VIDEO

In record time since its release in theaters, one of the most resounding box office failures of the year arrives tomorrow on Prime Video

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‘He-Man and the Masters of the Universe’ comes to Prime Video this Wednesday, July 22, just forty-seven days after its release in theaters. The reason for arriving at streaming With such a short margin of time it is its failure at the box office: it opened with 29.4 million dollars in North America, remained at 64.6 million domestically and closed the world tour at 113.3 million, very far from recovering a budget of between 170 and 200 million dollars. The rapid arrival of films that better captured the public’s attention, such as ‘Toy Story 4’ or the surprise hits of ‘Backrooms’ and ‘Obsession’, ended up burying it. However, the film is very enjoyable and moves away from the greatest temptation that a project to adapt a toy franchise from the eighties like this one can have: making it adult and reflective. Travis Knight, director of the excellent ‘Bumblebee’, does not darken Eternia: he opts for bright colors and Jared Leto’s Skeletor who enjoys every line of the cartoon villain without taking himself too seriously. Nicholas Galitzine builds a clumsy rather than heroic He-Man, closer to a clueless kid from a family movie from the decade in which dolls were rampant than to Dolph Lundgren, and that character is what guides the entire film. Seeing her now, at home and without paying an entrance fee, is a good way to meet her again. It works better for someone who recognizes the names Roboto or Tri-Klops than for someone looking for the founding film of a new fantasy franchise, mind you. But Luckily, the film also holds up without the need for those winks.with action shot with skill and a cast that delivers performances (Idris Elba as Duncan, Camila Mendes as Teela, Alison Brie as Evil-Lyn) that are in the perfect (and not at all complacent) space between self-parody and more or less sincere emotion. It is not clear if the film will find an audience as the even better ‘Dungeons & Dragons: Honor Among Thieves’ from 2023 ended up finding, but what is guaranteed is that the Mattel franchise has just definitively entered a period of hibernation that, hand in hand with another summer puncture, ‘The Mandalorian & Grogu’, leaves a very clear lesson: nostalgia millennial It is no longer enough, on its own, to sustain a blockbuster. In Xataka | If you think Nicolas Cage can’t go any further, try this strange gem that just arrived on Prime Video

Spain has won the World Cup. Good luck finding the exact video of that moment you want to see again.

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Spain is world champion again. And one of the questions that struck me this morning was how complicated it is, paradoxically, to find specific moments from this 2026 World Cup as opposed to how easy it is to locate those from the 2010 World Cup. It is a question that has nothing to do with the scoreboard but with how the Internet has evolved. In 16 years… will it be as easy to find the moments of 2026 as it is now to find those of 2010? The panoramic. In 2010, YouTube was the home of online video. Any recording of the South Africa final, made with TV or mobile cameras, ended up uploaded there, indexed on a platform designed to locate specific videos, with title and date. In 2026 that exercise is more difficult, and that difficulty is going to get worse. The video no longer lives in one place, now it also lives on TikTok, on Instagram, in private accounts, in stories that disappear after 24 hours, in whatsapp groups that never reach the search engine. Why is it important. We assume that we record and share more than ever, so we assume that everything is archived somewhere. It’s not like that. A fan records the goal from the stands with his cell phone, uploads it to TikTokgoes viral, a TV cuts it out for its news citing the source… and there the trail ends. That video may never make it to YouTube. The account that uploaded it may be private. It may not be easy to locate later using the TikTok search engine. And there may never be a record of that shot anywhere else. Between the lines. All platforms have become video platforms, but each one has a different purpose and editorial line, and that makes finding something specific a more complex task. Or impossible. It is a phenomenon similar to what has happened with text search, although for different reasons: content and communities have been divided into fragments that do not communicate with each other. The rise of newsletterscommunities locked in Discord or Telegram, etc. A centralized search engine indexes text designed to be found. An ephemeral video app indexes immediate attention, but not long-term memory. They are opposite design goals. Yes, but. For the occasional user it is much more difficult to locate moments in this atomization. For the user hooked on specific platforms, it is not so much because they know how to navigate them and know where to look within each one. That means that the problem is not only technological, but also one of skill and time invested in learning the logic of each application. And now what. In 16 years, someone will want to see moments from this World Cup, like the anthem played by tubas, or Ferran’s goal recorded from a very specific seat. If that video never reaches a platform with an archiving vocation, that person will find an empty space. The collective memory of that World Cup will largely depend on editorial decisions that none of the platforms involved took with the archive in mind, but rather with the minute in which that video retained attention. In Xataka | Shy of the world, we are losing the Internet Featured image | FIFA

Video game preservation has already been mortally wounded with Sony. The next blow comes from an entire country: Germany

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Many times we have treated video games as if their availability was guaranteed, even when they depended on discs, digital stores and servers that could disappear. What we have seen this week reminds us that preserving them requires more than will: we need supports that survive and organizations capable of cataloging them, maintaining them and opening them to researchers and the public. Sony has decided to close one of those avenues for future releases. Almost at the same time, Germany has dropped one of the most ambitious public projects that existed to prevent that memory from being lost. The closure is already underway. The Internationale Computerspielesammlung, known as ICS, is in the process of dissolution after the public funding that supported it expired at the end of April 2026. GamesWirtschaft points out that The federal government refused to renew its share of support and the partners voted unanimously to dissolve the company. The decision does not erase the existing collections at once, but it does leave the shared database and the infrastructure that allowed it to be consulted without defined continuity, the future of which remains under legal and technical review. An archive of more than 60,000 games. The ICS gathered records and funds provided by institutions such as the Computerspielemuseum of Berlin, the USK, the game association and the DIGAREC research center. The collection encompassed cartridges, floppy disks, CDs, DVDs and Blu-ray, as well as boxes, manuals, associated materials and hardware. Of course, what could be publicly consulted since April 2019 was the digital database, not the games themselves. The physical pieces remain in the hands of the proprietary entities. The ambition went much further. The ICS aspired to gather in one place the funds that were still distributed among its partners and turn the whole into a stable tool for researchers, media and specialists. The plan included facilitating access through automated emulation and creating a permanent public headquarters in the German capital region. The complete leap was never consolidated: a repository already existed, but permanent institutionalization, public headquarters and the access provided through emulation were missing. That second phase remained uncompleted. The money did not find a stable outlet. The aid came from the Berlin Senate and the Federal Commissioner for Culture, but was linked to a temporary phase of the initiative. When the video game policy passed to the Federal Ministry of Research, Technology and Space in 2025, it studied whether it could turn the ICS into a permanent institution. He ultimately concluded that the model was not economically viable due to the scale of the work required. Preserving also means guaranteeing access. The scenario left by these two movements does not only imply that there are fewer objects to save or fewer projects capable of organizing them. It also weakens the ability to consult, study and understand these games decades from now, when they will depend on hardware, documentation and systems that may no longer exist. The coincidence between Sony’s announcement and the fall of the ICS points in that direction: the video game memory does not disappear all at once, but when the structures that keep it available are removed, one by one. Images | Sei In Xataka | ‘Minecraft’ has achieved something revolutionary in the dynamics of the game: allowing its users to sit

Tomorrow one of the most incredibly strange films of the late Nicolas Cage arrives on Prime Video

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There is a scene where Nicolas Cage fills a bottle with cloudy water from a public tap and tries to drink it. Shortly after he is about to eat a dead rat. Neither of them is the strangest image in the film, and that says enough about the terrain in which it moves.The Surfer‘, a psychological thriller that had a very discreet run in theaters in 2025 and now, a year and a half later and since July 17, it shines as one of the strangest pieces in the summer catalog of Prime Video. The film follows an unnamed man (Cage) who takes his teenage son to the Australian beach where he surfed as a child. He wants to buy the family house on the cliff, the same one he grew up in before his father died. The welcome is not what was expected: a group of local surfers, the Bay Boys, led by the charismatic Scally (Julian McMahon, whom we remember from ‘Nip and Tuck’ and The Fantastic Four – no, not that one, the other one… no, that one neither, the other one -), prevents him from entering the water with a mantra that is repeated throughout the film: “If you don’t live here, you don’t surf here.” And what starts as a one-time humiliation turns into a spiral of harassment with the heat of the Australian summer in the background. The Irishman Lorcan Finnegan, director of the film, is not a new name for fans of psychological tension films. Before this, he signed the magnificent ‘Vivarium’, with Jesse Eisenberg and Imogen Poots trapped in a residential neighborhood that repeats itself ad infinitum, and ‘Nocebo Effect’ (2022), with an Eva Green affected by a suffocating exotic disease. In all three titles he works with a closed and oppressive space that begins as everyday and ends up becoming a trap. And this time the film has an excellent plus: the Australian sun, which has given us so many magnificent works of extreme oppression, such as ‘Long Weekend’ or ‘Waking Up in Hell’. On this occasion, in addition, the disturbing desert of the country is contrasted with the beaches where Cage goes, allowing himself to give one of his best manic and out of character performances, for the first time in an environment that does him absolute justice. In Xataka | We won’t have any more ‘Stargate’: the perfect excuse to recover this peak of 90s science fiction

It’s one of the best sci-fi movies of the 90s, great company for the heat, and it’s on Prime Video

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In 1994 no studio wanted to finance a film about an alien portal with two actors without much success at the box office. Almost 32 years later it is a franchise that includes a series with hundreds of episodes (which, by the way, has already been confirmed not to return, reinforcing the cult status of the film and original series), and a perfect plan for hot summer nights. We talk, of course, about ‘Stargate. Gate to the stars‘, which you can recover in Prime Video. According to producer Dean Devlin, all the Hollywood studios rejected the proposal, claiming that science fiction was no longer of interest to the public. Finally, Metro-Goldwyn-Mayer agreed to distribute it to fill a gap in its release schedule, and the small but ambitious production company Carolco Pictures financed the filming, which would end up costing $55 million. In it we will see how an Egyptologist (James Spader) deciphers the hieroglyphs engraved on a ring found in Egypt in 1928 and discovers that it is a portal capable of opening a wormhole to another planet and will begin a journey joined by an army colonel (Kurt Russell). An interesting proposal that, despite the initial cold critical reception, has ended up gaining cult status for its eminently blockbuster (Roland Emmerich would go on to ‘Independence Day’, so he was becoming an expert in the blockbuster genre.) ‘Stargate’ grossed $16.6 million in its premiere, the best opening for the month of October until then, and ended up accumulating $196.5 million worldwide. The commercial success, however, was not enough to ensure a film sequel. Carolco went bankrupt in 1995 because of ‘The Island of Severed Heads’, and the rights ended up in the hands of MGM, which opted to develop a television series, Stargate SG-1, which would last ten seasons and would later give rise to ‘Stargate Atlantis’ and ‘Stargate Universe’. An epic of decades that we can now recover by claiming its taste for adventure in its purest form. In Xataka | One of the best horror and action films of recent years comes to Netflix. Four Oscars certify it

Sony has just set a date for the end of video games in physical format. At the same time it announces the closure of digital stores

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The main players in the video game industry have been looking for years to find out how to migrate from physical Blu-Ray to digital format and they already have the answer: Sony has just set the date for the death of the physical format in video games. In a brief releasethe Japanese company has announced that January 2028 will be the turning point and that all the games that come out later for its consoles will arrive only in digital format. Curiously, at the same time that they dropped that bomb, the Japanese they threw another: the closure of the PlayStation Store for PS3 and PS Vita. Definitely not the best news to start July if you are a video game lover (and you like to own what you pay for). We go in parts because it has chicha. The end of physical games on PlayStation consoles “As consumer preferences and the broader entertainment industry continue to shift from physical to digital discs, production of physical game discs for all new games released on PlayStation consoles will be discontinued beginning in January 2028. After this date, new games will be available on the PlayStation Store and at retailers in digital formats only.” Thus begins the statement from a company that continues to claim that this is a “natural direction” to adapt to consumer trends. They argue that “the overall preference for digital media significantly outweighs physical discs” and comment that they are doing gamers a favor because this decision will “allow us to align more closely with how the majority of our community prefers to access and play games today.” This news comes just a few days after we learned that a generational game like ‘GTA VI’ will not have a physical edition (at least at launch) and follows the trend of Sony, Microsoft and Nintendo that, in recent years, have invested heavily in the move to digital. There are consoles without a reader, a PS5 Pro whose reader was sold separately or a Nintendo that has launched Game Key Cards. It is undeniable that the convenience of the digital format was winning the battle. Recent estimates have put this on the table in major markets such as the United States, but the physical format has something that the digital format cannot offer: belonging. Because digital games (except those from stores like GOG) do not belong to whoever pays for them. They are user licenses, which means that today we can pay 80 euros for one, but if tomorrow whoever decides that that license is no longer valid, they can delete it. Even if you had it installed on the machine (tell that to ‘The Crew’ users). Some physical games were also paperweights that required an additional download, but the only way to own a video game was to buy a physical version that came complete on disk. With this movement, Sony gives an important blow to the possession of the product for which you have paid, but it completely destroys the second hand that is so important to access that cultural product called a video game. Sony won the PS4 generation with, among other things, that argument: the loan of video games and the free circulation of discs. And not that long ago. Because Sony announcing that it will stop “printing” discs is just that, a brutal blow to video games in physical format. Sony, along with Panasonic, was the main manufacturer of Blu-Ray discs, the one with the production chain and to which the rest of the companies have to send their games to capture them on the disc. And in the statement the company does not say: “we are going to stop manufacturing discs of our games”, but rather the “production of physical discs that will end in January 2028 for new games released on PlayStation consoles”, in general. In development…

“The video game is unaffordable in many cases as we have traditionally conceived it”

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Surely this is not the first time you have heard that the video game makes more money than cinema. That’s right, according to the data, although with certain nuances. However, the gaming industry is not having it easy right now, especially due to the situation with layoffs, the closure of studios, the component crisis or its difficulties in reaching a new audience. Opinions. Asha Sharma, the new CEO of Xbox, has opinions on the matter, and assures that traditional gaming has become inaccessible to many. His statements come at a particularly delicate time for his own company. And he is right, since the component crisis and the state of the industry in general is making it increasingly prohibitive to buy hardware or games. But on the other hand, it is worth remembering that Microsoft is precisely a company that also contributes to the very poor state of this industry. We have the last example in the latest increase in the price of its consoles. At the same time, it must also be said that we are at a point where we have more games (and very good ones) than ever, even titles that do not cost us any basic cost. The traditional video game is in danger. In an interview with Entertainment Weeklythe CEO of Xbox said that the video game “is unaffordable in many cases, as we have traditionally conceived it.” It’s not just about the price of hardware, but also, as she noted, “the economics of attention and the competition of subscriptions.” It is a sum of factors important enough to be expelling players from their favorite ecosystems. Although Xbox has many more problems than that. How is the panorama on Xbox. Sharma, who came from the world of AI, came to Xbox just a few months ago with no prior experience in the video game industry. That caused some rejection on social networks, but your first decisionsas recover Xbox name for Microsoft’s gaming division, give details of its next console, lower the price of Game Pass (still much more expensive than a few years ago) or returning (half-way) to console exclusives like Gears of War: E-Day, they have given it some credit. Xbox wanted to believe that this year’s Showcase was going to become a moment of reaffirmation. However, weeks later the other side arrived: with an internal communication that the company itself made public, and that it spoke of a drop in income, the hardware component crisisand how it has been “overextended” in the execution of its strategy. Additionally, rumors are mounting about another wave of mass layoffs and studio closures, although Xbox has not officially confirmed them. The problem crosses borders. That things are this regular is not something exclusive to Xbox. The entire industry suffers from structural tensions. Electronic components are more expensive than ever due to high demand for AI data centersand platforms compete for users’ time and money in an increasingly subscription-saturated environment. In this context, the price of entry to play games, whether it is a console, a mid-range PC or simply keeping up to date with all the services, has skyrocketed. “It is a very difficult formula. It is a very demanding business, but I think it is a very special business” recognize Sharma. Xbox’s bet to open the game. Todd Green, head of King (the company that owns Candy Crush that Microsoft acquired together with Activision Blizzard in 2023) explained in the same interview that his philosophy is to “treat everyone as important, regardless of whether they describe themselves as a gamer or not.” Candy Crush, with hundreds of millions of users, represents exactly that model, as it is an accessible title, free in its most basic form, and with no barrier to entry. What is at stake. If we refer only to billing, and although the comparison is a bit petecanderthe video game far surpasses the cinema. According to the Entertainment Software AssociationAmerican consumers spent $60.7 billion on video games in 2025, compared to nearly $8.87 billion at the box office that same year. But those overall numbers don’t necessarily reflect what the average player experiences. The challenge for Xbox, and the industry in general, is to find a way so that this growth is not concentrated only at the extremes, that is, the casual mobile gamer and the enthusiast with an unlimited budget, leaving everyone in the middle without a reasonable option. What’s coming now? Sharma has made it clear that his vision for Xbox goes beyond consoles, as he wants to turn the division into the largest entertainment company in the world, and that also happens with adaptations of its franchises in film and television, as is already the case with Fallout and Minecraft, and coming soon with Gears of War either Sea of ​​Thieves. But first you will have to resolve many pending issues. Cover image | Xbox In Xataka | 24 years ago Oliver Kahn sued EA and won. Then a new goalkeeper appeared in football games: Jens Mustermann

NASA and video games use it more than a century after its discovery

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It had rained heavily that morning of October 16, 1943, so when it cleared Sir William Rowan Hamilton He finished his whiskey (no whiskey, that’s why it was Irish) and asked his fragile wife if they would go out for a walk around Dublin. He had been working on a mathematical problem involving complex numbers for years without success, and decided it was a good idea to get some air. That’s what he did. They walked, talked about their children’s future and as they crossed Broom Bridge Sir William’s light bulb suddenly went on. “Helen!” he exclaimed, “I don’t need to multiply triplets: I can use quadruples!” Helen didn’t know anything, of course, but at that moment quaternions were born, an extension of real numbers that more than a century or a half later are critical for NASA’s space missions and also for the video game industry. Good for Sir William. Worthy successor to Sir Isaac Newton Sir William Rowan Hamilton (Dublin, 1805-1865) stood out since childhood. At the age of thirteen he already spoke several European languages, but also Persian, Arabic, Sanskrit and Malay. When he was 8 years old, his fame was already notable, and the tour of the American calculus prodigy, Zerah Colburn, gave him the opportunity to prove his brilliance. That 9-year-old American boy crushed him on a mental arithmetic test, and that showed little Hamilton the way. He would continue studying languages, but what he wanted to do was dedicate himself to mathematics. In 1823 that young man achieved first place among 100 candidates in the Trinity College exams. The prestigious Irish university soon discovered the brilliance of Hamilton, who already in his student days wrote part of his treatise on optics, the well-known “Theory of Ray Systems“. That was key so that in 1827 he ended up occupying the position of Royal Astronomer of Ireland, a well-paid chair that was unheard of for it to end up in the hands of an undergraduate. Not only that: it gave Hamilton the opportunity to research freely, something he would not have been able to do in a hypothetical position as a professor at Trinity College. His work in the field of optics would end up mixing with that of dynamics and algebra in the 1830s. His work with several colleagues led him to pursue a very special objective: to try to generalize complex numbers in order to represent rotations and movements of vectors in space. three-dimensional. If he succeeded, he would have a very powerful tool to formulate the basic laws of physics and describe the movement of rigid bodies in space. In 1833 he presented a paper to the Royal Irish Academy in which he defined addition and maltiplication operations on pairs of real numbers. He was the first mathematician to treat complex numbers as ordered pairs (Gauss had done so before, but without publishing his discoveries) and his vision was closely related to physics. To try to advance in that field, Hamilton tried to study what he called the “Triplet Theory”, hypercomplex numbers referred to three-dimensional space in the same way that complex numbers referred to two-dimensional space. It was that that led him to the discovery of the quaternions. The triplets did not have the common properties of complex numbers when trying to multiply them and his obsession with the problem was such that even his children ended up asking him the same thing every morning: “Well dad, can you multiply triplets now?”, to which he replied: “no, for now I can only add and subtract them.” And then came that ride. Hamilton would describe that happy moment of sudden discovery in a letter to one of his sons fifteen years after it occurred: “Tomorrow will be the fifteenth birthday of the quaternions. They came into life, or into the light, fully grown, on October 16, 1843, when I was walking with Mrs. Hamilton towards Dublin, and we arrived at Broughman’s Bridge. That is, then and there, I closed the galvanic circuit of thought and the sparks that fell were the fundamental equations between i, j, k; exactly as I have used them ever since. I took out, at that moment, a pocket notebook, which still exists, and made a note, on which, at that very moment, I felt that it would possibly be valuable to extend my work for at least the ten (or it could be fifteen) years to come. It is fair to say that this happened because I felt, at that moment, that a problem had been solved, an intellectual desire relieved, a desire that had haunted me for at least the previous fifteen years. I could not resist the impulse to take my knife and engrave on a stone of Brougham Bridge the fundamental formula with the symbols i, j, k: i2=j2=k2=ijk=−1 which contained the solution to the Problem, which has since survived as an inscription. Hamilton called a quadruple with those multiplication rules a quaternion, and he dedicated the rest of his life to studying them, developing them, and teaching them to students and academics. Quaternions in space, quaternions in video games The study of quaternions has led to many other mathematical discoveries, but their application has been amazing more than a century and a half after that walk. In fact, quaternions are used in flight computers or in simulation studies in which large changes in angle are involved when monitoring the altitude of the spacecraft. The use of quaternions eliminate problems like Euler singularity and allows the use of only four parameters, in addition to being ideal for digital error control. In fact the so-called unitary quaternions allow counting with a mathematical notation to represent the orientations and rotations of objects in three dimensions, and therefore are widely used in robotics or navigation satellite orbital mechanics and are used in NASA missions for decades. That same ability to represent rotations in space is key for the development of 3D video games … Read more

How to request the 400 euros to buy music, video games and subscriptions if you are 18 years old

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Let’s explain to you how to apply for the 2026 Young Cultural Bonusthe new edition of this aid so that those who turn 18 in Spain have a credit of 400 euros to spend on cultural products. He Young Cultural Bonus It was launched in 2022 to bring young people closer to the cultural sectors punished during the pandemic, but since then it has been maintained. The idea is that young people spend money on culture. We are going to start the article by telling you what this bonus is and all the details, specifying what the money will be spent on. Then, we will explain to you the process you must follow to request it. Finally, remember that in addition to turning 18 in 2026, the aid is aimed at young people of Spanish nationalitythose who have legal residence in Spain, and asylum seekers, temporarily displaced persons or formerly protected foreigners. What is the Young Cultural Bonus The Young Cultural Bonus is the aid that is given each year to young people who turn 18 years old. Come on, 400 euros are going to be given to everyone who comes of age in 2026. This money is not for them to spend on whatever they want, but for them to buy products, services and activities related to the world of culture. This aid was born to finance and revitalize the Spanish cultural sector after the COVID-19 quarantines, although once they returned to normal they have been maintained. It is not known how long this cultural bonus will exist, because it is something that is approved each year. This is indirect aid for the cultural sectors. Instead of simply giving money to establishments, it is given to young people so that they can consume the culture they want in pre-established cultural products. This last part is the most important. You cannot spend 400 euros on a specific type of product. this money It is divided into three types of productsand for each of them there is a spending limit. You can’t spend it anywhere either.but in establishments that have joined the program. The aid is only for those who turn 18 years old. Therefore, it will only benefit those who have born in 2008while people and young people of other ages will not be able to benefit. Only those who turn 18 during 2026. In addition, it will be necessary to have Spanish nationality, legal residence in Spain, or be asylum seekers, temporarily displaced or ex-tutored foreigners. The management of the aid is centralized on a specific website, where young people can request the voucher. And then, In your city you will see which establishments participatesince they usually put in the window that they accept Cultural Bonus, and you will know that you can spend the money there. What can the bonus be spent on? What’s new this year is that There are two types of spending to decide the structure of what to spend the money on. On the one hand we have the traditional modality, which is the following: A maximum of 200 euros in live arts, cultural heritage and audiovisual arts: This will be divided between tickets and passes for performing arts, including live music, cinema, museums, libraries, exhibitions and performing, literary, musical or audiovisual festivals. Also for bullfighting shows. A maximum of 100 euros in cultural products in physical format: This will be divided between books, magazines, press and periodicals. It can also be spent in video gamesmusical scores, vinyl recordsCD, DVD or Blu-ray. A maximum of 100 euros in digital or online consumption: This will be divided between subscriptions and rentals to music, reading or audio-reading, audiovisual platforms, purchase of audiobooks, purchase of ebooks, subscription to podcasts, subscriptions to online video games, digital subscriptions to press, magazines or other periodical publications. Yes indeed, Subscriptions will be limited to a maximum of four months. The purchase of some stationery products such as printed or digital curricular textbooks, as well as computer and electronic equipment, software, hardware and consumables, is excluded from the aid. You will also not be able to buy musical instruments, go to sporting events, or buy pornographic material. The second modality is training. With it, you can invest the full 400 euros in courses and workshops with cultural content in person and online and musical instruments and means of artistic creation and material. A final condition is that You can only use the voucher in certain establishments or institutions attached to the program. These businesses must operate within Spain or carry out activities of sale or provision of cultural products, activities and services. How to request the Young Cultural Bonus 2026 To request the Young Cultural Bonus for 2026 you have to enter its official website, which changes every year. This year’s is beneficiaries.2026.bonoculturajoven.gob.es. who is the official of the program. In it, press the button Registerand create an account using your email and a password. Once you have registered, on this same website you can log in with your created account. Once you have created your username and password, you will receive an email with a confirmation link, and you must click on it to complete the process. Once you do it, press the button Request bonus that will appear to you. The first time you do it you will have to verify your information and age using the digital certificate either Cl@ve. Afterwards, you will have to fill in the rest of your main information. Once you have done this, you can now choose how you want the cultural bonus. The easiest thing is to have a virtual card that you can add to Google Pay or Apple Pay to pay with your mobile’s NFC, although you will also have the possibility of requesting a physical card. When you finish the setup, you will need to verify your request using Self-signature. Once you have everything, remember that you will only be able to use this balance that is given to … Read more

Claude Guillemot, the co-founder of Ubisoft who turned a store in Brittany into a video game empire, dies

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Claude Guillemot, one of the five brothers who founded Ubisoft in 1986 and until now current executive vice president of operations of the company, died yesterday, June 19, 2026 at the age of 69 when his Cessna 421 plane crashed in a field near the La Baule airfield, in the department of Loire-Atlantique, as reported by France 3. The other fatality is a flight instructor from Rennes whose identity has not yet been confirmed. Ubisoft’s silent architect. Although his brother Yves Guillemot is the most visible face of the company as CEO, Claude’s role in the birth of Ubisoft was essential: according to 3DJuegoswas the one who opened Guillemot Informatique in Carentoir in 1984, the original computer store that served as the base for Ubisoft that would be born just a couple of years later. Until his death he was an active member of the Board of Directors and, according to your company filebrought to the board his international experience in Asia and his in-depth knowledge of video game hardware and distribution technologies. He was also CEO of Guillemot Corporation since 1997, a company specialized in video game peripherals under the Thrustmaster and Hercules brands, present in more than 140 countries. At Ubisoft’s worst moment. Guillemot’s death hits a company that is going through a difficult time: Ubisoft has recorded record losses of 1.3 billion euros in the 2025-26 fiscal year, with a drop in income of 17.4%. The crisis has specific causes: has canceled six gamesincluding the remake of ‘Prince of Persia: The Sands of Time‘, and delayed another seven, assuming as lost the 650 million already spent on development. To achieve liquidity, has transferred 25% of Vantage Studios to Tencent for 1,160 million euros. The company foresees that the next year will also be in the red, with an additional estimated drop in sales of between 8% and 9% and does not expect to return to profitability until the 2027-28 financial year. Yves Guillemot himself advertisement in January 2026 a large-scale “reset”, describing the company’s momentum as an opportunity to return to sustainable growth. The end of an era. In the absence of the Bureau d’Enquêtes et d’Analyses completing the investigation into the accident, what is already definitive is the loss of one of the five architects of the only major European video game multinational capable of competing with the major North American and Japanese studios for four decades. The Guillemot family controls around 14% of Ubisoft’s capital through Guillemot Brothers SE (according to data from Euronext Paris), and the reorganization of that control structure will be one of the first issues that the market will monitor in the coming weeks. In Xataka | What’s happening with Ubisoft: after canceling six games and adjusting its structure, this is the plan of the great French studio In Xataka | A single programmer, simple mechanics, crappy graphics and Paint interface. And he has earned ten million in a week Cover | Shuichi Aizawa

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