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Three Russians surrender on camera. A normal scene from wars, but science fiction in Ukraine because of the “soldier” who points guns at them

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From dug trenches rush to heaven buzzing without restthe war in Ukraine has become a testing ground where the classic rules of combat have long since lost the battle. Every month scenes appear that would have seemed impossible just a few years ago and that force us to rethink what it means today to fight, resist or survive in a front dominated by unexpected technologies. The last example shows a surrender. The first time before a machine. Three Russian soldiers emerge from a building, one of them bloody, raise their hands and obey orders while a camera records everything. The scene would be routine in any war conflict in history, but in Ukraine it marks a breaking point: The one who points the gun at them is not an infant, but an armed robot. It’s not the first time we see such a surrenderbut it is the first to be documented on video and in front of an unmanned land vehicle, a scenario that symbolizes the extent to which the line between science fiction and real combat has been definitively erased in this conflict. From marginal experiment to centerpiece. It we have counted before. Ukrainian ground robots, known as robotic ground complexes, began the war as imported rarities and today are an industrial and military mainstay of their own. 99% of UGVs in use They are already manufactured in Ukrainewith more than 200 different models produced by dozens of local companies in ultra-fast design cycles, fine-tuned directly with feedback from the front. Small, cheap and assembled from commercial components, these robots have moved from transportation and evacuation to carry heavy machine gunslead assaults, hold defensive positions for weeks, and now, accept prisoners without any human soldiers having to expose themselves. Machines that do not bleed. The tactical value of these systems goes beyond firepower. Accepting a surrender with a robot eliminates the risk of ambushes, false capitulations or instant decisions between life and death, a recurring problem on the Ukrainian front. At the same time, the psychological impact It’s huge: fighting an enemy who doesn’t feel paindoes not die and can be replaced quickly erodes morale and makes the option of surrender more rational. Hence the image of confused soldierss surrendering to a machine summarizes that moral and human imbalance. Some of the varieties of Ukrainian ground drones The sky as a weapon. This qualitative leap on the ground fits with an even more overwhelming reality in the air. According to Zelenskymore than 80% of effective strikes against Russian forces are already carried out with drones, the vast majority manufactured locally. In 2025, Ukraine claims to have attacked about 820,000 targets with these systems, recording each impact on video within a points system that rewards units for each confirmed casualty and accelerates the acquisition of new material. In other words, war has become a closed loop of sensors, cameras, algorithms and rewards. An unprecedented cost. Almost four years after the invasion, Russia’s human toll in Ukraine reaches unprecedented figures since World War II: around 1.2 million soldiers dead, wounded or missing, according to the latest report from the Center for Strategic and International Studies. This massive attrition contrasts with very limited territorial advances, barely 12% more territory controlled since 2022, with daily progress that in some sectors is measured in meters and is even lower than that recorded in battles of the First World War. The Ukrainian defense-in-depth strategy, combining trenches, mines, obstacles, artillery and drones, has tipped the balance of casualties by a proportion clearly unfavorable for Moscow and questions the idea of ​​an inevitable Russian victory. The Russian rearguard. The impact of the conflict goes far beyond the front and is degrading Russia’s economic and strategic capacity, the same as the SCIS report already described as a second or third order power. The combination of inflation, labor shortages, industrial weakness and technological stagnation has left growth stunted and a committed futurewhile human losses exceed the recruitment and replacement capacity. In fact, compared to past conflicts, the figures are devastating. The war future. In short, between swarms of FPV drones, armed ground robots and electronic warfare systems, the war in Ukraine has advanced decades of military development in just a few years, while much more expensive and slow Western programs they stalled or were canceled. Therefore, the filmed surrender facing a robot is not an isolated anecdote, but a sign that modern combat no longer revolves only around the human soldier, but rather cheap, disposable and omnipresent machines. In Ukraine, the war of the future is no longer being imagined: it is being recorded in the first person. Image | UKRAINE MOD In Xataka | “They are under our feet”: Ukraine has entered an inexplicable phase, that of its drones attacking Russians at absurd distances In Xataka | We had seen everything in Ukraine. Until Russia sent a soldier to the front that we had only seen in the movies

Russia has turned Ukraine into a scene from Minority Report. He has sent a “soldier” named Svod to anticipate the future

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At the doors of fourth year of warRussia still has not found a consistent formula to break the Ukrainian defenses, despite having more troops, a much more stable flow of material and a wide repertoire of advanced technologies that, on paper, should have tilted the battlefield. If the war in Eastern Europe was already a unprecedented laboratory of war technologies, Moscow has taken the most unprecedented step of all. The problem that Russia is trying to solve. They counted in Forbes that, among the many causes of this below-expectation performance, there is one especially painful: the inability of many Russian officers on the front line to take quick tactical decisions and sustainable over time, precisely those that decide the outcome of local clashes that, accumulated, determine an entire offensive. This deficit does not arise from nothing, but from the combination of a military culture rigidly hierarchicaldesigned to execute orders rather than improvise, and from a generation of extremely young commanders with limited experience, pushed to lead units in a type of combat that mercilessly punishes hesitation and rewards immediate adaptation. The “soldier” Svod. The announced answer is Svod, a digital tool AI decision support system conceived as a tactical situational awareness system for front-deployed officers. Its function, according to the description of the Russian Ministry of Defensewould be to gather and merge in the same information space multiple sources of intelligence, from satellite data and aerial images to reconnaissance reports and open source material, to convert that chaos of signals into a common usable image. From there, the system I would apply advanced processing and models assisted by artificial intelligence to analyze what comes in, project operational scenarios plausible futures and guide the command towards the most convenient course of action. The underlying intention is not hidden: to accelerate the decision cycle, reduce friction between “what is happening” and “what is ordered”, and guide managers towards rmost effective answers in an environment where every minute lost translates into casualties, burned material and wasted tactical opportunities. Software connected to what already exists. Svod does not present itself as a device magical that a soldier hangs on his chest, but rather like a software architecture that is integrates into networks and media now available. It works as a layer that merges data and displays it to commanders on computers or tablets, with secure communications and decision support tools. The important thing is the effect it produces: converting a crowded battlefield of signs into something that looks legible, and that the tactical command has concrete guidance when the environment changes faster than the upper echelons can keep up. Deployment and focus. Furthermore, the plan wants to be implemented at full speed: after various operational tests in December 2025, it is expected to begin deploying it in April 2026 and extend it widely by September. In fact, the first units to receive it would be involved in the Pokrovsk axiswhere Russia concentrates part of its offensive effort. That portrays it as an immediate solution to correct command and control failuresnot as a quiet modernization ten years from now, and explains why it is prioritized where wear is maximum and the margin of error is minimum. A perverse incentive. In an army like the Russian one that rewards obedience and punishes improvisation, a local commander may be forced to attack even if he knows it is a bad idea. With constant pressure, some they execute and accumulate casualtiesothers seek to survive within the system by simulating results, sending small groups to mark their presence and using drones to appear successful. In this context, Svod intends to push more coherent decisions with the real situation, giving a shared and more immediate vision to the front without touching the core of the model: continuing to command from above, but with a tool that reduces “surprises” and imbalances. Minority Report in military version. There is no doubt, the bet has something of a futuristic scene that we had already seen in the cinema: just like works as Minority Report that had played with the idea of ​​algorithms that anticipate the future, Russia seeks to anticipate what is going to happen before it happens, with that “soldier” called Svod that calculates, projects and recommends. The promise is very easy to understand: if the system sees better and faster, it will be able to anticipate where the weak point is, when to press and when to readjust the attack. It is a way of turning combat into a prediction problemwhere human intuition and improvisation are replaced by a living map that attempts to order chaos. What it can contribute. If it works well, Svod could improve identification of objectivescoordination and detection of gaps in the Ukrainian defense, as well as other similar tools have proven valuable in other armies. The problem, most likely, is that its effectiveness will clash with the reality of the front: electronic warfare, degraded communications, incomplete data, and models that fail when the enemy learn and change patterns. In this sense, Ukraine has adapted quicklyand that makes it much more difficult for a system to accurately predict what will happen next. Still, the movement is more than significant: war is becoming a sensor competitionnetworks and decisions, and Russia is trying to have AI reduce a problem that has cost it too dearly. Image | Ministry of Defense of Ukraine In Xataka | 1,418 days have passed since Russia invaded Ukraine: the war has already lasted longer than the Soviet fight against Hitler In Xataka | The latest camouflages of Russian troops confirm an open secret: the war in Ukraine is the most Looney Tunes in history

RAM has become so expensive that it already distorts the market. “Pre-assembled” computers have just appeared on the scene

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There are times when a seemingly secondary component reveals that the market no longer works as it used to. RAM is starting to fill that role. Its price and availability his no longer an assumed detail to become a factor that alters basic business decisions, from how the final price of a PC is set to what is included, or not, in a standard configuration. When that happens, we are not just talking about rising prices, but about a silent change in the rules of the game. The clearest sign of this shift has come from Paradox Customs, an integrator founded in 2019 in Deer Park (New York) that has opted for something unusual: allowing the customer to configure a computer without RAM memory. The company explains it in its account in Xdue to continued shortages and escalating prices, offers the option to select “no RAM” in the purchasing process. It also presents it, for those who already have modules or can obtain them on their own, a direct way to overcome a market that no longer guarantees stable supply at predictable prices. Click to see the original message in X When RAM rules. The increased cost of memory not only adds to the budget, it also decompensates the internal logic of a configuration. A PC that was previously adjusted by changing the CPU or graphics card may now be out of range solely because of the RAM, forcing you to cut back on other components or rethink the whole thing. In this scenario, memory stops being a silent accompaniment and begins to dictate decisions that affect the overall performance, the usage profile and the perception of value of the final equipment. Strategies to survive. Faced with the same problem, the market is reacting in very different ways. CyberPowerPC, for example, notified of price changes as of December 7, 2025, attributing them to “market conditions.” Framework, however, He assured that the price of his memory has not changedbut it withdrew the sale of stand-alone modules from its store to stop resellers and reserve inventory for those who buy the memory along with their laptops. There is no single solution, only adjustments to buy time in an unstable scenario. The pressure of AI. Behind this tension there is not a single factor, but a profound change in demand. Data centers dedicated to artificial intelligence require large volumes of memory, and that is reordering priorities in the industry. Another pressure is being reported in the sector, part of the production capacity of manufacturers such as Samsung or SK Hynix would be directed towards HBM, a higher margin memory designed for accelerators and servers, which reduces the margin for conventional consumer RAM. The effect is not immediate, but it is cumulative, and ends up being noticeable in the domestic market. This context does not affect all actors equally. Specialized integrators, like Paradox, buy components on the open market, so any swings in pricing or availability are often quickly translated into their offering. Large manufacturers, such as Dell or HP, operate with scale, much higher volumes and supply chains designed to operate at a global level, which tends to better cushion these types of fluctuations. This difference helps to understand why some react with visible changes in the configurator and others do so in a more gradual and less explicit way. Visible changes. The scene left by this change is clear, the pre-assembled computer seems to be entering a different stage, except in these months. Memory has gone from being an invisible component to a factor that rewrites catalogs and business decisions. For now, the public signals that some manufacturers are leaving point to an unstable scenario, with defensive measures and warnings of price changes. Images | Paradox Customs In Xataka |The RAM memory crisis seemed to have its months numbered. Micron has a completely different perspective

A movie scene traumatized an entire generation every time they bathed in the sea. And it was all due to a mistake

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The story from ‘Jaws’ begins long before its monster appears on screen: it is born in a chaotic shoot, with a mechanical creature that did not work, a young director on the verge of dismissal and a climate of tension that threatened to sink not only the film, but also Steven Spielberg’s career. Hence the most chilling scene has arisen from the most logical thing: a failure. The technical failure and taking a bath. The story told a long time ago Spielberg himself. The entire team assumed that the film was doomed. Brucethe name given to the enormous robotic shark, constantly broke down as soon as it touched salt water, the days went by without being able to film anything usable and leaks from Hollywood ensured that the production was a disaster. However, from those limitations (and especially that useless shark) was born one of the most influential decisions in the history of cinema: not to show the threat, but to hint at it. Technical necessity forced Spielberg to shoot the film as a suspense thriller, closer to a Hitchcock film than a giant creature spectacle, and he turned the series of mechanical problems into the greater narrative success of his career. The result was a film where terror springs from the invisible, from calm water, from ominous sound. of two notes that advance like an unstoppable threat: a tension that would forever change the public’s relationship with the sea (for the worse). The sequence. The iconic opening scene (a quiet beach, a party and a girl who decides to bathe under the moon) is the perfect example of the way in which Spielberg transformed technical deficiencies into a cinematic virtue. We do not see the shark at any time, but we feel its presence from the first vibration of the water. Chrissie, played by Susan Backlinie, goes into the sea while the camera accompanies her slowly, without warning, until something grabs her from below, shakes her from side to side and ends up dragging her into the depths. On the surface calm returns, but the audience can no longer recover it: they know that the unknown is there, lurking where it cannot be seen. The psychological impact was so immediate that many viewers, first in the United States and then in Europe, left the cinema. with the same phrase in my head: “I will never get into the water again in my life.” Spielberg built an invisible attack in which the viewer’s imagination becomes the real monster, and he did it because he simply had no other choice: Bruce I would never have been able to shoot that shot convincingly. The absence of the animal, paradoxically, created a scariest presence than any mechanical creature. The failures that forged the tension. During filming, the mechanical shark turned out to be practically unusable. Engines corroded with salt, joints failed, and underwater operators spent hours trying to refloat a robot that was sinking rather than attacking. Spielberg confessed that the bug “looked silly” and that he was afraid that the public would laugh. But when something doesn’t work, cinema can reinvent itself. Forced to film without showing the predator, the director and his team chose to work as if the camera was the shark itself: water level shots, disturbing points of view, tense silences and, above all, the terrifying rhythm composed by John Williams, initially received as a joke and finally became one of the most recognizable leitmotifs in the history of cinema. Simple ball. The failed machinery forced the narrative to concentrate on “less is more,” and that visual reduction transformed what was going to be a monster film into a piece pure suspenseone in which the threat lurks beneath the surface like a collective trauma ready to emerge. Spielberg himself admitted after that, if the shark had worked well, ‘Jaws’ would have been a much worse movie or, at the very least, much less scary. From accident to cultural revolution. Thus, what began as a filming in crisis ended up triggering a unprecedented phenomenon. ‘Jaws’ not only terrified million viewers (literally altering his relationship with the beach), but also redefined the film industry. The film also inaugurated the concept “premiere-event”: massive campaigns, releases in hundreds of theaters and a summer strategy that demolished the old belief that no one went to the movies when the weather was good. The audience came again and again to scream, to feel the shock, to immerse themselves again in that first scene that turned a night bath into an act of pure recklessness. Spielberg’s film opened the door to a new economic model, inspired aggressive marketing strategies, generated an avalanche of imitators and consolidated the blockbuster as the central engine of Hollywood. By the way, I remembered in a wonderful Guardian report for the anniversary of the film, its cultural impact gave rise to infinite interpretations: readings on masculinity, power, institutional crisis, post-Watergate paranoia and even debates about its moral content. However, when Spielberg was asked what ‘Jaws’ really meant, the answer was so simple. like shiny: “It’s a movie about a shark.” And what makes it something bigger is that, because of a technical failurethat shark almost never shows up. Image | Universal Pictures In Xataka | In the 80s they were already cloning faces without the need for AI: ‘Back to the Future’ replaced an actor with a mask and we didn’t realize it In Xataka | Stephen King threw away the first pages of the book. His wife rescued them and turned a scene into horror film history

The bloodiest scene in the history of cinema left its protagonist in shock. 50 years later we know it was real

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Stephen King told that, for him, his Carrie It was like a pig taken to the slaughterhouse, and the blood of the animal reinforced the metaphor anticipating the massacre that would follow. Hence when the novel became a film, the most recognizable scene was the most visceral, organic and unpleasant of all. A gore moment that became celluloid history. The blood that changed terror. The Legend of Carrie (the movie) is born at the moment when a thick mixture of corn syrup and red food coloring falls on actress Sissy Spacek, a moment that has transcended horror cinema itself to become a cultural icon. The construction of the scene (the coronation interrupted by the explosion of humiliation and fury) concentrates the essence of a film that turned the artificial into something emotionally real. He Karo syrupheir to decades of cinematic experimentation with fake blood, here acquired an unexpected meaning by becoming the visual and psychological trigger for Carrie White’s transformation. Anniversary. Now that 50 years have passed since the original film, Spacek has remembered that that substance “warm as a blanket” in the first seconds soon became an exhausting, sticky and repetitive experience, forcing her even to sleep with the bloody suit so as not to have to reproduce the makeup application. But precisely that physical surrender, with its almost immobile and tragic presence under the weight of the thick liquid, is what granted to the plane that kind of mythical quality: the border between artifice and emotion is erased, leaving only the fixed gaze of a broken teenager who feels, for the first time, that the whole world is laughing at her. The infernal filming of a scene. The Independent said It’s been a few years since the prom sequence required almost surgical precision. Although the rest of the scene required more than thirty takes, the exact moment of the blood spill could only be filmed once or twice due to the impossibility of cleaning and recomposing the set. Spacek even accepted that it was her own husband who operated the cube mechanism to ensure that the fall was perfect, knowing that her interpretation would depend on how she received that hit of red viscosity. The fake blood was a physical enemy but also a dramatic element on which the story completely depended: its texture, shine, the way it adhered to the actress’s body and soaked her dress, everything contributed to giving the impression that something irreversible had happened. In fact, many of the scenes we saw ended up being very real: a stage that ended up accidentally burning, a team evacuated while the director I asked to keep rolling and injuries such as the perforation of an actress’ eardrum during the attack of the launched hose telekinetically by Carrie. What should have been millimeter choreography became an almost ritual experience, in which fire, destruction and general chaos seemed to respond to the internal logic of the film itself. The unexpected myth. Despite initial doubts, the rejection of critics who considered it a sensationalist spectacle and the fact that even the name of Stephen King appeared poorly written In the first previews, Carrie ended up transforming into a phenomenon. Its mix of operatic stylization, black humor, adolescent cruelty and symbolic violence connected with a much wider audience than expected, inaugurating a type of youth horror cinema that is still alive several generations later. For King, a small-town teacher who had thrown away the first pages to the garbage can before being rescued by his wife, the film marked the beginning of a hyperbolic race. For director Brian De Palma, it was the definitive consolidation of his baroque style, obsessed with the gaze, visual manipulation and expressive excess. A unique role. Of course, for Sissy Spacek, work meant an Oscar nomination and lasting recognition for a performance that combined absolute vulnerability and unleashed rage. On a personal note, I would say that none of the later remakesreinterpretations and adaptations managed to capture that mixture of innocence, evil and contained tragedy that the original became its hallmark. The validity of a story. The truth is that with the passing of the decades, Carrie has not lost strength. Quite the contrary, its contemporary reading resonates in a world where school violence, public humiliation and the feeling of youth isolation are part of the collective imagination. the movie speaks of the ritualized cruelty of adolescence, of vulnerability to changes in the body and of a universal feeling of maladjustment that Spacek described a few days ago on CNN like that “wounded teenager that we all have inside.” The combination of emotional realism and the tone of a dark story, almost biblical in some passages, turns the story into more than just an exercise in terror. The presence of a fanatic mother, the brutality of her classmates, and Carrie’s own inability to understand what is happening to her allow the story to oscillate between melodrama, religious parable, and Greek tragedy. The visual references, the use of color and the stylization of the final climax consolidate an imaginary that continues to define how psychological horror is filmed. in adolescence. The weight of artifice. Five decades later, Spacek’s memory of filming it’s contradictory: the physical hardness of the process, the exhaustion of wearing hardened layers of corn syrup, the extreme discomfort of the long days and, at the same time, the privilege of having worked on a project where each member of the team was dedicated to something that they did not know would transcend. That mix of technical suffering and unfiltered creativity explains why the blood scene has become an immutable symbol of horror cinema. What began as a practical necessity (creating cheap, realistic, and manageable gore) ended up leaving an indelible mark on how emotional violence is portrayed on screen. Perhaps for this reason, Carrie remains a most accurate study in fragility, repressed rage and the devastating power of humiliation, but also as a demonstration that even a sticky, artificial substance can, in … Read more

A new futuristic Chinese drone has just appeared on the scene. Beijing has shown it in a video without saying a single word

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China has decided to show its new stealth drone in the most direct way possible: iincluding it in an official video and letting the image speak for itself. The device appears rolling from a hangar and forming with two J-20, a gesture that does not require subtitles to capture attention. It is an austere presentation, almost silent, but full of intention. The movement that changes reading. The official video published by the chinese air force for its 76th anniversary, it combines historical images with recent scenes, following a format that the institution has used for years. It is a simple production piece, focused on showing some of the advances that they consider relevant at this stage. Within this general route, the final section incorporates material that until now had not been seen on official channels, among them the inclusion of the GJ-11. It is a drone that belongs to the category of flying wing stealth platforms, a design that China has been researching for years and that fits with long-distance attack missions and surveillance tasks. What is known comes from sightings at test bases and analysis of their configuration, since Beijing has not published technical specifications. Some analysts interpret that its size and architecture allow prolonged flights, but that information is not part of official statements. Is it already operational? The official video does not confirm that the GJ-11 is in service, but it does fit with the indications that point to a program in an advanced phase. In recent months there have appeared at least three units in Shigatse, an active site where China tests systems in real scenarios. The inclusion of the drone in institutional material adds another element to the chronology, although by itself it is not enough to affirm that its operational deployment is a reality. The key doubts. Despite the relevance of the video, the Chinese Air Force has not offered details about the capabilities, range, sensors or weapons of the GJ-11. There is also no data on its production rate or on possible contracts associated with the program. The footage confirms its form and activity, but does not clear up technical unknowns that allow us to understand its exact role within the operational structure. The absence of this information keeps the program partially in the shadows. The appearance of the GJ-11 in an official video does not dispel all doubts, but it does consolidate an idea: China wants the drone to be part of its public story without the need to communicate technical details. Between previous indications and recent material, the image that remains is that of an advanced program that advances at its own pace. Images | People’s Liberation Army Air Force (Weibo) In Xataka | They have just leaked Russia’s best kept secret: their “invisible” nuclear bomber has exploded into the air

A surrounded soldier, a drone and a bicycle have turned a ransom in the most surprising scene of the war in Ukraine

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In Ukraine they had given themselves Moments that possibly They will be remembered at the end of the contest for the advance of the Wars of the future. One day the machines captured and they made prisoners Without human help, another, drones took a completely autonomous attack taking off from mobile houses. However, few scenarios can give both themselves and the one that occurred this week with a Ukrainian soldier caught in battle. An impossible rescue. Yes, the dramatic rescue of the Ukrainian soldier “Tankist”, surrounded by Russian and isolated troops For five days Behind the enemy lines, it offers a clear advance of how rescue operations are mutating before drone omnipresence and the impossibility of applying classical methods. The operation, conducted by the Rubizh Battalion of the National Guard, consisted of sending a 40 kilos electric bicycle Through a drone large to allow its flight. The mission. Apparently, the first two attempts They failed: one because the drone was shot down and another because the bicycle resulted Too heavy For transport. Finally, in a third effort, the vehicle reached its hands and Tankist undertook the escape, although a few meters after it detonated a land mine that fortunately alone It caused injuries minors Even so, he managed to continue until he reached a safe area thanks to a new bicycle launched by another drone and was finally rescued by his teammates. The episode, registered in a video Of sixteen minutes, it reflects both despair and inventiveness on a front where each meter is exposed to air and air ambush. The emergence of mobility. The case is also not isolated: the use of drones For evacuations doctors or fighter extractions He has shot In the last eighteen months, driven by the proliferation of short -range meloding ammunition that make human rescue teams. Both Ukrainians and Russians increasingly resort to Non -manned land vehicles To move injured, transport supplies or open escape routes under constant fire. The lethal risk combination, airspace saturation and mobility limitations has generated an unprecedented dependence on these technologies, in many cases improvised but effective. The example. This trend has extended even to civil areas. For example, he counted recently The New York Times The recent case of a farmer in China who was saved from floods thanks to An agricultural droneconfirming that rescue robotization is already a reality beyond war. The time factor. In this context, the speed is decisive. Health professionals stand out The “Golden Time”those first sixty minutes after a serious injury in which the life or death of the fighter is decided. Each delay implies an irreversible risk, and in scenarios where enemy fire prevents the intervention of traditional equipment, drones offer only viable option. The ability to deliver a light mobility means, such as Electric bicycles of the rescue, demonstrates how technology is redefining the Auto-Rescate conceptallowing the fighter to move to areas where extraction is less risky or possible. The soldier’s scene undertaking the escape by bicycle under the surveillance of his classmates through recognition drones seems taken from a science fiction movie, but is already part of the day -to -day life of the forces in Ukraine. Strategic implications. In fact, even the pentagon has Taken note of these transformations. In future scenarios, such as a hypothetical conflict in the Pacific, classical air rescue operations with helicopters could become unfeasible Due to the enormous distances and the dense anti -aircraft networks of the adversaries. Not even a poaching hunting could survive in certain environments, much less a slow helicopter loaded with rescuers. Hence they are studied New formulas Self-rescate based on air and terrestrial drones, light electric vehicles or even non-manned aircraft specifically designed to extract injured without risking more soldiers. In short, what happened With Tankist It is, in reality, a rudimentary version of these strategies: a tangible look at a future where the survival of a combatant will depend on both its ability to resist and the availability of autonomous technologies that connect it with salvation. Image | Rubizh 4th Brigade NGU In Xataka | Ukraine has turned drones into armed soldiers against Russia. It is no longer necessary to “sacrifice them” because they carry launched In Xataka | Ukraine has become a combat drones school. Even the Mexico Cartel has infiltrated classes

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

The revenge film that revolutionized the international cinema scene returns to theaters for its anniversary

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Of course, Park Chan-wook’s masterpieceOld Boy‘ was not the first Korean film to attract the attention of viewers outside Asia. That same year we had had the fabulous rural thriller ‘Memories of Murder’, by the country’s other star director, Bong Joon Ho. And Park Chan-wook himself had shown the first film of his revenge trilogy, ‘Sympathy for Mr. Vengeance’, at international festivals a year earlier. But ‘Old Boy’ connected in a special way with Western viewers by raising a feeling that has been captured in millions of films of all origins, revengebut with the doses of extravagance and visual daring that we have always expected in Korean cinema since then. ‘Old Boy’ became almost a canonical film of the country, at least for foreign viewers and festivals, since there the commercial cinema that the majority of the population consumes, just like in Europe or the United States, is nothing like it. to this experiment artie but forceful. The convoluted plot of ‘Old Boy’ begins when a Korean businessman is kidnapped and confined for years in a cell where there is only a television. He doesn’t know why he is there and little by little we will witness his slow descent into madness. When he comes out, he will begin a meticulous process of revenge for those who have destroyed his life, violent and with a good amount of extreme revelations. We all remember from ‘Old Boy’ its magnificent scene shot in sequence, of a hallway full of enemies that the protagonist dispatches quickly and with the help of a hammer. It has been imitated in series seemingly as far removed from this film as ‘Daredevil’, demonstrating the extent to which the reach and influence of ‘Old Boy’ make it a unique icon of Korean cinema. Now, on the occasion of its twentieth anniversary, we can once again enjoy this film on the big screen, as it is re-released in theaters. In Xataka | Spectators and critics say it is the best science fiction film of recent times, but it was barely seen in theaters

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