The splashdown of the Orion capsule early Saturday morning, marking the end of the Artemis II mission, was extraordinarily spectacular and suspenseful. In the most dangerous stage of the mission, other elements come into play, such as the beauty of the images, the violence of the contact with the atmosphere, and the eventual loss of connection with the crew.

The Mayor of London, Sadiq Khan, has called on British ministers to get tough on social media giants to stop disinformation. The plea comes after the publication of a study which found that hostile narratives against immigration have soared, linking it to a (false) increase in criminality in the city. Specifically, in the last two years, messages describing London as a particularly dangerous place have increased by between 150% and 200%, while content denouncing the impact of migration on the country's capital has risen by 350%.

When Euphoria premiered in 2019, it took half the world by surprise. The series, which was an adaptation of an original Israeli title, showed adolescent disillusionment and anguish in a new way thanks to Sam Levinson's stylistic daring and managed to hook adult viewers even though, in principle, they were not the target audience for the production. After a four-year wait and voices claiming that the third season would never happen, the HBO Max fiction returns with an installment that has many chances of being the definitive farewell according to the statements of its protagonists. A good part of the cast are now global stars, although when the series started they were practically unknown. We review the five most outstanding names of , which in its third season will mix drug trafficking, sex, and decadence.

This Thursday, the protagonists of the program La revuelta were served humor on a silver platter. They had received the resolution from the National Markets and Competition Commission (CNMC) regarding a complaint filed by UTECA, the Union of Open Commercial Television. The conflict has a strictly regulatory origin: RTVE cannot broadcast conventional advertising and can only incorporate advertisements in the form of sponsorships in programs of cultural or sporting content. The complaint started from the premise that La revuelta violated this legal framework. The CNMC contradicted this with a bewildering wording that justified the broadcast as cultural. “The program is presented by its director in a humorous key and has great dynamism”. And it added that Broncano appeared on stage “with great energy and liveliness”. The text of the resolution was so delirious that the presenter himself and collaborator Jorge Ponce made fun of the argumentative twists, for example when describing the content: “Capybaras were discussed, 'walking football' or Angelman syndrome and the actor Salva Reina and the Spanish rugby team were interviewed”. All in all, the regulatory body considered that, despite being an entertainment space, the format was not incompatible with the cultural dimension and, therefore, the sponsorship did not contravene the regulations.

María Rey is president of the Association of the Press of Madrid (APM). She is also the main presenter of the morning magazine 120 minutos on Telemadrid, a channel criticized by the works council and unions for following a line blatantly aligned with President Ayuso. The program is made by Ana Rosa Quintana's production company. Before that, she had spent almost a quarter of a century at Antena 3, a channel with a conservative profile. Mónica Tourón Torrado is secretary general of the APM. In her written press career, her time at the conservative Abc and Faro de Vigo stands out. Francisco Sierra is the vice president of the APM. He maintains a weekly column in The Objective where, week in and week out, he criticizes socialists. He also has decades of experience at Atresmedia. Luis Ayllón Alonso is first vice president and spokesperson for the APM. He has been diplomatic correspondent for the newspaper Abc and collaborates with media hostile to the PSOE, such as El Confidencial Digital. In short, I think the pattern is quite clear. Or, taking advantage of the acronyms of this entity, we could also say –with permission from the program produced by Antoni Bassas– that of... Any More Questions? Well no, there are no more questions.

This week Anthropic has presented an AI that it has decided not to sell because it considers it too dangerous; Meta has launched the first closed model in its history and has abandoned the commitment to open source that it had preached as a moral obligation, and OpenAI is preparing GPT-6 while a journalistic report uncovers very questionable practices by the director. All three together paint the portrait of an industry in a race without brakes, incapable of self-governance or not interested in doing so.

3Cat wants to take its programs to the streets and, for this reason, has organized a whole weekend experience where viewers can see some of the public television's leading figures up close. 3Cat en Viu – the name of this special weekend – will be held on May 30 and 31 at Plaça de l'Anella Olímpica and Palau Sant Jordi in Barcelona from 10 a.m. to 6 p.m. As the public television details, more than 25 activities have been organized for all audiences and there will be five stages from which more than 20 live contents will be broadcast, many related to some of the house's most popular programs, such as Polònia or the APM?The youngest ones have also been taken into account, and among the attractions of this weekend will be all the characters from the Super3 universe. Free invitations for the two days of activities will be available from May 5.

Thursday at noon, Helena Garcia Melero brought an expert to the Tot es mou table to assess the global economic and geopolitical situation. Right at the start, the presenter activated the emotional framework, attributing to the CSIC researcher, Antonio Turiel, an anxiety visible even before he began to speak: “I greeted you a moment ago and nothing... with a look your worry was evident...”. More than presenting the specialist, she dragged the audience into a state of mind.During his analysis, the scientist, with a very pessimistic tone, recalled the kerosene supply problems and made a prediction: “What comes next is diesel. Then in Europe there will be a diesel supply problem”. The presenter deduced that this would imply traffic rotations according to license plates or teleworking recommendation. Turiel stated emphatically: “This is inevitable. This will happen”. Immediately, a caption on the screen turned it into news: The CSIC researcher's knowledge is surely solid. But working with hypotheses, data, description of trends and scenario planning is one thing, and a very different one is offering absolute truths, announcing inevitable catastrophes and turning personal opinions into prophecies. Because then we turn scientific authority into a kind of oracle. Turiel warned of Europe's problems with electrical stability and drug supply, and announced future wars for resources. Melero asked him: "There's talk of an electroshock... How should we understand that?". And here came the great disaster: "We are heading towards an unprecedented economic crisis. I get angry talking about an economic crisis because they are killing people, eh... [...] and we will kill many more people because one thing that is stalled is fertilizers". And the outlook became even more dramatic: "All the problem with fertilizers guarantees very bad harvests this year. Furthermore, it is a year that could be very hot and, therefore, will complicate everything even more. And then we will be talking about millions of deaths. And I think that is the most worrying thing of all". Melero, startled, agreed with him: "Of course!, of course!". Turiel might be right and everything he says could happen. It's not about doubting him, but about questioning the way he expresses it. He adds an emotional state to the analysis, incorporates opinions about what will happen as irrefutable truths, and uses an assertive deterministic tone ("This is inevitable", "This will happen", "There will be millions of deaths") that, rather than posing hypotheses, announces a fatal and inexorable destiny. He turns all plausible scenarios into a chain of successive misfortunes without room for error. And Melero reinforced the alarmism. Watching "Everything is Moving" it seemed that the enormous complexity of the world was reduced to a simple television prophecy more suited to fortune-tellers than to scientists.

Not the Com si fos ahir from TV3, nor the best of Turkish soap operas: the week's serial has been the tug-of-war between José Manuel Villarejo and Javier Ruiz. “Javierito, we've been such good friends in the past... Unbelievable!”, the ex-commissioner snapped at him live. The other jumped like a spring and assured that it was a lie and that they didn't even know each other. But Villarejito has everything saved and, a few hours later, his friend Eduardo Inda published in OK Diario a very brief fragment of a phone conversation in which the journalist, when his interlocutor told him he was bothering him, told him: “Don't bother me. We'll talk and, if there's any news we're going to release, I'll let you know”. The presenter of Mañaneros 360 on La1 had to admit that he had forgotten this conversation.

It's one of the great comedies of recent years, but it's closing its curtains. Hacks, the funny story of the relationship between a veteran comedian and a younger one, premieres this Thursday its fifth and final season on HBO Max. It arrives at its end on its own terms, being aware that it was time to close shop and not unnecessarily prolong the plot so as not to damage its legacy as one of the best-written comedy series of recent times.

Isabel Torras, psychologist, teacher, and writer, has won the Cavall Fort Prize 2025, established by the magazine and endowed with 2,500 euros by the Cavall Fort Foundation. A collection of three children's stories led her to receive the monetary award and a reproduction of the cover that Joan Miró drew for Cavall Fort 44, published in 1965. The prize was first announced in 1963, as part of the poetry contest of the parish of Cantonigròs. On this occasion, the event took place at the Museum of Ethnology and World Cultures in Barcelona.

The 11 of Raval, which TV3 premiered on Tuesday on Nits sense ficció, awoke many expectations. A well-defined and ambitious investigation into the dismantling, in 2008, of a jihadist cell that intended to attack the Barcelona metro. The documentary delves into the role of an informant, known as F1, who became a protected witness. You can find it again on the 3Cat platform, in the format of a four-episode series. However, linking them to be broadcast as a single documentary had consequences for the effectiveness of the narrative, with repetitions and lengthy narrative arcs.Despite everything, journalistic work is very interesting. It demonstrates irregularities in both the investigation and the trial, has access to very relevant primary sources, recognizes the work of the two journalists who identify the protected witness, and constructs its own perspective on the events and the vital outcome for the detainees. Formally, the graphic design of the names and positions becomes excessively cloying: the visual preponderance of the labels ends up being bothersome due to simple repetition. However, the structure and ordering of the facts are impeccable and allow for a very good understanding of the dynamics and irregularities of a complex trial, especially thanks to the explanatory capacity of the defense lawyer Benet Salellas.The documentary has a very subtle, but relevant, aspect: the editing observes with special attention the gestures and microexpressions of the protagonists, especially when their interventions highlight the most dubious aspects of the case. For example, when Javier Gómez Bermúdez, then president of the criminal chamber of the National High Court, has to admit some negligences in the process, the camera focuses on his subsequent silence and the discomfort becomes visible on his face. Also the attitude of the lawyer of the Association of Victims of Terrorism, José María Fuster-Fabra, lighting his cigar and showing off in front of the camera. They are details that communicate beyond the facts.The most fragile aspect of the documentary is its excess of ambiguity when providing concrete answers. This is already evident at the beginning, when the then director of the CNI, Alberto Saiz, explains that in the 11-M attacks, “the CNI’s information did reach the police, but the police did not act, for whatever reasons””. Perhaps it would have been interesting to clarify them. Also when one of the expert journalists on the case leaves suspended the reasons for the protected witness’s conduct: “You can draw a hypothesis as to why he did what he did””, without being more explicit. The documentary falls short in clearly defining the whys: why Asim Iqbal, F1, acts as he acts. But also why Gómez Bermúdez tolerates an investigation and a trial with so many irregularities. Beyond implying an abuse in the preventive fight against terrorism, motives are lacking. You have the feeling that in the answers we would find arguments related to dark political and judicial points that are still relevant.

The rise of far-right narratives is one of the common threads in the new Anuari Mèdia.cat, which was presented this Tuesday. The report, edited since 2011 by the Ramon Barnils Journalists Group and celebrating its 15th anniversary this year, compiles analyses and reports that address issues such as the emergence of podcasts that criminalize a supposed woke ideology, the rise of the techno-reactionary elite, and the access of pseudojournalists to institutions.

Monday morning, as the trial for the Kitchen case was starting, journalists gathered in front of the National Court were harassing some of the defendants. The only one who played along was Commissioner José Manuel Villarejo, who, with his characteristic cap and sunglasses, was eager to stir up the media pot. The character is responsible for tensing the atmosphere because he always performs better in tense situations. Amidst the swarm of microphones, a journalist from Mañaneros 360 asked him a question and specified it was for Javier Ruiz's program on Televisión Española. The presenter's name provoked an immediate reaction from the commissioner: “Ah! Don Javierito!”, he exclaimed sarcastically. “Tell Don Javierito that the PP did not hire me, as he says. That is a lie. Besides, Javierito, we were such good friends in the past... It's unbelievable!” Javier Ruiz, alarmed, interrupted the broadcast and, although Villarejo could not hear him, wanted to clarify the blunder: “No! No! No! No, commissioner! We are not going to have a live dialogue, but good friends you and I... We don't even know each other! Never in my life! You are friends with other presenters! You are mistaken! You tried to contact me, you did it by mobile phone when we reported on you. And we haven't had a single coffee. We've never met in our lives!”Villarejo, as if he had been warned of the response, insisted: “If you say we don't know each other... What a bad memory you have, Javierito, huh! You were worried because I was competing with Ferreras at the same time!” He implied that, in the past, Ruiz would have been upset by the commissioner's closeness to Antonio García Ferreras of La Sexta, and he, who then had the program on Cuatro, also wanted his exclusives. Javier Ruiz, uneasy, denied it again. “Absolutely false! You are lying, Villarejo! We have never had this conversation! You are a liar!” He insisted that everyone knew which journalist he worked for: “We are aware of who he passed information to and who bought it without checking it, no matter how crude it was”. One person's word against the other's and the mystery for the audience. Villarejo is capable of dynamiting any context. It was impossible to clarify who was telling the truth, but it is worth analyzing the commissioner's strategy. He deviated from journalism to personal confrontation. Since he did not have control of the informational situation, he took over the television frame. He provoked the journalist by publicly discrediting him. Villarejo is aware that implying complicity makes the journalist lose credibility. The commissioner himself brought up Ferreras's name in the discussion because that way he could put the entire media structure under suspicion. He exposed the sewers of journalism to survive himself.

The Kitchen case is being judged and one of the accused is the one who in this column I called for a time Minister of the Past, due to the sinister echoes of past eras that it evoked in me. Now the prosecutor is asking for 15 years in prison and 33 years of disqualification, and the newspaper La Razón has activated all its machinery to try to dilute his possible responsibility. Let's remember that the former minister collaborates with the newspaper and that the director of the medium, Francisco Marhuenda, was appointed honorary commissioner during his term. The most hilarious piece, out of desperation, is titled “The Kitchen case evidences the political X that never sits on the defendant's bench.” It is evident that X, in this country and universe, undeniably refers to Felipe González, whom many assumed was the one embodying the unknown in the GAL equation. Therefore, the headline is a trench stab at the then president, Mariano Rajoy, with the attempt to make people believe that Fernández Díaz was merely a pawn – a mandao– who executed the order to spy on Bárcenas, which originated “from Moncloa” as suggested.

The arrival of the last quarter of the season has led different channels to question their bets in order to round off their audiences. Two of the channels where more movements are observed are La Sexta and La1, both with a more openly progressive tendency. The signing of Marc Giró by the Atresmedia group –to present a late night show titled Cara al show– has caused a chain effect and there are already half a dozen professionals identified with progressive positions who will premiere a program in the coming weeks. These are some of the upcoming additions.

The start of the trial in the Kitchen case has led right-leaning programs to seek narrative and visual strategies to minimize the impact on the PP. The most ingenious maneuver was that of Antena 3 Noticias. When opening the news program, they opted for a dispersal narrative: announcing the spring judicial calendar. First, they referred to the Kitchen case, but then they recalled all the cases affecting the socialist party: the mask case, which will begin to be judged this Tuesday; that of Pedro Sánchez's brother, which will start on May 28, and they also added the cases of PSOE financing, of Leire Díez, and of Santos Cerdán, which do not yet have a trial date. They thus made evident the imbalance of the scales between the PP and the PSOE. They projected the calendar on the news screen, and among the faces of the accused, the PSOE logo stood out in red. The PP's was nowhere to be seen. Sandra Golpe announced: "Intense judicial calendar that will reactivate the clash between PP and PSOE". Later, she insisted: "This judicial spring is coming very intensely!".When focusing on the Kitchen case, a visual strategy that had already been repeated throughout the morning became evident. To explain the case, they used archive images that focused, above all, on Luis Bárcenas and, a little less, on José Manuel Villarejo. At Espejo Público and El programa de Ana Rosa —with Quintana on vacation—, they did the same. Bárcenas' images were repeatedly shown in a loop in different contexts: leaving prison, testifying in a trial, sitting on the defendant's bench, entering the courts, or walking down the street with his son or his lawyer. Therefore, Bárcenas did not seem like the popular prosecution but the main defendant. Secondly, Villarejo's figure was the most used. In a more fleeting and sporadic way, Jorge Fernández Díaz, Francisco Martínez, and Eugenio Pino were shown, but in most cases, they were more general shots that did not personalize the involvement as much. On Espejo público, the face that occupied the large screen behind Susanna Griso's desk was Bárcenas'. On Informativos Telecinco, the graphic layouts on the screen continued to point to Bárcenas as guilty. "The PP's kitchen against Bárcenas", they titled in huge letters. And below, they put an image of the treasurer and another of Mariano Rajoy. But with a singularity: on Bárcenas' photograph, they put a label in capital letters: CONVICTED. The explanation of the facts was correct and rigorous, but the entire visual construction continued to point to the treasurer. A structural scandal affecting a party's apparatus and the sewers of the State now has a visual narrative that diverts attention and visually centers everything on two figures: Bárcenas and Villarejo. The choice is not innocent. This personification does not correspond to the magnitude of the facts being judged and serves to reduce the reputational impact of Rajoy's government's top brass.

The nightmares of the theocratic dictatorship of Gilead did not end the day that The Handmaid's Tale aired its last episode. The series starring Elisabeth Moss and based on Margaret Atwood's novel concluded in mid-2025, but before saying goodbye to viewers, it was already official that it would have a continuation titled The Testaments. The new fiction premieres this Wednesday on Disney+ and picks up the action years after the original series ended. If viewers didn't suffer enough then, this new foray returns ready to test their endurance.

Arturo San Agustín explained the tribulations of a reporter who, after spending half an hour deciding whether to spell it Gorbachov or Gorbachov – this was before the internet, of course – ended up assigning him the position of President of the United States. The anecdote is a fable about the inevitability of typos: when you look to one side, it ambushes you right there. The "New York Times" published a headline on both sides that read: "A North America Treaty Organization without America?". Once it was printed, they realized that the N in NATO doesn't stand for North, but for North Atlantic. Consequently, a good part of the headline's intention is lost.

When you open the mobile app to order a taxi, when you pay by card, or when you watch a series on Netflix, these applications do not work in isolation. Behind them is an invisible network of digital infrastructures: APIs (Application Programming Interfaces). They are the digital backroom that makes the mobile ecosystem work, and without them, 80% of current applications would stop working.