netflix

The creative death of Marvel’s MCU left a huge hole. One that in my case is filling WWE on Netflix

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Twice a week I like to live a cathartic experience, and it is something that I strictly adhere to since the beginning of 2025. WWE and Netflix they started a million-dollar collaboration (a decade at a rate of 500 million dollars a year) so that their star shows could be seen around the world. Gone are those weekend mornings in Four with La Bomba Batista, Rey Mysterio or Randy Orton who starred in the childhood of an entire generation, but thanks to the platform of streaming, nostalgia hits harder than ever by allowing us to experience nothing less than the farewell tour of the greatest of all time: John Cena. But beyond the trip to childhood, my religious weekly ‘Raw’ and ‘Smackdown’ have helped me realize that with a ring and a handful of wrestlers they are scratching the same part of the brain as I expected the MCU to activate during these last years. The interrelation of the character arcsinvincible enemies, unexpected turns of a hero and alliances on the horn is something that Marvel has lost since ‘Avengers Endgame’ and that I find almost every week in wrestling. All that is needed is a suspension of credulity that is generated by the cathartic nature of the slaps (choreographed, not fake) and by how dedicated the public is to an event that also has the added bonus of being held live. Perhaps it sounds ridiculous for those who have not known about this world for 20 years, or for those who have barely entered it, but once you are part of the wheel, it is difficult not to get hooked by multiple aspects: combats measured to the millimeter with a physical preparation from another planet, soap opera stories between the stars where the distance between reality and fiction is separated by a bad fall or a word out of the script, or demonstrations of aura with entrances like those of Penta either Roman Reigns. But everything has its dark side and, as often happens, being a woman places me (even more frequently) in a dilemma. 7 TRICKS to get the MOST out of NETFLIX Triple H is not spared either The eternal “separating work and author” that does not prevent the bitter taste in the mouth produced by wanting to see the new Woody Allen or Roman Polanski movie or refusing to continue reading to JK Rowling. And the WWE is an almost inexhaustible source of controversies that makes it very difficult to draw the line and be able to simply enjoy a high-quality show and wrestlers who give their all in vibrant fights. The WWE has suffered under the previous management of Vince McMahon and their continuous scandalsbut with the arrival in 2022 of Paul Levesque (known as Triple H for wrestling lovers, and also McMahon’s son-in-law) as the new content director, they wanted to sell a new post-Vince era, establishing a gender equality policy on the roster and moving away from wrestlers with whom racial stereotypes were promoted. Since the replacement took place, there is no doubt that the female presence has increased in WWE, and continues to do so year after year; In its annual report we can see that of its superstars a 40% are womenin front of the 35% from previous year. And not only does it increase in number, but in quality; offering us stories and combats that are often infinitely superior to those perpetrated by male stars on the roster. Names like Rhea Ripley either Becky Lynch They are the female reference and those who lead the way for new recruits. The combination of global streaming thanks to Netflix and the growing number of female talentshas been the key factor that has managed to boost the increase of this audience. And, already in the documentary ‘WWE: Unreal’, the creative director that high percentage stood out: “WWE women have become an integral part of what we do. 40% of our audience is female. So, when you start down the road to ‘WrestleMania,’ you try to approach it with them the same way you do with the guys, you approach the narrative in the same way. “However, at the same time, this reality is continually clouded by putting its stars against the ropes beyond the ring itself. And the figure of Triple H is not exempt from controversy either. It is not only that he has visited the oval office alongside Trump this summer to join the Presidential Council on Sports, Fitness and Nutrition, reminding us once again of the US president’s relationship with the world of WWE and, inevitably, being a reminder of what political side the company joins. Not in vain, when the worst of the pandemic forced bodies to pile up in refrigerated trucks, even in New York, the WWE was one of the first sports practices to resume thanks to an exemption from Republican Florida. But the bulk of the excesses during his mandate are directed at the female public. Wrestlers and female audience against the ropes The WWE, through a agreement with Saudi Arabia which began in 2018 with the celebration of one of its events in the Middle Eastern country, was added to the list of sports that participate in the sportswashing strategic to whiten the image of the regime. This agreement, reprehensible for all that it implies on a political and social level, becomes even more flagrant and uncomfortable if we highlight what it means directly for the women of the company. In those first three events since 2018, the participation of the women’s section was totally prohibitedneither could they compete nor, of course, were female audiences allowed. It seems that, therefore, with that agreement of 100 million dollars annually Triple H easily forgets about that high percentage of female spectators that he brags about. It was not until 2019 when the Saudi authorities, in a display of modernity, allowed female wrestlers to compete, as long as they wore wrestling clothing that completely covered their bodies. … Read more

Netflix entrusted him with more than 70 million for a series. He came with zero episodes and a luxury mattress bill of $638,000

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Carl Rinsch, director of the semi-unknown Keanu Reeves film ’47 Ronin’ has been convicted of defrauding $11 million to Netflix. For the production of a science fiction series that was never made… nor was it planned to be made. Electronic fraud, money laundering and illegal transactions are the charges for this ingenious scoundrel who dared to tease one of the giants modern audiovisual corporations. What happened. The ‘White Horse’ project, later renamed ‘Conquest’, started in 2018 as an ambitious science fiction series about an artificial humanoid species that rebels against its creators. Netflix beat out Amazon, Apple and HBO in a bidding war for the rights to the series, disbursing more than 61 million dollars and granting Rinsch final creative control. 44 million dollars later and after filming in Uruguay, Brazil and Hungary, there was nothing on Mr. Netflix’s table. Crazy investments. In March 2020, as the pandemic spread, Rinsch requested an additional 11 million to, supposedly, complete the series. For some reason, Netflix agreed: Rinsch transferred the funds directly to personal accounts and speculated with stock options for Gilead Sciences, the pharmaceutical company that wanted to end COVID-19 (and COVID finished with her), losing approximately half of the capital in weeks. He later invested in Dogecointurning 4 million into 27. With the profits he unleashed a consumerist hurricane that resulted in five Rolls-Royces and a Ferrari worth 2.4 million dollars, two Hästens mattresses handcrafted in Sweden valued at 638,000 dollars, Swiss watches worth 387,000 and antique furniture valued at 3.3 million. Netflix canceled the project in 2021 after receiving only some promotional fragments of the hypothetical series. The sentence. In an unusual strategy, Rinsch chose to testify in his own defensemaintaining that the 11 million constituted a legitimate reimbursement for own capital invested in the project, and that the material already shot served as a negotiation tool to secure a second season that Netflix would never formally authorize. The prosecution presented bank statements showing direct transfers from the production budget to Rinsch’s personal accounts. Why did it happen? To understand this series of misfortunes for Netflix’s pocket, we must contextualize when it occurred: between 2018 and 2020, Netflix was at the center of a kind of streaming “gold rush”, with spending on content that reached $17.3 billion in 2020. The platform then accumulated 45% of global spending on streaming content since 2010, doubling the investment of your closest competitorAmazon Prime Video. The war for creative talent intensified with the launch of Disney+ in November 2019, followed by HBO Max, Apple TV+ and Peacock. Those were the times when, seeking to create a consistent catalog, Netflix prioritized quantity over quality. In this context, Netflix gave Rinsch that final cut for fear of losing the project to rivals. Other frauds. Rinsch is not an isolated case in an industry increasingly vulnerable to fraud. David Ozer, producer with credentials at Starz Media and Sony Pictures Television, serves sentence after diverting more than $200,000 from the ‘Safehaven’ budget. More recently, in August 2025, David Raymond Brown was accused of orchestrating a Ponzi scheme for 12 million dollars: the producer created a fictitious company that issued invoices for non-existent or already paid services and falsified his profile on IMDb to attract more investors. Header | Dima Solomin in Unsplash

Netflix decided to kill sending content to the TV. Apple has taken advantage of the gap to score a great goal

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Netflix decided to start the month of December by eliminating one of the most basic and useful functions of its mobile application: the ability to send content (cast) from our smartphone to any television with Android TV either Google TV. An essential tool to find content quickly on your mobile and send it to your TV. What we did not expect is that, in less than two weeks, Apple has responded indirectly by bringing its Apple TV for Android the feature that Netflix has decided to kill. Better late. Goodbye to Netflix Cast. It was easy to realize this. At home I have a Google Chromecast with Google TV and a Google Nest. Every time I wanted to send content from my mobile to my television… only the Google Nest appeared. That’s when I read the confirmation of the disaster: Netflix had loaded the Cast without any explanation. The exceptions. In the Netflix support page An exception is specified to continue using the Cast function: having a third-generation or earlier Chromecast device. In other words, versions without remote control. The second, have a plan without ads. If you don’t pay, you can’t send content to TV. Cast icon on Apple TV, make a wish. Given the gap in the squad, great goal. Since yesterday, a couple of weeks after Netflix’s move, the Apple TV application for Android is compatible with Google Cast, a function that was missing since the launch of the app at the beginning of the year on the rival platform. It is necessary to have the app updated to version 2.2 to be able to send our content to the television on any Chromecast. Apple being less Apple. Apple has had to respond to Netflix in the face of an undeniable reality: its service is a minority within the ecosystem of streaming platforms. Netflix is ​​the absolute king, followed by Prime Video and Disney+. And one of the reasons was one that we know quite well: using Apple is using a product tied to its ecosystem. Despite this, Apple TV+ is dangerously close to HBO Max, about to take fourth place in the ranking, according to data from JustWatch. In this context, the introduction of Cast goes beyond a minor function: It is a surrender (more) from Apple towards a more open ecosystem. And this works in your favor Allows Apple TV+ to sneak into homes with Android phones and tablets Reduces friction of use Reduce dependence on Apple’s hardware ecosystem What are you doing to win in Spain. Apple’s strategy to continue growing in Spain is clear: swim against the current with a strategy that does not introduce advertising in the app, a small catalog but with a large presence of proposals (expensive) and own and, now, simplifying the use of its app to reduce friction that had been artificially introduced. It won’t be enough. We told it a year ago and the numbers reaffirm it: there is hardly any war in streamingsince most of the content is converging on Netflix. The post-pandemic stage forced platforms to fight to distinguish themselves, while Netflix went public at the end of December 2024 at pre-pandemic levels. Be that as it may, given the growth of Apple TV in 2025, fight head to head against an HBO focused on quality It is great news for the company. Image | Xataka In Xataka | The best streaming platforms 2025 | Comparison of Disney+, Netflix, HBO Max, Prime Video, Movistar Plus+, Filmin, Apple TV, SkyShowtime and Rakuten TV: catalog, functions and prices

Warner series, franchises and business units that will be owned by Netflix

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Netflix did not need to demonstrate creative capacity: its own production had become the reference for global streaming. However, the announced agreement to acquire Warner Bros. Discovery’s studio and streaming business introduces a change in scale if regulators end up approving the operation. It is not about adding a few more series, but about integrating a studio with decades of history, the area where HBO is located and a very relevant part of its catalog, in addition to several franchises that have marked popular culture. Faced with such a move, the inevitable question is what, exactly, will become under the control of Netflix, without this meaning that everything will appear tomorrow in its application. The agreement is not closed yet and depends on several formal steps. Netflix and Warner Bros. Discovery have announced that the operation, valued at $72 billion in capital and some $82.7 billion in enterprise value, can only be completed after spinning off the new Discovery Global company. From there, the process will be in the hands of the regulators, which could take between 12 and 18 months to review an integration of this magnitude and could impose additional conditions or, in the worst case scenario, block it. The perimeter of the deal: what actually goes into the package. Official communications and media analysis agree that the operation covers the historical core of the study. That includes Warner Bros. Pictures, responsible for its film catalog, and Warner Bros. Television, the basis for some of the most influential series of recent decades. Added to that block are HBO and the HBO Max platform, which are part of the streaming business that Netflix intends to integrate, as well as DC Studios. The inclusion of Warner Bros. Games is not detailed in the first press release. What’s left out: the new Discovery Global. The operation does not cover the entire Warner Bros. Discovery. Before completion, the company must spin off a block of channels and services that will not come under Netflix control. Warner Bros. Discovery’s corporate plans indicate that this group will be integrated into the new Discovery Global, an independent company that will maintain assets such as CNN, Discovery Channel, TBS, TNT in the United States, Food Network, HGTV, Discovery+ and part of the sports operations, including TNT Sports US. Film franchises: from Hogwarts to Gotham. Netflix and Warner’s own joint communication serves as a guide to understanding the caliber of the film franchises involved. It mentions specific titles such as ‘Harry Potter’, the DC Universe, ‘The Wizard of Oz’, ‘Casablanca’ and ‘Citizen Kane’, along with television brands such as ‘Friends’, ‘The Big Bang Theory’, ‘The Sopranos’ and ‘Game of Thrones’, as a sample of the archive that accompanies the study. From that base, media like Newsweek and What’s on Netflix broadens the focus and they point out that, within Warner’s recent filmography, sagas such as ‘Dune’ or ‘The Matrix’ also appear as part of the fund that would remain under the management of the studio controlled by Netflix, always with the caution that it is not an official list title by title. Warner’s animated treasure. Among the assets least visible to the general public, but widely cited in coverage of the agreement, There is the extensive animation catalog that accompanies the Warner studio. There, icons like ‘Looney Tunes’, ‘Tom and Jerry’ and ‘Scooby-Doo’ are mixed with series that defined Cartoon Network’s identity, from ‘The Powerpuff Girls’ and ‘Dexter’s Laboratory’ to ‘Adventure Time’, ‘Regular Show’ and ‘Steven Universe’. The interactive leg of the deal is best understood if we look at what it means, in practice, for Warner Bros. Games to change ownership. Although the first corporate communication did not go into that level of detail, specialized media such as GameDeveloper have cited to a company spokesperson to confirm that the video game division is entering into the operation with Netflix. What is confirmed and what remains unknown. At this point we can draw a relatively clear line between what is confirmed and what still depends on third parties. The perimeter of the agreement falls into the first group: Netflix and Warner have explained that the package includes film and television studiosthe area where HBO and HBO Max and the video game division are included, while the linear channels are grouped into Discovery Global. We also know that franchises such as ‘Harry Potter’, the DC Universe, ‘Friends’ or ‘Game of Thrones’ are mentioned by the parties themselves as examples of the archive they provide. What remains open is when and how this will be reflected in the catalog of each country, what will happen with co-productions and previous licenses already signed and to what extent regulators will impose additional conditions or, in the most extreme scenario, decide to stop the operation. The real impact of this operation will be noticed over time, not from one day to the next. If the agreement receives the approval of regulators, Netflix will manage a studio with a historical weight that is difficult to replicate and a library that has defined much of recent audiovisual culture. What the viewer will see will be a gradual transition, marked by pre-existing licenses and agreements that must be respected, with different schedules depending on the country and type of content. Even so, the movement anticipates a stage in which the platform will stop depending so much on third parties and will consolidate its own base of content that, until now, it could only license. Images | Netflix | Warner In Xataka | All the unanswered questions left by Netflix’s purchase of Warner: a huge mess

Netflix buys Warner Bros, stays with HBO and completes one of the most important movements in the history of streaming

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Warner Bros. knew what it was saying when it commented that it wanted to have a buyer before the end of 2025. After a few weeks in which it seemed that Paramount was going to take the lead, it was finally Netflix, which has acquired the oldest film production company, although we will have to wait: for now, Warner has to conclude its global networks division (which includes CNN and Discovery) in a new company. 82.7 billion dollars. Netflix has closed the largest acquisition in its history and one of the most significant operations in the entertainment industry: the purchase of the centenary Warner Bros studio, along with the streaming platform HBO Maxin a deal valued at $82.7 billion in terms of total enterprise value. Warner Bros. Discovery shareholders will receive compensation of $27.75 for each title they own, structured as a payment of $23.25 in cash plus $4,501 in Netflix shares. Organic growth is over. The transaction represents a radical shift in corporate strategy for Netflix, which for two decades had shunned large acquisitions in favor of organic growth. Just two months ago, co-CEO Greg Peters had criticized media megamergers. The agreement concludes an intense bidding war of three rounds in which Netflix beat competitors such as Paramount-Skydance (which sought to buy all of WBD) and Comcast (interested only in the streaming and studio assets). Netflix’s final proposal includes a breakup penalty clause of $5 billion in case regulators block the operation. Just yesterday, Paramount-Skydance accused to the process having been “rigged” with a “predetermined outcome” that favored a single bidder. Netflix’s victory is partially attributed to the close professional relationship between David Zaslav and Ted Sarandos. It still remains. The final closure will not occur until Warner Bros. Discovery completes the separation of its traditional networks division (which includes CNN, TNT Sports, Discovery Channel, TBS and the European broadcast television channels, in addition to the Discovery+ service and Bleacher Report) into a new independent company called Discovery Global. This process is scheduled to end in the third quarter of 2026, at which point Netflix will be able to take effective control of the acquired assets, according to the official calendar broadcast by Netflix itself. What does Netflix have now? With this operation, Netflix will incorporate into its corporate structure the production companies Warner Bros. Motion Picture Group and Warner Bros. Television, DC Studios (responsible for the superhero franchises that rival Marvel and that have just experienced a welcome resurrection), the entire HBO programming including emblematic series such as ‘Game of Thrones’ or the future reinvention of ‘Harry Potter’, and a historical library that includes approximately 12,500 feature films and 2,400 series. All of this, of course, in addition to universally famous franchises and IPs like those mentioned, FriendsThe Lord of the Rings or the entire Looney Tunes catalog, among other things Hanna-Barbera. The deal also gives Netflix physical production infrastructure, including Warner’s legendary Burbank studios in California. In Xataka | Using Netflix in 2018 was much better than now: we have normalized degrading experiences

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

‘Stranger Things’ changed everything for Netflix. Your problem now is finding another brand just as powerful.

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The expectation is through the roof: Netflix has just taken the first steps of the final season of ‘Stranger Things’‘, which will run throughout December with several episodes, many of them feature-length. In fact, the desire of the fans is such that Netflix even saw its servers falter. A (very possibly) triumphant culmination that, however, leaves a few unknowns in the air. Netflix flashes. Netflix experienced a service outage that in some cases It lasted about twenty minutes. (although the thing did not exceed about five, according to the platform’s official statement) with the premiere of the fifth season of ‘Stranger Things’. The incident occurred despite the fact that the series co-creator, Ross Duffer, had shared that Netflix would increase its bandwidth by 30% to avoid precisely this type of incident. All in all, thousands of users reported NSEZ-403 errors that prevented them from accessing the content, or accessed it with problems, which worked as a perfect thermometer of the expectation generated by the series. ‘Stranger Things’ continues to be a phenomenon capable of collapsing digital infrastructures three years after its previous season. Devastating figures. The fourth season accumulated 140.7 million viewsestablishing itself as the third most watched series in English on the platform, only behind ‘Wednesday’ and ‘Adolescence’. Of course, it is the only series with all seasons in the Top 10an unprecedented milestone on the platform. The impact on subscribers is more difficult to quantify: the third season, for example, contributed to add 520,000 subscribers in the United States. The cultural impact. The impact that ‘Stranger Things’ has had on modern pop culture is enough for a book, but let’s stick with some figures that will give us a rough idea. First, the economy: Netflix, for example, closed agreements with approximately 75 brands to promote the third season. Coca-Cola relaunched New Coke, generating 1.2 billion dollars in media value; Similarly, Nike obtained $178 million in media coverage with their Hawkins High collection. But this goes far beyond benefits for some brands: Butts County in Georgia, where the series is set, reported a 12% increase in tourism during the years the series was broadcast. And the small city of Jackson, with barely five thousand inhabitants and a per capita income of less than $30,000, revitalized its economy thanks to thematic tours. And of course, there is the strong role that the series has had in the recovery of the aesthetics and fashions of the eighties. It is no longer just that they have been revitalized Stephen King’s books and John Carpenter’s films: platforms like LTK registered increases of 3,000% in searches for clothing similar to those worn by the characters. What can we expect? For now, Netflix has planned very well to divide this final season into three: 4 episodes on November 27, 3 on December 26 and a final one on January 1. That is, coinciding with Thanksgiving, Christmas and New Year’s Eve, and thus, contrary to what is usual on the platform, stretching the cultural conversation for two months. As for audience expectations, as expected, they are very high: analysts predict new viewing records given the three years of waiting until this end. Of course, the critics have spoken and they point to the signs of exhaustion that were already seen in previous seasons: 87% on Rotten Tomatoesthe lowest rating of the series so far, although the audience rises to 92%. It is not easy to maintain narrative quality after so many years, with obstacles such as the age of the protagonists. The future. The really interesting thing about the phenomenon is wondering what Netflix has ahead. Or to put it more awkwardly: can the platform replicate the phenomenon? It has certainly had successful series in its catalogue, such as ‘Wednesday‘, ‘The Squid Game’ or ‘The Bridgertons’, but except for the first, all of them have finished or are about to do so. It is true that Netflix has the ability to generate new hits like ‘Wednesday’, which also, although it came as a bit of a surprise to everyone, could be well exploited by the platform. Now, Netflix is ​​in a phase of prioritize quantity over qualitymercilessly canceling what does not interest you and attesting that we are in a different moment than the initial success of ‘Stranger Things’: the competition has multiplied and it is more difficult to get noticed among multiple offers. Netflix has all the space in the world before it to compete, but perhaps its main rival is its own legacy: how to make ‘Stranger Things’ forgotten. The series was perhaps, before the almost infinite atomization of the offer of the streamingthe medium’s latest great global success. And that is very difficult to overcome. In Xataka | Netflix loved movie theaters. Then he hated them. Now you have reached a very beneficial middle ground

Disney’s most profitable business for years has been amusement parks. And Netflix is ​​going to follow in their footsteps

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In a turn that will not be too surprising to those who closely follow the finances of entertainment giants like Disney, Netflix has made the leap to the physical world. Last Wednesday, the platform inaugurated its first permanent entertainment center in King of Prussia, a town located 25 kilometers from Philadelphia. A real dive into Netflix products that makes it clear that there are no authors or stars here, but a single corporation with things very clear. What does it consist of? Netflix House is a two-story complex with a surface area equivalent to a football stadium and that allows visitors to tour replicas of scenes from series such as ‘Wednesday‘, ‘The squid game‘ either ‘Stranger Things‘. For example, there is a replica of the room that Wednesday shares with Enid at Nevermore Academy, where visitors solve a murder with Thing through their cell phones, or a escape room based on ‘One Piece’. There is also a nine-hole mini golf course with automatic ball tracking technology, whose courses are themed to series such as ‘Bridgerton’ or ‘The Squid Game’. Finally, there are virtual reality rooms. As a culmination, a restaurant with dishes inspired by the series, and the TUDUM theater, with 229 seats for screenings. The company already plans to open a second headquarters in Dallas on December 11 and a third in Las Vegas in 2027. Admission is free, although the experiences have a cost: from $15 for a game of mini golf to $39 for the main immersive attractions. On the go. The flexibility of the model was demonstrated before the inauguration. The success of ‘The K-pop Warriors’ It caught those responsible for the installation by surprise, but its presence was incorporated into the venue on the fly with life-size figures of its protagonists and merchandising exclusive. And of course, more dedicated content is promised in the coming months. It is one of the strong points of the project: that although there is always the presence of timeless hits such as ‘The Paper House’ or ‘The Squid Game’, last-minute audience bombshells can be incorporated to make it an experience that breathes a certain life of its own. British roots. This concept that Netflix exploits does not come from the United States, but from the United Kingdom: for example, Fabien Riggall founded Secret Cinema in 2007 with the idea of ​​making your childhood wish come true of “living inside a movie.” Its first event brought together 400 people in an abandoned railway tunnel to screen a film whose title was kept secret until the last moment, with stages and actors decorated to give the atmosphere. Since then, the company has raised over £130,000 for charitieswith increasingly spectacular and complex installations. A few years before, in 2000, Punchdrunk already existed, immersive theater collective where the public was not limited to passively observing the work, but went on a tour of spaces where the action took place. London has ended up consolidating itself as global epicenter of these interactive experiences. Like a virus. Of course, this idea did not come from Netflix: its rivals have been operating comparable facilities for decades. Disney is the clearest example given its long experience in amusement parkswill allocate 60,000 million dollars to its experiences division over the next decade. Universal invested 7 billion in its recently inaugurated Epic Universe, based on franchises such as Harry Potter or Super Mario. Let us remember that Disney’s parks division contributes 70% of the profits of the company. Of course, be careful with the powerful comparative advantage of the Netflix proposal: entry to Netflix House is free. It’s just the beginning. This is not an isolated experiment or an extra next to Netflix’s main business: the platform’s decision to stop communicating its number of subscribers should give us a clue about how they have peaked in certain aspects, and need to continue expanding their reach. Netflix has reached agreements with cinema chains in the United States and sporting events have become core part of its offer. He has already made it clear that the plan is to open up to 25 of these Netflix Houses around the world and to continue releasing plays like ‘Stranger Things: The First Shadow‘. We are going to continue hearing about Netflix for a long time. Header | Netflix In Xataka | The chaos of streaming is causing a phenomenon that we thought was in recession: downloads are increasing

After a love-hate relationship with cinemas that has lasted for years, Netflix has finally decided what it wants them for

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Netflix finally seems to have assumed what its relationship with cinemas is: using theaters as promotion and as a way to create community with specific and very striking releases, which includes the theatrical release of the sumptuous ‘Frankenstein’ from Guillermo del Toro to the latest and highly anticipated episodes of ‘Stranger Things’. But although now there is complete calm, this relationship has gone through notable ups and downs: from the initial devotion and wanting to become a major of Hollywood to confront the old guard head-on, reaching this current middle ground that benefits both cinemas and the platform. Many moves. For more than a decade, Netflix has radically transformed the audiovisual industryfirst revolutionizing the home consumption model and then challenging traditional film distribution and exhibition systems. Currently, Netflix is ​​a giant available in more than 190 countries, with its own production that competes directly with the majors from Hollywood. And until reaching that point, Netflix has gone through very diverse stages: it tried to position itself as a conventional super-producer, there were controversies, triumphs at the Oscars, a certain cold phase of disagreement and, finally, a more pragmatic adoption of the theatrical space. Devotion and confrontation. In its first years of original production, Netflix wanted to play an important role within the conventional film industry. One of its first early milestones was the 2015 release of the film ‘Beasts of No Nation‘, both in selected rooms and on the platform itself. streaming. A bold move, since it involved challenging the traditional model of release windows that until then gave up an exclusive period of time in theaters before reaching other formats: Traditionally, this window could last between 90 and 180 days. The conflict begins. The powerful North American cinema chains and the most prestigious festivals began to openly reject Netflix moviessince they considered that the absence of a long theatrical window affected the overall profitability of the releases, and would end up damaging the theatrical experience. This situation led to public tensions given that Netflix excluded from some major film festivals for several years. Netflix he defended himself saying that their model prioritized the viewer’s experience at home and that they understood the theaters as a complement and not the core of their business. At the same time, it was generating more and more original production, of increasingly higher quality and budget. And COVID arrived. Netflix’s position backed by traveling companions like HBO (paradoxically, property of a majorWarner, which was beginning to see a clearer benefit in the streaming that in the rooms) had as its fruit a crisis of the film distribution model. The situation became particularly acute during the COVID-19 pandemic, which accelerated the decline in viewers, completely settled the streaming experience and gave rise to decisions that were, in a certain sense, the final straw for classic distribution: majors traditional companies such as Disney and Warner releasing blockbusters of the caliber of ‘Mulan’, ‘Black Widow’ or ‘Kong vs. Godzilla’ at the same time on their newborn platforms. streaming and the cinemas. Have a mania Significantly, in May of this same yearTed Sarandos, executive director of the platform, criticized the theatrical experience, which he defined as “outdated” and “restricted.” He stated that the long-running theatrical window, traditionally defended by cinema chains, is not compatible with their business model. And although Netflix recognizes the cultural value of theatrical cinema, for many of its releases, “streaming first” is what drives success and the construction of fandoms. Already then he stated that each film has a “tailored” strategy regarding its relationship with theaters, and that is what we are seeing now. Of course, without passing up the opportunity to say that Netflix is ​​not destroying Hollywood, but “saving” it. Change of strategy. In recent years, Netflix has begun to show an evolution in its strategy regarding movie theaters, adopting a more pragmatic approach. One of the milestones that mark this change, and which was already mentioned in the aforementioned interview with Sarandos, is the decision to make outstanding theatrical premieres for productions with a high potential for cultural and popular impact. Significant example: the premiere of the final season of “Stranger Things” in select theaters, a move that combines the platform’s drawing power with the community and promotional effect of the theatrical experience. Netflix knows well that the theaters are remnants of the past, but they still have an indisputable communal power of attraction: there are films that appeal to specific audiences and very juicy areas of the fandom, as was the case with ‘The K-pop Warriors’. This film was a milestone: the first Netflix title to reach number one at the US box office, which makes clear the company’s ability to use theaters not only as a traditional distribution channel, but as a space to amplify platform phenomena. Hybrid model. Netflix’s current strategy is a hybrid model: it combines the strength of streaming with the cultural and promotional value of the cinema experience. Instead of seeing the rooms as a distribution channel, Netflix uses them as a speaker. Not as competition, but as strategic promotion allies. It is clear that Netflix has discovered what it can get out of traditional exhibition: Now it remains to be seen if the theaters understand what they can get out of a hypothetical (and much-needed) symbiotic relationship. In Xataka | 13 premiere movies and series to watch in November 2025 on Netflix, Prime Video, HBO Max and streaming

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

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