watched

Not only has the US just lost the “eye” that Hormuz watched, its nuclear aircraft carrier is in Africa for fear of being shot down

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Year 2019, an American surveillance drone more than 200 million of dollars disappears from the radar over the Gulf of Oman and, a few hours later, Iran shows its remains to the world on television. It was not the first time something like this had happened, but it was one of the most uncomfortable: a machine designed to see everything had been seen before it could react. Since then, in that part of the map, each silence in the systems begins to weigh more than it seems. Losing the “eye” that watched Hormuz. Confirmation of the fall of MQ-4C Triton a few hours ago is not a simple technical incident, but the loss of one of the most advanced pieces of the US surveillance system in the Persian Gulf. This drone, capable of operating at high altitude for hours and equipped with cutting-edge sensors, was key to monitor naval movementsdetect threats and maintain situational control around the strait. His disappearance, under circumstances still unclearleaves a most uncomfortable void at a time when every piece of information matters, especially in an environment where mines, drones and speedboats turn any mistake into a real threat. The “scared” aircraft carrier. Plus: the diversion of USS George H.W. Bush Going around Africa instead of crossing the Suez Canal is not just any logistical decision, but a symptom of that operational vulnerability What Washington is suffering from. The reason? Avoid passing through Bab el-Mandeb It means recognizing that even a nuclear aircraft carrier battle group, one of the most powerful assets in the world, cannot guarantee their security in a strait where actors such as the Houthis have demonstrated the ability to attack ships with drones and missiles. This detour not only lengthens times and complicates deployments, but also shows that military superiority does not always translate into freedom of movement. The uncomfortable precedent. Not only that. They counted the Forbes analysts that the decision of avoid Bab el-Mandeb It raises a disturbing question for the immediate future, because if this step is already considered too dangerous, what happens to Hormuz, much narrower, guarded and saturated with Iranian defensive systems? The logic is a huge question. Iran not only has more advanced technology than its regional allies, but also decades of specific preparation for that scenario. That makes any attempt to operate there a very high risk betand where even a single relevant impact could completely alter the strategic balance of the area. The strategic paradox. If you also want, what emerges from these movements is not that image of overflowing force that is presupposed, but rather of calculation and extreme fear. While American political discourse speaks of pressure, blockade and control, tactical decisions are revealing prudence, we would even say caution. The simple fact that the route of a nuclear aircraft carrier is redesigned to avoid a hot spot shows that the margin of error it’s tiny. And in an environment where a successful attack on a high-value ship could trigger disproportionate military and political consequences, the priority is no longer projecting strength and power, but avoiding losses at all costs. When losing a little is too much. In summary, the combination of drone crash Triton and the rnuclear aircraft carrier odeo paints a crystal clear picture: right now, the United States is not operating from a position of comfort, but rather in an extremely delicate balance. In that scenario, it doesn’t take a devastating blow to change the rules of the game, just with a symbolic one. Because a lost surveillance drone may be acceptable, even if it has the characteristics of the MQ-4C, but a damaged warship or a compromised nuclear aircraft carrier would be a very different story. Image | USN In Xataka | The US already has the first response to its blockade of Hormuz: a boomerang of unpredictable consequences called China In Xataka | The US has closed all exits from the Strait of Hormuz. And now Iran can put into practice what it has been preparing for 25 years

3.6 million people watched the Goya gala. Only a small part went to see the nominated films

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The gala of the Goya 2026 has scored a 26% screen share, its best figure since 2020 and the second highest since 2010, in a context of television consumption down. Paradoxically, this massive attention contrasts with a box office that remains stagnant and with an audience that prefers to see Spanish cinema on television platforms and events rather than in theaters. Technology and new consumer habits explain this gap. The figures. The broadcast of the gala on RTVE’s La 1 brought together an average of 2,396,000 viewers and reached a 26% share. In his analysisVertele emphasizes that linear television consumption has been significantly reduced in the last decade, with fewer people watching DTT at the same time than in 2010. That the gala reaches percentages comparable to fifteen years ago in an ecosystem fragmented by streaming and delayed viewing platforms suggests that the Goya remains an event capable of bringing together a mass audience in real time, in the style of a sporting event. These good figures are part of five consecutive years of growth for the gala in audiences, with an increase of 1.6 share points and 56,000 viewers compared to the 2025 edition. However, the majority of the films that competed for the award that night had not managed to recover their investment in theaters. Less box office. According to the official data published by the ICAASpanish theaters closed 2024 with 72.9 million spectators and a collection of 484.6 million euros, figures that represent a 5% decline in attendance compared to the previous year. The share of national cinema within this shrinking market was around 18.65%. But that percentage is not sustained by the auteur films that dominate the Goya nominations, but rather the exact opposite: family comedies and commercial thrillers. This can be applied to the big winners of this editionwhich we summarize in this table. All of them enjoyed subsidies between one million (except Sorda, with 800,000 euros) and 1,200,000. That is to say, they are films highly valued on the awards circuit, rather than by the general public. In this way, the market bifurcates, and the cinema that really fills theaters, such as the family comedies by Santiago Seguraare left out of the Goya. QUALIFICATION BUDGET COLLECTION SIRAT 6.5 million euros 2.87 million euros Maspalomas 5 million euros 716,000 euros Deaf 2 million euros 735,000 euros Sundays 4.7 million euros 3.7 million euros dinner 5 million euros 716,000 euros The captive 9.8-15 million euros 5.2 million euros lto Spanish exception. It is not something that happens in all countries: in France, the eternal model in which we want to see ourselves, French films raised 44% of the year’s box office. But at the same time, the three most watched French titles of the year (a comedy with disabled actors, an epic adaptation of Alexandre Dumas and a romantic drama) are films that also aspire to the Césars, their equivalent to our Goyas. Subsidies are also comparable in quantitybut here the number of releases has skyrocketed (168 in 2016, 364 in 2025), while the collection has decreased (from 111.5 to 85.6 million in the same period). And yet… the Goya audience demonstrates every year that there is interest in the industry. There is a potential audience that debates whether ‘Sirat’ deserved to win more awards than ‘Los Domingos’, but they did not go to the cinema for the premiere of ‘Sirat’. The hinge of the platforms. Three weeks after its very limited theatrical release, ‘The Snow Society’ landed on Netflix: in its first eleven days accumulated 51 million views and closed the first half of the year with 103 million views, becoming Netflix’s third most viewed film globally. The fact that he had that success right after leaving the theater sums up the problem. In October 2025 Netflix advertisement that they would spend one billion euros on Spanish production between that year and 2028. All this in Tres CantosNetflix’s largest production space in the entire European Union. Since its arrival in Spain, Netflix has produced more than a thousand titles with Spanish teams, generating 20,000 jobs in the sector. Amazon Prime Video follows a similar logic, although with less weight in its own original production. The money from the platforms has allowed Spanish cinema to produce on a scale outside the traditional financing system (subsidies, investment from traditional chains). For this reason, and in the face of competition from platforms, which produce and release almost immediately in their space, in 2022 the Spanish exhibitors They formally requested a minimum window of one hundred days between the theatrical release and the arrival on platforms, shorter than the windows in France (15 months) and Italy (3 months). At the moment, there is no regulation and each window is negotiated separately. The power of the Goya. However, there is a Goya Effect at the box office. Last year, when ‘El 47’ and ‘La infiltrada’ won the award for Best Filmthe two tapes their box office skyrocketed by more than 70%. It is something that carries lifetime happening with the Oscars, but here we do not have the muscle of international Hollywood distribution. In Spain, ‘Los Domingos’ continues in 50 cinemas and ‘Sirat’ in 35 throughout Spain. It is insufficient for them to experience notable growth. But these are the highest grossing ones: the Goya, their audience proves it, they generate real interest, but the majority of the winning films, such as ‘Sorda’ or ‘Maspalomas’, are already streaming. The impact of the awards does not benefit the box office because there are no open avenues to do so. In Xataka | Santiago Segura is so clear about his success that with ‘Torrente Presidente’ he is trying something: without a trailer or a pass for critics

The most watched film in history on television is not a Hollywood success, but a classic from the most carpet-loving Spain

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You will have heard on more than one occasion that every time ‘Pretty Woman’ is broadcast on television, audiences skyrocket. Nowadays it is no longer so true: Telecinco broadcast it a couple of days ago and the result It wasn’t spectacular.. In any case, not even the film by Richard Gere and Julia Roberts has come to live up to what is the greatest milestone in television cinema: the most viewed film in history in Spain has nothing Hollywood about it. Neither cathete nor cathete. On January 14, 1992 (that is, with the private ones already at full capacity, but still unable to stand up to depending on the customs of the Spanish viewer), the broadcast on La 1 of ‘Cateto a port’ had an average audience of 10,078,000 viewers and a stratospheric share 60.5% (for comparison, the final of the last Copa del Rey, the most watched in years, it didn’t reach 50%and the daily program that exceeds 15% is rare). Tremendous landism. ‘Cateto a port’ is a 1970 Spanish comedy starring Alfredo Landa. In it, a simple young man, after multiple attempts to avoid military service in order to take care of his little brother, ends up joining the Navy, having to face multiple difficulties due to his lack of experience. The film uses simple humor for all audiences, contrasting the naive protagonist (the recruit Cañete, whose name will soon become iconic) and the highly regulated environment of the Navy. All seasoned, of course, with its mild military propaganda, showing the modernity and friendliness of the institutions. Why do you like ‘Cateto a port’? His conciliatory tone, so typical of the last years of the Franco dictatorship, guaranteed him notable box office success, and above all, as with other stars of the time such as Paco Martínez Soria, the favor of the public. Its comedy of manners with a very friendly tone makes ‘Cateto a port’ very digestible by audiences of all ages, just what brought ten million people to the television screen. The most aggressive landismo was yet to come, full of plots with Spanish boys chasing Swedish women among images of medium intensity eroticism. It would be inaugurated, precisely, that same 1970 with a film by the same director, ‘You will not desire the neighbor on the fifth floor’. Relative milestone. Of course, we are talking about an absolute record… since there have been measurements, something that started in Spain in 1986. In 1992, audiences had already atomized due to private ones, so it is possible to think that in the seventies and eighties, when the population’s primary entertainment was television, the audiences for other films (or even this one) could have been much larger. Before measuring with audiometers, The audience was measured through the General Media Study (EGM) since 1968, which used interviews to estimate consumption. Other successes. There are only four feature films registered that have exceeded 9 million on average: the humorous western by Clint Eastwood and Shirley McLaine ‘Two Mules and a Woman’, with 9,598,000; the tremendous ‘The Priest’s Son’ by Fernando Esteso, with 9,287,000 spectators; We were talking about ‘Pretty Woman’ and there it is, with 9,223,000 viewers; and finally, ‘Dirty Dancing’ with 9,110,000 viewers. Be careful, because they are all broadcasts from 1992 (with the exception of ‘Pretty Woman’, from 1994), which suggests that, despite the arrival of private broadcasts, there was a general increase in people watching television in the early nineties.

Webb and Hubble telescopes watched Jupiter’s auroras at the same time. For some reason, they did not see the same

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The Great red spot, Polar cyclones, Cloud bands. Jupiter is known for its colossal dimensions and eternal storms. But their auroras are not far behind, and only now We are seeing them in detail Thanks to the power of the James Webb space telescope. A Christmas gift. Newly published with a study of Nature Communicationsthe images were captured on December 25, 2023 with the Nircam Chamber of the Webb Telescope. The most immediate conclusion is that the jovian auroras are of another level. Hundreds of times brighter and more energy than those of the Earth, not only feed, as on our planet, of the particles loaded with the solar wind, but also of the volcanic material expelled by the active moon ío. Hyperactive. The team that led the observations took a surprise when analyzing the data. They hoped to see slow and gradual changes in the auroras, but instead they found “the entire bullendo region and exploding of light”, a hyperactive show that “varied in a matter of seconds.” “What a Christmas gift was that, he left me hallucinated!” Confesses the researcher Jonathan Nichols of the University of Leicester, the United Kingdom. A mystery. To round the study, the team coordinated Webb’s observations in infrared with Simultaneous observations of the Hubble Space Telescope in the ultraviolet spectrum. And here was the puzzle: the brightest lights observed by the Webb in Jupiter’s atmosphere did not have a counterpart in the Hubble images. The webb focused on trihydrogen cation emissions (H3+), a molecule that shines intensely in infrared when high -energy electrons impact molecular hydrogen. But to produce the combination of brightness observed by both telescopes, a huge amount of very low energy particles would be needed by hitting Jupiter’s atmosphere, something that until now was considered practically impossible. What follows. The team plans to study this difference between webb and Hubble data, and explore its implications for Jupiter’s environment. Webb’s next observations will be compared with NASA Juno probe data to try to unravel the origin of the broadcast. The findings will be used to guide the Juice Mission of ESA, who travels now to Jupiter. Seven of their instruments, including their two cameras, will dedicate themselves to study the Jovian auroras when the probe reaches their destination. Its nearby measurements will help astronomers better understand the interaction between the magnetic field and the planet’s atmosphere, in addition to the moon ío. Images | NASA, ESA, CSA In Xataka | These real images were unthinkable before the Webb Telescope: they are planets orbiting other stars to 130 light years

A few months after the arrival of ‘GTA VI’, Twitch crowned as the most watched of 2024 to an old acquaintance of the franchise

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We are in 2025 and, although the industry has an eye on the expected ‘GTA VI‘, what Twitch dominates remains its predecessor. ‘GTA v‘, which was launched in September 2013, has been placed again at the top of the podium of the most seen video games on the Amazon platform, Collect The Verge. In 2024 he accumulated more than 1.400 million hours seen, surpassing giants such as ‘League of Legends’ (1,190 million), ‘Valorant’ (804 million), ‘Fortnite’ (539 million) and ‘Call of Duty’ (451 million), according to official data shared by Twitch. In total, more than 15.6 billion hours of video games on Twitch were consumed globally. Why does it continue to work? The main engine behind this phenomenon is not the story mode or the original missions of the game. The key is in the ‘GTA Roleplay‘, a modality based on online servers where players assume fictitious identities and build improvised stories in real time. There is no imposed narrative: each session is different and created by the community itself. This mode, which is only available for the PC version, has made the game reinvent year after year. The role play dynamics, added to the freedom of the open world, makes it an ideal platform both to play and to generate live content. A veteran who keeps billing. In addition to the impact on audiences, the title remains an income machine for Rockstar Games. Since its launch, the ‘Grand Theft Auto’ franchise has generated more than 8,000 million dollars. Only ‘GTA V’ has sold more than 210 million copies, which places it as the third best -selling video game of all time, only behind ‘Minecraft’ and ‘Tetris’. A good part of that income comes from ‘GTA online’, the multiplayer mode that has grown in parallel to the base game and that maintains an active, competitive and creative community. With an eye on ‘GTA VI’. All this happens while the world of the video game expects the launch of ‘GTA VI’, planned for autumn of 2025. The current figures of their predecessor not only reflect nostalgia or fidelity of the community, but an active base that generates global content, money and interest more than a decade later. ‘GTA V’ is not just a long -lived game. It is one of the most durable cultural phenomena of digital entertainment. And if it serves as an indication, the way for ‘GTA VI’ seems to be more than paved. Images | Rockstar | Twitch In Xataka | If the question is “you will sell the Nintendo Switch 2 despite the price increase” the answer is: yes, a lot

Upon arrival in streaming it has become the most watched premiere in the history of Filmin

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Of course, ‘The substance‘has become the RARE Av of the season. Not only his success has surprised his own and strangers, remaining on the poster more time than usual for a film in his style, but has done so with a daring and different proposal, which mixes elements known to fans (of the Body Horror eighties to the left over the troma), with a very particular point of view about what gender can offer. And in its first three days In Filmin (You can also see it In Movistar Plus+), has broken records within the platform, which demonstrates to what extent this unique proposal has penetrated deep: released last Friday, December 31, It has become the most watched premiere in Filmin’s historyregistering more viewed in its first three days than any other previous title. The previous film that held this brand was “anatomy of a fall”, and according to the platform, it has increased by 21.1% the mark of that. Demi Moore is a television star in low hours that sees his status in danger when the director of his chain decides to remove it from his aerobic program. The diva of the past decides to undergo a treatment that promises to generate a new version of itself, but younger, more beautiful and more perfect. But its rejuvenated alter ego (Margaret Qualley) has its own plans with the newly released reunion life with the privileges of youth. This surprising fable about the superficiality of the show business, panic to age and pressure on their body that society imposes on women connects both with ‘the fly’ and with ‘death feels so good for you’, and does so with An unusual graphic explanitude in a film that has been nominated for five Oscar. Directs Coralie Fargeat, which between ‘Revenge’ and this has become one of the key names of the fantastic contemporary. In Xataka | All the Oscar 2025 nominated and where to see them

This new Netflix intrigue miniseries caught the most watched top and you can ventilate it with a sitting

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It is worthy of studying the ristra of Thrillers that premieres Netflix destined for rapid and almost anxious consumption, which present a riddle that is resolved in a few chapters and that, as a sugary soda, leaves our palates at the same time satiated but wanting more. We often speak here of the almost continuous adaptations of Harlan Cobenand recently happened with brilling success For the platform The Romanian ‘Hidden revenge‘, also known as’ subteran’. In just six episodes of forty minutes, ‘hidden revenge’ tells us A story that exhibits some originality and turns that are not the usual. Nor are the excellent interpretations usual, above the average (especially that of the protagonist, Ana Alaru) and her portrait without concessions of the sordid criminal underworld where the action takes place. Something that possibly has to thank the Romanian origin of the series, a country where Thrillers occur to the limit that do not have time to walk with hot cloths. We will meet a woman who presence the violent death of her husband at the hands of what an organized band looks like. From that moment on, his life will be in danger and begin a counterreloj career with her husband’s murderers, while trying to save her son and discover who is behind the crime. The key will be a computer that contains vital information and a large amount of money. A couple of treasures that will force women to let their most expeditious and wild side out. The miniseries premiered last week and entered directly into the Top 10 of 34 countries. It started at number 5 of the most English -speaking series globally with 3.7 million viewers, exceeding such popular series as ‘La Palma’. The secret of its success, apart from its intense rhythm and that does not leave a minute for the respite, it could well be in its six episodes of 40 minutes, which allows you to see almost a sitting. Header | Netflix In Xataka | This Netflix thriller, with more than 60 million views in a month, is the last and suffocating production of Sam Raimi

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