horror

The best horror movie of this winter has been released. And the protagonists are the owners of a home in Spain

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The abrupt rise of the garbage rate that has exploded throughout Spain is not the result of a improvised decision of each town hall, but rather of the rush to have arrived at the last minute. Namely: of the obligatory application of Law 7/2022 (transposition of European directives) which orders that the waste service should no longer be partially financed by general taxes and be paid 100% by a specific rate based on the “polluter pays” principle, eliminating the structural deficit that many municipalities had been carrying. What has happened? That the “garbage” is more noticeable in some places than others. The normative origin. The norm established a maximum period until April to incorporate it into ordinances, which has meant that municipalities that delayed its application have communicated the charge practically at once, with increases that in some cases double or triple previous receipts and are already reflected in the CPI with an increase 30% year-on-year in the cost of the service, despite the fact that not all municipalities have implemented it yet, which anticipates additional increases when the deployment is full. In other words, curves are coming. Cangas de Morrazo as epicenter. As it is, the first public implosion has happened in Cangasin Pontevedra, where neighborhood anger became an episode of public order with councilors escorted by the Civil Guard and throwing objects after approving an ordinance that in bars went from 107 to 1,236 euros and in homes it practically doubled receipts, accumulating more than 8,000 signatures against an increase perceived as abrupt, without a transitional phase or prior dialogue. Hoteliers allege unviability when passing bills from 1,400 to more than 3,000 euroswhile regretting that the process was carried out without calling affected actors before approval, which has turned a legal requirement into a political trigger, in a framework where the service had 17 years without updating rates and was deficient in more than two million per year, compensated via general taxes that can no longer be used for this purpose. The inequalities. The law requires a rate, but does not dictate how to calculate itwhich has generated a mosaic of municipal models with disparate criteria: cadastral value, water consumption, number of registereduse of the premises, area or even flat rate per home. This diversity implies that citizens of adjacent municipalities pay very different amounts for an equivalent service, something already warned by the FEMP and by Treasury inspectors as a sure source of massive litigation. The recent annulment by the TSJ of Castilla y León, an ordinance from León opens a path that businesses, schools and sectors especially hit with receipts are already exploring up to 30,000 euros. Experts warn that the reference to the cadastral value may constitute a vice of illegality by disconnecting from the actual generation of waste and functioning de facto as an improper surcharge of the IBIwhich could reproduce a similar scenario to the municipal capital gains: imposed instrument, politically supported, challenged in a cascade and finally revoked, with an obligation to return it to whoever has resorted to it within the deadline. Europe: obligation and margin. Political tension is fueled by a deliberate misunderstanding: Brussels demands compliance with recycling, reuse and circular economy goals, but it does not force that the instrument is a rate nor does it mark the calculation formula. In fact, it was the Spanish legislator who chose this path and transferred the technical and political responsibility for executing it to the city councils, without defining a uniform standard cost methodology or setting national equity criteria. The result is a double cross reproach: The city councils accuse the Government of imposing an obligation without an application manual and the Government points to Europe to cover a decision of internal design with inevitability, while the citizen perceives that they are beginning to pay directly for a service that already existed and whose cost structure is not explained precisely, which erodes the social acceptance of the tax. Economic effect. The rate not only makes household and business bills more expensive, but reorder incentives: If the deficit can no longer be covered by taxes and must appear on the invoice, the system penalizes waste volumetrics and rewards separation and reduction practices where ordinances have introduced bonuses linked to the use of brown containers, composting, door-to-door or clean points. However, and very importantly, in large cities many current models do not reward individual behavior, proxy rules apply (cadastral, surface, neighborhood) and generate equal payment for neighbors with radically different behaviors, something criticized from environmentalism for diluting the environmental purpose of the norm. Meanwhile, the jump 30% in CPI and business cases with receipts multiplied by three have produced not only social irritation but fear of a massive wave of resources, in a context in which city councils acknowledge that they are already preparing legal defense anticipating that the rate could become a new fiscal front with a path to court. Conclusion: a sinvivir. The crisis of the “garbage” It is not born in the amount but in the combination of inexcusable legal obligation, abrupt transfer to the taxpayer without cushioning, disparate heterogeneity between municipalities, poor communication, absence of national guidance and a highly fragile legal system that opens the door to serial litigation. Cangas has been the first burst visible of a phenomenon that is structural: Spain has made it a norm to finance waste with taxes pass them on in full as a rateand this simultaneous redesign without homogeneity or pedagogy has coincided with inflationary cycles, accumulated business burdens and distrust of administrations, producing a perfect storm that mixes environmental compliance, fiscal shock and perceived legitimacy. Image | Daniel Capilla In Xataka | If you own a house, chances are you have a new problem on the horizon: the garbage rate. In Xataka | “Garbage tourism” arrives in Spain: when the next town is your landfill

A free horror of cleaning demonic mold

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Do you remember the times when video games also served as promotional artifacts? From ‘Cool spot’ a ‘Pepsiman’, it is a subgenre that has given us games that were decent to the directly horrendous, although possibly none has been as daring as ‘Silent Cleaning’, a free video game of the company of Cleaning products Japanese Kao Corporation, who introduces his brands … a Survival Horror. To rub demons. The game takes us to an old Japanese house that the player must clean, facing difficult stains (and a quite terrifying thing in itself, we must see how the toilets are). And then to a green creature that is neither more nor less than the mold, which has acquired awareness and is willing to end the cleaning brigades that want to disinfect it (As Arias demolition said). CLEAN CALLADITO. This viscous demon reacts to the sound, so you will have no choice but to do the cleaning in complete silence, moving with caution and using cooking alarms and other objects that make noise to distract it or take it out of rooms where you intend to clean. Because you are not going to leave there until that house stays like the gold jets: you will have a map that will tell you which rooms of the house are about to clean. Yes, it is advertising. The game is freeso in your adventure you have to be willing to consume a good amount of advertising. Luckily, it is Japanese advertising, so you can take it as a hyperrealist touch: all cleaning products are real, of the Kao Corporation brand. Luckily, those of the Kao Marketing Department decided to do their job well and embed us a very decent title with quite intriguing puzzles: Metroidvania mechanics (that flusflús that you just took clean an impossible spot of the first room) and a few puzzles of closed locks and cabinets. Resident Evil, at his feet. ‘Silent Cleaning’ also provides some surprises for the devotees of the classics par excellence of the genre, the ‘Resident Evil’. Thus, as if it were conventional weapons, it will have to combine different limited products to make them effective against certain rebel spots. For example, tying a rag to a mop to reach inaccessible corners. A wink to the origins of the genre that gives an unexpected depth to a game that as they say, had no right to be so good. A long tradition of games-ancium. As we said, ‘Silent Cleaning’ is not the first of its species: in the much more unvergonzones eighties and ninety we live a good amount of games that were actually camouflaged ads. ‘Cool spot’ of 7up, ‘Chester Cheetah: Too Cool to Fool’ of Cheetos, ‘Me! Noid ‘for Domino’s Pizza,’ McKids ‘for McDonalds, even the Spanish’ Whopper Chase ‘for Burger King … The list is endless, although we stay with two oddities:’America’s Army‘, a recruitment tool of the American army and the very cool’Pepsiman‘In PlayStation, only launched in Japan, but turned into a piece of absolute cult. In Xataka | ‘Silksong’ not only wants to surprise with its quality. Its price is a right to the industry with more chicha than it seems

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

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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

Cantabria feared to become “La Ibiza del Norte”. For his horror, he already has “the Magaluf del Norte”

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There are slogans that pass without penalty or glory and others that capture such an idea that end up rooting or even (in networks) viral. It happened little over a yearwhen Thousands of Cantabrians They went out to protest against the Tourist From his community to the shout of “We do not want to be the Northern Ibiza!” Now the controversy returns to the same region before another threat that has been summarized in an equally powerful phrase: there are those who warn that one of its most famous sand, the strut, runs the risk of becoming “The Magaluf del Norte”. The debate is served. A place: El Puntal Beach. Cantabria has 284 kilometers of coast, but few places in that large coastal strip are as emblematic as the beach of The Puntalin Somo (Ribomontán to the sea), in the middle of Santander Bay. The space is included in the Natura 2000 Network Within the dunes of El Puntal and the Estario of Miera, which stands out for its 49 plant formations. Twenty of them are also priority and the area of special interest is distributed in the area. A word: Megabotellón. Despite that environmental value and being a Protected spacethe sand becomes sometimes a great Botellodrome. People are in the area and the beach becomes an outdoor parties space. It is nothing new. It has happened relatively frequently during the summer months of recent years. In July 2020in full pandemic, the Civil Guard imposed dozens of complaints after evicting a bottle With hundreds of young people. And in August last year it happened Something similarwith a Macrobotellón that brought together thousands of young people who left in their path a lot of garbage. And what happened? That the story It has been repeated again. A few weeks ago the sand was filled with thousands of young people who crowded the beach and left long tails to move by boat from Santander. It is not necessary to imagine it. The local press and The networks They spread images of a strut to the flag, a massive party that the mayor of Ribamontán to the sea, Francisco Asón, watched with impotence. “We are in contact with the Civil Guard because they have already warned us that this is the hecatombe,” I recognized To the EFE agency. Party … And something else. The problem is not just saturation. Much of the controversy causes it what leaves behind: bags, cans, bottles … a large amount of garbage scattered on the sand, as a Cantabrist denunciation, which the next day visited the same beach to show in A video dirt. The recording speaks for itself. “The bottles in the strut begins to be unsustainable. We cannot look elsewhere while deteriorating one of the most beautiful and fragile environments of the bay,” Crows Daniel Fernández, socialist spokesman in Santander. Click on the image to go to Tweet. “Bottle, noise and dirt”. In recent days the controversy has been climbing with reproaches of political parties, institutions and environmentalists. At the end of July several counselors of the Government of Cantabria and the mayor of Ribamontán to the sea sent A letter To the Government delegate to claim that it ends the “mass and illegal” concentrations, parties that, “fill with bottles, noise and dirt a protected space.” The situation seemed relax Last weekend, but that has not prevented more and more voices from asking for solutions. One of the most overwhelming is that of Ecologists in Action, which warns of the situation of El Puntal, its “irreparable footprints” and the “risk” that the bottles represent. “A natural space turned into a shitwith bottles, plastics, food remains and butts dispersed by the sand “, emphasize The organization before crossing out “inadmissible” that the authorities allow the beach to become “a landfill.” “It is not a recreational space without norms, it is a public good of high environmental value whose conservation is a collective duty. It is not enough to send a cleaning team the next day. That does not repair the damage,” he remarks. The northern Magaluf? Just like a year ago Voices were heard rejecting that Cantabria becomes “the North Ibiza”, in recent days those that compare the situation of El Puntal with MagalufMallorca beach wrapped in controversy for the videos that show The excesses with drugs or sex in public spaces. “They have turned a protected area into the Magaluf del Norte”, complaint Cantabrist “Hundreds of tourists come to our natural environments to use them as their private club and turn them into landfills.” They are not the only ones that point in that direction. The PSOE He has claimed Measures to protect the coast “Ante Avalachas” such as El Puntal and speaks of “more than 4,000 people from Botón”. United Left too He has demanded that all administrations meet to “put an end to lack of control” in the Arenal, a measure that proposes to extend to other natural spaces in the region. “Cantabria is fashionable”. Not all institutions share the tone or focus the focus on the same point. The regional president, María José Sáenz de Buruaga, considers “a serious irresponsibility to alert tourism phobia” and asks not to transmit “a distorted image” of what happens in the community. “Cantabria is fashionable and lives a splendid and excellent moment. We are not the Northern Ibiza. Much less Magaluf,” the leader emphasizes in statements collected by eldiario.es. His executive claims to the Government Delegation that reinforces the controls. “It must act when there is a security problem.” Images | Cantabrist 1 and 2 and Federico Jordá (Flickr) In Xataka | The north of Spain has been complaining about mass tourism for years. Asturias has discovered the bitter consequences of losing it

It is one of the most chilling horror films in recent years, almost nobody has seen it and you have it in prime video

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There are countless horror cinema subgenres, as of any other variant of the fantastic. There are more trotted and frantic films, there are those that are betting on a more murky and rested atmosphere. There are films that derive from previous successes, others that dare to go into unpleling territory. Not all are for all tastes, and clearly ‘Ritual from beyond‘(Depressant Spanish title for the much more lyrical’ to Dark Song ‘), than You can see in Prime Videoit is of that last species. ‘Ritual of the beyond’ has a rhythm and development that will not possibly interest all fans. But if the occult, dark atmospheres, low intensity horror and uncommon messages interest you, ‘ritual of beyond’ is for you. He writes and directs Liam Gavin, who has not signed anything else apart from a couple of chapters of ‘The curse of Bly Manor’ in Netflix In ‘Ritual from beyond’ we will meet a woman who rent a house isolated from everything. His only company in an increasingly suffocating and strange series of days will be a occultist who must help her make a long, dangerous and strenuous ritual to be able to contact her deceased son. But both have secrets that can endanger the purpose of that isolation. It is a classic plot structure (a couple of characters locked in a space that will oppress them more and more until they put their integrity and sanity at risk) that, however, takes a series of unexpected paths. With a meticulous and almost documentary description of the ritual that awaits boththe film builds an atmosphere of threat and an increasingly demential rhythm that turns this film into a hidden jewel of the genre. That everyone will not like, without a doubt, but that will obsess those who connect with their brave proposal. In Xataka | In 2024 Nicolas Cage, in 2025 Stephen King. The revolutionary horror cinema returns with a new epic of humor and gore

The director of an MCU classic and some modern horror successes signs the best premiere in the history of Apple TV+

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We have spoken on more than one occasion of the Bandazos that has been giving Apple in his purpose of becoming a Major Hollywood. Great failures with high pretensions, such as ‘Napoleon’, ‘Argylle’ or ‘The Moon Killer’ have ended up making the company reduce their claims. Strategy that will be possible redoubled when they check that a much more effective film than all those but less ambitious, such as’The secret abyss‘(terrible Spanish title for’ The Gorge ‘) has beaten Records on the platform. Indeed, this film about a couple of confrontated sides snipers that have the mission of monitoring the two ends of a kilometer pit whose dangerous content is unaware It has been number 1 in 99 of the countries to which the Apple platform reachesand it is not difficult to understand why. The always powerful visual finish of Apple’s films (even those destined to go directly to streaming) It is perfect for a movie with star cast (Miles Teller, Anya Taylor-Joy and Sigourney Weaver), who join a director with their own vision. This is Scott Derrickson, who was associated with Marvel with ‘Doctor Strange’ and that signed some very interesting successful horror films, such as ‘The exorcism of Emily Rose’, ‘Sinister’, ‘Líbolos del Evil’ or ‘Black Phone’. To him is due to the turn of how sinister the film visually gives in its second half, a break that has been discussed by the flying with respect to the most suggestive start of this proposal. Because there, without a doubt, is where the best of this Apple production is: when the two protagonists get to know (dance to the sound of the ramones included) and how intimacy is emerging between them, something that is very well told and that ends up being the most memorable of the set, above the inevitable festival of fireworks of the second half. In any case, a sinister and action epic to which it is worth approaching to corroborate that it is not necessary not to look at the whole of Apple’s proposals. Header | Apple TV+ In Xataka | Back ‘separation’ to Apple TV+. His tortuous production for three years predicts bad times for author series

If ‘the substance’ captivated you, look at this visceral French horror piece in Netflix

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‘The substance’ finally did not take the deserved Oscar to those who was nominatedbut his single presence in the ceremony is poison for everything that is hollow in Hollywood with his radical proposal. In fact, his messages about the demands that the entertainment industry requires the female body anticipated, in fact, which ended up being the award for best actress (a mature Demi Moore defeated by a version of itself that was much better in front of the cameras). But We can celebrate his moral triumph with a good dose of marrano horror filmbloody and with a radical message thanks to this French gore classic of the nineties that dialogues perfectly with the movie of Coralie Fargeat. It’s about ‘Baby Blood‘, that He has just arrived in Netflix And that proposes a cheap, rude and direct festival of wild humor, dribs of blood at discretion and a message that touches the antisocial. Everything starts when a strange creature is introduced into a woman’s uterus. The brand new pregnant has no choice but to become a murderer to feed the being that lives in its bosom. Like life itself. The result drinks both of the fantastic cinema of the fifties but in a key completely out of mother (with forgiveness) and of the Frank Henenlotter ‘Basket Case’ and ‘Brain Damage’ classics, but in gala version, that is, even more scarf and dirty. Such an influences blender is The ideal bridge between the gore cinema more serve as eighties and what was to come both in the most extreme horror cinema and, years later, in ‘The substance’. Because if it is important for something capital ‘Baby Blood’ is to understand horror cinema from France that would arrive a few years later. Films like ‘Inside’, ‘Martyrs’ or ‘High Voltage’ find their visionary and very precedent in ‘Baby Blood’, as overflowing with violence, and with a corrosive message about motherhood. Not for all palates, but if the extreme is yours, you have an appointment with sandungueros babies who feed on blood. In Xataka | On his way to the Oscars, ‘The substance’ has added another milestone: the most watched premiere in the whole story of Filmin

In 2024 Nicolas Cage, in 2025 Stephen King. The revolutionary horror cinema returns with a new epic of humor and gore

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Osgood Perkins is one of the most stimulating horror film directors of today (in addition, consecrated to gender: fans are lucky that it is not one of those creators who roll two impact films and then retire to more prestigious genres or profitable). And above, it is wonderfully prolific: last year, ‘Longlegs‘It became the cult film par excellence; This year, already in February, his ‘The Monkey’ is on his way to running the same fate. Oz Perkins likes fear. As is well known, Perkins is the son of an authentic horror cinema icon, Anthony Perkins, but with his good work he has been distanced from the titanic shadow of his father: before his international revelation with ‘Longlegs’, Perkins He already signed small but tremendously disturbing films, in which he showed an incredible hand for gender. As in his debut, the very sick ‘The envoy of evil‘, his personal vision of fairy tales with’Gretel and Hansel‘, And the modest but very intense’I am the beautiful creature that lives in this house‘For Netflix. ‘Longlegs’, a murky descent to madness. Descent, but as one descends rolling down the stairs to the darkest corner of a flooded medium basement. ‘Longlegs’ left Patidifuso to everyone in 2024 thanks to one of the most extreme papers of Nicolas Cage (which is already), but also because of the unexpected of their script turns and for the few concessions that this story gave this story this story of an FBI agent with some extrasensory capacity, and that is embarked in the search for a murderer who soon acquires absolutely inexplicable dyes. And now, Stephen King. Here is all of icons of the disheveled gesture and the insomnia nights. Stephen King, Nicolas Cage and now, Stephen King. Because his is the story that inspires Perkins’s new movie, ‘The Monkey’, which arrives at theaters this week. The original story is the variant of a code that King has used on countless occasions (‘the store’, ‘animal cemetery’), that of the monkey leg: do not want something very strong, because the desire can meet with the same force and with devastating consequences. But Perkins has brought the original story completely to its land. The desire monkey. The film starts when two twin brothers find among their father’s objects, whom they did not get to know, an old toy monkey with a drum. Soon a series of truculent deaths begin to happen in their surroundings, and that blame the monkey. The brothers decide to get rid of him and continue with their lives, although they end up distancing over the years. But suddenly the strange deaths take place again and the brothers must meet to end the power of the monkey. Laugh until he died. We said that Perkins had taken his own way when adapting the original story, and that path is that of humor. The deaths, absolutely free, unexpected and very bloody, are the most grotesque that have been seen on the screen from the saga ‘final destination’, with which ‘The Monkey’ has more than one point in common. Blood acrobatics, creative gore and a feverish rhythm of demential deaths mark the rhythm of a hilarious film and that definitely consecrates Osgood Perkins as one of the greats of modern terror. In Xataka | About the new ‘Wolf Man’ weighs more than a curse: the shadow of the failed mcu of monsters that wanted to build universal

Spend a moment of real panic with these books that review the grotesque world of 80s horror and horror noire

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We peer into terror in ‘paper maze‘, the fantastic literature podcast that we do at Xataka in collaboration with Minotauro, and we do it with a couple of new features that combine classic and modern. On the one hand, an essay that delves into the disconcerting and insane world of horror paperbacks from the eighties. And on the other, a compilation of stories focused on black horror, the subgenre most concerned with the most terrible and chilling side of racial conflicts. For this he accompanies us Bernard J. Lemanan expert in horror literature with whom we break down these two volumes edited by Minotauro, and which confront the past, present and future of the genre in a unique mix. Paperbacks from Hell is the work of Grady Hendrix, author of novels that we have already talked about here, such as ‘How to sell a haunted house‘. Here he writes a wonderful essay analyzing with detail and a sense of humor the incredible panorama of brutal and exploitative horror literature of the eighties. With a chilling selection of covers and a good edition by Minotauro, which has taken care of the translations of the titles that have been published in Spain, it is an essential volume for anyone who wants to find out more about how the horror genre has gotten to where it is right now. . Jordan Peele, director of films like ‘Let Me Out’, ‘Nope’ and ‘Us’ is responsible for compiling the stories of ‘out there screaming‘, a volume of horror noire perfect for entering very uncomfortable areas of the genre. All the stories in the book have a racial component, and all genres are explored: from pure and simple satire to new meat, including horror of manners. Varied and very combative. How can you subscribe? If you liked this episode of the second season or if you want listen to ‘Paper Labyrinth’ from your favorite podcast applicationyou can subscribe through the main platforms: You can also listen to us and see us on our Youtube channel. In Xataka | Overpopulation taken to the limit, ultra-space thieves and other science fiction milestones by Harry Harrison

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