streaming

The most buoyant market right now is selling streaming and satellite images of US movements to Iran.

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In recent years, the number of active satellites in orbit has exceeded 7,500many of them dedicated to observing the Earth with a precision that allows us to distinguish objects just a few meters away. At the same time, millions of position signals from aircraft and ships were broadcast every minute openly throughout the planet. Never before has there been so much accessible information about what is happening, in almost real time, anywhere on the planet. A new war market in real time. The war in Iran has opened a unexpected showcaseor where each military movement becomes almost immediate content, packaged and disseminated as if it were a live event by an international artist. Chinese technology companies have detected that opportunity and have begun to offer detailed analysis on US bases, deployments and operations using open data combined with artificial intelligence. What previously required state intelligence resources is now presented as an accessible, visual and viral product, capable of circulating both on social networks and specialized platforms. The result is a kind military streaming where the movements of a superpower are transformed into information merchandise. Fusion between open data and AI. I counted this week the Washington Post that the core of this phenomenon is in the combination of public sources (such as satellite images, flight trackers or maritime data) with algorithms capable of processing them on a large scale. Here are companies that we had already talked about before like MizarVisionwhich use these resources to reconstruct entire deployments, identify aircraft types or follow naval group routes in near real time. Although much of the data already existed, the difference now is in speedautomation and the ability to cross-reference information on a massive scale, turning simple scattered signals into coherent military narratives. This drastically reduces the distance between the public and the strategic. Intelligence as a commercial product. The real turn is not only in technology, but in the business model that surrounds her. These companies do not operate like traditional intelligence agencies, but rather as suppliers that sell visibility on military operations, promoting their capabilities with real examples of active conflicts. Signatures as Jing’an Technology They have even gone so far as to publish alleged records of communications or mission reconstructionsreinforcing the idea that they can “see everything.” Thus, war ceases to be just a geopolitical scenario and becomes a source of income based on the exploitation of raw information transformed into digestible intelligence. Money flows in only one direction. Behind this apparent democratization of intelligence there is a very specific economic flow that mainly benefits the Chinese technological ecosystem. They remembered in the post that many of these companies have grown under the umbrella of the integration strategy Beijing civil-militaryreceiving funding and indirect support to develop dual capabilities. Every report sold, every analysis disseminated and every platform used rstrengthens that industrial fabricfeeding a circuit where data (often generated by Western infrastructures) ends up generating value within China. In practice, monitoring the movements of the United States not only exposes its operations, but also helps finance the technological development of a strategic competitor. A diffuse but growing threat. Although US authorities doubt that these companies can penetrate truly sensitive systems, the problem lies not so much in absolute precision as in the trend that they can represent. The ability to map movements, detect patterns and anticipate deployments is already a advantage in scenarios crisis, even if the data is not perfect. Furthermore, this model offers China an additional advantage: it can benefit from the information without officially getting involvedusing private companies as intermediaries. The consequence is something of a new type of battlefield, one where open, processed and commercialized information becomes a strategic weapon in itself. Image | MizarVision In Xataka | The US is redrawing the map of its bases in Europe. And none of the countries that have said “no to war” appear In Xataka | Of all the paradoxes of the war in the Middle East, few imagined this ending: with a “half-way” deal between the US and Iran

What is the difference between Dolby Vision, HDR10+ and HLG in streaming apps?

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It’s time to renew the television and you go to a store to consider different models, but once you get to work comparing the specifications you find yourself in an alphabet soup: HDR10, HDR10+, Dolby Vision or simply HDR. We already made it clear to you that all these technologies are aimed at offering better image quality, but they do not work the same nor do they achieve the same result. Therefore, today we are going to review what the differences are so that you can make the right choice for the next television. The price could vary. We earn commission from these links What is HDR The High Dynamic Range (HDR) is an imaging technology that aims to increase the difference between dark and light areas. Keep in mind that 4K resolution adds a higher number of pixels, while HDR makes those pixels better by offering much more vivid colors and deeper blacks. HDR10, the standard format HDR10 is essentially “normal” HDR, since it is the standard that all televisions and all platforms usually use. The reason is that it is open language; Brands do not have to pay for it and usually include it in their televisions. How does it work? Movies, for example, usually have predefined brightness and color levels, so once we play it they will be applied throughout it. The settings will be the same throughout the movie, whether all scenes are darker or lighter, and that is where the problem is. The biggest drawback of the HDR10 format is that does not apply scene to scenebut throughout the entire film equally. This means that sometimes the lightest or darkest scenes do not look quite good, so in the end some detail will be lost in these types of scenes. Dolby Vision, scene-by-scene configuration Dolby Vision is a technology from Dolby Laboratories, so in order to include it in their televisions, brands have to pay for it. This makes many brands decide not to use them and We have the best example in Samsungwhich prefers to include other open HDR formats. The great usefulness of Dolby Vision is that, unlike HDR10, it is capable of adjusting the brightness and colors scene by scene, adapting to certain situations in which there is high contrast so that the entire movie looks good. Perhaps you have seen the name of this technology on platforms like Netflix, and it is because it is the one that is usually found in high-quality content. But here’s something you should keep in mind: it doesn’t matter if your television is compatible with this format, if the platform decides that it will only include it in the most expensive subscription levels, and you have the cheapest one, you won’t be able to take advantage of it. Keep this in mind when choosing a television, Are you going to take advantage of this technology?. HDR10+, almost free Dolby Vision TV showing content without HDR10+ (left) and with HDR10+ (right). Why doesn’t Samsung include Dolby Vision in its televisions? The fact that, along with brands like Amazon and Panasonic, it decided to launch its own format has a lot to do with it. HDR10+ is the free technology that directly competes with the Dolby Vision that we have now, and is currently available on many televisions, especially mid-range and high-end. However, despite the fact that HDR10+ is currently found in a good assortment of televisions, the truth is that supported content is very limited; even more than Dolby Vision. Keep in mind that if you buy a Samsung, Prime Video will be your best ally because it is one of the few that uses HDR10+. Although HDR10+ tries to compete head-to-head with Dolby Vision, the latter plays in another league. The reality is that there are still no home televisions capable of squeezing out their full potential; While current screens reach brightnesses of 2,000 nits, Dolby Vision is designed to reach levels of up to 10,000 nits and much higher color richness. It is basically a future-proof technology. On the other hand, with HDR10+ we are faced with a format that, despite having a similar name, is different from HDR10 because allows you to optimize lighting scene by scene throughout the entire moviethus offering a much better result. HLG, the format for live broadcasting We have Hybrid Log-Gamma (HLG) on practically all televisions, and this is because it is the format that is used in live content (also delayed) instead of streaming. In other words: it is the one used when you watch the news or a football match. HLG is intended for use on both HDR-compatible televisions and SDR models (older TVs), since it is a format that is broadcast in content en masse. The quality does not come close to what we find in Dolby Vision technology, but it is efficient for live broadcasting. The good and the bad of both options, face to face HDR10 Dolby Vision HDR10+ HLG THE GOOD 🟢 It is present in practically all televisions. It offers the best quality by having a lighting configuration that varies scene by scene. It is present on many televisions and offers an experience close to Dolby Vision. It offers better quality in live or delayed broadcasts. THE BAD 🔴 It maintains the same lighting settings throughout the movie, offering poorer quality in scenes with high contrast. It is not present on all TVs and sometimes the platforms reserve it for the most expensive subscriptions. There is not much supported content. It is not compatible with streaming content. Ideal for: People looking for a very economical television. Enjoy the best experience watching a movie or series and playing video games. Watch movies in better quality than HDR10 offers. Watch live or delayed broadcasts with better quality. What TV should I buy then? At this point, you may be thinking which one is worth it. If you choose a TV, you should pay attention to the HDR or Dolby format, especially depending … Read more

the heir of the DVD to survive streaming

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Video StoreAgea distributor founded by former Sundance Festival programmer Ash Cook, sells independent films on encrypted USB drives and splits the revenue 50/50 with the filmmakers. The project arrives at a time when the festival circuit no longer guarantees distribution for the majority of titles and physical support is experiencing a recovery that no one expected. The origin. Ash Cook spent years as a programmer at the Sundance festival, specializing in independent film, always listening to the same conversation. Filmmakers, sales agents, distributors and acquisitions managers agreed on the same diagnosis: independent film distribution was broken. The Cook’s response to these questions was to found Video StoreAge together with Aidan Dick, head of communications for another specialized festival, Frameline, with a specific proposal: to sell indie films on encrypted USB drives. The company launched its first collection in February 2026 and has several presentations planned in Los Angeles on March 18, 19 and 21. The first USB includes, among other titles, ‘Heightened Scrutiny’ by Sam Feder and the extraordinary ‘The People’s Joker’ by Vera Drew (which you can check out on Filmin), a trans autobiographical parody of the Batman universe that has accumulated a 96% on Rotten Tomatoes. The data. In 2025 only 19 films coming from Sundance Distribution was secured in the United States, compared to 30 in 2024 and 38 in 2019. Only 11% of films selected at top-level festivals end up selling rights to the entire world. By 2025, only half of the ten documentaries in competition at Sundance found distribution. They are very weak numbers and some professionals blame the streaminglittle concerned about this independent cinema, by ending an entire sector of medium-sized distributors that absorbed the most risky titles. The third way. Video StoreAge’s proposal is similar in spirit to a DVD: a physical copy of the movies, they can be played on any computer, and it is yours forever, without depending on platforms. Each quarter, the company releases a collection of five feature films and five short films on encrypted USB drives (using patent-pending technology). Files are played using a built-in player and cannot be copied or ripped. They are sold by quarterly subscription, in individual packages, or combined at the buyer’s choice. The short films are free extras. How the money is distributed. Video StoreAge splits the profits 50/50 with the filmmakers and only acquires the physical distribution rights, leaving the filmmaker free to seek distribution in theaters, streaming platforms or any other means. At the moment the scale is modest, around 20 titles in the first year. A partnership with the latest alternative festival Slamdance (perhaps the most notable indie festival outside of Sundance) allowed them to offer two titles as limited editions during the festival itself, ‘Danny Is My Boyfriend’ and ‘The Bulldogs’, before their official release. The return of the physicist. Curiously, this happens in a very peculiar context: DVD, Blu-ray and 4K UHD sales fell just 9% in 2025, compared to declines of more than 20% in the previous two years. The unexpected culprit: Generation Z and for two reasons. First, the fatigue of streaming and second, the unreliability of digital catalogues, with films that disappear without prior notice due to expired contracts or tax reasons. All this while the premium 4K UHD segment grows 12% year-on-year. The parallel with the resurgence of vinyl is inevitable, although at the moment this return of DVD does not have an industrial infrastructure behind it to support it, but it does have many specialized publishing labels such as Criterion or Arrow. What remains to be resolved. There are questions to answer: Video StoreAge has not detailed the technical specifications of the medium or publicly addressed issues of long-term durability of flash memories, a weak point compared to pressed optical discs that, when well preserved, do not suffer data degradation. On the other hand, the target audience for this product, willing to pay for indie films on an alternative physical medium, is small. Enough to be profitable? In Xataka | For years Blu-ray resisted streaming: now Sony has decided to close the chapter on its home recorders

Before, stars were born in movies and ended up on Netflix. Now they are born in streaming and end in movies

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‘War Machine’, the war science fiction film starring Alan Ritchson, has accumulated 39.3 million views in its first three days on Netflixbecoming the most viewed title on the platform globally today. The second most viewed film that week was ‘Jurassic World Rebirth’, by a huge margin: 6.7 million. The result is also a symptom of how the star factory has changed: the new star system is born on the platforms, not in the multiplexes. Other figures. The opening of ‘War Machine’ is the second best placed of the year on Netflix to date. If it keeps up the pace, it could aspire to enter the platform’s all-time Top 10 in the English-language film category. To gauge the magnitude: in all 87 countries tracked during that four-day windowthe film ranked number one in 80 of them. What is it about? The film is not especially original in its premise, and its authors do not intend it to be. Directed by Patrick Hughes (from the weak ‘The Expendables 3’ and the fun ‘The Other Bodyguard’) and produced by Lionsgate, it follows a group of candidates for the American Rangers during the final selection phase. Their training maneuver becomes a fight for survival when a robotic threat of alien origin appears. Alan Ritchson plays the character known only as 81, a traumatized combat engineer, even more silent and introverted than his famous Jack Reacher. Although all the critics have stressed its derivative and unpretentious nature, the truth is that its two-hour chase structure finds an enjoyable middle ground between ‘Predator’ and Heinlein’s Space Troops (not Verhoeven, there is no irony here, as seen in an ending with will continue that replies, without venom, the recruitment spots of that masterpiece 1997). ‘War Machine’ embraces its spirit of an effective and direct B series with a healthy brainlessness that makes perfect sense that it has found a millionaire audience, eager to disconnect and let themselves be dazed. The star. It has taken Alan Ritchson almost two decades to become a star. He debuted in ‘Smallville’ as Aquaman and then went unnoticed through multiple series as a secondary character until in 2022 he played the protagonist of ‘Reacher’ on Prime Video. The series, which championed the return of the television “for parents” (of which ‘War Machine’ is also an excellent example), is one of the biggest hits on the Amazon platform, and is already preparing its fourth season. In just a few weeks, Ritchson has managed to position himself as the number one actor simultaneously on Netflix and Prime Video with different projects. The distinction that for years existed between the star of streaming and the one that can sell a blockbuster in theaters with its mere presence is blurring. It is not the only case. Although the case of Ritchson, exclusive streaming star, is particular due to his almost total absence of films in his filmography, there are many other cases of proper names who owe a good part of their fame to the platforms. Pedro Pascal is now a global star whose fame was born entirely in hits for streaming (‘Game of Thrones’, ‘Narcos’, ‘The Last of Us’, ‘The Mandalorian’). Henry Cavill or Chris Hemsworth were born as movie stars, but they consolidated (‘The Witcher’, ‘Tyler Rake’) their fame in streaming. Dave Bautista or John Cena is also finding a second home in streaming thanks to hits like ‘Trap House’ or ‘El Pacificador’. Unmistakable signs of the change of times. Stars germinate in different places, but they generate hits with figures that rival the biggest blockbusters on the big screen. In Xataka | When medical dramas seemed to be in the doldrums, ‘The Pitt’ appeared. And that has forced Netflix to make decisions

Generation Z has found the remedy to streaming subscription fatigue: buying DVDs again

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Sales of DVD, Blu-ray and 4K UHD stopped their decline in 2025. They only fell 9% compared to declines of more than 20% in the previous two years. What is the reason for this slowdown? To an unexpected factor, an unforeseen audience: young people from Generation Z who are filling video stores, promoting labels boutique like Criterion and Arrow and turning the physical format into a gesture of resistance against the massification of streaming. Plummet. For more than a decade, the physical format market in home video followed a downward trajectory that seemed irreversible. Between 2019 and 2023 it was reduced by 40% in the United States alone, and the disappearance of chains such as blockbuster it reinforced the feeling that the album was an exhausted medium. In 2024, DVD and Blu-ray sales were below a billion dollars for the first time. Gasping. However, in 2025 a different phenomenon has been detected: the physical disk market generated 870 million dollarsthat is, it only decreased by 9.3% compared to the previous year. What’s more: in the 4K UHD segment (which allows high-quality viewing at home), US consumer spending grew 12% year-on-year. All this in an extremely unfavorable context: with the unstoppable growth of streaming (19.8% in 2025), the physical format represents only 1.4% of total home entertainment. Fed up with streaming. The overdose of supply in streaming is ultimately causing a tiredness effect. According to recent studies47% of American consumers say they pay too much for their insurance services streamingand 41% consider that the available content does not justify the price. The average number of subscriptions per household has been four for a couple of years, an amount that could be at its critical point. DVD solution. Added to this saturation is a problem that film fans know well: the platforms are unreliable and the catalogs change without prior notice. Movies and series disappear for reasons ranging from the completion of exploitation contracts to tax reasons. In a ‘Los Angeles Times’ piece that has investigated this interest Of the youngest to recover physical formats, some young people under thirty spoke about how they became interested in cinema during the pandemic, describing DVD collecting as an act of rebellion against the fragmentation of streaming. Blockbuster, meeting point. That same article talks about renovated versions of old video stores as meeting points for these new collectors. Of course, it is something that mainly concerns the United States, where such specific types of businesses make sense: Vidiots, in Los Angeles, also functions as a movie theater, and is registering its highest revenue peaks since its opening, with an average of 170 daily rentals. Also from there is Cinefile, which has 500 paying members. Visiting the video store functions as a social activity that streaming cannot offer and the community dimension is key to understanding why the phenomenon exceeds pure nostalgia. And you don’t have to go to such specialized stores: Barnes & Noble, one of the few large chains in the country that maintains a space dedicated to the physical format after the withdrawal of Best Buy and Target, speaks of a double-digit percentage growth during the last year. And they point out that the demographic profile of their buyers is increasingly younger. Stamps boutique. The situation experienced by domestic editions is completely unprecedented in the history of the medium: while the major studios reduce their commitment to the physical format, independent labels are experiencing a moment of expansion. Criterion Collection speaks of “significant year-over-year increases” in sales. The cult film specialist Vinegar Syndrome also experiments similar trends. Of course, sales are incomparably lower than the good times of the physical format, but we are not talking about residual phenomena either. In Spain alone, for example, there are half a dozen labels specialized in reissues of films that cannot be found in streaming (El 79, Cameo, Gabita Barbieri, Trashorama…) that survive crises and recessions alluding to a loyal audience and a cinema that cannot be seen any other way. The inevitable comparison. It is inevitable to think of an analogy with the vinyl recoverythe cassette and the VHS that the previous generations, Millennials and Gen-Xers, have carried out. This has been going on since the mid-2010s, in a mix of nostalgia, vindication of the physical and endless discussions about audio and video qualities. Two decades latervinyl is facing its eighteenth consecutive year of growth, with $1.4 billion in sales (the highest figure since 1984) and 44 million units in stores, surpassing the CD for the third consecutive year. The key difference is that vinyl has an industrial infrastructure that supports it: record companies that prioritize the format, active manufacturers and a distribution chain. The physical video, on the other hand, loses player manufacturers and the big studios prioritize streaming about the disc editions. Video game consoles, eternal support of the format, already have institutionalized versions of their hardware without disc readers. At the moment, the recovery of DVD and Blu-Ray is an isolated phenomenon. But those who we keep listening to cassettes We know better than to look over our shoulders at a format that seems dead. Header | Photo of Lance Anderson in Unsplash In Xataka | Despite streaming, I still buy Blu-Rays and DVDs. But the reason has nothing to do with image quality.

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

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Christmas is definitely behind us and the platforms greet 2026 with a few powerful premieres, some expected returns and a resurgence of the platform fight. Choose your favorite, because we bring you the juiciest news of February in terms of streaming. The queen of chess If you think that ‘Queen’s Gambit‘ is among the best things Netflix has ever produced, check out this documentary that tells the true story of the legendary Hungarian chess player Judit Polgár. Overcoming the sexism of a space controlled by men, she challenged champions like Garry Kasparov to become a champion of the sport with a career that began when she was only 12 years old, as the result of her parents’ experiment to raise geniuses. On Netflix February 6 Samuel After a triumphant stint on RTVE, this acclaimed Franco-Spanish series comes to Netflix, consisting of a single season of 21 four-minute episodes. An endearing and sometimes somewhat crude vision of the transition from childhood to adolescence through Samuel’s personal diary, which narrates his concerns, fears, goals and feelings, including everything from unrequited love to experiences such as the death of a friend’s grandmother. The minimalist visual style has a spontaneous touch that tends towards graphic experimentation, and gives rise to a little gem that adds to the best of Netflix’s animation section. On Netflix February 5 Stargate SG1 By surprise and in anticipation of the new series that Prime Video will produce, this modern classic of television science fiction arrives on Netflix. Although the platform has not specified what we can expect from this recovery, we trust that we will have at our disposal the ten seasons of which it consisted, no less than 214 episodes in total. A year after Roland Emmerich’s 1994 film tells the story, it starts with the idea that Ra was not the only alien who used stargates to transport human slaves to multiple planets. Let’s hope things go well for Netflix and we can enjoy successive spin-offs like ‘Atlantis’, ‘Universe’ and even the two direct-to-DVD movies. On Netflix February 15 The deception The Russo brothers are behind the production of this film that recovers the trope of the expert assassin retired and far from the madding crowd, but in a pirate key: Ercell “Bloody Mary” Bodden thought she had escaped her violent past, finding peace in the Cayman Islands with her husband, her son and her sister-in-law. But when her infamous ex-captain arrives seeking revenge, her world falls apart and she is forced back into action. The cast is headed by Priyanka Chopra, whom the Russos already showed us in ‘Citadel‘ and the always reliable Karl Urban. On Prime Video on February 25 Ponies Emilia Clarke and Haley Lu Richardson star in this spy comedy that promises excitement and entanglement with airs vintage thanks to its setting in the late seventies. In Moscow, two ponies (“people of no interest”) work as secretaries at the United States embassy until their husbands are murdered under mysterious circumstances. That’s when they become CIA agents. One of them is the daughter of Soviet immigrants, speaks Russian and is overqualified. His companion, the complete opposite: a somewhat reckless village girl. Together, they try to uncover a great conspiracy in the middle of the Cold War. Now available on SkyShowtime Neighbors The trendy indie production company in Hollywood, A24, is behind this documentary series that sometimes seems like a sitcom and sometimes like a demented thriller: it examines stories of absurd, scandalous and dramatic residential conflicts, starring a fauna of extravagant characters spread across the United States. Each episode features a group of neighbors in conflict, with protests ranging from property lines to the use of pets or the appearance with which they go out on the street. Surviving Paradise: Beyond Jehovah’s Witnesses For a long time, Jehovah’s Witnesses have been part of the friendlier landscape of Spanish religion. But hidden behind absolute secrecy was what many former members of the organization describe as a much more disturbing reality. This documentary goes into the annulment methods typical of a sect that many former members claim are practiced in secret: three episodes that talk about the passage of these former Witnesses through the group, their abandonment of it and the subsequent organization until reaching the trials in 2022. Rafaela and her crazy world This new series from the Chanante universe, created by Aníbal Gómez and based on his own book ‘The amazing world of Rafaella Mozarella’, promises to be absolutely insane. It is directed by Ernesto Sevilla and on board are many of the usual suspects: Aníbal himself, Ingrid García-Jonsson, Carlos Areces, Joaquín Reyes and Arturo Valls. Surreal and hooligan, it will tell us the life of a teenager who lives immersed in a dysfunctional family accompanied by three friends and a poodle. At Atresplayer on February 15 The Muppet Show (2026) Let’s get rid of comebacks that don’t interest anyone. This is the most anticipated reboot in television history since ‘DuckTales’ returned: all the classic characters in a legendary program with, how could it be otherwise, a special guest. In this case, Sabrina Carpenter with the help of the great comedian Maya Rudolph. Produces a certified Muppet fan, Seth Rogen, on a roll since he made ‘The Studio’. If this turns out half as well, we have Muppets for a while. On Disney+ on February 4 In an instant (In the Blink of an Eye) He directed two of Pixar’s best films, ‘WALL-E’ and ‘Finding Nemo’, and the industry fell on him when he signed a box office disaster that almost took down Disney, the highly underrated ‘John Carter’. It seems that Hollywood has forgiven him, and Andrew Stanton returns with a film that exhibits declared influences from ‘2001: A Space Odyssey’, ‘Magnolia’ and ‘Interstellar’. The film features three interconnected stories spanning thousands of years exploring the entire history of the world, and was presented at Sundance, where it won the prestigious Alfred P. Sloan Award (awarded for the best representation of science, … Read more

music streaming has changed and there is no longer an obvious winner

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Long gone are the times when Spotify was practically the only option to listen to music on your mobile. Today the panorama is much more interesting: Apple Music and YouTube Music They have gained weight, they have made a real place for themselves in the daily lives of many users and they have turned a decision that was previously automatic into a question that is much more complicated than it seems. If you are paying to listen to music, which one do you choose? At Xataka we want to help you solve it. Instead of asking you to try each service on your own, we have done it ourselves. Specifically, our colleague has done it Ana Boria in a new installment of ‘Versus’the video format where we have already brought products and platforms face to face with very different approaches, such as AirPods Max vs. Sony WH1000XM6 or the iPhone Air vs. Samsung Galaxy S25 Edge. Three services and a decision that is no longer obvious Ana starts from a very recognizable situation: she has been using Spotify for years, but lately she has been wondering if the time has come to change. With that doubt as a starting point, the video starts with the essentials, the catalog. “Both Spotify and Apple Music tend to stand out for their huge library of official songs from record labels,” he explains. And from there he highlights the fact that makes YouTube Music start to play with a differential advantage. The comparison also stops at an area where not everything is so obvious: sound quality. Before getting into technicalities, Ana makes clear an important idea to ground the debate: “There are technical differences that are not always noticeable if you use them with cheap headphones or common speakers, but that can be appreciated if you have good equipment and also have very fine hearing.” With that context, review the strengths and weaknesses of Spotify, Apple Music and YouTube Music in this section. Beyond what they offer on paper, it also matters how each service is experienced in daily use. And there the application makes a difference. Not everyone is looking for the same thing: some prefer a clean and minimalist interface, while others value having more options, more controls and more customization possibilities. The video goes into this point in depth and, in addition, addresses something especially useful if you come from another platform: the tools to import playlistsjust the scenario that Ana is exploring. In the final section, our colleague focuses on one of the factors that most determine the choice: subscription plans and price. It explains it very clearly and with tables to compare at a glance what each service offers and what concessions each modality implies. “In the case of Spotify, as we all know, we have a free version, with many ad cuts, low audio quality…”, he remembers, before laying out the advantages and disadvantages of each proposal. If you want to know all the details of the test, in addition to the winner of this ‘Versus’ with the new star rating system that we have just released, we invite you to see the full video on the Xataka YouTube channel. And, as always, you can leave us your opinion both there and in the comments of this article. Images | Xataka In Xataka | Apple Creator Studio is not just a subscription. It’s Apple looking to conquer the little tiktoker who uses CapCut and Canva

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

In silence, an author is selling more than anyone else in Spain and captivating streaming: Elísabet Benavent

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Elisabet Benavent has just surpassed five million copies sold in Spain, which places her among the most read fiction writers in the country in the last decade, a success comparable to that of much more established names on the Spanish publishing scene. However, while his books occupy bookstore windows and Amazon’s best-seller lists, his name barely appears in cultural supplements or debates about the state of Spanish fiction. The perfect moment. The story of Benavent It begins on January 3, 2013, when ‘In Valeria’s Shoes’ was uploaded to Amazon for 2.68 euros. There was no plan or strategy: it was the resource of those who did not have a large publishing house behind them. But it was the ideal time for self-publishing: Kindle Direct Publishing It had arrived in Spain just two years earlier, in 2011, and digital self-publishing still carried the stigma of being “the alternative for those who can’t make it.” But at that time the publishing ecosystem was changing. Travel companions. Benavent was not the only one. Javier Castillo, today one of the most read and adapted thriller authors, began by self-publishing. Eva García Sáenz de Urturi, winner of the Planeta Prize in 2020, also went through Amazon before the big publishers signed her. The pattern of “success in digital, subsequent legitimation via traditional publishing” is also repeated with Benavent: Suma de Letras (Penguin Random House label) later opted for the ‘Valeria’ saga, but by then Benavent was no longer a hidden talent, but a product validated by tens of thousands of readers. We said above that Benavent has achieved success without appearing in cultural supplements, but success is already measured in another way: through Amazon reviews and recommendation algorithms, not with what established critics say. However, despite the dizzying sales figures, the target audience of the romance genre (mostly women aged 25 to 45) has historically been ignored by traditional literary criticism, and what millions of female readers read does not count as a cultural phenomenon. Constant writer. But… what is its success due to? TO twenty-three novels in eleven years: We are not talking about an isolated stroke of luck or a unique work that triggers the phenomenon, but rather about a narrative machinery that works with the regularity typical of a franchise. The ‘Valeria’ saga sold 1.2 million copies, but it was the subsequent trilogies (‘My Choice’), the bilogies (‘Silvia’, ‘Songs and Memories’) and the independent titles (‘A Perfect Tale’, ‘Esnob’) that consolidated the empire. The formula. Very recognizable: urban female protagonists, in their thirties, professionals with work or sentimental crises and who suffer from contemporary emotional conflicts. There is no formal innovation or narrative experimentation, because Benavent does not intend to reinvent anything, but rather to use the tools of the romantic genre in accessible and direct novels: agile dialogues, humor, happy endings. It’s formula literature executed effectively, and its audience knows exactly what to expect. And the highlight is Benavent’s own constant and close activity on social networks under the nickname BetaFlirt. There she shares her creative process and generates a community of faithful who tirelessly recommend her on networks like TikTok. Netflix adaptations. They have exponentially accelerated their success: ‘Valeria’, which already has four seasons and was followed by ‘We were songs’; ‘A Perfect Tale’ was number 1 in 2023 for weeks. And book sales accompany: These can be triggered 40% after the premiere of its audiovisual versions. But it is a relationship that goes in two directions: the platforms also benefit, having identified in the romantic novel a mine of content, with audiences already convinced and without having to invest too much (Prime Video did it with Mercedes Ron and her ‘Guilty’ trilogy). The abyss As the lists of the best-selling books in Spainthe gap between commercial success and critical recognition has widened into an abyss. Thrillers, romantic fantasy, youth sagas: everything that really moves the Spanish publishing market takes place in a parallel dimension, different from the one supposedly analyzed by cultural criticism. How many authors sell hundreds of thousands of copies without any cultural supplement mentioning them? How many entire genres function as million-dollar industries, regardless of major promotions? Elisabet Benavent is not an anomaly, and that is the real crux of this matter. Header | Ariaglz on Wikipedia

All the Golden Globe nominations and where to watch them streaming

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The nominations for the 83rd edition of the Golden Globes confirm the prestige and impact of Paul Thomas Anderson, whose ‘One Battle After Another’ sweeps away nine nominations, leading this edition. The other surprise of the year, closer, are the two nominations for the Spanish film ‘Sirat’ (Foreign Language Film and Soundtrack), thus opening a door to the Oscars. This edition stands out for its notable internationalization: three of the six nominees for best drama are not filmed in English, and the Norwegian ‘Sentimental Value’ has eight nominations. On the other hand, on television, ‘The White Lotus’ dominates with six nominations. As for distributors and production companies, Netflix equals Warner in the number of nominations in film and leads the nominations in television. These are all the nominations and where to see them. Television Best supporting actor Best supporting actress Best Actress in a Comedy or Musical Best Actor in a Comedy or Musical Best Actor in a Miniseries, Anthology or Television Movie Best Actress in a Miniseries, Anthology or Television Movie Best drama actress Best Drama Actor Best drama series Best comedy series Best Limited Series, Anthology or Television Movie Best Monologue Performance Bill Maher (Bill Maher: Anyone else notice?). In HBO Max Brett Goldstein (Brett Goldstein: The Second Best Night of Your Life). In Movistar Plus+ and HBO Max Kevin Hart (Kevin Hart: Acting My Age). In Netflix Kumail Nanjiani (Kumail Nanjiani: Night Thoughts) Ricky Gervais (Ricky Gervais: Mortality) Sarah Silverman (Sarah Silverman: Postmortem). In Netflix best podcast Armchair Expert With Dax Shepard (Wondery) Call Her Daddy (Siriusxm) Good Hang With Amy Poehler (Spotify) The Mel Robbins Podcast (Siriusxm) Smartless (Siriusxm) Up First (Npr (National Public Radio) Cinema Best supporting actor Best supporting actress Best actress in drama Best actor in drama Best Actress in a Comedy or Musical Rose Byrne, If I could, I’d kick you Cynthia Erivo, Wicked: Part II Kate Hudson, Song Sung Blue: Song for Two Chase Infiniti, One battle after another Amanda Seyfried, The Testament Of Ann Lee Emma Stone, Bugonia Best actor in a comedy or musical Timothée Chalamet, Marty Supreme George Clooney, Jay Kelly. In Netflix Leonardo Dicaprio, One battle after another Ethan Hawke Blue Moon Lee Byung-Hun, No Other Choice Jesse Plemons Bugonia Best soundtrack best song best script Paul Thomas Anderson, One Battle After Another Ronald Bronstein and Josh Safdie, Marty Supreme Ryan Coogler, The Sinners. In HBO Max Maggie O’Farrell and Chloé Zhao, Hamnet Jafar Panahi, A Simple Accident Joachim Trier and Eskil Vogt, Sentimental value best director Paul Thomas Anderson, One Battle After Another Ryan Coogler, The Sinners. In HBO Max Guillermo Del Toro, Frankenstein. In Netflix Jafar Panahi, a simple accident Joachim Trier, Sentimental value Chloé Zhao, Hamnet Best foreign language film A simple accident (France) No Other Choice (South Korea) Secret Agent (Brazil) Sentimental value (Norway) Sound of Falling (Germany) Hind’s voice (Tunisia) Sirāt (Spain). In Movistar Plus+ Best animated film Best Film – Drama Frankenstein. In Netflix Hamnet a simple accident secret agent sentimental value The sinners. In HBO Max Best Motion Picture – Comedy or Musical Blue Moon Bugonia Marty Supreme No other choice New Wave One battle after another Best Cinematic and Box Office Achievement In Xataka | This new Netflix movie is so brutal that it has achieved an unusual milestone: sweeping the K-pop music charts…

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