first_imgThis means that 8% of the players in the Santander League This season they have gone through some of the lower categories of Madrid. Beyond Zidane’s own team, with the six mentioned, highlight Atlético de Madrid (5 – Adán, Hermoso, Saúl, Morata and Llorente), Espanyol (5 – From Tomás, Diego López, Andrés Prieto, Cabrera and Campuzano), the Alavés (4 – Javi Muñoz, Joselu, Pacheco and Aleix Vidal) and the Valencia (4 – Cheryshev, Sobrino, Parejo and Rodrigo).Outside of Spain, with more or less incidence in his days in Valdebebas, there are 41 footballers. Marcos Alonso, Mata, Callejón, Borja Valero or Fabinho they are players fully consecrated in their clubs while Sarabia or Dalmau they are in a great moment so. Bundesliga and Premier League They are the leagues with the most youth squads, a fact that speaks highly of the Factory being two of the best in Europe, but there are also ex-madridistas in Gibraltar or Andorra.Morata is the youth squad who has left the most money in Madrid, around 80 million of euros. Marcos Llorente follows with 40 million and the third is Jesé, which cost PSG 25 million. Some benefits that make the close to 21 million invested Madrid in Factory. Still We do not know up to what point will affect the transfer market the economic crisis the one that is leading the coronavirus, but in the last years the trend was for great players they would break every transfer record most expensive in history every two or three years. This has started to pay more for potential what for immediate performance, as can be the case of Jadon Sancho, who cost five million euros without having made his debut with the first team and will now go over a hundred. The idea is to try produce your own Mbappé and not having to go out looking for it. Real Madrid, following this trend, increasingly concentrates more efforts on its inferior categories.“The Ciudad Real Madrid it’s a dream and one orbsession of this Board of Directors: train children from all over the world in the values ​​of Real Madrid, and make them the best quarry of history, “he explained Florentino Pérez on the sports city from Valdebebas. Factory has always been a world reference and the titles last season confirm this: two juveniles, two cadets, one infant, two fry, one youngest and the prebenjamin won the league in 2018-19. Of the six editions that have had so far the Youth league, Madrid has been a semifinalist in three of them and a quarterfinalist in two others. The merit of the white youth team is not only to produce footballers, but also, there is a large number of footballers formed in Valdebebas they are now in the first European divisions. Specifically there are 83, distributed 42 in Spain and 41 emigrants.Journal AS ‘); return false; “class =” item-multimedia “>Real Madrid squad players spread over the first European divisions.AS newspapercenter_img But first team level white is so high that only six stonemasons are part of the first current template, Carvajal, Nacho, Casemiro, Valverde, Mariano and Lucas, and the central is the only one who has not had to go out to another team to earn the chip in the squad. Thirteen teams of inferior categories and more than three hundred footballers so that only one has come straight from the quarry. Leaving seems like an obligation.last_img read more


first_img MovieBob Reviews: ‘Shadow’MovieBob Reviews: ‘The Curse of La Llorona’ Stay on target Executives at Sony Pictures have been essentially banging their heads against a wall for almost 10 years trying to figure out how to make their own answer to the industry-dominating Marvel Cinematic Universe out of the fact that they still own exactly one extremely very valuable piece of the Marvel cosmology in the movie rights to Spider-Man. In pursuit of this goal they mangled Sam Raimi’s Spider-Man 3, blew-up Spider-Man 4 entirely, produced two of the worst films of the early 2000s (likely doing permanent irreparable harm to the career of Andrew Garfield) with the Amazing Spider-Man reboots, finally begged Marvel for an official helping-hand and still only managed the barely-average Homecoming and green-lit a slew of terrible-sounding spin-offs thus far including the embarrassingly bad Venom which, yes, all of you apparently went to see, so now I’ve got to watch at least one more of those — thanks for nothing.But it turns out it’s all been worth it! Because by the same principal that a thousand monkeys at a thousand typewriters will eventually write the Great American Novel; Sony Pictures, Amy Pascal, and Avi Arad’s “Hey, maybe this will work?” approach to the Spider-Man license has finally landed on a good idea: They made a cartoon — a terrific cartoon that willingly and enthusiastically embraces the fact that animation lets it live closer to the kinetic storytelling and anything-goes, freely-remixable world of comic books that superheroes originated in.Directed by a trio of veteran animation hands with a script from the writer-producers of the LEGO Movie franchise, Into the Spider-Verse is easily the most visually dynamic animated feature of the year and might well be the best-looking movie of the year, period. It’s a film that’s so deeply in love with (and eager to show off) its ability to execute the bizarre dreamscapes that live-action superhero fare can only pay tribute to and the flourishes of movement that comics can only suggest that it might’ve been good even in the absence of either a strong central storyline or a genre-bending meta-gimmick. And yet, it also has both of those things.Set in a contemporary New York City sort of like the real one, sort of like the Marvel Cinematic Universe one but also sort of not; the main storyline follows Miles Morales, a Black/Puerto-Rican teenager from Brooklyn torn between science-scholarship responsibilities and graffiti-artist dreams who just got himself bitten by a science-experiment spider and endowed with special abilities not unlike those of, well, Spider-Man — aka Peter Parker. In Miles’ world, Peter is a hyper-competent, do-gooder superhero whom Miles encounters all too briefly during a battle with The Kingpin, who’s attempting to activate a strange inter-dimensional machine for unknown purposes that’s somehow connected to Miles’ newfound spider-powers, and may or may not be capable of destroying the city and maybe reality itself. In attempting to investigate the matter and the extent of his strange new abilities, Miles discovers the film’s main conceit: That the device has also inadvertently pulled five other alternate-universe versions of Spider-Man out of their timelines and into his: A gone-to-seed, out of shape, middle aged version of Peter Parker, a Spider-Woman from a universe where Gwen Stacy got the special spider-bite instead, a Japanese teenager who pilots a sentient spider-mech, a hard-bitten 1930s noir detective voiced by Nicolas Cage, and a cartoon pig — “Peter Porker: The Spectacular Spider-Ham;” all of whom must team up to stop Kingpin from reactivating the device and ultimately return to their own worlds before universe is undone.This is the sort of thing that sounds like it could either be naked obnoxious fan service or even more naked obnoxious product-placement (or both i.e. “let’s pander to fans with obscure references and make a bunch of new toys”) and — to be clear — it is those things on at least one level. As in The LEGO Movie, Lord and Miller aren’t particularly concerned with pretending that a fundamentally commercial project isn’t fundamentally commercial; opting instead for the “do a good job and it won’t matter” approach.The main through-line is all about Miles, the older Peter and Gwen, whose dynamic would fit together and make sense even without the dimension-hopping conceit bring them together; while the others are able to function more as outsized comic relief with their more bizarre personalities and added visual flair through the masterstroke of rendering them in a contrasting mix of animation styles: Whereas Miles, Peter, Gwen and their home world are already rendered in a strikingly gorgeous mix of 2D and 3D animation that looks like modern comic-book illustration in motion and snaps into full-on extreme pop-art comic strip color explosions when the action gets especially kinetic. Meanwhile, ”Peni Parker” and her robot have popped from an Anime dimension, “Spider-Man Noir” looks and moves like an inky black and white shadow right out of Sin City and Spider-Ham is a literal cartoon funny animal with all the abilities and affects that would entail. And the overall of all this is, quite simply, amazing. Overwhelming, even. The sheer amount of visual imagination on display in any one scene blows every other animated feature this year (and probably last year too) utterly out of the water, but the real stunner is how well it ties together the overarching theme of the main story about Miles and it’s meta-theme.In the story-proper, surreptitiously being saddled with the responsibility to become his New York’s “new” Spider-Man is one more hurdle in any already complicated life that finds him unsure of his identity, where he belongs, the path he wants his life to take as opposed to some kind of clarifying moment. And while the fun-for-the-audience recurring gags of the multiversal alternate-Spider-Men and various people in Miles’ orbit revealing themselves as just-different-enough reimaginings of famous Spider-Man supporting-characters no doubt also serve to help the more staunchly traditionalist in the crowd (or, y’know, the vast majority of people who’ve only ever the seen the movies and cartoons and thus have never of “other” Spider-Men) “ease into” the idea of Miles’ Spider-Man as a character; more substantively this “anyone could be Spider-Man” moralism really does come back around to being about how he can be what he chooses. Obviously, every movie like this ideally wants it’s brand-reinforcing up-with-you empowerment mantra to also “work” as a legitimate thematic-narrative arc, but you rarely see one actually pull it off this successfully — and unlike the similar versions executed in the LEGO Movies, this one does so without needing to cushion the sincerity by becoming a full-scale parody of itself: Into the Spider-Verse may be animated and extremely funny in spots, and it’s definitely the most “out there” Marvel-adjacent movie of late outside possibly Doctor Strange; but it’s as good as it is because at the center of the big-idea multiverse story and the visual spectacle is a very strong, real, relatable story about a kid trying to figure out who he’s supposed to be made up of richly-drawn, well-written, well-performed characters.Miles and Gwen especially are as instantly iconic comics-to-screen leaps as Tobey Maguire in Sam Raimi Spider-Man or even Christopher Reeve as Superman — I hope Marvel-proper is ready for how enthusiastically people will be demanding for them to show up in the MCU somehow. The other Spiders are all charming in their own ways (it feels like asking for trouble but it’s *really* tempting to say that Cage could probably carry an actual Spider-Man Noir movie…) and the non-Spider supporting cast (many whose full names would be spoilers) are great as well.Strange as it may be to suggest that an animated superhero movie with “THE AVENGERS: BUT THEY’RE ALL SPIDER-MAN” as a part of its premise is both an affecting, heartfelt character piece, a high achievement in visual artistry and singularly great film… Spider-Man: Into the Spider-Verse is the real thing.More on Geek.com:Sony Seeks Patent for ‘Spider-Man: Into the Spider-Verse’ Animation TechGeeksplainer: The Spider-VerseNike and Jordan Brand Announce ‘Into the Spider-Verse’ Shoelast_img read more