This year, TV3's program Signes dels temps celebrates forty years on air. It airs on Sunday mornings and delves into the social and pastoral current affairs of the Catholic Church. The title refers to an expression from the Second Vatican Council about the Church's duty to be attentive to the changes and evolutions of society. Perhaps it would be good for TV3 to also be attentive to the evolution of its schedule, because, ironically, this slot has been somewhat neglected. It must be said that Signes dels temps is formally correct with Montserrat Esteve at the helm. There is a certain effort to give it a veneer of connection with social reality. The content aligns with the program's objective, and it is made with care and professionalism. The post-production work should be highlighted to give it a relative visual modernity. It will surely satisfy the expectations of the Episcopal Conference, but this centrality of Catholicism and an approach with such a typical catechism style do not quite align with the function of a public television.

After a long professional career almost always linked with Televisió de Catalunya, the communicator Mari Pau Huguet (Estopanyà, 1963) has been Recognized this March as an Emblematic Woman by the Hera association of LleidaShe has been working in the Audience Services Office for over fifteen years, but continues to participate in audiovisual projects and host many events.

On Sunday, TV3 premiered Dia u, the series they promoted in the context of the Mobile World Congress to take advantage of the futuristic atmosphere that saturates us during those dates. It is a technological thriller with simple and precarious dialogues, full of clichés and with affected performances so that the viewer can more easily connect with the story. It aims for the effect of suspense, but with everything very well processed so that it is understood. The plot unfolds in Barcelona, with the participation of Catalan actors. A grandiloquent and modern postcard of the city, but with a singularity: there is no trace of Catalan beyond the dubbing that has been added afterwards. Dia u is a series conceived entirely in Spanish, in every sense, and TV3 only seems to have contributed the dubbing. That is, it is a layer added afterwards that causes that grating artificiality. The Catalan actors work in Spanish and only a few have dubbed themselves. The others appear with a borrowed voice and a forced tone that distances you from the action. The disappearance of Catalan goes beyond the language of the characters. All the screens and interfaces that appear, and there are many, have texts written in Spanish. Therefore, it is no longer just about the conditions of the filming: the screens are a matter of post-production, and even then Catalan could not be incorporated. We can already demand Catalan in technological gadgets, as the series linked to the Mobile normalizes Spanish as the language for communicating with machines. Furthermore, on Amazon Prime Video, the platform that distributes the series internationally, the option of Catalan dubbing is not offered. It is understood that 3Cat has kept the exclusive, but then Catalan is left out of the circuit, relegating our language to the local sphere. The hierarchy established between the two languages is therefore clear.The most serious thing is that Day one, in addition to the participation of 3Cat, also counts on the associated production of the Mobile World Capital Barcelona Foundation. The core of this board is made up of three public administrations: the Generalitat de Catalunya, the Barcelona City Council, and the government of Spain. It is sad, therefore, to see how the institutions that should ensure the centrality of Catalan demonstrate null influence or little interest in the defense of the language in a fiction with global pretensions.The result of Dia u causes perplexity. A production that is conceived from simple commercial logic, forgetting the cultural function and turning Catalan into an accessory patch, a final addition to disguise. It is not fully understood who wins in this operation. But it is regrettable to see the effectiveness of this public participation. If we are going to invest in dubbing a series, frankly, they could have chosen another one of higher quality.

After three seasons with anonymous contestants, the adventure reality show La travessa (3Cat) takes a turn. In the new installment, the contestants will be familiar faces to the general public; eight pairs of celebrities from the world of entertainment, communication, sports, and the influencer universe will compete against each other to be the winners of the economic prize. This Monday, 3Cat announced who the celebrities will be participating in this edition, which will premiere in the fall.

In June 2024, 3Cat's Sense ficció aired La fugida, the documentary about sexual abuse of minors by the Jesuits of Casp and the Sant Ignasi de Sarrià School. That investigative journalism work continues this week with the premiere this Tuesday of La fugida, veritats ocultes, a production that expands the investigation with new cases and emphasizes the mechanisms of cover-up of aggressors by religious congregations and schools. The documentary will have two broadcast windows: it can be seen on Sense ficció at 10:05 p.m. and will also be available on 3Cat in an expanded version of three episodes (the broadcast on conventional television combines the three parts into a single episode).

August 1989, Lluís Sitjar Stadium, Palma. This was the exact place and time when Barça's directors realized they had to sign Hristo Stoichkov. Several years ago, the Ciutat de Palma Tournament was always organized as part of the preseason, a typical summer championship that serves as a warm-up for the start of the season, to showcase new signings to the fans, and, in this case, to discover new ones. "Before, we organized a tournament in Mallorca that included Barça or Real Madrid, Mallorca, and two teams from outside the island," recounts Josep Maria Minguella, the man who discovered Hristo Stoichkov and, in those years, a football agent. In that edition, the invited teams were Fortuna Düsseldorf and CSKA Sofia, the team of the famous Bulgarian striker. Barça and CSKA faced each other in the first "semifinal."

Since last September, Júlia López (Barcelona, ​​1994) has been one of the voices accompanying family meals on weekends. After stints at Betevé, La 2, and Canal 3/24, the journalist has joined the show as a presenter, airing Saturdays and Sundays. Midday news of 3Cat.

3Cat doubles down on video games in Catalan with the release of a title for all current platforms: it's Manairons, a three-dimensional action and platformer game that brings these fantastic beings from popular culture to life. The project was carried out alongside JanduSoft, a Barcelona-based studio with extensive experience that, in addition to developing, also publishes video games. Founded in 2011 by José Antonio Andujar, the studio has dozens of published titles, some with international recognition.

27 feature films and 11 series. This is the record number of fiction productions that 3Cat will participate in this 2026, as detailed this Wednesday by the Corporation in a meeting with the press. Rosa Romà, president of the entity; Sigfrid Gras, director of TV3, and Oriol Sala-Patau, head of the fiction department, boasted about the public television's commitment to the creation of fiction in Catalan and assured that the birth of the online platform has led to more support being given to it. "Fiction is the most consumed on 3Cat," remarked Gras. According to the Corporation, series accumulate more than a third of the platform's total views and are the genre that attracts young audiences.

In Piti Español, one of the best screenwriters we have in the country, has a theory he used to explain in his university classes. He said that if the day after a program's broadcast people commented on three good moments, it had been a success. The thesis fits with the gala of Polònia that TV3 broadcast on Thursday night to commemorate its twenty years. Beyond record-breaking audience figures that confirm the emotional bond between the program and viewers, the gala had masterful moments. For example, Queco Novell's conversation with four of his political alter egos: Maragall, Illa, Puigdemont and Rajoy. The combination of reality and fiction, actor and characters, was a filigree that connected with the symbolic game of theatricality and satire. It represented the mirror game between television and politics very well, and it was a way to acknowledge Novell's work, who has become the man of a thousand faces.The video of the bad moments of Polònia accompanied by the delicate mischief of Els Amics de les Arts was masterful and hilarious. Nothing better than laughing at one's own slips and flaws. It shied away from constant self-praise, admitted blunders as inevitable in humor, and reminded us of the evolution of political correctness. The blackface, body-shaming, the ridiculing transvestism of women, racial stereotypes, and other absurdities that the song's lyrics reinforced were the best way to engage in self-criticism. A parody in itself, using the language of in memoriam to perform a hilarious harakiri. The caricature of the voluntary viewer as Pedro Sánchez demonstrated the dimension that, in these twenty years, Polònia has acquired.The enormous hairy testicles that the audience passed around the stalls are an inevitable allegory of the political context of the last two decades. The script made the most of the choral spectacle, nostalgia, collective memory, and the program's symbolic universe with chocolate croissants, gangnam styles, and Franco-Mercury vacuuming. The director was quick to connect the spectacle with the audience's amusement in the seats, even capturing the lick that the real Artur Mas gave to Duran i Lleida's clone. The script focused more on the action than on words, without affectation or demagoguery.It is difficult for a gala with a theatrical spirit to work on television, but a very balanced hybrid of the two languages was achieved, combining the epic of musicals and the effectiveness of sketches. A total show where people danced, sang, projected, and interacted with the audience, and which involved a large number of professionals who went beyond the stage. Enric Cambray's direction establishes him as a skilled tamer of complex shows. And all this to be performed only once. May the injection of talent, energy, and affection demonstrated in this gala serve to fuel Polònia for another twenty years.

Martí Melcion (Barcelona, ​​1995) is the illustrator of choice for young people in Barcelona. With a mischievous streak that doesn't preclude a tenderness for his surroundings, Melcion has captured much of the mood and daily life of his generation in his cartoons and animations. His collaboration with EVA (3Cat) has resulted in... Elma and her friends (Random Comics), which will be published in April.

Gisèle Pelicot, the woman whose husband drugged her to rape her along with other men, has published A Hymn to Life, a book that tells her story. Isabel Galí, TV3's correspondent in Paris, was able to interview her during the book's promotional tour. From that conversation, two reports emerged, for Telenotícies migdia and for Telenotícies vespre, which were broadcast this Tuesday. Two pieces in which Galí selects Pelicot's most relevant statements to condense them into the short time allowed by the news format.Gisèle Pelicot is the interviewee every journalist would want. She is one of the most relevant figures of 2025, not only in France but worldwide. Her attitude has been a global example that has caused a turning point in the media's approach to sexual assault: she is the architect of shame changing sides. Furthermore, her case has forced a modification of the Penal Code in France.For all these reasons, it is disappointing that the public television's opportunity to interview Pelicot, in the hands of an excellent journalist like Isabel Galí —who also covered the trial—, has been reduced to two two-minute reports. If we calculate the duration of Pelicot's interventions in each, they do not add up to even one minute in total: 37 seconds in the midday report and 50 seconds in the evening report. On the 3Cat platform, a seven-minute piece can be found that collects Pelicot's responses. They have erased Isabel Galí and missed her questions to sell each statement as a headline.It is a shame and a missed opportunity. But, above all, it is indicative of the little value given to journalism at TV3. At the channel, only the interviews from entertainment shows conducted by the network's stars are promoted with great fanfare. Everything is reduced to spectacle and morbid curiosity. But not everyone needs an orchestra or a kitschy set to do their job well.Telenotícies and the 3CatInfo initiative. But it has been a formal matter, a showcase. A lot of vertical screens and cameras, but no nose or criterion to dignify the newsroom and to give prominence to journalists who are not part of the presenter lineup. Why haven't we been able to see Isabel Galí's full interview with Gisèle Pelicot on any TV3 program? Why this lack of generosity? We have dehumanized journalism. Everything must fit neatly into the TN, well cut and diced for social media, seeking a virality that strips journalism of its personality. Triviality has taken precedence over what is important. We have lost the broad view, the value of dialogue, the tone, and the well-done craft. If a TV3 journalist interviews Gisèle Pelicot, do not waste her work.

The Polònia is twenty years old. And it has merit: as things stand, it is very difficult for a TV3 program to reach twenty years. The proof of its power is the massive attendance of politicians at the anniversary gala that was held this Monday and will be broadcast on Thursday. Two decades that confirm Polònia as a television classic, because it combines media, cultural and symbolic factors that make it unique and, at the same time, turn it into a benchmark.On the one hand, there is longevity. It has survived seven presidents of the Generalitat. All seven have had the temptation to get rid of it, but the cost of making it disappear would have been much greater than the wear and tear of appearing parodied on it. Another key element, the audience, has guaranteed its relevance and, therefore, its survival. It is a program loved by viewers, who, in these twenty years, have seen television go from traditional consumption to the viralization of sketches through social networks. The medium has transformed more than the program.The Polònia has been a turning point as a television format. There were sketch comedy programs before and there have been since. But Polònia has managed to create a language and codes that have given it a very recognizable personality. Any circumstance of political current affairs that enters the realm of the grotesque is automatically identified with the humor of the program. "That looks like a sketch from "Polònia", we say when reality surpasses fiction. This is a symptom of its ability to leave a social mark. Furthermore, its scriptwriters have created a universe of phrases, musical themes and characters that show that the program has contributed to strengthening the imaginary of pop culture in Catalonia.The format has also transcended its own protagonists. Not even Toni Soler has been essential for the program's continuity. Polònia has strengthened thestar-system of actors with multiple actors and actresses who have seen their professional careers boosted thanks to the program. And, on the other hand, the political satire space has devoured another star-system, the media one, to pass it through its shredder. From Basté to Ustrell, from Cuní to Cruanyes, from Terribas to Rahola, from Tomàs Molina to Raquel Sans, Polònia has known how to play with autochthonous references and draw a symbolic universe.

He Poland TV3's show turns 20, and there are reasons to celebrate collectively, because humor is like a canary in a coal mine: if a country's public television broadcasts a political satire program where everyone is exposed, from the president and the powers that be on down, then we're in a democracy that leans heavily on image. You won't find an equivalent on Spanish television. Let's see who dares to take on King Felipe or the Ibex 35. Humor alone can't save democracy, but a country is also its sense of humor: what can be said and what's taboo.

Monday, on Telenotícies migdia, Anna Garnatxe and Xavi Coral reminded us of the four-month truce in Gaza, even though Israel continues to deny access to journalists. They reported that despite this context of a supposed ceasefire, attacks have continued and caused over six hundred deaths. They specified that many of them had been killed when crossing the border, now called the “yellow line”. This introduction served to announce that TV3's correspondent in Jerusalem, Jordi Brescó, had been able to enter Gaza in the only way possible: with a convoy organized and controlled by the Israeli army. “The images have value, but they have imposed many limitations, even though Israel presents it as a great opportunity for journalists.” This preliminary was necessary to warn that the operation had more of a propagandistic intention than a journalistic one.In Brescó's report, recorded last Thursday, the correspondent himself indicated it right at the beginning, calling the route with the Israeli convoy “a journalism performance within the forbidden territory.” A very accurate definition, because when the profession loses its essence but its forms are maintained, it is nothing more than a staging: a group of accredited journalists as such and with vests that highlight their status as "Press" but without the possibility of working independently. Brescó defined it as “circumstances very far from those necessary to do good journalism.” He explained that Israel attributed this to security reasons. The journalist insisted that this was “a kind of guided tour”: “We have no freedom of movement nor can we speak with Gazans,” he said.In the images, we saw how the journalists boarded the truck, crossed the gates that mark the area on the route, and arrived at a control point on the yellow line. Brescó showed us how the border was monitored, which warned of the prohibition of passage for Palestinians. Brescó interviewed the army spokesperson, who assured that all those who cross the line are given “all the opportunities in the world to turn back.” The journalist then recalled that 120 people had been shot in that area: “People, including children, who crossed the line without realizing it.” Brescó showed what the yellow line looked like, the lack of clarity of the limit, and how, curiously, on the day of the “guided tour,” the markings were better visible. In fact, they seemed to have been recently placed as part of the operation.The report on Telenotícies had a completely opposite meaning to what the Israeli army might have intended: rather than allowing access to Gaza and appearing to have supposed transparency, the visit demonstrated Israel's control over information and territory. It is very good to see it, if only to understand the context of other news coming from the area and to keep in mind the bias that is intended to be imposed on the narrative and how it is executed.

If there is one thing that has characterized Polònia in its twenty years of history, it has been its speed in incorporating phenomena from real life into its gags. This week, the satirical program's screenwriters have once again shown this by turning Gabriel Rufián into Bad Bunny and recreating part of the celebrated show that the Puerto Rican performed at the Super Bowl on Sunday. Specifically, the program has adapted the song Debí tirar más fotos with lyrics that refer to the proposal by the spokesperson for Esquerra in Congress to unite the different left-wing parties to face the rise of the far-right.

In one food truck In a state-of-the-art kitchen located next to the studios of the Parc Audiovisual de Catalunya in Terrassa, a team of chefs led by Marc Cuspinera and Eduard Bosch are preparing around seventy of El Bulli's most iconic dishes. These are not imitations, but the original recipes that could be enjoyed at Ferran Adrià's restaurant. These dishes will be featured in GenesisThe 3Cat fiction series, currently being filmed, recounts the gastronomic revolution spearheaded by the Catalan chef, played by Miquel Fernández, a Catalan actor with extensive experience in Spanish television series. The goal is to create "the best culinary series ever," and every detail has been carefully considered.

On Tuesday the Evening news It included an analysis of the anti-immigration raids by ICE agents in Minneapolis following the murder of Alex Pretti. Journalist Nicolás Valle developed the essential elements of this situation to understand the how and the why. His account had an interpretive component, because he focused on details that went beyond what was seen in the images. But that was precisely what made the piece so interesting, especially given the absence of any other program on the network that could delve deeper into these aspects. Valle showed the various guises in which ICE agents patrolled the city: the types of tactical uniforms, the ways to identify them, the weapons of war, and the armored vehicles. The journalist emphasized the symbolic value of this attire: "The police cease to be a service and become an instrument of internal domination." The camouflage clothing, he explained, transforms the agents into combatants. Valle connected this fact to the willingness of the citizenry to submit through the construction of a sense of emergency.

The program for this Wednesday, January 28th, of the 3Cat contest Catch Me If You Can, presented by Llucià FerrerIt's now part of Catalan public television history. Contestant Albert Coromina, popularly known as "the beast," brown "From Olot," has been eliminated after 158 programs. An absolute record number, which has allowed him to accumulate up to 69,500 euros. Thematic, always with a smile from ear to ear and offering a significant dose of theater and sense of humor. Poisoned and, upon his elimination, he received applause from the entire team and a warm hug from Llucià Ferrer, with whom he has maintained a great rapport since the first day. "A very nice farewell, frankly. A stage that closes with emotion," acknowledged Albert Coromina on ARA just before the broadcast of the final program.

In Beladas Department Water nymphs, minairons, witches, demons, the bogeyman, and Count Arnau all appear. But the new fiction series premiered by 3Cat is neither a classic look at Catalan mythology nor an ethnographic educational program. This fictional work, created by Júlia Cot and Jordi López Casanovas, is an approach to folklore from a format that avoids the usual tone of a traditional program about local legends. Beladas Department adopts the model of sitcom labor that coined The officeWe're dealing with an office comedy in the style of a mockumentary, with a constantly moving camera, characters breaking the fourth wall with knowing glances at the audience, and a demystified view of the workplace as a space of productivity. However, the series' tone sets aside the cynicism of the format created by Ricky Gervais and Stephen Merchant, positioning itself somewhere between the gentler humor of Parks and Recreation and the family-friendly educational comedy tone of Whip.