series

13 premiere movies and series to watch in January 2026 on Netflix, Prime Video, HBO Max and streaming

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New year, new recommendations. We come with an impressive avalanche of recommendations for you to start the year audiovisually. All platforms, all genres and all tastes. Don’t let 2026 catch you at a different pace, here are our proposals of all kinds for the month of January. him and her Promising six-episode psychological thriller starring Tessa Thompson (who also serves as executive producer) and Jon Bernthal, which follows a former news anchor who returns to her hometown to cover a crime. A detective suspects her involvement, pursuing her until he places her at the center of his own investigation. The twist: they were married, and they both knew the victim. A story full of twists and surprises that has a most attractive cast. On Netflix from January 8 Agatha Christie: The Seven Spheres He whodunit is, without a doubt, in fashion: the success of ‘Daggers in the Back’ or ‘Only Murders in the Building’ corroborate this, so Netflix has decided to resort to the sourdough of all this: three episodes based on one of Agatha Christie’s least adapted works. In a luxurious rural mansion, a high society party turns into tragedy when a practical joke against a known sleepyhead who is given eight alarm clocks set for 6:30 in the morning triggers a murder. In the cast, Mia McKenna Bruce, Helena Bonham Carter and Martin Freeman. Behind the scenes, Chris Chibnall, creator of ‘Broadchurch’, produces and writes. It includes scenarios filmed in Ronda, with the Real Maestranza bullring, the Puente Nuevo and the Palace of the Moro King. On Netflix from January 15 The loot Police thriller directed and written by Joe Carnahan (‘White Hell’, ‘The A-Team’), which reunites Matt Damon and Ben Affleck as protagonists and represents the first collaboration between Netflix and Artists Equity, the production company founded by the two actors. Inspired by true events, it follows a group of Miami agents who during a raid discover $20 million hidden in an abandoned safe house. The discovery unleashes a spiral of mistrust, ambition and moral dilemmas. Carnahan talks about the film as an homage to classic seventies crime thrillers like ‘Serpico’. Firm candidate to be one of Netflix’s first hits by early 2026. On Netflix from January 16 The Bridgertons – S4 New season of the hit series romantic, this time based on the third novel by Julia Quinn, which focuses on Benedict Bridgerton, the second and bohemian son of the family, and who has resisted marital conventions while his brothers have found marital happiness. It will premiere divided into two parts: Part 1 arrives on January 29 with four episodes and Part 2 on February 26 with the remaining four. The season promises a visual tone inspired by fairy tales, with an emphasis on the masked ball as a dream setting, and combining romance, secret identities, class tensions and the classic visual elegance of ‘The Bridgertons’. On Netflix from January 29 Beauty Science fiction and body horror at the hands of Ryan Murphy, with two FBI agents sent to Paris to investigate the mysterious and grotesque deaths of international supermodels in the world of haute couture. His research reveals the existence of a sexually transmitted virus that gives physical perfection to ordinary people, but with lethal consequences. The trail leads directly to a tech billionaire who has secretly designed a miracle drug. A reflection on the cult of the physical, in a film where performers like Isabella Rossellini stand out in a role that dialogues with her witch from ‘Death suits you so well’. On Disney+ from January 21 wonder man A bit of cover (and with a format binge watchingas already proven with ‘Echo’) the new Marvel series arrives at the end of January. With a meta point and some humor, it tells the story of Hollywood actor Simon Williams, who is trying to get his career off the ground. After a chance meeting with another actor, Trevor Slattery (Ben Kingsley, the fake Mandarin from ‘Iron Man 3’), Simon discovers that a remake of ‘Wonder Man’, a classic superhero film, is being prepared. The two actors, at opposite ends of their careers, will try to get a role. Developed by Destin Daniel Cretton, director of ‘Shang-Chi’, it is the first live-action project of Phase 6 in 2026. On Disney+ from January 27 The Death of Bunny Munro Six-episode British miniseries based on the novel of the same name by Nick Cave published in 2009. Matt Smith plays a sex-addicted beauty product salesman who, after the suicide of his wife, embarks on a chaotic road trip through the south of England with his nine-year-old son while a serial killer disguised as a demon stalks the area. A dark comedy about toxic masculinity and grief where Smith’s performance and his commitment to a repulsive character stand out. On Showtime starting January 30 The Demolition Brothers Action comedy directed by Ángel Manuel Soto (‘Blue Beetle’) that brings together two Hollywood action heavyweights: Jason Momoa and Dave Bautista. The film features two estranged half-brothers, an impulsive police officer and a disciplined Marine, forced to reunite after the mysterious death of their father in Hawaii. What begins as a family reunion quickly turns into a dangerous investigation. Explosive action, characteristic humor of its heroes and setting in the exotic streets of Hawaii. On Prime Video from January 28 crazy old woman Psychological horror that marks the directorial debut of Argentine screenwriter Martín Mauregui. Produced by JA Bayona, it stars Carmen Maura in one of the darkest and most disturbing roles of her career, and in it we will meet a boy who receives a message from an ex-girlfriend asking him to temporarily take care of her mother, who has senile dementia. What seems like a simple act of compassion quickly transforms into a claustrophobic nightmare that addresses, according to Bayona, how violence is transmitted from one generation to another. On Prime Video from January 14 The Pitt – T2 Nine months after the end of its acclaimed first season, … Read more

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

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

The cosmos has sent us a series of blue flashes for more than a decade. We now have a clue as to what they really are.

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For more than a decade, the cosmos has been sending us mysterious flashes of ultra-bright blue light that appear out of nowhere and disappear in a matter of days. This phenomenon has a strange little name, but they are known as ‘luminous fast blue optical transients’ (LFBOTs), and have baffled astronomers since its discovery. Now, thanks to the analysis of one that has become the brightest ever detected, scientists believe they have solved the enigma: they are black holes devouring companion stars, and the process is extremely violent. The discovery. The team led by researchers from the University of California at Berkeley analyzed a LFBOT discovered in 2024 and named ‘AT 2024wpp’. The phenomenon turned out to be between five and ten times more luminous than any other of its kind previously observed. Astronomers used a range of space and ground-based telescopes (including Chandra, Swift, NuSTAR, ALMA, and the Keck and Gemini observatories) to study it at multiple wavelengths, from X-ray to radio. The data revealed that the energy released by AT 2024wpp was 100 times greater than that of a normal supernova. As Natalie LeBaron, a graduate student at Berkeley and first author of one of the studies, explains, “the absolute amount of energy radiated by these bursts is so large that you can’t feed them with the collapse and explosion of a massive star, or with any other type of normal stellar explosion.” An extreme cosmic feast. The researchers they propose that these flashes are produced by what they call “extreme tidal disruption.” This process occurs when a black hole (with a mass up to 100 times that of our Sun) completely destroys its companion star in a matter of days. According to the team’s reconstructions, the black hole had been absorbing material from its companion for a long time, surrounding itself with a halo of gas. In the case studied, the scientists report that, when the star got too close and was torn apart, the new material violently collided with the pre-existing gas as it fell towards the black hole, generating the intense blue and ultraviolet light characteristic of LFBOTs. According to account Robert Sanders, a researcher at the University of Berkeley, Some of the gas was ejected in jets from the poles of the black hole at about 40% of the speed of light, producing the radio emissions that scientists later detected. Intermediate mass black holes, a separate enigma. The black hole’s inferred mass places these objects in a particularly interesting category: intermediate-mass black holes. Although experiments like LIGO Black hole mergers of more than 100 solar masses have been detected, they have never been directly observed and their formation process remains a mystery. “Theorists have proposed many ways to explain how we get these large black holes,” points out Raffaella Margutti, associate professor of astronomy and physics at Berkeley and lead author of both studies. “LFBOTs allow us to approach this question from a completely different angle. They also allow us to characterize the precise location where these things occur within their host galaxy, which adds more context to trying to understand how we ended up with this configuration: a very large black hole and a companion.” A family of phenomena with curious nicknames. The first LFBOT with sufficient data for analysis was detected in 2018 and received the official designation ‘AT 2018cow’. His name led researchers to nickname him “the Cow”, a tradition that continued with later events: the Koala, the Tasmanian Devil and the Finch. AT 2024wpp, the subject of this study, has already been informally named the Woodpecker. To date, just over a dozen of these events have been identified, all located in galaxies with active star formation at distances of hundreds of millions and billions of light years. The companion star destroyed in AT 2024wpp was more than 10 times the mass of the Sun and could have been a Wolf-Rayet starthat is, very hot and evolved objects that have already consumed much of their hydrogen. TO hunting for LFBOTs. Researchers hope that the upcoming ultraviolet space telescopes, ULTRASAT and UVEX, scheduled to launch in the coming years, will revolutionize the detection of these phenomena. “Right now we find only one LFBOT a year or so. But once we have UV telescopes in space, finding LFBOTs will become routine, like detecting gamma ray bursts today,” explains Nayana AJ, researcher at Berkeley and first author of X-ray and radio analysis. In Xataka | When nuclear energy orbited the Earth: the day a Soviet satellite with a reactor fell in Canada and sparked a crisis

has become a “series to watch in the background”

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The expected ending of ‘Stranger Things’ has unleashed a wave of criticism unusual among his followers. The fifth season, which Netflix launched on November 27, is being pointed out for presenting excessively basic and explanatory dialogues, among other problems derived from an excessive simplification of the series. Not understanding what this is about drop in the quality of the seriesfans have searched for possible explanations and believe they have found it: the “casual viewing” philosophy. What do people complain about? Social networks have been filled with fragments that illustrate a certain decline in writing from the series: scenes where the characters constantly verbalize What they are doing or feeling has generated ridicule and parodies. It has been said of the series slow down the pace “to offer hyper-detailed explanations of what is happening and what will happen next,” robbing viewers of the ability to construct the narrative for themselves. Added to this is a certain drop in the technical level and special effects, which has been seen in sequences such as the one at the beginning of the season, in which Will Byers moves in a completely digital environment and that produces an uncanny valley effect that many believed had already been overcome. Result: on Rotten Tomatoes, this season has barely scratched 84%the lowest score in the history of the franchise. What could have happened. Some fans have traced the possible causes to an extensive report by N+1 Magazine January 2025. Several scriptwriters who had worked for the platform revealed that Netflix executives regularly request that “the characters describe out loud what they are doing, thus allowing viewers who watch the series in the background to follow the plot without problems.” This practice responds to a category that Netflix calls casual viewing or casual viewing. It’s not just a ‘Stranger Things’ thing. There are studies They already talk about Netflix taking into account that we watch many of its series on our mobile screens. And several European producers already they received in 2022 Similar requests: programs that are understandable without having to look at the screen. For practical purposes, dialogues are more descriptive about what the characters are doing and easier to follow without the support of images. Series as popular as ‘Emily in Paris’ have already been described as ‘ambient television’ for having these characteristics. Beyond a specific problem. The demotion of ‘Stranger Things’ goes beyond a simple creative stumble: it represents a fundamental change in how streaming platforms streaming they conceive audiovisual production. The problem now lies in determining whether Netflix is ​​only adapting certain content to allow this viewing in the background, or if this aesthetic is here to stay… and spread. ‘Stranger Things’, symbol of things. But perhaps not what its creators would like. ‘Stranger Things’ closes its career not as the promised cultural event, but as an involuntary emblem of an industry that has decided to optimize content for viewers who, paradoxically, barely look at the screen. A decade later, the iconic Netflix series culminates in the form of a product designed to be watched without paying attention to it. In Xataka | All the unanswered questions left by Netflix’s purchase of Warner: a huge mess

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

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

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

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