series

Atresmedia has been exploiting the series for years without being accountable

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The ‘There is no one who lives here‘ and the series that continued his legacy, ‘The one that is coming‘, is something that will be studied in the history books of Spanish television. And not only because of its virtues as a comedy of manners or out-of-the-box satire, nor only because of its audience, but because of the queue that its broadcasts continue to bring decades after their premiere. In the case of ‘No one lives here’, twenty years later. ‘No one lives here’ returns, but to the courts. Alberto and Laura Caballero, together with the screenwriter Iñaki Ariztimuño, original creators of the masthead, have managed to get the Madrid justice system to force Atresmedia to reveal the real emission numbers of a series that continues to generate income on multiple digital platforms. The Commercial Court No. 18 has given the green light to the preliminary proceedings that require a complete breakdown: how much the fiction has made since 2003, to which third parties rights have been transferred and what remuneration the group has received for each exploitation window. The chain replica. Atresmedia has replied firmly: ‘No one lives here’ is a collective work whose rights belong entirely to the production company, not to the individual scriptwriters, not even to the creators of the series. For this reason, he requested to raise the bond (precautionary measure that ensures that the obligations of all parties will be met during a process) to more than 290,000 euros to stop what he considers a “disproportionate” request. However, the judge has considered that there is legitimate interest on the part of the plaintiffs in knowing these data. The crux of the matter: analog contracts. The agreements that the scriptwriters signed with the production company Miramón Mendi, which disappeared in 2009, contemplated broadcasting on general channels, but the universe of on-demand distribution did not exist. Today, ‘There is no one alive here’ generates audiences on Netflix, Amazon Prime Video, Movistar Plus+ and Atresplayer itself, among other digital windows of whose profitability the original creators have not been informed in detail. With the law in hand. The Caballeros and Ariztimuño put on the table the article 75 of Royal Decree-Law 24/2021rule that transposed European Directive 2019/790 to Spain on copyright in the digital market. This text, which came into force in November 2021establishes an annual transparency obligation: those who exploit audiovisual works must inform the authors about all modes of use and the income derived. Atresmedia must report emissions and income, although as the defendants claim, they may only have to do so from the effective date of the decree, not retroactively to 2003, as the plaintiffs intended. The European standard pursued an explicit objective: to rebalance the balance between the astronomical benefits of platforms and production companies in the face of the growing precariousness of those who write, direct or perform. Other cases. The Battle of the Knights It is not an isolated episode. For example, ‘Física o Química’, the teenage phenomenon on Antena 3, faced its scriptwriters in disputes over the distribution of profits when the series multiplied its value in that digital market from which the Caballeros request data. Before, ‘Blue Summer’ was involved in lawsuits related to the massive retransmission of a work that TVE exploited for decades without the rights of its creators being clear. In the cinema, Álex de la Iglesia and the scriptwriters of ‘The Day of the Beast’ battled for financial compensation after the commercial success of the film, establishing jurisprudence on authorship and income distribution. ‘La casa de papel’ is not Spanish. The sector has been warning about this structural imbalance for years. At the meeting Screenwriters in Series 2022organized by the ALMA union, several creators denounced that the production companies had become “service providers” for the platforms, losing property control of the works. Pablo Barrera pointed out a revealing fact: ‘La casa de papel’, the greatest Spanish cultural ambassador of the decade, legally belongs to the United States, not to Spain: “That heritage that is produced does not belong to us.” The past screenwriters’ strikes in Hollywood in 2023 They claimed, among other things, this type of residual income. New paragraph. This process marks an important starting point for changing the way screenwriters are financially compensated. On the table, the confrontation of two legitimate principles: legal contracts already signed against an economic reality that has been radically transformed. Nobody could foresee that a comedy from 2003 would continue to make money in 2025 through technologies that did not exist at that time. Currently, all production incorporates specific clauses in contracts regarding “known and unknown media”, but audiovisual production in 2003 was very different. In Xataka | Beyond ‘La casa de papel’: how Spain has managed to ensure that one of every four series played is its own

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

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Good! Christmas right there and unless you work as Santa’s elf, everything indicates that you will be able to dig out the blanket from the attic where you have it and organize some good sessions with the stove, slippers and streaming. As these parties usually come loaded on the platforms, here are some ideas so that you don’t miss out on any news. Percy Jackson and the Olympians Among the many franchises that Disney found with the purchase of Fox was Percy Jackson, which had already given rise to two films at the beginning of the last decade that sought, like so many of the time, to find a new Harry Potter. Although they did reasonably well at the box office, their departure from Rick Riordan’s original novels earned them quite a bit of antipathy, which seemed to be moderated with a more faithful Disney+ series. Now comes the second season, where a teenager with a destiny bigger than he imagines travels across the United States fighting monsters and gods to return his lightning bolt to Zeus. On Disney+ from December 10 Mad Men – Complete Series There are series that never go out of style, and ‘Mad Men’ is, indisputably, one of them. After a time away from our screens (unless you subscribed to Lionsgate+), now you have the opportunity to binge the almost one hundred episodes of this satirical epic that perfectly portrays New York in the sixties. Donald Draper, executive of a major advertising firm, is the protagonist of this series that helps us understand each and every one of the vices of the society we live in now, sixty-odd years later. On Disney+ from December 14 The last outburst Is one of the best films in the history of Spanish cinema. Many say that it is the best: a mix of experimental cinema, vampire film and desperate and addictive love letter to cinema. Converted into a cult film, ‘Arrebato’ is the core of this unclassifiable (like its object of study) mix of documentary and fiction that investigates the strange black hole that the film represents for all those who see it and worked on it. ‘The Last Rapture’ follows the clues that would explain the disappearance of Iván Zulueta and his film, accompanied by Jaime Chávarri and the original actors of the classic, Eusebio Poncela, Cecilia Roth and Marta Fernández-Muro. On Movistar Plus+ from December 3 relay Among Movistar’s more or less unreleased releases, this thriller that seems to seek inspiration from the conspiracy thrillers of the seventies especially draws our attention. But updated, of course: now the target is anonymity in the internet age. Directed by the always reliable David Mackenzie, whom we remember from ‘Comanchería’, it stars Lily James, Riz Ahmed and Sam Worthington, and we will follow a scientist who has been fired after warning about the side effects of the project she was working on. But she has evidence that the company is hiding information and believes she is being persecuted. On Movistar Plus+ from December 26 good boy A simple and direct horror gem, practically silent, that in just 72 minutes tells a story told from the perspective of Indy, a dog who, together with his owner, faces supernatural phenomena in an isolated house. Continuously at the height of the dog, giving us a unique immersion in the story, the film avoids the typical anthropomorphic vision of the animal in a minimal budget experiment that plays with atmosphere and sound to create a feeling of constant threat. It took years to film, since the dog is the director’s real pet and is not trained to act. On Filmin since December 19 Zodiac Killer Project Only a killer like Zodiac could spark a documentary true crime like this one, where the important thing is, obviously, not the investigation and the identity of the criminal, but rather a deep reflection on the codes and topics of the genre. We will walk through the typical true crime scenarios, but stripped of all spectacularity, accompanied by a deep reflection on a completely saturated style and taking as a starting point, precisely, an abandoned documentary about the Zodiac Killer. On Filmin since December 26 F1: The Movie The movie that has turned around finances from Apple’s audiovisual division after a series of failures is this fast-paced sports film focused on Formula 1. We will learn the story of the most promising driver of the 90s until an accident is about to put an end to him. Thirty years later, he has become a kind of driver for hire who receives a proposal from a former teammate, owner of a Formula 1 team on the brink of closure. An authentic visual spectacle thanks to the realistic immersion in the races through first-person shots and effects without CGI tricks. On Apple TV from December 12 Fallout T2 One of the most popular science fiction series returns funny and praised in recent timesand also a production that has lifted the curse of video game adaptations, demonstrating that no project is sufficiently ambitious when it is done with knowledge of the facts. We also leave the first season at a very interesting point: Lucy searching for her father after being betrayed and the Ghoul searching for his family, who may have survived the Holocaust. And their steps take them to a mythical location. None other than New Vegas, legendary setting for the franchise. On Prime Video from December 17 Palm Springs Although it has been roaming around on all types of platforms for some time now, this cult comedy is always a delight that can be reviewed again and again thanks to how it reinvents the concept of a time loop with a contemporary tone and melancholic atmosphere. Andy Samberg and Cristin Milioti have perfect chemistry and together they go a step further than what we have already seen in classics like ‘Trapped in Time’. Here, Samberg is locked in a loop that repeats the same day over and … Read more

We choose our vacations in the series. That is why 44% of our tourists have discovered us on the screen

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Spain has a significant history as a movie settingsometimes with more glamorous glitz than our own national cinematography. The natural landscapes and the diversity of ecosystems create a western desert in Almería that, in the north, approaches the Nordic air landscapes (but without bad weather) of a sword and sorcery production. But with the arrival of streaming (and the international reach of the Spanish series), Spain is beginning to shape itself as a perfect destination for travelers with audiovisual culture. Booming phenomenon. 44% of foreign visitors discover and choose destinations in the country after seeing them in audiovisual productions. It is data provided by The Screen Tourism Observatorywhich speaks of this type of travel as one of the tourism segments with the greatest projection in 2025. This type of tourism moves 40 million international travelers each year worldwide, and Spain is benefiting from it. How it works. According to comments Carlos Rosado, president of the Spain Film Commission, where the public filming offices in Spain are grouped, a film or series acts on the viewer like a virtual brochure, with different advantages over traditional tourist advertising: it is longer in time, reaches more people and creates emotional ties. Spectators become potential tourists thanks to the places in the north of the peninsula that, for example, are seen in ‘Game of Thrones’. Perfect scenario. Spain became a relevant Hollywood set in the 1950s, when the major studios discovered its advantages for filming: diverse landscapes and costs up to 50% cheaper than in the United States. From that time come films such as ‘El Cid’, ‘Lawrence of Arabia’ and, without leaving Europe, the more than 300 films that the Eurowestern factotums filmed in the desert of Tabernasin Almeria. The difference with the present is that those super-productions did not generate tourist flows. But now yes: for example, from the fifth season of ‘Game of Thrones‘, when HBO filmed in the Alcázar of Seville, Girona and other Spanish locationstourism in Seville increased by 25% and in Osuna by 75%. And San Juan de Gaztelugatxe became the second tourist focus in the Basque Country after the Guggenheim. By countries. In the aforementioned study by the Screen Tourism Observatory, carried out with thousands of surveys and an exhaustive compilation of online opinions, we discovered that Germans lead this type of tourism, with 53% having visited Spain after seeing it in audiovisual productions. Italy follows with 46% and the United States with 45%. Among them, half opt for self-guided routes and not organized trips. He is “an autonomous, curious and digitally informed screen tourist, who prefers to design his own experience rather than contracting closed products.” Go to more. Along these lines, the Spain Film Commission itself has launched the Experiences programa project financed by the Secretary of State for Tourism, which wants to transform Spanish audiovisual heritage into sustainable tourist experiences. The proposal will have pilot experiences in Formentera, Seville, Galicia and Burgos that will serve as a model to develop a methodology that will be repeated in other areas of Spain. On the horizon, phenomena such as New Zealand, a benchmark after ‘The Lord of the Rings‘, and who experienced a 40% increase in tourism between 2000 and 2004. Very attractive figures that we will try to replicate with all these proposals. Header | Clementp.fr In Xataka | The reduction of the working day to 37.5 hours was going to sink the hospitality industry: a hotel chain in the Balearic Islands has proven the opposite

Spain kneels before ‘The one that is coming’ with a channel that broadcasts the series all day almost non-stop

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Spain loves ‘The one that is coming‘. We can turn our noses up all we want, but the success of a series that is about to premiere its 16th season, tirelessly satirizing the behavior of the average Spaniard, should not go unnoticed by anyone even remotely interested in the curious evolutions of popular culture. This tweet from @casasola_89 corroborates it: Fiction Factory has practically become a monographic channel for the series. With more than stable audiences. The monographic channel. Fiction Factory broadcast 3,735 hours of ‘The one that is coming’ in 2021 alone, a figure that is equivalent to more than 700 chapters. The trend has gone further and has ended up transforming Mediaset’s thematic channel into a practically monothematic platform, although it is accompanied by films that have already made the corresponding rounds on Telecinco, Cuatro and other DTT channels of the house, as well as some other successful series in the mornings, such as ‘Aida’. But how much do they emit? Any day of the week (regardless of whether it is Tuesday or Sunday), ‘La que se cerca’ starts its broadcasts late in the morning, around one o’clock. From that hour until well into the prime timewhere a movie is broadcast around eleven at night, we have episodes non-stop. And after the cinema it resumes: between specific betting programs and horoscopes, which barely take a total of half an hour off the grill, the entire early morning once again belongs to the residents of Montepinar, until the telesales at six thirty in the morning. Spain is doing well. This strategy was initially a resounding success: in September 2011, the series’ specials reached quotas of between 7-11% of screen share, allowing FDF beat your all-time record with a 4.5% monthly average, its maximum to date, in August 2014. Laura Caballero, co-creator of the fiction, recognized this symbiosis years ago: “It has been very good to re-air the series. Those who did not want to see it have seen it almost out of obligation. This has given it its own series identity and so that it does not seem like a copy”, referring to the change from ‘No one lives here’ to ‘The one that is coming’. Neighborhood saturation. This triumph could not last forever: the omnipresence on the FDF grid of ‘La que se cerca’ generated a paradoxical effect. The increase in broadcast hours, going from 2,909 in 2019 to 3,735 in 2021, led to a drop in audience: from 3.1% and 322,000 viewers in 2019 to 2.5% and 243,000 viewers in 2021, as El Español pointed out. This erosion contributed to FDF losing the annual leadership among thematic channels in 2021 in favor of Nova, after a decade as the most watched channel on DTT, averaging a 2.4% audience share. However, in 2024 FDF has recovered ground with 2.6%, surpassing Energy (2.4%) and leading again among DTT themes. And since 2018 (which is said soon: seven years), its audiences are stable. The one that comes 24/7. Why then does this continue to broadcast ‘The one that is coming’, why doesn’t FDF try other options to recover that 4.5% of share that he had. Very simple: the rebroadcasts of ‘The one that is coming’ never cease to interest the least, the new seasons on Prime Video (where it’s going great) and Telecinco provide FDF with occasional audience boosts and the transformation of “Canal para las Ficciones de Mediaset” into “Canal La que se cerca” is an identity seal that suits the platform. Make no mistake: this series will outlive us all. In Xataka | Streaming was going to change everything. In Spain, people are using it to watch ‘Aída’ and ‘La que se cerca’

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

How Spain has achieved that one in every four series reproduced is its own

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The impact of Spanish series on the streaming market it is indisputable. a few years ago’The Money Heist‘ was on everyone’s lips, but in the same way that Korean fictions are much more than ‘The squid game‘, the Spanish are beginning to go much further than ‘Bella Ciao’. The latest data supports this: it may be that the streaming is hitting where it hurts the most to Spanish cinema, but in other aspects it is doing very well for the Spanish fiction industry. 25%. One in four of the most watched series on streaming is Spanish, according to a study by Parrot Analytics. It is a fact that reflects the international boom and consolidation of audiovisual content produced in Spain. ‘La casa de papel’ not only revolutionized the public’s perception of fiction in Spanish, but also paved the way for new Spanish productions. will conquer global audiences. Titles such as “Elite” or “Manual para senoritas” reach prominent positions in global rankings, confirming that Spanish content not only competes for local attention, but is capable of influencing and attracting viewers from multiple countries. Increase in demand. There is more notable data in this study: Spanish content has experienced notable growth in availability and global demand on streaming platforms between 2021 and 2023, with a 22% increase in the number of titles available. More than 200 Spanish productions are among the 10% most in demand on the main platforms, showing that interest transcends beyond the Spanish-speaking markets. And that is the genuinely relevant leap. In money. The economic value of this growth is significant: in the last four years, Spanish productions have generated 5.1 billion dollars in global revenue for the main streaming platforms. streamingwhich represents almost 9% of the total income generated by non-English titles. If we compile a ranking, Spain is in fourth place in the world in terms of income generated by non-English content, ranking only behind Japan, South Korea and India, all Asian countries. The importance of Netflix. Netflix has been leader in the global expansion of Spanish content: The role played by ‘La casa de papel’ and ‘Elite’ is indisputable, to which are added Spanish films such as ‘Nowhere’, among those that have acquired and retained the most subscribers on the platform in recent years. But Netflix is ​​not the only one: Prime Video and Apple TV+ are also joining this trend with Spanish titles such as ‘Red Queen’ or ‘Land of Women’ respectively. In fact, we are turning 10 years of the arrival of Netflix in Spain, and the figures make it clear to what extent it was key in turning around the situation of Spanish series: already in 2017 it premiered its first Spanish series, ‘The cable girls’, and that year the production of series in Spain doubled (from 11 to 22, not counting new seasons). Since the pandemic, the number has been growing consistently: in 2020 52 series, in 2022 53, in 2023 55, and there was a record in 2024 with 68 series, which has not been equaled. Netflix has partly led this trend: in 2022 it launched 15 Spanish series, the platform’s most productive year, and in 2025 it has already released 10 titles, the second best record. Spanish fictions are going further. It is almost a decade that has served to leave behind a stigma that had partly marked Spanish television fiction: despite the popularity of titles such as ‘Pharmacy on duty’, ‘Family doctor’, ‘Los Serrano’, ‘Cuéntame’, ‘No one here lives’ or ‘Águila Roja’, to list a few, they were considered series of lower quality than those coming from abroad. In recent years that perspective has changed: Spanish series, and the audience makes it clear, can be measured in technical and artistic quality with productions from abroad. The importance of Latin America. The Hispanic market has become a fundamental pillar for the expansion and success of the streaming in Spanish. In the United States, Spanish-speaking consumers dedicate more than 55% of their television time to streaminga figure in which, for obvious reasons, the content in Spanish is of great importance. This trend also moves to the south of the American continent, where the increase in subscribers and the expansion of streaming are transforming audiovisual consumption habits. In Xataka | The golden age of Spanish series: more and more is produced thanks to platforms and pay TV

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

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Given so much increase in the price of subscriptions to streaming platforms, it is appreciated that from time to time some of them launch promotions that we can take advantage of to pay less monthly or annually. Movistar Plus+ It is one of the platforms that usually has the most offers and now, with the Young Cultural Bonusthe service can be accessed for an entire year for 39 euros (which would be 3.25 euros per month). Of course, there is also another offer for those who do not have the Young Cultural Bonus. Movistar Plus+, annual subscription The price could vary. We earn commission from these links Series, movies and sports with good promotion As can be read in the Movistar Plus+ pagethe streaming platform right now has a promotion for those people who have the Young Cultural Bonus. By 39 euros (3.25 euros per month) the service can be accessed for a whole year and includes a good variety of movies, series and football. Among what we can find on the platform, we have a movie premiere every daythe original Movistar Plus+ series and also other international series — there is a lot of content on the platform, whether it is premiere content or not. In addition, every day the Movistar Plus+ match is broadcast LaLiga EA Sportsthe best in the Champions League and the Premier League and the entire LaLiga HyperMotion. You can also access the best match of each day of the US Open and Winbledonthe 12 Masters 1,000 tournaments and the most important matches at Roland Garros. In addition, it also includes the two best matches per day of the Euroleague and the best matches and moments of ruby, golf and padel. Not everyone has access to the Young Cultural Bonus, but that does not mean that we cannot access an offer from the streaming platform. If we subscribe month by month, the price is 9.99 euros, but if we do it monthly we pay 99.90 eurosor what is the same Approximately 8.32 euros or two months free. It is a good way to access all its content at a discount, something that not all platforms offer. In addition, it is worth mentioning that beyond the content that we can access with the subscription (through the Young Cultural Bonus, the annual or month-by-month offer), The service can be contracted regardless of whether we are the operator or not and without permanence. Some of the links in this article are affiliated and may provide a benefit to Xataka. In case of non-availability, offers may vary. Images | Movistar Plus+ In Xataka | Movistar Plus+ for non-Movistar customers: what it is, how much it costs, channels, additional services and how to contract it In Xataka | Best televisions in quality price: which one to buy and seven recommended 4K smart TVs

In 2007, the Simpson movie could allow you to be a supprepisodium of the series. In 2027 it will have it much more difficult

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Almost two decades have passed since ‘The Simpsons‘They made the jump from television to cinema for the first time with a film that ended up becoming a Authentic global event. Now Disney confirms that a new tape is on its way, but the question is inevitable: do we need another Simpson movie in 2025? The second. The announcement of this new installment has simply made a publication in social networks of the image of a typical Donut Pink of the series, with ornaments in number 2 and the message “Homer’s Coming Back For Seconds”. Although there are no more details, we do have a date: July 23, 2027, which was initially reserved for a Marvel movie without announcing. In this way, there is no marvel movie among the premieres of ‘Avengers: Doomsday‘(December 2026) and’ Avengers: Secret Wars’ (December 2027). The first. Released in 2007, the first film raised more than 500 million dollars at the box office and showed that the yellow family was able to drag the spectators to the rooms. At that time, the series had two decades of life, and although it was already far from the golden age of the 90s, the series continued to enjoy a relevant status and maintained solid follow -up. In fact, it was a symbolic closure of an era of cultural influence, and the film was able to launch images that last among the most notorious of the franchise, such as the enraged mass of Citizens of Springfield or the presence of Spiderrdo. The status of the series. The Simpsons They just started, a couple of days ago, their season 37. His extreme longevity He has been accompanied by a decrease in the quality and cultural impact of his first years. In the 90s’The Simpsons’ They were a total reference in television humor and a satirical mirror of society, but in 2025 it works more as a established mainstream classic, valued more than anything by its legacy. For better. However, although it is far from the ferocity and impact of more independent series (and also successful, such as South Park or Rick and Morty). In The Simpsons They have shown signs of improvement. Yes, its golden age has already passed, but from a while this part tends to coincide in that From season 3 onwardsthe program has recovered narrative quality and characters development. It puts an end to the end, even if it is relative, to the decline that started around season 10, when the scripts began to be more repetitive and lost edge. The key to change. The scriptwriters of the last seasons are already professionals who have been educated with ‘The Simpsons’ within the cultural imaginary. Costumbrismo has given way to surrealism and self -conscious humor, and the characters are seen as icons, even giving way to a target humor of modern series. We have seen type episodes mockumentaryother dreamlike ones … If the new film wants to be more than a nostalgic artifact, we may see it more oriented in this sense, aware of the series category as a pop myth. A more traditional option, more sitcom type, would smell in rancid and outdated. 2007 vs. 2025. The cultural world of 2025 is very different from what it was when we saw the first film: it must be taken into account that at that time a movie of ‘The Simpsons’ could be considered an event, as we now see Marvel or ‘Star Wars’ movies. Now, with the competition of streaming And the cinema mainstream At a very different point of popularity and influence, the film must rethink its strategy. You just have to see how we access ‘the Simpsons’ itself: then it was a weekly premiere event, with repeated episodes daily. Now we have access through a platform to The entire Historical Archive of Seasonssomething that would have been unthinkable then. Without a doubt, they are variables that will influence the same conception of the film. Already then, this could not be allowed to be an elongated episode without more. Now, in addition, it must be aware of the Pop legend category of the mother series. Header | Disney In Xataka | The video game that never existed from ‘The Simpsons’: a technical demo of ‘Bug Squad appears!’ For Dreamcast

Microsoft raises the prices of the Xbox Series X | S in the US. We already know what will happen in Europe

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If you are in the United States and plan to buy a Microsoft console, time play against you. There are a few days left to order before the price upload the Xbox Series X | s. The company has announced that the increase will enter into force next month. From Redmond they explain that the measure responds to “changes in the macroeconomic environment.” They have not given more details, although in the background the current tariff war appears, which could be behind this decision, although Microsoft avoids mentioning it explicitly. The striking thing is that the adjustment is limited only to the United States. On its official website, the firm ensures that “prices outside the US remain unchanged.” A phrase that gives a respite to European users and other markets, at least for now. This is the prices of the Xbox Series X | S in the US Current prices in the US prices from October in the US Xbox Series S (512 GB) $ 379.99 399.99 dollars Xbox Series S (1 TB) $ 429.99 $ 449.99 Xbox Series x $ 599.99 $ 649.99 Xbox Series X Digital $ 549.99 $ 599.99 Xbox Series X 2TB Galaxy Black (Special Edition) $ 729.99 $ 799.99 This is the second time in the year Microsoft makes its consoles more expensive. In May it already applied a global increase that, in addition, it extended to accessories such as controls and headphones. For example, the Xbox Series S of 512 GB, which could be achieved for 299.99 euros, stated 349.99 euros, an increase of 16.67%. But, as we say, in the old continent we will not have to support a new price increase in Microsoft consoles. Below we include a table with public sales prices (PVP) in Spain. It should be remembered that, although increases outside the United States will be applied, the figures may vary in other markets. Xbox Series X: First impressions – Are you going to give us great joys? Current prices in Spain Xbox Series S (512 GB) 349.99 euros Xbox Series S (1 TB) 399.99 euros Xbox Series x 599.99 euros Xbox Series X Digital 549.99 euros Xbox Series X 2TB Galaxy Black (Special Edition) 699.99 euros In development. Images | Billy Freeman In Xataka | No one would think of leaving ‘Super Mario 64’ on for 14 months. But whoever will find a surprise

Video games have fired their number of users, and come from an unsuspected place: television series

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The video game adaptations have long left behind the “impossible” sambenito. Criticism and public successes such as recent television series’The Last of Us‘ either ‘Fallout‘They have proven that the episodic format fits especially well with the long plot developments of the games and with their very wide characters. But there is more: a recent study shows that not only those series are successful because they attract the players. The flow also works in reverse. More spectators. According to A recent study by Ampere Analysisscreen adaptations drive the growth of the number of players by 140% on average. Among these adaptations, the average increase achieved by television series is up to 203%, much higher than films (48%). Among the former we can find such outstanding series as’Arcane‘,’ The Last of Us ‘,’The Witcher‘,’ Fallout ‘,’ Knuckles’, ‘Cyberpunk: Edgerunners‘,’ Conserje Pokémon ‘or’ Halo ‘. Among the movies, ‘A Minecraft movie‘,’Sonic The Hedgehog‘,’Super Mario Bros. the film‘,’Uncharted‘,’ Mortal Kombat ‘or’ Detective Pikachu ‘. To the bunker. For example, the premiere of the “Fallout” series in Prime Video in April 2024 caused a 490% increase in monthly active users (UAM) playing the franchise: 80% of the 14 million active players were new. In contrast, additional content launches for ‘Fallout 76’ previously achieved only 17% increase in UAM. It is a phenomenon that had already been detected since the same premiere of the series, when the 2015 Búnkeres construction and management game ‘Fallout Shelter’ received an unusual impulse Almost a decade after birth, going from giving benefits of about $ 20,000 a day to enter $ 80,000 a day, thus increasing their benefits by 232%. The last ones will be the first. There is a more particular case, because it adapts a narrative game, closed, without online and that had been acclaimed by criticism and public a few years before, calling the attention of non -hardcore public, that is, that the middle fan had more than known. ‘The Last of Us “experienced a 150% rise in its players base: an absolutely spectacular figure if we take into account that the series does not” complement “or expands what is seen in the games, but tells it again. Without a doubt, it is a different phenomenon from that of ‘Fallout’: the excellent invoice of HBO production, much more mainstream That the prime video, it caught the attention of non-players. To compare: the relaunch of “The Last of Us Part II” for PS5 only made the monthly players in 70%. And in cinemas, ‘Minecraft’. This is one of the greatest recent box office successes, and here there has been a clear feedback: the commented Tumults in cinemas They are due to the preteen enthusiasm of the ‘Minecraft’ players, but the current was also in the reverse direction: the premiere in April 2025 produced a growth of 30% of users of the game. Of all of them, 54% of the new players were people who had abandoned the games previously, that is, the film reactivated their interest in the game. Some reasons. They are diverse (although we like to continue putting in the same sack to ‘Arcane’ already ‘Street Fighter’, these are adaptations for generations of completely different spectators), but the Massive television accessibility. This allows those who do not play videogames to know their emblematic stories without having to overcome the “input barrier” that sometimes lifts the technology, already later encouraged to enter them on their own. In any case, it seems that we are living a golden era for this type of series and films: fidelity to the originals achieved with films such as ‘Super Mario Bros.’ or ‘Sonic’ was unthinkable a few years ago. The change in the interests of the public causes these products to cease to be niche, or rather, that they no longer have the need to soften the elements of the original video game to become massive products. Viodeojuegos are already an entertainment mainstream and its adaptations catapult that audience. Header | HBO Max In Xataka | Umbrella to the end of the zombie world: all ‘resident evil’ films worse to better

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