Movistar is already giving away its Pixel 10a. In addition, you have movies and great games like Real Madrid-Benfica for 9.99 euros per month

Free is always good. Most companies have devices that we can get at a good price or without paying anything, although most of the time they are mobile phones that have been available for a few months. We say in the majority and not always because Movistar is there, which puts the new Google Pixel 10a and allows us to get it for 0 euros per month. And, also, movies and football like tomorrow’s great game for 9.99 euros per month. You have the Google Pixel 10a, iPads and more in the Movistar catalog If we take a look at the Movistar page, we can see that it has a fairly large catalog of devices. All we have to do is go to the filters (they are just on the left) and, within the price section, select only those that cost 0 euros. There we can find everything: from various TVs to Dyson vacuum cleaners, including, of course, a lot of mobile phones. We are going to focus on this Google Pixel 10a, which was announced just a few days ago. If we take a look at your file on the Movistar websitewe can see how it will cost us 0 euros per month with both the ‘Premium Pack’ and the ‘Advanced Pack’, whether we are already customers or if it is a new registration. The mobile will be our 24 months, which can be extended for another 24 months. In all that time (4 years) we will not pay anything for the mobile and, when the term ends, we can keep the device by paying 1 euro. This phone has what it takes to be one of the best mid-range phones of 2026. This version, with 256 GB of capacity, will offer you a pure Android experience with seven years of guaranteed updates and a lot of AI from Gemini. In addition, it is compact, so it is perfect for you if you don’t like carrying a large cell phone with you. You have movies, series and football for less than 10 euros per month Beyond cell phones and other devices, we cannot lose sight of Movistar Plus+. You can hire it without having to have anything with Movistar and, furthermore, it does not have any type of permanence: you can try it for just one month and unsubscribe at any time. In fact, it’s a good time to give it a try now that tomorrow we will be able to see the great game Real Madrid-Benfica for alone 9.99 euros per month (although we can get it for only 39 euros per year if we have Cultural Bonus). Monthly subscription to Movistar Plus+ The price could vary. We earn commission from these links Of course, the platform doesn’t only have football. In fact, their catalog has a lot of gems like ‘The Tigers‘, ‘Sirat‘ or others that will arrive soon, like ‘Sundays‘ (premieres next February 27). All rounded off by series like ‘Poquita Fe’ or ‘El Centro’, making it a very complete platform that, remember, you can share with a friend or family member without problem. You may also be interested Samsung TV 65 Inch Neo QLED QN80F 4K Mini LED Smart TV with Vision AI, Quantum Matrix Technology Core, Motion Xcelerator 144Hz and Gaming Hub The price could vary. We earn commission from these links Google Pixel 10 – Free Android Smartphone with Gemini, Advanced Triple Rear Camera, 24+ Hour Battery and 6.3″ Current Screen – Indigo, 128GB The price could vary. We earn commission from these links Some of the links in this article are affiliated and may provide a benefit to Xataka. In case of non-availability, offers may vary. Images | Movistar In Xataka | Movistar Plus+ for non-Movistar customers: what it is, how much it costs, channels, additional services and how to contract it In Xataka | Best televisions in quality price: which one to buy and seven recommended 4K smart TVs

Carrefour has this huge 98-inch Samsung TV at an outlet price with which you won’t miss going to the movies

Nowadays, large TVs have prevailed. It is now rare to see living rooms with 32 or 43-inch televisions (which have been relegated to the bedroom or kitchen). If you have plenty of space in the living room and have thought about buying a large TV, now in Carrefour They have a very interesting offer. You can buy this Samsung TU98DU9005KXXC by 1,699 euros. In addition, you have the possibility of getting 200 euros refund with your purchase. And, if this were not enough, you get a coupon of 254.85 euros for future purchases at the supermarket. If you want, you can finance it in 10 installments of 169.90 euros. LED TV 98″ (248.92 cm) Samsung TU98DU9005K The price could vary. We earn commission from these links A gigantic TV with good features As we have already indicated, the most striking thing about this TV from the Korean firm is its huge 98 inch screen. This is LED type and offers 4K Ultra HD resolution and has a refresh rate of 100 Hz. In the image section it is compatible with HDR10+ and when it comes to audio, its speakers offer a 20W RMS power. Although it is true that for this large TV, this power may be insufficient, it is always something that you can improve by connecting a sound bar. The operating system under which it works is tizen (Samsung’s own) and has the mode Multi Viewwhich is very useful if you are watching a show and want to zap while there are ads. Finally, we can also highlight its connectivity section, since it has a port ethernettwo USB 3.2, optical digital audio output, three HDMI 1.4, Bluetooth and WiFi. Some accessories that may interest you for this TV Amazon Fire TV Stick 4K Max (Latest generation) The price could vary. We earn commission from these links Samsung Sound Bar HW-Q600F/ZF The price could vary. We earn commission from these links Some of the links in this article are affiliated and may provide a benefit to Xataka. In case of non-availability, offers may vary. Images | Webedia and Samsung In Xataka | Best home theater projectors. Which one to buy and five recommended models from 299 to 18,000 euros In Xataka | Mega-guide to set up a home theater: projector, screen, sound system and more

It is a parks company that also makes movies

The Walt Disney Company just announced that Josh D’Amaro, 54, will assume the position of CEO on March 18, thus closing almost three years of speculation about who would succeed Robert A. Iger. The board of directors voted unanimously in his favor, appointing the 28-year veteran to the company he currently leads. Disney Experiencesthe division that generated 36 billion dollars during fiscal year 2025 and contributes approximately 60% of corporate profits. The experience. D’Amaro comes to the position with deep experience in the physical operation of the Disney business (logistics, hotel management, multimodal transportation systems, customer satisfaction) but without significant experience in the film or television production that has historically defined the company. It is a commitment to profitability over glamour. Since 1998. D’Amaro’s career at Disney began in 1998 in Disneyland Resort. For more than a quarter of a century, he rose through various positions: CFO of consumer product licensing, overseer of the most ambitious expansion in the history of Disney’s Animal Kingdom (which included the attraction Pandora – The World of Avatar), president of Disneyland Resort in California and, finally, president of Walt Disney World in Florida, where he coordinated 75,000 employees. The Chapek stage. When Bob Chapek was promoted to CEO in 2020D’Amaro assumed his position at the helm of what was then called Disney Parks, Experiences and Products. The division, renamed Disney Experiencesjust reported quarterly revenue exceeding $10 billion for the first time in the company’s century-old history. With 185,000 employees worldwide, it operates twelve theme parks, 57 resort hotels, an expanding fleet of cruise ships and the consumer products business, including video games. Bet on experience. Disney Experiences generated 71% of the company’s operating income during the fiscal first quarter of 2026, despite representing only 38% of total revenue. While streaming barely broke even in 2024 after years of multibillion-dollar losses, theme parks maintained solid margins even during the pandemic. In 2023, Disney announced a plan to invest 60 billion dollars in a decade to expand this division. Turn towards the experiential. This shift responds to broader transformations in cultural consumption, not just at Disney. He theme park tourism grew at a compound annual rate of 9.2% between 2020 and 2024, driven by a generational preference for experiences over material possessions, something we have already talked about with the live entertainment boom. A theme park offers something that streaming can’t replicate, and Disney knows it. What’s up with Dana Walden. The other candidate for the CEO chair has been named president and creative director, becoming the first executive to hold this position in Disney’s 103-year history. The position unifies the company’s creative strategy under one leadership. From ABC and ESPN to Disney+ and Hulu, everything falls under Walden’s mandate, who will report directly to D’Amaro. With more than three decades in the television industry, Walden spent 25 years at 21st Century Fox, where as CEO of Fox Television Group he transformed the network into a ratings leader. Under his supervision, series such as ’24’, ‘Glee’, ‘Modern Family’, ‘This Is Us’, ‘Homeland’ were produced… When Disney acquired Fox in 2019Walden became head of Disney Television Studios and later, co-president of Disney Entertainment. The teams under his direction have accumulated more than 1,200 awards, including 400 Emmys, and recent series such as ‘The Bear’, ‘Shōgun’ or ‘Only Murders in the Building’ have consolidated Disney’s prestige on television. Immediate challenges. D’Amaro will need to quickly articulate a strategic vision that balances continued investment in parks (where his expertise lies) with strengthening the entertainment business. Streaming, although now profitable, shows some stagnation. And then there is the precedent of Bob Chapekalso hailing from the parks division, who lasted just two years before being ousted amid public conflicts with Iger. This time the consensus has been greater, but… is it what Disney needs? Header | Disney – Matt H. Wade In Xataka | Disney Adults: how the parks are filling up with childless adults who leave their salaries in nostalgia

13 premiere movies and series to watch in February 2026 on Netflix, Prime Video, HBO Max and streaming

Christmas is definitely behind us and the platforms greet 2026 with a few powerful premieres, some expected returns and a resurgence of the platform fight. Choose your favorite, because we bring you the juiciest news of February in terms of streaming. The queen of chess If you think that ‘Queen’s Gambit‘ is among the best things Netflix has ever produced, check out this documentary that tells the true story of the legendary Hungarian chess player Judit Polgár. Overcoming the sexism of a space controlled by men, she challenged champions like Garry Kasparov to become a champion of the sport with a career that began when she was only 12 years old, as the result of her parents’ experiment to raise geniuses. On Netflix February 6 Samuel After a triumphant stint on RTVE, this acclaimed Franco-Spanish series comes to Netflix, consisting of a single season of 21 four-minute episodes. An endearing and sometimes somewhat crude vision of the transition from childhood to adolescence through Samuel’s personal diary, which narrates his concerns, fears, goals and feelings, including everything from unrequited love to experiences such as the death of a friend’s grandmother. The minimalist visual style has a spontaneous touch that tends towards graphic experimentation, and gives rise to a little gem that adds to the best of Netflix’s animation section. On Netflix February 5 Stargate SG1 By surprise and in anticipation of the new series that Prime Video will produce, this modern classic of television science fiction arrives on Netflix. Although the platform has not specified what we can expect from this recovery, we trust that we will have at our disposal the ten seasons of which it consisted, no less than 214 episodes in total. A year after Roland Emmerich’s 1994 film tells the story, it starts with the idea that Ra was not the only alien who used stargates to transport human slaves to multiple planets. Let’s hope things go well for Netflix and we can enjoy successive spin-offs like ‘Atlantis’, ‘Universe’ and even the two direct-to-DVD movies. On Netflix February 15 The deception The Russo brothers are behind the production of this film that recovers the trope of the expert assassin retired and far from the madding crowd, but in a pirate key: Ercell “Bloody Mary” Bodden thought she had escaped her violent past, finding peace in the Cayman Islands with her husband, her son and her sister-in-law. But when her infamous ex-captain arrives seeking revenge, her world falls apart and she is forced back into action. The cast is headed by Priyanka Chopra, whom the Russos already showed us in ‘Citadel‘ and the always reliable Karl Urban. On Prime Video on February 25 Ponies Emilia Clarke and Haley Lu Richardson star in this spy comedy that promises excitement and entanglement with airs vintage thanks to its setting in the late seventies. In Moscow, two ponies (“people of no interest”) work as secretaries at the United States embassy until their husbands are murdered under mysterious circumstances. That’s when they become CIA agents. One of them is the daughter of Soviet immigrants, speaks Russian and is overqualified. His companion, the complete opposite: a somewhat reckless village girl. Together, they try to uncover a great conspiracy in the middle of the Cold War. Now available on SkyShowtime Neighbors The trendy indie production company in Hollywood, A24, is behind this documentary series that sometimes seems like a sitcom and sometimes like a demented thriller: it examines stories of absurd, scandalous and dramatic residential conflicts, starring a fauna of extravagant characters spread across the United States. Each episode features a group of neighbors in conflict, with protests ranging from property lines to the use of pets or the appearance with which they go out on the street. Surviving Paradise: Beyond Jehovah’s Witnesses For a long time, Jehovah’s Witnesses have been part of the friendlier landscape of Spanish religion. But hidden behind absolute secrecy was what many former members of the organization describe as a much more disturbing reality. This documentary goes into the annulment methods typical of a sect that many former members claim are practiced in secret: three episodes that talk about the passage of these former Witnesses through the group, their abandonment of it and the subsequent organization until reaching the trials in 2022. Rafaela and her crazy world This new series from the Chanante universe, created by Aníbal Gómez and based on his own book ‘The amazing world of Rafaella Mozarella’, promises to be absolutely insane. It is directed by Ernesto Sevilla and on board are many of the usual suspects: Aníbal himself, Ingrid García-Jonsson, Carlos Areces, Joaquín Reyes and Arturo Valls. Surreal and hooligan, it will tell us the life of a teenager who lives immersed in a dysfunctional family accompanied by three friends and a poodle. At Atresplayer on February 15 The Muppet Show (2026) Let’s get rid of comebacks that don’t interest anyone. This is the most anticipated reboot in television history since ‘DuckTales’ returned: all the classic characters in a legendary program with, how could it be otherwise, a special guest. In this case, Sabrina Carpenter with the help of the great comedian Maya Rudolph. Produces a certified Muppet fan, Seth Rogen, on a roll since he made ‘The Studio’. If this turns out half as well, we have Muppets for a while. On Disney+ on February 4 In an instant (In the Blink of an Eye) He directed two of Pixar’s best films, ‘WALL-E’ and ‘Finding Nemo’, and the industry fell on him when he signed a box office disaster that almost took down Disney, the highly underrated ‘John Carter’. It seems that Hollywood has forgiven him, and Andrew Stanton returns with a film that exhibits declared influences from ‘2001: A Space Odyssey’, ‘Magnolia’ and ‘Interstellar’. The film features three interconnected stories spanning thousands of years exploring the entire history of the world, and was presented at Sundance, where it won the prestigious Alfred P. Sloan Award (awarded for the best representation of science, … Read more

All viewers believe that the trailers spoil the movies too much. But there is a reason: fear of lawsuits

The paradox of trailers: they serve to encourage the public to see upcoming releases, but more and more people decide to literally cover their eyes or start talking to their neighbor, because the feeling that the trailers reveal too much is widespread: plot twists, climatic scenes that should be a surprise. There is a more or less intuitive reason: the market is increasingly competitive and it is important to show the public what each film offers that the others do not. But there are more prosaic reasons why trailers reveal more and more about movies. The trailer as a marketing tool.For decades, trailers were considered pieces with their own narrative: small works that condensed the spirit of a film, not mere advertisements. That premise was shaken in December 2022, when a court ruling questioned the legal limits of film marketing. The case pitted Universal Pictures against two viewers who claimed to have been misled by the ‘Yesterday’ trailer. The ‘Yesterday’ case.Two viewers had rented the film after seeing the trailer, in which Ana de Armas appeared in an apparently relevant role; but in the film he had disappeared: his character had been completely eliminated after test screenings. The plaintiffs alleged that they would never have paid for the film if they had known that de Armas was not in it. In Xataka The AI ​​trailers for ‘Avengers: Doomsday’ are indistinguishable from the real thing. In the end, Scorsese was right Universal Pictures requested the case be dismissed, arguing that the trailer conveyed the film’s theme in three minutes, but the judge rejected this line of defense. Although trailers involve creativity and editorial decisions, these elements do not nullify their fundamentally commercial nature: they must be treated as advertisements, and the sample they show of the film must correspond to the final product. The judge specified that his resolution was limited to the presence or absence of interpreters, excluding subjective assessments of tone, quality or generic expectations, but set a precedent. It’s not the first. The friction between what the trailers promise and what the movies deliver has generated some attempted litigation. None went so far as to establish firm jurisprudence, but all illustrate a recurring tension between public expectations and studio marketing practices. {“videoId”:”x88pexn”,”autoplay”:false,”title”:”Yesterday Trailer”, “tag”:””, “duration”:”180″} Drive (2011).a spectator sued the distributor claiming that the trailer presented the film as an action film in the style of ‘Fast & Furious’, when in reality it was an atmospheric drama with few chases and a practically mute protagonist. The case dragged on for years without success for the plaintiff: the film did contain driving scenes, but the discrepancy lay in the tone and pacing, not in objective matters. Suicide Squad (2016).The trailers had highlighted Jared Leto as Joker, but his presence in the final cut turned out to be less than fifteen minutes. a scottish fan announced his intention to sue Warner Bros. for false advertising. Leto himself fueled the controversy by confirming that the deleted material It was so extensive. what would make for an independent film. The lawsuit was unsuccessful, but it highlighted the problem of trailers edited before final editing. Dune (2021).Zendaya featured prominently in promotional material: posters, trailers, and a press tour placed her on the same level as Timothée Chalamet. However, his screen time barely exceeded seven minutes of a total footage of 155and most of his appearances were dream sequences. There were no legal repercussions: Zendaya had previously warned that her presence was reduced and that she had only filmed for four days. {“videoId”:”x88q6ut”,”autoplay”:true,”title”:”Dune Trailer”, “tag”:””, “duration”:”208″} The Castaway case.Robert Zemeckis, with his usual ability to anticipate the rest of the industry, had already traveled this path years before. The trailer for ‘Castaway’ (2000) was criticized at the time because it revealed the eventual rescue of the protagonist. Zemeckis defended himself with an argument that is still valid in the industry, beyond the current legal precautions: market studies indicate that the public wants to know exactly what they are going to see before paying for a ticket. The problem of outsourcing.Trailer production rarely falls to the films’ creative teams. Studios hire specialized agencies (Buddha Jones, Trailer Park or Mark Woolen & Associates, only in Los Angeles) that work with raw material, often months before there is a final assembly. These agencies operate fromdailieseitherrushesthe raw footage that comes directly from filming. The process of creating a trailer can take up to a year, a calendar that forces you to work without knowing the final cut. The case of ‘Yesterday’ is a direct consequence of this dynamic. In Xataka Good series are a journey that no spoiler can ruin The pressure for difference.When a franchise accumulates multiple installments, marketing teams face an additional dilemma: how to convince the public that this film offers something different from the previous ones? The answer often involves revealing the differentiating element. The trailer for ‘Terminator: Genesis’ (2015) told that John Connor, traditionally the leader of the human resistance, had been turned into a machine, a twist that constituted the dramatic core of the film. Director Alan Taylor acknowledged that the decision responded to a complex calculation: how to signal to the public that this installment was not a mere repetition of the previous ones? A dilemma that promises to continue giving us headaches for a long time. In Xataka | Disney is looking for a successor to Bob Iger as CEO and has only one condition: that he does not look like Bob Iger’s previous successor as CEO (function() { window._JS_MODULES = window._JS_MODULES || {}; var headElement = document.getElementsByTagName(‘head’)(0); if (_JS_MODULES.instagram) { var instagramScript = document.createElement(‘script’); instagramScript.src=”https://platform.instagram.com/en_US/embeds.js”; instagramScript.async = true; instagramScript.defer = true; headElement.appendChild(instagramScript); – The news All viewers believe that the trailers spoil the movies too much. But there is a reason: fear of lawsuits was originally published in Xataka by John Tones .

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

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

The mission in Caracas revealed that the best kept secret in the US is not a drone: it is called DAP and you will not see it in the movies

The capture of Nicolás Maduroby US forces has not only meant a political earthquakebut rather he explained with almost surgical clarity the media type that the United States reserves for maximum risk direct action operations. In fact, the famous Night Stalkers of Washington’s Army made it clear that the drone is still in second place. Designed to enter where no one else can.Qbecause the first place is reserved to DAPthe MH-60M Direct Action Penetrator, the most aggressive and specialized variant of the black hawk operated by the 160th Special Operations Aviation Regiment, the Night Stalkers. Venezuela was, in every sense, the ideal setting for this device: a hostile urban environment, potential air defenses, the need for rapid insertion, armed escort, precise fire and absolute coordination with assault teams. Although armed versions of the H-60 ​​exist in several countriesthe DAP of the 160th SOAR represents the maximum degree of maturity of the concept, far above even those already sophisticated MH-60 transportation of the regiment itself. It is not a helicopter adapted after the fact, but a platform conceived decades ago, operational at least since 1990to accompany special forces where error is not an option. In Xataka Neither drones nor fighters nor elite soldiers: the US entered Venezuela disguising a 20th-century tactic as technology. XIX Modular firepower. The heart of the DAP is its ability to combine the punch of an attack helicopter with the flexibility of a special operations device. The current configuration of the MH-60M incorporates modular short wings with one or two heavy points per side, capable of carrying a mix of 70mm missiles,AGM-114 Hellfireair-to-air missiles Stinger ATASheavy machine guns GAU-19/B .50 caliber and M230 cannons 30 mm, the same model used by the AH-64 Apache. Added to this are two 7.62mm miniguns which can be fixed in a frontal position to maximize the volume of fire during low-altitude passes. The introduction of APKWS II guided rockets laser has added surgical precision that allows beat specific objectives in dense environments without resorting to more destructive ammunition. All this arsenal is integrated into a platform that maintains a key advantage: its dual character. In a matter of hours, the DAP can return to a transport configuration, a critical quality for unpredictable operations where the same helicopter may need to escort, attack and evacuate in a single mission. Penetrate at night and fly low. Beyond weapons, what defines the MH-60M DAP is its ability to reach the target without being detected and survive once inside. The aircraft shares with the rest of the 160th SOAR fleet an avionics suite designed for extreme night flight and nap-of-the-earth profilesliterally skimming the terrain even in adverse weather conditions. They counted the TWZ analysts that the terrain tracking and avoidance radar, in its most modern version AN/APQ-187 Silent Knightallows the crew to fly blind to any other conventional helicopter, while the electro-optical and infrared system AN/ZSQ-2 provides identification, laser designation and video in real time. Systems like the Degraded Visual Environment Pilotage Systemwhich combines cameras, LIDAR and terrain databases, allow operating in dust, smoke, heavy rain or fog, common conditions in a night urban assault. And more. This set of sensors not only facilitates navigation, but also allows the DAP to fight at very close range, executing the classic combination of strafing and rockets that has been seen in videos of the Venezuelan operation, erroneously attributed in some cases to AH-1Z helicopters of the Marines. {“videoId”:”x9cqyyg”,”autoplay”:false,”title”:”A KEY of 8 ZEROS PROTECTED the WORLD from an unauthorized NUCLEAR ATTACK”, “tag”:”Webedia-prod”, “duration”:”457″} Invisible shielding. Plus: If there is something that distinguishes the 160th SOAR helicopters, it is their obsession with survival. The MH-60M DAP is covered by a genuine self protection bubble which integrates infrared, radar and laser missile warnings, active electronic warfare systems, chaff and flare dispensers, and directional laser countermeasures such as the CIRCM systemcapable of blinding infrared guided missile seekers in mid-flight. This entire ecosystem is interconnected– Detection of a threat can automatically trigger jamming, countermeasures and evasive maneuvers without direct crew intervention. Added to this is a complete electronic intelligence system and data links that allow us to know the location of emerging threats and receive information from other platforms in real time. The result is one of the most difficult helicopters in the world to shoot down, especially in night and low-altitude missions. In Espinof Hugh Jackman presents the extraordinary trailer for his new film, where he becomes one of the most legendary characters of all time The coming war. The operation in Venezuela also has hinted the immediate future of this type of platforms. The US Army has been experimenting for years with the so-called lpunched effectsdrones launchable from helicopters capable of attacking, interfering or deceiving defenses tens or hundreds of kilometers away. Although its operational use has not been officially confirmed, there are indications that the MH-60M DAP could use them for the first time in combat during this mission, expanding its effective range and reducing direct exposure to enemy fire. Added to all this is the ability to refuel in flight using a telescopic probe, normally from MC-130J aircraftwhich extends the helicopter’s radius of action to limits imposed more by human resistance than by fuel. In short, the MH-60M DAP is consolidated as the version more armed and protected of the Black Hawk ever built, a tool tailor-made for operations like the one in Venezuela, where perfect coordination between helicopters, special forces and air support decides success or failure. Far from being a simple armed escort, the DAP is the closest thing to an integral force multiplier, difficult to replace by conventional means and a central piece of the way in which the United States today executes its most delicate missions. Image | MATTHEW WILLIAMS In Xataka | The attack on Venezuela has recovered an uncomfortable truth: that it would not have happened to North Korea for a very simple reason In Xataka | Satellite images of Venezuela before and after the attack have cleared up any doubt: … Read more

a good part of its billion in revenue comes from the only market that still goes to the movies

If we are ever going to have a negative answer to the question of “Can James Cameron stop killing it at the box office?” It certainly won’t be in the short term. ‘Avatar: Fire and Ash’ has once again swept theaters, and although perhaps a couple of aspects of the triumph need to be pointed out, it is indisputable that we are facing a new success: it has already exceeded one billion dollars. The figures. The third installment of ‘Avatar’ has reached 1,083 million dollars at the global box office after 18 days in theaters. The figure is divided into 306 million dollars in US territory and 777.1 million in international markets, confirming the traditional foreign dominance of the franchise created by James Cameron. The milestone comes slightly later than its predecessors (‘Avatar‘He achieved it in 17 days and’The sense of water‘ in just 14), which makes us wonder if ‘Fire and Ashes’ will manage to replicate the extraordinary long-term performance of its predecessors, which remained in first place at the box office for seven consecutive weekends. Gear change. The rhythm of ‘Fuego y ash’, as we have commented, contrasts with that of its predecessors. The 2009 film ended its run with a historic gross of $2.9 billion, while ‘The Sense of Water’ ended with $2.32 billion. Both films demonstrated exceptional resilience, remaining at number one in the ranking for seven uninterrupted weeks, an increasingly unusual phenomenon in the streaming era. The big question now is whether ‘Fire and Ash’ will manage to join the exclusive club of 2 billion movies. The first indicators suggest a decrease compared to the second installment, which in turn had already experienced a drop of 580 million compared to the original. If this trend is confirmed, ‘Fire and Ash’ would be the first ‘Avatar’ installment to stay below the two billion threshold, which could redefine the commercial expectations of the franchise, which as we already saw It is not enough to be one of the hits of the year to be profitable. The importance of China. As has been usual in the franchise, the success of ‘Fire and Ash’ depends largely on the foreign market: for example, in this installment 71.7% of revenue comes from outside the US: China leads the list with 138 million dollars, followed by France with 81 million, Germany with 64 and South Korea with 44. Only in China, the third ‘Avatar’ got the best premiere of the saga in the countrywith $57 million in its opening weekend. The IMAX format was crucial: generated 23.5 million dollars23% of the total Chinese collection. A success that is more significant considering that the Chinese market has remained practically closed to foreign productions in recent years. By the way, has already been dethroned. Disney sweeps away. One more year, this is not news, but let’s confirm the Disney’s absolute dominance at the box office. This third ‘Avatar’ is also the studio’s third film to surpass $1 billion this year, following the live-action remake of ‘Lilo & Stitch‘ (1,030 million) and ‘Zootopia 2’ (1,420 million, at the moment). That is, more than $6.58 billion at the global box office, a figure that has not been reached since before the pandemic. And without the need for Marvel (with three premieres that did not reach the expected figures nor the collections of other times) nor ‘Star Wars’. No other study has managed to produce a single billion-dollar movie since 2023 but it is worth remembering, of course, that Disney has not been short of failures at the box office: ‘Snow White’, ‘Tron: Ares’ and ‘Elio’ were well below expectations, which poses a paradox. Disney scores the biggest hits and the main failures of the year, making it clear that Disney has the blockbuster formula, but its brand is no longer infallible. Prudent Cameron. Despite the success, James Cameron maintains a cautious stance on the continuity of the saga. Before the premierealready said that “first, we have to make money from this. We each have to prove this absurd business case again.” Cameron recognizes that the industry has changed and that the theater market is going through a moment that makes any forecast possible. As revealedwould call a press conference to reveal the complete plots of ‘Avatar 4’ and ‘5’ if they were not finally made. Another option would be to novelize the scripts, a project for which he maintains a certain enthusiasm. In Xataka | James Cameron has committed to the 48fps format for ‘Avatar 3’. Many viewers find it disturbing

13 premiere movies and series to watch in January 2026 on Netflix, Prime Video, HBO Max and streaming

New year, new recommendations. We come with an impressive avalanche of recommendations for you to start the year audiovisually. All platforms, all genres and all tastes. Don’t let 2026 catch you at a different pace, here are our proposals of all kinds for the month of January. him and her Promising six-episode psychological thriller starring Tessa Thompson (who also serves as executive producer) and Jon Bernthal, which follows a former news anchor who returns to her hometown to cover a crime. A detective suspects her involvement, pursuing her until he places her at the center of his own investigation. The twist: they were married, and they both knew the victim. A story full of twists and surprises that has a most attractive cast. On Netflix from January 8 Agatha Christie: The Seven Spheres He whodunit is, without a doubt, in fashion: the success of ‘Daggers in the Back’ or ‘Only Murders in the Building’ corroborate this, so Netflix has decided to resort to the sourdough of all this: three episodes based on one of Agatha Christie’s least adapted works. In a luxurious rural mansion, a high society party turns into tragedy when a practical joke against a known sleepyhead who is given eight alarm clocks set for 6:30 in the morning triggers a murder. In the cast, Mia McKenna Bruce, Helena Bonham Carter and Martin Freeman. Behind the scenes, Chris Chibnall, creator of ‘Broadchurch’, produces and writes. It includes scenarios filmed in Ronda, with the Real Maestranza bullring, the Puente Nuevo and the Palace of the Moro King. On Netflix from January 15 The loot Police thriller directed and written by Joe Carnahan (‘White Hell’, ‘The A-Team’), which reunites Matt Damon and Ben Affleck as protagonists and represents the first collaboration between Netflix and Artists Equity, the production company founded by the two actors. Inspired by true events, it follows a group of Miami agents who during a raid discover $20 million hidden in an abandoned safe house. The discovery unleashes a spiral of mistrust, ambition and moral dilemmas. Carnahan talks about the film as an homage to classic seventies crime thrillers like ‘Serpico’. Firm candidate to be one of Netflix’s first hits by early 2026. On Netflix from January 16 The Bridgertons – S4 New season of the hit series romantic, this time based on the third novel by Julia Quinn, which focuses on Benedict Bridgerton, the second and bohemian son of the family, and who has resisted marital conventions while his brothers have found marital happiness. It will premiere divided into two parts: Part 1 arrives on January 29 with four episodes and Part 2 on February 26 with the remaining four. The season promises a visual tone inspired by fairy tales, with an emphasis on the masked ball as a dream setting, and combining romance, secret identities, class tensions and the classic visual elegance of ‘The Bridgertons’. On Netflix from January 29 Beauty Science fiction and body horror at the hands of Ryan Murphy, with two FBI agents sent to Paris to investigate the mysterious and grotesque deaths of international supermodels in the world of haute couture. His research reveals the existence of a sexually transmitted virus that gives physical perfection to ordinary people, but with lethal consequences. The trail leads directly to a tech billionaire who has secretly designed a miracle drug. A reflection on the cult of the physical, in a film where performers like Isabella Rossellini stand out in a role that dialogues with her witch from ‘Death suits you so well’. On Disney+ from January 21 wonder man A bit of cover (and with a format binge watchingas already proven with ‘Echo’) the new Marvel series arrives at the end of January. With a meta point and some humor, it tells the story of Hollywood actor Simon Williams, who is trying to get his career off the ground. After a chance meeting with another actor, Trevor Slattery (Ben Kingsley, the fake Mandarin from ‘Iron Man 3’), Simon discovers that a remake of ‘Wonder Man’, a classic superhero film, is being prepared. The two actors, at opposite ends of their careers, will try to get a role. Developed by Destin Daniel Cretton, director of ‘Shang-Chi’, it is the first live-action project of Phase 6 in 2026. On Disney+ from January 27 The Death of Bunny Munro Six-episode British miniseries based on the novel of the same name by Nick Cave published in 2009. Matt Smith plays a sex-addicted beauty product salesman who, after the suicide of his wife, embarks on a chaotic road trip through the south of England with his nine-year-old son while a serial killer disguised as a demon stalks the area. A dark comedy about toxic masculinity and grief where Smith’s performance and his commitment to a repulsive character stand out. On Showtime starting January 30 The Demolition Brothers Action comedy directed by Ángel Manuel Soto (‘Blue Beetle’) that brings together two Hollywood action heavyweights: Jason Momoa and Dave Bautista. The film features two estranged half-brothers, an impulsive police officer and a disciplined Marine, forced to reunite after the mysterious death of their father in Hawaii. What begins as a family reunion quickly turns into a dangerous investigation. Explosive action, characteristic humor of its heroes and setting in the exotic streets of Hawaii. On Prime Video from January 28 crazy old woman Psychological horror that marks the directorial debut of Argentine screenwriter Martín Mauregui. Produced by JA Bayona, it stars Carmen Maura in one of the darkest and most disturbing roles of her career, and in it we will meet a boy who receives a message from an ex-girlfriend asking him to temporarily take care of her mother, who has senile dementia. What seems like a simple act of compassion quickly transforms into a claustrophobic nightmare that addresses, according to Bayona, how violence is transmitted from one generation to another. On Prime Video from January 14 The Pitt – T2 Nine months after the end of its acclaimed first season, … Read more

13 premiere movies and series to watch in December 2025 on Netflix, Prime Video, HBO Max and streaming

Good! Christmas right there and unless you work as Santa’s elf, everything indicates that you will be able to dig out the blanket from the attic where you have it and organize some good sessions with the stove, slippers and streaming. As these parties usually come loaded on the platforms, here are some ideas so that you don’t miss out on any news. Percy Jackson and the Olympians Among the many franchises that Disney found with the purchase of Fox was Percy Jackson, which had already given rise to two films at the beginning of the last decade that sought, like so many of the time, to find a new Harry Potter. Although they did reasonably well at the box office, their departure from Rick Riordan’s original novels earned them quite a bit of antipathy, which seemed to be moderated with a more faithful Disney+ series. Now comes the second season, where a teenager with a destiny bigger than he imagines travels across the United States fighting monsters and gods to return his lightning bolt to Zeus. On Disney+ from December 10 Mad Men – Complete Series There are series that never go out of style, and ‘Mad Men’ is, indisputably, one of them. After a time away from our screens (unless you subscribed to Lionsgate+), now you have the opportunity to binge the almost one hundred episodes of this satirical epic that perfectly portrays New York in the sixties. Donald Draper, executive of a major advertising firm, is the protagonist of this series that helps us understand each and every one of the vices of the society we live in now, sixty-odd years later. On Disney+ from December 14 The last outburst Is one of the best films in the history of Spanish cinema. Many say that it is the best: a mix of experimental cinema, vampire film and desperate and addictive love letter to cinema. Converted into a cult film, ‘Arrebato’ is the core of this unclassifiable (like its object of study) mix of documentary and fiction that investigates the strange black hole that the film represents for all those who see it and worked on it. ‘The Last Rapture’ follows the clues that would explain the disappearance of Iván Zulueta and his film, accompanied by Jaime Chávarri and the original actors of the classic, Eusebio Poncela, Cecilia Roth and Marta Fernández-Muro. On Movistar Plus+ from December 3 relay Among Movistar’s more or less unreleased releases, this thriller that seems to seek inspiration from the conspiracy thrillers of the seventies especially draws our attention. But updated, of course: now the target is anonymity in the internet age. Directed by the always reliable David Mackenzie, whom we remember from ‘Comanchería’, it stars Lily James, Riz Ahmed and Sam Worthington, and we will follow a scientist who has been fired after warning about the side effects of the project she was working on. But she has evidence that the company is hiding information and believes she is being persecuted. On Movistar Plus+ from December 26 good boy A simple and direct horror gem, practically silent, that in just 72 minutes tells a story told from the perspective of Indy, a dog who, together with his owner, faces supernatural phenomena in an isolated house. Continuously at the height of the dog, giving us a unique immersion in the story, the film avoids the typical anthropomorphic vision of the animal in a minimal budget experiment that plays with atmosphere and sound to create a feeling of constant threat. It took years to film, since the dog is the director’s real pet and is not trained to act. On Filmin since December 19 Zodiac Killer Project Only a killer like Zodiac could spark a documentary true crime like this one, where the important thing is, obviously, not the investigation and the identity of the criminal, but rather a deep reflection on the codes and topics of the genre. We will walk through the typical true crime scenarios, but stripped of all spectacularity, accompanied by a deep reflection on a completely saturated style and taking as a starting point, precisely, an abandoned documentary about the Zodiac Killer. On Filmin since December 26 F1: The Movie The movie that has turned around finances from Apple’s audiovisual division after a series of failures is this fast-paced sports film focused on Formula 1. We will learn the story of the most promising driver of the 90s until an accident is about to put an end to him. Thirty years later, he has become a kind of driver for hire who receives a proposal from a former teammate, owner of a Formula 1 team on the brink of closure. An authentic visual spectacle thanks to the realistic immersion in the races through first-person shots and effects without CGI tricks. On Apple TV from December 12 Fallout T2 One of the most popular science fiction series returns funny and praised in recent timesand also a production that has lifted the curse of video game adaptations, demonstrating that no project is sufficiently ambitious when it is done with knowledge of the facts. We also leave the first season at a very interesting point: Lucy searching for her father after being betrayed and the Ghoul searching for his family, who may have survived the Holocaust. And their steps take them to a mythical location. None other than New Vegas, legendary setting for the franchise. On Prime Video from December 17 Palm Springs Although it has been roaming around on all types of platforms for some time now, this cult comedy is always a delight that can be reviewed again and again thanks to how it reinvents the concept of a time loop with a contemporary tone and melancholic atmosphere. Andy Samberg and Cristin Milioti have perfect chemistry and together they go a step further than what we have already seen in classics like ‘Trapped in Time’. Here, Samberg is locked in a loop that repeats the same day over and … Read more

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