Emilia Clarke talks about her work in Marvel, Star Wars and Terminator: “it should never have happened”

In one recent interviewEmilia Clarke reviewed her post-‘Game of Thrones’ career with unusual frankness. About ‘Secret Invasion’ he said: “I don’t think anyone liked the series.” On ‘Solo: A Star Wars Story’: “The viewers were not happy either.” On ‘Terminator: Genisys’: “It should never have happened.” He adds: “But they were jobs I said yes to. I joined franchises that were already big and established. That’s why I don’t take it personally.” It is difficult to find a better summary of how the big franchise business works in Hollywood. Some collections. Let’s see if Clarke’s feeling that they were failures is accompanied by data. ‘Solo: A Star Wars Story’ cost between 275 and 300 million dollars and raised 393 million worldwide. According to is calculatedDisney lost about $77 million on the film, making it Star Wars’ first commercial failure. ‘Secret Invasion’ had a production cost of 211.6 million dollars, a figure known thanks to the transparency demands of the UK tax incentive program, where it was filmed. More than ‘Barbie’ or ‘Oppenheimer’ cost that same year. Viewership figures on Disney+ in its first five days were the second lowest of any MCU production, only above ‘Ms. Marvel’. Critical reception was equally poor. Regarding ‘Terminator: Genesis’, 155 million budget, collection insufficient to justify sequels that had already been announced, and weak reviews. It’s not the first. In 2021, with the MCU still dominating the box office, Anthony Hopkins summarized his experience in the ‘Thor’ trilogy, between 2011 and 2017: “They put armor on me and gave me a beard. Sit on the throne, shout a little. If you’re sitting in front of a green screen, it’s acting in front of nothing.” Chris Hemsworth came to similar conclusions: recognized that in ‘Thor: Love and Thunder‘ “I got stuck improvising and clowning around, and became a parody of myself.” This time, critics and the public accompanied him in doubts. Hemsworth has described the dynamic that he calls “the curse of the superhero,” which is simply that “you get pigeonholed.” But at the same time he rejects the attitude of actors like Clarke, who criticize Marvel when their projects don’t work: “They are successful movies: put me in one. Mine doesn’t work? Well, I attack them all.” What Clarke is really saying. The heart of Clarke’s complaint is that major franchises operate as hiring machines that offer global visibility and financial rewards that few independent productions match. In return, the actor’s creative control over the result is minimal. Clarke said in the same interview that in ‘Game of Thrones’ she received the scripts and did “everything in my power to understand and empathize with the decisions.” This was not the case in later franchises. Not just Marvel. The pattern is not exclusive to a single franchise. When actress Jamie Lee Curtis rejected in 2022 participate in Marvel projects, he did so with the same type of argument as Hopkins: “they will stick stitches in my body and force me to perform in some warehouse.” What does seem to be clear and Clarke demonstrates is that when there is a commercial failure, actors seem to feel freer to point out the obvious shortcomings of a system in which they are just more meat for the content grinder. In Xataka | I have detected the exact moment in which things at Marvel began to fail and that culminated in ‘Captain America’

The industrial future is more like Terminator than Ford

“Hunter-Killers. Patrol machines. Built in automated factories.” The phrase is pronounced Kyle Reese in ‘Terminator‘, when trying to explain a future dominated by Skynet and its war machines. Forty years later, we are not in that science fiction nightmare, but the connection is too powerful to ignore: China is manufacturing structural components for stealth fighters in a highly automated plant, with almost no humans on the line and with machinery capable of working for much of the day. Turn off the light. The news comes through Science and Technology Daily. According to that source, the factory has more than doubled efficiency in the production of structural components for Chinese stealth fighters, including the J-20. The process, which previously required employees monitoring operations around the clock, now relies on autonomous vehicles, automated machinery guided by AI and systems capable of sustaining activity for almost 24 hours. Of course: we are not talking about complete planes leaving a ship alone, but rather about the manufacturing of the “skeleton” of the aircraft under conditions of very reduced human intervention. What is a dark factory. We are talking about facilities designed to operate with very little human presence, to the point that lighting is no longer a necessary condition for production. Siemens describes these plants as facilities with minimal human activity, capable of operating in the dark. We can see this idea applied to a variety of sectors: steel, mobile phones, domestic engines, and rocket ignition device parts. A complex product. The plant combines autonomous material transportation, high-precision machining, intelligent scanning and robotic inspection. Previously, however, it took two or three employees per shift to keep the machinery running all day, but now the human labor hours needed to operate the plant have been reduced by more than 80%. A factory that learns to speak. The leap did not depend solely on installing more robots. As Song Ge, head of digital manufacturing, explained to Science and Technology Daily, the dozens of machines in the plant used different protocols and software languages, a fragmentation that made it difficult to unify the line and control it as a system. The solution was to ensure that the equipment could communicate, be controlled remotely and coordinated within the same production flow. The plane behind the factory. The J-20 occupies a central place in Chinese air modernization. The Chinese Ministry of Defense confirmed in 2018 its entry into combat service and presented it as a fighter with the capacity to contest air superiority, carry out precision attacks against land and maritime targets, electronic interference and tactical command. An old dream with new machinery. The idea of ​​manufacturing almost without humans was not born with China or with the J-20. CNN recalled in 2003 That dream already came from the eighties, when General Motors imagined robots so reliable that they could assemble transmissions in the dark. That collided with a much clumsier reality: the machines did not work well even with the lights on. Today the map is broader: FANUC has operated a dark factory in Japan since 2001, Makuta Micro Molding applies that model in the United States to microinjection molding and Philips has produced electric clippers in the Netherlands with a highly automated unit supported by hundreds of robots. Looking to the future. The industrial future does not have to look like Skynet, but it does point to factories where human presence weighs less in certain production phases. And when that happens, keeping the lights on throughout the entire operation stops being a productive necessity and becomes dependent on when people enter the plant. Images | Chinese Ministry of Defense In Xataka | Airbus had a single center in the world to convert commercial aircraft into military tankers. Now another one will open in Seville

If Ukraine promoted the use of drones, Iran has triggered the Terminator algorithm. And that was already a problem in science fiction

In the gulf war 1991, the international coalition took more than a month to launch some 100,000 airstrikes after weeks of planning. Three decades later, the ability to process military information has changed radically: satellites, sensors and drones generate amounts of data that no human team could analyze alone. In this new technological environment, the true battlefield is no longer just the air or the land, but the speed at which information is interpreted. From the drone to the algorithm. Recent wars had already anticipated a profound transformation of modern combat, but the conflict with Iran seems to have crossed a different technological frontier. If the war in ukraine popularized the massive use of drones as a dominant tool from the battlefield, the campaign against Iran has introduced a logical even more radical: integration artificial intelligence at the very heart of military decisions. In fact, the initial attacks showed an intensity difficult to imagine just a few years ago, with hundreds of targets hit in a matter of hours and thousands in a few days. That speed was not only the result of greater firepower, but also of the use of capable systems of analyzing enormous volumes of data and transforming that information into almost instantaneous attack plans. Understanding the “kill chain”. I remembered this morning the financial times that traditional war, the so-called chain of destruction (from identifying a target to launching the attack) was a long and bureaucratic process. Intelligence officers analyzed information, wrote reports, commanders evaluated options and finally the coup was authorized. A process that could take hours or even days. The incorporation of AI is reducing that cycle drastically. We are talking about platforms that integrate data from satellites, drones, sensors and intercepted communications that are capable of generating lists of targets, prioritizing them and suggesting the appropriate weapon in a matter of seconds. The result is extreme and disturbing compression of the kill chain: What once required prolonged deliberation now becomes an almost instantaneous sequence. The digital brain of the battlefield. Behind this acceleration are data analysis systems that act as a true operational “brain.” These platforms combine geospatial intelligence, machine learning and advanced language models to interpret information and propose military actions. Its most disruptive capacity is that it no longer only summarizes data, but can reason step by stepevaluate alternatives and generate tactical recommendations. This allows military commanders to process volumes of information that are impossible to handle manually and multiply the number of operational decisions made in the same period of time. In practice, algorithms are allowing select and execute objectives at a scale and speed that were previously unthinkable. Bomb faster than thought. The result of this transformation is a war that begins to move at a rapid speed. higher than human pace. Artificial intelligence can now analyze information, detect patterns and propose attacks faster than a team of analysts could even formulate the right questions. Some experts describe This phenomenon as a form of “compressed decision,” in which planning is reduced to such short windows of time that human managers can barely review what the machine has already processed. In this context, another disturbing idea: that destruction can precede the human reflection process itself, that is, first comes the recommendation generated by the algorithm and then the formal approval of the person who must execute it. And there, there is no doubt, we can have a problem of colossal dimensions. The human dilemma in algorithmic warfare. Because this technological acceleration is generating a growing debate about the real role of humans in military decision-making. Although the armed forces they insist As final control remains in the hands of people, the time available to evaluate system recommendations is increasingly reduced. Some analysts fear that this will lead to a form of “cognitive download”one in which military leaders end up automatically trusting the decisions generated by algorithms. Other countries like China itself observe this evolution with concern and warn of the risk that automated systems end up directly influencing life or death decisions on the battlefield, associating the scenario with the closest thing to the “Terminator algorithm” due to the unequivocal way in which all paths approach James Cameron’s fantastic proposal. A new accelerated war. If you will also, what is emerging is not just a new military technology, but rather a new time of the war. AI makes it possible to process information on a massive scale, identify targets more quickly, and execute attacks with unprecedented simultaneity. This means that military campaigns can develop at a pace that overflows the models traditional planning. From this perspective, war no longer advances solely at the pace of logistics or firepower, but at the pace of algorithms capable of interpreting the battlefield in real time. And in this unprecedented scenario, strategic advantage could increasingly depend on who is able to think (or calculate) faster than the adversary. Although neither of them be human. Image | Ministry of Defense of Ukraine In Xataka | China has just found a hole in the US’s quietest weapon: an algorithm has hacked its B-2s in Iran In Xataka | The great paradox of war: the US ignored Ukraine’s pleas to Russia and now needs it in Iran

The game I have the most I have this year is an official adaptation of ‘Terminator 2’ and it is pure mega drive aesthetic

‘Terminator 2’, La Legendary 1992 James Cameron movie that put the concept of the concept of Blockbuster and then nascent digital effects, had its corresponding adaptations to video games. Among them, a gun arcade that caused a furor in its day in the recreational rooms, an action and adventure title for almost all the microordination of the time, and adaptations of very varied fur for the entire Park Consolero of the moment, of 8 and 16 bits and even Game Boy. But none looked like the newly announced ‘Terminator 2: No Fate’. It is a game announced by surprise and that has all the aesthetics and atmosphere of the 16 -bit mega drive and super nintendo -type platform platform games. Pixelated but colorful graphics, limited but careful animations and digitalized replicas of the film’s actors and robots for the cutscenes. A true visual show that replicates several scenes of the film, from the flight of the Sarah Connor prison to persecution with the T-800 on the back of the motorcycle with John Connor, going through the initial visit of Schwarzenegger to the biker bar looking for something to put on top. Not only that, but ‘Terminator 2: No Fate’ Add levels and expand the narrative of the film with scenes from its harvest set, above all, in the future. There, a John Connor already faces machines at 2D massacre levels that in some graphic virguería have reminded us of the final bosses of classics such as ‘against’. In the game you can control, according to the phase, Sarah Connor, John Connor or T-800, although no details have been given about the possible mechanics that differentiate them beyond the obvious. Experience in Terminators The game is signed by Bitmap Bureauwhich intend to edit versions for PlayStation, Xbox and Nintendo Switch on September 5, 2025. The study is an expert in retro -flavor titles, as they have shown in the lateral action game ’88 Heroes’, in the Brawler ‘Final Vendetta’, which recovers the aesthetics and mechanics of ‘Final Fight’, and in the Shooter sand Cenital and cooperative ‘Xeno Crisis’. Three credentials that guarantee that they will do an excellent job with ‘Terminator 2: No Fate’. To this is added that the game is edited by Reef Entertainment, Publisher that has already entered the ‘Terminator’ franchise twicewith two games developed by Teyon and excellent results. ‘Terminator: Resistance’ and its DLC ‘Annihilation Line’ are fps that send us to the future, to the struggle of humanity against machines. There we will have to face many of the robots that we have seen in the movies. On the other hand, in a special way, games even allow the skin of an T-800 to annihilate humans. Another exception curriculum that only adds points to this stimulant ‘Terminator 2: No Fate’ Header | Bitmap Bureau In Xataka | James Cameron’s key to get with ‘Terminator 2’ and ‘Aliens’ two of the best sequelae in history

Log In

Forgot password?

Forgot password?

Enter your account data and we will send you a link to reset your password.

Your password reset link appears to be invalid or expired.

Log in

Privacy Policy

Add to Collection

No Collections

Here you'll find all collections you've created before.