How many books a month are too many books? The debate about reading as another form of extreme consumerism

The mixture of the need to create constant content and the search for new forms of validation has generated a new controversy in the Tik Tok literary sector. Creators cross accusations with others about the legitimacy of reading without stopping, where is the real enjoyment and if reading more or less determines the real quality as a reader. They have not reached any conclusion, but the question is on the table: how much do you have to read to read good? Readers shock. The booktoker Beautifulone of the most often of the Spanish booktokersfera, with almost 350,000 followers She was accused by another booktoker, Palomo Gamyito erroneously normalize reading dozens of books per month. According to this other Booktoker, this infernal rhythm of readings hides a much more critical reality: we must maintain that rhythm of readings to follow the crazy rhythm of launch of the great publishers, accusing many of the main creators of content about books of being spokesmen at the service of the industry. 11 tricks to dominate Tik tok What this clash hides. Gamyi is, in fact, a booktoker who instead of talking about the Latest novelties of Romantasy and literature Young adultcomments more serious novels, such as ‘The Shadow of the Wind’ or ‘The Conjure of the fools’. In addition, it combines comments from books with videos about your own love for writing. His defense of reading little but “better” also hides an ethical positioning and a claim of gourmet readings above literary fast food. Where everything is kneaded. All this happens in the BookTook digital subculture, an increasingly numerous group of users that recommends and promotes books: from recovery of classics to comments from novelties, going through tricks to read more and/or better. Many observers believe that this current our way of reading has changed and is transforming The customs of generation Z. He Hashtag that Group these users It already adds 200,000 million visualizations, enough to consider a cultural force that conditions the large publishers, who see how gender sales like Romantasy rise when recommending them Booktokers. What have the booktokers have done. Convert the accusations of Palomo Gamyi into a viral issue, of course: it has been put on the table how many books it is reasonable to read a month, all overlooked with tips and humor. It is an issue that was already commenting Since 2024so it is not new, but the video of Palomo Gamyi has brought up what this activity has to follow the editorial rhythm together. That is, a matter of creation of novel content to grow in social networks. Too many books? From this conflict two primary themes come out. The first is whether in Spain they are published Too many books: In 2024 were 89,347according to the Ministry of Culture: an increase of 2.6% compared to the previous year already levels similar to the pre-pondemic years. It is a very high figure and puts us at the head of Europebut it generates problems: a fierce competition for the care of the reader and a very short life for the news. A problem that, perhaps, compulsive readers such as beautifulbooks are helping to prolong. A validation. The other problem of the Booktoker community that hides this conflict is the search for personal validation through quantity, something similar to Likes psychology: A reaffirmation is sought through that acceptance of strangers. The mountains of read books are also a way of generating admiration and envy by a community with which tastes are shared, no matter how much reading is not very repossed and, as Gamyi complaint, does not generate a real reflection on the work, but a mere to pass pages. The discussion has not caused the blood to the river, and most of the booktokers participating in it seem to agree that each one must read what he can (and want). Which does not prevent a long and sinister shadow on such a simple and, beneficial hobby, benefit, such as reading for pleasure. They are also readers. The BookTokers They are not a promotional creation of the industry, but a spontaneous movement born in social networks (they have their equivalents in others, such as Booktubers), and they are a sign that in post-pandemic reality, there is a generalized fever by reading. Microeditorials arise consecrated to the publication of authors and projects outside the great industry, reading clubs They have ceased to be an extravagance For library mice, and books are relief from the saturation of screens we live, even in our leisure times. Conflicts like this are the least, because in the end they refer to the important thing: we like to read. Header | Patrick Tomasso in Unspash In Xataka | There is something in the book by José Breton that has crossed a red line although we have been hooked for years to True Crime Crimes

The most millionaire form of Ferdinand Porsche’s grandson to save a slope

Wolfgang Porsche, president of the Porsche Board of Directors and grandson of Ferdinand Porsche, is raising controversy among the residents of Salzburg (Austria). The millionaire has proposed to build An underground tunnel deprived of about 500 meters under the mountain where one of its seventeenth century is located. The most striking of all, is the reason why he wants to build this tunnel: avoid a brief section of road that winds down the slope of Mount Kapuzinerberg by joining it with the urban center of the city. The new Millionaire neighbor. According to The published By the German newspaper DerstandardWolfgang Porsche bought in 2020 the villa Paschinger-Schlössl for about 8.4 million and is currently under rehabilitation works. That is, it is not even about Millionaire’s main house 81 years. The village of a palatial nature is located on a slope of the mountain of Monte Kapuzinerberg, which acts as one of Salzburg’s green lungs, and had belonged to the writer Stefan Zweig. “Complicated” access. As usual in the places built on a mountain, the narrow road with only access lane to the place, runs through the side of the mountain saving a slope with about 50 meters of unevenness. Apparently, the president of one of the largest manufacturers of German supercar distracks him to travel a brief section of mountain to reach his residence. According to local sources, the narrow access through a 16th -century wall tends to collapse due to the difficulty of access, it can be dangerous in winter. The least is the tunnel. According to published Spiegelto avoid the stretch of road, the millionaire believes more appropriate to build an underground tunnel under its mansion, so that the landscape value of the place would not be altered. This work would allow to communicate a private parking for nine cars that will be built next to the town, with urban parking located at the base of the mountain. The bureaucratic procedures for the execution of the work are already very advanced and even the millionaire would have already paid about 40,000 euros in concept of access to the existing urban parking. The neighbors see it as a privilege for rich. The Bürgerliste Local Party has questioned the modest access rate that the millionaire has paid. While the amount of your personal fortune is not publicly known, it is estimated that the fortune of the Porsche/Piëch family whose fortune is estimated in about 38.8 billion dollars. Beyond the protests for the supposed privilege of access to the new neighbor, there is legal level they have nothing to object. According to “Kellerrecht“or” Bodega Law “, the property of Wolfgang Porsche is not limited to the land and the town built in it, but also to everything under the town.” Theoretically, these lands could be used even to the core of the Earth, “said a report by the municipal technical entity. In Xataka | There are only two units of this exclusive Porsche 911. One of them was abandoned and taking dust in Dubai Image |Porsche

Steven Soderbergh: ‘I am the cockroach of this industry. I can survive any version of it’

NEW YORK — Steven Soderbergh is not only the director and cinematographer of his latest film. In some ways, he is also its central character. “Presence” is filmed entirely from the point of view of a ghost inside a house that a family has just moved into. Soderbergh, who acts as his own cinematographer under the pseudonym Peter Andrews (his father’s name), essentially plays the presence, a floating point of view that watches as the violence that killed the mysterious ghost threatens to repeat itself. For the prolific Soderbergh, the film, which opens in theaters Friday, was a unique challenge. She shot “Presence” with a small digital camera while wearing slippers to soften her steps. The 62-year-old filmmaker chatted in a recent interview in Manhattan, in the midst of post-production on his next film (“Black Bag,” a thriller that Focus Features will release on March 14), and the start of production in a few weeks his next project, a romantic comedy that he says “feels like a George Cukor movie.” Soderbergh, whose films include “Out of Sight,” the “Ocean’s 11” films, “Magic Mike” and “Erin Brockovich,” tends to do a lot in small windows. of time. “Presence” took 11 days to film. That skill has made Soderbergh one of the most respected Hollywood evaluators in the film business. In a wide-ranging conversation, he discussed why he thinks streaming is the most destructive force cinema has ever faced and why he is “the cockroach of this industry.” Steven Soderbergh attends the premiere of “Presence” at AMC Lincoln Square on Thursday, January 16, 2025 in New York. (Evan Agostini/Invision/AP) You use pseudonyms for yourself as director of photography and editor. Were you tempted to credit yourself as an actor for “Presence”?SODERBERGH: No, but what I did is subtle. For the first and only time Peter Andrews has a camera operator credit. That’s not a credit I usually take because I don’t need it and I typically have another operator working with me. But I felt like this was training. It was complicated, but really fun. It was another level of performance anxiety because I ruined more takes than anyone else in the movie by a major factor. I was the one saying, “Cut. I ruined it. “We have to start over.” You made this quickly and cheaply, and then sold it to a distributor. Was working outside the system attractive to you?The beauty of projects on this scale is that I can do them without having to talk to anyone. It’s not because I don’t want comments. It’s because it’s just the trusted group and none of the psychic space is occupied by things that have nothing to do with what you’re going to film. I went from that to a more traditional project where a lot of psychic space is consumed in the process of having a studio finance your film. I like these people, it’s just that there are a lot of lawyers. Many lawyers. You’ve called streaming the most destructive force in the history of cinema. What irritates you the most about it?It removes a key reference point for an artist. It’s useful to know how something is working, or how it worked. You need to know that to gauge whether you achieved what you wanted to achieve, whether you can work at a certain level. That’s one of the most confusing things about it, the black box of it. Aside from the economic invisibility of what’s going on there — the fact that we can’t really look under the hood of how these streaming companies operate economically — there’s another kind of guardrail that’s missing that I find really useful. At the end of the day, at least, I want to know. The market will tell you how you are doing. I want to know that so I can adjust or go in another direction. Being irrelevant is not very attractive. What’s the overlap between what people seem to be responding to and what I like? Because I don’t want to do these things and have no one see them. I’ve had enough people say, “Oh, that came out?” It is a public art form. West Mulholland, from left, Callina Liang, Steven Soderbergh and Eddy Maday attend the premiere of “Presence” at AMC Lincoln Square on Thursday, January 16, 2025 in New York. (Evan Agostini/Invision/AP) How do you suspect the audience is changing?The good news is, if you talk to Focus Features and Neon and A24, young people are going to the movies. This is the generation of (the social network of movie buffs) Letterboxd. That’s fantastic. I hope that spreads outside of the United States. They are movie buffs and expect something unique. They want the signature, they want the seal of a filmmaker. And that is becoming a real business. One of the things, I think, that we all need to do, but especially people who cover the industry, is to stop using the studio metric for what is a success. That is not a template that you should apply to everything. Do you ever regret that the movies that made you want to be a filmmaker like “All the President’s Men” and “Chinatown” occupied a different place in the culture than movies today?There was a period of about 10 to 14 years where the best movies of the year were also the most popular movies of the year. That’s not necessarily true today. You can pick one of the movies that’s in the competition this year and say: That’s a movie from the ’70s. It’s just as good and interesting as one of those. But it’s not going to do the business that one of those would have done. It is the artist’s job to adapt. When you’re trying to control what people want to see, you’re in a place like, “If I really wish hard, it won’t rain.” The weather is the weather. To some degree, the audience is a weather system. Fortunately, … Read more

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