“A generation that cannot stand boredom will be a generation of little value”

Before we get into philosophical matters, let me ask you a personal question: When was the last time you got on a train, no matter if it was an AVE or the subway that takes you from home to the office? And what did you do during that trip? What were the rest of the passengers doing? I don’t know the first answer. Regarding the other two… it is quite likely that I will be right because they will coincide with what I myself do when I travel: I take out my phone, read the news, open Instagram, browse TikTok, X… Anything to distract myself. Is the most normal No? The same thing happens when we are in the dentist’s waiting room, we wait our turn at the butcher shop, we wait for our son to get out of the pool or we are simply in the elevator that takes us from the hall to the floor where we live. We look for stimuli, a quick way to fill our attention. The opposite would be almost counterintuitive because, after all, who would choose to be bored when they have unlimited distractions in the palm of the hand? Who wants to be bored? Networks and cell phones may be relatively modern inventions, but the ‘allergy’ to boredom is not. Neither the debate about the place it occupies (or should occupy) in our lives. In fact, a few decades ago, one of the most prominent and media thinkers of the 20th century, the British philosopher, logician, mathematician and writer, was already reflecting on this matter. Bertrand Russell. Throughout his prolific career Russell delved into the highest terrains of mathematical theorybut he also wrote a huge number of articles and essays on topics much closer to the asphalt, with titles as suggestive as ‘Why I’m not a Christian’ (1927) or ‘The conquest of happiness’ (1930). In one of his many memorable lines he left a phrase precisely about idleness and boredom that today sounds with a special force. So much in fact that every so often it sneaks in articles about psychology or in those proverb collections philosophical ones that then tend to populate the footers of the agendas. The phrase in question says: “A generation that cannot stand boredom will be a generation of little value.” A whole plea in favor of torpor that is reminiscent of the proclamation of another great intellectual of the 20th century, Miguel de Unamuno, who in his day also confessed to appreciating boredom. “something sweet and calming”. But… What the hell does Russell mean by a “low-value generation”? Is it so important to know how to be bored? At the end of the day, Europe at the beginning of the 20th century in which he lived is one thing and our hyperconnected world, that of TikTok, Spotify and Netflix, is another. What sense does it make to tolerate boredom in an era in which production, efficiency reign, and in which there is no pocket without a cell phone? Should we cross our arms on the subway instead of take out the smartphone and see how our cousin is doing on his vacation, read the latest Xataka posts or watch videos of kittens on TikTok abandoned to the pleasure of scroll infinite? Today we know that Russell I was not wrong. At least if we base ourselves on the observations carried out a few years ago by Dr Teresa Belton, from the University of East Anglia, who already in the 1990s began to explore how television was affecting the development of children. It wasn’t the first. Their work was supported in turn in other previous studiessuch as macro research conducted in the 1980s in Canada that found that children raised in communities without TV obtained higher scores in “divergent thinking skills,” an indicator of their imagination. That advantage disappeared as soon as the small screen came into their lives. What did Belton verify? Basically, despite the ‘bad press’ of boredom, there are certain professionals who claim that boredom has played a key role in their creative development, both in childhood and in adulthood. As an example, he quotes Meera SyalEnglish writer, playwright and actress. “Boredom led her to keep a diary, and this is what she attributes her career to,” explains the researcher. Another example he presents is that of the neuroscientist and writer Susan Greenfieldwho is also convinced that the time she spent as a child with no other occupation than writing and drawing laid the foundations for her career as a student of human behavior. “You don’t need to have a special talent. You just let the mind wander from time to time seems important for mental well-being and functioning. One study has even shown that if we do some simple, undemanding activity, the wandering mind is more likely to generate imaginative ideas and solutions to problems,” reflect in The Conversation. “It’s good to help children learn to simply enjoy leisure, and not grow up with the expectation that they should always be active or entertained.” “Children need time to stop and observe, time to imagine and develop their own thought processes or assimilate their experiences through play or simply observing the world around them,” comments Belton. before warning that screens can “short-circuit” that process and the development of creativity. In one of his articles he even remembers “flow” concept coined by the psychologist Mihalyi Csickzentmihalyi, something that can also be transferred to adults who like to escape by taking out their cell phone in the subway or elevator. “Paradoxically, this attempt to avoid boredom can result in a kind of dissatisfaction that is experienced as boredom,” comment. “He flow is the satisfying feeling of total absorption that we obtain when we concentrate on an enjoyable activity, over which we have control, but which tests our ability. Climb, write, solve equations or assemble furniture. But if our skills are greater than those needed for that activity, such as casual use of the Internet, the … Read more

Is the AirTag 2 worth buying? Key differences from the first generation of Apple

Now that Apple has launched the new AirTag 2it is good to ask yourself if it is really worth buying it or staying in the first generation. Therefore, in this article we are going to review the key differences between AirTag and AirTag 2. AirTag 2 design and precision AirTag (left) and AirTag 2 (right). Broadly speaking, the design of the AirTag 2 is the same as the first generation AirTag, although there is a small difference that allows us to differentiate them when purchasing them: the silkscreen on the AirTag is in lower casewhile on the AirTag 2 it is capitalized. But if there is a significant change between both generations, it is related to the search, especially in precision. Specifically, the new generation offers a elderly precisionwhich means that it can be found from a greater distance (50% more). Additionally, Apple Watch support is added. There is also a increase in sound volume that we can reproduce to locate it quickly. Two very similar prices Although initially the first generation AirTag was launched at an official price of 35 euros, over time it has risen to reach 39 euros. However, some supplier stores tend to keep it on sale for long periods of time, as is the case with Amazon, which right now has it as 30.99 euros (one unit) or by 89.99 euros (four units). The price could vary. We earn commission from these links On the other hand, the AirTag 2 is not too far from what we currently see in the first generation, since it has officially been launched at a price of 35 euros (one unit) or 119 euros (four units), something that is attractive if we want to have the improvements of the AirTag 2 for a price similar to that of the AirTag, at least if we buy a single unit. The price could vary. We earn commission from these links Is it worth it? To assess whether it is really worth buying the AirTag 2, we can open three fronts. The first is if it is our first Apple locatorand in this case we may be interested in betting on the new, with the improvements that this entails, for a price very similar to that of the first generation. The second front is If we already have an AirTag. In this case, the differences really are not so great as to justify making the jump to the new generation, especially if the locator works perfectly. Finally, it may also be the case that you want buy the pack of four AirTag or AirTag 2. The new generation is also available in this pack at an official price of 119 eurosso if you want to have several Apple locators, it is worth opting for the previous generation pack, since its price is currently 89.99 euros. You may also be interested in these other locators SATECHI FindAll Key Finder with Apple Find My, Wireless Charging, Forgotten Alert with Powerful Sound, GPS Keychain Key Locator for iPhone 17 16 15 Series, iPad, Mac and More – Black The price could vary. We earn commission from these links SATECHI FindAll Air Tag Card GPS for Wallets with Apple Find My, Forgotten Alert, Powerful Sound, Wireless Charging, Lightweight GPS Card, Wallet Locator for iPhone, iPad, Mac – Black The price could vary. We earn commission from these links 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 | Anna MartiApple In Xataka | The best Airtag for Android. Which one to buy? Tips and recommendations In Xataka | Apple AirTag, Tile, Samsung SmartTag and more: Bluetooth locator buying guide with recommendations and differences

The last barrier against AI is good taste. The problem is that an entire generation is growing up without developing it

The new normal in three acts: You open X and find a clearly AI-generated image trying to look legitimate. But it’s not bad, it complies. You go to LinkedIn and find a piece that reeks of ChatGPT, but you get the idea that its author wanted to convey. In GitHub You find code that works, but that no sensible programmer would write like that. You let it go. welcome to the era of “good enough”. Generative AI has made it easy, fast, and free to produce “acceptable” things, and that has moved the collective bar for quality. Not upward but towards “functional”. The worrying thing is not that AI produces mediocrity, but that it is accustoming us to accepting it. Before, if we needed an image for the article, we had to look for it or – for those who had ID – order it. There was friction or there was cost. Now we generate it in fifteen seconds (wink), and since it “serves”, it stays there (wink, wink, nudge). Even if it is generic or has that artificial veneer that we all recognize but no one talks about anymore. The problem is that when something acceptable costs nothing to produce, we stop asking ourselves if it is worth doing. We’re just wondering if it meets the minimum. AND meeting the minimum is not the same as doing something good. In development this is also very noticeable. An experienced and talented programmer instantly recognizes whether a code has been written by an AI. Even if it works (we already take that for granted), you can tell by the verbiage, because it is redundant, because it is not very elegant. It does what it has to do, but no senior He would be proud to have it bearing his signature. What is going to happen to a generation that is going to learn to program using AI from day one? If you’ve never written bad code and then understood what makes it good, how are you going to develop judgment? Good taste does not come standard. It is built by seeing many bad things, many good things, making mistakes. AI saves you that path by giving you something that works from the first try. But without going down that path, you never develop the eye to distinguish. Therein lies the risk. AI has raised the floor (anyone can produce something decent), but the ceiling is still just as high. At least for the majority. Creating something exceptional requires the same things as always: talent, effort, judgment. Only now it is buried under tons of slop and mediocre but functional content. And since creating it is free, we produce it non-stop. Human value remains in taste. Knowing how to look at something and say “okay, it’s good, but it’s not good”. But that criterion is only formed with practice. If an entire generation grows up consuming and producing what “just delivers,” how are they going to learn what is excellent? If you have never seen the difference, that difference does not exist for you. We are heading towards a world where it will be normalized that “good enough” is the only standard because we forget how to recognize when something will be done well. In Xataka | There is a generation working for free as a documentarian of their own life: they are not influencers but they act as if they were. Featured image | Xataka with Nano Banana

The most popular artist among Generation Z right now is AI

That AI is going to be even in the soup is no longer a surprise: we saw it at CES 2026 and we confirm it more and more on the internet. Of course, music is no exception: Spotify has already had to use scissors to delete 75 million songs while already there are hits made in IA that triumph on legendary lists like Billboard. Three hours a week. While there are those who continue to debate whether or not to use artificial intelligence in art, life continues its course with a reality in the shape of a steamroller: agree with the “Audio Habits Survey” from Morgan Stanley prepared by Alphawise, in which for the first time they have included among their questions about music in AI, young people listen to music generated by artificial intelligence three hours a week. Why is it important. Because while there are artists associating on the one hand and on the other hand platforms acting against content generated with artificial intelligence, the fact that the younger audience is not only not reluctant but also feels comfortable with this type of audio gives food for thought. It may be that while media companies are debating whether to adopt or resist, the potential audience is making the decision for them. If you can’t beat the enemy… In fact, that is the invitation of the team led by analyst Benjamin Swinburne in his conclusions: “We believe AI will be a key driver for Spotify in 2026 and beyond. Specifically, we expect AI to be critical to Spotify’s efforts toward personalization 2.0.” They have also remembered the Warner Music Group record company, which recently partnered with Suno to monetize music made in AI: “The rise of AI music will increase the value of scarce catalog resources, while potentially generating new competition for top-of-the-line content.” In figures. According to the aforementioned survey carried out in the United States, on average 36% of the people interviewed listen to music made by AI for an average of 1.7 hours on average. But if there is an age segment that listens and accepts this reality more, it is between 18 and 29 years old, with 60% and three hours. Millennials follow, with 55% of people surveyed and 2.5 hours on average. In generation The generational division of those who listen to music made in AI. Via: Sherwood News In detail. The small print of the survey is that the most common sources from which this music generated with artificial intelligence comes are TikTok and YouTube. The first of them, the entertainment app par excellence of generation Z and the very young Alpha. However, the policies of different platforms regarding AI vary: TikTok encourages the use of AI as a creative tool although it is strict when it comes to labeling it, it also YouTube sees AI as an ally creative with the corresponding labeling and only allows monetization if there is added human value. Spotify, on the other hand, prioritizes the quality and protection of real catalogs and although it allows AI, it has declared war on music spam that it considers to be of low quality. In Xataka | The first chorus decides everything: streaming is making today’s songs much simpler In Xataka | Gen Z has become so disengaged from addiction that it is holding daytime raves with coffee and sound healing. Cover | Photo of Vitaly Gariev in Unsplash

Warren Buffet and Michael Bloomberg have advice for giving Generation Z better jobs: prioritize “good vibes”

Starting your professional career is not easy. Bringing it to fruition, even less so. The job market has changed drastically since Warren Buffet and Michael Bloomberg made their first steps (they are 95 and 83 years old), but of course their professional trajectories, decisions and holding the unofficial title of best investor in history It gives them enough authority to give advice. Because they also give them very good ones: Buffet has already spoken before about the importance of knowing how to say noas prioritize your professional goals either know how to focus. Well, Warren Buffet and Michael Bloomberg give a recommendation for Gen Z that is entering the labor market: pay attention to the environment. The beginnings of Bloomberg. As the tycoon said on the podcast In Good Company by Norges Bank Investment Management, after finishing university in the 60s, Michael Bloomberg barely earned $11,500 a year (not bad, considering the time and that today would be equivalent to $114,000). But Bloomberg, with a pretty good CV considering he had an MBA from Harvard under his belt, had the option of earning more. More money is not always better. Another company offered him $14,000, but he opted to stay at the Wall Street investment bank Salomon Brothers for the people. In fact, initially the bank had offered him $9,000 and a loan of $2,500, which he knew how to take advantage of by laying the foundations for his empire. He gave up that higher offer and it worked out fine. “Don’t feel sorry for me, but I will never forget that people make the mistake of going to work where they get paid the most,” he concluded in the aforementioned podcast. For Bloomberg, at the beginning of your career the essential thing is: “You have to gain experience, you have to build friendships, you have to try things and see what works and what doesn’t.” There are certain jobs you shouldn’t take. Warren Buffet also shared this same mentality of prioritizing people over pay. At its last shareholders meeting at Berkshire Hathaway was blunt: “Don’t worry too much about starting salaries and be very careful who you work with, because you will end up adopting the habits of the people around you” because “There are certain jobs you shouldn’t take.” And it’s not the first time he’s said it. In fact, more than 20 years ago at another shareholder meeting of the same company, a 14-year-old boy (who was already a shareholder) asked the question “What advice would you give to a young person like me to be successful?” His answer: surround yourself with people better than you. “Choose collaborators whose behavior is better than yours, and you will end up moving in that direction.” GenZ doesn’t have it easy. It must be recognized that the advice is good, but also that the youngest people face runaway inflation, an unstable and weak labor market threatened by AI and a pressing difficulty accessing housingso they need a good salary like never before. In any case, something has not changed from the generation of Buffet and Bloomberg to the genzetters: the fear of the unknown and uncertainty. In Xataka | “I never wanted to create a dynasty”: after announcing his retirement, Warren Buffet is clear about what to do with his immense inheritance In Xataka | Bill Gates and Warren Buffett have the same answer when someone asks them “the secret to success”: focus Cover | Bloomberg Philanthropies and Fortune Live Media (Flickr) USA International Trade Administration – YouTube

Disney+ has discovered that Generation Z does not want to watch its two-hour movies. So he’s going to give them vertical microdramas

Disney+ has decided to join the battle for the viewer’s thumb. The company announced this week at CES that will incorporate vertical videos to its platform during 2026, a commitment to the format that dominates TikTok and Instagram. The news marks a strategic shift for a giant traditionally associated with the traditional (and horizontal) cinematographic experience. What does it consist of? If Disney previously sold large screens in dark rooms, now it is not exactly seeking to replace them, but rather to create a new habit: that opening Disney+ is a gesture as automatic as doing so with any social network. Netflix measures its impact in monthly viewing hours, but Disney wants what YouTube and TikTok already have: compulsive daily views. In an industry where engagement Everyday life has become the battlefield, Mickey and Spider-Man will learn to do choreography in vertical format. What will it include? Now, as explained by Erin Teagueexecutive vice president of product management, the plan aims for a feed personalized with algorithms that will mix news and entertainment. The raw material will be varied: from original productions designed for vertical format to recycled material from social networks and scenes from series or movies reformatted for mobile screens. Teague acknowledges that what they intend is to turn Disney+ into “a must-visit destination every day.” It is no longer enough to be the service where you can watch the latest season of something, but to be the one that you open without thinking, several times a day, just like you do with other apps that don’t even charge a subscription. where does it come from. The strategy does not come from nowhere. Disney had already tested the waters with the so-called “Verts” in the renewed ESPN application, launched in August 2025. Those vertical sports clips (highlights, quick analyzes, statements) functioned as a laboratory before escalating the bet to the rest of the Disney+ ecosystem. Rita Ferro, global head of advertising at Disney, commented in the presentation that ESPN had captured 33% of all live sports audiences during 2025 in the United States, leaving its closest competitor at 20%. The evolution of the vertical format. The vertical format has been redefining how we consume audiovisual content for years. Teague herself, before signing for Disney, worked for years on YouTube and witnessed from the inside how Google initially underestimated TikTok’s push. The answer (YouTube Shorts) was a long time coming, but when it did it changed many preconceptions: most of these short videos they end up consuming themselves on televisionsnot on mobile phones. The vertical conquered the living room, and that’s where Disney+ wants to be. Aside from this, Netflix tried publishing vertical anime videos in 2021, but never took the proposal beyond limited experiments. No competitor has yet found the formula, and Disney wants to be the first to get it right. Who has already done it. None other than Procter & Gamble, the multinational consumer products companyreinvent the soap opera and launch this January ‘The Golden Pear Affair‘, a “micro soap opera” of 50 episodes designed specifically for consumption on social networks, since its distribution will start on platforms such as Instagram and TikTok before migrating to its own mobile application. This is not advertising disguised as content: it is content designed from scratch to sell products: if the product placement classic interrupted the narrative, here the narrative is born to serve the product. Meanwhile, the fever of microdramas that conquered Asia a few years agoreaches other continents with production companies like TelevisaUnivision making compressed soap operas. The Spanish-speaking network has been exploring the “microdramas”ultra-brief versions of the soap opera format. and disney you know this works: Apps like ReelShort and Crazy Maple Studio have been dominating niche markets with sixty-second vertical dramas for years. Its model (free hook episodes, payment to unlock more chapters) has shown that addictive narrative works even atomized. These Asian platforms generate tens of millions annually with content that Hollywood would have considered impossible to make profitable a few years ago. Advertising implications. The vertical format is not just an aesthetic or generational issue. It is, above all, a new advertising space: Disney announced a metric that merges Disney’s own data with information from external providers, saying that the format was a very attractive space for advertisers. And it also introduced an artificial intelligence-powered video generation tool that allows advertisers to convert existing materials into renewed ads. It is no longer necessary to produce spots from scratch; just feed the machine with assets priors and brand guidelines. So now Disney’s recent deal with OpenAI does. acquires a renewed meaning. Transformation or concession. Teague openly acknowledged that “Gen Z and Gen Alpha aren’t necessarily thinking about sitting through two-and-a-half-hour long content on their phones.” Disney does not want to attract new generations to its classic catalog, but rather to speak in the same language as these young people who have always been its potential audience. For millions of users, cinema is no longer the basic unit of entertainment, and Disney has decided that, rather than compete with Netflix, it has to do so with WhatsApp, Instagram and TikTok. In Xataka | “I cried 152 times in 2025”: Generation Z lists their emotional crises and turns them into infographics

Generation Z lists their emotional crises and turns them into infographics

We recently described the Wrapped that have been born in the shadow of Spotify as real monstersand no wonder: companies in principle so barely linked to the recreational use that we give to Spotify, such as Linkedin or Wetransfer, reminding us that during the year, essentially, we have worked more than necessary. But summaries of the year, made by individuals and seen with a little irony and constructive criticism, can be very good. And so we come to the Crying Wrapped or summaries of crying of the year. #llanterawrapped. On TikTok, thousands of users (mostly Generation Z girls) are documenting all the tantrums they’ve had during the year. He hashtag #cryingwrappedand also #crywrapped They accumulate millions of views with videos that present, in PowerPoint presentation format or Spotify-style infographics, personal statistics on how many times they cried in 2025 (and also the year before), where they did it, at what time of day, what caused it and what their “highlight crying episodes of the year” were. Gloriously detailed. The categories include “crying due to personal relationships”, “crying in the office bathroom”, “crying while driving”, “crying caused by episodes of series”, or even rankings of songs that generated the most tears, because (and this is the important thing) we are not facing a list of misfortunes, but rather a fun and original form of emotional overexposure. There are bar graphs with the monthly evolution of the crises, others identify their “peak month of crying”… Following in the wake of the mythical viral video of user @rachel_ginterthis trend turns suffering into gamified content, making vulnerability hide behind the corporate and mechanical language of viral videos and power points. The Wrapped phenomenon. In 2016, Spotify launched its first Wrappedan experiment that would end up redefining how digital brands interact with their users. The streaming platform took the millions of listening data from each user (artists, songs, genres, total minutes) and transformed them into a visual narrative, designed to function as content on social networks. The result was remarkable: in 2024 More than 2 million people already expressed the desire for the feature to arrive in early November, almost two weeks before its official launch. The key to success, as Sprinklr tells it, lies in having converted individual information into “shareable entertainment based on personal data.” Wrapped not only reflects musical tastes: it is a statement of identity, and Spotify understood that, at the same time as giving it the attack on physical formatsunderstood that sharing music has always been a social act. Epidemic Wrapped. Spotify’s success created a domino effect that has transformed December into the month of personalized digital digests. Letterboxd, Duolingo, Reddit, Hulu, all the block streaming services… until the users themselves decided to start creating their own summaries. With Google Sheets, Canva templates to design infographics and apps like Notion To document each crying episode, these users have built emotional monitoring systems. And with this, they have turned Wrapped into viral language. The reality after the tantrum. Behind this epidemic of crying (funny because they themselves take it as a joke, of course), there is a not so funny reality: we are facing a generation going through a mental health crisis without historical precedent. He McKinsey Health Institute global study with more than 42,000 respondents in 26 countries revealed that 18% of Generation Z rate their mental health as poor or very poor. And to this is added that Gen Z’s relationship with social networks is deeply paradoxical: the same study says that this generation is the most likely to report negative effects of the use of digital platforms, but simultaneously more than half identify benefits such as self-expression and social connectivity. The same apps that fuel toxicity and anxiety are also spaces for identity and community construction. Humor as therapy. This is interesting UCLA analysis of dark humor on TikTokwhich analyzed hundreds of comments on videos about trauma, grief and existential crises, and came to the conclusion that for Generation Z these jokes function as “language of solidarity.” They do not trivialize suffering: they make it bearable by laughing at it. While the millennials Using sarcasm to create distance, Gen Z mixes irony with sincerity, adopting a confessional style that embraces vulnerability. But there is a dark side to this mechanism: this analysis explains that there is a fine line between humor as catharsis and the normalization of destructive thought patterns. Cry Wrapped operates exactly in that ambiguity: emotional processing or transformation of suffering into social capital? In Xataka | Someone believes that part of Drake’s 37 billion Spotify streams are fake. And it’s impossible to know

The reason why Generation Z is giving up alcohol

For years, alcohol has been an almost inherent to youth leisure. But something is changing. The generation Z drinks less than the previous ones and not only for a health or economic issue: you begin to perceive alcohol as a factor that directly affects your mental well-being, your ability to concentrate and, consequently, your daily productivity. It is not a moral crusade nor a total renunciation of consumption. It is a change of relationship with respect to alcohol and its subsequent consequences. Generation Z drinks less than millennials. The data confirm that it is not an isolated perception. According to FortuneGeneration Z consumes around 20% less alcohol than millennials at the same age, a sustained drop seen in several Western countries. That is, the alcohol is still present, but loses prominence in youth leisure. According to data From the Survey on Alcohol and other Drugs in Spain (EDADES), in 1997 12.7% of the population aged 15 to 64 claimed to drink daily, in 2007 it was already 10.2% and in 2024 this percentage was barely 9%. Hangxiety: the hangover that cannot be seen. Generation Z has grown up with greater access to information about mental health, basic neuroscience, and emotional well-being. This has changed the perception of alcohol, which is no longer seen just as fun and is now understood as an element with clear cognitive costs. One of the concepts that best explains this change is that of “hangxiety”, which Guardian defined such as the anxiety that appears after alcohol consumption, even when the physical hangover is mild. The alcohol alters neurotransmitters such as GABA and serotonin, generating a rebound effect that can translate into anxiety, irritability and ruminative thoughts the next day. For a generation especially sensitive to anxiety and mental healththis effect is especially dissuasive. Less alcohol, more cognitive stability. That is, the reason for reducing alcohol consumption is not only avoid hangover, but to improve mental stability and your cognitive performance during the following days. a study from the JSI Research and Training Institute in Boston, investigated the effects of alcohol consumption on work performance. According to their findings, even moderate levels of hangover can affect decision making, memory, and sustained attention. The problem is not only the occasional excess of alcohol, but residual effects that drag on for days and the discomfort that these effects produce among the youngest. Live without fatigue. Reducing alcohol consumption does not imply marathon days in which you can work more hours. What changes is consistency. Less alcohol means fewer “wasted” days, less cognitive fatigue and greater ability to maintain focus throughout the week. For a generation that moves in a more unstable labor market and competitive, that control of own performance is key, betting on social alternatives without alcoholmore planned consumption and less pressure to drink to fit in. In Xataka | On Tinder there is a trend that is gaining weight among Generation Z: dating without a single drop of alcohol Image | Unsplash (Vasilis Caravitis)

A movie scene traumatized an entire generation every time they bathed in the sea. And it was all due to a mistake

The story from ‘Jaws’ begins long before its monster appears on screen: it is born in a chaotic shoot, with a mechanical creature that did not work, a young director on the verge of dismissal and a climate of tension that threatened to sink not only the film, but also Steven Spielberg’s career. Hence the most chilling scene has arisen from the most logical thing: a failure. The technical failure and taking a bath. The story told a long time ago Spielberg himself. The entire team assumed that the film was doomed. Brucethe name given to the enormous robotic shark, constantly broke down as soon as it touched salt water, the days went by without being able to film anything usable and leaks from Hollywood ensured that the production was a disaster. However, from those limitations (and especially that useless shark) was born one of the most influential decisions in the history of cinema: not to show the threat, but to hint at it. Technical necessity forced Spielberg to shoot the film as a suspense thriller, closer to a Hitchcock film than a giant creature spectacle, and he turned the series of mechanical problems into the greater narrative success of his career. The result was a film where terror springs from the invisible, from calm water, from ominous sound. of two notes that advance like an unstoppable threat: a tension that would forever change the public’s relationship with the sea (for the worse). The sequence. The iconic opening scene (a quiet beach, a party and a girl who decides to bathe under the moon) is the perfect example of the way in which Spielberg transformed technical deficiencies into a cinematic virtue. We do not see the shark at any time, but we feel its presence from the first vibration of the water. Chrissie, played by Susan Backlinie, goes into the sea while the camera accompanies her slowly, without warning, until something grabs her from below, shakes her from side to side and ends up dragging her into the depths. On the surface calm returns, but the audience can no longer recover it: they know that the unknown is there, lurking where it cannot be seen. The psychological impact was so immediate that many viewers, first in the United States and then in Europe, left the cinema. with the same phrase in my head: “I will never get into the water again in my life.” Spielberg built an invisible attack in which the viewer’s imagination becomes the real monster, and he did it because he simply had no other choice: Bruce I would never have been able to shoot that shot convincingly. The absence of the animal, paradoxically, created a scariest presence than any mechanical creature. The failures that forged the tension. During filming, the mechanical shark turned out to be practically unusable. Engines corroded with salt, joints failed, and underwater operators spent hours trying to refloat a robot that was sinking rather than attacking. Spielberg confessed that the bug “looked silly” and that he was afraid that the public would laugh. But when something doesn’t work, cinema can reinvent itself. Forced to film without showing the predator, the director and his team chose to work as if the camera was the shark itself: water level shots, disturbing points of view, tense silences and, above all, the terrifying rhythm composed by John Williams, initially received as a joke and finally became one of the most recognizable leitmotifs in the history of cinema. Simple ball. The failed machinery forced the narrative to concentrate on “less is more,” and that visual reduction transformed what was going to be a monster film into a piece pure suspenseone in which the threat lurks beneath the surface like a collective trauma ready to emerge. Spielberg himself admitted after that, if the shark had worked well, ‘Jaws’ would have been a much worse movie or, at the very least, much less scary. From accident to cultural revolution. Thus, what began as a filming in crisis ended up triggering a unprecedented phenomenon. ‘Jaws’ not only terrified million viewers (literally altering his relationship with the beach), but also redefined the film industry. The film also inaugurated the concept “premiere-event”: massive campaigns, releases in hundreds of theaters and a summer strategy that demolished the old belief that no one went to the movies when the weather was good. The audience came again and again to scream, to feel the shock, to immerse themselves again in that first scene that turned a night bath into an act of pure recklessness. Spielberg’s film opened the door to a new economic model, inspired aggressive marketing strategies, generated an avalanche of imitators and consolidated the blockbuster as the central engine of Hollywood. By the way, I remembered in a wonderful Guardian report for the anniversary of the film, its cultural impact gave rise to infinite interpretations: readings on masculinity, power, institutional crisis, post-Watergate paranoia and even debates about its moral content. However, when Spielberg was asked what ‘Jaws’ really meant, the answer was so simple. like shiny: “It’s a movie about a shark.” And what makes it something bigger is that, because of a technical failurethat shark almost never shows up. Image | Universal Pictures In Xataka | In the 80s they were already cloning faces without the need for AI: ‘Back to the Future’ replaced an actor with a mask and we didn’t realize it In Xataka | Stephen King threw away the first pages of the book. His wife rescued them and turned a scene into horror film history

In Mexico, Generation Z has taken to the streets to demand changes. And he did it with ‘One Piece’

Mexico has joined the wave of protests youth events that over the last few months have shaken Nepal, Sri Lanka, Bangladesh, Peru, Morocco either Philippinesto cite a handful of examples. Marches that share two great hallmarks. The first, who promotes them: young people from Generation Z (born between the late 90s and the first decade of the 2000s) raised in the heat of the networks and now crying out for change. The second, its symbol. It does not matter whether the protests are organized in Lima, Kathmandu or Mexico City. Beyond using networks as catalysts, the mobilizations of Generation Z usually resort to the same emblem: the pirate flag from ‘One Piece’, the manga of Eiichiro Oda that the protesters have turned into their most identifiable banner. And not just because of the flag. In the marches it is also common to see other clear nods to the comic, such as the use of straw hats. How did you get to Mexico? After weeks of brewing online, the most visible mobilization in Mexico took place this weekend, when thousands of people gathered in the capital to make clear their “political fatigue”. The authorities speak of around 17,000 attendeesa human tide that left the monument The Angel of Independence and concluded in the Zócalo. The call was for the most part peaceful and passed without major incidents, beyond the insults to the president (Claudia Sheinbaum); but it was marred by the final altercations, which left more than a hundred of injured (mostly police officers) and several dozen arrested. In fact, the Ministry of the Interior assures that during the “violent acts” homemade explosive devices were used and objects were thrown at the agents. Who took to the streets? Some media they assure that among the protesters there were mainly young people, others qualify that during most of the Mexico City march, Generation Z was a minority and the most common thing was to meet people who were over 30 years old. Sheinbaum herself influenced that message later, commenting on what happened on Saturday in Mexico City: “They say that young people marched, but in reality there were very few, and they violently removed fences and broke windows. No to violence.” The truth is that, beyond Mexico City, there were mobilizations in other points of the country, such as Yucatán, Puebla, Monterrey or Guanajuato, and among the protesters they waved the banners of ‘One Piece’. Also posters demanding improvements in the country and Mexican flags with the face of Carlos Manzothe local leader of Uruapan shot to death just a few weeks ago. His death (a new example of the violence in the country) was in fact one of the levers of the protests. Click on the image to go to the tweet. And why did they go out into the streets? The other key. The TendenciaMax account (656,600 followers) echoed a few weeks ago a manifesto headed by “Generation Z Mexico” and the ‘One Piece’ flag (modified to add a mustache and Mexican hat), on which keys to the call were slipped. To begin with, it was insisted that the movement does not endorse any ideology or party and lacks “disguised agendas.” “We are young people who love our country and we are tired of the same history, the same abuse and corruption.” During the march people could be heard expressing their exhaustion with the violence, insecurity, Sheinbaum’s management or even denouncing that Manzo “the State killed him”. The word “narco-state” was also drawn on the wall built by the authorities to protect the Presidential Palace from protests. Excelsior slips that another point that has caused tension to grow is the decision to apply a 8% tax to video games with violent content. In the opinion of the Executive, the protest is orchestrated actually by the opposition and reply to an “articulated digital strategy” in networks by dint of bots. Why ‘One Piece’? If spontaneous mobilizations have something, it is that it is not easy to define them. Gen Z marches are no exception. Although in recent months they seem to have gained strengthspreading through Asia, Africa and Latin America, the truth is that they can go back even further in time, to student uprising of Bangladesh that led the prime minister to flee to India, or the 2022 revolt in Sri Lanka that forced the president to resign. What they have in common is the mobilization of Generation Z and the fortune that ‘One Piece’ seems to have made in their imagination, something that it doesn’t seem casual. The comic began to be published in the late 90s and continues to be updated, so its popularity has coincided with the Gen Z boom, and much of its plot fits in with the demands of the protests. After all, its main character, the young and charismatic pirate Monkey D. Luffyis presented as a figure of liberation. Images | David Cabrera (Flickr) and Wikipedia In Xataka | Young people have become more spiritual than the average in Spain. The problem for the Church is that no more Catholics

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