movie

‘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

In 2007, the Simpson movie could allow you to be a supprepisodium of the series. In 2027 it will have it much more difficult

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Almost two decades have passed since ‘The Simpsons‘They made the jump from television to cinema for the first time with a film that ended up becoming a Authentic global event. Now Disney confirms that a new tape is on its way, but the question is inevitable: do we need another Simpson movie in 2025? The second. The announcement of this new installment has simply made a publication in social networks of the image of a typical Donut Pink of the series, with ornaments in number 2 and the message “Homer’s Coming Back For Seconds”. Although there are no more details, we do have a date: July 23, 2027, which was initially reserved for a Marvel movie without announcing. In this way, there is no marvel movie among the premieres of ‘Avengers: Doomsday‘(December 2026) and’ Avengers: Secret Wars’ (December 2027). The first. Released in 2007, the first film raised more than 500 million dollars at the box office and showed that the yellow family was able to drag the spectators to the rooms. At that time, the series had two decades of life, and although it was already far from the golden age of the 90s, the series continued to enjoy a relevant status and maintained solid follow -up. In fact, it was a symbolic closure of an era of cultural influence, and the film was able to launch images that last among the most notorious of the franchise, such as the enraged mass of Citizens of Springfield or the presence of Spiderrdo. The status of the series. The Simpsons They just started, a couple of days ago, their season 37. His extreme longevity He has been accompanied by a decrease in the quality and cultural impact of his first years. In the 90s’The Simpsons’ They were a total reference in television humor and a satirical mirror of society, but in 2025 it works more as a established mainstream classic, valued more than anything by its legacy. For better. However, although it is far from the ferocity and impact of more independent series (and also successful, such as South Park or Rick and Morty). In The Simpsons They have shown signs of improvement. Yes, its golden age has already passed, but from a while this part tends to coincide in that From season 3 onwardsthe program has recovered narrative quality and characters development. It puts an end to the end, even if it is relative, to the decline that started around season 10, when the scripts began to be more repetitive and lost edge. The key to change. The scriptwriters of the last seasons are already professionals who have been educated with ‘The Simpsons’ within the cultural imaginary. Costumbrismo has given way to surrealism and self -conscious humor, and the characters are seen as icons, even giving way to a target humor of modern series. We have seen type episodes mockumentaryother dreamlike ones … If the new film wants to be more than a nostalgic artifact, we may see it more oriented in this sense, aware of the series category as a pop myth. A more traditional option, more sitcom type, would smell in rancid and outdated. 2007 vs. 2025. The cultural world of 2025 is very different from what it was when we saw the first film: it must be taken into account that at that time a movie of ‘The Simpsons’ could be considered an event, as we now see Marvel or ‘Star Wars’ movies. Now, with the competition of streaming And the cinema mainstream At a very different point of popularity and influence, the film must rethink its strategy. You just have to see how we access ‘the Simpsons’ itself: then it was a weekly premiere event, with repeated episodes daily. Now we have access through a platform to The entire Historical Archive of Seasonssomething that would have been unthinkable then. Without a doubt, they are variables that will influence the same conception of the film. Already then, this could not be allowed to be an elongated episode without more. Now, in addition, it must be aware of the Pop legend category of the mother series. Header | Disney In Xataka | The video game that never existed from ‘The Simpsons’: a technical demo of ‘Bug Squad appears!’ For Dreamcast

It is not that the war has entered its Mad Max phase, is that Ukraine is using the trucks we saw in the movie

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In the month of June some began to arrive disturbing images From the war in Ukraine. We had previously seen how First and second World War were recognized in Some practicesbut the last was radical: waves offensive of Russian troops on two wheels, in motorcycles as a main tool to move towards the Ukrainian lines, in an attempt to avoid the destruction of their armored Modern to the power of drones. To that phase He has followed another almost traced to Miller’s movie. An improvised armor. Yes, the war in Ukraine has turned the battlefields into stages that remind of Mad Max universewith military vehicles covered by improvised shields seeking to resist the scourge of explosive drones. A recent image Taken in Kostiantynyaivka, north of Donetsk, showed a Humvee American used by Ukraine surrounded by a huge metal cage with networks and sticks protruding from its structure, an extreme example of solutions of fortune That both Russians and Ukrainians develop to try to protect themselves from an increasingly lethal enemy: the small drones that, with costs of just a few hundred dollars, are capable of destroying armor of millions. Origin and evolution. These protective screens, popularly known as “Cope Cages”began to be seen months ago, when the proliferation of drones transformed the land war. Initially they were installed only in combat cars and armored vehicles, but soon They spread to a wide range of systems. Your designs They vary greatly: Some structures are crude and heavy, others are better planned, incorporating metal cages, steel plates, chains, skewers, camouflage networks and even reactive armor to reinforce the most vulnerable areas. In the Russian case, some tanks have become completely coveredwhat has earned them the nickname “Tortuga tanks” for its resemblance to the shell of these animals. Industrial adaptation What began as improvisation of the soldiers themselves has evolved towards a more organized production. In fact, the Russian army already distributes official instructions for the construction of these cages, while in Ukraine several companies have developed versions adapted to different models, since T-64 and T-72 tanks of Soviet origin to the Abrams and Bradley supplied by the United States, even through Patriot antiacere systems. Despite this, the real effectiveness of these devices is the object of debate. The reason? Although they can offer some protection against FPV drones and some anti -tank weapons, Its weight and volume They usually hinder mobility and vehicle operations. The omnipresent drone. It We have counted many times. He drone boom low cost, used massively by both sides, has consolidated its role as asymmetric factor Decisive: They are able to neutralize high -value vehicles or eliminate entire crews with a minimum investment. The proliferation of this type of weapons has forced the last resort defenses as These “Cope Cages”but it has also promoted the development of more sophisticated technological measures. Electronic countermeasures. Both Ukraine and Russia resort to extensively to The electronic warblocking communications between operators and drones or interfering with your systems GPS navigation. In response to this, new generations of drones resistant to these techniques have emerged, such as connection models by optical fiberthat maintain a direct physical link with the operator and leave behind cable kilometers in the field. Outside, drones endowed of artificial intelligence They begin to be used more frequently, capable of completing their missions even if the connection is interrupted. Race between attack and defense. If you also want, the image of vehicles covered by improvised cages is the visible materialization of the New war dynamics In Ukraine: a constant career between the offensive capacity of cheap drones and the defensive creativity of soldiers and engineers. Although, as we said, some of these shields offer limited protection, their expansion reflects the urgency with which both armies try to adapt to an environment where the main threat does not always come from a long -range missile, but from a small artisanal drone that, thrown by an operator kilometers away, can decide the fate of a combat car that costs a fortune. Image | Special Kherson Cat, Heute, X, Аinform In Xataka | Ukraine has opened the most advanced Drone Kamikaze in Russia. Now they know what the key to their power is: nvidia In Xataka | Ukraine has hunted an “invisible” drone of Russia. The surprise has been capitalized when opening it: it is “made in USA”

See exclusively a masterful movie lesson that lasts six hours

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Fast, think a current actor to whom you could hang the Sambenito of “too much passion for his.” Tom Cruise, right? He makes his own risk stounts, co -produces everything he stars in, he actively intervenes in the creation and design of multiple aspects of his films … already the one that is neglected, plugs you a master class on video of six hours about “how a movie is made.” Friends forever. Apparently, Glen Powell, co -star of ‘Top Gun: Maverick‘It’s now Very friend of Tom Cruise. There is nothing strange: the aura that this actor gives Sydney Sweeney) It has a lot to do with the one Cruise owned when it was something younger. It is in this context when it arose, In the middle of an interviewRevelation: When Intimas with Cruise, he sends you to school. A designed by the superstar itself. Six master class hours. Cruise sent Powell to a Los Angeles cinema who had emptied only for his friend, and there the surprised actor met a masterful film class: how the movies work, how they are made, all the knowledge and experience that Cruise had accumulated in decades of profession at six hours. At first, Poiwell believed that he was going to see a projection for several people and that he was one more guest. But he found himself alone in the room. Pure Tom. It is complicated to imagine something more Tom Cruise than a six -hour video of the star, to the cloths of youth enthusiasm, telling you all about the cinema. Thing that he can do, because as Powell says, “in what I feel that we are twin souls is that he is obsessed with the movies. That was our way of communicating in the set. The uncle knew all the departments, he could interact without problems with everyone, be kind and respectful, and communicate his vision.” Therefore, according to Powell, the video consisted of Cruise looking at the camera, showing the utillería of a filming and saying things like “Do we all agree that this is what a camera is? This is the difference between a movie camera and a digital camera …” And of tip, aviation. But that’s not all, that six hours give for a long way. For some reason, Cruise thinks that piloting planes is essential to make movies, and the video includes a good part of his knowledge as a pilot. Again according to Powell: “The funniest part is the one that is about flying, it is as if I had mounted a whole flight school. So literally, he says in the video: ‘Ok, this is what a plane is. This is how things fly. This is how air pressure works …’” Bumper with Tom. This enthusiasm for the cinema is unheard of, but it is the image that Cruise has been elaborating little by little, chiseling a very peculiar public image. His extraordinary discipline, ethics of work and physical capacity, which allow him risky action scenes without double or tricks, surprise his more than 60 years. Train seven days a week and exceeds physical and mental limits at each premierehas done more than 500 parachute jumps And authenticity is An absolute challenge for him. With someone like that, absolutely unusual in the industry, recording a six -hour video with everything you know about cinema is a joke. In Xataka | The new ‘mission movie: impossible’ is practically science fiction. And explain why the franchise is still alive

‘A Minecraft movie’ is becoming such a large phenomenon that is causing disturbances in cinemas

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‘A Minecraft movie’ is in its second week in cinemas and we can stop considering it a day flower: His monumental box office He has already made it the film that has raised the most in what we have been from the year. But there are more: the passes are becoming authentic jungles, with disturbances, interrupted passes and a long etcetera of phenomena that have nothing passenger. We are facing the most noticeable movie of the year … although for reasons that have nothing to do with their quality. Second weekend. 80 million dollars in the United States has raised, which represents a 50% drop with respect to its overwhelming 162.7 million debut, but remains a figure that makes the film the success of the year: it has already been raised 550 million in the world, advancing to ‘Captain America: Brave New World’. The film has given a very welcome thrust to a loose box office for this start of the year and gives the starting gun for a series of expected successes: ‘Thunderbolts’, the new ‘impossible mission’ and ‘Lilo & Stitch’ The most popular game in history. Although the first advances were badly receivedkneading a spectacular amount of Dyslikes In Warner’s official channels on YouTube, there is a different phenomenon, but comparable to that of the film of ‘Super Mario Bros‘: A failure between median critics and spectators, but a success among its target audience. It is actually pure mathematics: ‘A Minecraft film’ is aimed at a number of potential spectators of 300 million (it is the last official sales data, October 2023), and many of them are responding to the call. Not everyone plays. And those 300 million (which today will be many more) are multiplied by a very simple issue: many of the game fans They do not playbut they consume videos related to the game. It is calculated that could be tens of thousands of Streamers of the gameeach of them with their own thousands of followers, who are not necessarily players. Recall that there are 600 million registered players (the fourth most popular game in the world). It is a real land paid to take the Z generation to the rooms. A complicated phenomenon to adapt. ” Minecraft ‘has successfully brought to the big screen part of its aesthetics, but it is a not very easy task on paper. This creation of Markus Persson and now owned by Microsoft (by 2,500 million wing) It has openly rudimentary but very versatile graphics, which allow constructions of all kinds to be carried out, and without pressures: for many players, the attractiveness is simply to enter the game and build, which has undoubtedly been key to attract very young users. Fanaticism was triggered in the early last decade, before even the launch of the first official version: At that time he already had 16 million players. The infinite. In fact, the secret that, on the way to two decades after its launch, the game remains fresh and attracting millions of players are the thousands of mods, mostly free, which generate new ways to interact with him. Not only that: the ability of the game to generate communities makes it essentially a collective game and, a large part, lacking the central narrative. What, beyond its values ​​as a film, makes this Warner bet a considerable achievement: they have turned an experience into a narrative. And successfully. The key to success: the winks. The reason why ‘a Minecraft movie’ has become a success is because it speaks of you to you with the players: overflow memes and tributes to the games that the staunch fans know how to decrypt, of the phrase “As a Child, I Yearned for the mines” to the iconic sound bang of the game, work of C418. And above all, to Chicken Jockey, a apparently harmless meme and is generating an unexpected response among the young audience of the film: disturbances in the movie theaters. A liberating cry. The cry of “Chickn Jockey!” comes from the scene streamer. There is only 5% chances that a zombified character will self -generate on the stage just above a chicken, creating the illusion that he is riding it. That is why it is so weird and is celebrated when it happens in a streamand hence the chain reaction that this character has unleashed when appearing in the film, and that went viral when he was filmed by a spectator, in the first weekend of life of the film, with a mobile. Followed by an explosion of jubilation of the spectators. The chaos. In an unheard of situation (since the time of ‘Rocky Horror Picture Show‘Even the most recent’WICKED‘Public participation in projections is not entirely strange). The Descriptions and Videos of what happens in the rooms are Out -control projectionswith notices to the police and people putting in the fireworks artificial or, of course, chickens. The latest manifestations of the phenomenon have been starring the own Jack Black asking for calm In a surprise appearance in a projection, a New Jersey room warning that they will only allow the assistance of minors if they are accompanied and a poster of disclaimer warning the spectators of the consequences if they do not behave. Cinemas ON FIRE. The subject will still give us to talk, because the box office and success guarantees it. For example, they begin to proliferate 4xd projections Where the Berraco behavior (except for the part of introducing farm animals, dirtying the armchair or that the cinema burns) is more than welcome. At the moment, he leaves criticism in an awkward place when explaining these phenomena, because they are not an extravagance without further ado: they belong to the highest grossing film of the moment. Do we embrace chaos or cry out about the end of culture by moving the spectators of the consequences if they do not behave. Header | Warner In Xataka | The largest artificial society experiment is happening in Minecraft: what happens when you … Read more

The expectations of ‘A Minecraft movie’

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The rather stimulating trailers of ‘A Minecraft movie’ (the first one accumulated on YouTube More than one million dislikes) They do not guarantee that the film is a failure. Estimates around it from surveys, presales and tickets already bought facing the weekend predict a good result. But triumph or not, ‘Minecraft’s film’ is a good example of one of the big hollywood problems. A Basel for the box office. The first quarter of the year has been terrible: movies like ‘Snow White‘ either ‘Mickey 17 ‘ They have punctured at the box office despite their high expectations, so the looks are now oriented to Warner and this ‘a Minecraft movie’. The projections are generous: there is talk of between 65 and 70 million collection, 140 at the international level, which would be An excellent start for the movie And a respite for the Hollywood box office, matching success premieres like ‘Dune: Part two‘, released now a year ago. The reef of video game adaptations. Although for a time they considered themselves bad business due to the difficulties of transferring the proposals of video game as’ Street Fighter ‘,’ Double Dragon ‘or’ Super Mario Bros. ‘, the adaptations have shaken the curse thanks to indisputable box office bombings as’Sonic The Hedgehog‘ either ‘Super Mario Bros.: The movie ‘. Until an openly lower proposal as ‘Five Nights at Freddy’s’ paid off so positively that this year its sequel is released. Other influences. ‘The Minecraft ‘film manages other clear influences: on the one hand’ La Lego Movie ‘and its sequels also produced by Warner, and that are based on the analog construction game, of course, but especially in the great video games also gestated by Warner and that, in some way, have much to do in spirit with’ Minecraft ‘. And in addition, with one of Jack Black’s recent box office successes, the two deliveries of ‘Jumanji’ starring The Rock, and that closing the circle, are based on a movie of the eighties that dealt with a board game without real counterpart but whose rules and development had much to do with the philosophy of video games. Difficult to adapt. The amazing thing about this particular IP is that Minecraft, like all retro spirit games (although it is not materially), it is very difficult to adapt. Not only because of its very unmatched graphics, but by mechanics that touch abstraction and, above all, its lack of history, placing themselves on the opposite side of games like ‘The Last of Us’. In ‘Minecraft’ each player and each game are unique, and generate an argument around that runs the risk of alienating those who have lived radically different experiences with “their” game. Hollywood has solved these types of problems generating a Lore that sometimes goes well (‘Super Mario Bros. the movie’) and sometimes it goes wrong (‘Street Fighter’). And if the problem is abstraction, as in ‘Doom’, leaving the tangent with results not always estimated. Everything is an IP. There is nothing more to see all the films mentioned so far to see that Authentic juggles with formulas and names that have been successful in previous films, agitated in a seemingly infallible formula (the most popular video game of all time, blockbusters and even some commercial subtlety that can escape the little warned, such as the presence of Emma Myers, co -star of a success among the youngest public, such as ‘Wednesday’). The Hollywood game. THE ADVANTAGES FOR THE CONTINUED IPS Cinema Business They are obvious: risks are reduced when dealing with stories and characters that have already been tested and accepted by the public; Success precedents such as Marvel or ‘Star Wars’ incline the balance in favor of franchises; and IPS allow extra income with a corporate approach that comes from merchandising and licenses. An almost safe bet that, of course, is sometimes stumbling blocks Like the recent ‘Borderlands‘or the chopped fall of originality and risk, but they are still anecdotes in the face of reality: the 10 most viewed films in 2024 were All sequelae, remakes or franchises. The numbers sing. Hollywood has turned in the last 15 years in productions of this type and if movies such as ‘Minecraft’ continue to find a box office hole, nothing will make the situation change. 30 of the most viewing films in streaming in 2024, according to NielsenThey were based on pre-existing material. Of the 66 films that exceeded 100 million collection in the last three years, 47 They were from a franchise. And so on to infinity: the strangeness with these figures is not that there are films like ‘Minecraft’. The strange thing, knowing how money likes in Hollywood, is that not all of them. Header | Warner In Xataka | The cinema has become a succession of franchises after another. Paramount believes that there is not enough yet

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