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The consolidation of digital television via subscription video on demand (SVOD) services has created an unprecedented increase in the consumption of serialised TV shows, which has had direct consequences on the content production sector. Faced with an increasingly demanding, hyperconnected and discerning audience and a supply of content never previously seen, television production and distribution strategies are involved in a process of change and adaptation. This paper seeks to analyse the production of Spanish television series created to be distributed on SVOD platforms. The aim is to know the role that production companies play in the creation of television series for SVOD so as to identify strategies and cooperative alliances between production companies and platforms and to detect possible patterns and trends in the operations of the audiovisual market. Using a mixed methodology that combines quantitative study with qualitative data analysis, the 88 Spanish TV series and miniseries that premiered on SVOD platforms from 2016 to 2021 are analysed, taking as a starting point the year in which these platforms began operating in Spain. The results confirm a trend towards cooperation between independent production companies and the platforms themselves, while no presence of in-house production is observed. Likewise, the atomisation of the role of production companies in the context of SVOD is shown, a phenomenon that already existed in generalist television production. [ABSTRACT FROM AUTHOR]

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This paper studies the 36 TV crime shows of the Spanish generalist channels (1990-2010) through a narrative analysis based on the hypothesis that the observed changes are related to foreign influences and will be decisive for contemporary serial narrative. It intends to determine if and how the procedural format has evolved into melancholic cop-opera and the interrelation with the modernization of TV stories. The results show that the structure of procedural drama no longer hinders serialization, that analepsis as a way of solving cases brings together procedural drama and series, and that cop-opera remains a genre on the rise in contemporary TV fiction, providing numerous titles to new and old platforms. These findings confirm the hypothesis suggested. The serialization of police drama, the sophistication in the use of narrative and visual resources, and the apparent influence of foreign productions determine the evolution of the analyzed period, as corroborated by generic and format hybridization, the forensic subgenre, and narrative resources. Serialization coincides with the establishment of the genre in Spain during the second decade analyzed (2000-2010). The visual fragmentation of the plot accentuates a postmodern narrative. Police drama reflects an increasingly homogeneous narrative between Spanish and American fiction, such as La casa de papel (Netflix, 2017-). Temporary alterations and story fragmentation produce mosaic-like fictions, and narrative transformations increase the engagement of a more active viewer. [ABSTRACT FROM AUTHOR]

For more than twenty years in Spain, national series and telenovelas were broadcast alongside Latin American telenovelas, which have gradually decreased until practically disappearing from the screens. Although the production of Spanish fiction goes back as far as the arrival of television, the truth is that the disaffection with the Latin American telenovela and the consolidation of Spanish fiction may have brought with it the transfer of narrative, aesthetic and cultural codes upon the which the new model of Spanish audiovisual fiction was built. This article1 analyzes these characteristics in both models from the comparative analysis of broadcast titles. The results show similarities in the superimposed structure of the plots and the use of drama, while differences include the design of characters and the preference for certain themes and settings related to the cultural spaces in which the stories occur. [ABSTRACT FROM AUTHOR]

Since the opening of the Spanish TV market in the 1990s, the development of fiction genres, formats and narratives has evolved notoriously, generating a universe of forms and narrations that has configured the history of Spanish TV. The family comedy, in this context, is postulated as one of the most relevant fiction subgenres of Spanish TV, thanks to its easy assimilation, the identification it generates with the audience, its formats and its dissemination strategy, which has contributed to the success of family comedy on television. This article combines quantitative data with documental reflection and discourse analysis to offer a taxonomy of the standards that have guided the configuration of family comedy in Spanish TV. The study is based on the analysis of 47 cases of family comedy, broadcast from 1990 to 2010 in mainstream TV channels, using three different perspectives: format, viewership and production aspects. The results offer relevant data about the family comedy genre that allow us to establish a specific approach to the configuration of a standard of form, reach and production. [ABSTRACT FROM AUTHOR]

This study explores YouTube users' creation and consumption of videos related to primetime Spanish TV series, from a comparative gender perspective. The exploration is based on a sample of more than 100 short YouTube videos about 21 Spanish TV series broadcast in 2013 by the three most popular mainstream national TV networks in Spain (Telecinco, Antena 3 and La1). These videos were classified according to the (apparent) gender of their uploaders, their indicators of popularity (number of views, likes, dislikes, comments, and channel subscribers), and the nature of their content (their inclusion of original material with respect to the content broadcast on TV). In addition, the YouTube and TV audiences of the five most popular TV series in 2013 (according to audience share) were examined and compared according to gender. The analysis provided some unexpected results: despite women constituted the majority of the series' TV audience, male audiences showed greater activity on YouTube around the videos related to such series. Moreover, while men uploaded more videos and scored higher in views and popularity indicators in the video-sharing social network, the videos created by women, comparatively, generated more comments. [ABSTRACT FROM AUTHOR]

Introduction. This article analyses the evolution of family representations in Spanish fiction television, with a special focus on the roles assigned to female characters. Methods. The study is based on the analysis of 709 characters, with varying degrees of protagonism in the fictional programming premiered in 2013 and 2014 in national and regional Spanish TV channels. Conclusions and discussion. The study has shown that the representation of families in Spanish fiction television still privileges the traditional family model, although more innovative family models and roles are being increasingly incorporated. [ABSTRACT FROM AUTHOR]

The central thesis of this paper is that memetic practices can be crucial to understanding deception at present when hoaxes have increased globally due to COVID-19. Therefore, we employ existing memetic theory to describe the qualities and characteristics of meme hoaxes in terms of the way they are replicated by altering some aspects of the original, and then shared on social media platforms in order to connect global and local issues. Criteria for selecting the sample were hoaxes retrieved from and related to the local territory in the province of Alicante (Spain) during the first year of the pandemic (n = 35). Once typology, hoax topics and their memetic qualities were identified, we analysed their characteristics according to form in terms of Shifman (2014) and, secondly, their content and stance concordances both within and outside our sample (Spain and abroad). The results show, firstly, that hoaxes are mainly disinformation and they are related to the pandemic. Secondly, despite the notion that local hoaxes are linked to local circumstances that are difficult to extrapolate, our conclusions demonstrate their extraordinary memetic and "glocal" capacity: they rapidly adapt other hoaxes from other places to local areas, very often supplanting reliable sources, and thereby demonstrating consistency and opportunism. [ABSTRACT FROM AUTHOR]