Faced with the excess of information, the confinement, the interesting but brainy documentaries, the cinema and even the fiction series, there is a chain in Spain that has bet on entertainment, if it is decided to call this way to touch the paroxysm with any television formula that make viewers spend their idle hours disconnected from the real world and immersed ad infinitum in the lives of others. The queen of the programs that have reinvented pink information is Telecinco and the provider par excellence of its audience successes is the production company La Fábrica de la Tele , created by Óscar Cornejo (49 years old) and Adrián Madrid (51 years old), a man from Tarragona and a man from Zaragoza who met in Aqui Hay Tomato , one of the most successful and criticized after-dinner programs on television in the 2000s.
The first started as a cameraman, but his good work made him climb the ranks until he found himself at Adrián Madrid as director. In those carambola that life gives and that surprise by the unusual, the boss , who was none other than Madrid, demanded that the employee, Cornejo, also be appointed director. "It was an injustice that I could not allow," explained Adrián Madrid to this newspaper at the end of 2014, "Óscar had the same level of involvement and work as me." Television united them and television has made them inseparable and millionaire businessmen. Now its producer, mother of programs like Sálvame , Sábado Deluxe , Socialité , Hormigas Blancas or Todo es lie, is also the author of two audience hits: Cantora, la inheritance poisoned and the Rocío docuserie, tell the truth to stay alive . With 3.7 million viewers and a 33.2% audience share in its first broadcast, it has managed to displace Isabel Pantoja and her family from the spotlight and place another well-known clan, that of Rocío Jurado, in it . The protagonist is her daughter, Rocío Carrasco and her silence of 25 years, but in the orbit of the still indeterminate number of chapters in which she will bare her life, her fears, silence and traumas will inevitably turn her ex-husband, Antonio David Flores , her children, uncles, and the brothers that his mother adopted along with the bullfighter José Ortega Cano.
Rocío Carrasco, in a scene from the docuserie 'Rocio: Telling the truth to stay alive' Mediaset
The year 2020 was not easy for television and the production companies have experienced the constant challenge of what to do in the middle of a pandemic. La Fábrica de la Tele had already found the holy grail of success at that time and stood, with 17.4% of total Spanish production, in the second position among the production companies with the most hours on the air, mainly due to long-term daily formats. duration. Save me , with five hours a day of broadcasting, and Saturday Deluxe are their darling children, but these new formats – which television experts claim mask exclusive and reality- type serials under the name of documentary – are the new births that have come to stay and do happy to his hyperactive parents.
Mediaset dispenses with Antonio David Flores after the accusations of mistreatment of Rocío Carrasco Almíbar against caustic soda in the social chronicle of the
weekend The fans of the formula do not hesitate to reel reasons to applaud his achievements. “They generate tension”, “they know how to use audiovisual language”, “they have reinvented the pink chronicle in a self-taught way”, are some of the phrases that those who know La Fábrica de la Tele inside but for obvious reasons do not want to reveal their identity. Diana Aller , scriptwriter and television critic, has no qualms about doing it, who has also collaborated on different occasions with the production company: “They do not focus on complacent information and use audiovisual language from the opposite of the traditional social chronicle: nothing is so pink in the famous, there are ruptures, ruins, scandals, family problems. The rawness and tension are their form of narrative and they use it to sell the product, and they do it very well ”.
In the production company —explain those who know how it works— the internal organization runs horizontally. Cornejo and Madrid know the names of employees and collaborators and all proposals are listened to, even the most far-fetched. The prevailing philosophy is that even the most absurd idea can come out of a good idea for a program. Thus they have been breaking molds. They have stopped protecting their own collaborators, as others do, to turn them into part of a gear in which their lives and miseries are also protagonists and have glamorized those beings that previously only showed their lives in rose color in the magazines of the genre. The keys to the formula are as subtle as they are simple: touching the emotional key of the viewer and approaching him, breaking the barrier that separates the living room from the television set. The famous are no longer ethereal beings with idyllic lives, nor are their problems so different from those of many viewers that addicts contemplate them from their armchair in the front row. They say that even celebrities who do not want to enter the game and deny the format from time to time provide information so that people continue to talk about them.
'Sálvame ', one of Telecinco's star programs.
However, what it is a school for some, it is the object of criticism for others. A collateral effect that is attributed to those formulas that cultivate extremes and that lead to the polarization of the viewer, who, unable to handle the gray scale, ends up seeing victims or executioners. The philosopher and essayist Javier Gomá affirms that “gossiping and judging the behavior of another is in the human condition”. "We are not interested in the lie, but in the liar or the sincere", he adds, "what happens is that the new reality shows provide an assortment of people of the most varied on whom to apply that voracious appetite to judge lives." In his opinion, a “spectacularisation of society is taking place, a transformation of entertainment into a show with permanent script twists to keep an ever-thirsty attention alive.”
Emelina Fernández , PhD in Audiovisual Communication and former president of the Audiovisual Council of Andalusia. "They have managed to make a media circus of all human relationships", argues Fernández, "to get the worst of any relationship, the most basic, and sell it successfully in its own packaging." There are cases and degrees, but in some this expert considers that the limits are exceeded and they resort to “an absolutely rejectionable staging to turn a theme into a show and make a society without sufficient elements of judgment take a position on one side or from another. ”
Afterwards, the feedback of the controversy in other programs of the same medium does the job of speaker until the next topic arises. Emelina Fernández affirms that "we must be aware that television is a very powerful medium for transmitting awareness, respect and with some of these programs the values that a society needs are blown up."
Both those responsible for La Fábrica de la Tele as those of Mediaset have refused, on this occasion, to speak with EL PAÍS. They refer to their website, where it reads: “At La Fábrica, an extensive team studies, investigates and analyzes new ways of telling stories in a laboratory of ideas in which they try to find original formulas to capture the attention of viewers. La Fábrica has become the leading audiovisual entertainment producer in Spain, producing 32 hours a week for the main Mediaset Spain channels ”. Faced with the success of audiences for his latest docuseries, the one that in the eyes of many has made visible the burden of psychological abuse , some cry out for organizations that control the obligations that televisions have by law. Emelina Fernández sentences the debate: "The concept is whether television is a business or is it a service and here no other parameters come into play." This Sunday the show continues, the business continues.