audience

Telecinco hits rock bottom in the most spectacular way in a black summer, and signs the day with the lowest audience in its history

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Thursday, July 2, should have been just another day of the summer after-dinner meal. And like a domestic thriller TV movie, it became the worst in Telecinco’s 36-year history. The stars have aligned in the negative to reach the disastrous milestone, since not only is it the icing on the cake of a collapse in audiences that has been brewing for years, but the stratospheric audiences of the World Cup mean that, for the moment, Telecinco is going to have a very difficult time raising its head. Not six. Telecinco closed on July 2 with 5.97% screen share: the worst daily data in the chain since records exist. That same afternoon, Spain beat Austria 3-0 in the round of 32 of the World Cup 2026 and brought more than nine million viewers to La 1, which closed the day with 26.7% share and 63.7% during the match itself. The golden minute arrived at 10:51 p.m., with 10,447,000 people watching Spain advance to the round of 16. Not just football. As we said a few days ago, not only football is to blame: it is that Mediaset’s entire summer plan to recover audience is leaking: that same day ‘Love… or whatever arises!’ it signed a minimum with 5.1% and 439,000 viewers; ‘Summer moves’ fell to 5.8% and 431,000; and that collapse also dragged down ‘El Diario de Jorge’ (7.4%) and ‘Allá tú’ (7.6%). Even the prime time suffered the blow: the series ‘She, damn soul’ scored its minimum number of viewers in its third episode. However, ‘First Dates’ surpassed a repeat of ‘El Hormiguero’, which corroborates Carlos Sobera’s dating show as one of Mediaset’s most reliable assets. Because it was already coming off an ominous June: the month closed with an 8.3% share, the worst June in the history of the network and also the worst month in the regular season, even ahead of the previous negative record, 8.4% in December 2025. Not even heavyweights like the final of ‘Survivors’ or the outcome of ‘Temptation Island’ managed to reverse the figure. Downhill and without brakes. Since the chain he let Paolo Vasile go to reinvent himselfdid not find a substitute for the formats that sustained its leadership, such as ‘save me‘, which also went through its own via crucis. The 2025-2026 season closed with an 8.9% average quota, the worst in its history and the fifth consecutive record to set a new low. He contrast with La 1 It is especially striking: in five years, the public channel has gone from 8.8% to 12.1%, while Telecinco has done the opposite, from 13.1% to 8.9%. Great summer plan. ‘Love…or whatever comes up!’ It debuted on June 22 with 6.8% and 632,000 viewers. ‘The Peace Show’ started with 7.8% and 638,000. ‘Summer moves’ premiered with 7%. None of the three has exceeded 8% since then. Meanwhile, Antena 3 maintains the after-dinner atmosphere with ‘Sueños de libertad’ above 14% on average and La 1 exploits the World Cup to lead a month of June that had been belonging to Atresmedia for 22 months. The figures are unequivocal: it is not that people have stopped watching traditional television. It is a specific problem for Mediaset. The last puff. The fourth piece of the plan remains: ‘From Monday to Friday’, presented by Santi Acosta and Beatriz Archidona, two faces that already lead ‘From Friday’ in prime time on Fridays for three seasons. The program inherits the slot from ‘Jorge’s Diary’ from 6:15 p.m. adds a team of 16 collaborators in which faces from the extinct ‘Sálvame’ coexist (Lydia Lozano, Karmele Marchante, Rosa Benito, Terelu Campos, Antonio Rossi), which points to a timid attempt to recover what was the last great success of Mediaset’s afternoons. His only problem: he faces, in his debut, nothing less than an afternoon of warming up for a game in Spain. In Xataka | Telecinco has ‘El Rosco’ but does not have ‘Pasapalabra’. Antena 3 has ‘Pasapalabra’ but does not have ‘El Rosco’

Telecinco wanted to revolutionize its schedule for the summer in search of solutions for the audience. At the moment it’s a disaster

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Telecinco has changed half of its afternoon schedule to escape the worst season in its history. At the moment, however, the changes are not being noticed as much as Mediaset would have liked, and so far no program has reached 8% of share. There is still a lot of summer ahead, and in some cases, the headlines have barely had a couple of broadcasts, but we are certainly far from brilliant starts for these new programs whose structure, aesthetics and presenters smell of the company’s old glories. The figures. He date show by Carlos Lozano ‘Love… or whatever arises’ debuted on June 22 with 6.8% share and 632,000 spectators; the return of Paz Padilla to Telecinco after his rudeness with the now deceased ‘Sálvame’, ‘El show de Paz’, with 7.8% and 638,000; and the magazine of suns and gossip presented by Ion Aramendi and Kike Quintana ‘El Verano Se Move’, with 7%. The latter, the most recent premiere (this Monday), is the network’s third evening premiere in eight days, and the penultimate of a plan that Mediaset designed to get the network out of its worst historical moment. Some context: ‘El show de Paz’ occupies part of the time on weekends of ‘Fiesta’, Emma García’s magazine that had just had its two worst months in history (8.1% in April and 8.2% in May). If Padilla manages to settle at around 9% compared to his rivals (cinema on the rest of the channels) and, in the process, spreads a rise to ‘Fiesta’, he will have fulfilled his promise. And it remains to be seen what happens with the fourth piece of the plan, ‘From Monday to Fridaythe daily version of ‘De Viernes’ with Beatriz Archidona and Santi Acosta, which premieres on Monday, July 6 at 6:15 p.m., in the gap left by ‘El Diario de Jorge’ during the summer. Their litmus test is twofold: not to sink against ‘The Promise’, which averaged 12.6% in May, and to stand up to the World Cup matches that still lie ahead. Summer ahead. They have all just started and you have to give them some space. The only headline that has already been filming for a week is that of Carlos Lozano, which had been on the air for a week on the day of the premiere of ‘El Verano Se Move’. For that day, ‘Amor… or whatever arises’ had a minimum audience (5.4%), and right after, La 1 broadcast the Brazil-Japan of the Worldwhich swept with a 33.7% share and 3,075,000 viewers, and sank both ‘El Diario de Jorge’ and ‘Allá tú!’. Result: 7.2% on average, one of the worst Mondays in the history of Telecinco. The plan. Mediaset announced in mid-June a offensive of four new programs for the section from 3:45 p.m. to 8:00 p.m.: ‘Love… or whatever arises!’, ‘Summer moves’, ‘From Monday to Friday’ and ‘The Peace Show’. They all replace formats that had been moving between 8% and 10% for months, such as ‘El tiempo just’, whose presenter, Joaquín Prat, is on paternity leave. The program had been averaging 8.5% for two months in a row. share and it had barely exceeded double digits five times since its premiere, a far cry from ‘Sueños de Libertad’ on Antena 3, the undisputed leader of the after-dinner program with an average of 14.2% in May. The precedents. Telecinco arrives this summer with the worst possible figures: the 2025-2026 seasonwas the worst in the history of the channel: an 8.9% average share, eight tenths less than the previous year and the fifth consecutive time that Telecinco has set a new historical season low. For the first time, the channel fell below 10% share in the twelve months of the course, with a ceiling of 9.4% and a floor of 8.4% in December, its worst month in the regular season. The afternoon slot, which is now trying to be reformed, also closed the course at a historic low: 9%. And it is a deterioration that is not limited to entertainment: the network’s news They also posted their worst figure, 8.3% share, without any of their three editions reaching double digits on average. It can be compared, for example, with the increasingly firm La 1, which in the last five years has gone from 8.8% to 12.1%. Telecinco’s path has been practically the opposite, from 13.1% to 8.9%. The importance of football. We were talking about the World Cup as relevant when it came to giving the finishing touch to the Telecinco audiences, but the phenomenon goes further. La 1 closed June as the leading channel, with a 14.3% share, its best June in 15 years, with the World Cup contributing almost a quarter of its monthly result. The entire Mediaset group, on the other hand, lost 3.4 points year-on-year compared to an RTVE group that gained 4.4. Football is obviously determining which channel goes better and worse this summer. In Xataka | Telecinco has ‘El Rosco’ but does not have ‘Pasapalabra’. Antena 3 has ‘Pasapalabra’ but does not have ‘El Rosco’

It’s about making a movie for a non-existent audience.

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The Masters of the Universe movie It has good reviews, a seemingly infallible fan base and an 87% audience rating. on Rotten Tomatoes. And after its first weekend it is already one of the biggest box office failures of 2026: it seems that the inhabitants of Eternia cannot escape the curse of their audiovisual adaptations, which has followed them since that distant version of the Cannon of 1987. Although more prosaic issues come into play here than an old and endearing evil eye. The figures. On the weekend of June 5 to 7, ‘He-Man and the Masters of the Universe’ raised 29.3 million dollars in the United States and 25 million in the 86 countries where it was released simultaneously, adding a global total of 54.3 million. It is calculated that Amazon MGM invested between 170 and 200 million dollars in production, which would make it necessary for the film, adding marketing expenses, to earn about 425 million just to recover what was invested. For now, Amazon denies the biggest one: Kevin Wilson, head of domestic distribution at Amazon MGM, stated in a statement that the weekend represented “a very solid start” and that the audience response had been “fantastic.” The sights are set, very clearly, on Prime Video. The eighties. The Masters of the Universe have been starring in the same story for about forty years. In August 1987, Cannon Films, the Israeli-American production company known for its films with Chuck Norris, Charles Bronson and other B-movie action stars, released the first live-action adaptation of the franchise, with Dolph Lundgren in the lead role. The budget was 22 million dollars. The final collection, 17.3 million. The failure, added to that of the tremendous ‘Superman IV’, contributed directly to the bankruptcy of Cannon Films. What is the difference. However, the budget differences between the 1987 version and the 2026 version are very noticeable. In the Cannon Wager, for example, budget constraints prevented Orko or Battle Cat from appearing on screen, and most of the story took place in California, rather than Eternia, which was reduced to a couple of wastelands. The 2026 film has a better billing (although if you ask us, the cast of that one is unbeatable: Lundgren was joined by Frank Langella and Meg Foster) and, in fact, this one recovers sequences that were left out in the eighties, such as Beast Man’s attack on Earth. But it has been of no use. Not understanding. What both versions do share is a commercial logic that has failed: a successful toy should produce a successful movie. When ‘Barbie’ raised 1.4 billion dollars globally in 2023Mattel drew a clear lesson: its toy franchises have economic potential on the big screen. The company launched the development of more than 14 films based on their catalog: ‘Hot Wheels’ produced by JJ Abrams, ‘Rock ‘Em Sock ‘Em Robots’ with Vin Diesel, ‘Polly Pocket’, ‘Barney’, ‘Magic 8 Ball’… ‘Masters of the Universe’ is the first big bet of this new era. But that reading of ‘Barbie’ ignores why ‘Barbie’ worked. The box office of Greta Gerwig’s film had nothing to do with nostalgia for the original toys, but rather with turning that starting point into a commentary on gender roles that worked even for an audience that had not held a Barbie in their hands in decades, or even that despised the toy for considering that it conveyed a toxic message, precisely the opposite of that of the film. ‘He-Man’, however, appeals to the nostalgia of a very specific segment of the public, adult men who grew up with the animated series in the eighties, without offering anything to those outside that perimeter. Liminals and parodies. A look at last weekend’s box office shows a panorama that Amazon has not been able to interpret. On the one hand there is the success of ‘Backrooms’. The A24 film, directed by Kane Parsons, cost 10 million dollars and has already been 212 million raised in less than two weeks. His film starts from a internet mythology about liminal spaceswithout a franchise to respect by heart, without decades of commercial history to sell. On the other hand, we have ‘Scary Movie’. The sixth installment of the Wayans brothers’ parody franchise, absent from theaters since 2013, grossed 55 million domestics and 105.5 million global with a budget of only 30 million. The first works because Parsons has an organic connection to the material (twenty years old, YouTuber) and an audience that has followed him from the internet to the living room. ‘Scary Movie’ presents a direct proposal, and although it refers to past hits, it does not appeal to nostalgia and its audience knows exactly what they are going to see. Both films, in different ways, respond to a real demand. And ‘Masters of the Universe’, despite its indisputable virtues, seems designed to respond to a non-existent demand. In Xataka | Something is changing in cinema: films by directors trained on YouTube are eating up Disney films

This Prime Video series ends after 7 years and 40 chapters, making history with an audience more divided than ever

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Today Prime Video premieres the last episode of ‘The Boys‘. It is not just any ending: it comes with the highest audience figures in the entire history of the series and, at the same time, with social networks converted into a battlefield over whether this latest installment of the superhero satire has been worth it. What is clear is that one of the most ambitious and rounded productions of the recent era of the streaming. ‘The Boys’ was born as an adaptation of the comic by Garth Ennis and Darick Robertson published between 2006 and 2012 and arrived on Prime Video in July 2019 with a brutal premise:what if superheroes were corporate tools with powers of mass destruction? The series created by Eric Kripke immediately connected with a eerily similar political and information climate to the starting point of the series. In the following seven years, the fiction has accumulated five seasons, a spin-off (‘Gen V’) and an expanding universe that turned Patriot, more than a villain, into a disturbing reflection of reality. For a series to reach its conclusion at the best audience moment in its history is not usual. ‘The Boys’ has done it. The fifth season has reached an average of 57 million viewers per episode on a global scale, the highest figure in the entire history of the series. The season is also among the ten most viewed from any Prime Video original series. All this while there has been a more heterogeneous public reception than ever with the series (often praised by critics, but with very combative detractors for its powerful political message). In addition, this season has encountered criticism of its pacing, filler episodes and lack of action. It has been compared to ‘Game of Thrones’ in its controversial final stretch and although Kripke has defended the decisions that have been made, today is the day to check to what extent the series manages to live up to its prestige. In Xataka | 8 premieres this week on Netflix, including a science fiction and mystery series from the creators of ‘Stranger Things’

Chinese companies are designing their AI for an audience the West is ignoring: retirees

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We can adapt the title of that great Cohen film to AI: there is no AI for old people. The majority of AI chatbot users are young and the older ones usually have technical knowledge. The AI ​​boom, like other technological booms, is leaving out the older onesexcept in China. Hello, grandmother. They tell it in Nikkei Asia. Large Chinese technology companies such as ByteDance and Tencent are designing chatbots and apps with AI with older users in mind. Doubao, the most popular chatbot in China, has launched advertising campaigns targeting retirees, highlighting its accessible features; It allows you to converse by voice, understands dialects and even addresses users as grandfather or grandmother. According to data from China Internet Network Information Centerthe number of AI users between 50 and 59 years old represent 10% of the total and those over 60 years old only 5%. They are still a minority, but there is a curious fact and that is that, although the adoption rate in this group is much lower, the users who start using it are more loyal and use it frequently. Everyday help. In Nikkei they tell the story of Chen Bing, a 63-year-old woman who has made AI her personal assistant. He used it to organize an event with alumni of his school, from sharing expenses to generating a video that he used in the background of a poetry workshop. It also helps you identify flowers and read fine print. According to Chen, AI gives him independence and prevents him from having to constantly ask his children for help. And health. There are other AI proposals aimed at the elderly, such as Ant Afu, a health chatbot with which users can get advice and access health services. However, it has generated criticism, first of all due to possible conflicts of interest. In the past, there was a scandal because Baidu recommended hospitals and treatments based on paid advertisements and there are doubts that this system has similar influences. On the other hand, there is the question that AI continues to fail a lot in diagnosis. The silver economy. It is what the market for products and services aimed at older people is called in China. China already has 323 million retirees and the government is promoting these types of initiatives since it sees great potential for consumption by the elderly, something they need to encourage in the midst of an economic recession. It is estimated that by 2035, the silver economy will account for 10% of the country’s entire gross domestic product Aging population. It is one of the problems facing China today. The government is trying literally everything for stimulate birth (without much successby the way) and have also raised raise the retirement age. However, the aging of the population is not something exclusive to China, it is also a problem that Europe and more countries in the northern hemisphere We have been dragging on for a long time. In the European Union there are some initiatives such as digital literacy courses for seniorsbut at the private company level, the proposals are very niche. In Xataka | China knows that its population is going to collapse but it already has a long-term plan to solve it. Of course, thanks to AI

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

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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

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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

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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

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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

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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

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