24 years ago Oliver Kahn sued EA and won. Then a new goalkeeper appeared in football games: Jens Mustermann

There are two things that I have to eternally thank my love for football simulators: locating places on the map and being familiar with a good part of the new talents that emerge in the quarries. I got off this annual roulette a long time ago, when the textures of the grass or the expressions of the players were not so important, but their faces were already well understood and you could recognize them thanks to the transfer of image rights, a tricky and lucrative topic even at that time. And for example, a button: Oliver Kahn’s. The name of the legendary goalkeeper of Bayern Munich and the German national team in the 90s and early 2000s disappeared from soccer games to return almost a quarter of a century later, it became an icon to close one of the longest and most curious legal disputes. Oliver Kahn’s lawsuit. Coincidentally, while searching for images of the special FIFA game for the 2002 World Cup, I found in the Xataka newspaper archive it is which illustrates the cover of this article and which is great for us. Because it was just then that the German goalkeeper filed a lawsuit against EA for image appropriation, as stated in the Ace article of the time: He believed that they were commercializing his identity without having given his permission or receiving compensation for it. The video game company faced a fine of up to 250,000 euros or up to six months in prison. Why is it important. This trial changed the rules of the game because it showed that video game companies cannot use the image of a famous athlete without their direct permission. In fact, it marked a before and after: from then on companies had to be much more careful with contracts, thus preventing big brands from taking advantage of the fame of footballers for their faces. After all, Kahn was a pioneerbut it could have been the tip of the iceberg of a barrage of similar lawsuits, such as explains the law firm Pinsent Masons. Context. It was the 2000s when football games began to look very real and in that image quality significantly improved compared to that FIFA 94 original Having the real names and faces of the stars was a powerful and attractive selling point. EA had signed agreements with FIFPro to be able to use player identities en masse, so in the hit FIFA series were represented virtually 800 players from 40 countries. The problem? That the union did not have the rights of everyone. It was one of the first train wrecks between the ambitions of a huge American technology company versus European privacy laws. Kahn 1 – EA 0, So titled Der Spiegel the goalkeeper’s victory in the German courts in 2003, ruling that the agreement that EA had with the FIFPro union did not cover the use of Kahn’s image, since the goalkeeper was not part of that organization. But it was more a moral victory than a practical one: Kahn managed to stop the distribution of the 2002 FIFA World Cup, but by the time he won, EA had already launched FIFA 2003. In fact, the goalkeeper tried to make ads featuring a blonde goalkeeper disappear, but the judge dismissed the petition: “Not all blonde goalkeepers are Oliver Kahn.” EA removed Kahn from the national team but kept him as Bayern’s goalkeeper under a separate agreement with the German league. The most striking thing is what happened next: to avoid any problems, the character based on Kahn was simply called “Jens Mustermann”, the equivalent of a completely generic and anonymous name like John Doe. Paradoxically, that name bears quite a similarity to that of Jens Lehmannthe goalkeeper who sent Kahn to the Mannschaft bench in the 2006 World Cup. Yes, but. Kahn won, but did not convince: The director of EA Germany stated that FIFA 2003 would still be on the market and that the new contracts were “even more solid” than before. EA did not change its business model: it continued to use block licenses and continued to operate normally. Kahn was absent from EA video games for years and It was not for legal reasons, but because he did not want to negotiate with them again. It has been now, with nostalgia and the evolution of modern game modes based on micropayments, when it has returned in the form of ICON card in EA Sports FC 26 actively participating in promotions and profiting from it. In Xataka | The most important thing about the ‘FIFA’ games was that they were called ‘FIFA’: EA is proving the hard way the weight of a franchise In Xataka | It’s World Cup time and millions of fans will pay for it with sleep: the graph that shows which countries suffer the most from FIFA’s schedules

Spain has not won any Oscar but it has won a beef between Oliver Laxe and Sorogoyen

Spain arrived at the 2026 Oscars with two nominations for ‘Sirāt’, Óliver Laxe’s film about a father looking for his daughter at a rave in the Moroccan desert: Best International Film and Best Sound (which it did not win, by the way, in either case). It was, on paper, a milestone with all that milestones entail in terms of headlines and coverage. But the story that ended up circulating on social networks and in newsrooms around the world was none of those. It was that of an early morning fight at a karaoke bar. The anger. The New York Times published days before the ceremony an extensive report that used that incident as a common thread to explain the state of Spanish cinema. One night in September, Laxe confronted Rodrigo Sorogoyen (previously nominated for an Oscar) in a karaoke bar in northern Spain because he had learned that the latter had criticized ‘Sirāt’ at a private dinner. Sorogoyen admitted it bluntly: the film did not convince him, Laxe did not pay enough attention to his characters and he had made a wrong technical decision in a crucial scene. Laxe responded by calling these criticisms “the stupidest thing I have ever heard in my life” and jokingly said that his interlocutor was not a good director, or as has been said in other apocryphal versions of the anecdote, that he was “a great director.” Sorogoyen’s reply, brimming with venom: “Thank God I am sure of myself. Because if not, I would kill myself.” Gossip with subtitles. What’s notable is not the exchange itself, which both directors later downplayed as an informal disagreement. Sorogoyen laughed off rumors that they had come to blows, and Laxe said the two had joked about staging a fight. The artistic difference was “healthy,” said Laxe, because “the ecosystem of Spanish cinema is diverse,” he said in the ‘New York Times’, which curiously considered it the best possible hook to talk about the film industry. The two Spains. The report used the karaoke anecdote as a symptom of a theoretical division in Spanish cinema: Laxe defends a transcendental and sensorial cinema, and Sorogoyen, a more realistic drama. Their artistic differences, according to the directors and experts consulted for the article, are the sign of a sophisticated and mature Spanish cinema. How we got here. The article makes an interesting review of the trajectory of Spanish cinema in recent decades. For many years we have lived the legacy of the dictatorship, first as a visceral rupture, then as a processing of historical memory. When a new generation of filmmakers emerged twenty years ago with less debt to that part of our history, there was no industry to support them. In recent years, several currents have converged that have made things change: subsidies that have incorporated female or minority perspectives into the sector, European co-productions and streaming platforms that have financed more and more risky projects (like Movistar+ has done with Sorogoyen’s)… Names like those of Laxe or Sorogoyen themselves, Carla Simón (Golden Bear in Berlin in 2022) or Alauda Ruiz de Azúa (Golden Shell in San Sebastián in 2025) are some of its many representatives. In any case, the funny thing about the anecdote is not only that ‘The New York Times’ interprets it as a thermometer of the good industrial health of Spanish cinema, but that from Spain we have stayed with that part of the article. Because yes, Spanish cinema is very Spanish and a lot of Spanish, but not as much as a fight at dawn in a karaoke bar on the outskirts. In Xataka | The two faces of cinema: the director of ‘Sirat’ criticizes Netflix, but 40% of European directors do not make it to their second film

Michael Oliver threatened in England

Professional Game Match Officials, an agency responsible for the arbitration of matches in English professional football, shared a statement in which they share their position regarding the Police investigation started after the threat and abuse messages that Michael Oliver received after being the central arbiter of the Arsenal vs Wolves. “We are horrified by the threats and abuse aimed at Michael Oliver after the Wolverhampton match against Arsenal. No official should be subject to any form of abuse and much less to the abhorrent attacks aimed at Michael and his family during the last 24 hours, ”they said in a statement. And they highlighted: “The police are aware, and several investigations have been initiated. We are supporting Michael and all those affected, and we are determined to address this unacceptable behavior. Unfortunately, this is not the first time that a party officer is forced to deal with threats in recent times. We will continue to support all the investigations. ” PGMOL ISSUE A STATEMENT SAYING THE ARE SUPPORTING POLICE INVESTIGATIONS FOLLOWING ABUSE TOWARDS MICHAEL OLIVER AFTER HE SENT OFF ARSENAL’S MYLES LEWIS-SKELLY. pic.twitter.com/r0smcdeffi – Ben Jacobs (@jacobsben) January 26, 2025 How did the facts happen? Although each team saw an expelled, the most controversial decision was that the central referee showed the red cardboard to Myles Lewis-Skell after a foul outside the criminal area, which at the consideration of Mikel Arteta was a wrong decision: “It’s so obvious that you don’t need my words” were Arteta’s statements about whether arsenal should appeal the decision. This same whistle had already starred in a controversy in the 2018 Champions League season, after expelling Gianluigi Buffon in the quarterfinals of the competition in the duel against Real Madrid. Michael Oliver Judge of FC Barcelona and Atalanta Michael Oliver will be in charge of arbitrating the match between FC Barcelona and the Atalanta corresponding to the last day of the Champions League phase. A duel in which Hansi Flick does not play anything, but in which they will seek to continue with their ascending line. The English collegiate, who will have the help of Jarred Gillet in the VAR, is one of the most prestigious referees of European football in recent years. He has a great experience in maximum level parties and will be the fourth time he imparts justice to the Barca team. Until now, the British balance with Barça is a victory, a draw and a defeat. The triumph came in the 2020-2021 season in a duel against the Dinamo of kyiv at the Camp Nou that ended 1-0. The draw, zero, arrived in front of the Slavia of Prague in 19-20 and the defeat arrived in front of Bayern Munich 0-3 in the group stage of the course 21-22. Continue reading: Ricardo Salinas Pliego, owner of Mazatlan, presumed to have more money than Cristiano RonaldoPachuca announces search for fans who were attacked in full TV interviewThey arrested the player Radja Nainggolan of course drug trafficking (Tagstotranslate) Premier League

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