Sunday night, 30 minuts condensed the Rodalies drama, both from a historical perspective and from the analysis of the current situation. That the chronology of Renfe's poor service dated back to 1988 was an act of justice to all the users who suffered Renfe's serious deficiencies in silence and with resignation at that time. In fact, the report played with jumps to the past and showed how, since then, everything has gone from bad to worse. The images from 1988 and 2026 by Josep Maria Romeu, the spokesperson for the first Renfe users' platform, demonstrated this. An excellent resource. The archive images from TV3 became a damning proof of the grievances that Catalans have suffered with the precariousness of the service. News of accidents, misfortunes, fires, and breakdowns were accumulating and happening one after another, turning it into a very revealing film of events. In fact, you realized to what extent technological progress available to citizens has been what has allowed the countless deficiencies of Renfe to be denounced. Social networks and mobile phone cameras have allowed users to organize among themselves and publicly denounce the accumulation of blunders they have to endure every day. The testimonies were very well chosen. The exercise of following the journey of a few regular users was also very revealing, because any follow-up trip was a collection of incidents that reflected the chaos. The sequence of the passenger waiting for the alternative bus in Sant Cugat, being scolded by the driver and people recklessly crossing the roundabout, is excellent for confirming the poor organization and how user safety is put at risk.The report Renfe, the endless story reveals that Renfe has had no choice but to accept a forced exercise in transparency. The images from the Renfe control center at Clot station, from where operations are managed, were very revealing. One could call it a center of disarray, with the chaos of stressed workers interfering with each other. That panorama could inspire a sitcom, a workplace comedy. In fact, 30 minuts itself distilled an internal thread of a certain sarcasm. A bitter humor like that developed by passengers trapped by the incompetence of Adif and Renfe, this two-headed monster that cannot even agree with itself, as was also clear. The appearance of the singer Gerard Quintana in the middle of it all was the tragicomic echo of how the train ends up determining our lives.More than discovering anything to us, the 30 minutes served to immortalize an unforgivable mistreatment of the citizen, as documentary proof for the future. It will be necessary to see if in future generations these images will seem unthinkable to them or if they will only be the next victims of a new chapter in this endless story.

After the AAFAC, the federation that brings together all the associations of families of students from Catalan public schools, show his discontent with the approach of the 30 minutes dedicated to inclusive schools, the report's editors have defended their work. Carla Gracia and Albert Folk assure ARA that they do not question the inclusive school model at any time, but rather want to show the difficulties that exist in implementing it with all the guarantees. When ARA collected the complaints from the AFA of public schools, TV3 declined to comment on the controversy, so the point of view of the authors of the report 30 minutes It didn't appear in the article.

He 30 minutes This Sunday we delved into the reality of the expats, this phenomenon of skilled international migration that settles in cities like Barcelona or Girona without integrating into the country's social or cultural fabric. The report was interesting and captivated the viewer with the intrigue aroused by these people, whom we often cross paths with or whose presence we often notice in our neighborhoods. It was like accessing a certain continuity of these strange lives: what do they do beyond occupying designer cafes with computers and making a living? brunch. They are somewhat hermetic existences and, in a certain way, the report also suffered. The witnesses of the expats were superficial, both in their topical discourse and in their appearance in front of the cameras. The report also had small details. The greeting of"Hello, neighbor!" that threw a expado The Dutchman in the fisherman weaving a net in Barceloneta betrayed this kind of condescension toward the environment, a display of a feigned coexistence with a world that seems quaint and bohemian to them. However, when the protagonist himself visited an apartment in Poble-sec to buy it, he appreciated the neighborhood's "international" quality. The supporting characters were also very revealing. Local citizens who didn't hesitate to sell them the reality, adjusting it to what wealthy foreigners wanted to hear. Expeditions It portrayed the Girona of cyclists and oat milk coffees, and showed them as the promoters of a renewal and conservation of urban heritage. It also revealed a lack of interest in the linguistic issue, reducing the language to a folkloric detail. good day and the have a good one as a concession from the colonizers to the tribe for not making themselves completely unfriendly.

"If the gas man calls you, it's not the gas man. If the phone man calls you, it's not the phone man. If the bank man calls you, it's not the bank man. If your son calls you saying something strange, it's not your son!", warned lawyer Andreu Van den Eynde. "You no longer know what's real and what's a lie," lamented one fraud victim. This would be the summary of the 30 minutes This Sunday, which highlighted the scope of cyber fraud, a crime that everyone is late to: the media, the law, institutions, and, of course, the police. Now that the problem is endemic in our daily lives, the reports serve to highlight the extent of the tragedy. They also show the impunity of the scammers and the indifference of the police and banks and savings banks. The latter appeared on a final list because they hadn't wanted to participate in the report. CaixaBank wasn't included, by the way.

In The good death, he 30 minutes On Sunday, Dr. Xavier Busquet defined euthanasia as an act of love. And this is what we saw. Especially starting with the story of Carina Casanovas and Fede Garcia, who were extraordinarily generous in revealing such a complex stage of their lives on camera. For Carina, it was essential that her dignified and chosen death contribute to the dissemination and vindication of euthanasia as a right and a liberation for the patient. Her story couldn't have better reflected this. The fact that the program's cameras were able to gain such close access to her entire process is a journalistic achievement and a privilege for viewers. And not so much because of what is often said about breaking the taboo, but because, in this act of transparency, we were able to take stock of Carina's life circumstances and, consequently, those of Fede. The couple's evident love moved the viewer and facilitated empathy. The countdown over seven months in Carina and Fede's lives was extraordinarily powerful, creating a certain tension in the viewer, as the end of that chronology was sensed. The cameras were always kept at just the right distance to access the protagonists' private life without prying into it. The final minutes, off-screen and through audio, surely made a good portion of the audience cry.

One more Sunday we had another 30 minutes very disappointing. Trump's mistresses, on the trad wives from the United States, it seemed like an interesting topic and it turned out to be an obvious and superficial report. Exactly the same thing happened with The last VenetiansIt is sad that a historic, emblematic and prestigious program like the 30 minutes reduced to a container of reports without any journalistic ambition. There was a time when TV3's Sunday evening slot was powerful and favoured a certain routine for the viewer, who knew they would find a good television slot to close the weekend. In recent years, the slot has deteriorated. Among the programming changes, one 30 minutes that appears and disappears, that they throw in the towel when Barça plays and that there is not even ambition when it comes to buying reports abroad, the poti-poti does not have much incentive. The last Venetians and The housewives of Trump are French documentaries that tell us about Italy and North America. Perhaps it is a package deal of leftover French series. The last one 30 minutes powerful that we have seen was of The Direct and not of its own production. It gives the impression that they are letting the programme die in misery. In such a complex time as the one we are living in, it is a real shame that public television does not see the need to promote the programme, recover its prestige and take advantage of the professional legacy of the 30 minutes.