movies

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

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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

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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

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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

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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

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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

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

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The passing of Halloween has left us with a few interesting horror films in the catalogs of all platforms, but the next thing is coming, which is inevitably Christmas. Many of you will already be noticing how the romances of divorced women in sweaters are flooding streaming, but let’s try to abstract ourselves from that tempting little candy with a brief review of other attractive news for the month of November. That there is everything. Frankenstein Guillermo del Toro he has finally made his dream come true to adapt Mary Shelley’s canonical science fiction novel, while being both very faithful and very personal and in line with her usual obsessions. A monster different from the one we are used to in cinema, a mad scientist more deranged than usual and sumptuous settings and special effects that are the best of the show. That and the extraordinary incarnations of Jacob Elordi, Oscar Isaac and Mia Goth, of course. On Netflix November 7 Stranger Things S5 The final season of ‘Stranger Things’, which will premiere divided into three parts between November 2025 and January 2026, promises to bring an epic closure to the saga. Set in the fall of 1987, the city is scarred by the rifts open to the Upside Down, and the group is tasked with finding and eliminating Vecna, who is still alive. The government has placed the town under military quarantine, making the task difficult. The season will have 8 full length episodesalmost like feature films, and will bring the entire group together for one last decisive battle. We return to Hawkins for the last time! On Netflix on November 26 Vallecas File A documentary series in three episodes that reviews the most famous and high-profile poltergeist case in Spain, which occurred after a mysterious death in the Madrid neighborhood 35 years ago. The production explores unpublished archives, to which key testimonies are added to show the human drama behind the myth. The series delves into the limits between parapsychology, the poltergeist phenomenon and the power of suggestion, in a series that attempts to delve into the real case that inspired Paco Plaza’s film ‘Veronica‘. On HBO Max on November 7 ozzy: No Escape From Now A documentary that offers an intimate and unvarnished portrait of the last years of Ozzy Osbournelegendary leader of Black Sabbath, in which he had to face the physical deterioration caused by Parkinson’s and other ailments, cope with the awareness of his own mortality and the desire to return to the stage for the last time. Avoiding easy tears by showing Ozzy’s fragility and humor in the face of adversity, it gives a unique testimony of the last bars of the life of one of the last rock stars we had left. His influence is also reviewed with the appearance of figures such as Slash, James Hetfield, Billy Idol and Tom Morello. On Skyshowtime on November 2 The Paper When we first heard about the idea, we raised an eyebrow: was there really a need to invoke the spirit of ‘The Office’ in an entirely new series? But when the first reviews arrived, apparently everything was going well: without being ‘The Office’ (remember that in its first seasons ‘The Office’ was not ‘The Office’ either), Greg Daniels, creator of the original series, seems to have correctly invoked the spirit of the classic: the team that made the mockumentary of that series focuses this time on a historic paper newspaper and its editor, who tries to keep it afloat. On Skyshowtime on November 14 Bat-Fam Did you like the Christmas special movie?Merry Mini Bat Christmas‘? Average: the best thing to come out of DC in years, if you ask us. Now, their characters return with a look at the intimacy of the Wayne family, especially the heir to the Mantle, young Damian Wayne, but with a lot of new characters and old acquaintances, all passed through a delicious visual filter. Our favorite is clearly Man-Bat, so you’ll have to choose another one. On Prime Video on November 10 All of the law None other than Sarah Paulson, Naomi Watts and Glenn Close share the cast with… Kim Kardashian. Only the prolific Ryan Murphy could give rise to such a concoction, with a series of legal intrigue that distances itself (partially, because its usual casting returns, Kardasian included) from the grotesque horrors of ‘American Horror Story’ and company. A kind of ‘Suits’ in a feminine key where a group of lawyers specialized in divorces leave a firm dominated by men to open their own office. ANDn Disney+ on November 4 The Fantastic Four: Firsts Steps Although it was not the revolution that many expected (and that Marvel needs), the new Fantastic Four movie has reinitiated the presence of these iconic heroes on screen with a fresher approach and more faithful to the essence of Stan Lee and Jack Kirby’s comic. Adventure, science fiction and light family drama combine in a film that benefits from dispensing with close ties to the rest of the world. MCUalthough it cannot escape the style, tone, humor and, above all, the closed structure without much oxygen of the rest of the house’s films. Still, great finds like the new introduction of Galactus and his herald Silver Surfer, as well as a very appropriate leading quartet. ANDn Disney+ on November 5 Jakarta Two proper names usually linked to comedy, Diego San José (‘Come Juan’, ‘Eight Basque surnames’, ‘Vaya semanita’) and Javier Cámaraenter this time into dramatic territory with a series about disenchantment and second chances: a former Olympic badminton player finds himself becoming a physical education teacher, and finds in a problematic but talented girl the possibility of achieving a lost dream. It is about competing in Jakarta, where this sport has prestige and can rediscover some of the glory of the past, in a sporting drama without an epic of winners. ANDn Movistar Plus+ on November 6 Anatomy of a moment Directed by Alberto Rodríguez and based on the … Read more

This is what robotics needs to look like the movies

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Imagine an AI that not only answers questions, but can imagine scenarios, predict consequences, or plan actions before executing them. This is precisely what world models promise, a technology that is attracting attention from the main artificial intelligence laboratories and that could radically change how machines understand and interact with their environment. What exactly are they. World models are AI systems that build an internal representation of the environment, as if they contained a simulation of the real world. Unlike traditional supervised learning, which simply maps inputs to outputs using labeled data, these models learn how an environment works and they can predict what will happen next. It is similar to how humans use mental simulations to anticipate outcomes without needing to physically experience each situation. The example of the batter. Researchers David Ha and Jürgen Schmidhuber they explain it With a sports analogy: a baseball batter has just milliseconds to decide how to hit the ball, less time than it takes for the visual signal to reach the brain. What allows him to hit a fastball at 100 miles per hour is his ability to instinctively predict where the ball will go. Your muscles react reflexively based on the predictions of your internal mental model, without the need to consciously plan every possible scenario. Why they matter now. Prominent figures such as Yann LeCun (Meta), Demis Hassabis (Google DeepMind) and Yoshua Bengio (Quebec AI Institute) consider that these models are essential to building truly intelligent systems. The startup World Labs of Fei-Fei Li, one of the most influential figures in AI, raised last year 230 million dollars to develop them. On the other hand, General Intuition, a new AI lab owned by Medal (known for its app for recording and sharing game clips), just got a financing round of 133.7 million. The investment came primarily from Khosla Ventures founder Vinod Khosla (one of OpenAI’s early investors), who affirms that “multiple companies valued at hundreds of billions, potentially even trillions of dollars will be built” in this field. How they work. These systems have three fundamental capabilities. On the one hand, they compress complex sensory data (images, videos, text) into simpler representations. Second, they predict future states of the environment based on past and present information. Third, they use that learned model to simulate different actions and choose the best option. It is as if the AI ​​can “dream” different scenarios before acting. The case of video games. Ha and Schmidhuber also have a clarifying example To do this: imagine an AI learning to play a racing game. Instead of memorizing sequences of moves, you first build an internal model of how the game world behaves: how the car moves, how the road curves, where obstacles appear. You can then imagine future scenarios, testing different driving strategies in your simulated world before applying them in the real game. Promising applications. world models They are already transforming several fields. In autonomous driving, they allow vehicles to simulate traffic dynamics and pedestrian behavior to make safer decisions. In robotics, robots can imagine different ways to complete a task before executing it, especially useful when real-world training is expensive or dangerous. And in video generation, help create more realistic content: A model that understands why a ball bounces is going to represent it better than one that has simply memorized patterns. Beyond the video. A better video generation model would be just the beginning. LeCun describe how a world model could help achieve goals through reasoning: Given a video of a messy room and the goal of cleaning it, you could devise a sequence of actions (vacuuming, cleaning the dishes, emptying the trash) not because you have observed that pattern, but because you understand at a deeper level how to go from dirty to clean. “We need machines that understand the world, that can remember things, that have intuition and common sense,” affirms. The obstacles ahead. Train and run world models requires massive computing powereven compared to current generative models. Although right now thousands and thousands of GPUs are needed cloistered in gigantic data centers that They consume a lot of energy to run current models, training world models is another level. Furthermore, like all AI models, they also have the risk of hallucinate and internalize biases from your training data. The industry’s bet. Despite the technical challenges, there are different strategies in place. Google DeepMind and OpenAI they bet because with enough multimodal training data (video, 3D simulations and beyond text) a world model will spontaneously emerge within a neural network. LeCun, for his part, believe that a completely new, non-generative AI architecture will be necessary. What comes next. Several experts also predict that world models will allow you to create interactive 3D worlds on demand for video games, virtual photography and other applications. According to Justin Johnson, co-founder of World Labs, “we already have the ability to create virtual, interactive worlds, but it costs hundreds of millions of dollars and a lot of development time.” They could also revolutionize robotics by giving robots real awareness of their environment and their own body. As resume Mashrabov, “with an advanced world model, an AI could develop a personal understanding of any scenario it finds itself in and begin to reason out possible solutions.” Although LeCun esteem that we are still at least a decade away from the world models he imagines, the great expectation of the industry to see evolutions in the field of AI and the monstrous investment that this phenomenon is receiving, indicate that this technology could be the next great leap towards machines that not only react to the world, but understand and model it. Cover image | Michael Marais In Xataka | “The safety of our children is not for sale”: the first law that regulates ‘AI friends’ is here

So you can get Movistar Plus+ from 3.25 euros per month to watch series, movies and even football

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Given so much increase in the price of subscriptions to streaming platforms, it is appreciated that from time to time some of them launch promotions that we can take advantage of to pay less monthly or annually. Movistar Plus+ It is one of the platforms that usually has the most offers and now, with the Young Cultural Bonusthe service can be accessed for an entire year for 39 euros (which would be 3.25 euros per month). Of course, there is also another offer for those who do not have the Young Cultural Bonus. Movistar Plus+, annual subscription The price could vary. We earn commission from these links Series, movies and sports with good promotion As can be read in the Movistar Plus+ pagethe streaming platform right now has a promotion for those people who have the Young Cultural Bonus. By 39 euros (3.25 euros per month) the service can be accessed for a whole year and includes a good variety of movies, series and football. Among what we can find on the platform, we have a movie premiere every daythe original Movistar Plus+ series and also other international series — there is a lot of content on the platform, whether it is premiere content or not. In addition, every day the Movistar Plus+ match is broadcast LaLiga EA Sportsthe best in the Champions League and the Premier League and the entire LaLiga HyperMotion. You can also access the best match of each day of the US Open and Winbledonthe 12 Masters 1,000 tournaments and the most important matches at Roland Garros. In addition, it also includes the two best matches per day of the Euroleague and the best matches and moments of ruby, golf and padel. Not everyone has access to the Young Cultural Bonus, but that does not mean that we cannot access an offer from the streaming platform. If we subscribe month by month, the price is 9.99 euros, but if we do it monthly we pay 99.90 eurosor what is the same Approximately 8.32 euros or two months free. It is a good way to access all its content at a discount, something that not all platforms offer. In addition, it is worth mentioning that beyond the content that we can access with the subscription (through the Young Cultural Bonus, the annual or month-by-month offer), The service can be contracted regardless of whether we are the operator or not and without permanence. 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 Plus+ 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

“They replicated the movie’s message”

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Few special effects designers have impacted both the world of cinema and him. If the eighties and nineties were aesthetically dominated by Industrial Light & Magic and the colorful and naive mastodon of the George Lucas company, The new century greeted a new generation of science fiction films and its effects. The flag bearer of that change was’Matrix‘And the impressive, even today impeccable digital tricks of John Gaeta. And although Gaeta went down in history for his revolutionary Bullet Time that allowed to capture scenes in a virtual space that could be digitally manipulable, a technique for which he won an Oscar to the best visual effects, his work was Beyond this foundational trilogyin films like ‘The curious case of Benjamin Button’ and ‘Avatar‘. He is one of the founders of Ilmxlab, a specialized Lucasfilm division in virtual reality and mixed reality, and we have had the opportunity to chat with him on all these issues during the Comic-with Malaga. Of course, we have no choice but to ask how you see His own role as absolute classic of the history of special effects. He tells us that “‘Matrix’ initiated a new chapter in the volumetric media: the real world was incorporated, including actors and characters, to a prototypic form of simulation.” But he did not understand it as a simulation, but as “a three -dimensional version of a real scene or moment.” And that fit the idea of ​​the film, where “we do not understand that we are already within the simulation.” That is, and there was greatness: the special effects took into account the argument and message of the film: if in the future the machines wanted to simulate the real world, they had to capture it visually and translate it: “we would have to capture the real world and translate it in some way to spatial media, computer graphics. And that was where we began to include the capture of actors.” Of course, technical difficulties began: “These things were like sculptures. They were not interactive or dynamic,” and had to create it from zero. “I think ‘Matrix’,” he concludes, “it was a catalyst event in the new medium form, a potential medium.” And therefore, sequences like that in which neo dodges the bullets are more than an exhibition of technical expertise: “That moment represents how your mind is imposed on matter, on Matrixthere is a certain self -realization. It is able to control the simulation that manipulated its reality, it is a decisive moment. And we needed to show something never seen, something supernatural, and that the viewer was witness. The future of effects When we ask about the future of special effects, it is very clear that they are in AI, something that is not surprising taking into account that it is currently immersed in the direction of Escape.aia platform that drives audiovisual narration with artificial intelligence. With it it intends to democratize the creation of content: “In the next ten years we will see the union of all media (from the cinema to other immersive such as virtual reality or video games) in a single multimodal medium thanks to AI.” What we are seeing now is just the beginning, “Once the generative AI is not as simplistic as it is currentlywhich is trained in two -dimensional passive media to simulate them. “What is that future, then?” When it begins to be much deeper when acquiring space intelligence, physical intelligence and scientific intelligence (because it will be trained for different purposes by scientists, educators, governments …), we will have the possibility of accessing entertainment that will no longer only consist of contemplating in a passive way. “ And that absence of passivity of the spectator (which will no longer be a spectator, according to Gaeta), is what the AI ​​will bring us: “Literally, we can say: ‘Well, now I do not want anyone who predetermines the content of this virtual world that has already shown me a story. I want to move away, turn around the corner, enter this world and start interacting with the characters and even play in this environment, or do what you want.” Gaeta blindly trusts the possibilities of AI to generate these completely interactive immersive worlds and that are created according to the user’s needs .. And this comes, of course, with SU batch of corresponding risks, on which Gaeta is reluctant to speak. But finally, he grants that “it is scary, it is exciting at the same time. It has always happened. As the technology with which cars were manufactured, which replaced the horses and is the same that ended up leading to the manufacture of tanks, and that is scary. It was supposed to be a great educator, and it turned out to be a device of distortion of reality. Everything has a price” “Technology is a double -edged sword, so there will be people who use things for good and create extraordinary things, solutions, inspiration, and then there will be evil people, who always exist, who will explode, try to enslave, try to destroy.” Gaeta is clear: “We have to be mature about it and know that technology always ends up revealing that duality.” In Xataka | Matrix was the first film to portray a real hacking. And inspired a generation of computer pirates

This Spider-Man’s animation fan is not official, but recovers a villain that we have always wanted to see in the movies

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The Fan-Filmslike any other form of fiction born of the fan culture, it is an abyss where the best and the worst place has a place. The lack of technical and economic means often compensates with enthusiasm, imagination and impudence, and in many occasions the results rival in ambition and findings with official adaptations. This is the case of ‘Spider-Man: Mask of the Chameleon’. The chameleon mask. This animated film of Spider-Man whose footage is around two hours and what can you see Free on YouTube It is a production made by a single animator and completely outside Disney. And the point is that the result is not bad: with an animation style that takes good game of its limitations, with a style Cel-Shading which reminds that of many video games a few years ago, however they enjoy a certain expressiveness and iconic forcefulness. The action sequences are well planned and openly inspired by Sam Raimi’s films trilogy, and dubbing work, although it has an amateur point, defends itself. The chameleon returns. The film takes up one of the most iconic villains of the Marvel Lanzes: the chameleon, which here executes a plan that replaces, with its skills to clone any foreign physique, to the mayor of New York. Other MCU characters such as Hulk and, of course, all the usual secondary peaplia of Spider-Man, such as JJ Jameson and even in a post-Credit sequence, a villain who anticipates future appearances. A villain with history. Interestingly, the chameleon was the first villain that Spider-Man faced, nothing less than in number 1 of his collection, in 1963. Since then he has been part of villain galleries such as the six incidents and twelve claims, but he has never had an adaptation of importance in the cinema: he was fleeting, almost like a cameo, In ‘Spider-Man: Far from home‘, as in’Kraven the hunter‘, since he is half the brother of the protagonist, but without confrontation with Spider-Man and winning his physical imitation powers only at the end of the film. It has appeared, yes, in innumerable animation series and in a handful of video games, including a fleeting cameo on a secondary mission of ‘Spider-Man 2‘. World fan. Spider-Man is one of the Marvel characters with more activity within the fan world. If we look out This IMDB list that lists a more or less definitive list of fan-films of the character (and that starts no less than in 1969, with a short), we will find 265 titles. If you stay wanting more after ‘Mask of The Chameleon’, we advise you ‘Spider-Man: Lotus‘(two spectacular times in real image),’The Green Goblin’s Last Stand‘(A character of the character’s fan-films) or’Spider-Man: Cake Day‘(Only eight minutes, but with great special effects). Abbiselafa Pictures. The head of ‘Mask of The Chameleon’ is Rasmus Ziegler, a Danish who on his channel Abbiselafa Pictures He has presented a few animation projects, although this ‘Spider-Man’ is the most ambitious to date. In your catalog we can find ‘Nightfall‘, a Batman fan-film focused on a group of thieves who are being persecuted by the dark gentleman; and one Episodic adaptation of ‘Dracula’ From Bram Stoker who, unfortunately, was unfinished. In Xataka | All spider-man games ordered worse to better

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