fiction

To locate the pilot lost in Iran, the US used two tools. One was given by Boeing, the other is science fiction

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The call quantum magnetometry has promised to measure magnetic fields so weak that they border on detectability, using microscopic defects in synthetic diamonds capable of registering imperceptible variations. In the laboratory, these techniques already allow biological signals to be observed at surprising scales, but always in environments controlled and at very short distances. Outside of these ideal conditions, between noise, interference and distance, the great unknown remains the same: how far that sensitivity really goes. The United States claims to have the answer, and it is very difficult to believe. Two tools to find a missing person. Washington has counted that the operation to rescue to the airman shot down in Iran was based on a very specific combination of technologies that, together, made the difference between finding a man or losing him in an immense terrain. On the one hand, the pilot had a standard and well-known system available as Boeing’s CSELa communications device that allows send encrypted signals via satellite and guide rescue teams with relative precision. This type of tool, widely distributed in the armed forces, was key to confirming that he was still alive and limiting his initial position in an extremely hostile environment. The other tool that borders on the implausible. The second element of the rescue is the one that has generated the most interest (and doubts), since different information supported by a exclusive to the New York Post point to the use of a system called “Ghost Murmur” capable of detecting the human heartbeat at long distance using quantum magnetometry combined with artificial intelligence. On paper, the idea is extraordinary in a movie, but apparently also in the real world: identify the electromagnetic signature of a living body in the middle of the desert, isolate it from noise and convert it into an operational coordinate. It happens that the unknowns also begin here, because these types of signals are extremely weak and, until now, they could only be measured at a very short distance in controlled environments, which raises serious doubts about its real range in combat conditions. Between the plausible and the inflated. The context of the rescue itself suggests that, rather than replacing the classic system, this technology would have acted as a complement under very specific conditions: an environment with low electromagnetic interference, few human signatures or signals, and a target forced to briefly expose itself to activate its beacon. That is, not so much an omniscient tool as a very limited capacityuseful in ideal scenarios but difficult to extrapolate to more complex situations. The narrative of “finding someone by their heartbeat from miles away” fits well as a concept or in a Nolan film, but until now it clashed with known physical limitations. The “Venezuelan” precedent. Many skeptical analysts have gone for the jugular of these claims, speaking reverse engineering of another futuristic weapon to achieve the “Ghost Murmur”. Because skepticism does not arise in a vacuum, but in a recent context where technologies wrapped in an almost fantastic halo have already been presented, such as the supposed “discombobulator” mentioned by Trump in the operation against Nicolás Maduro. In that case, experts pointed out that it was probably a mix of capabilities real (electronic warfare, acoustic weapons or directed energy systems) presented as a single almost magical device. The pattern is recognizable: existing technologies reinterpreted or exaggerated in the public narrative. The war is also fought in the technological story. If you also want, as a whole, the rescue reveals something deeper than a simple military operation: the growing importance of technological narrative in modern conflicts. The United States used a tangible tooleffective and proven to locate the pilot, no more no less than a GPSbut he also hinted at another capacity that, real or not in the terms described, projects a image of superiority almost total. And possibly there, between what is technically possible and what is communicated, there is a space where perception matters as much as reality, and where sometimes the border between advanced technology and science fiction becomes deliberately blurred. The rescue movie, of course, has already been practically written. Image | US Air Force In Xataka | The rescue of a fallen US pilot in Iran seems like a science fiction story. And there are elements to think that it is In Xataka | Iran has found a hole in Israel’s shield: turning a missile into an explosive “storm” in full descent

96 drones with a science fiction launch

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In recent years, the cost of many drones has dropped to the point that many military models are infinitely cheaper than the missile that tries to shoot them down. At the same time, advances in artificial intelligence have allowed relatively simple machines execute tasks that previously required entire human teams. In China they have taken an unprecedented step towards the war of the future. The next step. Yes, Beijing just taught in a video something that goes far beyond the individual drone: a coordinated swarm of up to 96 units which works like a single system intelligent at a devilish speed. This is not about launching devices, but about orchestrating a distributed air force where each drone has a role and all act as a single organism, marking a clear leap towards a dominated war by software, algorithms and autonomy. The demonstration also leaves a clear idea: the future will not be a more advanced drone, but rather many drones working together as if they were one. The “kill chain” converted into a single system. As can be seen, the Atlas system integrates a single sequence the entire combat process, from detection to attack, eliminating traditional intermediate steps along the way. In the test, the swarm identified a target among several similar ones, made decisions autonomously and executed a precise attack in mid-flight, displaying a chain of destruction continuous and automated. There is no doubt, this approach completely transforms war, because it is no longer a question of isolated platforms, but of complete systems capable of to perceive, decide and act without interruptions. Science fiction. The heart of the system is its deployability: we are talking about a vehicle that can launch drones at a rate of one every three secondsquickly generating a critical mass in the air. This technical detail is key, because it allows one to be built in a matter of minutes. dense and coordinated formationone capable of saturating defenses or executing complex attacks. It is, therefore, not just speed, it is the ability to turn a launch into a controlled avalanche of perfectly synchronized units. A swarm that thinks and reorganizes itself. As we said, each drone is equipped with algorithms that allow you to communicateshare information and adapt in real time, avoiding collisions and adjusting your position within the group. Besides, can be reassigned during the mission, changing functions as the combat evolves, which introduces unprecedented flexibility in conflicts. In other words, this kind of “collective brain” turns the swarm into something closer to a distributed intelligence than to a set of independent machines. Algorithmic control. They had something in the PLA that already we had seen beforethat one of the most profound changes has to do with the fact that a single operator can control the entire system, delegating complex tasks such as target recognition, mission assignment or route planning to artificial intelligence. This reduces human burden and accelerates decision times to levels that are difficult to match by traditional systems. War thus goes from depending on operators to depending on previously trained algorithms. Attack and defend in another way. Plus: the system allows combine different types of drones in the same mission, from reconnaissance to electronic warfare and attack, creating staggered waves capable of overcoming defenses or penetrating in depth. That is to say, for either side, progress blurs the line. between front and rear and forces us to completely rethink anti-aircraft defenses, which no longer face just one missile or drone, but dozens of them acting in a coordinated manner. A new and disturbing scenario where the real weapon is no longer the drone itself, but the system that connects them. Image | CCTV In Xataka | Ukraine is close to achieving a milestone that no one has achieved: building the largest drone industry without China’s help In Xataka | 200 drones in the hands of a single soldier: China is advancing very quickly in a type of war that seemed like science fiction

If Ukraine promoted the use of drones, Iran has triggered the Terminator algorithm. And that was already a problem in science fiction

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In the gulf war 1991, the international coalition took more than a month to launch some 100,000 airstrikes after weeks of planning. Three decades later, the ability to process military information has changed radically: satellites, sensors and drones generate amounts of data that no human team could analyze alone. In this new technological environment, the true battlefield is no longer just the air or the land, but the speed at which information is interpreted. From the drone to the algorithm. Recent wars had already anticipated a profound transformation of modern combat, but the conflict with Iran seems to have crossed a different technological frontier. If the war in ukraine popularized the massive use of drones as a dominant tool from the battlefield, the campaign against Iran has introduced a logical even more radical: integration artificial intelligence at the very heart of military decisions. In fact, the initial attacks showed an intensity difficult to imagine just a few years ago, with hundreds of targets hit in a matter of hours and thousands in a few days. That speed was not only the result of greater firepower, but also of the use of capable systems of analyzing enormous volumes of data and transforming that information into almost instantaneous attack plans. Understanding the “kill chain”. I remembered this morning the financial times that traditional war, the so-called chain of destruction (from identifying a target to launching the attack) was a long and bureaucratic process. Intelligence officers analyzed information, wrote reports, commanders evaluated options and finally the coup was authorized. A process that could take hours or even days. The incorporation of AI is reducing that cycle drastically. We are talking about platforms that integrate data from satellites, drones, sensors and intercepted communications that are capable of generating lists of targets, prioritizing them and suggesting the appropriate weapon in a matter of seconds. The result is extreme and disturbing compression of the kill chain: What once required prolonged deliberation now becomes an almost instantaneous sequence. The digital brain of the battlefield. Behind this acceleration are data analysis systems that act as a true operational “brain.” These platforms combine geospatial intelligence, machine learning and advanced language models to interpret information and propose military actions. Its most disruptive capacity is that it no longer only summarizes data, but can reason step by stepevaluate alternatives and generate tactical recommendations. This allows military commanders to process volumes of information that are impossible to handle manually and multiply the number of operational decisions made in the same period of time. In practice, algorithms are allowing select and execute objectives at a scale and speed that were previously unthinkable. Bomb faster than thought. The result of this transformation is a war that begins to move at a rapid speed. higher than human pace. Artificial intelligence can now analyze information, detect patterns and propose attacks faster than a team of analysts could even formulate the right questions. Some experts describe This phenomenon as a form of “compressed decision,” in which planning is reduced to such short windows of time that human managers can barely review what the machine has already processed. In this context, another disturbing idea: that destruction can precede the human reflection process itself, that is, first comes the recommendation generated by the algorithm and then the formal approval of the person who must execute it. And there, there is no doubt, we can have a problem of colossal dimensions. The human dilemma in algorithmic warfare. Because this technological acceleration is generating a growing debate about the real role of humans in military decision-making. Although the armed forces they insist As final control remains in the hands of people, the time available to evaluate system recommendations is increasingly reduced. Some analysts fear that this will lead to a form of “cognitive download”one in which military leaders end up automatically trusting the decisions generated by algorithms. Other countries like China itself observe this evolution with concern and warn of the risk that automated systems end up directly influencing life or death decisions on the battlefield, associating the scenario with the closest thing to the “Terminator algorithm” due to the unequivocal way in which all paths approach James Cameron’s fantastic proposal. A new accelerated war. If you will also, what is emerging is not just a new military technology, but rather a new time of the war. AI makes it possible to process information on a massive scale, identify targets more quickly, and execute attacks with unprecedented simultaneity. This means that military campaigns can develop at a pace that overflows the models traditional planning. From this perspective, war no longer advances solely at the pace of logistics or firepower, but at the pace of algorithms capable of interpreting the battlefield in real time. And in this unprecedented scenario, strategic advantage could increasingly depend on who is able to think (or calculate) faster than the adversary. Although neither of them be human. Image | Ministry of Defense of Ukraine In Xataka | China has just found a hole in the US’s quietest weapon: an algorithm has hacked its B-2s in Iran In Xataka | The great paradox of war: the US ignored Ukraine’s pleas to Russia and now needs it in Iran

Chips connected by laser instead of cable. It seems like science fiction, but it aims to revolutionize data centers

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If you have ever mounted a PCSurely one of the points on which you have had to pay the most attention is the connections. Because understanding the power of the processor, the GPU or the speed of the RAM is “easy”, but the motherboard is what allows us to interconnect all these components with ‘highways’ in which the data speed can be maximum. In the data centers and serversthis is the same: the better the connections between chips and equipment, the lower latency, higher bandwidth and better performance. These connections are made physically, but there is a French startup that wants to change the rules of the game with NVIDIA. As? Connecting the chips by laser. Chips connected by laser and NVIDIA taking out the wallet Improving interconnection speed is no small feat or a whim. NVIDIA has begun manufacturing its next generation platform, the one named Vera Rubin. It is a system that can be combined with others to multiply benefits. That union, as we say, is physical, but there comes a point at which physics is no longer enough. When that arrives, NVIDIA wants to be ready and, a few days ago, Reuters reported on a $4 billion investment by NVIDIA in two companies that are aggressively researching new technologies to help increase that interconnection speed: Lumentum and Coherent. This is a rack and the nightmare of those of us who hate cables. Specifically, that of the Wikimedia Foundation. Well, imagine that a large part of those cables go outside because the systems are connected by electricity Another of the companies in which they have invested is Scintil Photonics. It is a French startup that this in the testing phase of a technology that, if the industry adopts it, will mark a before and after in this connection on a team scale. The LEAF Light Evaluation Kit is, as detailed, the first dense wavelength division multiplexing single chip to go from theory to practice. It’s like another language, I know, but it’s basically what we were talking about: an optical chip interconnection system instead of copper. And that is the main advantage. With copper reaching physical limits of speed and density, optics are emerging as a solution when connecting clusters of thousands of processors. Each chip has an optical system that is responsible for emitting and receiving light, and in that light goes the data that is currently traveling through cables. The one from the French company it is not the first chip based on photonic communication, but they claim that their technology reduces the energy necessary for them to work by 50%, as well as latency. Results? Well we’ll see. The startup’s CEO, Matt Crowley, has commented that he has “six or seven companies interested in implementing the technology by 2028,” but that due to confidentiality agreements, he cannot name names. The Scintil Photonics prototype The complication in this will be that they get supply of the photonics systems, since the data center racks are built with the idea that they are scalables. That is, it is no longer just power, but how many tens of thousands of units you can interconnect, and a bottleneck in the manufacturing of any of the parties involved in optics would be equivalent to a lack of supply for their customers. At the moment, some prototypes have already been served to select companies for testing, but certainly, using light pulses instead of electrical signals is something that is very interesting in superclusters focused on huge data centers that can scale without the limitations of the physical connection. Images | Victorgrigas, M.I.T., GlobeNewswire In Xataka | Huawei no longer competes: it is building its own parallel reality

What the hell is C-RAM, the most “science fiction” system that the US has?

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For some time now, when night comes in the middle of wars or armed conflicts, there are sounds that remain recorded forever. They are not explosions or sirens: it is a mechanical noise that seems to come from another world. In fact, they remember a lot to the metallic roar that Spielberg imagined to announce the arrival of the aliens in War of the Worlds. Only, this time, it’s not cinema. And it’s really happening. The roar that is not forgotten. Occurred two days ago. At night in Baghdad, when the sirens sound and the sky seems calm for a few seconds, there is a sound that cuts through the air like a giant chainsaw. It is not a plane or a conventional explosion: it is the C-RAM going into action. That roar, often described by those who have heard it as an almost unreal metallic roar, is the sound of thousands of projectiles fired in a matter of seconds to destroy rockets, drones or mortars before they fall on a base or an embassy. Just a few days ago it was heard again at the American embassy in Baghdad, when a Katyusha rocket attack activated the defensive system. According to Reuterswas an attack by Iraqi militias aligned with Iran. The sirens sounded, the gun got started and one of the projectiles was destroyed in mid-flight before reaching the diplomatic complex. The result was the same as on many other occasions: no impact inside the venue. But the episode once again reminded us why the sound has become one of the most disturbing in modern warfare. The naval origin. He C-RAM (acronym for Counter Rocket, Artillery and Mortar) was not originally born to protect cities or embassies, but warships. Its technological heart comes from Phalanx system of the US Navy, developed in the 1970s to shoot down fast-approaching anti-ship missiles. That automatic defense was based on a simple and brutally effective concept: a radar detects the threat, calculates its trajectory and a rotating machine gun automatically opens fire to create a wall of projectiles that destroys the target before it hits. Over time, the Pentagon realized that the same principle could be applied on dry land to protect military bases exposed to attacks with mortars or improvised rockets, a constant threat in conflicts such as Iraq or Afghanistan. Shoot like a storm. The most visible element of the system is its M61 Vulcan cannona gatling gun six-tube capable of firing around 4,500 20-millimeter projectiles per minute. That bestial cadence is precisely the reason its characteristic sound. When the system goes into action, the rotation of the barrels and the continuous firing generate a mechanical roar that is reminiscent of a cross between a chainsaw and a turbine. It is not a simple acoustic effect: the weapon needs to launch a veritable cloud of projectiles to increase the chances of destroying a rocket or mortar in mid-flight. Each shot uses explosive ammunition with programmed self-destruct to prevent projectiles from falling intact on populated areas if they do not reach their target. A technological umbrella. Behind that cannon is actually an entire network of sensors, radars and command systems. The C-RAM is not just a weapon, but an adefensive architecture that combines mortar detection radars, fire control systems and command stations capable of analyzing trajectories in seconds. When a radar detects a rocket or artillery projectile, it calculates its path and determine if it will impact in a protected area. Only then does the system activate the cannon and fire automatically. Within seconds, the weapon tracks the target, corrects its aim and opens fire. This whole process happens so quickly that for those on the ground there is only one sequence: the siren, the metallic roar of the cannon, and an explosion in the sky. The defense of the Green Zone. The system was first deployed years ago in Iraq to protect the called Green Zone of Baghdad, the enclave where the American embassy and much of the Western diplomatic and military infrastructure is located. Since then it has intercepted hundreds of rockets and projectiles launched by insurgent militias. In tests and real operations it has proven to be able to destroy between 70 and 80% of projectiles within its coverage area, making it one of the most effective point defenses in the world. Each unit costs between ten and fifteen million dollars, but its true cost is in the ammunition: each interception can consume tens of thousands of dollars in projectiles. Science fiction of modern warfare. What makes C-RAM so peculiar is not only its effectiveness, but the experience that generates when it comes into action. In a matter of seconds, the sky is filled with tracers that draw lines of fire towards an invisible point while the weapon roars with an almost surreal intensity. To those nearby, the effect is so impressive that many describe it as a scene straight out of a science fiction movie. However, this technological demonstration has a very specific function: to prevent cheap weapons such as improvised rockets or mortars from causing casualties in diplomatic bases and complexes. Announcing the war. Be that as it may, the rocket attack against the embassy American in Baghdad this week has once again recalled the role of this system in current conflicts. Directly framed in the Iran warAlthough one of the rockets was intercepted before falling inside the compound and there were no casualties, the episode confirmed something that American soldiers and diplomats have known for years: when that metallic roar sounds in the night, it means that the defensive shield is working. And also that the war is much closer than it seemed seconds before. Image | United States Air Force In Xataka | Iran’s drones have aimed at the same target as the US. And now that they have pulverized it, they are going to unleash their most dangerous weapon In Xataka | Iran has spent decades excavating its “missile cities.” Satellite images have just … Read more

An economic science fiction text has sunk Visa and Mastercard in the stock market. The reason is more disturbing than the story itself

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Citrini Research, a hedge fund American published this week a text written as if it were a macroeconomic memorandum from June 2028. It is not a prediction, its authors warn. It is a speculative exercise. A feasible scenario. It has achieved 24 million impressions, and counting. It is not an anecdotal tweet. The markets they have responded by sinking. Visa has fallen 4.4%. Mastercard, 6.3%. American Express, almost 8%. And Capital One, 8%. This deserves an explanation. And it’s not what it seems. Between the lines. The market reaction is not explained by the specific content of the Citrini Research report, which includes arguments as debatable as that AI agents will abandon cards to pay with stablecoins in Solana. Antonio Ortiz, technology analysts, has pointed it out precisely: part of the argument “it is from the first of Twitter AI-hype“. The idea that an agent will compare twenty food delivery apps vibecodeadas to find the cheapest one smells like a caricature of the future. But the panic is not irrational. It is precisely the panic of not knowing where the limit is. Why is it importantand. What has moved the market has not been so much the thesis about payments but the thesis about the destruction of value. And that is solid: many billions of dollars of market capitalization have been built on a single foundation: that humans are slow, impatient, forgetful and loyal out of inertia. That we do not compare prices. That we renew subscriptions that we do not use. And that we pay commissions that we do not negotiate. An AI agent has none of those weaknesses. And that changes everything. The backdrop. Citrini’s report comes at a time when the so-called “saaspocalypse“is no longer a metaphor. WSJ states that investors are terrified by the possibility that AI ends up doing the work that large software companies bill for today. ServiceNow, Salesforce, business management platforms… all built on the premise that companies need software for their employees to do their jobs. But… what happens when employees disappear? What if the software itself can be replicated in weeks with agentic coding tools? Citrini’s fiction begins exactly there, in early 2026, when a competent developer can reproduce the core functionality of a mid-market SaaS in a few weeks, and constructs a scenario of systemic collapse. The big question. The report’s most disturbing argument is that in every previous technological cycle, job destruction created new jobs that only humans could do. This time, AI is already occupying those new positions as well. If that’s true—if AI improves faster than workers can reorient themselves—the self-correcting mechanism that has always kept creative destruction from turning into outright destruction wouldn’t work. That is the scenario that the markets have discounted this week, even if only partially and speculatively thanks to a creepypasta financial. Yes, but. The scenario requires assuming a speed of adoption that is not guaranteed, a completely absent political response and a total absence of new economic sectors. None of the three conditions are set in stone. Furthermore, as Antonio points out, there is some collective hysteria in the reaction: each announcement or “scary story catches attention and moves investors.” Markets are trading in panic over the unknown. But there’s an important difference between saying “this scenario won’t happen” and saying “this scenario is impossible.” And that difference is exactly what has the market nervous. The alarm signal. The most striking thing this week is that a speculative text, written in economic science fiction format, has been enough to move billions in market capitalization. That says a lot about the state of certainty in the markets regarding AI: it is practically non-existent. Nobody really knows how much a company whose moat It is human friction in a world where that friction is disappearing. The canary is still alive. But investors have stopped trusting the canary. In Xataka | AI promised to revolutionize all sectors. It has only revolutionized programming while the rest is still waiting Featured image | Avery Evans

This Star Trek movie was canceled in 1977 because science fiction had no future. Two weeks later Star Wars premiered

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In the mid-1970s, ‘Star Trek‘ was experiencing a unique phenomenon in the entertainment industry. The original series, canceled in 1969 after three seasons of discreet audiences, had found an unexpected second life. Continuous reruns and fan enthusiasm (the first phenomenon of its kind to develop pop culture) encouraged Paramount to extend the original mythology. In 1976, a full-page advertisement appeared in ‘The New York Times’ proclaiming the imminent production of a Star Trek film: ‘Planet of the Titans’, and which aspired to take the franchise into uncharted cinematic territories. The origin. Producer Gerald Isenberg assumed executive control of the project in July 1976, intending to transform ‘Star Trek’ into a first-rate cinematic event. To direct, Paramount hired Philip Kaufman, a filmmaker whose profile was unconventional for a franchise. Kaufman would direct acclaimed works such as ‘Chosen for Glory’ and would delve into a science fiction very different from ‘Star Trek’ in the remake of ‘Invasion of the Ultracorps’ in 1978. But by 1976 he had already directed the western ‘No Law or Hope’ and the arctic adventures of ‘The White Dawn’. Chris Bryant and Allan Scott, British writers of the superb and extremely rare ‘Shadow Menace’, were chosen as scriptwriters. The conceptual basis of the project was nourished by ambitious sources: Kaufman and Isenberg structured the narrative inspired by the novel ‘The Last and the First Humanity’ by Olaf Stapledon, which traces human evolution over billions of years. As a scientific advisor, Paramount hired Jesco von Puttkamer, a NASA engineer. Ralph McQuarriewhose conceptual work for ‘Star Wars’ was then in full development, would do the designs. The conflicts. Creative tensions quickly emerged. Kaufman aspired to create a cinematographic work that would dialogue with ‘2001: A Space Odyssey‘ in visual and philosophical complexity. Gene Roddenberry, creator of the original series, defended its essence. Bryant and Scott they were trapped between these two incompatible visions, trying to balance the artistic ambitions of one and the fidelity of the other. The budget, initially set at three million dollars, rose to 10 million. What was it about? Captain James T. Kirk has disappeared three years ago, during a rescue mission near a black hole. The Enterprise remains operational, but Spock has returned to Vulcan. When Starfleet detects anomalous energetic emissions coming from the same black hole where Kirk was lost, Spock rejoins. They discover a planet trapped inside the black hole, the mythical home of the Titans, an ancient civilization possessing technology superior to that of humans. The planet is being inexorably sucked into the black hole. Spock locates Kirk, scarred by years of isolation and transformed by cosmic forces. The planned outcome was the most radical bet: to escape collapse, the Enterprise deliberately enters the black hole, emerging not in its time, but in our prehistory. The crew discovers that they themselves are the Titans of mythology. Kirk is Prometheus, the bringer of fire to early humanity. The script does not clarify whether the crew would finally manage to return to their time or would be trapped observing the slow development of human history that they themselves had started. Kirk is dead. But… why make a movie in which the legendary Kirk is practically absent? William Shatner’s contract with Paramount had expired, leading Bryant and Scott to develop a first draft that eliminated Kirk. After several weeks of work, the studio informed them that an agreement had been reached and that Kirk should be reinstated as the lead. This twist forced a substantial rewrite of the material. And the situation with Leonard Nimoy was even more complex: the actor withdrew from the project due to a conflict over the unauthorized use of his image as Spock in a Heineken advertisement, but an agreement was finally reached. The cancellation. Bryant and Scott submitted their first completed draft on March 1, 1977, after months of intense creative negotiations, but ultimately walked away from the project. Kaufman personally took on the rewrite of the script. His version intensified the role of Spock and developed the dynamic with a Klingon played by none other than the legendary Toshiro Mifune. Just when he was convinced he had found the definitive story, he was told that Paramount had canceled the project. This happened in May 1977, just seventeen days before the premiere of ‘Star Wars’. Kaufman would always remember the phrase that a studio executive told him as justification for the cancellation: “there is no future in science fiction.” Why was it cancelled? They converged different factors: the increase in costs, the fear that ‘Star Wars’ would saturate the science fiction market and the belief that they had distanced themselves too much from the original series. When ‘Star Wars’ grossed more than $775 million worldwide, Paramount pitched ‘Star Trek: Phase II,’ a television series planned as the flagship of a new company television network. It would also be cancelled, although one of its scripts would eventually become the basis for ‘Star Trek: The Motion Picture’, released in December 1979. The legacy. ‘‘Planet of the Titans’ was not the first failed attempt to bring ‘Star Trek’ to the cinema, but rather one more link in a chain of frustrated projects that reflected Paramount’s uncertainty about how to capitalize on the franchise: there are cases as popular as the legendary and disturbing film ‘The God Thing’, written by Roddenberry himself in 1975, or the many attempts to recruit science fiction authors to contribute ideas for films, as happened with Harlan Ellison in the late seventies. And although something remained from the film in the future after the cancellation of ‘Planet of the Titans’ (for example, the concept designs They were reused in 2017 in ‘Star Trek: Discovery’), this cursed movie is the perfect example of what ‘Star Trek’ has always been. A sign that there are more ways to do science fiction outside of spectacle pulp of Star Wars and, at the same time, the confirmation that it is very complicated to do so. In Xataka | More and more … Read more

This new short is inspired by his science fiction work

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The comics and animation of the eighties are the key aesthetics of a project that, if all goes well, will see the light of day soon and that comes with a label well known to Spanish fans: that of Alfonso Azpirithe much-missed artist who gave visual form to the great successes of the Golden Age of Spanish soft in games for dynamicTopo and other companies. His unmistakable style is part of the DNA of a very promising project: ‘Love Story’ The origin. To trace the origin of this idea we must go back to a tiny science fiction story written by Carlos Buiza (an essential figure in the development of Spanish science fiction in the sixties as co-creator of the magazine Nueva Dimensión) and which was illustrated by Azpiri still taking his first steps, in 1972. Buiza had already obtained some fame with a story, ‘El asfalto’, which Chicho Ibáñez Serrador adapted in an episode of ‘Stories to keep you awake‘ which achieved notable relevance. In 1972, Buiza published ‘Love Story’ in an issue of ‘Triunfo’ magazine dedicated to science fiction, along with an illustrated header of an Azpiri still far from his days of fame but in whose lines the future genius was already guessed. Later, Azpiri would transform the story into a comic, which appeared on the author’s compilation album ‘Pesadillas’, published in 1985. The influences. ‘Historia de amor’ will become a short film directed by Jose Luis Quirós and David Díaz-Guerra, but it takes a leap in its visual references from the seventies, focusing on a style more typical of the eighties, when Azpiri, already in full command of his art, published comics such as ‘Lorna’, ‘Mot’, ‘Nightmares’ or ‘The Vagabonds of Infinity’. The authors also mention authors of the time such as Moebius or Frank Miller, and animes such as ‘Ghost in the Shell’, ‘Evangelion’ and ‘Cowboy Bebop’ as key influences. What is it about? AZ, a dreamy alien on a barren planet, Polkj, is kidnapped by humans. But he wants to discover the secrets of the universe, life and love before they experiment on him. The connection that arises with humans clashes with the objective of these invaders: that AZ be infected with a virus that will exterminate his species and allow humans to escape from a dying planet Earth. Who is behind. ‘Love Story’ is co-directed by José Luis Quirós and David Díaz-Guerra. The first has been twice nominated and winner of the Goya Prize, and is behind very personal works, such as ‘The tower of time’. Next to him is the Runik Animation studio, which has collaborated in the making of films such as ‘Planet 51’, ‘Catch the Flag’, ‘Fantastic Beasts’, ‘The Avengers’ and ‘Pacific Rim’. As for Díaz-Guerra, this is his first short film as a director, but he has experience as a screenwriter and, significantly, as a theoretical physicist, which guarantees a very stimulating approach to the science fiction that is a core part of the short. How will it be done? The short will use 3D animation as a basis for modeling and lighting, working in real time with Unreal Engine. There will be motion capture to reduce costs and, finally, traditional animation sequences for selected moments. All of this will be combined with selected sequences drawn with watercolors, in search of a style with a nostalgic touch that goes back to Azpiri’s comics. How much and for when. The estimated budget of the project, according to what the creators of ‘Love Story’ tell us, is 50,000 euros, of which they already have 10%. There is a long road ahead of searching for financing to reach the planned goal of releasing in the fourth quarter of 2026. At this moment, Runik Animation, together with producer Juan Nieto and Nvidia (which collaborates by providing hardware to the team) are in the initial phase of developing the script and storyboards. In Xataka | 30 years of ‘Navy Moves’, when Dinamic made the best game of the year in the entire world

Three Russians surrender on camera. A normal scene from wars, but science fiction in Ukraine because of the “soldier” who points guns at them

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From dug trenches rush to heaven buzzing without restthe war in Ukraine has become a testing ground where the classic rules of combat have long since lost the battle. Every month scenes appear that would have seemed impossible just a few years ago and that force us to rethink what it means today to fight, resist or survive in a front dominated by unexpected technologies. The last example shows a surrender. The first time before a machine. Three Russian soldiers emerge from a building, one of them bloody, raise their hands and obey orders while a camera records everything. The scene would be routine in any war conflict in history, but in Ukraine it marks a breaking point: The one who points the gun at them is not an infant, but an armed robot. It’s not the first time we see such a surrenderbut it is the first to be documented on video and in front of an unmanned land vehicle, a scenario that symbolizes the extent to which the line between science fiction and real combat has been definitively erased in this conflict. From marginal experiment to centerpiece. It we have counted before. Ukrainian ground robots, known as robotic ground complexes, began the war as imported rarities and today are an industrial and military mainstay of their own. 99% of UGVs in use They are already manufactured in Ukrainewith more than 200 different models produced by dozens of local companies in ultra-fast design cycles, fine-tuned directly with feedback from the front. Small, cheap and assembled from commercial components, these robots have moved from transportation and evacuation to carry heavy machine gunslead assaults, hold defensive positions for weeks, and now, accept prisoners without any human soldiers having to expose themselves. Machines that do not bleed. The tactical value of these systems goes beyond firepower. Accepting a surrender with a robot eliminates the risk of ambushes, false capitulations or instant decisions between life and death, a recurring problem on the Ukrainian front. At the same time, the psychological impact It’s huge: fighting an enemy who doesn’t feel paindoes not die and can be replaced quickly erodes morale and makes the option of surrender more rational. Hence the image of confused soldierss surrendering to a machine summarizes that moral and human imbalance. Some of the varieties of Ukrainian ground drones The sky as a weapon. This qualitative leap on the ground fits with an even more overwhelming reality in the air. According to Zelenskymore than 80% of effective strikes against Russian forces are already carried out with drones, the vast majority manufactured locally. In 2025, Ukraine claims to have attacked about 820,000 targets with these systems, recording each impact on video within a points system that rewards units for each confirmed casualty and accelerates the acquisition of new material. In other words, war has become a closed loop of sensors, cameras, algorithms and rewards. An unprecedented cost. Almost four years after the invasion, Russia’s human toll in Ukraine reaches unprecedented figures since World War II: around 1.2 million soldiers dead, wounded or missing, according to the latest report from the Center for Strategic and International Studies. This massive attrition contrasts with very limited territorial advances, barely 12% more territory controlled since 2022, with daily progress that in some sectors is measured in meters and is even lower than that recorded in battles of the First World War. The Ukrainian defense-in-depth strategy, combining trenches, mines, obstacles, artillery and drones, has tipped the balance of casualties by a proportion clearly unfavorable for Moscow and questions the idea of ​​an inevitable Russian victory. The Russian rearguard. The impact of the conflict goes far beyond the front and is degrading Russia’s economic and strategic capacity, the same as the SCIS report already described as a second or third order power. The combination of inflation, labor shortages, industrial weakness and technological stagnation has left growth stunted and a committed futurewhile human losses exceed the recruitment and replacement capacity. In fact, compared to past conflicts, the figures are devastating. The war future. In short, between swarms of FPV drones, armed ground robots and electronic warfare systems, the war in Ukraine has advanced decades of military development in just a few years, while much more expensive and slow Western programs they stalled or were canceled. Therefore, the filmed surrender facing a robot is not an isolated anecdote, but a sign that modern combat no longer revolves only around the human soldier, but rather cheap, disposable and omnipresent machines. In Ukraine, the war of the future is no longer being imagined: it is being recorded in the first person. Image | UKRAINE MOD In Xataka | “They are under our feet”: Ukraine has entered an inexplicable phase, that of its drones attacking Russians at absurd distances In Xataka | We had seen everything in Ukraine. Until Russia sent a soldier to the front that we had only seen in the movies

A Harry Potter fan fiction was so successful that it changed the names of its protagonists. And thanks to this he earned 3 million dollars

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A Harry Potter fanfic has just become one of the most successful publishing releases of the year. ‘Alchemised‘, SenLinYu’s debut novel, sold 300,000 copies during its first week in bookstores and reached number one on The New York Times bestseller list. But the real impact came days before its publication, when Legendary Entertainment paid more than $3 million for the film rights, setting a record for a debut novel. How it was done. The story behind the book is as notable as its figures: ‘Alchemised’ was originally titled ‘Manacled’, and was a fanfiction that mixed the universe of harry potter with ‘The Handmaid’s Tale‘ by Margaret Atwood, focusing on the relationship between Hermione Granger and Draco Malfoy. Over 18 months, SenLinYu transformed his viral story (which racked up millions of reads on the fanfictions Archive of Our Own) in a completely original work, eliminating all traces of intellectual property of JK Rowling and Atwood of the text, but trying to preserve the core of the narrative. The result: Favorite Debut Novel of 2025 at the Goodreads Choice Awards. What is it about? Alchemised follows Helena Marino, an alchemist and healer who awakens after 14 months as a prisoner of war of the necromancers, the victorious side in a devastating civil war. Helena discovers that her mind has been magically altered, erasing crucial memories from a part of her life she doesn’t even remember owning. The book has a violent and dark approach, and that is why SenLinYu rejects the “romance” label despite the love component: “I didn’t write this book with the idea that it would be seen as aspirational.”he states. The author’s past. The appeal of the book lies precisely in that uncompromising darkness. SenLinYu, of Japanese descent, injects into her fantasy elements based on the real horrors of war (her maternal grandmother was in American concentration camps during World War II) and has sought to recover ignored historical perspectives, particularly the experiences of Soviet women on the Eastern Front. That combination of epic fantasy and anti-war criticism has connected with readers who seek more mature and disturbing narratives than those usual in the genre. The paradigmatic case. The path of fanfiction The publishing phenomenon has an inescapable antecedent: ‘Fifty Shades of Grey’. In 2009, EL James began publishing chapters of ‘Master of the Universe’ on Fanfiction.netreimagining the relationship between Edward Cullen and Bella Swan from ‘Twilight’, without vampires but with a domineering billionaire. Reader reaction was so positive that James self-published the story in 2011 after removing explicit references to Stephenie Meyer’s saga and renaming the protagonists Christian Gray and Anastasia Steele. The leap came in March 2012, when Random House acquired the rights of the novel in a seven-figure contract. The result was more than 150 million copies sold globally and a film trilogy that grossed $1.3 billion at the global box office. Even then Jennifer Bergstrom, executive at Simon & Schuster, declared that “the fanfiction It has definitely become part of what we publish. This is changing the industry at a time when traditional publishing needs it most.” For the first time, major publishers were publicly acknowledging that online communities of amateur writers were a legitimate talent pool. Other successes. The success of ‘Fifty Shades’ was not an isolated case. Anna Todd wrote a story about One Direction’s Harry Styles on Wattpad in 2013, publishing it in serial format under the title ‘After’. The story accumulated more than 1,000 million readings on the platform before Simon & Schuster offered him a contract with which sold more than 10 million copies and generated five movies. More recently, Ali Hazelwood transformed her fanfiction of Star Wars centered on Rey and Kylo Ren in ‘The Love Hypothesis’, which It will soon be adapted to film. The journey here. This transformation of fanfiction into a bestseller would not have been possible without the digital ecosystem that supports it. Archive of Our Own It houses more than 13 million works and has become the most important archive of transformative writing. ‘Manacled’ by SenLinYu It was the second most read story in the entire history of the web when it was removed in January 2025, having accumulated more than 10 million views and 84,000 kudos (the equivalent of “likes”). This phenomenon has forced the traditional publishing industry to rethink its methods of attracting talent. Literary agents and editors now systematically scour Wattpad, Archive of Our Own, and Fanfiction.net, identifying high-impact stories before offering contracts. Removing references to other people’s intellectual property is now a standardized process, and thanks to this, trends such as videos on ‘Manacled’ accumulated millions of views years before ‘Alchemised’ hit bookstores. A whole tide of public before the official publication of the book. In Xataka | JK Rowling against fandom: How the Harry Potter universe lost its magic

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