netflix

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

“Cancel Netflix for the health of their children”

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Since Elon Musk bought X, His influence of influence Several integers have grown globally. To put it in context, the data suggests that X has about 415 million users, of which 227 million follow Elon Musk. That is, when Musk publishes a message on his social network he does it for an audience that actively listens. The last thing that He has asked To his followers: to cancel his subscriptions to Netflix as a boycott for an animation series in which his protagonist is a trans teenager. His followers have not doubted it and have canceled their subscription immediately. Netflix sin. The trigger for this boycott call has been the broadcast of the animated series “Dead End: Paranormal Park“, Based on the books of the British Hamish Steele. The series includes a transgender teenage character as the protagonist and is classified as suitable for over 7 years. Musk and a part of the users criticized the content to promote, according to them, a transgender agenda directed to the youth audience. Your message in X He quickly went viral: “Cancela Netflix for the health of your children”, which motivated thousands of users to share captures demonstrating how they discharged their accounts. After calling Elon Musk’s boycott came a wave of Messages on the same line of influencers related to the postulates of Trump and Maga. The series and the debate for the LGTBI+ representation. “Dead End: Paranormal Park” is a British series that mixes comedy, terror and fantasy. Its protagonist, Barney, is a young trans that, along with other neurodiverse characters, lives adventures in a haunted park. This series, recognized with international awards as British Animation Award and the Glaad Media Awardhas been placed in the center of the controversy for its representation of LGBTI+ characters in an area for children under 7 years, which has generated reactions among the most conservative users. However, the real origin of the entire controversy was not the content of the series, but the author of the books on which it is based: Hamish Steele. The author criticized that the British prime minister published a message of condolences for the Death of Charlie Kirkthe Republican influencer that was recently killed during a public event. His message ignited the wrath of the most conservative sector that began canceling his subscription to Netflix as a protest measure. Touch the image to access the original message Elon Musk’s answer To one of those messages in which it was indicated that the reason for the cancellation was that the author celebrated the murder of Kirk unleashed the cancellation chain. The controversy LGTBI+ He joined later In a perfect storm encouraged by Musk. Fall in Netflix actions. The financial impact of Musk boycott call Not waiting. On October 1, Netflix shares already fell by 2%, and repeated that fall the next day, accumulating a 4.4% decrease in 48 hours. Despite these figures, Netflix has not issued any official statement on the situation, nor has it clarified the real effect on its subscriber base these days. The personal history behind the controversy. Musk’s position on this subject has A family background. Xavier, one of the trillions he had with his first wife Justine Wilson, began to identify himself as a trans woman, becoming called Vivian Jenna Wilson and legally requesting get disconnected of the surname Musk. “I no longer live with my biological father or want to be linked to him in any way,” said Vivian before the press. The relationship between the two has deteriorated considerably since then, to the point that Musk published: “My son, Xavier, died. He was killed by the ‘Wake’ mentality virus. His daughter did not hesitate to respond to her father with A challenging message and in one recent interview for Teen voguethe young woman said: “I only find out about him by networks or for what the media publish. Sometimes I see what he says and think: ‘What a shame of others, I would have to say something’ and I have already done it several times.” In Xataka | Trans people do not have a life expectancy of less than 35 years, no matter how much the media say Image | Unspash (Thibult Penin), Flickr (Gage Skidmore)

Tamara was the background of the junk television barrel of the two thousands. Netflix has managed to reinvent it completely

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The nostalgia It has absolutely unsuspected vericuetos. Who gets out of fashion Retro video gamesthe eighty cinema franchiseseven the looks that we thought we would not see anymore It is one thing. But recover an absolutely dependent television fauna from a very specific point of our pop culture (realities absolutely outdatedthe sagas of characters that seemed fiction but were very real, the excessive and openly feast aesthetics of the beginning of the century) is something very different. Superstar. The culmination of this return from that literally indescribable area of the two thousands has worked with the series’Superstar‘, a highly fictional chronicle of those years produced by the Javis, created by Nacho vigalo and issued by Netflix. Tamara and Margarita Sixdedos, Leonardo Dantés, Paco Porras, Tony Genil, Loly Álvarez and Arlequín make up an absolutely locked microcosm in itself and that is equally eccentric in the series. And a concert, tip. In a line curiously parallel to the argument of the series (which, we insist, is far from being a biopic to use), this new wave of interest in tamarism has the most unexpected effect of all: A YURENA MACROCONGERthe artist previously known as Tamara, on March 23, 2026 at the Vistalegre Palace in Madrid. The event will be titled ‘Yurena: the concert that was never’ and its promoter describes it as “A unique event that rewrites the story of an artist to which television turned into a phenomenon and time, in legend. “ Reinvent the past. The main characteristic of the series is that (unlike previous incursions of the Javis in certain areas of the past, such as’Poison‘) At no time is it intended to be a reliable portrait of what happened, but each episode focuses on one of the characters involved to tell that so television that is “its truth.” To the extreme: if one of them said he had Michael Jackson eating macaroni at his house, we see him; If another said that he was kidnapped by a sect that abused him and revealed plans for the underground control of Spanish reality, we see it. And what remains. Because the Spain of that time gives for much more: of the imitators of Chiquito de la Calzada (an indescribable phenomenon already in itself) to the guests of the program of Jesús Quintero, going through the fauna of the film of Jesús Cárdenas or the Guirigais that each night were mounted in the programs of Javier Sardá and Pepe Navarro. A true lack of control, noisy and subversive, which is portrayed and analyzed in ‘superstar’ with a very personal author, Vigalondo, where they are, on an absolutely novel plane, Tamara and David Lynch. Maybe the only honest way of seeing it. The return. Of course, ‘superstar’ has not entered the most watched international top of Netflix, because tamarism is an absolutely Spanish phenomenon, incomprehensible beyond our borders. But it has served to unleash a new wave of tamarist claim: the concert in Vistalegre will be its culmination, although as the artist says, She has never stopped acting. Because tamarism never left, it continued in our subconscious, waiting for the time to come back. Header | Netflix In Xataka | Netflix premiered the first scene generated with AI in an original production, and nobody realized: the moment has arrived

Spotify is no longer a music player. It is a “audio netflix” who wants to devour your whole day

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After 18 years palmando money, Spotify premiered its age this year with its first profitable exercise in its history. That milestone has been followed by good news as its latest quarterly resultsthat tell their own story. A story that goes far beyond its 696 million users – 276 million of them, Premium. It is that of a silent but beastial metamorphosis. Spotify has ceased to be a music player to become something different. It is a time to capture time. When Daniel EK says that “people arrive at Spotify and stay in Spotify” is subtly describing its strategy: Colonize more and more sound moments of our day to day. A few years ago, Spotify’s natural competitor was Apple Music. And YouTube Music, Deezer, Tidal. Today their rivals are rather Tiktok, YouTube, Netflix, Instagram, and even your own concentration. Compete for your sustained attention. It is not worth being the one who puts background music. The growth in active users – 11% – is, more than more people listening to music, more people delivering fragments of their day to the same platform: Music to go to work. A podcast while you work. Another music while playing sports. An AUDS AUDIOLIBRO. Videoclips with which to kill dead times. Spotify has been weaving A network that catches routines, not a long time. That is the strategy: assault every moment in which we consume audio. And towards that the company goes, towards being much more than a modern Gramola. It wants to be the entity to whom we delegate the decision to hear in each context of our day. The audiobooks looked like a sweetbeard, something tertiary, but The decision to compete with Audible It seems more and more important. The reason: Spotify needs content that works at dead moments that music cannot fill out at all. Long journeys by car. Hours of cleaning at home. Night walks. The audiobooks, such as podcasts, turn Spotify into a company for all occasions, into the audio netflix they promised to be. Spotify detected that there was a silent war for the moments of “partial attention”. While we drive, we cook, clean, we close. Moments when music works, but where an interesting conversation can hook you more. That is why hundreds of millions were spent in Joe Rogan and company. To occupy temporary territories that escaped their control. With the audiobooks gaining weight, Spotify has completed its transformation. It is no longer a music app. Not a music app that has podcasts. Is A total audio platform that coincidentally also reproduces songs, homogenizing everything in that damn word called “content.” They have resigned to be perfect in something to be indispensable in everything. And it is working: almost 700 million people have decided to be in a space that serves as a unique sound universe and does not dispatch towards several specialized applications. Outstanding image | @felipepelaquim In Xataka | The problem is no longer that Spotify has been filled with artists AI: is that AI is “reviving” dead musicians

Netflix has 15,000 titles but we end up seeing ‘The Office’ by Quinvez. Productivity apps make us the same

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We have 15,000 titles in Netflix and we end up seeing ‘The Office‘For the fifth time. We have a complete suite of productivity apps on the mobile and we end up writing the tasks in A whatsapp with ourselves. It is the same psychological mechanism working in two different contexts: when you have too many options, your brain is blocked and returns to the known. The world of productivity has fallen into the same trap as the platforms of streaming. They sell us infinite customization as an advantage when it is actually a ballast: Notion It allows you to create any imaginable system. Obsidian has more than 800 pLugins Todoist It has configurations for each micronecessity of your workflow. It sounds great until you realize that you have been configuring the perfect system and you have not completed a task. There is fascinating investigation into this. Barry Schwartz showed That more options not only make us happier, but they paralyze us. Each configuration decision consumes mental energy that you could be using to do real work. And here comes the paradox: We value less systems that come preconfiguredalthough they work better than those we have customized until death. The solution is contraintuitive: The most restrictive systems are usually more productive. Apple, for example, understood it a long time. It doesn’t let you change almost anything from the iPhone, but that’s why it works. Limitation is not a bugIt is one feature. You strength to act instead of optimizing forever. The secret is to choose intelligent restrictions. Instead of looking for the tool that can do everything, Look for what does the three things you really need well. Let’s look at a specific example: task management. Notion allows you to create relational databases with personalized properties, dynamic filters, multiple views and automation. You can categorize by project, priority, context, required energy, responsible person. You can create control panels that show productivity metrics and progress graphics. It is the dream of any obsessive control. But While you build that perfect system, your real tasks accumulate. You spend more time thinking about how to organize the work than working. And when you finally have your masterpiece configured, it turns out that it is so complex that using it requires more mental effort than doing the tasks by hand. Contrasts this with Things 3. You have three drawers: Inbox, today, and someday. Spot. You can’t create custom fields, you can’t do Dashboards Made, you cannot automate anything complex. It seems limited compared to Notion. But precisely because of that it works: you open the app, you see what to do today, you do it, you call it. Zero cognitive friction. The usual lesson: Productivity is not about having more options, but about eliminating irrelevant decisions. Your mental energy is finite. Every minute you spend configuring is a minute you don’t spend creating. The most elegant systems are not the ones that can do everything, but those that make obvious what to do next. In Xataka | In 2001 a productivity method was born that was going to survive everyone else: 24 years later, it is still immortal Outstanding image | Sanjeev Mohindra

Netflix premiered the first scene generated with AI in an original production, and nobody realized: the moment has arrived

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It seems that it was eternity when we were amazed with the images of Dall · E 2. ‘The girl from the pearl’ reimagined. An avocado in a spoon therapy. It was 2022, and the artificial intelligence Openai left us speechless with each new occurrence. In seconds, anyone could generate images that previously required technical knowledge and many hours of work. What seemed like a visual curiosity was only the beginning. Then the synthetic voices arrivedthe videos generated and, later, the tools designed directly for professional productions such as Sora either Gen-3 alpha. The scene of a building falling in Buenos Aires marks a milestone for AI His appearance raised new ways to create, but also old doubts about the future of creative work. And, as expected, they soon arrived at the great stages. This week its use has been confirmed In one of the most important series of the year in Netflix. Confirmation came directly from Ted Saraonds, Netflix executive co -director, During a talk with investors. “We are still convinced that artificial intelligence represents an incredible opportunity to help creators make better movies and series, not just cheaper,” he said. As he explained, they are already seeing concrete results in the phases of preview and shooting planning. But the most striking happened during the production of ‘The Eternaluta‘. In one of the key sequences, creators wanted to show A building collapsing In full Buenos Aires. To achieve this, the creative team worked together with the Eyeline Studios innovation group, using tools promoted by generative. The result was not only visually shocking: that sequence was completed ten times faster than with traditional effects and with a cost that, according to Saraonds, would have been unfeasible with conventional methods for a series of that budget. And it is not an isolated experiment: it is the first scene generated with AI that reaches the final footage of an original Netflix production. “The creators were delighted with the result. We were delighted with the result and, more importantly, The public was delighted with the result”Saraondos finished off. According to the Executive: the generative tools are not displacing the creators, but expanding the screening possibilities on the screen. Beyond the technological milestone, ‘the Eternaluta’ has also been a resounding success for Netflix. According to Forbesthe Argentine series reached the number one position of Netflix global for non -English speech series on April 30, date of its premiere, with 10.8 million views and 58.3 million hours reproduced in its first seven days. Based on the iconic graphic novel by Héctor G. Oesterheld and Francisco Solano López, the story takes place in a Buenos Aires swept through a toxic snowfall that ends the population. From there, a Fight against an alien invasion that puts collective resistance. Production opted for virtual production techniques to create hyperrealist and interactive funds that immerse the viewer in a post -epocalyptic city. The use of generative allowed to go one step further and achieve a result that, until now, was only available to projects with the highest budget. What is clear is that this does not stop. In just a few years we have gone from generating curious images with ia to see how those same technologies begin to be part of the final footage of first level productions. ‘The Eternaluta’ is just a first step, but a significant step. It remains to be seen what other series or films will follow this path, How will it affect industries such as the video game And, above all, what will be the position of the creators in the face of this paradigm shift. There are still many questions without answering: from the use of human works to train generative models to copyright, through the real impact on creative employment. Cases such as the National Electoral Institute of Mexico, accused of using the voice of José Lavat without authorizationoriginal narrator of ‘Dragon Ball Z’, or The protests of the audiovisual sector in HollywoodThey show that we are still trying to dimension the impact of this technology. Images | Netflix In Xataka | It is not you, YouTube is filling with more and more ads. Especially if you see it on a smart TV

This summer’s surprise success in Netflix combines superheroes and k-pop

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‘The K-Pop Warriors’ is the undisputed surprise success of the summer: an animated film inspired by the K-Pop music that has been submitted to the top of Netflix’s success lists. One more proof that sometimes it is not necessary to have great names by supporting a production: strangely that it seems, sometimes it is enough to exhibit enough quality and originality. What happens to ‘The K-Pop Warriors’: Also known as ‘KPOP DEMON HUNERS’, the movie’s premise is pure fantasy: a group of idols of K-Pop They lead a secret life as demon jackets, in an absurd and highly stylized mixture of ‘Buffy Hunting’ and ‘Hannah Montana’. In this adventure, facing a band of villains, a group of boys who are also music stars, their responsibilities as Salvadoras of the world and more or less run over their massive success are quoted. Sweeping ‘The K-Pop Warriors’ arrived on the platform on June 20 and quickly reached the post number 1 in Netflix worldwideleading the most watched lists in 26 countries and entering The Top 10 in 93 territories. In its first two weeks, he accumulated more than 33 million views, being placed as the most watched film of the platform in that period. In fact, in the second week, he doubled his initial figures, from 9.2 million views in the first three days to 24.2 million and more than 40 million hours reproduced. That is, a phenomenon of pure mouth mouth. And be careful, that there is also critical and public impact: In Rotten Tomatoesthe film has 95% criticism and 90% of the public, which makes it the best combination of scores for an animated production output of the platform. Impact on multiple aspects. It is not just that the series is reaching unusual success thanks to the quality of its history or its impressive animation, but has transcended its initial success in streaming to become a global phenomenon that also dominates the musical field. Your soundtrack has also achieved a Notable impact: two of their songs entered the 200 Billboard and in their second week the streams In the US, they exceeded 42 million, with a 44% increase in digital downloads, an unusual achievement for an animated film. Who is behind. This success must to the participation of a couple of producers from the K-Pop industry, Teddy Park and Lindgren. The first is one of the most influential producers of the genre, and has written successes for Blackpink2Ne1 and Bigbang. The second is an international producer and composer of international scope, and has worked with artists such as Dua Lipa and BTS. Park took care that the songs sounded to Genuino K-Pop, not a low quality glow for a movie. And Lindgren, on the other hand, is responsible for the cabins to possess enough pop hook to impact the lists of successes. To round the product, in the songs you can hear voices of idols Reales such as Jeongyeon, Jihyo and Chaeyoung from Twice. The fandom can be satisfied. And now what. The overwhelming success of ‘The K-Pop warriors’ can leave an important mark in the industry, or at least advance some future trends. For example, it eliminates from Disney’s hands the monopoly of animated musical productions, introducing other genres and themes that are proven that they are interested in the Fandom: the K-Pop sells, and is a practically virgin material in the world of success animation. We are facing unstoppable force within the tastes of thousands of spectators. Lie groups. And linked to the latter, we must not forget that Hentr/X and Saja Boys, the leading groups of ‘The K-Pop Warriors’ are entirely virtual. Its sales and their achievements (for example, have reached number one of platforms such as Spotify) rival those of authentic groups, which opens the doors to more experiments of this type. The creation of fictitious artists, whose life was modeled by marketing departments, was common note in the K-Pop, but with this confirmation of the success of the idols Virtualthe genre continues to widen borders towards unknown limits. Header | Netflix In Xataka | In South Korea there is a curious phenomenon that keeps economists and fans of the K-Pop in suspense: the return of BTS

I have been on the PS5 for a month. My new console is Netflix and I am clear that it is the future of video games

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I love video games, but this last month it has been difficult to find a hole to play. I know I’m not alone in thisbut luckily we have many portable platforms (Nintendo Switch 2 He is giving me very good times) with which to play a few minutes when you can, but this last month he has not given me life to play console games on TV. Beyond for the Analysis of ‘Death Stranding 2‘, clear. Now, I have played a lot, and curiously on the platform that I least expected: Netflix. And he has returned to remind me with force that the future does not go through having a console connected to TV: it goes through not having a console and continuing to play video games. And I don’t like the idea at all. 7 tricks to make Netflix the most Turning TV into a console. Netflix does not need a presentation, but from a few years to this part, in addition to having series and movies on its platform, it also has video games. Recently, its application on televisions and devices such as Chromecast HE updated with a new menu which allowed to see more clearly the tab dedicated to video games. Just because, Netflix has mobile video games For a long time, but on TV it is more recent. And it is not that you need much to play them: simply TV, choose the compatible game (it is in beta and something tells me that it will never get out of there) and a mobile. These games are executed in the cloud and, when we click on which we want, we simply scan the QR code that appears on the screen with our mobile and it becomes the game command. So simple. ‘Oxenfree’ is a spectacular adventure The experience. Go ahead that 80% of the few games that Netflix allows you to play on TV convince me rather little. They are not for me, but there are about three or four that I have been playing a lot and I think they are a good gate to the world of video games for people who have not played so far. Because starting to play is very simple and the games that Netflix is ​​testing are nothing demanding with the controls. ESCANES THE QR WITH YOUR MOBILE AND MADE There is a crosshead, a couple of action buttons and voila. It is focusing on more narrative, puzzles or management experiences, and not needing great reflexes are, as I say, a good entrance door. In addition, although image quality is not the best, they work really well in the cloud. The experience and number of servers that Netflix have and is a very satisfactory plug & play experience. The good thing is also that you have games on the mobile included with your subscription. These do have to install them and they are somewhat more complex about their controls (spend something like ‘GTA San Andreas‘ either ‘Katana Zero‘Without a command I see it impossible), but they are quality games and that, as I say, allow someone who pay 8 euros per month and do not have a console or PC can enjoy video games. The command could not be simpler. And that is good The catalog mess. The problem is that, although in recent weeks I had a great time with Netflix’s video games, you never know how long they will last on the platform. Or how much will the platform itself last. This week we learned that, after a very strong bet of Netflix for video games, they were going to start withdrawing some of the best they had. 20% of the catalog disappearsbeing among those who strive balls like ‘Hades‘,’ Katana Zero ‘, the three’Monument Valley‘,’Death’s Door‘or the sublime’Braid‘. It is something that adds to closure of your AAA study In October of last year, which leaves us with the feeling that this great bet that the company made, investing a lot of money on servers, technology, titles such as’ and buying licenses as the aforementioned ‘GTA’ Or studies like Night School, staggers. And it’s strange when His initial bet was extremely upset And little by little, They struggled so that they were taken into account in this video game. But yes, it is the future. I do not mean that the future is Netflix in particular, but to this type of experience. We will see what path Netflix follows after the very bad news of recent days, but as someone who opted for Stadiawho has played a lot to the cloud games of Game Pass and PS Now and enjoy your Steam library with Steam Link and GeForce NowI am clear that the future is not a pot that consumes light and occupies a space in the Tele furniture, but something like Steam Decka Consolidated PC or Nintendo Switch 2 and, to play on TV, the game in the cloud. And think that this will be the future does not mean that I like it, since that implies the definitive death of a physical format that is very touched and that it is, although it does not always happen, the only thing that assures us that the games are ours. Because with the new albums that are launchersthe Game Key Card De Switch 2 or digital games, unfortunately there are more and more examples than The games do not belong to us As it happened before. But that is a topic for another day and something very personal. What I am clear is that someone who did not enjoy video games, with proposals such as Netflix or Amazon Luna They can get into the car. And that is great. Images | Xataka In Xataka | I’ve been playing video games for years and now the first thing I do before buying them is simple: look what they are in the cloud

Now they have decided to kill her and bring her closer to Netflix

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The face washing that Mediaset has given to its streaming platform, until now known as mitele, and what is called Mediaset Infinityit has been spectacular. A considerable reformulation in the visual, technical streaming With their same weapons. The new Mediaset Infinity. Announced at the end of May, this change equals the Mediaset Spain website with that of the Italian matrix of the group. Among the web sections are both live and letter emissions, with exclusive content derived from linear programs and even in the style of what Atresmedia does, original productions for this digital environment. Access to all contents becomes completely free, something that was limited in Mitele. There will also be a premium part, heiress of Mitele Plus in which there will be no advertising interruptions and there will be the possibility of starting a direct from its beginning and downloading content. A family air. It is inevitable to think of a clear inspiration for this redesign: Netflix and the rest of the platforms of streaming that have gone in their shadow (at least the netflix prior to last and much discussed redesign, openly thought to imitate the style of social networks as Tiktok). In Mediaset Infinity we have categories that follow each other horizontally and extend vertically, with visual and very recognizable icons, and organization for seasons and chapters within each program. The influence is even evident in the highlights of the Homeand it is not a bad idea: any spectator has already become accustomed to the use of these menus and organization almost intuitively. Technical improvement. The guts of this new Mitele incarnation have also improved, with an optimized search system, a better organized user area and, above all, an important leap in terms of speed and accessibility. A year and a half of joint work between Mediaset Spain and Mediaset Italy that has set in a remarkable jump for the platform: now the content search is much faster and, above all, moving through the platform is as effective as in any other streaming platform, without the need for unnecessary waiting for seeking programs or hidden chapters. The reorganization of the page works perfectly. Blur and new account. Since its creation in 2011, Mitele has experienced abundant problems, especially technical type: access difficulties that demanded to resalrate the application, Poor performance even with good connections, limited compatibility with Many devices (especially with certain Smart TV models), reproduction errors and availability … a series of problems that were the reflection of an app that had been outdated and that had not been able to evolve at the same rate as the connections and user devices. All the same. It is not an exclusive problem, yes, by Mitele: traditional television have always had problems adapting to Smart TV and consumption on demand. The motives have been varied, from technical and hardware limitations (by compatibility of new televisions with apps) to changes in the business model (to traditional chains, accustomed to a linear model, they have a hard time facing a model that requires flexibility, investment in technology and new forms of monetization, apart from negotiating new emission rights and adapting content), passing through a fierce competition of the streaming platforms, which they They have an advantage because they are native. Inherit users. What Infinity is going to be found are Mitele users: 3.7 million unique users in January, A growth of 16% With respect to the previous year, in addition to almost 2 million viewers on average a day on the platform. Undoubtedly, this growth has played in favor of encouraging Mediaset to make the leap towards the transformation into the new platform, no matter how and a half of development a relevant investment may have needed. A push for Telecinco. Thanks to the huge impulse that the latest edition of ‘The Island of Temptations’ is giving to all platform programsto ‘late’ seems to work Better without his alma mater since, on the other hand, the 1 does not seem to settle completely or in its disastrous afternoons nor in the Competition with ‘El Hormiguero‘, Tele5 has found a break. Vespertine bets such as ‘Jorge’s newspaper’ are consolidating themselves as some of the most value for Telecinco, which he needed from the output of ‘Save Me’ from his grill programs that provided him with solidity. This new platform is another step in a proposal of greater modernity for the group, as well as more ease of access to its programs. Something that undoubtedly their spectators will appreciate, knowing how the contents of both spaces are contaminated. Header | Mediaset In Xataka | The last edition of ‘The island of temptations’ has not only been a viral phenomenon: it has saved the month of Telecinco

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