The dragon is one of the quintessential fantastic animals in the history of literature. Its power has fascinated millions of readers, young and old, spurred by the creativity of novelists and poets from all over, but the image it presents has been changing: the dragon can be menacing, dangerous, and violent, although also, on some occasions, benevolent and compassionate, and it can even possess a wisdom superior to that of humans. "I am fire. I am death," proclaims Smaug, the imposing and fearsome dragon against whom Bilbo Baggins must verbally contend in The Hobbit, by J.R.R. Tolkien. "Never give up, and sooner or later you will find good luck," recommends Fulgor, the majestic white dragon, to the intrepid Atreyu in The Neverending Story, by Michael Ende. For Ursula K. Le Guin, who expanded and renewed the abilities of these enigmatic animals in the Earthsea novel cycle, dragons represent the human capacity to imagine: "If dragons frighten us it is because we tend to consider the works of imagination as suspicious or even despicable," the author defended in the article "Why Are We Afraid of Dragons, Americans?" (1974).

The current economic situation at Barça means they have to keep an eye on their youth academy –Clara Serrajordi, Aicha Camara either Carla Julià—but also those loaned players who can return and earn a place in the first team, such as Giulia Dragoni and Emilia Szymczak. The Italian midfielder is one of the names that has been speculated to potentially end her loan to Roma this winter transfer window and return due to Aitana Bonmatí's injury. The director responsible for the women's team, Xavi Puig, hinted at this on 3Cat before playing the last Champions League match in Paris in December: "The technical staff is working on this and I think it's an ideal time to consider many things. We're very clear about it and perhaps we'll have to consider a move for the team."

In a new and disturbing milestone of capitalist voracity, DreamWorks can boast of having surpassed Disney in its urgency to bring one of its golden goose to the realm of live action. If it has taken twenty-three years to see the characters of Lilo & Stitch turned into creatures of flesh, bones and pixels, we only had to wait fifteen minutes to see Hiccup and Esdentegat –the heroes of How to train a dragon– a stream and a flyer through the lush natural landscapes of Northern Ireland. The new adaptation of Cressida Cowell's book of the same name, directed again by Dean DeBlois (one of the authors of Lilo & Stitch!), looks like an effective cultural updating and financial calculation. Racial. Vikings of Polynesian and African origin? Why not? How to train a dragon thrills again with the epic tale of friendship between a young Viking who is too ñicris and a feline-looking dragon who wants to be a pet. Fans of the animated series may miss the dynamism and conciseness of the 2010 film – which was almost half an hour shorter than the original. remake–, but the relationship between the real Hiccup and the digital Esdentegat is charged with emotion and tenderness. And of course, the film's anti-war and anti-intolerance message is just as relevant today, if not more so, than it was fifteen years ago.