Telecinco

Antena 3 does not have Pasapalabra’s El Rosco, but it continues to destroy its substitute. Telecinco wants to fix it in court

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Antena 3 has been leading the audience in Spain for five consecutive seasons, and a good part of that dominance was built letter by letter, in the Rosco of ‘Pasapalabra’. In May, a court took away the iconic final test of his Access talisman. And three weeks after the channel replaced it with a very similar test, Mediaset intends to demonstrate that the change is not legal either. That’s why, will sue Atresmedia by AlaZ, the new final test of ‘Pasapalabra’. The judicial decision. Last May 21the Civil Chamber of the Supreme Court confirmed that the Rosco format belongs to MC&F Broadcasting Production and Distribution, and not to ITV Studios or Atresmedia. The ruling ratified a previous ruling from the Provincial Court of Barcelona in 2022 and forced Antena 3 to stop broadcasting that specific test, although the rest of ‘Pasapalabra’ could continue on the air. It is a legal dispute that comes from afar. ‘Pasapalabra’ was born in 1996 as an adaptation of the British format ‘The Alphabet Game’, from ITV, although the final test grew on its own until it became an element with its own identity. In 2019, Telecinco already lost a similar legal battle against ITV for the global rights to the program and had to withdraw it from its schedule: ITV and MC&F have licensed it separately, and that has generated problems. Atresmedia recovered the competition in May 2020, but the judicial shadow over Rosco was never completely cleared, until this year’s ruling. The substitution. On June 19, Antena 3 replaced El Rosco with AlaZ, an adaptation of the Swiss contest ‘DallAZetA’. Mediaset, meanwhile, with the exploitation rights of Rosco finally under its belt, has begun to prepare its own contest built on that test, predictably for Telecinco. Its own ‘Pasapalabra’… which cannot be called ‘Pasapalabra’ or imitate the rest of the tests. The problem is that in Mediaset’s opinion, Antena 3 continues to culminate ‘Pasapalabra’ with a Rosco that cannot be Rosco. The resemblance. The company supports its claim on the Supreme’s own definition of Rosco: two or more contestants compete against the clock answering questions whose answers follow alphabetical order. Under this criterion, Mediaset maintains that AlaZ retains almost all the essential elements of the Rosco: two contestants, a tour of the 25 letters of the alphabet, accumulated time from previous tests during the program, a cumulative jackpot and visual signaling of successes, errors and pending questions almost identical to that of the Rosco, only in a line instead of a circle. The differences. However, there are also details that distinguish both tests: The AlaZ system is more closed and strategic and the contestant can no longer give probable answers, but must guess an exact word whose length is revealed by dashes, in the style of ‘The Hanged Man’. The stopwatch also changes, from the usual 85 seconds in the Rosco to 110, and a penalty is introduced for receiving clues that does not exist in the Rosco. Of course, for Mediaset none of these adjustments alter the essentials of the game. The company states that “only minor differences have been introduced to make something substantially the same.” The comparison it offers contrasts these changes with the real differences of the original Swiss format, where a single contestant competes, there is no accumulated jackpot and each program is independent of the previous one. For MC&F and Mediaset, AlaZ is more similar to Rosco than the Swiss contest from which Atresmedia bought the license. The hearings. Since Atresmedia recovered ‘Pasapalabra’ in May 2020, the chain went from an average share of 11.7% in 2019 to around 13.9% in the following years, consolidating a leadership which has been maintained for five consecutive seasons. The most important thing is the drag effect that ‘Pasapalabra’ generates on the network’s news programs and ‘El Hormiguero’. And things have not changed with the loss of Rosco. The premiere of AlaZ, on June 19, was already a hit: the program signed 21.9% of share and 1.6 million viewers on average, with the final test shooting up to a 28.3% share in its closing minute. The new mechanics improved the average that Rosco had been recording that same season by three points. The first full week confirmed the trend, averaging 17.1% share. And that sometimes competes with the World Cup, a sporting event that has devoured the Telecinco audiences (although in July, the only weak days for Antena 3 have coincided with free-to-air World Cup matches). Without that competition, the program continues to exceed the 18% quota, a level similar to what it already had. Antena 3 has no one to complain, with or without Rosco. In Xataka | Telecinco has ‘El Rosco’ but does not have ‘Pasapalabra’. Antena 3 has ‘Pasapalabra’ but does not have ‘El Rosco’

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’

Telecinco has just bought the rights to ‘El Rosco’ from ‘Pasapalabra’. The only problem is that ‘Pasapalabra’ is from Antena 3

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Among many other things that have happened in recent years with ‘Pasapalabra’, Mediaset paid a fine of 73 million euros for broadcasting the program without having the rights, lost the program in 2019 and has been watching for six agonizing years how Antena 3 turned it into the most watched contest in Spain. Now, Telecinco announces that it has El Rosco back. The only thing missing is everything else. Back to Mediaset. This Wednesday, Mediaset España confirmed in a very brief press release (consisting, in fact, of a single sentence, which could be interpreted as that Telecinco is not yet completely clear about its plans), that it is preparing “a new program that will include El Rosco as the final and main element.” we already knew that the Supreme Court had forced Antena 3 to withdraw that test from ‘Pasapalabra’, and abundant rumors were already circulating that approximately a year and a half ago Telecinco had closed the agreement to recover the test, conditional on the courts ruling in favor of the Dutch company MC&F, owner of the rights. High hierarchies. To get an idea of ​​how coveted the Rosco is, you only have to keep one thing in mind: the new agreement between Mediaset and MC&F was negotiated directly by Alessandro SalemCEO of the audiovisual group. What Mediaset has acquired is the license to use El Rosco: the circle of letters, the dynamic of “passing the word”, the repetition of unanswered questions and the final stopwatch. What it has not acquired is ‘Pasapalabra’ in its entirety: the full format of the contest belongs to ITV, which maintains its current contract with Antena 3. That is, the new Telecinco program cannot be called ‘Pasapalabra’ nor replicate the tests prior to Rosco. The importance of Rosco. All these shenanigans to acquire a test and not a program, without a doubt, put a question on the table: what is the true drawing power of Rosco alone if it does not have the previous forty minutes that generate tension and familiarize us with the contestants. That is the task that Mediaset now has before it: to build a program of prior tests that firmly support the star challenge. The fine. Telecinco does not come to this acquisition of Rosco with the joy of teenage boyfriends. The Provincial Court of Madrid sentenced Mediaset to pay 73.2 million euros to ITV for broadcasting ‘Pasapalabra’ without authorization between 2012 and 2019. The figure was increased considerably over the initial calculation of 44.3 million because the court estimated that the advertising revenue generated had been higher than those calculated in the first instance. Furthermore, the resolution recognized the “carryover effect”: the indirect benefit that the contest brought to the news and to the prime time later, which increased the main compensation by another 233,134 euros for that specific concept. Delicate moment. The Rosco announcement comes at the worst time in Telecinco’s recent history. The channel closed 2025 with a 9.5% annual quotathe worst record in its history for the fourth consecutive year. December 2025 marked an 8.4% share, the worst month in the regular season of his entire career. January 2026 was even more brutal: 8.5% and its worst start to the yearbelow the aggregate of the autonomous chains. The chain has been chaining minimums since July 2025, and they have taken brutal cost cutting measures such as merge the set of Informativos Telecinco and Noticias Cuatro. How Rosco affects audiences. ‘Pasapalabra’ is the most watched daily program on Spanish television for the sixth consecutive year, with an average share of 18.3% in the 2024/2025 season and a maximum of 21.1% in June 2025. But above all, El Rosco is the mechanism that keeps the viewer glued to Antena 3 until the nightly news. And whoever reaches the news program goes to ‘El Hormiguero’. Telecinco does not have anything comparable in that segment, but El Rosco as the driving force of a new contest would be a good way to fight Antena 3 at the time of day when the largest audience drags towards the final stretch of the day. Meanwhile, Antena 3 can continue broadcasting the already recorded episodes of ‘Pasapalabra’ that include El Rosco, until they receive official notification. Hectic times are coming in the afternoons of traditional television. In Xataka | Four years of historic audience lows: Telecinco is looking for oxygen this summer and its idea is to recycle presenters and formats

Telecinco faces one of the toughest summers in its history. He has bet all his chips on Paz Padilla

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Last August, Telecinco closed the month with an 8% audience share, the worst monthly figure in its history. In May 2026 it averages 9.2%: somewhat better, but it certainly does not provide a much better diagnosis of the state of suspended animation that the channel lives. Mediaset has been setting annual historical lows for four consecutive years, and the response for this summer has a name and surname: old acquaintances such as Carlos Lozano or Paz Padilla return to the channel, in a decision that makes it clear that Mediaset’s bet is not based on risk. Four years in free fall. The channel signed its historic low audience for the fourth consecutive year in 2025, with a 9.5% annual feeafter 2024 had already been the first below 10%. The problem is not only with the public, but with everything that comes with it: the net advertising income of Mediaset España fell 8% in 2025. For the first time, the group was surpassed in advertising billing by Atresmedia. To this we can add a structural crisis of the environment: Daily linear television consumption time fell by 7.7% in 2025, with an especially pronounced contraction among viewers aged 14 to 49. Telecinco competes, like all of them, against the changing habits of a generation more attentive to streamingTikTok and video games. Lozano, Padilla and other old acquaintances. Under the motto “Open for holidays”, Telecinco has presented its summer strategywhich includes the dating show ‘Love or whatever arises’ (with Carlos Lozano returning to the channel eight years after leaving it, reviving the spirit of ‘Women and men and vice versa’ in the same afternoon slot) or the daily version of ‘De friday’ called ‘Monday to Friday’with Santi Acosta and Beatriz Archidona. Finally, the entertainment format ‘The Peace Show’ with Paz Padilla at the helm, the weekend afternoons and reducing the ‘Party’ time. The presenter was fired by the channel in 2021 in quite tense circumstances, which says a lot about how both parties need each other, in a cessation of hostilities pact that must not have been easy. The changes will start in the second half of June. What goes away and what resists. To adjust this whole grid, there are programs that go on vacation. ‘Jorge’s Diary’ takes a break until September, coinciding with Jorge Javier Vázquez’s vacation. Hold ‘Allá tú’ with Juanra Bonet in the afternoons from Monday to Friday thanks to its good audience of close to 10% of share. The same thing happens with ‘The Fair Price’ by Carlos Sobera, which will also try out on the weekends, filling the gap left by the resounding failure of ‘Seen what has been seen‘. The goldmine of dating programs. Along with the realitiesand sometimes incurring almost unnatural matings between both variants, the dating shows They are the only thing that now invariably works for Telecinco. ‘The island of temptations‘has maintained competitive audiences during this four-year crisis; ‘Married at first sight’ was last season’s surprise. ‘Love or whatever arises’ tries to get away from this trend, and also with a specific format that has been tested previously with success. However, even if all these proposals work, they will be nothing more than mere patches to liven up the summer of a chain that needs a deeper reinvention. The return of Lozano or Padilla are symptomatic of the lack of originality of the resources of a Telecinco that survives on the basis of patches and proper names that drag audiences down. Because an ‘Island of Temptations’ is something that only happens from time to time: to get there you have to keep taking risks and, possibly, try formats that don’t smell like you’ve already seen them. In Xataka | The last bullet that Telecinco has left in the audience’s gun is a promo generated by AI and based on a TikTok success

Telecinco is so desperate for you to show ‘The Island of Temptations’ that it is generating brainrot-style AI promos

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In its desperate search for a minimum audience that will lift its trembling numbers, Telecinco has launched an unexpected promotion on social networks: anthropomorphic fruits having fun, getting jealous and declaring their love like the contestants of ‘The Island of Temptations’. Behind it is not only a late recovery of the brainrot aesthetic, but something else: riding one of TikTok’s latest viral hits. Fake strawberries. On April 8, 2026, the official Telecinco account on X published a promotional video for the tenth edition of ‘Temptation Island’. The piece was generated with artificial intelligence and caused some perplexity among followers of the series. The reason: it is a piece that accumulates the worst vices of what has come to be known as AI Slop: rigid and not very expressive animations, inconsistencies between different versions of the same character (the strawberry with different skin and features, the banana with variations in the head) and a very poorly worked finish. Hearing problems. Why has Mediaset made this decision? The chain closed 2024 with a 9.8% screen sharethe worst annual mark in its history since it began broadcasting in 1990 and the first time it fell below the 10% threshold. From the departure of CEO Paolo Vasile in 2022when the chain averaged 12.3%, the accumulated loss is close to 20% of audience. ‘Survivors 2026’, which started in March, is not harvesting the expected data and ‘Temptation Island’ is practically the only format that works consistently. The ninth edition reached 17% on its best night and averaged 11.5% in access deliveries. As soon as that edition finished, Mediaset announced the tenth and advanced its production to January 2026, breaking the tradition of summer recordings. It will hit the screens very soon: on April 13, with a triple weekly broadcast and five new couples as protagonists. Only three months have passed since the previous edition. That is why Telecinco has launched itself into AI aesthetics: the always coveted young audience is the one that has been consuming brainrot at industrial speed on TikTok for months. The island of Frutitentaciones. In March of this year, the AI ​​Cinema TikTok account posted the first episodes of ‘Fruit Love Island‘, a reality dating show in which the contestants are anthropomorphic fruits generated by AI. In nine days The account experienced an absolutely excessive speed of growth, with episodes with an average of 15 million views, although the profile has currently disappeared and has been dispersed into parallel accounts. The format directly parodies ‘Love Island’, and by extension its adaptations such as ‘Temptation Island’. Soon imitations were born as The Island of Fruitsexplicit parody of the Telecinco program. The AI ​​slop aesthetic. This is clearly what this Mediaset piece alludes to: low-quality digital content that is consumed compulsively, and that is intuitively associated with cognitive deterioration due to overexposure to social networks. AI Slop has been defined as unconvincing, repetitive images and videos designed to generate immediate reactions, and to be produced as quickly and at the lowest possible cost. The most paradigmatic case of AI Slop is italian brainrotwhich was born in 2023, plaguing the internet with absurd characters generated by AI and accompanied by meaningless Italian phrases. Tralalero Tralala went from being a niche meme to accumulating billions of views on videos with no clear origin and that repeated the same mechanisms over and over again: visual absurdity, squeaky sound and minimal or directly abstract narrative. Children love it and Mediaset wants to lower the age of its audience, no matter how counterproductive it may seem to bring a product like ‘Temptation Island’ to them. In Xataka | The latest edition of ‘The Island of Temptations’ has not only been a viral phenomenon: it has saved the month of Telecinco

Telecinco audiences have been in free fall for four years and their recovery has come with an unexpected format: blind weddings

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He success of ‘Married at First Sight’ on Telecinco and the more than 410 million dollars generated by ‘Love Is Blind’ on Netflix show that realities Romantic and friendly blind weddings are no longer entertainment to watch on the sly and feel guilty. Now they generate very profitable franchises and, in the case of Mediaset, a welcome boost of oxygen to their disastrous audiences. Getting married without knowing each other: the origins. Well, the origins are the traditional weddings of convenience, but let’s talk about TV. In 2013, the Danish public channel DR3 broadcast the first episode of ‘Gift ved første blik’, where a panel of experts in psychology and compatibility paired strangers who would meet for the first time at the altar, getting legally married before starting to live together. The success in his country was immediate and generated the ‘Married at First Sight’ franchise, which has had 35 different versions before reaching Spain, where it was already seen in 2015 on Antena 3. In 2026 it reached a new version on Telecinco. The hearings. The result in terms of audience has been very stimulating for the Mediaset channel, after months of trying with launches and schedule changes that have not quite worked out. The premiere recorded a 13.9% audience share and nearly 947,000 viewers, leading its time slot, with a devastating 22.2% in the age group of 25 to 44 years. The following weeks consolidated and even improved those numbers, reaching 14.2%. 44% of viewers who saw the premiere repeated in the second broadcast, which indicates a level of loyalty that Telecinco needs like breathing. For this reason, it has already announced the renewal for a second season. We already know the context: Telecinco is going through a very serious audience crisisclosed 2025 with a 9.4% average annual share (the worst result in its history), which may end up impacting its advertising revenue. That is why in 2026 Mediaset is adopting a conservative policy, returning to its realities classics and experimenting just enough with programs like this one, new but with proven formulas. Blind dates. Meanwhile, Netflix finds success with a very similar format: ‘Love Is Blind’, which the platform premiered in 2020. In it there were no experts who matched the contestants, but rather a group of single men and another group of single women who got to know each other on dates without seeing each other physically, until couples were formed and we saw them becoming intimate in coexistence. Thirty million households watched it in the first four weeks of broadcast. The franchise has already spread to eleven countries, from Brazil to Japan. The figures for ‘Love Is Blind’. The data analysis company Parrot Analytics has estimated that he reality has generated more than $410 million in global subscriber revenue since its premiere. The secret of these stratospheric figures (and other realities platform romances like ‘Jugando con fuego’) is in its structure: fixed format, rotating casting with each season. It’s like a fictional franchise, but at a much faster pace, because each season is produced before the previous one ends. The cost of between 100,000 and 500,000 dollars per episode makes these programs much more attractive to platforms than fiction. When Netflix saw what it had on its hands (‘Love Is Blind’ remained among Netflix’s ten most viewed titles in the United States for 86 days in 2022) it did not put all its eggs in the same basket: it diversified the bet into different countries, each with its regional peculiarities, which multiplies income without doing so proportionally to the cost because, for example, the advertising is done. Furthermore, unlike the binge watching Common on Netflix, episodes are released weekly, which keeps the conversation going on networks. A historic format. They are not the first programs of this type: ‘Blind Date’, on ABC in 1949, when there were hardly any televisions in American homes, and ‘The Dating Game’ in the sixties They exploited similar starting points. What ‘Married at First Sight’ brought was the panel of experts that gave a pseudoscientific excuse to the fooling around between strangers and the inevitable marital quarrels. But what makes them a financial triumph is the economics of their production, which has turned Netflix’s proposal into one of the most profitable ideas in the history of the platform. In Xataka | Spotify and Netflix join forces, entering unexplored territory that has nothing to do with music, movies or series

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

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

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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

With ‘The family of TV’, TVE wants to look more than ever to Telecinco. It is a risky movement

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The program with which La1 wants to compete from you to you with Tele5 and Antena 3, ‘TV family‘, He has reached the chain’s grill. Does it after two weeks late (first by the Death of the Popethen for the Blackout that left Spain without electricity), and has been presented in society with a colorful ride that has guaranteed it A few criticisms. But after its premiere there is something else: TVE’s intention to compete for a younger audience What was the ride? The ride consisted of the arrival, one by one, of those who will be the great stars of the program. That is, Aitor Albizua and Inés Hernand, veterans of RTVE, along with María Patiño and Belén Esteban. The latter, together with collaborators such as Víctor Sandoval or Carlota Corredera, During yesterday afternoon there was time for everything, from detailed presentations of multiple collaborators to winks to the past. For example, in tribute to sadism with which ‘Save Me’ treated its collaborators, the program forced the collaborators to move by their own means from Torrespaña to Prado del Rey. Throughout the afternoon there were times for viral moments, such as the inevitable Chuminero dance from Lydia Lozano. And the ride surprised with the signing of two very young from the heart of the heart: Isa Pantoja and Rocío Carrasco. They are not light decisions: the bridge to the total connection with Telecinco is lying. The program was divided, as usual in the future, in two blocks: one that will go, approximately four to five in the afternoon, and after the series ‘Wild Valley’ and ‘The Promise’, another block between seven less fourth and eight and a half. The audience, with doubts. It is complicated to determine the exact audience of the program by its dual nature: two differentiated blocks, separated by which it seems that the stars in the afternoons of the1 will continue: the ‘Wild Valley’ and ‘The Promise’ series, which made a phenomenal 14.5% of Share. The first block of ‘The Family of TV’ only 8.7%, being below both ‘afternoon’ and ‘dreams of freedom’, and very close to ‘everything is a lie’ of Telecinco. In the second block, it made 9.1%, also third option behind Telecinco and Antena 3, and being very close to Lasxta. ‘The family of TV’, with its arrival, eliminates from the grill to the series ‘La Moderna’, for both budget and audience reasons, as The director of RTVE explainedSergio Calderón. RTVE also definitely eliminates the ‘El Hunter’ contest, which was also having very low figures and had canceled on the paper since summer of 2024. From that point of view, ‘The family of TV’ is a safe bet: it serves as opening and exit parenthesis for two traditional series that still give up, and there is space to play with the blocks and make changes if the audiences do not improve. Battlefield: The afternoons. Interestingly, the afternoons of all channels have remained as a bliburrillo where all channels have distinctive offers, but with common points: Talk Shows and varieties (‘The family of TV’, ‘Late‘,’ The Jorge Jorge ‘), Series (‘ The Promise ‘,’ Dreams of Freedom ‘), Contests (‘ Pasapalabra ‘,’ Chain reaction ‘…). Until now, TVE remained on the sidelines with a block of cultural tone competitions and absolutely distinctive series of the public chain. Now, with ‘The family of TV’, go down to the mud of direct competition imitating the style of its rivals. TVE telecinquification. Regardless of whether ‘the TV family’ is paid with a success or with a failure, what we surely have here is another sample of the public channel approach to codes most typical of private chains. Embraceing the jester and acidic humor of ‘Save The Broncano program. RTVE wants to rejuvenate his audience and that Playz’s experiments are not in something isolated, and that is why Inés Hernand and Samantha Hudson are brought from there, and has the potential of ‘Save me’ as an ironic artifact for young people. ‘Save me’ in TVE? After a stage-person on the Internet and then a landing in Ten, the informal heir of ‘Save Me’ was ‘or that we were Shhh’, with a greater impact of the expected and audiences of more than 4% of Share. Before all this, he had a brief life as Netflix experiment in the form of reality that did not curdle. All this helped the program to become an ironic artifact for the youngest, alive especially in social networks and with a fauna with their own dynamics that do not need explanations and that will inherit ‘the family of TV’. It is undoubtedly a risky leap: does it make sense that on the set of ‘The Family of TV’ the fights, hysteria attacks or insults of collaborators as extremes as Kiko Matamoros are replicated? LA1 is risking, but deep down not much more than has risked all the eSCUDERÍA DE COMESO THAT IS AT THE PUBLIC CHAIN: First Broncano and Marc turned, shortly Buenafuente. It is a general RTVE plan that goes through a different audience from those traditional series and cultural competitions that had before, and in that sense, ‘The family of TV’ is a comprehensive bet for the afternoons. OBJECTIVE: Rejuvenate the audiences and give a washing face to the TVE grill. Header | RTVE In Xataka | 739 million euros: an audit of the Treasury points to a possible budget hole in RTVE

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