movie

In 1953 Hollywood filmed a blockbuster in front of US nuclear tests. It was the most radioactive movie in history, literally

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Year 1953, during a nuclear test in the Nevada desert, several Las Vegas hotels offered their guests privileged views of the mushroom cloud at dawn as if it were a tourist attraction at Disneyland, with cocktails included and terraces full of spectators. The scene, which is difficult to imagine today, reflected the extent to which certain risks were perceived very differently in the midst of the nuclear age. Filming in the Cold War. In the mid-50s, The Conqueror It was born as a historical blockbuster that from the beginning involved decisions that were difficult to justify, such as choosing John Wayne to play Genghis Khan himself under the production of Howard Hughes. Filming moved to locations in Utah, an area that offered spectacular landscapes but was, at the time, close to areas where the United States was filming atmospheric nuclear tests. The context was not a secret, but its risks were not fully understood either, since public and scientific perception of radiation was much more limited than today. That combination of cinematic ambition and geopolitical moment left a scenario that, seen with perspective, is much more disturbing than what it seemed like then. The real environment. This perfectly documented that nuclear testing in the Nevada desert generated radioactive fallout that moved to populated areas, subsequently affecting known communities as “downwinders”. It is also proven that the filming team worked in one of those regions, and that part of the surrounding material was transferred to other sets, potentially expanding exposure. This context is neither a theory nor a subsequent reconstruction, but a historical fact recognized by investigations and official organizations that have studied the consequences of those tests. The passage of time and the uncomfortable statistics. What happened? That, over the years, a significant part of the cast and production team developed cancerincluding figures such as John Wayne himself (who died of the disease in 1979), Susan Hayward and Dick Powell. The most cited figure that gives an idea of ​​the possible impact speaks of more than 90 cases among about 220 people linked to the production, a fact that has fueled the fame of the filming as one of the most disturbing and cursed in the history of Hollywood. Even so, we must remember that this number comes from of informative accounts and not from controlled epidemiological studies, which requires treating it with some caution despite its impact. What is proven and what is not. The line between facts and story is key in history. It’s proven that there was exposure to a potentially contaminated environment and that several team members developed serious illnesses over time. What is not proven is a direct causal relationship between filming and these cancers, since factors such as personal habits (including smoking) and the lack of comparable clinical data, facts or causalities may enter, making any definitive conclusion difficult. Therefore, the case remains an ambiguous terrain: perfectly plausible in its approach, but not scientifically confirmed. From failure to modern myth. Upon its release, the film was received quite coldly and criticalremaining in the popular imagination as another failure within the industry. However, as the decades passed, his memory has changed completely, transforming into a story that combines Hollywood, Cold War and invisible risk. What at the time was simply a bad creative and logistical decision ended up being reinterpreted as an episode from the world of celluloid. loaded with symbolism about the limits of knowledge and (i)responsibility. The context changes everything. Because the story of The Conqueror lies not only in what happened during filming, but in how that same filming fits within an era in which exposure to nuclear risks formed part of the everyday landscape. There is no doubt, what seemed acceptable then is today perceived as true nonsense, and this radical change of perspective is what turns the case into something more than a movie anecdote. It wasn’t just a problematic shoot, but an example of how seemingly normal decisions can take on a completely different meaning. with the passage of time. Image | RKO In Xataka | The day a man dared to go further than anyone else: a real fight with Bruce Lee where there were no limits In Xataka | One of the most iconic scenes from ‘A Clockwork Orange’ had an infallible trick: the pain you saw in the scene was not fiction

The industry does not stop raising the price of games and I have gotten hooked on this free movie guessing game

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There’s something perversely satisfying about spending weeks thinking more about Al Pacino movies because of one game than any recent AAA release. This movie guessing game has no cutscenes spectacular nor does it come with an ambitious built-in trailer. This is a free website, without invasive advertising, that makes you chain movies with an unknown rival from the other side of the world. Is called ‘Cine2Nerdle‘, and its Battle 2.0 mode is, right now, the hardest thing for me to leave in the browser. How to play. The daily puzzle puts you in front of a grid of 4×4 tiles. Each card contains a word or phrase. The objective is to rearrange them by exchanging positions until each row or column alludes to or describes a movie. There are between four and five movies hidden on each board. When you have three tiles of the same movie lined up, they light up yellow; when you complete all four, the row is resolved. And when you have four horizontally you have to reorganize in search of the fifth. All with limited movements, of course. What makes Cine2Nerdle genuinely interesting in its single-player mode is its constant cheating. A card can belong to a row because it is the place where a movie takes place, and simultaneously to a column because it is the last name of the leading actor in another. This game of polysemy also affects false paths; A proper name can have multiple owners, an initial can be a title or the name of a character. Each puzzle is more like a crossword puzzle than a logic test. Its secret: Battle Mode. The daily puzzle is already good enough, but what makes ‘Cine2Nerdle’ a diabolical invention is the Battle mode, and more specifically its second version. The basic idea is a 1vs1 duel in real time: both players start from an initial film and have 25 seconds, taking turns to chain together others that share at least one member of the artistic team: actor, director, screenwriter, director of photography. And so on until someone is left without an answer or runs out of time. What Battle 2.0 added over the previous version is a layer of strategy that transforms the game. Before, games could last about an hour if both players knew cinema well. Now each player carries a “battle kit” that includes items as a condition for immediate victory (for example, mentioning four science fiction films from the eighties or connecting films with an actor without using him as a direct connector), life savers (small helps, such as revealing facts about the films) and the possibility of banning films or actors to the rival. Thus the games are resolved in about five minutes. The good thing: before each game you prepare the kit of aids and objectives that you have gained while playing, and thus you can make up for your film-loving shortcomings. Pure RPG mechanics. The strategy. You have to use the aspects in which you are strong and have knowledge to drag the rival there. For example: are you an expert in horror films from the eighties? Mention long career directors who take the game from the present, where everyone knows titles, to decades past (e.g. John Carpenter). Take the game to your territory, and there, begin to uncover increasingly rare films, and reinforce your choices with prohibitions on using the best-known actors in the cast. The remains of ‘Wordle’. When the New York Times bought ‘Wordle’ for more than a million dollars By early 2022, the game already had millions of daily users. The formula was simple: one word per day, shareable on networks, without unnecessary additives. What followed was an avalanche of thematic derivatives: geography (Worldle), music (Heardle), mathematics (Nerdle)… Most did not survive a year. Cine2Nerdle He is one of the survivors. It was created by Nilanth Yogadasan, who had already published CineNerdle (a puzzle of film frames that were revealed little by little). The jump to “2” completely changed the mechanics and also, as its creator recognizesis a nod to the style of titles like ‘2 Fast 2 Furious’: the sequel that puts the number in the middle. The kind of winks for coffee lovers that turn a game for film nerds into an accessible and fun experience. In Xataka | The Spanish Puzzle Championship exists, real professionals participate and there are prizes of up to 1,000 euros

Since 2019, Spanish movie theaters have not had so much attendance in a single weekend. The person responsible: Torrente

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‘Torrente Presidente’ arrived in theaters on March 13 without a trailer, without press passes and with a poster with a black background as the only promotional material. In 72 hours it raised close to 7 million euros: with one million viewers, it is the best start for a Spanish film in fifteen years. And these are the causes of the phenomenon. The figures. The first numbers of ‘Torrente Presidente’, before the weekend ended, were already overwhelming and predicted extraordinary success. Premiere on 1077 screens. 150,000 tickets sold in advance. 2.4 million euros and 300,000 spectators on Friday alone. At the end of the weekend, it had generated a total of 6.94 million euros, 70% of the national box office. Of course, it is the weekend with the highest attendance at cinemas since 2019, before the pandemic. The figure places the sixth installment of the saga as the fourth best premiere in the history of Spanish cinema, behind ‘The Impossible’ (€8.9M), ‘Torrente 4: Lethal Crisis’ (€8.6M) and ‘Torrente 3: The Protector’ (€7.21M). It is also the highest-grossing Spanish film of the year and the best debut of a Spanish production in the last eleven: no national film had reached that level of box office on its opening day since at least 2015. Unusual marketing. Segura opted for a launch strategy completely atypical: The film arrived in theaters without a trailer, without promotion and without prior press screenings, announcing itself only with a publication on social networks. The director has explained that his intention was that fans of the saga would be the first to enjoy it. Curiously, Segura has for decades been one of the most active Spanish directors in the promotion machine, continually appearing on television wearing t-shirts with the film’s title. Once ‘Torrente Presidente’ was released, it has already been seen on programs like ‘El Hormiguero’ and has begun to give interviews and give access to press passes. You know what you’re going for. Curiously, Torrente’s films do not stand out for their plot twists or spectacular surprises, but there is another secret to keep: the cameos. As could be seen when the film arrived in theaters, ‘Torrente Presidente’ is one of the densest films in the saga (if not the most) in terms of number of cameos and guest stars. That was what Segura did not want revealed, and that is why there are abundant articles on the internet that they gut this aspect of the movie. It is the great secret of the premiere, above its plot or its approach, where it rains in the wet. And now what. If in a film like this the surprise effect is important, word of mouth is even more important. From its second week onwards, Segura will adhere to the usual rules of the promotion (trailer, poster, pass, interviews) seeking to maintain the momentum. The first milestone that ‘Torrente Presidente’ has to overcome is the 22.1 million in revenue from ‘Torrente 2’, the most lucrative of the saga to date. At this rate, this second week could exceed the 14 million euros that the intermediate installments of the saga accumulated, amounts that the films of ‘Father there is only one‘. In Xataka | There are many people who hate Santiago Segura’s films. The problem is that they “save” Spanish cinema every year

This Star Trek movie was canceled in 1977 because science fiction had no future. Two weeks later Star Wars premiered

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In the mid-1970s, ‘Star Trek‘ was experiencing a unique phenomenon in the entertainment industry. The original series, canceled in 1969 after three seasons of discreet audiences, had found an unexpected second life. Continuous reruns and fan enthusiasm (the first phenomenon of its kind to develop pop culture) encouraged Paramount to extend the original mythology. In 1976, a full-page advertisement appeared in ‘The New York Times’ proclaiming the imminent production of a Star Trek film: ‘Planet of the Titans’, and which aspired to take the franchise into uncharted cinematic territories. The origin. Producer Gerald Isenberg assumed executive control of the project in July 1976, intending to transform ‘Star Trek’ into a first-rate cinematic event. To direct, Paramount hired Philip Kaufman, a filmmaker whose profile was unconventional for a franchise. Kaufman would direct acclaimed works such as ‘Chosen for Glory’ and would delve into a science fiction very different from ‘Star Trek’ in the remake of ‘Invasion of the Ultracorps’ in 1978. But by 1976 he had already directed the western ‘No Law or Hope’ and the arctic adventures of ‘The White Dawn’. Chris Bryant and Allan Scott, British writers of the superb and extremely rare ‘Shadow Menace’, were chosen as scriptwriters. The conceptual basis of the project was nourished by ambitious sources: Kaufman and Isenberg structured the narrative inspired by the novel ‘The Last and the First Humanity’ by Olaf Stapledon, which traces human evolution over billions of years. As a scientific advisor, Paramount hired Jesco von Puttkamer, a NASA engineer. Ralph McQuarriewhose conceptual work for ‘Star Wars’ was then in full development, would do the designs. The conflicts. Creative tensions quickly emerged. Kaufman aspired to create a cinematographic work that would dialogue with ‘2001: A Space Odyssey‘ in visual and philosophical complexity. Gene Roddenberry, creator of the original series, defended its essence. Bryant and Scott they were trapped between these two incompatible visions, trying to balance the artistic ambitions of one and the fidelity of the other. The budget, initially set at three million dollars, rose to 10 million. What was it about? Captain James T. Kirk has disappeared three years ago, during a rescue mission near a black hole. The Enterprise remains operational, but Spock has returned to Vulcan. When Starfleet detects anomalous energetic emissions coming from the same black hole where Kirk was lost, Spock rejoins. They discover a planet trapped inside the black hole, the mythical home of the Titans, an ancient civilization possessing technology superior to that of humans. The planet is being inexorably sucked into the black hole. Spock locates Kirk, scarred by years of isolation and transformed by cosmic forces. The planned outcome was the most radical bet: to escape collapse, the Enterprise deliberately enters the black hole, emerging not in its time, but in our prehistory. The crew discovers that they themselves are the Titans of mythology. Kirk is Prometheus, the bringer of fire to early humanity. The script does not clarify whether the crew would finally manage to return to their time or would be trapped observing the slow development of human history that they themselves had started. Kirk is dead. But… why make a movie in which the legendary Kirk is practically absent? William Shatner’s contract with Paramount had expired, leading Bryant and Scott to develop a first draft that eliminated Kirk. After several weeks of work, the studio informed them that an agreement had been reached and that Kirk should be reinstated as the lead. This twist forced a substantial rewrite of the material. And the situation with Leonard Nimoy was even more complex: the actor withdrew from the project due to a conflict over the unauthorized use of his image as Spock in a Heineken advertisement, but an agreement was finally reached. The cancellation. Bryant and Scott submitted their first completed draft on March 1, 1977, after months of intense creative negotiations, but ultimately walked away from the project. Kaufman personally took on the rewrite of the script. His version intensified the role of Spock and developed the dynamic with a Klingon played by none other than the legendary Toshiro Mifune. Just when he was convinced he had found the definitive story, he was told that Paramount had canceled the project. This happened in May 1977, just seventeen days before the premiere of ‘Star Wars’. Kaufman would always remember the phrase that a studio executive told him as justification for the cancellation: “there is no future in science fiction.” Why was it cancelled? They converged different factors: the increase in costs, the fear that ‘Star Wars’ would saturate the science fiction market and the belief that they had distanced themselves too much from the original series. When ‘Star Wars’ grossed more than $775 million worldwide, Paramount pitched ‘Star Trek: Phase II,’ a television series planned as the flagship of a new company television network. It would also be cancelled, although one of its scripts would eventually become the basis for ‘Star Trek: The Motion Picture’, released in December 1979. The legacy. ‘‘Planet of the Titans’ was not the first failed attempt to bring ‘Star Trek’ to the cinema, but rather one more link in a chain of frustrated projects that reflected Paramount’s uncertainty about how to capitalize on the franchise: there are cases as popular as the legendary and disturbing film ‘The God Thing’, written by Roddenberry himself in 1975, or the many attempts to recruit science fiction authors to contribute ideas for films, as happened with Harlan Ellison in the late seventies. And although something remained from the film in the future after the cancellation of ‘Planet of the Titans’ (for example, the concept designs They were reused in 2017 in ‘Star Trek: Discovery’), this cursed movie is the perfect example of what ‘Star Trek’ has always been. A sign that there are more ways to do science fiction outside of spectacle pulp of Star Wars and, at the same time, the confirmation that it is very complicated to do so. In Xataka | More and more … Read more

Science has named what you feel when a Pixar movie makes you cry

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Watching the end of a Pixar movie and witnessing an unexpected reunion at an airport can trigger something in some people: a lump in the throat, a warmth in the chest, and even watering in the eyes. And it is not sadness nor euphoric happiness, but a sensation that has received a name very recently. A problem. For years, psychology has had trouble categorizing this specific sensation. We call it “being moved”, “striking a chord” or having “mixed feelings”. However, for a decadea group of scientists from UCLA and the University of Oslo has given it a technical namea theoretical framework and an evolutionary explanation. Is called ‘Kama Muta‘, and it is the scientific label for one of the most powerful tools of our survival, which is sudden connection. Something that we can also feel on social networks when we see the video of a grandmother with her grandson, for example, in a very idyllic situation. Kama Muta. A term that comes from Sanskrit and literally means “to be moved by love” (or “to be filled with love”). And although the name sounds very mystical, there is a scientific part behind it that supports it, since it has been systematically studied. by Kama Muta Labled by anthropologists and psychologists. According to his founding article from 2016and later reviews in Annual Review of Psychologykama muta is not a “new” emotion in the sense that we have just discovered it, but rather that we have just classified it. That is, we had these localized feelings, but we didn’t know what name to give them. Its definition. A positive emotional response triggered by a sudden intensification of communal relationships. In other words: it is what your body feels when you perceive that a social bond is suddenly created, repaired or strengthened. A physical triad. Unlike other abstract emotions, kama muta has a very clear physiological signature that researchers have validated in cross-sectional studies. According to research by Zickfeld published in Emotionwhich spanned 19 countries and 15 languages, the universal symptoms are clear: wet eyes, goosebumps, and a feeling of warmth. A sensation of warmth that curiously centers right in the heart of the chest. Something that already says a lot about this new emotion. Why we are sorry. Why did evolution design us to cry and tremble when we see others hugging? The answer is in group survival. Science suggests that this emotion acts as a social glue, since by feeling physically rewarded by the connection (our own or someone else’s), we are more predisposed to take care of others and sacrifice ourselves for the group. In this way, it has the power to humanize “others.” In an experiment, showing moving videos that induced kama muta significantly increased the perception of humanity towards outgroups, reducing any prejudices one might have. It’s not just “feeling good,” it’s a biological mechanism to expand our circle of empathy. Climate action. The most interesting from recent research is that kama muta does not remain a passive experience, but predicts behavior as well. A 2023 study published in Frontiers in Psychology found that messages about climate change that evoked kama muta (focused on connection to the planet and shared responsibility) were more effective in predicting pro-environmental intentions than those based on fear or guilt. Images | Nik Shuliahin In Xataka | If the question is “where is the secret to happiness,” an expert believes it is hidden in these 15 statements

‘Avatar 3’ is going to be a movie so disproportionately expensive that it runs the risk of destroying and losing money

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‘Avatar: Fire and Ash’ is already, as has happened with all previous installments of the franchise, one of the most anticipated films of the year. Each new installment breaks box office records, and yet James Cameron’s statements are more pessimistic each year about the continuity of the series. Are you sure that ‘Avatar’ is as good a deal as it seems? We snooped into his finances. The paradox. ‘Avatar: Fire and Ashes’ arrives wrapped in an economic paradox: its production budget exceeds 400 million dollarsa figure that places it among the most expensive films ever filmed. And yet, its own director is not clear if the business is worth it. Cameron has been unusually frank about his franchise’s finances and he put the question bluntly: “Will we make money on Avatar 3? Surely some. But the real question is what kind of profit margin there will be, if any, and whether that will be enough of an incentive to continue in this universe.” The wild mathematics of break-even. The arithmetic of ‘Fire and Ashes’ defies standard Hollywood logic. With 400 million in production expenses and a marketing budget that analysts place between 100 and 175 million, it would need to exceed $1 billion at the box office simply to break even or break evenaccording to the more or less assumed industry rule that a film must gross 2.5 times its production budget to be profitable. The case of ‘The sense of water’. The previous installment of ‘Avatar’ gives us some previous lessons on the subject. The sequel cost more than $1 billion in total costs: $400 million in production, another $400 in global marketing, $300 million in shares for Cameron and producer Jon Landau, plus cast salaries, residuals and general expenses. Cameron was not exaggerating when declared that ‘Avatar 2’ was “the worst business case in the history of cinema” and that it needed to become “the third or fourth highest-grossing film of all time” simply to not lose money. The film fulfilled that apocalyptic objective: raised 2,320 million and finally generated 531.7 million net profit. But that deceptively solid figure hides a crucial detail: The studios do not receive all the money from the box office. Movie theaters take approximately 50% of US domestic revenue, 40% from international markets, and up to 75% in China. That is, of those 2.32 billion, Disney actually received just over 1 billion. The rest stayed at the box office. The crisis of inflated budgets. ‘Avatar’ is one of the most visible symptoms of a disease that affects all of Hollywood. The industry has a systemic problem of out-of-control budgets, which affects such well-known films as ‘Star Wars: The Rise of Skywalker‘ ($490 million), ‘Jurassic World: Dominion’ (584 million) or ‘Mission: Impossible – Deadly Sentence: Part One’ (400 million). A analysis of the causes It leads us to multiple factors that explain this phenomenon: inflation has increased the value of the dollar by 15% since 2020, making all aspects of production more expensive. But in addition, streaming platforms altered the economy of stars, accustoming them to higher initial charges, demands that they later transfer to traditional productions. And there is also a visual effects arms race: franchises like superheroes try to surpass each other in spectacularity, and infect the rest of the blockbusters. For this reason they are films that “might not make money even with objectively decent box offices.” The unique case of ‘Avatar’. James Cameron invests in developing pioneering technology that then benefits the entire industry: the underwater motion capture that Cameron and Weta FX took a year and a half to perfect for ‘The Sense of Water’, now reduce costs for the sequels being already invented. But the budget escalation is relentless: ‘Avatar’ cost between 237-280 million, ‘Avatar 2’ between 350-460 million and ‘Avatar 3’ exceeds 400 million. The franchise is a guarantee of box office success, but the profit margins are worryingly narrow. In Xataka | Cameron’s ‘Titanic’ was going to be a flop. Until a trailer that broke several Hollywood rules changed the narrative

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

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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

James Bond is literally dead. And apparently that’s a problem for his next movie.

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James Bond has not been an easy franchise for years, decades perhaps. The latest incarnation of 007, played by Daniel Craig, took a turn from the classic incarnation of the character, ending in 2021 in ‘No time to die‘ and tragically. Now that Amazon owns the rightsis encountering a considerable obstacle to launching a new installment. He died. The death of James Bond in ‘No Time to Die’, the last incarnation to date of the character, has generated an enormous creative challenge for Amazon MGM Studios, current owners of the rights. For the first time in sixty years, 007 died on screen after a missile attack and poisoning by nanobots. Now Steven Knight, creator of ‘Peaky Blinders’must find a way to continue the franchise while respecting that final death. What seemed like a bold ending has become the biggest obstacle to Bond’s future. Dead end. According to sources close to the production, the franchise’s producers are “pulling out hair“because Bond did not disappear or fake his death, as he has done in other installments. He was literally torn to pieces before the viewer. To Anthony Horowitz, author of three recent Bond novels, It is not difficult to believe in these difficulties: “The last time we saw Bond he was poisoned and torn to pieces. It was a mistake, because Bond is a legend.” Why is it a problem? There are authors who talk about the fact that a death scene as explicit as the one seen in the latest Bond film undermines the legendary nature of the character, who has lived an impossibly long arc of time (he fought in the Second World War, but remains fit today) and has changed his face as his performers rotated. This gives 007 a halo of a mythological hero, in the style of the classics, which clashes head-on with the idea of ​​him dying. Furthermore, it is a decision with an economic ingredient: a reboot It would open the door to continuous and unconnected versions, which would devalue the brand. We must bear this death. Where is the franchise? There is still little known information about this new installment: Denis Villeneuve, director of ‘Dune’, will direct this twenty-sixth Bond adventure, with Knight as screenwriter. In March 2025, Amazon MGM obtained complete creative control of the franchise after an agreement with Barbara Broccoli and Michael G. Wilson, ending decades of control by the Broccoli family, and the studio aims for a premiere in 2028. Casting is paralyzed until the problem of Bond’s death is resolved, but names like Tom Holland (finally discarded), Jacob Elordi and Aaron Taylor-Johnson (also discarded). Possible solutions. With the franchise in danger, many fans and experts have provided possible solutions. The first is an idea that has always been floating around since it became clear that the character’s longevity was meaningless: “007” and “James Bond” are code names given to the best agent, and when one dies or retires the next one receives the title. Of course, there is the possibility of a complete reset. You can also propose a prequel and set the film, for example, in the sixties, showing Bond’s rise in MI6. EITHER use the already canonical character of Mathildethe daughter that Bond has with Madeleine Swann in ‘No Time to Die’, and changing the character’s gender. In Xataka | These researchers have watched all the James Bond movies to see how exposed to infectious agents a 007 is and the result is nonsense

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

Jack Ma, founder of Alibaba, is a Tai Chi fan and millionaire. That’s why he gave himself the gift of starring in a martial arts movie

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Jack Ma, founder and executive chairman of Alibaba, is known worldwide for having founded a technology empire in China, but he also made his first steps in the world of cinema. And of all genres, martial arts. An eccentricity that was allowed to be filled with top stars of the genre and that, however, was more than just an idea to massage the ego: Ma has been practicing Tai Chi for 30 years. The man, the legend. Jack Ma, born in 1964 in Hangzhou, China, is the founder in 1999 and former CEO of Alibaba Group, one of the largest e-commerce conglomerates in the world. He founded the company with the goal of connecting Chinese companies with international buyers, revolutionizing digital commerce. His vision turned Alibaba into a global e-commerce and technology giant. He is currently dedicated to philanthropy and education, while his company has been facing a fall of influence very considerable. 22 minutes of tollinas. In 2017, before retiring from Alibaba, Jack Ma starred in and co-produced a martial arts short film titled ‘Gong Shou Daoo’ (literally, “The Art of Attacking and Defending”): 22 minutes depicting Ma as a Tai Chi master facing off against a series of rivals, all of whom are legendary actors in Chinese action cinema. People like Jet Li, Donnie Yen, Tony Jaa, Wu Jing, Natasha Liu Bordizzo and boxing champion Zou Shiming, among others. Everyone involved agreed to participate free of charge, motivated by the promotion of Chinese culture and martial arts globally. All for Tai Chi. Jack Ma, as we have mentioned, has been practicing Tai Chi for thirty years, and used the film to highlight the philosophy and values ​​of this martial discipline, focusing on balance and harmony. The project arises from the intention of preserving and disseminating this discipline, and reflecting on the screen Tai Chi as an art with a physical and a spiritual aspect. Result: more than 170 million views when it was launched in 2017. But it’s okay or what. Let’s see, a movie in which Donnie Yen and Tony Jaa share the bill cannot be bad even if it wants to. But also, the fan has the opportunity to meet Jet Li again, who has been semi-retired from action movies for years, in a reasonably extensive role with fights. Ma is neither the most forceful nor the most expressive actor, but for that gift to fans alone, he has our thumbs up. If you want more Tai Chi. Speaking of Jet Li and speaking of Tai Chi, the choreographer of the film is Ku Huen-Chiu, chosen very consciously by Ma. Apart from a rich career with films in his filmography such as a sequel to ‘The Matrix’, ‘Kill Bill’ and several classics of Hong Kong action cinema from the nineties, Ku Huen-Chiu participated in the filming of ‘Tai Chi Master’, a marvel by Li and Michelle Yeoh directed by none other than Yuen-Woo Ping, one of the great Chinese action choreographers of all time. So if you think Tai Chi is something for old people in the park, check out that hilarious dynastic martial epic and you’ll change your mind. In Xataka | Jack Ma was the richest man in China. Until he fell out with the government and stopped being one

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