12 premieres this week on Netflix, including the return of one of the platform’s most successful franchises

We cross the midway point of May, and we do it in a big way, with two premieres that are among the juiciest of this week in streaming: the return of ‘Berlín’ with a second season that recovers the most filigree and elegant side of ‘La casa de papel’, and ‘Flow’, one of the best animated films of recent years. And it is not the only thing that the most popular platform has in its portfolio this week. series Berlin and the Lady with an Ermine The second installment of the, for now, only spin-off of ‘La casa de papel’ announced by Netflix (we will have to see what those already announced next steps are in the franchise expansion) takes us to Seville: a great Andalusian businessman commissions Berlin, again played by Pedro Alonso, to steal ‘The Lady with an Ermine’, the famous painting by Leonardo da Vinci that arrives in the city for an exhibition. Berlin believes that it is better to rob the thief himself, and sets up his usual gang: Michelle Jenner, Tristán Ulloa, Begoña Vargas, Julio Peña Fernández and Joel Sánchez, who are joined by Inma Cuesta as an unpredictable and temperamental Sevillian. Premiere: Friday, May 15 Nemesis More robberies, more suspense and more tension with this series about the confrontation between two men who, despite being on opposite sides, share more than they imagine: an obsessive detective and a sophisticated thief expert in high-profile robberies. But they both share something that makes them more similar than they want to admit: they want to protect their families using the only means they know. Matthew Law and Y’lan Noel lead the cast of this series co-directed and produced by Mario Van Peebles. Premiere: Thursday, May 14 Other series Devil May Cry (Season 2) – Tuesday, May 12 Secrets of sport – Tuesday, May 12 Gallitos (T2) – Wednesday, May 13 Between father and son – Wednesday, May 13 Soul mates – Thursday, May 14 The Middle – Friday, May 15 The SUPERgeeks – Friday, May 15 Movies flow One of the most extraordinary and celebrated animated films of recent years, premiered in Cannes in 2024, and winner of the Golden Globe for Best Animated Film and the Oscar in the same category, becoming the first Latvian film to win an Academy Award. It stands out for being completely rendered with the free and open source software Blender, and for not containing any dialogue. The film tells the story of a cat, a dog, a capybara, a ring-tailed lemur and a secretary bird who travel together through a surreal, dreamlike landscape flooded by water, in a world in which human beings have disappeared. An allegory about cooperation in days of adversity, more than necessary in these times. Other movies Marty, Life is short: The documentary – Tuesday, May 12 The crash – Friday, May 15 In Xataka | Netflix premieres today the dystopian series that has risen to the throne of the best in history in six seasons

Warner series, franchises and business units that will be owned by Netflix

Netflix did not need to demonstrate creative capacity: its own production had become the reference for global streaming. However, the announced agreement to acquire Warner Bros. Discovery’s studio and streaming business introduces a change in scale if regulators end up approving the operation. It is not about adding a few more series, but about integrating a studio with decades of history, the area where HBO is located and a very relevant part of its catalog, in addition to several franchises that have marked popular culture. Faced with such a move, the inevitable question is what, exactly, will become under the control of Netflix, without this meaning that everything will appear tomorrow in its application. The agreement is not closed yet and depends on several formal steps. Netflix and Warner Bros. Discovery have announced that the operation, valued at $72 billion in capital and some $82.7 billion in enterprise value, can only be completed after spinning off the new Discovery Global company. From there, the process will be in the hands of the regulators, which could take between 12 and 18 months to review an integration of this magnitude and could impose additional conditions or, in the worst case scenario, block it. The perimeter of the deal: what actually goes into the package. Official communications and media analysis agree that the operation covers the historical core of the study. That includes Warner Bros. Pictures, responsible for its film catalog, and Warner Bros. Television, the basis for some of the most influential series of recent decades. Added to that block are HBO and the HBO Max platform, which are part of the streaming business that Netflix intends to integrate, as well as DC Studios. The inclusion of Warner Bros. Games is not detailed in the first press release. What’s left out: the new Discovery Global. The operation does not cover the entire Warner Bros. Discovery. Before completion, the company must spin off a block of channels and services that will not come under Netflix control. Warner Bros. Discovery’s corporate plans indicate that this group will be integrated into the new Discovery Global, an independent company that will maintain assets such as CNN, Discovery Channel, TBS, TNT in the United States, Food Network, HGTV, Discovery+ and part of the sports operations, including TNT Sports US. Film franchises: from Hogwarts to Gotham. Netflix and Warner’s own joint communication serves as a guide to understanding the caliber of the film franchises involved. It mentions specific titles such as ‘Harry Potter’, the DC Universe, ‘The Wizard of Oz’, ‘Casablanca’ and ‘Citizen Kane’, along with television brands such as ‘Friends’, ‘The Big Bang Theory’, ‘The Sopranos’ and ‘Game of Thrones’, as a sample of the archive that accompanies the study. From that base, media like Newsweek and What’s on Netflix broadens the focus and they point out that, within Warner’s recent filmography, sagas such as ‘Dune’ or ‘The Matrix’ also appear as part of the fund that would remain under the management of the studio controlled by Netflix, always with the caution that it is not an official list title by title. Warner’s animated treasure. Among the assets least visible to the general public, but widely cited in coverage of the agreement, There is the extensive animation catalog that accompanies the Warner studio. There, icons like ‘Looney Tunes’, ‘Tom and Jerry’ and ‘Scooby-Doo’ are mixed with series that defined Cartoon Network’s identity, from ‘The Powerpuff Girls’ and ‘Dexter’s Laboratory’ to ‘Adventure Time’, ‘Regular Show’ and ‘Steven Universe’. The interactive leg of the deal is best understood if we look at what it means, in practice, for Warner Bros. Games to change ownership. Although the first corporate communication did not go into that level of detail, specialized media such as GameDeveloper have cited to a company spokesperson to confirm that the video game division is entering into the operation with Netflix. What is confirmed and what remains unknown. At this point we can draw a relatively clear line between what is confirmed and what still depends on third parties. The perimeter of the agreement falls into the first group: Netflix and Warner have explained that the package includes film and television studiosthe area where HBO and HBO Max and the video game division are included, while the linear channels are grouped into Discovery Global. We also know that franchises such as ‘Harry Potter’, the DC Universe, ‘Friends’ or ‘Game of Thrones’ are mentioned by the parties themselves as examples of the archive they provide. What remains open is when and how this will be reflected in the catalog of each country, what will happen with co-productions and previous licenses already signed and to what extent regulators will impose additional conditions or, in the most extreme scenario, decide to stop the operation. The real impact of this operation will be noticed over time, not from one day to the next. If the agreement receives the approval of regulators, Netflix will manage a studio with a historical weight that is difficult to replicate and a library that has defined much of recent audiovisual culture. What the viewer will see will be a gradual transition, marked by pre-existing licenses and agreements that must be respected, with different schedules depending on the country and type of content. Even so, the movement anticipates a stage in which the platform will stop depending so much on third parties and will consolidate its own base of content that, until now, it could only license. Images | Netflix | Warner In Xataka | All the unanswered questions left by Netflix’s purchase of Warner: a huge mess

Between franchises, action and superheroes Hollywood has found a surprising gold mine: horror movies

14.4% of the American box office already belongs to horror movies. It is its historical maximum and a great leap from 9.8% of last year confirming what we already suspected: the damn genre has become an unexpected hero of Hollywood. ‘Weapons‘, the last success of director Zach Cregger, has debuted with $ 42.5 million collected and 100% critical approval in Rotten Tomatoes. The pattern is confirmed. Why is it important. The era of streaming has created the perfect conditions for this genre: Cheap productions, between 5 and 30 million compared to 200 of a Blockbuster. Viral by its very nature. Consumed in the intimacy of the home, where no one judges you for shouting (when they reach the platforms). Simple equation: Less investment, greater return. The contrast. In 2021, the best previous year for the genre, dominated the sequelae. ‘Halloween’, ‘A Quiet Place’. Now the original stories, new scares. Six horror films have exceeded 50 million worldwide this year. There are 29 horror launches scheduled for 2025. The average budget is a tenth of a Blockbuster traditional. Yes, but. The industry fears an early saturation. Variety I already talked in April of ‘Horror Glut’ (‘Terror Empacho’). The risk is to turn fear into routine and end up tireding the viewer too early. In perspective. Historically, terror is the Hollywood refuge genre in times of crisis. In the great depression it was when the classic monsters of Universal were born. In the seventies (Vietnam, Watergate), they arrived ‘The exorcist‘ and ‘The Matanza de Texas‘. There were also rebounds in Pandemia. Today, with the industry staggering between The strike hangoverthe change of model towards the streaming And the threat of AI, terror is the answer again. Cheap to produce, easy to sell, impossible to ignore. And now what. The generative AI can be the following revolution of the genre. Special effects at balance price, scripts generated by trained algorithms in our deepest fears. Terror, which has always been the most honest genre about the human condition, could be the first to hug the AI without complexes. Fear sells. He has always done it. But now, also saves balances. In Xataka | More ads for less money: the equation of success that Netflix has deciphered big Outstanding image | Warner Bros. Pictures

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