La 1 returns to its terrible reality after the end of the doping of the Eurocup and the Olympics. Tuesday 13 of TVE reveals the null capacity of the main channel of the Public Corporation to retain some of the enormous audience generated thanks to the great events of the summer, for whose rights the Spanish have paid an amount above the market, which exceeds the 100 million euros.
The main channel of the public sector often falls to third place in the ratings, has slipped up again with expensive and inappropriate products such as Los Iglesias and has admitted Jordi González’s inability to attract viewers with Lazos de sangre, a programme that TVE has had to get rid of through the back door.
Los More than 100 million euros invested The Corporation’s fees to pay for and broadcast the European Championship in Germany and the Paris Olympics have not retained any viewers. Not one. The events, at an unaffordable cost for the private channels, have doped up TVE, that is, they have allowed La 1 to obtain its first monthly triumphs since February 2012 this summer. But the data is a mirage and once finished, the extreme weakness of the schedule is revealed, especially in prime time, where only spaces that have been maintained from previous stages or recovered formats, such as the Grand Prix, which only operates in the summer and has lost effectiveness compared to last season.
The narrow victory in June (with a 12.7% share), and the comfortable triumph in July (14.8%), will presumably be followed by another victory in August despite the collapse that the main public channel is suffering. La 1 has fallen to third place after the end of the Olympic Games, which were watched by 31.3 million Spaniards according to the Barlovento consultancy. This fact explains the 23.5% share that La 1 reached last Sunday, August 4, thanks to the pull of the silver of Carlos Alcaraz or the tears of Carolina Marin after his dramatic injury.
The end of the Parisian event has suddenly brought La 1 back to its terrible reality: last Tuesday the 13th it had a lamentable 7.5% share. The film I give them a year marked a very discreet 6,3% with which he was on the verge of being surpassed by Commissioner Montalbano on La 2. On Wednesday 14th, the share remained at a 7.7% with the Blood ties by Jordi Gonzalez, a presenter whose services were hired by TVE at the price of a big star, but who sank The Plaza, has ruined DCorazon weekends and has given the finishing blow to the nostalgia format. The Barcelona-born show has brought down La 1’s prime time, with 6.8% for the documentary and debate on the Guillén Cuervo saga. The next day, La 1 rose to 8.4% with the premiere of the telefilm King Peret, which achieved an 8.2. And on Friday 16th the audience remained at 7.5% due to the unfortunate data of the film Big kids (5.2%), which was surpassed by the film If I were rich from Cuatro, and the failed The Iglesias: let’s get to work, which at midnight marked a ridiculous 4.4% share. Over the weekend, thanks to the cinema, La 1 rose slightly: 8.1% on Saturday and 8.6% on Sunday. But the DCorazon (again with that ‘Inspector Clouseau’ of the audiences called in command, Jordi González) marked alarming lows.
Historic low for Lazos de sangre: the third failed pink format hosted by Jordi González in the 2023-24 season
One of the bitter faces of the public summer is precisely that Lazos de sangre, the third failed pink format hosted by Jordi González in the 2023-24 season after the failures of that mess in which Terelu Campos intervened, The Plaza de la 1, and DCorazón, where she was also hired to make a fool of herself for 600 euros of public money per programme. The nostalgic show has achieved its worst figures in its 7 seasons.
Blood Ties is unlikely to return to TVE, as can be seen from Jordi González’s final words: “I started at TVE in 1985, 39 years ago. And look where I am now, saying goodbye to a programme. And we’ll never know if it’s going to be the last one. Well, in my case not, because the day after tomorrow I have another one at two in the afternoon. But that’s how it is. The only thing you know for sure when a programme starts is that it’s going to end. And in this case, this one ends. I’d like to say that for now.”
“I hope there are more programs and moments where I can give thanks for having the enormous luck of doing what I like, I want to get paid for it, and not bad at all. Because during the whole week I see a lot of people working and they send me home, while I’m at the pool. I hope I get to do this many more times. Comrades, it has been an honour and I would take you home, but one by one. Thank you very much, we’ll be leaving soon,” he added. In summer it hasn’t worked either. Invictus, with Patricia Conde in front, while the Grand Prix has lost more than 5 points compared to last summer.
This by-product is a different story, inconceivable in a public chain, The Iglesias: brothers at work. The format has had lamentable audiences and has been massacred by media that defend this TVE supervised by Jose Miguel Contreras. Even the newspaper that venerates this TVE or its president put the monstrosity in its place. Manuel Morales, in The Country, He spoke of space like this: “I have had to rub my eyes several times to believe what I was seeing. or to not think that it was another tedious gala of Innocent, innocent. The program The Iglesias Brothers at work, The show, which is broadcast on La 1 on Tuesdays at 10:45 p.m., is a copy of formats that have had some success on very secondary channels (Los gemelos reforman), and shows two of the children of Julio Iglesias and Isabel Preysler, Chábeli and Julio Jr., as experts in renovating the mansions of celebrities,” wrote the critic. Each episode of this show costs 245,000 euros, with Chábeli pocketing 28,000 euros per episode and Julio José another 13,000. “This format works very well in the US, but in Spain it hasn’t worked so well,” said the daughter. Chábeli tried to justify the trick they’ve given themselves: “They had to add a reality part so that RTVE would want the program,” she said. “That’s why they added all that scripted reality part.” This part, according to the co-presenter, is “too forced.” According to her, on a platform “it wouldn’t have been necessary to add that reality part so that the Spanish public would watch it.” Do we really have so much public money to spend on these things?
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