audience

The new Ferrari Luce is much more than Ferrari’s first electric car. It is a desperate cry to find a new audience

by

We thought of 2026 as the year in which we would see Ferrari’s first electric car. Boom. As of February 9, we already know the first details of its interior. The company itself has made them public in what is the first of the many appetizers that they will provide us before knowing the final bite. At the moment we already have its name, its interior and a bomb: the design of the cabin has been carried out by Jony Ivewho led Apple design until his departure in 2019. He Ferrari Lucewhich will be the company’s first electric car, has been seen with an interior that breaks with the entire collective imagination of what a Ferrari should be and, at the same time, draws on its history. Why an electric Ferrari? We have been talking about Ferrari’s first electric car for more than five years. Do you remember what life was like before 2020? The electric car seemed like the future, brands were striving to make the leap to zero emissions and the European Union warned that in 2035 we would not have a single car on sale with a combustion engine. Five years later, regulators have accepted that cars with combustion engines can be sold. Of course, the common mortals will not touch them. Or, at least, we will not be able to go to the dealership and order one because the real demands regarding emissions dictate, right now, that if a brand does not want to pay fines it will have to sell many (very many) electric cars for each pure combustion car. And that leaves two paths: either the brand sells those electric vehicles or it puts cars on the market that are expensive enough for the customer to pay the fine and continue to get an economic return from them. Come on, what Combustion cars will be a thing for the rich. But this change in regulation comes late for most brands. Because almost all of them had launched a 100-meter dash race to have their electric cars ready as soon as possible. This career has come hand in hand with enormous investments that, except in very specific cases, were no longer worth stopping. One of them is Ferrari. The brand has needed to move forward with Luce, its first electric car. A car that will not only take advantage of the advantages of electric motors. The first thing its interior tells us is that the Ferrari Luce will be much more than a sports car. It is one of the most important cars in its history. And Ferrari wants to make it a before and after. Ferrari Luce interior Much more than an electric Ferrari In its first electrified car, the Ferrari LaFerrari, the Maranello company sent a clear message: its first electrically powered car was going to be the most cutting-edge and wildest Ferrari ever built. With its first fully electrified car, the first to be sold without an exhaust pipe, Ferrari sends another clear message: techie customer, customer who wants to be fashionable, we are here. It is no coincidence that the cabin of This Ferrari Luce was designed by Jony Ive. Whoever was the head of design at Apple is considered one of the legends of industrial design, with decisions in which he clearly opted for form over functionality. The beautiful over the practical. The Ferrari Luce is everything we could expect since the relationship between Ive and those from Maranello is known. The cabin plays with a neo-retro design, with a steering wheel that recalls the simplicity of the extreme sportiness of a Ferrari F40 or an interior where the buttons have been replaced by aviation-style keys. There are just a few buttons on the center console to raise and lower the windows or lock them. A kind of joystick acts as a gear shift lever. Ferrari Luce gear selector Detail of the central screen button panel The interior of the Luce does not forget that a Ferrari is a sports car with paddles behind the steering wheel rim. But the small islands that shelter the selection positions here forget about the most sporting details to prioritize more day-to-day functions. And this is important. It still has a manettino to select the driving mode but it has a second lever to select what, we assume, will be the degree of power delivery to extend the battery’s autonomy. We have a direct button to control the wipers and another to, we suppose, deactivate the beeps of the wipers. ADAS systems. The turn signals, on what look like touch surfaces but I’ve explained to Top Gear which are physical, are integrated into the spokes of the steering wheel itself instead of having physical buttons and routes as in the brand’s latest models. But, of course, what draws the most attention are its two screens. We have long accepted an instrument cluster and a central screen for a Ferrari. What we did not imagine is that the main screen would be the absolute queen of the cabin with its 10.12 inches and a mobile solution at the bottom that balances between genius and purist horror. The handle is pure Ive design. The graphics displayed by Ferrari are so reminiscent of Apple that one would almost think they have embraced CarPlay Ultra. And at the same time, its 12.86-inch OLED instrument cluster screen is displayed as it would in a classic Ferrari, with its clocks well separated and extraordinary clarity for reading. The whole set is a sample of where Ferrari is right now. The company could have chosen to put an electric car in the body of a combustion Ferrari. Instead he has embraced another proposal: if I can’t convince you to jump to an electric car, I will look for new customers. Although those from Maranello have cars that are more or less usable on a daily basis, until now their proposals have always been consistent. racing Inside, a clear reminder that … Read more

four years later it is experiencing the biggest audience crisis in its history

by

Telecinco has lost its way. Since the disappearance of Sálvame from his grill and the definitive closure of the Vasile era, the chain seems to have been left in no man’s land. The initial idea in summer 2023 was clear: Ana Rosa would take over the afternoons of that audience that was orphaned without Jorge Javier’s farmhouse. On the other hand, that was the first setback and what led to the fact that, faced with more than discreet audiencesthe presenter returned to her comfort zone, recovering the morning space. From then on, the situation did not rather than getting worse. With Joaquín Prat becoming the currency of the chain, the commitment to new contests and a weekend that, despite a rebranding constant (‘Viva la Vida’, ‘Ya es Verano’, ‘Fiesta’…) belongs for life to Emma García, the data remains unrecorded; In fact, the new stage of its news programs led by someone very established in that space within TVE has not even worked, as is Carlos Franganillo. The numbers show how little benefit the change of direction and this replacement of the Mediaset leadership is. And it is not only the new CEOs who have been unable to turn it around to the situation, but, paradoxically, the only thing that holds the chain is the Vasile inheritance. The audiences are clear: Telecinco finds it difficult to exceed 10% of the daily share and has been in decline for four years, with a historical monthly low 8% in August 2025. What is happening? Vasile continues to keep Mediaset afloat If we review what Mediaset has defined through its flagships, we can get an idea of ​​the type of programming that the audience wants and expects from the network, in addition to its editorial approach. During Valerio Lazarov’s era the ‘Mama Chicho’ led; Maurizio Carlotti will be remembered for promoting series such as ‘Family Doctor’ or iconic formats such as ‘Martian Chronicles’; and in the Vasile stage we remember that essence ‘Save me’. However, what stood out in its content management was the firm commitment to reality television and circular content, a move that was undoubtedly key to the chain’s success. The contestants of the latest edition of GH. ‘Big Brother’, ‘Hotel Glam’, ‘The Farm’, ‘Survivors’… The choice of this type of format may have seemed at the time a risky maneuver to boost the audience, but the truth is that the active participation of the public, its involvement in the personal plots of the contestants and the enormous amount of associated content that did nothing more than regurgitate the realities (debates, gatherings, 24-hour connections…) managed to keep an audience tremendously dedicated to reality television hooked and in suspense. Maybe the concept reality It was moving away from the classic contest format, but its essence remained intact and it was consolidated for years as the driving force of the network. ‘Women and Men and Vice Versa’ or ‘Sálvame’ were still, deep down, a 2.0 version of reality television. To understand and stay up to date with the cameos, the cross accusations and the melodramatic plots, it was essential to follow the different spaces spread throughout the grid, where the contestants, journalists and collaborators were part of the same network, which ended up building an extraordinarily loyal audience. Now we are in the middle of 2025 and after the debacle in hearings and the futile attempts to overcome the sharewhile the new management intends to more than shelve the Vasile stage, the only thing that it seems to still work as a claim to the public it is ‘Temptation Island’. A format that is still the natural evolution of Telecinco’s original reality television, more current and oriented towards young audiences, although keeping intact the philosophy of entertainment and controversy that defined the Vasile era. And this is not an isolated case: the other space that maintains acceptable figures in the chain is ‘Friday’a show that wants to appear whiter and more moderate in tone but is still another variant of the heartfelt programs that historically always triumphed on Telecinco during the reign of Paolo Vasile, such as Salsa Rosa or Sálvame Deluxe. Was this the revolution? Therefore, everything seems to indicate that the more they want to clean the slate, the more they need to resort to the ghosts of the past. As a way forward they wanted to rely on a format like ‘Big Brother‘ but this only highlighted the key deficiency: we have a Mediaset without a soul. There is no longer a synergy of programs with the same zeitgeist which in its day provided, for example, ‘Sálvame’. Without that transversal ecosystem that was nourished by that reality television, it is very difficult for a format like Big Brother to once again have the success of yesteryear. The contents appear too dispersed, without a clear common thread and, thus, the grid lacks cohesion. It seems that the solution and innovation proposed by the new management is based on decisions that go from bad to worse. When the debate on ‘Temptation Island’ (remember: its star program with three (!) weekly broadcasts), is relegated to the ‘Mediaset Infinity’ platform and on the contrary, they insist on broadcasting the debate of a program that gave his last blows like ‘Big Brother’ mean that the viewer was not surprised by that “sudden” cancellation of the format with an express final. The combination of a worn-out program, increasingly stronger competition, changes in consumer habits, the questionable selection of anonymous contestants and a fragmented programming has sentenced an edition of Big Brother with data that do not reach 10% of shareand confirming that the reality emblematic no longer connects with the audience like before; also entering into direct contrast with the wonderful data of ‘Temptation Island’; a fresher, viral and intense format that challenges the viewer. Only ‘Temptation Island’ saves the furniture. Mediaset only has to analyze how it is possible that a format like ‘The House of Twins’ has eaten the toast of his GH edition; … Read more

LA1 has achieved for the first time that all its programs exceed 10% audience. The question is at what price

by

RTVE 1 has first achieved that all its daily programs exceed 10% screen share. An achievement that, however, puts a few questions on the table: is it a sustainable change or a timely surprise? And beyond: Have you done it by lowering its public television category, going down to mud to compete? Will these programs and approaches be maintained once there is a turn in the government? Many questions from a figure of Share Certainly notable and that marks a before and after for the corporation. The figures. That 10% share occurred Last Monday, September 22when an average of 12.5% ​​of Share. That is, only behind Antena 3 and its 13.9% on average. In the morning strip, the ‘morning news’ (20.2%) and ‘The time of 1’ (17.6%) stood out. ‘Mañaneros 360’ maintained a double emission with very solid results (15.5% and 11.1%) and the ‘1’ mediodia news highlighted with 14% of Share. In the afternoon, ‘straight to grain made 10.4% and surpassed its Telecinco and Four competitors. ‘Wild Valley’ (11.4%) and ‘The Promise’ (12.5%) They followed leaders and ‘bad languages’ made its own record with 10.6%. ‘Here the earth’, finally, made 11.7%. The night block, already with mainly non -daily programs, was composed of ‘News 2’ (12.1%), ‘La Revuelta’ (11.7%) and ‘Masterchef Celebrity’ (13.7%). How it has been done. The figures have been achieved with a thorough reorganization of the grill, with four magacins that cover current and politics, and a commitment determined by entertainment and direct formats, and covers from the ‘morning news’ at 6:00 to the end of ‘Masterchef Celebrity’ at dawn, all with two -digit quotas. It is the key to understanding the new strategy of the1: greater weight of informative magazines, competitive entertainment and programming for diverse audiences. Go to mud. Maybe the attempt to recycle the wicker of ‘Save Me’ They will not work in audience, but the intentions were clear: compete directly with private chains. But here we find the first dilemma of this success of the1: the borders between public television and entertainment of private chains are blurred. There are those who denounce a kind of “Telebasura covert“, that is manifested in Commercial formulas as sponsorships, promotions and Product Placementwhat has even gained some sanctions to the entity in programs such as’Great Prix‘or’ Masterchef ‘. Politicians in RTVE. This leads us to the political issue. The current composition of the Board of Directors of RTVE, with majority of counselors related to government blockis being perceived as excessively politicizedwith doubts about the informative plurality and the representativeness of the programming. Many critics see open pro -government affiliation in presenters such as Silvia Intxaurrondo (which has had to defend themselves from abilities to favor the government), Javier Ruiz or Jesús Cintora (the latter in the 2, and both investigated by RTVE itself After vulneration complaints of plurity and rigor) The issue on the table is: Does this new RTVE prioritize profiles and content aligned with the interests of the management, raising the risk of indirect censorship or systematic bias? Something may have to do with the renewed success of the1, but … Do you have continuity? Nothing is forever. This political affiliation is real or perceived (which has also been reflected in decisions as significant as the Eurovision abandonment), What is clear is that it could mean a risk for all these programs when there is a change in political orientation in government. Ruiz himself seems to reflect on it in This interview with El Paíswhere he assumes that he will end out of the entity once there is a turn in the government. There was already talk of it around Broncanowhich has the most media program, but it is understood that the entire grill is marked by a specific orientation, these programs (and audiences) would be in danger. In that case, La1 would have to put on the table if you are more interested in the audience or loyalty to whom the Moncloa occupies. Controversies of a lifetime. For decades, RTVE has been subject to constant political fluctuations that condition its management and programming, making its effective independence difficult. In 2006, the government of José Luis Rodríguez Zapatero promoted an important reform with the Law 17/2006 of the radio and television of state ownershipwhose objective was to independent the corporation of political power to guarantee stability, plurality and autonomy similar to the BBC model. The law conceived RTVE as a corporation with public capital, regulated as a commercial company, with a council appointed by consensus in Parliament with qualified majority and long mandates to avoid political interference. However, this reform has been Historically undermining for political conflicts. Successive governments, especially that of the PP after Zapatero, altered the conditions to resume more direct control, as happened when the qualified majority to appoint the directors and returning the executive greater capacity to influence the direction of RTVE. These recent measures have Formal independence weakened which sought to get and put control again in partisan hands. Header | RTVE In Xataka | 739 million euros: an audit of the Treasury points to a possible budget hole in RTVE

Call of Duty announces a film, with which he will make a leap to the void, going beyond the children’s audience of other adaptations

by

It was clear: after the successes of ‘A Minecraft movie‘ either ‘Super Mario Bros.: The movie‘We were going to see new video game adaptations. AND ‘Call of Duty‘It was one of the undisputed franchises to receive a version on the big screen. Although his announcement also involves a distancing from other projects: a more adult series, with more serious themes, and that opens new ways for what could be the next great Hollywood reef. Paramount points. The renewed Paramount, now under Skydance’s wings, is the one that will be responsible for producing this adaptation of the Activision saga, which will appear in the movie’s credits as an advisor to everything that comes out on the screen. It is a turn that is not surprising coming from the producer: one of her last great hits in cinema was’Top Gun: Maverick‘, so it has all the meaning that wants to continue exploiting the war aesthetics with a franchise settled in the past. It is not the first time that Paramount tries, however: in 2018 he already tried to put an adaptation of ‘Call of Duty’ standing with the director of ‘Sicario 2’, Stefano Sollina, on board. A lifelong fan. On this adaptation, David Ellison, CEO of Paramount, said in statements that Deadline collects “As a fan of ‘Call of Duty’ of a lifetime, this is a dream come true. From the first allied campaigns in the original ‘Call of Duty’, going through ‘Modern Warfare’ and ‘Black Ops’, I have spent countless hours playing this franchise.” And makes the inevitable comparison: “We are addressing this film with the same discipline and the same unwavering commitment to excellence that guided our work in ‘Top Gun: Maverick’, making sure that it meets the exceptionally high standards that this franchise and its fans deserve.” Good new times. Today the times in which adapting a video game were almost synonymous with guaranteed failure (at least artistic) seem. The huge software sales promoted adaptations, but gave rise to fiascos such as ‘Super Mario Bros.’ or ‘Street Fighter’ (today claimed as cult films, and both with new versions that – at least in the case of Mario – have cleaned the image of the franchises). Recall that for a while, the one who was considered a nefarious director, Uwe Boll, insisted on adapting a video game after another. Not everything is terrible. Despite the bad reputation of adaptations, we have had good films from the beginning: the first ‘Mortal Kombat’ is a great version and The ‘Resident Evil’ sagawith its ups and downs, it is full of humor, imagination and springs (and The despised 2021 adaptation It was great). ‘Silent Hill’ is remembered for its powerful macabra imagery and Lara Croft’s versions … well, they have not aged at all well but they are esteemed adventure films, and the 2018 version was very defensible. But none of that prepared us for the dump at the box office that would hit films such as those mentioned, to which successes such as ‘Sonic The Hedgehog’, ‘Uncharted’ or Pokémon movies, which we forget about them and although there is an anime through them are added, video games are part of their DNA. Adult cinema. All of them, however, have something in common: they are films oriented to children or, at most, to the family member. ‘Call of Duty’ is, therefore, a risk to which the sequelae of ‘Sonic’ are alien, for example. Paradoxically, franchise players are young and even There is an important group that is between 11 and 20. Paramount, however, may not want to escape the possibility of attracting spectators in a broader range of ages, with a more serious and violent film. If you get even more the arch of the spectators, you can have a real triumph on your hands. Header | Activision In Xataka | An urbanization was deserted in Valencia after the real estate bubble. Some geniuses have made it ‘Call of Duty’

Telecinco has just closed the worst month in audience of its entire history. This fall urgently needs a revulsive

by

That Telecinco is in hearing crisis is no longer news. We have been talking about it since ‘Save Me’ stopped being a talisman for audiences and The afternoons they became a problem For the channel. But the well in which the Mediaset chain is involved seems to have no background and this August 2025 plays new Historical minimum. Of course, it must be taken into account that this summer month is a decrease in the Share of all chains, but the debacle is so striking that not even talismans as’The island of temptations‘They seem to work. Evil record. A year ago Telecinco already signed minimums with 8.6% of Sharebut this year it has fallen to 8%. August, as we say, is low consumption month, so what really should worry Telecinco is that in January of this year it already was around those same figures, with 8.7%, and for that there is no excuse. Since the second half of 2021, Telecinco does not see the light, and two other resounding figures corroborate it: that 8% also represents the greatest distance of the last 27 years with Antena 3, 4.3 margin points; And on Saturday, August 23 Telecinco had the worst data in its history, 6.4% of Share. What has failed. None of the summer bets have gone well. Although the mornings have endured with dignity, the nights have been disastrous: series such as’ missing ‘or’ Scated murderers’, cinema on Wednesdays or repositions of ‘Fridays’ have had to receive the support of a’First Dates‘Imported of four. He Prime Time The channel was destabilized because of how bad ‘the summer of temptations’ had worked, an attempt to stretch the popular gum reality With images of the previous seasons and that did not work, as the information of the news did not work. What is planned. Telecinco, of course, does not fain, and although it seems that it has resigned to present war in the Access They have dominated ‘El Hormiguero’ and ‘La Revuelta’it foresees more than a powerful premiere. This is the case of the return of ‘Dancing with the stars’, Joaquín Prat trying to recover the throne of’ Save realities that has the favor of the public: the presence of ex-concurss. Nothing is forever. Telecinco is forced to continue looking for spare parts for its successive failures, no matter how much the streak is agonized. The example of the1 finding thanks to the afternoon snakes and the arrival of David Broncano Some proposals with which to deal with the Almighty Antena 3 is a phenomenon in a certain inspiring sense (we will see how it is given to the1 with ‘direct to the grain’, the new Magacin with Marta Flich and Gonzalo Miró). Telecinco must have found some satisfaction in the fact that the public chain has not been able to Reactivate the ‘Save Me’ phenomenon with the loud prick of ‘The family of TV‘. The waters return to their channel in that sense, and perhaps Telecinco is able to find an alternative with which to present battle. Sure. The season starts is quiet on television, with bets on all the channels that are sure: ‘Masterchef Celebrity’, ‘La Voz’, and series such as ‘The Crossroads’, ‘Sin Gluten’ and ‘The Agency’. Even Telecinco seems to iPtar by a turn to the conservative: two years ago, in 2023, he tried Channel Vasile Exit With a turn to the white and the familiar, but the urgency forces to rethink that reorientation. Names like Ana Rosa Quintana or Jorge Javier Vázquez (of the few who firmly maintain competitive audiences) and franchises such as ‘Survivors’, ‘Big Brother’ and ‘The island of temptations’ seem to choose to look at the glorious past before looking for alternatives. A decisive September starts for the chain. Header | Telecinco In Xataka | Leticia Sabater is no longer a nostalgic artifact, but a transgenerational artist: most of her audience is very young

Most of his audience is very young

by

Leticia Sabater’s career has given us at least two surprises. Who was going to think that the girl who touched the kids “at noon, joy” in them say that glorious Spain of 1992 I was going to end up singing ‘La Salchipapa’. But there is double impact: who was going to tell us that the singer of ‘La Salachipapa’ was going to become a Kitsch icon from the wild Tecno, taking good revenues from her indescribable songs and filling fair enclosures with the summer agenda full of bowling? Well that: who was going to tell us. The mythical Telecinco. What to say about Telecinco of Xuxa’s timethe momchicho, ‘vip night’ and ‘speaking is understood the basca’. Well, there was also Leticia Sabater. In 1990 he presented his first children’s program, ‘Do not miss it’, with Enrique Simón, but since 1991 he has already started tumbos for different Telecinco programs: ‘Breakfast with joy’ (1991-1993), ‘At noon, joy’ (1992-1993) and ‘Live the Compis’ (1992). Although he would still present some more children’s program in TVE, they would be those that would give him fame, since it was the containers where successful series such as ‘Lupin’, ‘Knights of the Zodiac’ or ‘Super Mario Bros’ were issued. Serious things. When Telecinco left behind the times of ‘Oh what heat’ And he turned to a less strident program, Leticia Sabater’s career went through a hiatus from which he left in a program of the local Channel 7, ‘dangerous lies’ (among others such as ‘Danube Azul’, ‘Your second honeymoon’ or even a child, ‘snack with Leticia’). The result was a memorable shout showinsults and embarrassment on set remotely inspired, in local TV version (with all that implies) in another television cathodic legend, Jerry Springer’s program. Although Leticia’s career would still have rope on television, in many competitions, realities and special interventions, let’s stay with ‘dangerous lies’. That turn towards the adult public friend of the knife and the desire, and very aware of the calaña of what he is seeing gave him the key to the next step of his career. The sausage. Not a decade ago ‘The sausage‘He entered our lives, and it seems that he has always carried there. But who has almost always the music of Leticia, who launched a few success albums between children and youth audiences in her telecinquera stage, with successful themes such as’Your favorite neighbor‘. Since 2011 adult music is reoriented, with a trchante version of ‘He went away‘And issues clearly oriented to the gay market, such as’ Mr. Policeman ‘and’ Gay Universe ‘. However, nothing prepared us for the sauspapa, a virtually amateur production song and clearly oriented to conquer the throne of the summer song, Latin -style Latin -style subsection of King Africa, to which the song imitates without complexes. But it was a funny crash with Lalachus (who tweeted “for the fans of Kuala Lumpur de Leticia Sabater” and the artist, the artist, Thinking that he had insulted him“Huala Lampur replied will be your motherfucker”) what viralized ‘La Salchipapa’ arriving in the following days to three million views. New milestones. Since then, Leticia Sabater has tried ‘The Polvorrón‘, ’18 centimeters dad’ or ‘Brown me on the turkey‘, who musically approach the involuntary experimental pop of FLOS MARIAE. The funny thing is that despite being such a clear product of niche, Leticia Sabater has considerable popularity:. With One million followers on Instagramits concert agenda is always full: in the summer of 2024, for example, He gave 24 concerts only in Aragon. With a 2500 euro cache for a set of six songs, Leticia Sabater is far from being a Freak further. This is Leticia’s youth. Undoubted Millennial. That success is what has led him to put 10,000 people in a tent Installed in Biota, a town of 800 inhabitants, and the images of their concerts leave no doubt about their predication among the youngest. The ability to earn that audience comes, without a doubt, to embrace without complexes its category of Camp and Kitsch vehicle capable of transcending generations, becoming for example a meme with its Participation in the musical ‘fronze’ in a circusreplicating the success of Disney’s ‘Frozen’. Generation Z values ​​content that is authentically extravagant, not simulated, and flees from the cool poses spent Millennials and previous generations. Leticia Sabater’s ability to generate visceral reactions of laughter or rejection and his lack of pretensions give you a Halo of authenticity than the most young people appreciateinheriting the passion for internet culture by personality without filters Of so many Influencers. So much later, Leticia Sabater conquers the kid. Header | Leticia Sabater In Xataka | We already have a measure to determine whether the AI ​​or a human editor is faster: fried eggs with blue yolks

In search of a audience, RTVE is increasingly similar to Telecinco. The consequences are controversial like Melody’s

by

He Melody’s prick in Eurovision It is generating an unexpected shock wave. The last last place in the Latest edition of the controversial festival He has not caused the diva to adopt the usual low profile in these times, waiting for the chaparrón to pass (or not: who heard again about Morpheus’s dream after his penultimate in 2013?), But we have seen her return at a press conference with attacks on some RTVE partners and public television itself. Derogatory comments. Yesterday afternoon, Melody appeared in Study 6 of Prado del Rey before a hundred journalists. It was an expected return because it was the first official statements of the interpreter of ‘ESA Diva’ after set up to the revolt Already other RTVE programs with which he had commitments after Eurovision. “It hurt that some companions of some chains, and of the same chain, have made a little derogatory comments towards my person and my performance,” he said. Among the most commented on networks of this appearance has been The conflict with RTVEhis Positioning with the conflict in Israel or the Message between lines to sonsoles onega. Broncano in the spotlight. With that comment he referred especially to David Broncano’s program, who saw CANCELADA Melody’s visit at the last minute and had to react with an emergency guest. “Above all is mental health, and there has been some television program in which they have laughed that I went home to see my family and my son and need time, and it doesn’t seem good to me,” he said. He also commented that there have been comments on “other programs of RTVE itself. They have been subliminal messages dedicated to my person who did not stick. I do not speak of anyone’s salary and I do not want to talk about mine.” The inevitable Israel. The great presence of this year in Eurovision has been that of Israel, both for the result of popular votes as for the abundant voices that ask for the withdrawal of the country from the contest while continuing the conflict in Gaza. Israel also brought the most tense moment of the press conference, when the press asked Melody to position themselves, after he did This year’s own winner. Melody replied that he would not pronounce because “once I did the Benidorm Fest, I am required by contract not to make political comments.” RTVE Demiente. RTVE has rushed to Defer that point on social networksensuring that “at no time has any representative of Spain in Eurovision be prohibited in Eurovision to make political comments. It is the rules of the UER that establish that the songs, and only the songs should not include political content.” Remember that Israel’s own participation is on the table in the European Broadcasting Union for next editions. They looked for him. For a few months, it could be said that RTVE is facing a series of controversial decisions that are generating conflicts even within the entity and that they move it away from the traditional image of public television, traditionally more moderate and oriented to the public service. Historically, there were objectives on public television (impartiality, public service, absence of advertising) that contrasted with those that could be seen in private (search for audience, spectacularization and conflict). The two borders, however, are blurring. The audience above all. On the one hand, the search for audiences has led to the signing of stars that in some cases are giving good results (‘the revolt’, although far from defeating the unbeatable ‘El Hormiguero’) and in others not so much (‘The family of TV’, which Does not find its space in the afternoons). Significantly, in both cases the programs are supported by the conflict, with Pablo Motos in the first case, which has led to some hostilities rarely seen in that strip; And with the DNA of ‘Save Me’, controversial and missed by definition, in the second. Closer to private TV. Melody’s anger, then, is the result of this reorientation towards proposals more typical of private television. It is detected, for example, in all the treatment that TVE is giving the controversy, managed and fed from the same chain: the press conference -especially tense with the presence of María Eizaguirre, communication director of RTVE-, ‘La Revuelta’ and, of course, ‘The family of TV’. A strategy similar to when ‘Save Me’ commented on the programs of The Telecinco de Vasilecreating a kind of self -sufficient world that feedback itself. All this has given rise to an evolution of RTVE that has caught the attention of Critical means with management of the current president of RTVE, José Pablo López. A manager accustomed to controversy and accused of politicizing the platform And that has motivated that at the moment the question about the table is: do these contents attract new audience or erode confidence in the chain? Header | RTVE In Xataka | Thirty years later, there is still an unbeatable television format in Spain: desktop soap operas

Telecinco crossed a deep audience crisis. Until the key on ‘The island of temptations’

by

The hearings of ‘The island of temptations’ since The Montoya phenomenon He made his irruption on social networks have only grows, and have reached a climax in both narrative and spectators with this week’s galas. Although it will still be in the coming weeks with some gala of ‘What was …’ and the like, the last regrets in Montoya, Anita and Manuel, the tempting who generated a schism inside the couple has been the icing for this edition. “You have left me like a scolding.” It was alone One more of the many glorious phrases that the Infinite Andalusian Ingenio de Montoya. All immersed in a narrative that is hard to believe that he was not previously scripted due to his devastating sense of rhythm and his iconic Rancio melodrama characters (the hero who finds dignity, the liar who remains alone, The villain that punishes twice). Result: 16.7% quota and 2,103,000 spectators, the best Wednesday of this edition. The figures. They are not precisely nimios data: it exceeds 2.5 points and more than 300,000 viewers for the best audience that the program had had until now, three weeks ago. But above all, the most important thing: it exceeds the two daily titans and exceeds both global data and in strict coincidence of ‘El Hormiguero’ and ‘La Revuelta’. The motorcycle program had 13.7% of Share and 1,865,000 spectators, and well below, Broncano scored 11.1% and 1,519,000 spectators. Football again damages the latter again, since the Champions League in Movistar Plus+ made 8.6% and 1,139,000 spectators. The Telecinco respite. These figures suppose an oxygen ball for Telecinco, which remains the third option behind Antena 3 and 1. The triumph of ‘The island of temptations’ adds to other variables such as the final of ‘Big Brother’ and the Return from ‘Ana Rosa’ in the morningwhich makes Telecinco the option that goes up to January, with nine tenths. Of course, it came from playing background: its historical minimum in regular season (8.7%) and despite the rise, this February has been the worst in its history, with 9.6% on average. That is, certain notes of improvement are perceived, but the audiences remain abysmal. Ana Rosa as spearhead. Yesterday ‘Ana Rosa’ program, which returned in the morning after a dull evening stage in ‘afternoon’ (which curiously is working very decently in the afternoon without its alma mater) signed his best data since he returned to his original schedule: 15.2% of Share. In his strip, he led without possible competition, with almost two points of advantage, but could not stand up to Arús in his first two hours, which remains untouchable from 9 to 11 in the morning with 16.1% of Share. Even so, they are also good news for a Telecinco willing to grab any favorable data. Big Brother confirms the domain of the realities. For many headlines that monopolize its discussed final (which has made ‘tongo‘Be Trending topic in networks), ‘Big Brother Duo 3’ has both a confirmation that the formula is exhausted and that the realities They are almost the only resource of Telecinco to scratch respectable audiences (Share record -17.6% – with their end). With the failure of ‘Whoever falls falls‘, one of his great bets of this season, and the bass ratings of talents as ‘Next Level Chef’ (which You have to take over the strip of Late Night To give decent data per comparison), it is clear in which gender will continue to trust the channel. The future of the island. Now, Telecinco meets a reality that he had relegated to a secondary role obtaining his best audiences from the first auditions, so he undoubtedly has a very specific objective for the next edition: finding his next Montoya. Meanwhile, the new edition of ‘Survivors! The usual feedback of Telecinco programs, now at the service of responding to low chain audiences. Header | Mediaset In Xataka | ‘La Revuelta’ has made the issuance of lotteries at last something interesting. In return, a millionaire fine has been taken

Six months later, ‘La Revuelta’ and ‘El Hormiguero’ are still tied at audience. It’s excellent news for Broncano

by

Practically from the premiere of ‘The revolt‘Last September, that is, now almost six months ago, press and spectators we have raised a battle narrative between the two programs of the Prime Time. Given the spectacular audience rates that both programs have sustained and that We have been following practically day by daytried to proclaim a winner on both sides. The truth is that numerically still does not have a clear winner, although there is a battle that ‘El Hormiguero’ had won from the beginning: that of advertising. The battlefield. Broncano did not have to wait too long to proclaim his first victories. In fact, from nothing less than The second day in broadcastits many initials could be aim: nothing less than 4.4 points of Share Of advantage in the strip of strict coincidence of both programs, a measure that we have used to using hereinafter. ‘El Hormiguero‘He began to stretch his start and farewell hours (a measure that would soon imitate Broncano) to add more spectators, which ended up renting, as we will see. But in the strip of a little less than an hour in which both programs coincided, the victory used to stop for the new 1 program. 2024: We have a winner. The Barlovento Communication agency did when it ended 2024 An analysis of the figures of ‘El Hormiguero’ and ‘La Revuelta‘. He gave the victory to Broncano by the minimum: 26.7 million total viewers in the case of motorcycles compared to 28.9 million for the La1 program. In Sharethe difference is almost negligible: ‘El Hormiguero’ had a fee of Share average of 15.6% compared to 15.7 of ‘La Revuelta’. If we buy the monthly evolution of this graph we will see that ‘La Revuelta’ has an advantage in two of the four months of 2024, and the same happens with the number of viewers. The sum gives Broncano victory, but no matter how little. He Prime Time Live, the fight continues. The return to normal after Christmas holidays has been full of ups and downs. ‘La Revuelta’ brought together more media attention after New Year’s Eve bellsbut motorcycles has remained firm. And so, there has been Shares For all tastes. He Return on January 7 He resulted in an overwhelming Broncano victory (17.4 compared to 13.2), but they quickly matched with tenth differences. There were also total victories from Antena 3, such as The night of January 15where Joaquín as a guest of ‘El Hormiguero’ (16%) and with his own documentary (16.3%) overwhelmed La1 (11,8). ‘El Hormiguero’ has also had Rachas of victories (four in a row) to finally return to The usual situation. Some extra potholes. In addition, at this 2025 start, both ‘El Hormiguero’ and ‘La Revuelta’ have encountered a couple of extra challenges, which did not have in the last months of 2024: on the one hand the unforeseen success of ‘The island of the temptations’, which has turned his Montoya into An international success And he has taken the assault on Mondays and Wednesday. On the other hand, the Champions League has caused the audiences of both programs to fall When they have coincided with one or more important matches, and the Copa del Rey has delayed the Broncano Start time, sinking your audience. The novelty effect does not exist with Broncano. The “novelty effect” is an issue that is being studied in marketing for years: The emotional implication that raises the new He brought up when he talked about the arrival of Broncano. There was the possibility that ‘the revolt’ would deflate as the initial impact passed. Finally, it seems to corroborate that the data that the first hearings persist: Broncano has appealed to an age strip And a type of audience that television did not see before that time, which has had an additional effect: the hearings of ‘El Hormiguero’, little interested in ‘La Revuelta’, have barely experienced variations. The victory of ‘El Hormiguero’. Although the figures do not give motorcycles, in one aspect it can be calm: The juicy advertising income from your program They have not descended. The impossibility of the1 to issue advertising (except for occasional sponsorships that have already been given Some disgust) Leave all the advertising investment of that strip in the hands of the Antena 3 program. So although a contender has emerged at that time, something can be congratulated: at least, its competitor is on public television. Header | RTVE, Antena 3 In Xataka | The motorcycle and broncano clash honors a long television custom: that of the presenters wars

They are not experiencing their same audience crisis

by

Awards deliveries are falling in a fallen layer. The Oscars sink into historical minimums, other relevant awards such as the Emmy or the Grammy fall every year. It could be said that the awards for the best cultural proposals of the year no longer interest. However, The Goya They endure firm, with more or less stable audiences except for occasional and understandable ups and downs. Decadent awards. In audiences at least, as seen In this axios picture. And not in all cases: Emmy For example, they had their best audience in three years (6.8 million viewers), and the Grammy They are also experiencing in the last four an ascending curve to pre-pandemic levels (17 million), but all within a context of generalized fall. Worse are the Gold balloonswhich are maintained after the spectacular fall of a few years ago (9.3 million) or the Oscars, these yes in clear free fall, after a historical minimum in 2021 of which They have not yet recovered. In Spain they work. Goya audiences They have experienced the high logic of the circumstances of each moment (in 2021 they fell to historical minimums, such as the Oscars, because of the Covid and a ceremony where all the nominees were in their homes), but in general, they have remained since 2009 Always around 20 and 25% of Share. They are figures that involve few variations in interest. Post-pandemic television. It is true that there was a time, between 2009 and 2011, in which the Goya exceeded four million viewers, and now they are rather around two and a half million, but it is a fall that is part of the Disappearance of the general chains as the main entertainment of society, along with the consecration of the platforms of streaming Around the Covid years. And of course, with the generalized descent in television consumption in recent yearswhich makes the 2024 gala the least seen in 18 years, in the context of the audiences of that year it was a good percentage According to RTVEwinning fee, going up to the previous year and being the most watched that day in Prime Time. The secret: few changes. If you think about possible reasons for Goya to continue maintaining their form, it is precisely the few changes they have experienced over time. Since its first edition, in 1987 (televised since 1991), it has followed the awards codes such as Oscars, with very scarce freedoms. The format of one or two presenters has only broken three times, in 2001 with six, in 2002 with the animal group and at the 2022 choral gala. The statuet has not changed, the rules to be nominated and awarded have barely experienced Evolutions Classics without risk. A statism that at the moment seems to benefit them: this year, the gala will be presented by two classics without risk such as Leonor Watling and Maribel Verdú, and has already promised, in advance, a gala without controversies and Without politics. That is, the desire and intention is that, for the moment, everything remains the same. At least, as regards the audiences. In Xataka | Karla Sofía Gascón has achieved more than endangering her own Oscar: jumping all Netflix alarms

Log In

Forgot password?

Forgot password?

Enter your account data and we will send you a link to reset your password.

Your password reset link appears to be invalid or expired.

Log in

Privacy Policy

Add to Collection

No Collections

Here you'll find all collections you've created before.