On Saturday, Col·lapse interviewed Francisco Marco, director of the detective agency Método 3, to explain the defense's version of Jonathan Andic. He was, therefore, a biased guest, who was hired by the lawyer Sebastián de Juan.With his usual indifference, Jordi González said he doubted whether to call it homicide, accident or murder. “Accident,” Marco replied, emphatically. And González heeded him: “Accident,” the presenter repeated. How easy it is to impose a narrative.The detective spoke about the video of Isak Andic's fall months before his death. He explained, mysteriously, that "an important person from this city" had put them on the trail. Before showing the video to the audience, he described it to condition the viewer: "Isak Andic, just and plop! Falls". The onomatopoeia plop is significant, like an acorn falling from a tree. And he added: "But the important thing about this video is that he doesn't put his hands out". But in the images, it is seen that Andic puts his hand on the step of the stairs to avoid hitting his head. Once again, the detective was already telling us what we should see and think. He was constructing the narrative. Marco referred to Isak Andic as "a gentleman who has a knee condition" and who suffers from "a natural, uncontrolled loss of his legs". He also defined the fall as a "loss of verticality". This supposedly technical use of language was not accidental. It contrasted with the colloquial language he used to describe the work of the Mossos. He spoke of the "fables" they invent, the "fabrication" of evidence, and even used sarcasm to discredit them: "“One of the magnificent pieces of evidence that this policeman says...", he commented with contempt.When Jordi González asked him about the origin of that security video, Marco said: “The gentleman, poor me, who saves Isak Andic from getting into a fight, when he finds out who he is, he asks for the images himself and records them from the monitor with his mobile”. The presenter asks: “To keep them as a souvenir?””, and Marco confirms: “To keep them as a souvenir”. Neither González nor Mayka Navarro – who was participating in the interview – asked him how such an unheard-of frivolity was possible. Marco insisted that this mysterious man was the one who warned “a person close to the environment of La Vanguardia” about the video, and repeated that it is about “a very important family in this city”. A way to give him authority.The most serious and grotesque thing is that while they were talking, the program kept looping Andic's fall, over and over again, on the set's screen. The way of dehumanizing the dead, of turning him into a meme, of reducing him to a test, of repeating the image of the falling man to implant it in our minds is alarmingly insensitive. Marco, by the way, explained that sooner or later we would also see some images they had recorded of people being thrown from the mountain tied with harnesses to reproduce the fall, and he assured that if we saw them, “our souls would shrink”. You already know what the next chapter of the defense will be.

Last Friday, on the Telenotícies migdia, Xavi Coral informed us about an advertisement at Palma airport "that is causing a lot of controversy", with this rather bland introductory phrase, worthy of the most exasperating journalistic inertia. In recent years, a good part of the news in the media has begun in the same way. The presenter developed the case. A huge poster from a German bank promoting the immediate sending of money between users has used the following slogan: "What happens in Mallorca is paid for in Mallorca". The text is written in German. In the report by correspondent Caterina Karmany, it was explained how the Balearic Government has requested the removal of the banner because it invites a tourism of excesses, parodying the famous American slogan "What happens in Las Vegas stays in Las Vegas". The statements of Antoni Costa, government spokesperson, were included, railing against Aena, because the airport manager has considered it a harmless play on words. Sunday, two days later, on Telenotícies migdia they explained the same news to us again, even including it in the program's opening headlines. Júlia López spoke to us about the airport sign as if we had never heard of it before: “This sign you can see is at Palma airport and it is not without controversy”. Once again this cliché formula, the autopilot wildcard to announce significance. Joan Raventós explained the translation of the sign to us, the nuance that differentiated it from the Las Vegas phrase and the cause that has provoked the unease in Mallorca. Next, they gave way to a new report by Caterina Karmany who explained the news to us again, although this time she included a group of drunken German tourists to highlight the type of tourism the advertisement is aimed at. Aena was no longer mentioned, but it collected the voices of Mallorcans annoyed by a linguistic issue and Germans living on the island, unhappy with the image of Mallorca presented in their country. The news was the same, but it was explained in a different way.It's strange. At least, in its forms. First, because they tell us the same news a second time as if they hadn't done it before. There is no reference to the fact that the news program already covered the case two days ago. As if between Friday and Sunday there was a kind of disconnection, as if they had nothing to do with each other. And the viewer is left with a feeling of living the groundhog day, with a déjà-vu of events that were already explained to them days ago in the same place. It could be that it was a repurposed piece that could not be broadcast on Friday's Telenotícies vespre (evening news), but in any case, you can't sell fish, two days later, as if it were fresh. It creates a greater sense of cohesion and normality if you talk about it as an extension of work. Because otherwise, it ends up seeming that not even the professionals who make the Telenotícies (news) watch their own news program during the week.

Nearly 50,000 people approached the Olympic Ring of Montjuïc this weekend to attend 3Cat en Viu, the event with which the Catalan Corporation of Audiovisual Media seeks to recover the spirit of Festa dels Súpers but expanding the perimeter to adult spectators, listeners, and users as well. These are figures that fall far short of its predecessor, which disappeared in 2017, when it registered 190,000 visitors – and which had been declining, compared to 2011, when it set a record with 420,000 attendees–.

The Catalan public media outlets are looking to regain the direct contact with the public that was achieved with the Festa del Super3. With this objective, they have organized the first edition of 3Cat en Viu, a two-day event of meetings and activities with some of the best-known faces and voices from TV3, Catalunya Ràdio, and the rest of the channels. It will take place this weekend, from 10 AM to 6 PM, at the Anella Olímpica de Montjuïc in Barcelona.

On Tuesday, on Telenotícies vespre, we were informed of the creation of the office for the protection of linguistic rights by the government of the Generalitat. It is born with the intention of accompanying people who wish to file complaints regarding possible violations in the use of the language. This was communicated by Salvador Illa at the event celebrating the first anniversary of the National Pact for Language, where the Minister of Linguistic Policy, Francesc Xavier Vila, admitted that there was still work to be done. And he is right. The same day, during the very long commercial break of El petit peó, the Sense ficció dedicated to Arturito Pomar, we thought about this news. We swallowed ten minutes of ads: a total of twenty-five spots and four self-promotions from the channel. During this commercial break, three ads in Spanish appeared, which, coincidentally or not, were broadcast consecutively. The first was an advertisement for Gillette razor blades designed for female users. Lo and behold, the presenter was the influencer Laura Escanes, who told us that “Hay días que necesito tiempo para mí” and that “el mango pivotante me deja la piel suave incluso en zonas difíciles”. Taking into account that the content creator is part of the channel's roster of signings, it is strange to see her on the same television for which she works addressing the audience in Spanish. Of course, it is not her fault but that of the commercial department, which should take into account this type of contradiction. In the same commercial break, we saw an advertisement for adhesive silicones where the veteran journalist Pedro Piqueras spoke in Catalan with an expert on this product. The other ad in Spanish was for Michelin. If other international brands like Bimbo, Ikea, Carrefour, and Verisure are interested in advertising on TV3 in Catalan (and this is what happened during this long break), surely the very famous tire brand could also do so. Considering the number of Catalan chefs awarded stars by their guide, they know perfectly well that Catalonia has its own cultural identity and language. The other ad in Spanish was, lo and behold, from the Ministry of Social Rights, Consumer Affairs and the 2030 Agenda. A spot narrated in Spanish and subtitled in Catalan. Thanks for the detail. But it is outrageous that an advertisement from a ministry of Spain is not recorded in the different co-official languages of the State. Take note, Councillor Vila. It is unheard of that the Spanish government uses Catalan public television to communicate with citizens in a language that is not the channel's own, because this reinforces the idea that in the institutional sphere, Spanish is the universal main language and Catalan, in subtitles, is of an inferior rank. Normalizing exceptions makes the duty to advertise in Catalan on TV3 lose its meaning. If some companies don't do it, why should others? It deactivates the possibility of applying a criterion and turns it into an inconsistency. And inconsistency affects the legitimacy of any future demand. 

3Cat's SX3, with funding from Grup Transversal, this week opened the doors of Fantàstix, a new cultural, family, and immersive experience focused on the power of stories, imagination, and the active participation of children. Located in the Sagrada Família neighborhood, the space, which was a former 2,000-square-meter parking lot, has been transformed into a "factory of imagination," where the narrative focuses on the premise of recovering the power of storytelling, which has disappeared from the world. The project's intention is to become a new meeting point for families, the educational world, and Catalan children's and youth culture.

On Tuesday, Sense ficció revealed the inner workings of Sopa de Cabra, one of the essential and most successful bands in Catalan rock. Sopa de Cabra, tornar enrere played with the title of one of their songs to revisit the past. The circular structure of the story was a success. The camera, positioned at the top of the stage at the final moment of a concert, follows the musicians to the dressing room, where we witness a conflict. Josep Thió sends everyone away to scold his bandmates in private. A start that anticipates an unusual story, unknown to many of their followers. The documentary interviews each of the group's members separately. A frontal close-up against a neutral background that almost conveys the feeling of an interrogation in which the editing scrutinizes the coincidences in their responses. “Sopa de Cabra has never been a group of friends.” They all agree with this idea, and the viewer will have the opportunity to verify it. Many documentaries that delve into the lives of great rock or pop bands, or music legends, have a certain epic quality, even if there may be episodes of excess and misery. This production, on the other hand, breaks with the usual codes: it recovers archive footage of concerts and interviews, and explains the evolution, crises, and contradictions. It also knows how to activate the nostalgia of the group's followers, and contributes to reordering memories linked to the songs and concerts. But there is no epic. And precisely that is what makes it singular and memorable. Sopa de cabra, tornar enrere emanates a serene sadness, a latent pain that the protagonists have accepted and to which they now seem accustomed. Quintana and company, stars of Catalan rock, present themselves before the camera as anti-heroes and present an intimate narrative that conveys weariness. There is a disillusionment with their own history. The documentary has the virtue of sincerity. The members of Sopa speak with the honesty that comes from the distance of events. They don't need imposture, because now they have nothing to lose. They refer to "the truth we have built together". They seem like victims of the tyranny of their own success, forced to maintain the bond to earn a living, because what they shared worked and was liked. The documentary's strategy of bringing the group together for a meal and observing the relationship dynamics is magnificent, as the discomforts and tensions become evident. The preparation of a recipe becomes a metaphor for the delicate balance of coexistence. The documentary works very well with this sense of strangeness, of constant unease, a drama that rises in intensity and is difficult to understand. And the final twist that explains it is even liberating for the viewer. We understand that uncomfortable conflict that has opened the story. The circle is closed. And it serves as solace.

This 2026, Sopa de Cabra celebrates four decades of trajectory with a commemorative tour and the premiere of the documentary Tornar enrere, directed by Jordi Call. The piece, aired this Tuesday on 3Cat's Sense ficció, highlights various aspects of the band's 40 years that had often remained in the background. For instance, the group members openly admit that they do not maintain a friendship outside the musical project. In fact, the documentary begins with an argument after a concert.

Sunday, the Telenotícies migdia opened, logically, with the Andalusian elections. Thanks to an artificial filigree with rhetoric, it linked to a piece about Isabel Díaz Ayuso's murky trip to Mexico, from which she had already returned six days earlier. But the most surprising thing is that the third news item of the TN (and the second opening headline) was Bulgaria's victory at the Eurovision Festival.After telling us that the song Bangaranga had won, it was framed as an international conflict to explain the influence of the televote in catapulting Israel to second place. The report included a survey of Israeli eurofans. The piece tried hard to give it unjustified geopolitical relevance. It was implied that Telenotícies had predicted a victory for Israel that did not materialize. The problem is not that Eurovision exists within the TN, but the hierarchy and treatment it received. Eurovision took precedence over the war in Ukraine, with Kyiv's biggest attack on Moscow. It also took precedence over the Ebola outbreak and the shooting death of a man in the Port de la Marina neighborhood. As a final touch, they announced the return to prison of a certain Dino Marcelo, and, using the excuse that they had images of him robbing a supermarket, they added statements from his lawyer to justify her client's conduct.The report that followed caused perplexity. It was about catechumens in Catalonia. They explained who they were and the growth of this community, which has gone from 161 adult baptisms in 2022 to 327 in 2026. The information led us to the church of Sant Pere de Reus, where four people were participating in a community baptism. One explained how catechesis had allowed him to complete one half of himself, and a woman spoke to us about the inner strength she felt to live the Church. The piece lacked informational distance: what reasons explain this supposed boom in Catalonia. This must be done because public television must be clear about its criteria for managing religious beliefs. In the Telenotícies certain discourses cannot be disguised as simple human experience. But the most surprising thing is that the catechumens' report was prioritized over the summary of the Pujol case, Salvador Illa's institutional trip to California, and the budget negotiations. Unheard of. Eurovision, the prison for Dino Marcelo, and the 327 catechumens of 2026 ahead of Catalan politics. The news is increasingly being contaminated by digital experience and emotional consumption. Ayuso is the state's Trump, the omnipresent figure who functions as an element of tension in any news report. Eurovision has very exuberant images and an inevitable political background, but it should not be turned into a first-rate international conflict, losing sight of the musical spectacle.Bangaranga, the title of the winning song at Eurovision, in Creole language means chaos or mess. A very fitting word to define the scale of priorities of Telenotícies. A bangaranga criterion that reflects the journalistic crisis of our days.

The CRIT Awards, which recognize and promote digital audiovisual projects in Catalan, celebrated their second edition yesterday at the Teatre Coliseum in Barcelona. Presented by Núria Marín, a total of 14 projects were recognized at the gala, with an attendance of 1,200 professionals and creators, including producers, journalists, and members of the Catalan audiovisual industry. This year's edition highlights the highest recognition for best creator of the year, which went to Laura Grau, and the podcast Guarres!, whose characters were interviewed by l'ARA a few weeks ago, as the best independent project.

The search for love can take many forms. It can be done in a traditional way, through apps, or also through a television program like La gran cita, the dating show from 3Cat. The new format from the public television has innovated by introducing artificial intelligence into the equation to find a partner, but not only that: it is the first reality show in the State to feature the participation of two intimacy coordinators, a figure increasingly common in cinema and series but not present at all in reality television spaces. Aida de Sàgarra, along with Tatiana Barrero, have contributed their experience as intimacy coordinators on La gran cita. "In this type of reality shows what is super necessary and essential is to protect the emotional intimacy of the participants," explains De Sàgarra.

The full season of La gran cita, the dating show that has tested artificial intelligence's ability to predict compatibility between people, is now available on 3Cat. The first three episodes promoted the initial pairings. The following three were used to test these bonds with the intrigue of whether they were the result of human intuition or the algorithm's determination. In this phase, the initial excitement was lost and a heavier inertia, typical of these television psychodramas, set in, where dialogues drift to the boring "I don't know if I'm ready for a relationship", "I've been hurt a lot", "I'm at a point where I want something else", "I don't want to suffer again", "I need an open relationship" and these tiresome vicissitudes, especially when you don't feel a special interest in the protagonists' lives.The game's dynamic, however, is very effective. The AI's verdict tests the bonds. Some couples receive the technology's approval. Others discover they have defied the algorithm and worry about proving that intuition is above what a machine can predict. The strategy shows an interesting phenomenon: the enormous power attributed to AI as an almost infallible guarantee when choosing a partner. The will to contradict it becomes epic, a daring act. Even the loss of an opportunity that you might only have once in a lifetime.The last two chapters regain the delicious intrigue of the start. The third people recommended by the algorithm appear. Also the risk of deciding if the relationships will continue beyond the cameras.Fortunately, the program has protected Dulceida by dispensing her presence drop by drop. The need to condense the stories of so many people into eight chapters causes the viewer a certain disorientation when it comes to understanding how much time has passed for the contestants and, above all, details of their relationship with other participants. But these ellipses are also appreciated, because they save us a lot of emotional junk that would turn La gran cita into a soap opera. The great virtue and good tolerance of the reality lie in the capacity for synthesis when managing dramas and tensions.The protagonists are well trained in displaying their faith in the game's dynamics. They issue pronouncements of hope and gratitude in the exact measure the show requires. In the final messages between couples, the writers' hand is sensed. The visual dynamic to explain the outcome of each relationship is visually exciting. And the result reveals a suspicious balance between the power of AI and romantic love. The big date works because it stimulates the enjoyment of the most elemental voyeurism without causing secondhand embarrassment.

This Thursday, all news programs echoed the video by Vito Quiles, the far-right stalker who pursues and attacks people to turn it into propaganda. Public and private channels followed suit. This time, the images had gained relevance because the victim was Begoña Gómez, President Pedro Sánchez's wife. The premeditated violence of the sequence, recorded on mobile and edited by the agitator, provided the spectacularity that television often uses as a criterion for including events in its agenda.

On Wednesday, Quanta guerra! returned to TV3, arguably the best program currently available on public television. This time, Eloi Vila accompanied actor Roger Casamajor to retrace the steps of his grandfather Alejandro through the lands of Aragon, where he was sent with the Republican troops to halt the advance of the Francoists.

In a new attempt to reach young audiences, 3Cat has premiered La gran cita, a new dating show presented by the Catalan influencer Dulceida. The first three episodes of the new entertainment format are already available on the platform, and have been very well received by the audience.

Joan Raventós (Vilafranca del Penedès, 1978) has returned home. After five years as a correspondent for 3Cat in Brussels, the editor and presenter of Telenotícies cap de setmana has made the journey back to his native Vilafranca, a city that allows him to escape the daily grind and which is the cradle of two of his passions: human towers and wine. What was the relationship with wine like at your home, as a child?

On Monday evening, during the break of Telenotícies, TV3 announced the premiere of La gran cita on the 3Cat platform for Tuesday. But Toni Cruanyes reminded us, on two occasions, that we could already watch the program that same Monday. A lack of coordination within the channel that caused confusion for the viewer.Dulceida, “an expert at organizing parties”, joins the cast ofinfluencers who create content in Spanish but have been awarded a program on public Catalan television. To conceal their fragilities in front of the camera, they have opted for the walk and talk formula, walking and talking at the same time, to reinforce their authority.The big date is a dating show with elements of reality. The one hundred participants who want to hook up have previously been paired through artificial intelligence. They know there is someone highly compatible and will look for them based on the relational dynamics proposed by the show. “It’s an experiment that will change their lives,” assures Dulceida. The format is much more powerful than last season's stale Love Cost. It seems more like a logical evolution of that Thirty Years' Love at First Sight with all the influences of private television and technology.The program has a tacky sheen typical of a graduation party with glamorous pretensions, but it makes up for it with an excellent cast, good direction, and impeccable sound design. It has merit, considering the complexities of the format. The big event is inclusive: it incorporates sexual options and gender diversity without establishing categories, with the virtue of not objectifying or sexualizing the participants. So far, three episodes have been released corresponding to the first stage of the game: the construction of the finalist couples, who will be tested in the following episodes to check their evolution.The big event hooks thanks to the confluence of different factors. On the one hand, the contestants' temperament. Absolutely normal young people, who convey authenticity and are part of our most everyday reality. They thus distance themselves from the artificial and histrionic stereotypes typical of this television genre. On the other hand, the game stimulates the audience, who, from home, becomes a predictor and a judge. It is impossible not to comment or value the contestants' decisions and choices. Any program that provokes a smile from the viewer while watching it has a lot won. The idea of a mirror is also key: seduction exposes the protagonists to a vulnerability and fragility in which, more or less, everyone feels reflected. Excitement, ridicule, shame, disappointment... are emotions that provoke easy identification. And that is why the program becomes appetizing. However, as the program progresses, interest wanes, because the ensemble game is diluted. The conflict becomes individualized, the drama becomes personalized, and the elements of reality are accentuated. It will be interesting to see how it evolves and how it all fits into public television. The most obvious proof is the fear of premiering it on TV3 and limiting it, for now, to the digital platform.

After signing Laura Escanes, 3Cat is once again betting on a famous face thanks to social media, Dulceida. The influencer from Badalona –whose real name is Aida Domènech– makes her debut as a presenter on public media with La gran cita, a massive dating show that will be available on the platform starting this Monday, when the first three episodes will premiere (the next three will arrive on Tuesday, April 28, and the last two on May 5). With this new entertainment format, 3Cat makes a new attempt to get closer to the young audience.

Channel 33 has premiered Sala 30, a cultural program commemorating the Macba's 30th anniversary. To celebrate, the series approaches the anniversary through reflection rather than festivity or protest. These are eight forty-minute episodes that delve into different working axes of creative processes: form and substance, struggle, concept, enigma, gaze, space, body, and research. Each program invites four or five relevant artists who have passed through the museum to engage in a dialogue about these themes in a rural and bucolic setting that contrasts with the geometric and urban whiteness of the Museu d'Art Contemporani de Barcelona building: a farmhouse and a set table with the elegant informality of a heartwarming fuet advertisement. The visual execution, from direction to editing and post-production, is beautiful and surprisingly quaint. It could be a podcast if it weren't for the need to see the guests' work to understand their proposals and their point of view in the conversation. Sala 30 connects with the aesthetic spirit of that old splendor of Channel 33, when it still seemed like a cohesive channel with a well-defined editorial line. The presenter is the singer and actor Albert Pla in his most accommodating and predisposed version. Surely, it is also his most strenuous and unusual facet because it is he who has to stimulate the debate among the guests. Pla has no choice but to flee from his more diffuse and anarchic media persona to energize the conversation, often fighting against his own shyness. The choice of presenter seems to obey a desire not to over-intellectualize the format and to give it a more relaxed and popular touch. "I'm the one with the least studies at this table," he comments with a sense of humor in the first chapter. The program always begins with a dialogue between Pla and one of the artists to introduce the chapter's theme. Afterwards, with the food ready and the table set, the rest of the guests arrive. It's interesting to see how they break the ice among themselves, in most cases, one of the most difficult moments for the presenter, to the point that in some episodes he asks them if the act of meeting and dialoguing overwhelms them or feels burdensome. The effectiveness of the format is irregular depending on the chemistry that arises between the guests and the ability to find a flowing thread. For those interested in art and culture, it is a magnificent opportunity to discover contemporary artists, understand generational evolutions and learn about forms of creation and research. Beyond the central theme, Sala 30 allows us to glimpse ways of life, creative processes and disciplines. Manolo Laguillo, Pilar Aymerich, Joan Fontcuberta, Frederic Amat, Núria Güell, Lúa Coderch, Laia Abril and a long etcetera parade around the set table of the farmhouse. Almost forty artists in a television proposal that seems too conventional, conservative and cautious for a program about Macba and contemporary art, which usually questions languages, experiments with codes and avoids neutrality.

In 2008, George Steiner published The Books I Haven't Written (Arcàdia), a collection of seven chapters on seven very personal themes that the English philosopher would have liked to write a book about but, in the end, never did, and in each chapter he explains why. One of them, titled The Languages of Eros, explains that he had had the “privilege of speaking and making love in four languages”, that each has its own charm in bed, but he didn't go into details, because the chapter put his intimate life at risk and that, if anything, he reached the conclusion that “shared orgasm is an act of simultaneous translation”.