WAN-IFRA, the World Association of News Publishers, has announced the finalists for the Digital Media Awards 2026, considered one of the most prestigious international recognitions in the sector. In this edition, ARA has been selected as a finalist in two categories: Best data visualization, for the interactive SOS: el Montseny se ahoga, and Best marketing campaign for Descarta el cuñadismo.This year, the awards received 811 submissions from around the world, of which 278 have reached the final stage, representing 78 countries. The winners will be announced on June 2 in Marseille, as part of the World News Media Congress 2026.

When it premiered almost stealthily on Prime Video three years ago, The Jury became the comedy of the moment. With a mockumentary format, it showed the interaction between the various members of a jury. The linchpin that made it a phenomenon was the blend of reality and fiction: the protagonist, Ronald Gladden, was a real person who believed he was actually part of a jury. The truth was that it was all fake and that his fellow jurors were actors, a premise reminiscent of the film The Truman Show. After that experience, the same team has put together a second installment with a completely different setting. The Jury: Corporate Retreat arrives this Friday on Prime Video with three episodes. The next two will premiere on March 27th and the last two on April 3rd.

One of the premieres of La 1 is the documentary program The secret files of the NO-DO, a program from Minoría Absoluta that explores the archives of the Spanish Film Archive. There are more than six thousand cans of film that were not used in the propaganda newsreel of the Franco regime, material discarded for various reasons. Therefore, this is not about resurrecting the most curious fragments of the newscast, nor about listening to the voice of Francoism, that of Matías Prats Cañete, grandfather of the lineage of journalists, narrating Franco's adventures and the scenes from the dictatorship.

Penny opens the door to a room while having a house party and finds her husband fondling a friend of their daughter's who has had too much to drink. She has no doubt about what she's just discovered, but her husband doesn't feel caught out, nor can he understand how she could have interpreted it as anything wrong. It was simply a gesture of protection and affection for a boy who was feeling very ill. This is the starting point of the magnificent miniseries. After the party, on Filmin. A New Zealand production that will fill you with doubts and conflicts until the very last minute. The series takes place five years after that fateful moment that destroyed their relationship. Phil tries to rebuild his life with a strong heart and the peace of mind that his ex-wife's accusations have never been proven. Penny, magnificently played by actress Robyn Malcolm, lives with the conviction that he is a pedophile. Malcolm co-created the series with Dianne Taylor because she wanted to create a character that would distance itself from the stereotypes portrayed by actresses her age. Penny is skilled at dealing with more rebellious teenagers with her students; she is athletic and a committed activist. She tries to be a good mother, but she has become sullen. She is radical, stubborn, expeditious, and capable of overstepping the boundaries of what is right if she believes she is right. Very few people support her. Phil is a charismatic and patient man, a loving father and grandfather, and a good high school teacher. Friends and family will have to take sides, and that's the same dilemma for the viewer. The writers haven't made it easy for us. Who's telling the truth? Phil, a man of integrity falsely accused, or Penny, a woman who won't rest until justice is done.

The rise of trash TV in the 1990s has, over time, led to a certain view that idealizes all this waste. Some have tried to interpret the Martian Chronicles by Xavier Sardà as a cult television and a good part of the puppets that were exploited as misunderstood stars of popular culture. Superstar, the series that Netflix has just released, pays tribute to this entire generation of the so-called freaks television series, trying to humanize them. Tamara and her mother, Margarita Seisdedos, are the backbone of the story, and the miseries of Leonardo Dantés, Paco Porras, Loly Álvarez, Tony Genil, and Arlequín are also recreated around them. Together, they created what has later been called tamarism, this media movement kitsch of somewhat marginal characters who managed to become part of the most successful television programs, despite the cruel media hostility surrounding them. Nacho Vigalondo, the creator, also participates as a supporting actor in the role of Joaquín Sardana. alter ego by Xavier Sardà, who presents a program titled Mars timeProduced by Los Javis (Calvo and Ambrossi), Superstar It fuses the television signature of all of them. On the one hand, the delirious tone, a kind of very personal, somewhat dreamlike magical realism that plays with Vigalondo's dramatic comedy and social criticism, and on the other, the veneration of pop culture, the need to redeem marginalized or different characters by providing them with an emotional narrative that emphasizes their story. Director Claudia Costafreda's influence is also evident in the emotional treatment and care for the characters.

Lasagna of controversy following the TV3 documentary that links the author ofMy grandfather with a pimping ring, including minors. The family has sued the network and criticized its failure to report the two acquittals that exonerated Josep Lluís Ortega Monasterio of any crime. They also criticized the network for not contacting them to explain their view, according to which the accusations were in revenge because the composer and military man had supported a clandestine pro-democracy organization. All of this has ended up clouding the work with the victims and witnesses who visited the brothel in question, which had, and still has, great newsworthy value. In these delicate matters, that final call that will challenge our account is uncomfortable but essential to serve the reader a complete plate. Now, TV3's usual enemies are taking advantage of this loophole to debunk the documentary as a whole and, in the process, the network itself, which they accuse of promoting the cancellation of the Havana film "Viezando Una Mano Negra" (Seeing a Black Hand). woke.

On Saturday morning, television channels were focused on the PSOE and PP congresses. These types of committees are events for internal consumption by the membership, but there's a clear element of showboating as an attempt to clean up its image. For obvious reasons, the Socialist Party's meeting generated much more media buzz.

The TVE program History of our cinema celebrates its tenth anniversary. And to celebrate, beyond summarizing the Iberian perspective on the seventh art through guests from different generations, it required an official greeting from Queen Letizia. The queen, who will long for her past as a journalist and presenter, graced the program with a three-minute speech on a set. She stood alone, looking at the camera, and delivering a dissertation on the cultural power of cinema, peppered with famous quotes from great Spanish directors.

The last Sunday of every month, La 1 broadcasts RTVE Responds, the program directed and presented by the public broadcaster's viewer advocate, Rosa Maria Molló. She is one of the network's most iconic and historic journalists, both for her time at the Sant Cugat headquarters, with programs such as Giravolt, as well as a prestigious career in news services, taking on correspondent positions in New York, Beijing and the Middle East.

"The situation for Catalan in Northern Catalonia is terrible, and it's getting worse," says Pere Manzanares, a teacher and long-time language activist. The latest figures indicate that only 5% of a population of 500,000 speak Catalan regularly, although 20% of citizens say they know it. As if using Catalan weren't complicated enough in this context, two other threats are now being added to the mix, putting Ràdio Arrels, the Catalan-language radio station in Northern Catalonia, on the ropes: the cultural cuts that the French government has already hinted at to alleviate the public deficit, and the rise of the far right.

Black Mirror has returned to Netflix with its seventh season to remind us of the world we live in and the abyss that the future often represents. Since the episodes are independent, the level of satisfaction is uneven and depends largely on individual sensitivity to connect more with some stories than others. What remains intact is the ability to analyze the human condition in the face of digital progress. There are episodes full of hopelessness or even anguish, and some others, however, transport us to unusual possibilities that serve to delve deeper into the realm of emotions.

It's not every day that a magazine is born in Girona with the aim of reaching all the Catalan countries. And even less so from a project that, like a "matrioche," has been growing for five years From the heart of the Barri Vell neighborhood, expanding throughout the city, the district, and soon the entire Principality. It was unveiled this week. The Promotion, a new quarterly publication of at least 116 pages published in "record time," in the words of the director, of just four months.

Adolescence (Adolescence) It's undoubtedly the best series to premiere in recent months. You wouldn't expect it on Netflix, due to the narrative approach that goes beyond the action, the desire for social exploration, and the film technique that determines the pace. Created by and starring actor Stephen Graham, it's a family drama that begins when the police break down the door of a house to arrest the thirteen-year-old son, accused of murdering a schoolmate. The story will unfold over four chapters: the arrest, the police investigation at the school, Jamie's session with the psychologist, and finally, the family's efforts to return to their routine despite the state of devastation. The series is reminiscent of the film We must talk about Kevin, by Lynne Ramsay, based on the magnificent novel by Lionel Shriver, in which we delve into the family circumstances of a teenager who has caused a massacre at his high school. In both cases, the fiction has been motivated by real stories that have appeared in the media and force us to question the causes of these atrocities.

"There are so many things I shouldn't have kept to myself!" says a grandmother. "What things?" asks her grandson. And she remains silent, her gaze fixed on the horizon. She has her hands clasped on her belly and rotates her thumbs around each other. She says nothing. It is one of the conversations in the film. Sugarcane, another of the candidates for the Oscar for best documentary. Produced by National Geographic, you will find it on Disney+. It denounces the abuses of the Catholic Church in boarding schools and the missions that were established in Canada to convert indigenous people. It focuses on the Saint Joseph Mission, on the Sugarcane Indian reservation, in British Columbia. But it is only one case that reveals the patterns of infanticides that occurred in the hundreds of boarding schools that the governments of Canada and the United States promoted to solve what they called "the indigenous problem." The documentary is directed by Emily Kassie and Julian Brave NoiseCat, son of one of the survivors of Saint Joseph. The discovery of dozens of children's graves near this mission will cause a national scandal that will revive interest in the past: "The ghosts of children have awakened these days," say the media. Murders, abuses, torture, disappearances and rapes committed by priests and nuns come to light. The after-effects of these atrocities continue to this day, with an indigenous community suffering from serious alcohol problems and a high suicide rate. Sugarcane The investigation continues. Beyond the scene where the ground is being studied to discover the secretly buried bodies, there is a striking image. In a barn they find the inscriptions that the children left engraved on the wood of the wall: their names, their laments, their despair. The hypocrisy of the institutions is also revealed: the Canadian government, the police and the Church. Now they are trying to repair, with more appearance than will, all that they have ignored and despised for decades.