After over half a century of a prolific career, the film and series adaptations of Stephen King's books are rapidly approaching one hundred. We have selected the most outstanding ones from each platform for those who wish, taking advantage of the proximity of Halloween, to catch up with the television (and cinematic) adaptations of this benchmark of the horror genre.

It is very possible that some of you remember Super Size Me, that 2004 documentary where Morgan Spurlock took on the challenge of spending thirty days gorging himself on McDonald’s food. He wanted to demonstrate how it harmed health and to make the low quality of food in the United States evident. He gained eleven kilos, developed liver alterations, and his cholesterol increased drastically. In 2017 he directed a second part that went more unnoticed: Super Size Me 2: Holy Chicken!. Spurlock opened his own fried chicken establishment to show how these businesses work, creating a false image of natural and healthy food.Netflix now has in its catalog a new production that emulates Spurlock's work. In Big chicken: A fast food conspiracy (Big chicken), comedian Mo Gillighan sets the goal of eating only fried chicken for twenty-eight days to see how it affects his health. At the same time, he explores the chicken business in both the United Kingdom and the United States in the face of the massive expansion of this food around the world. He investigates how the industry manipulates and processes it to give it an appetizing appearance. The chicken is the most farmed land animal on the planet. In the United Kingdom, traditional fish & chips businesses have disappeared, swallowed up by a plague of fried chicken businesses: more than six thousand establishments across the country. Every day, twelve million pounds are spent on chicken consumption.Gillighan tries to keep a sense of humor during his investigation, but after the first week his mood declines and he feels unwell. The same thing that happened to Spurlock in Super size me. In the research process, the comedian interviews various experts in nutrition, food chemistry, and sensory scientists who explain to him how the entire chicken farming and meat ultra-processing industry works. You should know that if you decide to watch the documentary, it will be a few days before you eat chicken again, because there are sequences that are very disgusting. Gillighan shows terrible fattening farms. They make a forceful comparison: if a human baby grew at the same speed as chicks are made to grow, a baby would be the size of a sow after two months. Big chicken is a documentary that works above all because of the curiosity about the aberrations we will find. But the data is devastating. It makes us look at these fried chicken places installed in our cities differently after watching the documentary. We give them a new meaning, from an economic, as well as a social and cultural point of view.However, twenty years after the documentary Super size me, repeating the experiment forces us to ask ourselves how many times we will have to show the consequences of this food model for something to change. Documentaries are being made to denounce this industry, which keeps transforming itself to survive by doing the same as always.

Since streaming platforms appeared, the range of series available to us is greater than ever. At the same time, the waiting time between one season and another is becoming longer. This gap is starting to have an impact on viewing data, according to a study by the data company Luminate, which analyzes cultural consumption. A wait of at least a year and a half translates into a considerable loss of viewers.

Netflix has a secret archive of celebrity interviews recorded with the intention of broadcasting them, exclusively, just after their passing. Famous last words has just premiered its third edition featuring journalist and landmark activist in the history of feminism Gloria Steinem. Writer and screenwriter Brad Falchuk is responsible for conducting the conversation, which emanates a certain spirituality. The interview has a different aura, due to the tone, the staging, and the lighting, which distances it from a typical journalistic dialogue. The veneer of confidentiality, as no other member of the team has access to the content of the conversation, contributes to emphasizing the viewer's feeling of accessing a valuable moment. It is like witnessing that person's symbolic testament. Normally, the guest's personal trajectory is reviewed, but seeking a more emotional approach. At times, the interviewer's desire to bring out the protagonist's vital motivations leads him to pose questions as a therapist might. With Famous last words, the impact of the news of a celebrity's death has a small subsequent ripple when, hours later, their interview appears in the platform's catalog. It is a metaphorical way of being resurrected, an opportunity to say goodbye. The set becomes an intermediate space between life and death, a fruitful, pleasant, and slightly ghostly limbo. It is as if they were speaking to us from the beyond.In the case of Gloria Steinem, her delicate state of health is apparent. There is no revelation that causes surprise. When speaking about her legacy, she insists a lot on the idea of personal singularity, that which makes each of us unique, as something powerful that we must take advantage of. Falchuk, who demonstrates very careful research about the guest, asks her about the other great figure of feminism in the United States, Betty Friedan, to delve into the competition that has always been intuited to exist between the two. Steinem distances herself from this rivalry, although she admits that at the time she was hurt by the lack of support or recognition she received from her. She underlines, as a critique, the importance of never wanting to appropriate the feminist movement. And she makes an important revelation: she talks about a very kind letter that Friedan's sister wrote to her, where she revealed some facts that helped her understand this situation of tension between them both. This is a crucial moment in the conversation.In the final minutes of the program, Falchuk leaves the set and leaves Steinem alone in front of the camera so she can deliver her final words to the audience. It is a very powerful moment for the viewer: a very powerful and unusual magnetism is produced in front of the screen. It is the magic of posthumous interviews, because they bring us closer to death with great delicacy and a sense of peace.

With a long weekend ahead there is time to do many things, also to start watching those series that we have stored in the pantry because we haven't been able to get to them yet. We select five thrillers that have been released relatively recently and that guarantee a dose of adrenaline.

The last quarter of the year is one of the most powerful in terms of series premieres. With some titles still pending announcement, platforms have already shared some of their aces up their sleeves for the coming months. The proposals from streaming services confirm that book adaptations –and if they can be classics, better– continue to be a trend. We review those series that have caught our attention the most.

Returning to routine after the holidays is lighter when we have entertainment to accompany the ordeal. The course kicks off with many British productions spread across different platforms. The offer includes premiere series and also new seasons of already known titles.

Series called teacups are usually associated with a British universe, but if we broaden our horizons and understand that this label serves to define period fiction starring women, stories from almost anywhere in the world can fit. One of Netflix's latest releases, the miniseries My brilliant career, could be considered an Australian teacup series with some touches of Little Women. It is an adaptation of the homonymous novel by the Australian Miles Franklin (1879-1954), who wrote this semi-autobiographical story when she was 19 years old. With only six episodes, it is currently the second most watched series on Netflix in the country.

Netflix has just premiered Miguel Ángel Blanco: the 48 hours that changed everything, a documentary by Jon Sistiaga and Juanjo López that delves into the countdown ETA set to kill the PP councilor from Ermua after kidnapping him, in July 1997. The broadcast coincided with the anniversary, even though it is not a round anniversary: this summer it will be 29 years since that murder. The documentary coincided, with a few weeks difference, with the premiere on Movistar+ of Gregorio Ordóñez, the assassination that sparked the rebellion against ETA. The production by El Diario Vasco commemorates the attack against the PP councilor of the Donostia City Council in 1995.

The heat has already arrived, but the platforms do not lose the illusion that we spend time on the sofa and in front of the screen. Among the attractions of the June series offer, we find Javier Bardem revisiting a classic film title, a new heroine emerging from the world of Jane Austen, and more dragons from George R.R. Martin.

The good weather has arrived but this does not mean that platforms are slowing down their pace when it comes to releasing series. This May, dramas decrease and entertainments with a sexy touch increase. These are the most outstanding series of the month.

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.