The signing of Marc Giró for La Sexta has spurred public television to try to replicate the successful formula. This Thursday, taking advantage of the audience wave left by the first World Cup match, El perro andaluz, the new late show by comedian Manu Sánchez, premiered. The spirit of Marc Giró hovered over the set. It even seemed that they had reused the set. Both presenters lean towards the same side: they fiercely defend left-wing values with an elegance that could seem right-wing. Sánchez, charming and bold, wears his hair slicked back with gel and sports a well-defined, bushy beard. He uses the neutral gender to greet the audience and boasts of his identity pride: Andalusianism. The show's band has the feel of a rociero choir and the skyline of Seville dominates the set. He vindicated his origin, his temperament, and his Andalusian accent, stating that it had closed doors for him in the past, and he highlighted his condition as a hard worker: “I have always been against the stereotype of being lazy and idle that they have imposed on us out there!,” he exclaimed. Like Giró, he has made the strategy of appropriating the most hostile language to confront it his own trademark. Hence the allegory of the perro andaluz from the film with which Lorca alluded to himself and which also connects with the most stoic political sanchismo. “We are dogs without breed, without a leash, and without a muzzle!,” he insisted, boasting of his fiery and defiant attitude. He displayed the label "TelePedro" as a media brand, greeted in the four co-official languages, and waved the flags of the seventeen autonomous communities with a certain federalist spirit. In his opening speech, too long and very political, he included the UCO, Trump, Zapatero, Netanyahu, Bad Bunny, the Pope, immigration, public healthcare, Vox, and an infinite mishmash of current affairs. He quoted Blas Infante and recited Manuel Molina, integrating Andalusian poetics into the monologue. When Manu Sánchez declaims, he embraces everything from the most flamenco affectation to the airs of a tele-preacher. He is one of those presenters who address the audience by shouting and who are already hoarse by the time they start the program. Marc Giró has a very funny sarcastic motto that says traumas should be monetized. And Manu Sánchez obeyed the strategy with discipline: five minutes after starting the program, he was already talking about his testicular cancer with metastases from three years ago, describing the orchiectomy and the chemotherapy treatment. The objective, however, was to use dark humor to talk about death as a defense mechanism for those who have nothing to fear and nothing to lose: “If anyone wants to sue me, let them take me to court. But they should know that I might not even make it!,” he challenged. The first interviewee was Manu Carrasco, to celebrate and accentuate the Andalusian idiosyncrasy, but he finished the program with the classic interview of cowards who suffer to gather viewers: Miguel Ángel Revilla, former president of Cantabria, as the golden goose of ratings. A shame, because in this context, it seems you have to use the north as an insurance policy.

Last week, the program El juicio on La 2 raised an unprecedented debate topic: Should feminism continue to advance? The lever that allowed them to activate this reflection was a question from the CIS in 2024 about the perception of equality policies. 44% of men answered that they believed these policies discriminated against them, and 32.5% of women did too. The origin of the problem is the same in both cases: the legitimacy of an unquestionable social right is shifted to the realm of opinion. It's not that feminism cannot be discussed. Priorities, public policies, or whatever is considered can be debated. The problem is questioning a fundamental right to create a confrontation for the benefit of spectacle. This dramatization of the conflict into a simple for and against presupposes that equality between men and women is negotiable. It is surprising that lawyer Montserrat Nebrera agreed to defend the thesis against the debate question, even though it is known that lawyers defend their clients even when they are guilty.The testimonies from El juicio raised views on feminism that grated. The artist Aldo Comas stated: “Machismo exists, but I don't think it's as big a problem as they make it out to be or as huge a drama”. Social reality is distorted from an individual opinion which, moreover, is a fallacy. That a specific man does not perceive sexism as a serious problem is no proof of its irrelevance. And this is another problem: reflections are incorporated that do not stem from a criterion of expertise but from finding a gentleman who wants to go on television to pontificate.The question “Should feminism continue to advance?” is a symptom of another circumstance. The previous week, El juicio posed: “Is Spain a racist country?” but in no case did they dare to ask: “Should the fight against racism continue to advance?” Not even the CIS dares to ask: “Have anti-racist policies gone too far?” It is difficult to imagine Nebrera taking on the television defense of these theses nor an artist coming out to comment that the problem of racism is being exaggerated and that there are other priorities. El juicio would also not have the guts to debate whether the rights of LGBTI people should continue to advance or whether the integration of people with disabilities should continue to advance. The popular trial ended with 9 votes in favor and none against. What a coincidence. In the end, everyone comes out looking great and progressive.There are questions that cause debate to cease being a tool for reflection. What they do is take advantage of a social issue to make noise and create spectacle. What this approach demonstrates is that women's rights can still be questioned and put to debate. That is why feminism needs to advance. Because public television still allows itself the right to propose debates of a fundamentally sexist nature.

There isn't a week that goes by without us receiving a call from an unknown number with offers to change electricity companies or get improvements from telephone companies. Technology experts have warned us multiple times with that mantra that says if a service is free, then we are the product, and yet, we don't listen to them. Every day we click the 'accept' option several times when we enter a website or download a mobile app without knowing what 'cookies' imply. Nor do we bother to read the very long conditions we sign every time we consent to the use of this data. We have normalized being asked to fill out forms to become clients of shops and supermarkets in exchange for discounts. We are aware that all this has to do with the use of our personal data, but we have accepted it docilely as an inevitable inertia. From now on, however, there is no excuse to say that you do not understand this dark world that lives by devouring our personal data. Reporter Carles Tamayo, author of the magnificent documentary series How to Catch a Monster, in which he pursued the pederast Lluís Gros, now explains to us what kind of companies obtain our data, how much they are worth, and what they do with it. Now we can know where our life, which we believe to be private, ends up, and what we are accepting.He does it in a new episode of Se nos ha ido de las manos, his program on La 1. Tamayo once again achieves journalistic brilliance. In the chapter El activo eres tú, the reporter collapses Arenys de Mar to show how people are capable of selling their souls to the devil for a pittance. The gas station sequence is very powerful and symptomatic: it illustrates what we do every day through much more subtle strategies.The report has the ability to clearly explain very complex and dark business dynamics. It does so with the virtue of not lying or working with hidden cameras. It shows professional generosity by giving prominence to its entire team throughout the work process. It uses research methods that require creativity and organizational complexity. And, to top it all off, it's all wrapped in a patina of well-measured sense of humor. Tamayo doesn't do it to make fun of people, but because he has a way of looking at the world, with a certain distance, that provokes comic perplexity. It's that laugh to keep from crying in the face of the system's miseries.The reporter, always advised by a lawyer and specialists in the subject he investigates, has created a company that functions as a wildcard depending on journalistic priorities. Through the not-so-innocent Voltor & Voltor, he participates in market dynamics to understand how it works and how it takes advantage of people. The results are devastating. He already demonstrated it with the first chapter on the real estate world and now with data brokers. With the old follow the money strategy, Tamayo does much more than criticize the system. The reporter still tells us more about the human condition.

Trials are one of the most effective dramatic structures that exist. That's why many real trials have become major media spectacles. There is conflict between two parties, reinforced by the narrative of witnesses and evidence. There is tension, suspense, and a final verdict that resolves the drama. Therefore, historically, courtroom dramas have become successful television formats very useful for turning social conflicts into entertainment and spectacle. Two historical examples are Puyal's "Vostè jutja" on TV3, and "Tribunal popular" on La 1, with Javier Nart and Ricard Fernández Deu. Now La 2 has incorporated into the tradition "El juicio", a judicial recreation in which current issues are debated: should more be invested in public healthcare?, are today's young people living worse lives?, is it legal to profit from housing? Questions with a moral orientation and an ideological charge that, from the outset, pose a binary dilemma in much more complex areas. What is surprising about this new format is a theatricality with very realistic pretensions. The set is imposing and shows influences from American trial programs. It has very good lighting and direction. The program is structured into two narrative areas: the trial and the report. The trial, almost as a tribute to the genre, brings back the figure of Fernández Deu, who has been promoted to judge, complete with a robe. Facing each other in the two conflicting parties are lawyer Montserrat Nebrera and journalist Ana Pardo de Vera, who is also referred to as a lawyer as if she were one in reality. Between them, they interact with classic jargon in the style of "con la venia de su señoría". A comedy that grinds a bit due to the excess in the falsification of roles. Even the most servile inertia of the most backward justice is reproduced. "Call Mr. Antó, please!", exclaims the judge. And the supposed civil servant, in an outdated uniform, opens the door. A very good selection of anonymous citizens become a popular jury and make a final deliberation before "judge" Fernández Deu pronounces the verdict. It is an ambitious and well-crafted program, unlike few others on the current grid. The witnesses who take the stand, requested by both parties, are excellent. They are experts in the subject matter who respond clearly because the format requires brief interviews that must get to the heart of the matter.

This Saturday marks the Eurovision final, which this year takes place in Vienna, Austria. In Spain, however, the festival will not be broadcast on La 1 as is tradition, since in December 2025 the public entity withdrew from the contest as a sign of protest against the organization's decision to keep Israel among the participants. Besides Spain, four other delegations – Ireland, the Netherlands, Slovenia, and Iceland – have also renounced sending a song to the festival, although some do maintain the broadcast of the competition. Spanish eurofans who wish to follow Eurovision will have to do so through the official YouTube channel, which will broadcast it in English.

On Monday night, RTVE's 24h channel held the debate of candidates for the Andalusian elections to be held on May 17. Juanma Moreno Bonilla (PP), María Jesús Montero (PSOE), Manuel Gavira (Vox), Antonio Maíllo (Por Andalucía), and José Ignacio García Sánchez (Adelante Andalucía) occupied the usual podiums of public television. Xabier Fortes and Laura Clavero moderated the spectacle. It was striking how four out of the five political leaders (the only exception being Maíllo) wore some green element in their attire, as a symbolic representation of the color of the Andalusian flag. A blazer, two ties, a pin, and a green armband became symbolic elements. A way to appropriate Andalusian identity and visualize that idea of belonging and feeling for the territory. Instead, what should have been a subtle reference turned into a forced scenic artifice.

Monday morning, as the trial for the Kitchen case was starting, journalists gathered in front of the National Court were harassing some of the defendants. The only one who played along was Commissioner José Manuel Villarejo, who, with his characteristic cap and sunglasses, was eager to stir up the media pot. The character is responsible for tensing the atmosphere because he always performs better in tense situations. Amidst the swarm of microphones, a journalist from Mañaneros 360 asked him a question and specified it was for Javier Ruiz's program on Televisión Española. The presenter's name provoked an immediate reaction from the commissioner: “Ah! Don Javierito!”, he exclaimed sarcastically. “Tell Don Javierito that the PP did not hire me, as he says. That is a lie. Besides, Javierito, we were such good friends in the past... It's unbelievable!” Javier Ruiz, alarmed, interrupted the broadcast and, although Villarejo could not hear him, wanted to clarify the blunder: “No! No! No! No, commissioner! We are not going to have a live dialogue, but good friends you and I... We don't even know each other! Never in my life! You are friends with other presenters! You are mistaken! You tried to contact me, you did it by mobile phone when we reported on you. And we haven't had a single coffee. We've never met in our lives!”Villarejo, as if he had been warned of the response, insisted: “If you say we don't know each other... What a bad memory you have, Javierito, huh! You were worried because I was competing with Ferreras at the same time!” He implied that, in the past, Ruiz would have been upset by the commissioner's closeness to Antonio García Ferreras of La Sexta, and he, who then had the program on Cuatro, also wanted his exclusives. Javier Ruiz, uneasy, denied it again. “Absolutely false! You are lying, Villarejo! We have never had this conversation! You are a liar!” He insisted that everyone knew which journalist he worked for: “We are aware of who he passed information to and who bought it without checking it, no matter how crude it was”. One person's word against the other's and the mystery for the audience. Villarejo is capable of dynamiting any context. It was impossible to clarify who was telling the truth, but it is worth analyzing the commissioner's strategy. He deviated from journalism to personal confrontation. Since he did not have control of the informational situation, he took over the television frame. He provoked the journalist by publicly discrediting him. Villarejo is aware that implying complicity makes the journalist lose credibility. The commissioner himself brought up Ferreras's name in the discussion because that way he could put the entire media structure under suspicion. He exposed the sewers of journalism to survive himself.

Andreu Buenafuente and Sílvia Abril will not be presenting after all. The New Year's Eve countdown on RTVEThe news comes after the Catalan comic I would take sick leave due to work-related stress. Three weeks ago. And this, in fact, has been the trigger for everything. "This is a bit slow; if we want to do it right, it will take a little more time," the Catalan comedian says in a video statement published this morning by RTVE on its X profile. "It won't be possible to broadcast the New Year's Eve countdown," he adds. For the moment, RTVE has not announced who will replace the duo for the New Year's Eve broadcast, which is two and a half weeks away. Buenafuente justifies his decision by saying he doesn't want to "speed up" his recovery: "I don't see anything good in forcing myself to do a job one day. You have to come back healthy and be on the right track, with the serenity to get back to doing what I love," he says. He admits that "it's not easy" to stop a running "machine" like the show's to ring in the new year, but insists that he is still not well and appreciates the understanding he says he has received from RTVE.

Jordi Basté's new program on La 2 Cat, Sequence planThe new program doesn't yet have a premiere date, but it does have its first guest: Iñaki Urdangarin. The former husband of Princess Cristina and former FC Barcelona handball player gives the interview after being released from prison, where he served time for the Nóos case. This is the first time Urdangarin has given a personal interview, away from the sports or institutional spotlight. Over 50 minutes, host Basté will attempt to create an unfiltered portrait of the former son-in-law of the King Emeritus. The goal is to capture real, spontaneous, and natural moments that allow viewers to get to know the guest as he is in his daily life. The program also features appearances by friends, family, and associates who will help to build broader and more human accounts of the interviewees.

A few days ago I woke up to some sad news: Spanish Radio and Television was cancelling the program Cultures 2which had been broadcast on La 2 for three years and which Tania Sarrias had presented with proven competence for the last two. A stimulating program with a feminist perspective that in its first episode declared its desire to be "the house of culture," and in which the Andalusian poet Aurora Luque christened culture as "Fertilizing ideas and harvesting beauty"

Parenting can be complicated, and sometimes parents may feel they lack the tools to manage and guide their children. The fact that this topic has evolved doesn't mean raising children is more complicated than before. Channel 2 premieres the Catalan version of [the series/show] this weekend. We will do what we can, call We do what we canA new program about raising children. It will be presented by journalist and television and radio presenter Gemma Nierga, who will collaborate with and share the opinions of well-known personalities, experts, and above all, the young stars of the show: boys and girls.

RTVE's sensationalist approach has been cemented with three current affairs programs, each worse than the last, that turn the news into melodrama and debate into a festival of tension. Morning, noon, and night, La 1 offers its audience a hefty dose of this. Morning Shows 360with Adela González and Javier RuizHe confuses analysis with removing entrails. At night, malicious tongues, by Jesús Cintora, It's a tense and biased ideological show. And in the afternoon it's the turn of the grotesque. Straight to the pointHosted by Marta Flich and Gonzalo Miró. The latter has risen in just a few months from panelist to presenter without him being entirely clear on what the difference should be.

This week, RTVE has released a short documentary film entitled At ground level about the so-called early exhumations of Franco-era graves. The broadcast was accompanied by a special moderated by Xabier Fortes. Both programs can be found on the RTVE Play platform.

One of the failed premieres of the new channel La 2 Cat is the Mamarazzis Pop&Cor, the show hosted by Laura Fa and Lorena Vázquez. A low-key broadcast in which the two gossip columnists seem overwhelmed by the format. Mamarazzis Pop&Cor It conveys a television amateurism that is painful, because spontaneity is one thing, and lack of control is another. That the new Catalan-language channel considers the program representative of its editorial line is perplexing. Justifying it on public television is difficult enough, but from this perspective, where there doesn't even seem to be an editorial line, it's even more difficult.

A quiz show based on guessing exact measurements couldn't predict that its existence would be quantified in just two episodes. RTVE has decided to cancel the show. How much, how much, how much, hosted by Eva Soriano and Aníbal Gómez, faced with ratings that fell short of expectations. The 5.6% audience share obtained this week for a show that was supposed to lead Saturday nights has led to the suspension of filming after only two attempts. Its debut was promising, with a 10.6% audience share. share, but it must be taken into account that at that time it benefited from being shown immediately after a Spanish national football team match that reached 32% and, therefore, lost a good portion of viewers due to drag.

This week saw the launch of La 2 Cat, RTVE's Catalan-language channel, which is still operating at half speed and will gradually incorporate programs. It remains to be seen whether it will be able to compete with TV3 in the process, especially considering the two clearly opposing editorial lines. While 3 Cat remains obsessed with providing entertainment that captures young audiences, with erratic results, La 2 Cat seems to be betting on a public service based on dissemination, with absolutely conventional content and such a low budget that creative possibilities are very limited. Furthermore, the deficiencies in lighting and sound systems make the overall result even more precarious.

On Monday night, La 1 started the season with the interview with Pedro Sánchez after the Newscast 2. The broadcast also marked the return of journalist Pepa Bueno to public television to host the newscast. Her debut was splendid.

A dance of names and faces on Televisión Española's news programs. The public broadcaster has renewed most of its news anchors for the new season, with the aim of continuing to improve audience figures that have recently been favorable enough to achieve their best season in the last five years. While it was known that Pepa Bueno had been brought back from the company,The Country After his dismissal for leading Telediario 2, it has now been learned that there will also be changes this weekend and that Marc Sala –until now, in The time of La 1– and Lourdes Maldonado –RNE's afternoon host– will be the presenter, replacing Lara Siscar and Igor Gómez.

The world is turning and she's returning to El Born, or, in the case of Pepa Bueno, to RTVE. The public corporation has signed her to host the evening edition of 'Telediario' starting in September, which will mark the journalist's return to the company that gave her her first opportunity, almost forty years ago. Bueno was dismissed as director of the program in early June.The Country, within the framework of the internal shake-up that the Prisa group is experiencing, ordered by the president of the group, Joseph Oughourlian, and which has resulted in the departure of several profiles considered close to the Moncloa.

RTVE's Catalan-language channel project is scheduled to begin operations on September 11, and the agency is rushing to finalize its launch schedule in the coming months. As those responsible for this new window explained, initially, half of the content will still be in Spanish, pending new productions that will gradually be incorporated into an offering that aims to have programming entirely in Catalan by 2027, as agreed by the PSOE and Junts.