genre

Netflix presents all its new features for 2026, and there is a genre that is an undisputed winner

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We have had the opportunity to attend the presentation of Netflix’s plans in Spain for 2026. Except for a couple of very specific successes, such as the ‘Peaky Blinders’ movie or the fourth season of ‘The Bridgertons’, the presentation focused on Spanish productions. And two things caught our attention: the decisive commitment that the platform makes to blockbusters with technical and artistic equipment from here and the strong weight that the true crime in the set. Let’s review these news. Netflix and Spanish audiovisual Since Netflix took us to visit their sets and facilities on the outskirts of Madridit was very clear to us that the platform was not here to be a second dish in the panorama of cinema and series. At that time I was in the middle of filming.The snow society‘, a film that gave international prestige to the company’s productions in Spain. Netflix wants to sustain this fame and does so by putting films and series on the table with top-notch casts and crews. These were some of the projects presented: The final problem: With Jose Coronado, Maribel Verdú and Martiño Rivas, based on a novel by Pérez-Reverte. Thanks, team: Comedy with Maribel Verdú, Pedro Casablanc and Alexandra Jiménez Savior: Thriller by Daniel Calparsoro with Luis Tosar and Claudia Salas Berlin and the Lady with an Ermine: Second season of the spin-off of La casa de papel, this time set in Seville and with Andrés de Fonollosa, Inma Cuesta, Michelle Jenner, Joel Sánchez and Tristán Ulloa 53 Sundays: Film by Cesc Gay with Carmen Machi, Javier Gutiérrez, Alexandra Jiménez and Javier Cámara On behalf of another: Film by Oriol Paulo (‘Contratiempo’) with Mario Casas and Blanca Suárez. All the truth of my lies: Based on a novel by Elísabet Benavent, with Daniel Ibáñez and Itziar Manero reality bridge Before entering into the curious trend that many of Netflix’s Spanish productions are following, its immersion in the true crimelet’s stop at a documentary and a series firmly anchored in reality. Rafa: We were not able to see any trailer for this series, but it promises to be the definitive documentary of Rafa Nadalpresenting never-before-seen facets of his career and personality. That: Nothing less than Rafael He made an appearance before journalists, presenting a series that documents his career, with two actors, Javier Morgade and Carlos Santos, giving life to the interpreter at different ages. The singer himself gave official legitimacy to the series, and spoke of how satisfied he was with the result, the setting and what it tells. The appeal of true crime No platform is unaware that the true crime It is one of the most followed genres today. Netflix itself has already influenced the true crime Hispanic with series like ‘The Asunta case‘, ‘Where is Marta?’, ‘The body on fire‘ and many others. Aware of the commercial appeal of this type of story, many of Netflix’s 2026 proposals belong to the genre, including both fiction and documentaries. The crime of Pazos: Tristán Ulloa returns to Galicia after ‘The Asunta case’, although this time on the other side of the law. In it he will play a sergeant of the Vivil Guard convinced that a man has tried to kill his wife despite appearances that they were a perfect couple and that she has been the victim of an attempted robbery. Produces Bambú Producciones, which already did the same with ‘The Asunta Case’. The boy: Mariano Barroso signs this adaptation of the novel by Fernando Aramburu, where the author told the story of Nicasio, an octogenarian who usually goes up to the Ortuella cemetery on Thursdays to visit the grave of his grandson, one of the many children who died in a gas explosion at a school in October 1980. This event, which shocked the Basque people, will show how the accident changed many lives in its day. Miguel Ángel Blanco: The 48 hours that changed everything: A documentary film by Jon Sistiaga and Juanjo López, which will address the two days in which the entire Spain mobilized trying to stop the murder of Miguel Ángel Blanco, a delayed death that left a deep mark. This documentary remembers that moment and how it meant the beginning of the end for ETA. Wolf: We return to Galicia and Tristán Ulloa, although this time in a secondary role compared to the leading role of Luis Tosar. They will do so in a miniseries that will investigate the real case of Manuel Blanco Romasanta, an itinerant tailor who went down in history as the first documented serial killer in Spain, in rural Galicia in the 19th century. During his defense he claimed to be a werewolf, and the abundant documentation on the case supports the development of this new series. In Xataka | There are thousands of people hooked on true crime documentaries on YouTube. The only problem is that they are generated by AI

Imoo turned the children’s smartwatch into its own genre. Now all the parents who bought it are stuck

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According to CounterPoint Research estimate for the global smartwatch market in 2025… Apple grew 12%. Samsung fell 6%. Imoo grew by 17%. Action replay: A Chinese brand that exclusively sells children’s watches is growing more than Appleand definitely more than Samsung, which is going down. Imoo, what The year has already started growing in quotaalready has 7% of the global smartwatch market. And it doesn’t really compete against the Apple Watch Ultra or the current Galaxy Watch: compete against the anguish of not knowing where your child is when he leaves school. Or rather: against the fear of not knowing if one day something happens. Counterpoint Research projects that the global smartwatch market will grow 7% in 2025 after first falling in 2024. That rebound is partly explained by Apple launching the cheap SE 3 and recovering after seven consecutive quarters of declines. But there is another factor: China went from 25% global share in 2024 to 31% in 2025. And within that jump, Imoo has a specific role that perhaps we are not looking at closely enough. Huawei is reinforcing its focus on health and sports, Apple maintains its inertia, Xiaomi focuses on the watch as part of a domestic ecosystem… and Imoo has turned parental fear into a product category. Their watches have GPS, calls, SOS button or alerts when the child leaves an area geofenced by his parents. As a watch it is not very smart and perhaps fits better in the category of surveillance and emergency aid device. Imoo hasn’t invented parental fear, but it has built a great machine to monetize it. Besides, It is a device that creates functional dependency: Once a parent puts it on their child’s wrist, they get used to the peace of mind it provides. So it is difficult not to renew it when the child stamps it or when it becomes obsolete. This success of Imoo goes beyond technology: when you grow 17% a year selling this type of watches, you do not measure adoption, but rather the number of parents who have decided that the anxiety that would cause them not knowing where their child is (understandable, of course) is worse than the inconvenience of constantly tracking them. Once you cross that threshold, there is no turning back. Previous generations had opaque spacesmoments of disappearance for a few hours before returning to dinner. These spaces are closed with this type of products, colorful and gamified, with a branding questionable but an unquestionable commercial success. Parents do not feel that they “control”, but rather that they protect. And kids don’t feel tracked, at least until they get acne and the bomb goes off, until then they just feel like they have a cool watch. And there is an advantage for parents: if suddenly almost all of your child’s classmates have one, the fact that your child does not have one becomes an anomaly. Imoo’s 7% share (and counting) measures how many children are growing up knowing that their parents can track them at any time. It measures a generation that normalizes permanent connectivity as a default state from the age of six. Counterpoint speaks of the smart watch market with “China-driven growth” and “different strategies to sustain the engagement of the consumer”, but it does not mention that One of those strategies is to redefine a part of childhood. The next son will also wear the watch. And the next one too. Imoo doesn’t need to grow faster than Apple to win. It just requires that each generation of parents find it more unthinkable than the previous one to leave a child unaccounted for. In Xataka | After almost a decade with the Apple Watch, I have switched to a Garmin. And I understood what I was missing Featured image | Xataka

The genre Superventas, analyzed by its best Spanish authors

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The talk about Romantas and Comic-with He did not put the crowds early at six in the morning (although, like all, he filled in his room), but he did bring several tens of readers and readers who came to listen to the interesting reflections of a trio of outstanding authors of the genre. A good symbol of what the genre of the Romantasy: It does not occupy holders, it is not the convention center of conventions like this, but Sell ​​thousands and thousands of copies outside the media radar, captivating along the way more and more followers. In the Comic-with Malaga We had the opportunity to attend a talk with three of the most important authors of the genre in Spain: the very young Lucia Cerezo, author of the saga ‘Phoenix and Dragon’, and the most experienced parente and Selene Pascual, authors of about twenty works such as ‘paper petals’ or the series ‘Time Keeper’, almost all of fantasy but not all strictly all strictly. Together they raised a somewhat demystifying approach to the genre. Iria makes it clear when he appears: “We have been writing fantasy, fiction and romance and sometimes, why not? Mixing all those subgenres.” And he adds: “When we started publishing, we already wrote fantasy with his romance touches. When we were more girls and we were fans of ‘Memories of Idhun’, nobody described him as Romantasy, but clearly If ‘Idhun memories’ was published today, what would it be called? Romantasy. “ With this, they make it clear that the mixture in “more or less balanced” parts of fantasy and romance, as it was agreed to define Romantasy in the start of the talk, is a label that defines a style, but that has always existed. “The themes have not changed, but the way the themes are being appointed,” says Selene. But he also recognizes that tastes are transforming: “Yes, it is true that there has been a boom of a type of fantasy that puts romance in the center of the plot, now today it looks more than the romance carries the plot and that the romance eats the fantasy a bit.” I would be parente It tracks the origin of the term and awarded a completely industrial origin: “It is a label that is born from the publishers, from Bloomsbury, which is the one who published Sarah J. Maas.” Commercial maneuver or not, all agree that this new genre has managed to vibrate at a frequency that many readers were looking for. Iria and Selene summarize it with their own experience: “Our book that fits the most in the Romantas and is ‘Papelos de Papel’, a story in which the romance prevails about the rest, of a girl and a boy who live in different worlds and that communicate through a book. It was a bit of the allegory of what we have ever dreamed of when we take a book and think that we would like to be part of him.” They are also aware of the importance that networks have had in the dissemination of the term. Selene says that “following the pandemic, people were at home without knowing what to do, and decided to talk about books with people who liked the same genres. The ‘Romantasy’ began to be used, and it grew until they acquired their own category.” However, the networks have a darker side, and it puts the Spanish authors in the background. According to parente, “the books in English Many times they come with marketing already done. Because when you see a new book in stores, you say, ‘Buah, I have seen it and have recommended it 7000 times in Tiktok and I have left 7000 videos, I’m going to buy it.’ “ The problem of labels, they recognize, is that “fashions change from time to time”, and the categories can also be a trap: Selene states that it has noticed a certain tendency to “Tropification, that is, I have to add three certain tropes to my book or if it will not be sold. “The genres have always used clichés, but there are many who” seem now to be mandatory. If the girl does not put the dagger on the boy’s neck, it’s wrong. If it is not a enemy to loverswe are not interested “, and that can be more a restriction than a welcome novelty. But all are very clear about what the attractiveness of this genre is supervent. Lucia states that “many readers seek evasion, and Romantas and gives you this, a fantasy world, a love story that, if you want, allows you to read and evade. But also, if you prefer, you can make a deeper reading, you will usually have a political background, something that speaks to you of the real world and everything that is happening and that somehow gives you hope.” And there they give in the nail: “I think that Romantas and also has this basis of hope, that you can have a better world, and somehow people want that.” And Romantas and gives it, beyond labels. In Xataka | Brandon Sanderson’s fantastic emporium works thanks to 70 people who help him put order in his books

Why although it seemed to belong to a genre and a condemned franchise, ‘Warren file’ has been a box office bombing

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Absolutely overwhelming has been the box office of the fourth and, apparently, the last installment of ‘Warren file’, subtitled ‘the last rite’, in its first weekend. Can boast of being the second best premiere of a horror movie in history (Only behind ‘IT’ in 2017, although these data always have to take them with tweezers, for that of inflation and other issues that relativize the records). Absolute or only relative triumph, the figures in any case are impressive. When I didn’t have them all the movie to be. The best file. 187 million dollars worldwide (104 of them at the international box office, 83 million in the American, 4.1 in La Española) endorse the premiere as the best in the franchise. It has also been a good support for IMAX screens, where it has generated 14.3 million dollars, the best premiere of the giant format in the horror genre. With these figures, the ‘Warren’ file (which also includes the spin-offs ‘the nun’ and ‘Annabelle’) becomes the highest grossing of horror cinema, with 2.3 billion accumulated dollars. A key moment. This film arrives at a key moment for the franchise. Although the main deliveries of the series have always enjoyed a great box office, Criticism has not always treated them well: this, without going any further, has a 56% in Rotten Tomatoes. Only the first two deliveries rise from 80%, while films such as ‘The Nun’, ‘Annabelle’ or the third ‘Warren’ file are between 25 and 55%. Although Criticism and box office do not always go hand in handit is a reflection of a certain boredom and exhaustion signs that can then have an impact on the box office. It has not been the case, among other things because they are cheap films (between 20 and 50 million budget) and very profitable, however scarce the collection is. Terror is fashionable. To calibrate the proportion of this success, it may be good to compare it with a couple of recent successes of the genre, As Jorge Loser did in Bluesky: Only in his first weekend, ‘The last rite’ has entered 67 million dollars more than ‘the substance’ and ‘return it’ together and in all its careers. And these yes, films venerated by critics. A few weeks ago we talked about How gender is In good streakchaining a success after another (this summer, for example, ‘Weapons’ and the aforementioned’ return to me have dominated the box office): the resurgence of terror in the tastes of the people thanks to the streaming And his low cost in front of the blockbusters are making the genre live an extraordinary moment. The exhausted formula. However, and despite the roller that has made the film with this week’s box office, the bad reception of criticism is natural: the formula has become a copy of itself, and in recent years the clones have emerged everywhere, even outside the franchise itself: ‘Liver us from evil’, ‘ouija’, ‘corpse’, ‘Winchester’ … even in Spain we have had ‘Verónica’ Patron: Demonic houses, possession of innocent creatures and scares very often shot with an identical visual pattern. There is a whole arc of approaches to this style, from The most artie of A24 (which has already configured the aesthetics of the genre with ‘Heredityary’) to that of the most verbenera Blumhouse, which prepares a new sequel to ‘Insidious’, whose first deliveries have also been key to shape this subgenre of horror movies. The box office is no longer infallible but in most cases the public continues to respond very positively. Why horror cinema works despite everything. Apart from the reasons listed above, there is an extra. In times when the industry is buried of clonic formulas, as with absolutely all the large -budget blockbusters and where the authorship of a film has ceased to be a value (the directors of Marvel movies, for example, are completely exchange), horror movies bet on constant surprise and forced differentiation to get attention. Of course, terror is not safe from franchises or farms, but it is taken in another way: with more humor and more carefree. As in ‘Warren File’, belonging to a saga is not a chain that prevents flying free, but an excuse to increase volume and nonsense. The horror cinema has ended up being one of the scarce redoubts of creativity within commercial cinema and the public understands it intuitively. There is no bad criticism that can with that. Header | Warner In Xataka | The great triumph of “high terror”: how fantastic cinema has invaded the main nominations of the 2025 Oscar

The remake of ‘Hold it as you can’ has worked very well at the box office. Excellent news for an almost dead genre: comedy

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The new version of ‘Hold it as you can are not exactly a rarity: in a cinematographic panorama absolutely full of sequelae and remakesa new version of a 1988 classic is not a precisely revolutionary decision. Something more surprising sounds, however, that we are talking about REBOOT of a mythical comedy, which returns to the gender to the rooms through the big door. AGARRATE IT 2025. We all know ‘hold it as you can’: A trilogy of police comedies that the Zaz trio rolled after ‘lands as you can’, and that made Leslie Nielsen late and throbbing star of the surreal chufla. His success unleashed all kinds of imitations, some more fortunate than others (and in Spain, many of them with the “… as you can” by the title), and now enjoy a new installment with Lian Neeson and Pamela Anderson. And all respecting the original canon: destroying parody of the thriller codes, and prominence of a star not known for its comic roles and that puts an unexpected and devastating vision on the table. Well, it has worked. It has not become the number one of the box office (it was possibly either its intention, it remains behind ‘The fantastic 4’ and ‘bad types 2’), but he has had a great start in the United States: 17 million dollars, plus 11.5 million in the countries where it has premiered (Spain does not reach August 22). A budget of 42 million is estimated, so it is an excellent starting point, in a film that can grow and stay in the rooms if your mouth works. And there are reasons to believe that mouth mouth could be activated, because also against any forecast, the film is collecting very good opinions: an a- In Cinemascore and a 90% in Rotten Tomatoes They corroborate it. Long live comedy. This box office triumph is more than a punctual success: it is a success for a genre that had not enjoyed something like that for many years. In fact, Neeson himself ironized about it in An ad that has been seen as the promotion of the filmand in which he claimed different comedies (all from Paramount, producer of this new version): ‘The reporter’, ‘Out of wave’, ‘Hot Rod’, ‘Superdetective in Hollywood’, ‘Rock School’, ‘The Truman Show’, ‘Zoolander’ and others. The web Savecomedy.org Refer to the web where you can buy tickets for the new ‘hold it as you can’. Comedy is a serious thing. Although the video is a joke, the question is very serious. Because the study comedy, with great stars, has not died at all. But Yes has done it in the rooms: Being a genre where the show is not the priority, to a large extent it has been relegated to streaming, or shyly enters combination with other genres to Abrise step towards the rooms. ‘Lilo and Stitch‘It’s family cinema,’ Novocaina ‘is action cinema,’Mickey 17‘, science fiction, and’A Minecraft movie‘, an adventure fantasy. Except for some other very punctual example, such as ‘Bridget Jones: crazy with him’ or ‘somewhat pregnant’, which do not stand out especially at the box office, the case of ‘holding it out as you can’, a pure and adulteration comedy, it is a rarity. Much more that is successful. There are no stars. It is a pity that actors that we previously identified with comedy, such as Will Ferrell, Melissa McCarthy or Adam Sandler have been recycling or directly disappearing from the map (or, in the case of Sandler, taking refuge in the streamingwhere he obtains very juicy dividends). Will we see a resurgence of those times in which ‘Porky’s’ (in the eighties), ‘American Pie’ (in the nineties) or ‘Virgin at forty’ (in the two thousandsses) they generated trends, made authors and distribute emerged and unleashed a wave of copies? Hold it as you can get it in his day, Maybe your reboot can work again. Header | Paramount In Xataka | The figures suggest that the domain of blockbusters in Hollywood is not over. In fact, it will go worse

There is a whole literary genre dedicated to perverse crimes in the most cuquis and friendly spaces in the world. And he is breaking it

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We identify the black novel, invariably, with what is known as HARD BOILED: hard detectives, bloody crimes, sordid environments. But … what if there was another way to raise gender? Settling in certain classics of the genre, the novels Cozy Mystery (“Cozy mystery”) They are more than a niche: they are a very profitable way to continue taking advantage of a historical style of making crime literature and suspense. But … what are exactly? They are police novels that present the crime and its resolution in “clean” environments: small peoples, picturesque communities or scenarios of everyday life (bookstores, coffees, gardening clubs). Explicit violence and sex are deliberately excluded from the scene, and the narrative focuses on the interaction between unique characters (often an amateur detective, almost always a woman, with a great sense of humor and daily skills) and the logic of the research. But this sounds to me … Of course it sounds to you: the eccentric detective, which takes advantage of its harmless appearance to gain the confidence of the suspects has as famous historical precedents as the Miss Marple Miss Agatha Christie And her most distinguished heiress: the Jessica Fletcher de ‘A crime has been written‘. Its roots can be traced even further: the British mystery novels of the nineteenth century and, in general the peaceful style of the “golden age” of the mystery (whose most popular representative is Christie) and where in addition to amateur detectives such as Miss Marple, we saw rural environments or closed communities, crimes executed “out of the scene” and ingenious resolution. In the 1980s, several writers began to claim and modernize that friendlier and more casual approach to the international boom of the darkest police novel. Since then, the Cozy Mystery He has experienced several popular cycles: the last one we are living now, supported by compartmentalization in increasingly detailed and specific subgenres that the editorial industry lives (of the Romantasy to the stories of Love with skaters). An editorial boom. Not only throughout the world authors such as Richard Osman, Joanne Flike or Kate Carlisle have become stars: also in Spain the subgenre has become a boom. Editorial Alma, for example, has found a real reef, and is exploiting fever by the Cozy With a collection that it already has almost forty titles to which are added, of course, its corresponding Children and Youth Variants. In the collection, titles such as ‘A lovely old woman … and lethal’, ‘Pride, prejudice and poison’ or ‘The last cupcake’ make clear the constants of the genre: kind satire, cuquis crimes and peaceful environments. And together with all these are, of course, the classics: ‘The Thursday Crime Club’, by the aforementioned Richard Osman, was one of the first supervantas of this last success of the genre. What’s behind: feminism … There is an inspiration for the genre that does not go unnoticed: its feminist inspiration. Women are present in Cozy Mystery as authors and also starring the books themselves. Gender can be understood as a reaction to the traditional black novel, historically monopolized by male voices and marked by the representation of women as a victim, secondary or femme fatale. The protagonists of these books are usually common women but extraordinary acuity, carriers of a logical, observer and empathic look. Following Miss Marple’s wake, many of them are mature, widowed characters, retired or housewives, whose age and experience confers authority and charisma. A true disarticulation of gender stereotypes, claiming values such as intuition, daily wisdom and practical sense, with women deeply integrated into their community, which gives a collective dimension to the narrative. A quiet and silent challenge of crime and punishment codes, eminently male law and order of the traditional genre. … and well -being. The warm and comforting style of these books (and their editions, with covers of soft tones and domestic scenarios) point to addresses that have nothing to do with the usual policeman: pleasant routines, the beauty of the everyday. And there is an echo in the prose of these books: light but not banal, ironic without cruelty … that is, a kind of comfortable reading, a very appropriate emotional refuge in these times of crisis, uncertainty and stress. We have spoken on other occasions about entertainments that disconnect us And peace provide us, and without a doubt the Cozy Mystery It has a lot to do with this trend: in a hyperconnected society, we crave return to small, intimate and without shocks. Except for small crime than another, but that is resolved easy. In Xataka | If you join the lifelong hobbies you have the editorial phenomenon that is sweeping in bookstores

The True Crime are such success that the creators of the least scrupulous have been thrown over the genre, opening a moral debate

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He True Crime It is a genre that, Despite its immense popularityis ethically more in question than ever: controversial like The recent book by José Breton They make the public propose the scope and consequences of the documentaries on real events. That now look at a new border, with the creation of content by the based on real events. Or even beyond: completely inventing crimes. The tremendist. “The husband’s secret gay romance with his stepson ends up in a spooky murder” or “the secret romance of a wife with a neighbor’s teenage daughter ends up in a spooky murder” are some of the titles of True Crime Case Files’ videos. It was a channel missing today in which they were related, normally before static images and generated by artificial intelligence, crimes that could go through real. But intentionally, the author concealed the artificial origin not only of the images, but also of the stories, which he generated through Chatgpt. A subgenre. They soon caught the attention, How has 404 averageof journalists from the real locations mentioned in the videos, who were surprised not to have heard of such striking cases. When it was made public that the content was generated by AI, but this was not mentioned anywhere, YouTube canceled this and other channels of its person responsible for breaking the conditions of the platform (among others, “Children’s Security policies, which prohibit the sexualization of minors”). It is still possible to access the content in audio format, however, Through platforms like Spotify. The cartoon is not enough. The head of True Crime Case Files was an AI programmer who had already dedicated himself to generating small parodies of romantic comedies Hallmark type on YouTube o Fill content on social networks such as Facebook. According to 404 Media, he disproportionately exaggerated the details of the cases so that it was evident that it was invented cases but, as with Facebook and Instagram videos obviously generated by thethere are dozens of people who believe them. Other True Crime with Ia. Of course, the case of True Crime Case Files is not isolated, although perhaps it is the only one who has tried to go through real crimes his stories: Cen Stories It has the same visual style, in the images and in the holders, and a disclaimer which warns of the content generated by AI, although the notice appears only in the description, buried between summaries and hashtags, and not within the video itself. In Tiktok they also abound, always specifying its artificial origins, and in innumerable variants. In Detective Challenge The cases are invented, and in Thruecrimeaimedia real facts are mixed with invented. There are channels in Spanish, such as Based cases And others who not only tell crimes, such as my history, but also introduce morbid cases of historical cases, such as Nero’s castrated lover or make popular cases of cinema and television, such as Freddy Krueger’s cases. A catalog of channels, some closer to moral limits than others, but all taking advantage of AI to generate three or four videos a week that accumulate thousands of visits. More garbage. Although all these cases are covered from a legal point of view, they undoubtedly have traits in common with what is known as’Slop‘, Low quality content generated by AI and that floods social networks. The least thing is that it can be distinguished whether it is artificial material or not but how the platforms themselves favor these contents with the algorithm, since The amount interests more than the quality. What is the use of True Crime. To this are added their own limits of True Crimethat since their origin in novels such as ‘in cold blood’ played with the confusion between reality and fantasy. Crime and suspense films have always been inspiring their stories in real cases, which manipulate according to dramatic interests but without accrediting their origins in reality, which perhaps also has moral gray areas that should explore. Often Documentaries are criticized True Crime for exploiting the trauma of the victims and their families and transform your suffering into a showbut the use of AI adds a new layer. Artificial intelligence feeds on documentation of real and fictitious cases, and proposes an indistinguishable amalgam of reality that can become more harmful: sensationalism twists the facts, and the AI ​​does, but in an even more perverse way. Crime ethics. The ethics that are supposed to a media traditional is blurred in these cases, submerged in a misty area where reality and fantasy are confused, but without attending ethical limits, what is worse? A story manufactured but whose characteristics are identical to a real case, or a True Crime that proves its similarities with reality, but that the hurry and lack of means lead to videos that feed the morbidity of the spectators without the need to respond to legal limits? He True Crime It continues to evolve, and not necessarily towards more reassuring areas. Header | Cen Stories In Xataka | The ‘True Crime’ pending black Spain: the cases that television fiction have not yet dared to play

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