A few weeks ago, psychologist and content creator Sandra Parmo recommended a Korean film on her social media, 18x2 beyond youthful days, or in Spanish 18 years later. Quickly, several followers told her that they hadn't managed to find the film on the platform in any way. Parmo gave them a piece of advice: change the interface language to English, the easiest way to locate this title, which for many users seemed invisible. Are there really series or films that appear or disappear depending on the language in which we have Netflix configured? The short answer is yes, but the situation is a bit more complex.

Louis Theroux is a British journalist and documentary filmmaker known for his seemingly innocuous interviews that have allowed him access to controversial figures or extreme and hostile environments: Nazis and supremacists, cults, fundamentalist and homophobic communities, sexual exploiters... He has spent a good part of his career at the BBC, with an approachable style that avoids confrontation and lets the protagonists expose themselves. But this ambiguity between observation and complicity has also caused him to slip up at times. The most emblematic case is his interview with presenter Jimmy Savile. Theroux was forced to critically review his own work, and his blindness, after the hundreds of cases of abuse and pedophilia committed by Savile were discovered. This tension between proximity and journalistic responsibility re-emerges in his new Netflix documentary. In Louis Theroux: Inside the Manosphere, he delves into the ecosystem of major misogynistic influencers who capitalize on discourses of extreme masculinity. The production is difficult to bear because it transports us to an aggressive and ignorant underworld. Theroux visits the main figures of this toxic digital current, interviews them, and accompanies them in their daily lives: he enters their homes, meets their families, and tests the solvency of their advice on investments, discovering fraud and deception. Theroux is brave and is an uncomfortable presence that brings out contradictions and reveals the fragility of these characters. The format and the inherent manipulation of this manosphere, however, also ends up instrumentalizing the journalist's presence to create spectacle. Theroux is aware of this and, in fact, incorporates it to expose their strategies.Diving into the ideology of the red pill – the one that, according to the manosphere, consists of “seeing things as they truly are” as a counterpoint to feminism – is disgusting because it becomes clear how they turn resentment and prejudice into doctrine. But Theroux's presence makes the insecurities of these individuals appreciable on screen. The journalist recovers video footage from the protagonists' childhoods and delves into their family history to uncover their emotional traumas. The documentary struggles greatly – too much – to reach a conclusion that goes beyond the mere exhibition of all this human garbage. But, in any case, it summarizes well the thread that connects this manosphere, the testosterone-fueled podcasts, and the political discourse that supports Trump and the far-right. It also highlights how they create conspiracy theories with antisemitic narratives and about the fall of the West. It shows how their discourses on confidence, wealth, and the supposed relationships they claim to have are artificial and that aggressiveness is the only resource they have to conceal it and appear convincing. But it's an unstoppable spiral, because they monetize all this hate.

He is little known here, but Louis Theroux is one of those journalists who can head a report with his name. Popular for his work at the BBC, he has tackled hot topics such as Scientology, the genocide in Gaza, or the most marginal subcultures in the United States. On Netflix, he has released a documentary about the manosphere, a burning issue on which many reports have focused. The difference in this case is that Theroux uses his fame to interview influencers who are famous and would refuse other reporters. He does not manage to speak with the pimps Andrew and Christian Tate, possibly the best-known gurus of the manosphere, but he does speak with some of their collaborators and colleagues, such as Justin Waller, who runs these brothers' online business, The Real World, a website dedicated to selling courses and tutorials on how to become a millionaire. Also with Myron Gaines, host of the podcast Fresh and Fit; Sneako, a streamer whose channels have already been shut down for his misogynistic and antisemitic comments; or the British tiktoker HSTikkyTokky, who manages his businesses from Marbella and Ibiza, possibly because Miami, according to Theroux the spiritual home of these characters, is too far away. The journalist's strategy consists of positioning himself, with a non-hostile demeanor, in a position of authority regarding his subjects. As he argues from the outset, he is a journalism professional, while the others are influencers; and he is making a report for Netflix, not just content for social media. This distance legitimizes him in front of a group of men accustomed to speaking from a rhetoric of domination. In the documentary, Theroux plays at unmasking the codes with which they represent themselves on social networks. He places them in conversations where they lose control of the narrative, asks them to clarify the meaning of euphemistic expressions such as unilateral monogamy or questions them about some of their misogynistic statements in front of their girlfriends or mothers. In this way, he highlights the contradictions and the lack of solidity of the manosphere's discourses, and how they serve to monetize the anxieties of millions of young people to identify with a model of masculinity that they find attractive, through cryptocurrency businesses, OnlyFans accounts, or supposed courses to become a millionaire. Theroux draws the recurrent pattern of these misogynists: the discourse according to which women are born with value, beauty, while men have to learn to assert themselves, but at the same time can achieve what they set out to do; the conviction that, in a hetero couple, the man must be the provider and the woman must adopt a submissive role of caregiver; the conspiratorial belief in a system (the matrixan allusion to the Wachowskis' film from which the concept of red pill also originates) that deceives men from a very young age so that they are obedient and against which they teach to rebel; and an increasingly evident drift towards antisemitism and other forms of hatred beyond misogyny. The journalist also describes a recurrent scenario that, according to him, would partly explain the attitude of the protagonists: they have all grown up with absent or abusive fathers, or in dysfunctional homes, and would project their trauma onto society. Theroux acknowledges this vulnerable aspect of the manosphere leaders and at the same time warns of the matrix that they themselves generate and that traps millions of teenagers who obtain their emotional education on social networks.

Four years after its finale, Peaky Blinders, the fiction about a group of Birmingham gangsters, returns to the screens. Now, however, it does so not in series format but as a feature film. Peaky Blinders: The Immortal Man premieres on Friday on Netflix with much of the original cast, led by Cillian Murphy, an Oscar winner for Oppenheimer. The Irish actor once again takes on the role of Thomas Shelby, the charismatic mobster whom viewers accompanied as he managed illegal betting, arms trafficking, and horse racing, and fought against other mafias. The series ended with Shelby imposing exile on himself, and this is precisely the starting point of the film written by Steven Knight, creator of the original fiction.

Netflix has definitively withdrawn from the race to acquire Warner Bros. Discovery (WBD) after its board of directors concluded that the latest offer from Paramount Skydance (PSKY) was superior and that the price needed to match it was no longer justifiable for shareholders. Victory, therefore, goes to the consortium led by David Ellison, under the shadow—and financial muscle—of his father, Larry Ellison, who put forward an offer of $31 per share, with additional incentives if the deal is delayed and even assuming the penalty for breaking with Netflix, which had made a final offer of $27.75. Pending government approval, this major media saga is nearing its conclusion.

The rise of the far-right is no longer just evident in election results. We already notice it in television talk shows, in comedy shows, in uncomfortable after-dinner conversations, in WhatsApp groups, and even in meetings and assemblies related to children's schools. The series "Salvador", on Netflix, arrives at an opportune moment to reflect on how fascism's tentacles have infiltrated our daily lives. Actor Luis Tosar plays Salvador, a healthcare professional who discovers that his daughter is part of a neo-Nazi group. The man, disappointed, will want to understand the reasons that have led the girl to such an extreme, so opposed to his convictions.The eight-episode series is addictive because it combines two complementary skills: that of Aitor Gabilondo, a creator expert in stories where political and social conflict penetrates the domestic sphere, and that of director Daniel Calparsoro, who masters the codes of the "thriller" set in contexts of violence.

Streaming releases pick up momentum in February, which will be marked primarily by the long-awaited arrival of the major phenomenon of late 2025 in the United States, Canada, and social media. More than rivalsBeyond that, this February we'll also see a lot of Irish and English fiction and an attempt to revive the genre of thriller erotic.

In the list of fictional works that have marked a turning point for Netflix, The Bridgertons It holds a prominent place. The series, which initially gained popularity for its steamy scenes, is a well-established show within the platform's catalog, and this Thursday it premieres its fourth season, which arrives in two parts (the second part premieres on February 26). With a very solid fan base, the series clearly has the recipe for success: equal parts romance and sex. The new installment, focused on the second of the Bridgerton children, is a very thinly veiled homage to the fairy tale of CinderellaA story that serves the series to explore for the first time the conditions of service during the English Regency era (1795-1837).

As a general rule, fans of the crime genre tend to greatly appreciate the thrillers well-born about ill-born characters. The loot does, more or less, check in both categories. Initially, it's a story about police officers who seem like consummate professionals until a particular seizure tempts them down the path of corruption because of a confiscated sum of cash that literally throws them off balance. Since everything has its owners, this incident leads them to step into a veritable hornet's nest of criminals: suddenly it's not just about doing the right thing, but about saving their lives from drug traffickers with the mannerisms of big-time businessmen and deadly, ruthless methods.

While we're still recovering from the Christmas holidays and the cold weather, Netflix is releasing a film that takes us on a summer getaway. It's one of their aces up their sleeve for 2026: the film adaptation of People we meet on vacationA true success in recent years of romantic literature. For Catalan viewers, it also has an added appeal: part of the plot takes place in Barcelona, ​​a change from the original book. The film will be available on Netflix this Friday.

On Wednesday, Warner Bros. Discovery's shareholders rejected Paramount's $108.4 billion hostile takeover bid, calling it an "illusory" offer. They also accused the studio giant of misleading shareholders about its financing. The board's rejection came just hours after Affinity Partners, the investment fund chaired by Donald Trump's son-in-law Jared Kushner, withdrew from Paramount's bid, which it was supposed to help finance. In early December, Netflix announced it had reached an agreement with Warner to incorporate two of the group's three pillars: the film studio division, which includes franchises such as Harry Potterand the HBO Max platform. The deal involved the purchase of shares worth €62 billion and was pending approval from competition regulators and the Department of Justice, which opens the door to political interference from Trump. Three days later, Paramount Skydance shook up the audiovisual market by submitting an offer superior to Netflix's.

One of the cornerstones of American audiovisual production is up for sale and has three suitors, two of whom have already revealed how much money they are willing to spend to acquire the Warner Bros. Discovery conglomerate. But the game isn't just about a financial auction: whoever wants to acquire the company's lucrative assets must first receive approval from the Federal Communications Commission (FCC), a regulatory body that, since Brendan Carr took over as chairman, has become one of Donald Trump's key tools of leverage.

Series like Mr. Bean and The black viper They are part of the collective imagination of Catalan society, and many families have made it a tradition to watch episodes of both series at Christmas. One of the most memorable gags of the series Mr. Bean It's the special Christmas episode in which the character played by Rowan Atkinson ends up with a turkey on his head after losing his watch inside while stuffing it. The British actor, now 70, returns this Christmas, but playing a different character, Trevor Bingley, whom we first met a couple of years ago in the Netflix miniseries. Man versus beeNow Bingley faces a new challenge, which doesn't take the form of an insect but a baby. Man versus babyBingley must take care of an abandoned baby while also managing the upkeep of a luxury apartment.

Following Netflix's bold move regarding streaming, which three days ago announced Warner Bros. Discovery was buying for 62 billion eurosParamount Skydance, now owned by a Trump ally, hasn't remained silent. The streaming platform announced, in a statement, that it is counterattacking with a superior offer of €93 billion ($108 billion). In the statement, Paramount explains that it is offering $30 in cash per share, representing a 139% premium over Warner Bros.' share price of $12.54 as of September 10, 2025. The company also specifies that it is directly addressing Warner Bros. shareholders and urging them to reject the deal with Netflix.

Amazon paid the staggering sum of $250 million to acquire the rights toThe Lord of the Rings for making what was then the most ambitious series in terms of budget of this new era of audiovisual media. But, beyond the screen, in the real world of streaming wars, it will be Netflix that holds the coveted ring that allows them to rule them all.

There seems to be no maximum size limit for giants. Netflix has announced that it has reached an agreement with Warner to acquire its assets, including the HBO Max platform and many others. The streaming service pioneer is suddenly leaping an order of magnitude in a deal that will involve the purchase of shares worth €62 billion. This means the company has been valued at €70 billion, a 30% increase over the nominal value of the shares.

Until now, watching a series on Netflix offered two technical options: streaming through the platform's app installed on your TV or casting from your phone or tablet to the TV screen, often using devices like Google Chromecast. However, for the past few days, users have found that this option has disappeared. When they try to cast a series or movie from their mobile phone to their TV, they encounter a message from the Netflix app stating that no device was found. Specifically, the message displayed in the app reads, "No devices found. Please ensure your device is properly connected." smart TVThe streaming device and iPhone or iPad are on the same Wi-Fi network. If you need help, visit the Netflix Help Center."

There is one image that has undoubtedly shaped our perception of war and, despite the passage of time, remains etched in our contemporary visual memory. It is the photograph of the little girl running naked, her skin burned by napalm, following the bombing of Trang Bang, fifty kilometers from Saigon, in June 1972. The following year, photographer Nick Ut received the Pulitzer Prize and the World Press Photo award for this iconic image. It raised awareness of the cruelty of war on the civilian population, spurred the anti-war movement, and there are recorded phone conversations of Nixon from the Oval Office expressing concern about the photo's political potential and the cost it could have on the official narrative about Vietnam. For fifty years, Nick Ut has received public recognition and has explained the details of how he captured the image and took the girl to the hospital.

After five seasons and nine and a half years, Stranger Things The final season is coming to an end. So far, the protagonists have had to face the beasts of the Upside Down, but the most important one, Vecna, remains. Eleven and her friends from Hawkins will try to defeat her during the nine episodes of this season. The premiere of this groundbreaking Netflix series is divided into three parts: the first four episodes will be released on November 27, the next four on December 25, and the final episode will premiere on New Year's Eve. In the previous season, the town of Hawkins was fractured by enormous cracks, and the Upside Down began to invade the real world, leaving the story at a critical point for a final season that promises great excitement, with the main characters having long since left adolescence behind.

Netflix has acquired the rights to the board game Catan to bring it to the audiovisual world. The streaming company and Asmodee will create films, series, and non-fiction formats based on the universe of this popular strategy game. The platform defines future content inspired by this brand as productions set "in a place where settlers must navigate multiple scenarios and manage limited resources and shifting alliances."