has published an equivalent notice for the United Kingdomwhere the date of September 1, 2026 and the withdrawal of previously purchased StudioCanal content are repeated. The context helps to understand why we talk about purchases made in the past. PlayStation Store stopped offering movie rentals and purchases and TV content on August 31, 2021. At that time, the company explained that users could continue to access content they had already purchased for on-demand playback. The current notice changes the plane of the conversation: it is not about a store that stops selling, but about a previous video library that loses part of its content. When buying doesn’t always mean owning The key is in a distinction that the user does not always keep in mind when pressing the buy button. In many digital services, what is acquired is not an autonomous copy, but an access license associated with an account and subject to conditions of use. That doesn’t make every digital purchase useless, nor does it mean that everything will disappear, but it does mark the real limit of ownership. The work can be in our library and still depend on agreements that are negotiated far from us. PlayStation is not a strange exception within the digital market. Amazon Prime Video warns in its conditions that purchased content may no longer be available for download or streaming due to licensing restrictions or other reasons; Apple also considers that a purchase may not be available for redownload or access from your services if you lose rights to that content; and in video games, Steam and Nintendo talk openly licensed, not sold software. The names, devices and stores change, but the pattern repeats itself: we pay for access within an ecosystem that we do not fully control. The comparison with the PC from years ago helps to understand the change. We bought a game like ‘Age of Empires’, we put the disk in, we installed it and we could play without a store having to continue authorizing each step. The Internet connection could be used for patches, online games or later improvements, but the core was in our hands. The border between physical and digital has become more blurred. There are still discs that contain complete games and allow you to install without relying on an initial download, but the format no longer always offers that guarantee. The case of ‘GTA VI’ pushes the debate to the center: Rockstar points out that the physical version announced for launch will carry a download code inside the box, without a disc, and which can be used to preload the game before its release. For those who bought physically looking for distance from the digital store, the message is difficult to ignore. What happens with StudioCanal on the PlayStation Store works as a reminder of a reality that we usually accept without looking at it too much. In digital, paying for a movie, a song or a video game does not always mean keeping a copy under our control. Sometimes we buy access, and that access lives within a system of licenses, accounts and services that can change. Images | PlayStation | StudioCanal In Xataka | Online games have made their preservation complicated. The solution may be what this video game has done

“Despite being a minority, this content is influential”

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With the arrival of summer and the intense sun, sunscreen becomes the star product that many people apply before leaving the house or when they go to the pool or beach to avoid getting sunburned. The problem is that in recent years we are seeing how there are voices that They call the use of sunscreen ineffectiveand the focus is on social networks that act as a great speaker to amplify videos with hoaxes over videos that show the benefits of using sunscreen based on scientific evidence. Social networks. a study has put the focus here, since the algorithm, once again, benefits content that shows something that goes against the ‘norm’ or that feeds a hoax. To do this, the team from the University of Alberta in Canada analyzed the 971 most viewed videos on TikTok about sunscreen. Here the data reveals that 86.8% of the videos promote the use of sunscreen, while only 6% criticize these products. Of this minority, only 1.5% affirm that it causes harm and 1.2% affirm that prevents the synthesis of vitamin D with all the problems it has behind it. However, this small critical faction is the one that generates the most interaction, garnering more likes, comments and shares. And the videos with greater rigor remain in the desert of visits. Precision in networks. These findings coincide with other crossover research published in the journal JMIR Dermatol, which analyzed the 100 videos with the most ‘likes’ on the platform. In this case, they detected that 74% of the content has a positive attitude towards sunscreen, while only 35% of the content is accurate, compared to 6% of content that is directly inaccurate. The problem again is that the video that fuels criticism and hoaxes without any supporting reference has a greater number of views or interactions. Sunscreen causes cancer. It is something that we have had to hear a lot, but right now there is no link between cancer and the use of sun creams, quite the opposite. It has been clearly seen that regular use of this protection reduces the incidence of melanoma by approximately 50% and carcinoma by 40%. The Skin Cancer Foundation emphasizes that there is no evidence that the protector causes skin cancer, a position that supports with your guides the American Academy of Dermatology. Blocking vitamin D. Here there is also no scientific evidence that points to sunscreen blocking the absorption of vitamin D, since users who regularly use this protection maintain vitamin D levels. The benzene. Another of the big hoaxes that has been spreading through social networks like wildfire is that the creams are contaminated with benzene. But here the reality we have is that this benzene contamination was a quality control problem in the manufacturing of specific batches, not an inherent risk in the protectors that allows us to confirm that they all have benzene in their composition. Here the FDA noted that the measurements from Valisure, the company that detected this problem, were “much higher” than they should be. Added to this is that the company has undisclosed conflicts of interest and a history of inaccurate testing. Solar callus. The idea of ​​”training” the skin by exposing it to the sun is a false and highly dangerous premise, since, far from protecting, it seriously damages the skin and multiplies the risk of cancer. In this way, given that UV radiation is an accumulated carcinogen, exposing yourself without protection exponentially multiplies the risk of suffering from carcinomas and melanomas. The experts. Michelle Wong, science communicator at Lab Muffin Beauty Science, has spent years trying to debunk all the hoaxes that come out about sun protection. From this article, your opinion collection by SMC points to the following: Health misinformation related to sunscreen represents a minority of TikTok content, especially that which does not include any positive messages about these products. Despite being a minority, this content is influential: misinformation does not have to be overwhelming to be a cause for concern, and repeated exposure increases the perception of its truthfulness among all types of audiences. Images | BATCH by Wisconsin Hemp Scient In Xataka | The next revolution in sun protection is not a filter or a new cream: it is feeding your bacteria

The ‘Chinese Netflix’ has designed a plan for AI to generate the majority of its content within five years. It sounds risky

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iQiyi, China’s largest video streaming service with more than 400 million monthly active users, announced in its annual content presentation in Beijing which expects AI to generate most of its movies and series within five years. Its founder and CEO, Gong Yu, summed it up before a room of producers and directors with a succinct phrase: “It’s a once-in-a-decade opportunity. We have to go with the tide.” Why is it important. iQiyi is not a minor platform betting on a trend. It is the subsidiary of streaming of Baidu, shares with Alibaba and Tencent the online video oligopoly in China, and operates in the streaming largest in the world by number of users. Whether it decides to pivot towards content generated entirely by AI affects how the rest of the platforms that tend to follow in its footsteps will produce, distribute and monetize audiovisual entertainment. The context. iQiyi has been losing audience for years to Douyin, the Chinese version of TikTok owned by ByteDance. Short video has cut into the time that Chinese users spend on long video platforms. The result is that its revenue has fallen by 13% in the first quarter of 2026. The company, listed on Nasdaq, has also applied for a second listing in Hong Kong seeking closer capital. The announcement of the pivot towards AI comes from a certain pressure. In detail. The center of the plan is Nadou Proa suite of AI tools that the company presented on April 20 and that, it says, can manage practically the entire film production process: script, storyboardvideo generation and final assembly. The software does not work with its own models, but rather integrates those of several direct competitors: Alibaba, ByteDance and Kuaishou for the domestic market; Seedance 2.0 and Google I Spy 3.1 for the international version. iQiyi has also launched a library of virtual assets and “signed” talent for third-party creators to generate new content using the platform’s characters and universes. The incentive strategy to attract these external creators involves… An extra 20% on advertising and subscription revenue for those who produce content with Nadou Pro. An inaugural catalog of 16 AI-generated films, in science fiction and anime. A public goal: release a commercially successful AI-generated film before the end of summer 2026. Yes, but. The question that remains to be seen is whether anyone will want to pay to see that. Recent history does not invite optimism. AI-generated video has shown some traction on TikTok and Instagram, where the cost of user attention is practically zero and the scroll Erase any disappointment in a tenth of a second. That this tolerance is transferred to a two-hour feature film for which someone pays a monthly subscription is another story. Between the lines. Gong Yu has said that iQiyi will continue investing in professional production, but in the same sentence he has clarified that this type of content will reduce its relative weight on the platform. The direction is quite clear. The risk is that viewers of C-dramas and the anime Koreans who have made iQiyi great are exactly the type of audience that has the least tolerance for ‘AI slop‘. Main loser? The producers and directors who filled that room in Beijing when Gong Yu announced the pivot. iQiyi has designed a system where independent creators can use Nadou Pro to generate content and earn a percentage of the advertising revenue. It’s the same model that YouTube has applied for years with human content, now transferred to AI. In this scheme, professionals in the sector go from being the protagonists of the production chain to being, in the best case, supervisors of a process that they no longer control. In Xataka | In China, 470 series made with AI are produced per day. 99.9% of them do not reach anyone Featured image | iQiyi, Xataka with Mockuuups Studio

Movistar Plus+ activates its Free Plan with complete programs and a lot of content, regardless of which operator you are

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Even though Movistar Plus+ is available for non-customers of the company, we have a new twist in the script. The platform announced today the arrival of Free Planan access mode that is completely free and that will allow us to see a lot of content, both on our mobile phone, on TV or on any other device. The best? To register you only need an email and a password. Movistar Plus+ Free Plan The price could vary. We earn commission from these links The free Movistar Plus+ modality has a lot to see This new Free Plan is a very interesting way to see what the platform offers without having to pay anything. Also, as we say, to register no need to enter a card or other payment method. All you need is a very simple registration with email and password that will only take a couple of minutes. Of course, this free modality does not give us access to the entire Movistar Plus+ catalog. Despite this, there is no lack of content at all. For example, Free Plan allows you to enjoy the first chapter of the platform’s original serieseven the premiere ones. That’s where ‘For a hundred million’ comes in, as well as the first episodes of the true crime by Carles Porta or series such as ‘Poquita Fe’, ‘La Mesías’ or ‘Querer’, among others. We will also have available some of the most notable programs that Movistar Plus+ has, such as ‘Ilustres Ignorantes’ or ‘El consulta de Berto’, as well as ‘The Day After’. Additionally, this Free Plan will also issue the pre- and post-match of the Champions League matches and the Europa League. For 9.99 euros per month you have complete series, movies and football If you try the platform and want more, you have the option to subscribe by 9.99 euros per month (or 99.90 euros per year). In exchange, the entire platform catalog will be opened to us, which includes the entire series and a lot of quality movies with movies like ‘Sirat‘, ‘Sundays‘, ‘Maspalomas‘, ‘Dinner’ or ‘Fury’. Monthly subscription to Movistar Plus+ The price could vary. We earn commission from these links In addition, along with other live sporting events, we will have several very interesting soccer matches. The most notable are the Champions quarterfinals with the great games Real Madrid-Bayern Munich (April 7) and Atlético de Madrid-Barcelona FC (April 14), although there is more. All taking into account that it is a platform that we can share with a friend or family member without any problem. Some of the links in this article are affiliated and may provide a benefit to Xataka. In case of non-availability, offers may vary. Images | Movistar Plus+ In Xataka | Mega-guide to set up a home theater: projector, screen, sound system and more In Xataka | Best televisions in quality price. Which one to buy and seven recommended 4K smart TVs

YouTube invests a million in AI content for children just as it has just declared war on AI content for children

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Google’s AI Futures Fund just injected a million dollars at Animaj, a Parisian studio that produces children’s animation generated with artificial intelligence for YouTube. The decision comes seven weeks after the platform’s CEO publicly stated that combating AI sloplow-quality content generated with AI, was the priority of the year. Down the slop. On January 21, 2026, Neal Mohan, CEO of YouTube, published his annual message about resolutions for the new year, including an unambiguous directive: combat AI slop It was the priority of the year for the platform. Seven weeks later, Google’s AI Futures Fund injected $1 million into Animaj, a Parisian animation studio that produces AI-generated children’s videos for YouTube. The problem. A analysis of more than 15,000 channels identified 278 dedicated exclusively to produce AI slop: Together they accumulated 63,000 million visits, 221 million subscribers and advertising revenues estimated at 117 million dollars annually. A user who opens Shorts finds that one in five recommended videos belongs to that category. He children’s segment concentrates the worst: YouTubers with more than a million followers explain in tutorials how to generate “simple and repetitive” children’s songs with ChatGPT, run them through a video generator and obtain content that could bring in “hundreds of dollars a day.” The channel JoJo Funlandfor example, published more than 10,000 videos in its first seven months (50 per day on average), a figure that took Sesame Street twenty years to reach on its YouTube channel. The volume would be worrying in itself, but what makes it a problematic issue is that many of these videos pass as educational, and in reality, There are psychologists who describe them as “AI disinformation for babies on an industrial scale”: they promise to teach vowels and show consonants or recite made-up country names. The solution. In July 2025, YouTube renamed its “Repetitive Content” policy as “Inauthentic Content”, which expanded the scope of moderation teams, who could now take action against channels that published videos that were technically different from each other but manufactured without human intervention. In January 2026, the first wave of large-scale application arrived. The platform removed 16 channels with a total of 35 million subscribers and 4.7 billion accumulated visits, which represents a sum of 10 million dollars in annual income. What is Animaj? Animaj was founded in 2022 by Gregory Dray (veteran director of YouTube Kids in Europe) and Sixte de Vauplane, convinced that low-quality children’s content on digital platforms was a problem before generative AI, and well-applied AI could be part of the solution. The company has acquired brands with proven prestige, such as Pocoyo and Maya the Bee. Its channels have 22 billion annual views and 242 million unique monthly viewers, making it the fifth largest children’s digital audience in the world. according to the company itself. The million from the AI ​​Futures Fund is also strategic: Animaj is the first children’s content studio to receive direct support from Alphabet’s technology accelerator. The deal includes early access to unreleased versions of Veo, Gemini, and Imagen, plus direct support from the Google DeepMind and Google Labs teams. With those tools, Animaj says it can go from concept to published episode in less than five weeks (four times faster than traditional animation) and aims to reduce the production cycle of a feature film from six years to eighteen months. In Xataka | The future of the Internet is to be flooded with AI. And there are those who have already seen a business niche: content made by humans Header | edward stojakovic

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

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