Being the Apple Watch one of the only Apple devices that we always wear, it is also one of the ones that most reflects our personal taste and style. And what better way to do it than with a good wallpaper?
Being the Apple Watch one of the only Apple devices that we always wear, it is also one of the ones that most reflects our personal taste and style. Apple takes this into account and it is reflected in the variety of straps and cases available, although there is another element of the watch that is decisive for its image: the dial.
Descubre Tin y Tina, la película de terror de Netflix que está petándolo gracias a la plataforma. Con Jaime Lorente y Milena Smit.
El terror español está de moda. Desde que, a principio de los 2000, Jaume Balagueró y Paco Plaza nos sorprendieran a todos con REC y Amenábar y Bayona hicieran lo propio con Los otros y El orfanato, no hay duda de que el género ha conseguido revalorizarse a nivel internacional. Ahora, cuando se piensa en España a nivel cinematográfico, ya no solo se piensa en Almodóvar: también se hace pensando en monstruos y fantasmas.
Son muchos los directores de terror español que han conseguido hacerse un hueco entre el gran público, y Netflix se ha convertido en su hogar perfecto para explorarlo. En el catálogo de la plataforma encontramos decenas de producciones de esta guisa, y la última de ellas es una película que acaba de colocarse en el top del servicio de VOD.
Tin y Tina, la terrorífica joya de Netflix
Tin y Tina es una película dirigida por Rubin Stein —su sorprendente ópera prima— protagonizada por los populares Milena Smit y Jaime Lorente. Desde que salió el tráiler, la película ha llamado la atención por su sinopsis, y ahora que ha salido todavía se ha hecho más viral.
Tal y como reza Netflix, la película trata sobre la adopción de dos peculiares hermanos gemelos por parte de una pareja joven que acaba de sufrir un traumático aborto que ha dejado estéril a la mujer. Sin embargo, la obsesión por la religión de los niños —se han criado en un convento— hace que las cosas se enturbien rápidamente.
Tin y Tina es, sin duda, una de las sorpresas de la temporada. Hecho completamente para los fans del terror, el largometraje te pide rápidamente la suspensión de incredulidad. Los niños dan tan mal rollo que parecen hasta hechos por CGI, y aunque su interpretación no es precisamente locuaz, el mal rollo que da su aspecto y su forma de hablar hace que se te revuelva el estómago al momento.
Como ocurre con muchas cintas de terror comercial, si obviamos los comportamientos tontísimos de los protagonistas, los giros de guión creados para que la trama vaya en in crescendo y las vueltas de tuerca sobre un mismo concepto, la película es altamente disfrutable. Son dos horas de diversión pura, mal rollo, momentos de morderse las uñas y otros tantos de llevarse las manos a la cabeza. Vamos, una peli disfrutonísima de terror clásico.
Pero lo mejor que tiene la película son dos rasgos muy interesantes. El primero de ellos es la utilización de la cultura pop española como forma de generar terror. Se trata de un recurso que está poniendo de moda, sobre todo, Paco Plaza. En Verónica vimos un retrato perfecto de la España de los años ochenta, y es algo que ha continuado en sus filmes como La Abuela. Balagueró, el otro creador de REC, también lo está empleando en sus películas, siendo Venus el ejemplo perfecto de ello, con La Ruleta de la Suerte como elemento de malrollismo.
Evidentemente, aquí el rey es Álex de la Iglesia. En todas sus películas hay algo de esa España cañí con ciertos aspectos culturales que nos atañen a todos, y en 30 Monedas es algo que no deja de aparecer una y otra vez, a pesar de tener la vista puesta en ser más internacional.
En el caso de Tin y Tina, esto aparece con una canción que todos los criados en los años ochenta recordarán: el Súper Disco Chino. La película se ambienta en 1981, y es la fecha en la que esa canción pobló las televisiones de toda España. Los niños utilizan esa canción como nuevo elemento de generar terror… y vaya si lo consiguen.
Pero este es solo un rasgo más de lo verdaderamente importante aquí: la dirección sublime de Rubin Stein. Aunque se marca, quizás en demasía, por la estética perfeccionista, Stein demuestra ser un director más que solvente que puede ponerse a la espalda cualquier tipo de producción.
Cada plano es, básicamente, un cuadro en el que te puedes quedar, y la amenaza constante de los niños aparece una y otra vez como una sombra, a partir de pequeños detalles, que se va haciendo más y más grande hasta que llega al clímax final. A pesar de no ser el mejor guión del mundo —eso está claro— Tin y Tina muestra un potencial enorme de un director que puede llegar tan lejos como quieras dentro del panorama del terror español.
Descubre Tin y Tina, la película de terror de Netflix que está petándolo gracias a la plataforma. Con Jaime Lorente y Milena Smit.
El terror español está de moda. Desde que, a principio de los 2000, Jaume Balagueró y Paco Plaza nos sorprendieran a todos con REC y Amenábar y Bayona hicieran lo propio con Los otros y El orfanato, no hay duda de que el género ha conseguido revalorizarse a nivel internacional. Ahora, cuando se piensa en España a nivel cinematográfico, ya no solo se piensa en Almodóvar: también se hace pensando en monstruos y fantasmas.
Son muchos los directores de terror español que han conseguido hacerse un hueco entre el gran público, y Netflix se ha convertido en su hogar perfecto para explorarlo. En el catálogo de la plataforma encontramos decenas de producciones de esta guisa, y la última de ellas es una película que acaba de colocarse en el top del servicio de VOD.
Tin y Tina, la terrorífica joya de Netflix
Tin y Tina es una película dirigida por Rubin Stein —su sorprendente ópera prima— protagonizada por los populares Milena Smit y Jaime Lorente. Desde que salió el tráiler, la película ha llamado la atención por su sinopsis, y ahora que ha salido todavía se ha hecho más viral.
Tal y como reza Netflix, la película trata sobre la adopción de dos peculiares hermanos gemelos por parte de una pareja joven que acaba de sufrir un traumático aborto que ha dejado estéril a la mujer. Sin embargo, la obsesión por la religión de los niños —se han criado en un convento— hace que las cosas se enturbien rápidamente.
Tin y Tina es, sin duda, una de las sorpresas de la temporada. Hecho completamente para los fans del terror, el largometraje te pide rápidamente la suspensión de incredulidad. Los niños dan tan mal rollo que parecen hasta hechos por CGI, y aunque su interpretación no es precisamente locuaz, el mal rollo que da su aspecto y su forma de hablar hace que se te revuelva el estómago al momento.
Como ocurre con muchas cintas de terror comercial, si obviamos los comportamientos tontísimos de los protagonistas, los giros de guión creados para que la trama vaya en in crescendo y las vueltas de tuerca sobre un mismo concepto, la película es altamente disfrutable. Son dos horas de diversión pura, mal rollo, momentos de morderse las uñas y otros tantos de llevarse las manos a la cabeza. Vamos, una peli disfrutonísima de terror clásico.
Pero lo mejor que tiene la película son dos rasgos muy interesantes. El primero de ellos es la utilización de la cultura pop española como forma de generar terror. Se trata de un recurso que está poniendo de moda, sobre todo, Paco Plaza. En Verónica vimos un retrato perfecto de la España de los años ochenta, y es algo que ha continuado en sus filmes como La Abuela. Balagueró, el otro creador de REC, también lo está empleando en sus películas, siendo Venus el ejemplo perfecto de ello, con La Ruleta de la Suerte como elemento de malrollismo.
Evidentemente, aquí el rey es Álex de la Iglesia. En todas sus películas hay algo de esa España cañí con ciertos aspectos culturales que nos atañen a todos, y en 30 Monedas es algo que no deja de aparecer una y otra vez, a pesar de tener la vista puesta en ser más internacional.
En el caso de Tin y Tina, esto aparece con una canción que todos los criados en los años ochenta recordarán: el Súper Disco Chino. La película se ambienta en 1981, y es la fecha en la que esa canción pobló las televisiones de toda España. Los niños utilizan esa canción como nuevo elemento de generar terror… y vaya si lo consiguen.
Pero este es solo un rasgo más de lo verdaderamente importante aquí: la dirección sublime de Rubin Stein. Aunque se marca, quizás en demasía, por la estética perfeccionista, Stein demuestra ser un director más que solvente que puede ponerse a la espalda cualquier tipo de producción.
Cada plano es, básicamente, un cuadro en el que te puedes quedar, y la amenaza constante de los niños aparece una y otra vez como una sombra, a partir de pequeños detalles, que se va haciendo más y más grande hasta que llega al clímax final. A pesar de no ser el mejor guión del mundo —eso está claro— Tin y Tina muestra un potencial enorme de un director que puede llegar tan lejos como quieras dentro del panorama del terror español.
The two most important players in the tournament are going to play their Roland Garros match today: schedule and how to see Carlos Alcaraz and Novak Djokovic.
If you like tennis, you like Roland Garros. The Paris Grand Slam is the only clay-court Grand Slam on the entire ATP circuit and has been dominated by the golden left-hander Rafa Nadal for 17 years.
No one has ever won as many Roland Garros as Rafa Nadal. In fact, no tennis player in history has won the same Grand Slam as many times as Rafa Nadal. Neither Novak Djokovic with the Australian Open (10), nor Roger Federer at Wimbledon (8).
For that reason, this tournament will be more open than ever. But, as a star that shines brighter than any other in the firmament, Carlos Alcaraz begins his journey today at Roland Garros with the aim of lifting his second major… and his first Musketeers’ Cup. But there is also Novak Djokovic lurking, without Rafa is his big chance.
Wednesday, May 31 at 2:15 p.m. – Second Round: Carlos Alcaraz vs Taro Daniel
Wednesday, May 31 at 8:15 p.m. – Second Round: Novak Djokovic vs Márton Fucsovics
If all goes well, Carlos Alcaraz will be playing every two days until Sunday, June 11, the day when the Roland Garros final will be played, will we have a Spanish winner? If not, we can bet on Novak Djokovic.
To watch Carlos and Novak you will have to have DAZN or Movistar Plus, as it is the Eurosport channel that has all the tennis rights in Spain. If not, you can try our VPNs, which give you access to all international channels.
Discover all the lies that Dumbledore told Harry Potter in the saga that can be seen on HBO Max.
With the Harry Potter series under construction and the memory of the films present, it’s time to reflect on some aspects of the saga that, really, came across somewhat differently to audiences. One example is the theme of house elves, which will hopefully be explored more in Max‘s future production. But there are many other buried themes that were not really made clear in the films.
One of these themes is the ethics of Albus Dumbledore. The Hogwarts headmaster is seen all the time as the franchise’s greatest representative of goodness, as well as the example for all wizards to follow. But, as portrayed by Rita Skeeter in the fictional biography of the character Life and Lies of Albus Dumbledore, he is actually a great liar. And for proof we leave you with all the times he lied to Harry Potter in the saga, collected by Screen Rant.
1. What does Dumbledore see in the Mirror of Erised?
The first of the big lies comes in Harry Potter and the Philosopher’s Stone. When the protagonist is in front of the Mirror of Erised, which projects your greatest wish, Dumbledore tells him that he sees himself in a pair of thick socks, but in reality he saw himself with his sister, whose death he blamed himself for.
2. Why is Snape protect Harry?
In the first film, the main trio believes that Severus Snape is the bad guy. However, what he actually does is protect Harry all the time, something the protagonist realizes at the end. Upon asking Albus about why, the director tells him it’s because he felt indebted to his father for saving his life… but we learned the truth much later.
3. Why can Harry speak Parseltongue?
Although this is not actually a lie, Dumbledore told Harry that he could speak Parseltongue because, in trying to kill him, he transferred part of his powers to him. And, well, it’s partly true, but it’s a very small synthesis of the truth behind Harry being a Horcrux.
4. Did Dumbledore tell Harry “everything” in The Order of the Phoenix?
Although the movie left something to be desired, the fifth book was the one that marked a before and after in the saga. It is the longest and in which all the secrets of Voldemort’s history are uncovered. At one point, Albus Dumbledore tells the protagonist that he will tell him the whole truth, and goes on to explain much of the history of the Order of the Phoenix… but he left out many substantial details that he took to the grave.
5. What happened to Dumbledore’s hand?
Another evasion of the truth by Dumbledore came when, in The Half-Blood Prince, he showed Harry his blackened hand after finishing off a Horcrux. Harry asked him what had happened to it, and the headmaster evaded the question by telling him that he needed time to tell him, as it was an exciting story.
6. Did he tell you the secrets behind the Horcruxes?
When Harry and Dumbledore began their private lessons in Harry Potter and the Half-Blood Prince, Harry was upset when the professor told him he had more information about his connection to Voldemort to tell him. Harry said he promised to tell him everything…and he left out dozens of important things, from him being a Horcrux to the secrets of the Deathly Hallows.
7. How many Horcruxes did Voldemort create?
Dumbledore also lied to Harry when he told him that he had to find six Horcruxes and destroy them. In reality, he was forgetting one of the most important: Harry himself. In order not to hinder the search, he didn’t tell him anything, but it was certainly an important detail he kept to himself.
8. What about Draco Malfoy?
Something that does not appear in the films is one of Harry’s most serious discussions with Dumbledore. In it, the student tells him that Malfoy is secretly working for Voldemort, and Dumbledore tells him that he didn’t care, downplaying the importance of the matter. However, of course, it had mattered to him, and very much so, as he demonstrates with his later conversation with Snape.
9. Was Harry supposed to die at the end of the story?
Dumbledore insisted, and very much so, that Harry Potter must die to defeat Voldemort, as he carried part of the Dark Lord’s soul within himself. However, this is something he never really believed, as he ended up proving in the end.
10. Why didn’t Dumbledore fight Grindelwad?
Finally, Dumbledore told Harry that he did not want to fight Grindelwald because he was afraid of his power. But, as we have seen in the Fantastic Beasts saga, this was far from the truth: in reality, it was all because of their love and the promise they made to each other.
A group of more than 350 technology industry leaders have signed an open letter outlining the potential risks of AI if action is not taken.
The enormous progress being made in the world of artificial intelligence has two sides. On the one hand, the “AI revolution” can be of great use to humans, including tasks as simple as helping you with your work (ChatGPT) or creating images in a matter of seconds (Midjourney). On the other hand, this development could compromise our privacy depending on its implementation, something that the European Union intends to regulate.
But, even if this is a very negative and even dystopian aspect, the loss of privacy and other risks associated with the advancement of artificial intelligences would not be by far the worst thing that could happen to us as a species. The large-scale implementation of AIs in our society would entail a huge risk: total extinction.
And no, it’s not something “fanciful” and exclusive to science fiction. A group of technology industry leaders, including big names such as Sam Altman (CEO of OpenAI),Demis Hassabis (CEO of Google DeepMind) and Dario Amodei (CEO of Anthropic) have warned that the AIs they are developing could one day pose a threat to the very existence of the human race, and that they should be considered a social risk on the same level as nuclear wars or pandemics.
“Mitigating the risk of extinction of artificial intelligences should be a global priority alongside other societal-scale risks, such as pandemics and nuclear war,” reads an open letter signed by top tech industry leaders that has been released by the nonprofit Center for AI Safety.
“There’s a misconception, even in the artificial intelligence community, that there are only a handful of doomsayers,” says Dan Hendrycks, executive director of the Center for AI Security. “But, in fact, many people privately express concern about these things.”
The letter is signed by more than 350 executives, researchers and engineers working in the field of artificial intelligence, and highlights the potential danger of this technology if technological and legislative measures are not put in place in time.
Microsoft itself last week endorsed a series of AI regulations that could be put in place by the U.S. government. Among them is the possibility that artificial intelligences could be slowed down or turned off completely in case of emergency.
Some of the links added in the article are part of affiliate campaigns and may represent benefits for Softonic.
Now, Android users can also enjoy Beethoven, Mozart and company.
Classical music lovers, rejoice. It has been just a few months since Apple officially launched its new application focused on classical music, Apple Music Classical. Now, Android users can also enjoy Beethoven, Mozart, and company: Apple Music Classical is available for download from the Google Play Store.
In addition, its Android version is practically the same as the original Apple version. After the acquisition of Primephonic, the classical music service, the company had been preparing the release of Apple Music Classical for some time. Setbacks aside, the app first became available in March of this year for iOS devices.
Surprisingly, the release of Apple Music Classical on Android comes before the other Apple devices. At the moment, the application still does not have its version on iPad or macOS (and it can not be viewed via Carplay). As we can read in 9to5Mac, perhaps this is because Primephonic already has an application for Android. In this case, Apple Music Classical would simply take its place.
Apple boasts that its app houses the world’s most extensive digital collection of classical music. Alongside this immense catalog of pieces, we also find high-definition portraits of the most influential composers in history.
If you’re wondering how to access Apple Music Classical, the answer is simple. If you want to revisit the classics, all you need is a subscription to Apple Music or Apple One.
So that you don’t miss any nuances, Apple has made sure that the quality of the pieces is very good: the entire catalog is encoded with ALAC (Apple Lossless Audio Codec) in resolutions ranging from 44.1 kHz to 192 kHz (the same as in Apple Music).
Thierry Breton, the EU Commissioner for the Internal Market, announced a few days ago that Twitter withdrew from the Code of Good Practice on Disinformation.
If Elon Musk’s Twitter is already a dunghill where toxicity and misinformation run rampant in the face of a non-existent human moderation system and a detection algorithm that suspends non-compliant accounts, the situation does not seem to be improving in the long term.
A few days ago, Twitter withdrew from the European Union’s Code of Best Practices on online disinformation. This was announced on Twitter by Thierry Breton, the EU’s Internal Market Commissioner, who used his post on the social network to issue ablunt warning to the platform, saying that Twitter cannot hide from its legal responsibility in this area.
“Twitter leaves the voluntary EU Code of Best Practice against disinformation. But the obligations remain. You can run, but you can’t hide,” Breton said, referring to the obligations the social network is obliged to fulfill as a large online platform (VLOP) under the EU’s Digital Services Act (DSA).
Thierry Breton, EU Commissioner for the Internal Market
“Beyond voluntary commitments, the fight against disinformation will be a legal obligation under the #DSA as of August 25. Our teams will be ready to enforce the law”, the Commissioner added.
According to the pan-European law, which came into force in November, VLOPs such as Twitter that offer their services on European territory are obliged to assess and mitigate systemic risks to civic discourse and electoral processes, such as disinformation. The deadline for VLOPs to comply with the DSA obligations is three months, counting from last week.
Today is the final of the Europa League and everyone is waiting to see if Sevilla or Roma win the European title. Hours, how to see it, etc.
How to watch the Europa League 2023 final and where to watch it
On Wednesday, May 31, the final of the Europa League 2023 will take place. Sevilla, the Spanish team, will attempt to lift their 7th European cup. They will face Mourinho’s Roma and Paulo Dybala.
If you are unsure about the timing and how to watch the final that will decide the champion of the Europa League 2023, keep reading, as today there will be a match that could be of Champions League.
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What time and where Sevilla will play the final of the Europa League 2023
In this Europa League final, we have only one Spanish team, Sevilla FC, which has lifted the champion’s title on 6 occasions in the last 17 years. Interestingly, every time they have reached the final, they have emerged victorious.
Now let’s move on to the schedule of the final between Roma and Sevilla. It is a single-leg match, and anything can happen on this Wednesday, May 31, 2023:
Wednesday, May 31 at 9 p.m.: Sevilla vs Roma (Broadcasted on Movistar and Mediaset)
As all the matches are scheduled for 9:00 p.m. (Spanish time), here are the translations of the match timings to different countries around the world, in case you don’t want to miss the quarterfinals:
All matches are at 9:00 p.m. Spanish time.
All matches are at 3:00 p.m. New York time (6 hours behind).
All matches are at 12:00 p.m. Los Angeles time (9 hours behind).
All matches are at 1:00 p.m. Mexico time (8 hours behind).
All matches are at 4:00 p.m. Argentina time (5 hours behind).
Good luck and may the best team win. Well, actually, let’s hope Sevilla wins since it’s our team. The Puskas Arena in Budapest will be a cauldron, just like the Sánchez-Pizjuán.
What was Tanjiro originally going to be like in Night Watch? The manga was going to be very different.
Guardians of the Night (Kimetsu no Yaiba or Demon Slayer, to suit the consumer) is one of the most popular anime of recent years. Its series is followed all over the world and the theatrical releases of its movies have shown that anime also works on the big screen -at least, better than its adaptations-.
However, the series could have been very different if Tatsuhiko Katayama, the creator of the original manga and who has led Guardians of the Night to become what it is today, had followed his initial plan. Above all, it is something that would have affected Tanjiro, the manga’s protagonist, and therefore the whole series in general.
The secret behind the success of Kimetsu no Yaiba
In an interview for Manga Plus, the official channel of the publisher Shueisha, the original idea of Kimetsu no Yaiba was to make a much more serious manga with an adult vision. I wanted to present spaces, swords and demons designed in a much more realistic way. In addition, the story was going to have a greater point of adult seriousness, with an older audience as a target.
However, these main ideas were rejected: the publisher, accustomed to publishing manga such as Dragon Ball andOne Piece, knew that the tone should be lowered. Thus, they asked for a comic relief and a little twist to the story to make it more accessible to all audiences. Plus more personality for the main character.
In the original design revealed by Katayama, we can see that Tanjiro was not originally going to have the scar on his face or the endearment he is known for. We have been able to see that he had a much more sober appearance, and it is that the mangaka had to change it quite a lot both physically and personality.
To fit Shueisha’s standards, Katayama made the protagonist’s personality more empathetic and lovable, and not just driven by Batman-like vengeance, as originally intended. With that and a couple of more “all audiences” touches, he achieved the final result that is so popular today.
