VoD platform strategies for entertainment formats: Between innovation
and the assimilation of linear television in the Spanish market
Estrategias de las plataformas de VoD ante los formatos de entretenimiento:
entre la innovación y la asimilación de la televisión lineal en el mercado
televisivo español
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| 221
July-December of 2026
ISSN: 1696-019X / e-ISSN: 2386-3978
How to cite this article:
Higueras-Ruiz, M. J.; Lomas Martínez, S.; Martín-García, T. and Marcos-Ramos, M. (2026). VoD platform strategies for entertainment formats:
Between innovation and the assimilation of linear television in the Spanish market.
Doxa Comunicación
, 43, pp. 221-242.
https://doi.org/10.31921/doxacom.2838
María José Higueras-Ruiz.
Holds a BA in Audiovisual Communication from the University of Granada, where she also
earned her PhD in Social Sciences with International Mention (202), receiving the Extraordinary Doctoral Award, and
rst prize for best communication thesis from ATIC. She currently serves as a Tenured Lecturer at the University of
Malaga. She is a researcher at the
Observatorio de los Contenidos Audiovisuales
(Audiovisual Content Observatory) at
the University of Salamanca. Her research focuses on media production, social representation in television ction, and
the interrelations between executive production and authorship dynamics in audiovisual media. Her publications on
these topics appear in internationally renowned journals and scientic monographs, notably
LGBTQ
+
Representation in
American Fiction Series: Analysis of Archetypes in Queer Characters on the Streaming Platform Max
en la revista
Sexuality
and Culture
(2025).
University of Salamanca, Spain
[email protected]
ORCID:
0000-0002-6849-3433
Santiago Lomas Martínez.
Lecturer in the Department of Sociology and Communication at the University of Salamanca
and researcher at the
Audiovisual Content Observatory.
He holds a PhD in Media Research from the University Carlos
III of Madrid, where he received the Extraordinary Doctoral Award. His research examines the cultural history of
Spanish cinema and television, with a particular focus on queer/LGBT+ and gender perspectives. His articles have been
published in journals including
Celebrity Studies
,
Studies in Spanish & Latin American Cinemas
, and
Hispanic Research
Journal
. He is also the author of the following books:
Creadores queer en el cine español del franquismo: subcultura
homosexual y género
(Laertes, 2022) y
Diferentes. Estrellas queer transnacionales
(Peter Lang, 2023).
University of Salamanca, Spain
[email protected]
ORCID:
0000-0002-2581-5818
is content is published under Creative Commons Attribution Non-Commercial License. International License CC BY-NC 4.0
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Recibido: 19/11/2024 - Aceptado: 14/07/2025 - En edición: 27/02/2026 - Publicado: 01/07/2026
Resumen:
En el mercado televisivo actual, la implantación de plataformas de strea
-
ming ha reformulado los procesos de producción, distribución y consumo
de contenido. A la oferta de cción de estos operadores se le suman otros
formatos que han tratado de emular con particular claridad estrategias
de emisión características de la televisión lineal. El objetivo de esta inves
-
tigación es cartograar la producción española de programas de entrete
-
nimiento por parte de los operadores de VoD y determinar sus sinergias
con la televisión lineal. Con esta nalidad se cuantican y examinan los
formatos de Netix, HBO/Max y Amazon Prime Video, y desde un alcance
cualitativo se analizan dos casos especícos: Operación Triunfo (Amazon
Prime Video, 2023-) y Sálvese quien pueda (Netix, 2023-2024). Se con
-
cluye una producción creciente, pero ambiguamente conceptualizada, de
programas de entretenimiento, que adoptan estrategias de la televisión
tradicional con mayor o menor éxito, destacando las formas de progra
-
mación y los contenidos reconocidos por la audiencia generalista.
Palabras clave:
Televisión; plataformas VoD;
streaming
; programas de entretenimiento;
reality show.
Received: 19/11/2024 - Accepted: 14/07/2025 - Early access: 27/02/2026 - Published: 01/07/2026
Abstract:
e introduction of streaming platforms has reshaped the processes
of content production, distribution, and consumption in today’s
television market. Beyond the ction oered by these operators,
other formats have emerged that emulate broadcasting strategies
characteristic of linear television. is research aims to map Spanish
entertainment programming produced by VoD operators and
identify synergies with linear television. To this end, Netix, HBO/
Max, and Amazon Prime Video formats are quantied and examined,
and two specic cases are qualitatively analysed: Operación
Triunfo (Amazon Prime Video, 2023-) and Sálvese quien pueda
(Netix, 2023-2024). e study concludes that there is a growing,
yet vaguely dened, production of entertainment programmes.
ese programmes adopt traditional television strategies to varying
degrees of success, emphasising the types of programming as well as
mainstream, recognised content.
Keywords:
Television; VoD platforms; streaming; entertainment programs;
reality show.
Teresa Martín-García.
PhD in Journalism, a Master’s in Institutional and Corporate Communication, and a Master’s
in Journalism, Discourse and Communication from the Complutense University of Madrid, and an expert in Gender
and Communication from the Pontical University of Salamanca. She is currently a Lecturer in the Department of
Sociology and Communication at the University of Salamanca’s Faculty of Social Sciences, where she teaches courses on
organizational communication, media eects, communication and education, and social media. She is a member of the
Audiovisual Content Observatory
(OCA,
http://www.ocausal.es/
). Her research focuses on gender and communication,
educommunication, institutional and corporate communication, digital marketing and communication trends. With
over 15 years of experience across communication sectors and university management, she previously coordinated the
educational innovation hub at the University of Salamanca, MEDIALAB USAL, and currently directs the University of
Salamanca’s Digital Projection Service, overseeing the institutional digital strategy.
University of Salamanca, Spain
[email protected]
ORCID:
0000-0002-4239-0241
María Marcos-Ramos.
BA in Audiovisual Communication from the University of the Basque Country and PhD
in Audiovisual Communication from the University of Salamanca (Extraordinary Award). She is a senior lecturer of
Communication and Audiovisual Creation. As Director of the Department of Sociology and Communication and
researcher at the
Audiovisual Content Observatory,
her work analyses audiovisual media, historical memory, and social
representations in ction and entertainment. Her research explores themes such as immigration in television, diversity
on streaming platforms, and women’s representation in cinema and series, among others. She has edited multiple
academic volumes and authored two monographs:
ETA catódica. Terrorismo en la cción televisiva
(Laertes, 2021) and
Muerte de un ciclista
(Nau Llibres, 2025).
University of Salamanca, Spain
[email protected]
ORCID:
0000-0003-3764-7177
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<p>[Enlace de URL / hc (has AS)]</p>
<p>[Enlace de URL / hc (has AS)]</p>
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1. Introduction: entertainment formats and VoD in Spain
Since the arrival of international video-on-demand (VoD) platforms in Spain (Netix in 2015, HBO in 2016, Amazon Prime
Video in 2018, among others), these services have committed to producing original content to rival traditional linear
television. eir strategy aims to attract audiences to pay TV through exclusive, dierentiated projects. Over the past decade,
the primary line of dierentiation has been ction series, and to a lesser extent, documentary series, delivering appealing
content unavailable elsewhere.
However, in recent years, a growing number of non-ction programs have emerged that align with the entertainment
macro-genre (Gordillo, 2009; Guerrero, 2010b, 2011). Supporting this observation, José Manuel Eleta, Deputy Director at the
consultancy Barlovento, noted in an Infolibre interview that “streaming platforms have reached their subscription ceiling with
series and must now explore other television genres” (González, 2023; cited in Caarel-Rodríguez & Olivia-Gordillo, 2024:
279). Consequently, OTT (over-the-top) operators are increasingly integrating content types that were previously unique to
linear television, in response to a saturated, fragmented, and diverse audiovisual landscape (Arjona Martín, 2021).
is research focuses on three VoD platforms –Netix, HBO Max, and Amazon Prime Video– which are internationally renowned
brands with a presence in multiple countries and have developed original production lines in many of them, including Spain.
is study aims to determine how these platforms are positioning themselves within the emerging landscape of non-ction
entertainment content creation. To this end, the following research questions were posed: What original entertainment
formats (excluding ction lms, series, and documentaries) have the three VoD platforms in Spain produced? What are the
characteristics of these formats? What creative and industrial strategies do they deploy? Furthermore, given the emerging
nature of this type of production, two additional questions are posed: How do the platforms themselves conceptualize these
formats? And what descriptive categories are used to label them?
e selection of these three streaming services is justied by their lack of linear television extensions, thereby fostering a
perception of exclusivity and enabling direct comparability, unlike other audiovisual services. For instance, some platforms are
extensions of traditional television networks or media groups. Atresmedia (parent company of Antena 3 and La Sexta) operates
Atresplayer, and Mediaset (owner of Telecinco and Cuatro) runs Mitele Plus, and the public broadcaster RTVE manages RTVE
Play (Higueras-Ruiz
et al.
, 2024). In contrast, groups like Movistar Plus+ oer both VoD and linear pay-TV channels, such as #0
or Series por M+ (Cascajosa-Virino, 2018).
On the other hand, within these operators’ new entertainment programming, several shows explicitly emulate linear television’s
broadcast strategies, particularly through live transmission or, at the very least, synchronous content. In this regard, two cases
that began in 2023 stand out:
Operación Triunfo
(
OT
) on Amazon Prime Video, which features live broadcasts, and
Sálvese
quien pueda
on Netix, which employs a synchronous premiere at a specic time, aiming to generate the anticipation typical
of a linear television debut. Consequently, an additional research question is posed: how do these entertainment formats
interact with the creative and industrial strategies and conventions characteristic of linear television?
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2. eoretical framework
2.1. Entertainment formats on Spanish television
e emergence of private television in Spain in the early 1990s revitalized entertainment formats within this television
market, both creatively and industrially. During the RTVE monopoly, which lasted from 1956 to 1990, iconic programs were
produced that became milestones in Spanish television history, such as
Un, dos, tre
s…
responda otra vez
(TVE1), which aired
intermittently from 1972 to 2004; or
El precio justo (
TVE1), which premiered in 1988 on public television and was later acquired
by Antena 3 and Telecinco for several seasons, remaining on air until 2021. However, the introduction of competition for
audience share- following the launch of Antena 3 and Telecinco in the 1990s, along with the rise of regional channels, created
the need for new strategies to achieve the highest possible viewership (Saló, 2003). is shift led to the adoption of production
values associated with perceived high-quality entertainment programmes, including content, presenter, set design, and
creative quality (Guerrero and Etayo, 2015).
us, numerous local formats emerged, such as
Luna de miel
(Regional Networks, 1992-1994) or
El semáforo
(TVE1, 1995-
1997), while acquisitions of international formats accelerated, such as
El juego de la oca
(Antena 3, 1993-1995; Telecinco,
1998),
Lluvia de estrellas
(Antena 3, 1995-2001; TVE1, 2007),
Sorpresa ¡Sorpresa!
(Antena 3, 1996-1999) o ¿
Qué apostamos?
(TVE1, 1993-2000). Acquiring foreign entertainment formats became an appealing and cost-eective strategy for the receiving
market for two main reasons: “On the one hand, it reduces the need for research and development; and on the other hand,
it lowers the high economic risk in the audiovisual entertainment industry, which is based on prototype production and
has a high failure rate” (Guerrero, 2010a: 241). At the same time, the success of national programmes has encouraged their
export to international markets. One prominent example is
Operación Triunfo
(TVE1, 2001-2003; Telecinco, 2005-2011; TVE1,
2017-2020; Amazon Prime Video, 2023-) and more recently
Tu cara me suena
(Antena 3, 2011-), which has become the most
exported Spanish format, airing in over 40 countries (Marcos, 2021).
e concept of format, dened as “the specic development of a series of audiovisual elements and content, which comprise
a specic programme and distinguish it from others” (Saló, 2003: 11), is not without debate and variation depending on the
television context. In this research, entertainment is understood as a macro-genre- an overarching concept that encompasses
several television genres beyond ction and news content. Over the past two decades, scholars have identied what some
describe as hyper-television (Gordillo, 2009) or post-television (Imbert, 2010)- an era characterised by hybridisation and
recycling. e boundaries between traditional macro-genres and audiovisual genres have become increasingly blurred. For
this reason, authors like Gordillo argue that since the 1990s, a new macro-genre has emerged: reality television
,
a hybrid format
integrating informational, ctional, and entertainment elements. Moreover, with the debut of
Gran Hermano
(Telecinco,
2000), Telecinco pioneered in Spain what Saló (2003) would call “ow-programming”, that is, interconnected scheduling where
multiple shows feed o the central format’s content (in the case of
Gran Hermano,
this includes spin-o shows such as daily
recaps or debate galas). is strategy was later replicated by other reality shows such as
Operación Triunfo
or
Supervivientes
(Telecinco, 2000-2001, 2006-; Antena 3, 2003-2005; Cuatro, 2019-2021).
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Precisely due to the hybrid nature of many formats that have emerged over the past few decades, this study includes reality
shows within the broader concept of entertainment, as it has become increasingly complex to draw clear boundaries between
the two. Within this macro-genre, it is therefore possible to identify distinct subgenres, each with representative examples from
the history of Spanish television: game shows (
Trato hecho
, Antena 3, 1998-2002), reality-shows
(
Gran Hermano
, Telecinco,
2000-), talk-shows
(
Ratones Coloraos
, Regional Networks, 2002-2010), sketch comedy (
Cruz y Raya
, TVE1, 1997-2007),
magazine-style shows (
El informal
, Telecinco, 1998-2002), talent-shows (
Masterchef
, TVE1, 2013-), late-night shows (
Crónicas
marcianas
, Telecinco, 1997-2005), docu-realities
(
Alaska y Mario
, MTV España, 2011) or dating-shows (
First Dates
, Cuatro,
2016-).
e establishment of streaming platforms in Spain and their production of entertainment programmes has sparked academic
interest in these on-demand formats. Researchers aim to identify prevailing trends and strategies, as well as the synergies and
convergences between these projects and free-to-air, linear television. In this regard, Izquierdo-Castillo and Latorre-Lázaro
(2022) analyse content oerings on platforms to conceptualise their programming, Fernández-Herruzo and Pedrero-Esteban
(2023) examine how VoD platforms produce entertainment programmes to compete with traditional channels, and Caarel-
Rodríguez and Oliva-Gordillo (2024) study the adaptation of the
Operación Triunfo
format from linear to digital television.
A changing context: convergence and VoD platforms
e evolution of streaming platforms in recent years has not only signicantly altered audience audiovisual consumption habits
but also transformed the way content is created and distributed. However, it has also altered content production strategies and
reshaped the dynamics of both the VoD and generalist television markets. is shift has redened the geographic boundaries
of viewers and contributed to the internationalisation of locally produced content (Lotz, 2021). According to authors such as
Marín Pérez (2021), today’s audiences value the new functionalities aorded by this evolving context, particularly the exibility
that allows content to be accessed at any time and from any location. Similarly, Evens
et al.
(2024) emphasise features such as
distinctiveness, interactivity, and community building as technological advantages that encourage users to favour streaming
platforms over traditional television. is transformation in consumption patterns has prompted linear broadcasters to rethink
the mass-reach model that has sustained them for decades and to explore new dynamics to remain relevant and competitive
(Martín-Barbero, 2008; Piñón, 2021). Consequently, traditional television has gradually adapted to the on-demand model
popularised by streaming services, leading to an increasingly blurred distinction between OTT operators and conventional
broadcast television (Mulla, 2022).
e evolution of traditional television strategies and VoD platforms in response to the changing market and shifting audience
needs and preferences (Clares-Gavilán and Medina Cambrón, 2018), has led to a convergence space, giving rise to a hybrid
model that seeks to combine the strengths of both systems to attract increasingly diverse audiences (González
et al.
, 2022;
Llanos, 2022; Vázquez
et al.
, 2020). In this context, generalist television –characterised by xed programming schedules
and its capacity to attract large audiences at specic times (Prado
et al.
, 2020)– has begun adopting various customisation
techniques inspired by streaming platforms. ese include the use of algorithms and data analytics to understand audience
preferences (Bazzara, 2021). As González and Torres (2023) note, many broadcasters have recently launched their own
streaming applications or partnered with digital platforms to oer complementary services to their linear programming. ese
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initiatives aim to provide audiences with access to content anytime and anywhere, while also appealing to viewers who favour
on-demand consumption (Castro Higueras
et al.
, 2022).
VoD platforms have transformed contemporary audience expectations (Agustín Lacruz and Gómez Díaz, 2021; Dandan
et al.
,
2023; Esteinou, 2022; Hidalgo-Marí
et al.
, 2022; Pérez-Rufí
et al.
, 2024; Wang and Li, 2020). According to the literature, various
factors drive audience preference for OTT platforms. Mulla (2022) identies price, content, exibility, ease of use, enjoyment,
desire for autonomy, entertainment value, socialisation, cultural inclusion, and binge-watching as key motivators. In response,
VoD services have begun to explore new formulas beyond ction series, experimenting with new formats that are more closely
aligned with generalist television, such as reality shows, true crime documentaries, competitions, and sports and lifestyle
content (Marcos, 2023). Other examples of how these platforms adopt features of linear television include simultaneous
premieres and live events, such as concerts or sports broadcasts, aiming to replicate the “event” experience typical of linear
TV (Marinelli & Marcos, 2022). Moreover, these services are increasingly testing advertising-supported subscription models
–a hallmark of generalist television– to oer lower-cost options and expand their user base (Cortés
et al.
, 2024). In this
context, Fernández-Herruzo and Pedrero-Esteban (2023) identify an increase in Spanish-produced entertainment content
on streaming platforms between 2020 and 2022. Although this category ranks third after ction and reality programming, its
share has grown signicantly, from 4.5% in 2020 to 12.5% in 2021, highlighting a particular emphasis on reality show and talk
show production.
In specic cases, a hybrid model is apparent, which integrates the advantages of both audiovisual consumption forms (García,
2021). For example, the
Operación Triunfo
format on Amazon Prime Video (2023), which is one of the case studies examined
in this article, is the rst live broadcast programme on the platform. It has also generated various satellite programmes around
it, replicating the ow-programming developed for previous reality TV shows, like
OT
or
Gran Hermano
, on linear television.
Meanwhile, the docu-reality show
Sálvese quien pueda
(Netix, 2023), the second case study in this analysis, reects this new
hybridisation of entertainment content (Terán, 2023a) by adapting the universe of the tabloid talk show
Sálvame
(Telecinco:
2009-2023) into a new OTT format. It strategically premieres episodes at specic times to attract audiences, combining
simultaneous releases with batch releases to encourage the binge-watching behaviour characteristic of Netix (Neira
et al.
,
2024).
Finally, it is worth noting the growing number of alliances between streaming platforms and linear broadcasters. Platforms
often end up licensing and integrating formats released on generalist television into their catalogues. Collaborations between
the two services are also taking place, notably the agreement between Amazon Prime and Mediaset to co-produce content and
premiere series on streaming platforms (Tones, 2023).
3. Methodology
To address the research questions, the rst objective is to compile a catalogue of Spanish entertainment formats on VoD
platforms, selected explicitly as case studies (Netix, HBO Max, Amazon Prime Video), from 2016 to 2024. is selection
is supported by data from the Household Panel report issued by the
National Commission of Markets and Competition
(CNMC, 2024) whose latest update (second half of 2024) identies these platforms as the most widely used for online content
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consumption in Spanish households Netix (39.8%), Prime Video (21.6%), Movistar+ (17.6%) and HBO/Max (7.3%). Moreover,
as previously mentioned, with the exception of Movistar+, these three international brands have established original content
production lines in Spain over the past decade, based on the principle of exclusivity, which limits their original content to
online distribution.
An analysis table has been compiled based on the previously reviewed bibliography, which enables the identication of key
aspects regarding the characteristics, genre, subject matter, and content of the programmes produced, covering the period from
the origin of each platform’s production in Spain until September 2024. e complete catalogue obtained can be consulted in
open access via the link:
https://osf.io/d4msn?view_only=90c1b5730b0146f88b843afbbc1d7395
An analysis table has been compiled based on the previously reviewed bibliography, allowing for the identication of key
aspects related to the characteristics, genre, subject matter, and content of the programmes produced. is analysis covers the
period from the inception of each platform’s original production in Spain through to September 2024. e complete catalogue
can be consulted in open access via the following link:
https://osf.io/d4msn?view_only=90c1b5730b0146f88b843afbbc1d7395
Table 1. Analysis sheet of entertainment programmes on VoD platforms
Title
Title of the project
Platform
VoD distribution platform
Release dateRelease date or broadcasting period
Premiere
Block or seralised premiere
Season
Number of seasons
Episodes
Number of episodes
Duration
Average duration of episodes
Origin
Original or adapted format
Genre
Game shows, reality shows, talk shows, comedy sketches, magazine-style shows (Saló, 2003),
talent shows, late-night shows, docu-realities, and dating shows.
Subgenre (subject matter)
Musical, culinary, historical, personal relationships, cohabitation, comedy, celebrities, magic,
travel, stand-up comedy, improvisation, lifestyles, idyllic setting, physical tests, intellectual
tests, survival, interviews
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Principales vínculos con la
TV lineal
Characteristics of the project that make it similar to the entertainment programmes broadcast
on linear television: presenters, formats, programming, etc. (Fernández-Herruzo & Pedrero-
Esteban, 2023)
Descriptive labelsCategories and tags are used in the platform interface to describe and classify the project.
Source: created by the authors based on the indicated sources
To develop the catalogue, no ction or documentary formats were included; only productions that hybridise documentary and
reality television through the docu-reality format were incorporated. Formats that previously premiered on linear television
channels and were later added to these platforms’ catalogues were excluded, as they do not meet the exclusivity criterion for
original productions available solely via paid access (such as various HBO/Max programmes that premiered on Discovery
Max, or formats stemming from production agreements between Mediaset España and Amazon Prime Video that were not
exclusively premiered on the platform). Furthermore, platform-dened classications were respected when calculating the
results, with some programmes treated as separate cases. is approach is applied, for instance, to
Amor con anza
(2021)
and
Amor con anza: Destino Cerdeña
(2022) on Netix, as well as to the various spin-os derived from
Operación Triunfo
on
Amazon Prime Video.
e catalogue aims to be as comprehensive as possible; however, several challenges were encountered during its construction.
First, there is no repository with complete and reliable information. Second, the data provided in the platforms’ own catalogues
is sometimes incomplete, inaccurately stored, or inconsistently presented online. Furthermore, as will be observed, the
descriptive labels used by each platform vary signicantly for these entertainment formats, suggesting some improvisation
over time, adaptation to a changing scenario, and a lack of uniformity in categorization.
Using the data obtained, the corresponding quantications were carried out according to the characteristic features of
the gathered formats. Descriptive statistics were employed to identify core trends with enhanced precision across three
dimensions: conguration, operational models, and creative and industrial strategies followed by these programmes.
Finally, based on the ndings, two formats are selected as case studies. Using a qualitative methodology, key parameters
characterising them are described in depth: origin and acquisition of the format. Segment breakdown, production company,
and technical and creative sta, critical and audience reception, promotional strategy, and alternative content, among others.
e section aims to provide an in-depth answer to the research question: “How do they interact with the creative and industrial
strategies and conventions characteristic of linear television?”
To this end, two programmes have been selected that explicitly emulate linear television broadcasting strategies:
Operación
Triunfo
(Amazon Prime Video, 2023-) was broadcast live, and
Sálvese quien pueda
(Netix, 2023-2024) premiered at scheduled
times. Both formats reformulate long-standing, popular, and successful shows from Spanish generalist television for the VoD
content over the past decades, and thus enjoy wide recognition from both audiences and the television market in Spain. ese
case studies were selected primarily for their singularity, rather than their representativeness (given the variety of genres
within the sample), as they clearly illustrate recycling, experimentation, and dynamics of uncertainty characterising Spain’s
emerging entertainment format productions on streaming platforms.
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4. Results
4.1. Highlighted characteristics of the sample
A total of 32 programmes were identied, 15 produced by Netix (46.88%, nearly half), 10 by Amazon Prime Video (31.25%),
and 7 by HBO/Max (21.88%). e table below details the number of entertainment formats produced per platform and year
(2024 data includes only January to September).
Table 2. Production of entertainment formats by platform and year
Platform/year
Amazon Prime Video
HBO/MaxNetixTotal
2016---0
2017--11
2018---0
20191-12
20201-12
20212248
20221168
20234329
2024*1102
Total1071532
Source: created by the authors
e results are also presented through graphs (Graphs 1 and 2) to visually illustrate each platform’s production trajectory, as
well as the combined annual output across all four platforms (data from 2024 was omitted to avoid skewing the plotting of each
line, given its incompleteness).
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Graph 1. Entertainment format production by platform and year (2016-2023)
Gráfico 1. Producción de formatos de entretenimiento por plataforma y por año (2016
-2023)
Fuente:
e
laboración propia
Gráfico 2. Producción conjunta de formatos de entretenimiento por año (2016
-2023)
Fuente:
e
laboración propia
0
1
2
3
4
5
6
7
20162017201820192020202120222023
Amazon Prime Video
HBO/Max
Netflix
0
1
2
3
4
5
6
7
8
9
10
20162017201820192020202120222023
Total
Source: created by the authors
Graph 2. Joint production of entertainment formats by year (2016-2023)
Gráfico 1. Producción de formatos de entretenimiento por plataforma y por año (2016
-2023)
Fuente:
e
laboración propia
Gráfico 2. Producción conjunta de formatos de entretenimiento por año (2016
-2023)
Fuente:
e
laboración propia
0
1
2
3
4
5
6
7
20162017201820192020202120222023
Amazon Prime Video
HBO/Max
Netflix
0
1
2
3
4
5
6
7
8
9
10
20162017201820192020202120222023
Total
Source: created by the authors
As observed, after a modest start, entertainment programme production surged notably in 2021, with at least 8 formats
produced that year and the following two years. By platform, Netix leads in output volume, accounting for almost half of the
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sample and signicantly outpacing competitors during 2021 and 2022. However, Table 2 highlights a sharp decline in original
format production for 2024 (even considering data only up to September) which cannot be explained by multiple seasons or
previous formats (only two such cases were identied: Season 3 of
Soy Georgiana
(2022-2024) and the second batch of
Sálvese
quien pueda
episodes, both on Netix). While it is too early to draw conclusions about this decline, it may reect a lacklustre
audience reception.
Among these programmes, very few have been renewed for more than one season. On Netix, only 2 stand out: Insiders (2021-
2022), with two seasons, and
Soy Georgina
, three seasons (perhaps the most successful format due to its potential international
appeal thanks to its star, model Georgina Rodríguez); o which we could add
Amor con anza
and
Amor con anza: Destino
Cerdeña
. Netix categorises
Amor con anza: Destino Cerdeña
as a separate programme, though the latter is derived from the
former. On HBO/Max, only two programmes have had multiple seasons:
Chef sin desperdicio
(2021-2022), with two seasons,
and
Acoustic Home
(2021-2024), with three. Amazon produced no multi-season programmes. Excluding
Amor con anza
, only
4 out of 32 formats (12.5%) have seen a second season; the number rises slightly to 5 out of 31 when it is included (16.13%).
In both cases, gures are remarkably low, indicating fewer than 1 in 5 programmes get renewed. is raises important issues:
perhaps the audience ratings underperformed expectations, or the platforms prioritise a varied catalogue with constant
new releases to drive marketing campaigns, attracting audiences to the brand, rather than fostering loyalty through specic
programmes, except in cases of undeniable success.
e average number of episodes per program is 11, although this gure is skewed by
OT al día
, a daily show that aired for 65
consecutive days. Seasons tend to be short, with 6 episodes (28.13%) and 8 episodes (15.63%) being the most common lengths
1
.
Table 3. Number of episodes of each programme
Number of episodesAbsolute frequencyRelative frequency (%)
139.38
226.25
3--
4--
5--
6928.13
739.38
1
Almost a third of programmes exceed 10 episodes (because the total number of episodes of renewed programmes has been counted, and this number does not
always remain the same per season).
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8515.63
9--
10 or more
1031.25
Source: created by the authors
Regarding average episode length, Netix generally oers shorter programmes, typically under 50 minutes in length. In
contrast, Amazon Prime Video and HBO/Max have the most common durations of 50 minutes and 55 minutes, respectively.
Another notable trend across platforms is the release of episodes in batches, rather than following a weekly rollout schedule.
When examining the number of original or adapted formats, there is a relatively even split: 18 are original formats (56.25%)
and 14 are adapted (43.75%). Among the adapted formats, most are based on international versions, sometimes even within
the same platform. For instance, on Netix,
Niquelao!
(2019) is adapted from
Nailed It
(2018) or
¡A cantar!
(2020) from
Sing On
(2020), whose international versions are also available in Spain. As for the original formats, their originality is relative, as many
rework previously successful industry formulas, as will be discussed below.
In terms of genre, there is an abundance of reality shows, spanning various subgenres, including talent and dating shows.
Among talent shows, there are musical ones such as
A cantar!
and
Operación Triunfo,
along with their spin-os or culinary
shows like
Niquelao!
and
Celebrity Bake O
(Amazon Prime Video, 2021), which dier from linear TV formats like
Masterchef
(TVE1, 2013- present) by focusing specically on baking. Comedy features prominently in 6 cases, half of which are on
Netix. Some examples include stand-up-based specials and hybrid formats that blend comedy with game show elements,
such as
LOL: Si te ríes, pierdes
(Amazon Prime Video, 2021). Occasionally, programmes resemble magazine-style formats,
incorporating interviews and/or performances, though these are rare, with
Acoustic Home
being an example.
e dierences between these formats and linear TV precedents are relatively minor. Four programmes exemplify the trend
pioneered by
La isla de las tentaciones
(Telecinco, 2020-), which tests couples’ delity by having them live separately in idyllic
settings surrounded by temptation. ere are some variations in their approach. On Netix,
Amor con anza
,
Amor con anza:
Destino Cerdeña,
and
Falso amor
(2023), and on HBO/Max,
Fboy Island España
(2023), are examples of this trend. Notably,
Amor con anza
and its sequel are hosted by Mónica Naranjo, who also hosted the rst season of
La isla de las tentaciones
.
A clear example of reformulation is
¿A quién le gusta mi follower?
(Netix, 2022), which continues the dating show strategy,
particularly popular on the linear channel Cuatro, where
First Dates
(2016-) remains a staple of its programming. Specically,
it emulates several formats previously presented by Luján Argüelles, who also hosts this programme. Even the title echoes
her most successful Cuatro programme:
¿Quién quiere casarse con mi hijo?
(Cuatro, 2012-). Other shows previously hosted by
Argüelles on Cuatro include:
Granjero busca esposa
(2008-2011),
¿Quién quiere casarse con mi madre?
(2013) and
Un príncipe
para…
(2013-2016).
Continuing the trend of featuring well-known presenters such as Naranjo and Argüelles, another notable example is Raquel
Sánchez Silva, who hosts
Falso amor
. Her involvement follows a well-established career in reality television on linear channel
formats such as
Supervivientes
or
Maestros de la costura
(TVE1, 2018-).
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Among dating shows,
Naked Attraction
(HBO/Max, 2024) stands out for its distinctive feature: participants appear fully nude,
a strategy previously employed by Cuatro with
Adán y Eva
(2014-2015). Similarly, docu-realities centred on the lives of the
wealthy, such as
Soy Georgiana, La Marquesa
(2022), and
First Class
(2022), all on Netix, draw inspiration from earlier formats
like
Mujeres Ricas
(La Sexta, 2010).
Following the model of
First Dates
, reality television shows about couples and dating have made some progress toward the
inclusion of LGBT individuals, in contrast to the criticised heteronormativity of programmes such as
Mujeres y hombres y
viceversa
(Telecinco, 2008-2018; Cuatro, 2018-2021) or the aforementioned
La isla de las tentaciones
. However, as Sánchez
González and González-de-Garay (2020) highlight, in
First Dates,
diversity is relative as gay male couples predominate, and
this is the case in formats like
Amor con anza
,
¿A quién le gusta mi follower?
,
Falso amor,
or
Naked Attraction
, where most
LGBT participants are gay men.
Finally, it is worth noting that original non-ction and non-documentary programming often lacks clear identication, and
there is no consensus on how to address this issue, either across platforms or within each one. is suggests that improvisation
is a key factor in the production of entertainment shows, whose numbers have grown despite not being initially conceived as
part of a deliberate creative strategy. For example, on Netix, all entertainment formats are labelled “
españolas
” (Spanish),
using the feminine form, as if they were ction series, lms, or documentaries, where such grammatical agreement would
automatically apply. In the case of reality TV, the label “realities” is employed, and a search for “Reality TV
española
” yields 11
original productions. It is also noteworthy that the docu-reality series
First Class, Soy Georgina, La Marquesa,
and
Sálvese quien
pueda
are labelled as
“docunovela”,
suggesting their serialised structure and a certain degree of ctionalisation. On HBO/Max,
the term “reality” is used heterogeneously to describe reality TV formats. However, the most ambiguous and surprising label
is “
improvisación
” (improvisation), a term frequently used by Amazon Prime Video formats. is category distinguishes these
programmes by emphasising their supposed spontaneity, in contrast to ction or documentary series, which are implicitly
seen as more structured productions.
4.2. Case studies: negotiations with linear television
Following this sample overview, two case studies are analysed, notable for their distinctive negotiations with linear television.
Both represent eorts to reformulate previously successful formats within the emerging context of VoD platforms.
4.2.1. Operación Triunfo (Amazon Prime Video, 2023-)
e
Operación Triunfo
(
OT
) format was created by Josep María Mainat and produced by Getmusic Endemol. e show draws
on earlier music talent competitions, such as
Popstars
in New Zealand,
Pop Idol
in the United Kingdom,
Starmaker
in the
Netherlands, and
Star Academy
in France (the latter two also produced by Endemol), where a group of contestants train and
compete to become professional singers (Saló, 2003). is format is the result of the hybridisation between the musical genre
and reality show, which Guerrero and Diego term “contemporary musical talent show” (2020: 603).
e Spanish public broadcaster RTVE acquired
OT
in 2001. In contrast to the cohabitation-based reality TV contest model
established by
Gran Hermano
(Telecinco, 2000), RTVE launched an achievement-based reality TV contest model (Saló, 2003),
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promoting artistic talent and oering prizes such as representing Spain at the Eurovision Song Contest. Broadcast on La 1 every
Monday during prime-time, the programme became a hit for the network, reaching an 80% audience share when the winner
was announced at the nal gala. It also increased the viewing gures for La 2, where a daily
OT
summary was aired (Saló, 2003).
Additionally, the programme was broadcast on TVE’s international channel and even had its own pay-TV channel,
OT 24horas
(Guerrero & Diego, 2020).
After three seasons on TVE,
Operación Triunfo
was acquired by Telecinco in 2025, where it aired for six additional seasons.
However, the nal season was cancelled due to low ratings. In 2017, the format returned to TVE with a strong online presence,
utilising transmedia storytelling to create a fandom phenomenon across social media, apps, online channels, and more
(Alonso López, 2018).
e success of
OT
fostered synergies between the television and record industry through album releases, public signings,
and concert tours. It also encouraged audience interaction, with viewers participating in the contest by voting and eectively
transforming the programme into a social phenomenon (Guerrero & Diego, 2020).
In 2023, Amazon Prime Video announced the acquisition of the format, adapting a classic programme, typical of linear
television, for the new viewing habits of younger audiences (Caarel-Rodríguez & Olivia-Gordillo, 2024). Although the show
was not made available free-to-air on the platform, it preserved its live broadcast, which is considered “one of the key elements
that has attracted the largest audience to
OT
” (Alonso López, 2024).
e VoD operator’s
OT
format retains the core dynamics of its linear television programme: alongside educational communal
living at a music academy, it features a live weekly prime time gala, though shorter in duration (1 hour and 40 minutes),
where contestants perform a musical theme. After being evaluated by a jury, four candidates are nominated for elimination.
Academy instructors save one, and another is saved by fellow contestants, leaving two nal nominees to face a public vote to
decide whether they will be eliminated or continue to the next gala.
As in previous TVE and Telecinco editions, talent shows have expanded into other spaces:
OT al Día,
a daily live show hosted
by YouTuber Xuso Jones alongside various collaborators, reviews the latest developments in the academy;
OT Post-galas,
a
post-elimination special hosted by inuencer Masi Rodríguez dedicated to bidding farewell to the eliminated contestant.
Meanwhile,
OT Casting
introduces viewers to future contestants through audition footage and reactions. All programmes are
available on-demand via the platform’s catalogue through global distribution.
e contest also features a YouTube channel broadcasting 24/7 live feeds of the contestants’ daily lives and training sessions,
as well as recap videos and a chat function where the audience can comment. All of this is “key to generating identication and
connection with viewers” (Terán, 2023b).
Social media accounts have been created for the programme and each contestant. Viewers have used these platforms to express
criticism and suggestions, which Tinet Rubira, the programme’s executive producer, has responded to and implemented
(Molina, 2023). Among other social media platforms, TikTok is a notable new feature of this edition, with the hashtag #OT2023
exceeding 5 billion views. Additionally, the voting app for the competition has quickly become popular for selecting the
favourite nominee of the week and for saving nominees. It registered 350,000 users during the rst 2023 gala (Terán, 2023b).
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Moreover, Amazon Prime Video’s acquisition strategically leverages Amazon’s ecosystem to promote related product lines,
hosting songs on Amazon Music, and selling merchandise via the ocial
OT
Amazon store. Fans can also interact with the
show’s dedicated Alexa features (About Amazon, 2024).
Finally,
OT
taps into nostalgia to re-engage longtime fans by appointing Chenoa —a contestant from the original season —as
the show’s host, while former contestants make guest appearances. Noemí Galera participates as casting and academy director,
as she did in previous editions. For these reasons, Caarel-Rodríguez and Olivia-Gordillo agree that, “with this new edition
we have seen how
Operación Triunfo
has once again become a reason for social gatherings and generational connection”
(2024, 282). With an estimated 3.5 million unique viewers, Rubira conrmed the programme’s renewal following
OT’s
2023
nale (About Amazon, 2024). is pioneering experiment, featuring a live format with interconnected programming on a VoD
platform in Spain, is set to continue.
4.2.2. Sálvese quien pueda (Netix, 2023-2024)
e convergence between linear television and on-demand television is further exemplied by
Sálvese quien pueda
(2023). At
the same time, Netix had historically engaged with free-to-air television broadcasters by acquiring licenses to add previously
aired shows to its catalogue or producing new seasons of previously cancelled projects on linear television, like
Money Heist
(2017-2021) or
El Ministerio del Tiempo
(2015-2020). However,
Sálvese quien pueda’s
unique format makes it particularly
noteworthy.
e platform revives the universe of collaborators from the magazine-style show
Sálvame,
which aired daily from 2009 to 2023,
as well as its spin-os, including
Sálvame Deluxe, Sábado Deluxe,
and
La última cena
, all of which were broadcast over the
14-year period. Combining celebrity gossip and talk shows, the format exploited the personal and professional relationships
of its contributors through a reality TV lens. Following Mediaset’s 2023 cancellation, which aimed to rebrand the network’s
editorial line, Netix welcomed the main stars of the popular format. e resulting docu-reality, produced by La Fábrica de la
Tele, the creators of the aforementioned programmes, premiered on Netix in two three-episode blocks (40-45 minutes each),
in November 2023 and February 2024, respectively (Netix, 2023).
e format follows eight stars from the
Sálvame
universe, including Belén Esteban, María Patiño, and Kiko Matamoros as
they search for entertainment industry opportunities in Latin America, initially in Miami and later in Mexico City (Sánchez
Sequera, 2023). e show aims to portray the resurgence of these personalities on a Latin American tabloid talk show, with
cultural clashes providing comedic relief. To achieve this, the stars must overcome various challenges, including interviews
and auditions, visits to television studios, and attendance at parties. ese challenges advance the docu-reality storyline while
preserving the spontaneity that denes its stars. e aim is also to give these characters, who are deeply rooted in Spanish
culture, a certain transnational appeal, making them more attractive to viewers in other Spanish-speaking countries.
is spin-o represents “a new migration of traditional television audiences to on-demand television” (Terán, 2023a).
However, while the original linear TV format (
Sálvame
) blended tabloid journalism, talk show, and reality elements, its Netix
adaptation transitions into a full docu-reality, combining interpersonal conicts, travelogues, and Spanish cultural tropes.
erefore, despite abandoning the studio setting,
Sálvese quien pueda’s
narrative remains familiar to its core audience. e
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main dierence was the programming format on Netix, where it premiered on Fridays at 9:00 p.m. with three episodes
back-to-back (Tones, 2023). is emulated the live broadcasting that was so important in the original
Sálvame
, generating
synchronicity in audience consumption, as viewers were accustomed to watching formats like
Sálvame Deluxe
or
Sábado
Deluxe
on Fridays or Saturdays at 10:00 p.m. Now,
Sálvame
’s
audience
,
mostly adults and older adults, can access
Sálvese
quien pueda
content in the Netix catalogue and must actively seek it out. is represents a signicant shift in the habits and
dynamics of these viewers in relation to the television medium.
e success of the rst block of the docu-reality series was reected in Netix’s Top 10:
Sálvese quien pueda
(in English,
Fame
After Fame
) remained in the ranking of the top 10 most watched programmes on Netix in Spain for three consecutive weeks
(the programme was ranked number one for the rst two weeks) (Netix Top 10, 2023). Additionally, during the rst 50 minutes
after the show’s premiere, it became a nationwide trending topic, garnering 5,000 tweets (Tones, 2023).
However, the results were likely not what Netix had hoped for. e second part of the reality show premiered on 1 February
2024, with little promotion or fanfare. e second instalment was ranked sixth among the most-watched series in Spain after its
premiere, which prevented the show from being renewed, and the platform cancelled
Sálvese quien pueda
(Meeks, 2024). e
format remains an experiment by Netix to integrate stars and creative formulas deeply rooted in linear television, combining
them with its own strategies (docu-realities, transnationality, and block premieres to encourage binge-watching). However,
the speed with which Netix abandoned it suggests it did not achieve the desired results.
Subsequently, contributors from the
Sálvame
universe revived the dynamic of the original programme in another space,
based on live broadcasts, combining celebrity gossip, talk shows, and reality TV. In May 2024, they aired on Canal Quickie,
created by La Fábrica de la Tele, which has since been renamed Fabricantes Studio (El Economista, 2024). is streaming
channel broadcasts live via social networks YouTube and Twitch, as well as the linear DTT Channel Ten, clearly demonstrating
the convergence between both environments. On this platform, the show
Ni que fueramos Shhh
(2024) was hosted, which
was reminiscent of Telecinco’s format, in terms of timing, style, and content. is allowed this group of tabloid journalists to
continue working in television with daily audiences ranging from 2% to 3% of the national share, without being limited by the
creative conventions previously imposed by Netix. Subsequently, the public broadcaster TVE reformulated the programme’s
format as
La familia de la tele
(2025), which premiered in May 2025. However, it was cancelled a month and a half later due
to poor ratings. is programme brought together the contributors mentioned above, among others, for a live broadcast in
the afternoon, lasting approximately three hours, consisting of two slots on TVE1 and two exclusive slots on the RTVE Play
streaming platform.
5. Discussion and conclusions
Reviewing and analysing entertainment programmes production on VoD platforms enables us to conclude the strategies and
trends of these formats in relation to free-to-air and linear television.
Firstly, the establishment of streaming services has brought about changes in the production, distribution, and consumption
of audiovisual content, resulting in a changing television landscape. is new landscape is characterised by audience
fragmentation, content saturation, and project diversication. Television networks and VoD platforms alike are responding
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to this scenario to incorporate the necessary innovations and synergies that will enable them to remain competitive in the
audiovisual industry. e result is television convergence: linear television incorporates streaming services, such as “television
on-demand” or congures its own platforms, while operators apply traditional television strategies, such as scheduled or live
broadcasting.
In this context, the production of entertainment programmes by the three most popular VoD services in Spain. Netix, HBO
Max, and Amazon Prime Video are examined, providing answers to the initial research questions: “What original entertainment
formats have the three VoD platforms in Spain generated ?” “What are these formats like?” and “What creative and industrial
strategies are used?”
Noteworthy results include the fact that almost half of the 32 programmes found are produced by Netix (46.88%); a notable
trend that began in 2021, when the largest number of programmes were released, and continued through 2023. ere is a
tendency to produce a limited number of episodes and release them in batches. is leads to the conclusion that the focus is
on oering varied products to attract new audiences, rather than providing continuity or making greater investments to build
subscriber loyalty.
Regarding the content, there are many reality TV programmes and their variants, such as talent or dating shows. Programmes
revolving around humour or music, as well as magazine shows, also stand out. Moreover, in recent years, numerous docu-
reality shows about various gures from the Spanish public sphere have emerged. ese results highlight the tendency to
continue with the types of programmes that have historically had the most signicant presence and acceptance on linear
television in Spain.
However, in response to the questions: “How are such formats conceptualised by the platforms themselves?” and “What
descriptive categories are they labelled with?” it is worth noting that there is no clear strategy for labelling and/or conceptualising
this type of programme in platform catalogues. e platforms use a range of vague and inconsistent terms, from “reality” to
“improvisation”. is nding reects the lack of consensus and the diculty in conceptualising formats, genres, and macro-
genres as discussed in academic literature. is, in turn, complicates research in the eld of television studies and perpetuates
such ambiguity.
Selecting two dierent formats as case studies allows us to illustrate two approaches to producing entertainment programs
on streaming platforms. e analysis of
Operación Triunfo
(2023-) on Amazon Prime Video highlights a commitment to
maintaining the essence and continuity of the original format, while also embracing technological advancements and business
opportunities to attract audiences. At its core, the programme retains the same structure, associated spaces, dynamics, and even
the same method of broadcasting live. However, its appeal to young audiences has increased through a strong commitment
to social media, both participation dynamics and the inclusion of social media personalities. Moreover, its duration has been
reduced, as it no longer needs to ll the full primetime and late-night slots on linear television, as it did in previous editions —
thus favouring a more exible viewing experience. e result has been a resurgence in popularity for the programme, leading
to its renewal on Amazon Prime Video.
Conversely, regarding
Sálvese quien pueda
(2023-2024), Netix has acquired the imagery and legacy of the popular show
Sálvame
, but transformed the format to adapt it for streaming as a docu-reality show. As a result, the audience –mostly adults
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and older adults accustomed to linear, live television– must make an additional eort to adapt to on-demand consumption of a
substantially dierent program. e rst season of the show was received well due to its novelty, which, however, did not carry
over to the second instalment and ultimately led to the cancellation of the format –in this case, transferring and adapting the
programme from linear television to streaming failed, likely due to the original format’s particularities, which had been well-
established over 14 years of continuous broadcasting, as well as the specic characteristics and habits of its target audience.
In light of the results of both case studies, the nal research question –“How do entertainment programmes on these platforms
interact with the creative and industrial strategies and conventions characteristic of linear television?”– is answered.
Firstly, the very format and content of programmes on these platforms are inspired by, or replicate, their linear television
counterparts, including related spin-os and transmedia extensions on social media. Additionally, these programmes tend
to follow a programming strategy more akin to traditional television than to full-season block releases, seeking to recreate
the anticipation and immediacy of live television. e comparison of the two case studies highlights the central importance
of audience awareness and adaptation to new streaming consumption habits, particularly among younger audiences, which
could explain the success or failure of the two analysed programmes.
e study’s limitations stem from the specicity of the sample, which analyses only three platforms within a particular
geographic and temporal context, as well as from the selection of only two programmes for qualitative analysis, due to spatial
constraints of the text. erefore, a future line of research is proposed to expand and strengthen the ndings presented here
by analysing other entertainment formats on other OTT services, as well as continuing to pay academic attention to this
constantly evolving phenomenon in the contemporary television landscape.
6. Acknowledgements
is article has been translated into English by Sophie Phillips, to whom we are grateful for her work.
7. Contribuciones especícas de cada autor/a
Name and surnam
e
Conception and design of the workHigueras-Ruiz, Martín-García
Methodology
Lomas Martínez, Marcos-Ramos
Data collection and analysisHigueras-Ruiz, Lomas Martínez
Discussion and conclusionsHigueras-Ruiz, Lomas Martínez
Drafting, formatting, version review and approvalHigueras-Ruiz, Lomas Martínez, Martín-García, Marcos-Ramos
doxa.comunicación |
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María José Higueras-Ruiz, Santiago Lomas Martínez, Teresa Martín-García and María Marcos-Ramos
ISSN: 1696-019X / e-ISSN: 2386-3978
| 239
7. Conict of interest
e authors declare that there is no conict of interest contained in this article.
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