Podcast Age Ratings in Spain: a Case Study of the RNE Audio Platform
Calicación por edades de los podcasts en España: estudio de caso en la
plataforma RNE Audio
doxa.comunicación |
nº 42, pp. 499-518
| 499
January-June of 2026
ISSN: 1696-019X / e-ISSN: 2386-3978
How to cite this article:
Martín-Nieto, R.; Martínez-Otón, L.; Pedrero-Esteban, L. M. y Pérez-Escoda, A. (2026). Podcast Age Ratings in Spain: a Case Study of the RNE
Audio Platform.
Doxa Comunicación
, 42, pp. 499-518.
https://doi.org/10.31921/doxacom.n42a3055
Laura Martínez-Otón.
Accredited Doctor of Social Communication from San Pablo CEU University. Bachelor’s Degree
in Journalism. Faculty Member and Researcher at Nebrija University in Madrid, where she directs the Master’s Program
in Radio, Podcast, and Digital Audio. Member of the INNOMEDIA research team at the Faculty of Communication and
Arts, with two lines of work that relate new digital communication environments and new audiences. With a special
interest in digital sound communication and media (radio, podcast, and new formats), as well as digital competencies
and media literacy and their relationship with disinformation. She is part of dierent active research projects. She has
published numerous academic literature concerning these areas. More than 20 years of experience in media outlets
(
COPE, Trece TV, SER, TVE, Tele5, ABC
). “Lolo” Journalism Award for career achievement (2018) and Grupo Norte Radio
Award against Gender Violence (2016).
Universidad Nebrija, Spain
[email protected]
https://orcid.org/0000-0002-2535-8282
Luis Miguel Pedrero-Esteban.
Doctorate in Audiovisual Communication & Advertising (UAB). Bachelor’s degree
in Information Sciences (UPSA). Professor and researcher at the School of Communication Sciences at Francisco de
Vitoria University, where he coordinates the Media, Innovation and Digital Culture (Media-MIND) group. His interests
focus on the digital transformation of the media ecosystem, with a special focus on spoken audio (radio and podcasts).
Co-iP of the
ESCUCHAD.es
R&D&I project. Author of more than a hundred articles, book chapters and co-edited books,
such as
La radio musical en España
,
La televisión y los niños
(with J.J. Muñoz),
La transformación digital de la radio
,
Cartografía de la comunicación postdigital
and
Cadena SER: 100 años de radio
. Co-founder and editor of the weekly
newsletter AudioGen 3x3. Member of the jury for the Ondas Awards, the iVoox Awards and the Gabo Awards.
Universidad Francisco de Vitoria, Spain
[email protected]
https://orcid.org/0000-0003-4949-2360
is content is published under Creative Commons Attribution Non-Commercial License. International License CC BY-NC 4.0
Rebeca Martín-Nieto.
Doctor of Communication Sciences from Rey Juan Carlos University (2010), Master’s Degree in
Neurodidactics from Rey Juan Carlos University (2018), and Bachelor’s Degree in Audiovisual Communication from
Complutense University of Madrid (2001). Faculty and research sta at the URJC since 2005. Contracted Professor Doctor
in the area of Audiovisual Communication and Advertising (URJC). Her lines of research revolve around Audio (radio
and podcast), the relationship between the Internet and childhood and adolescence, and its application in educational
innovation, as well as communication within organizations. She has participated in various national (I+D+i Plan) and
international projects. She holds two recognized six-year research periods (
sexenios
).
Universidad Rey Juan Carlos, Spain
[email protected]
https://orcid.org/0000-0003-3184-3564
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Podcast Age Ratings in Spain: a Case Study of the RNE Audio Platform
ISSN: 1696-019X / e-ISSN: 2386-3978
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Recibido: 07/07/2025 - Aceptado: 03/11/2025 - En edición: 15/12/2025 - Publicado: 01/01/2026
Resumen:
El podcast se ha aanzado como un medio informativo y de entrete
-
nimiento con cada vez mayor alcance que, sin embargo, no dispone
aún de un sistema de clasicación por edades que oriente sobre la ade
-
cuación de sus contenidos al perl de cada usuario. Los menores están
protegidos en el consumo audiovisual con códigos de advertencia etaria
frente al cine, la televisión o los videojuegos, pero no frente a los produc
-
tos sonoros. Pese al interés desde los gobiernos por proteger a la infancia
de contenidos que puedan afectar a su desarrollo cognitivo, todavía no
se han consensuado directrices para el audio digital. A partir del pione
-
ro código Audio Con_Sentido (2025) diseñado por iCmedia para solu
-
cionar esta carencia, este artículo testea su aplicación en los podcasts de
la plataforma pública española RNE Audio (RTVE) estrenados durante
2024. Los resultados constatan la pertinencia de esta herramienta al
identicar títulos y tratamientos potencialmente perjudiciales para los
menores, y conrman la idoneidad de la propuesta para que la indus
-
tria pueda incorporar de manera sencilla un sistema de advertencias
sonoras y/o visuales referidas al contenido de audio con el n de que
padres y tutores puedan orientar la selección de podcasts de los servicios
de streaming.
Palabras claves:
Podcast, Clasicación por edades, RNE, Código de audio, Infancia.
Received: 07/07/2025 - Accepted: 03/11/2025 - Early access: 15/12/2025 - Published: 01/01/2026
Abstract:
Podcasts have become a prominent medium for both information and
entertainment, demonstrating their growing popularity. However,
the platform has not yet established an age rating system to guide
users in evaluating the suitability of content for their prole. Research
demonstrates that minors are protected in their consumption of
audiovisual content through the implementation of age warning codes for
lms, television, and video games. However, no such regulatory measures
are in place for audio products. Despite the interest of governments
themselves in protecting children from content that could aect their
cognitive development, no guidelines for digital audio have yet been
agreed or standardized. e following article will test the application of
the Audio Con_Sentido (2025) code, developed by iCmedia to address
this shortcoming, in podcasts on the Spanish public platform RNE Audio,
which was launched in 2024. e ndings corroborate the pertinence
of the tool in identifying potentially harmful titles and treatments for
minors, thereby validating the industry’s proposal for straightforward
incorporation of an audio and/or visual warning classication based
on content. is would empower parents and guardians to guide the
selection of podcasts available on streaming audio services.
Keywords:
Podcast, Age classication, RNE, Audio code, Childhood.
1. Introduction
Podcast consumption in Spain increased by 30% in 2024 (Spotify, 2024), and has actually doubled since 2017 (AIMC, 2024).
Moreover, for the young people of Generation Z, seven out of ten nd this type of digital content quite interesting. In fact, one in
three users of Spotify, which is the leading audio streaming platform in Spain (Martín Barbero, 2025), listen to podcasts, placing
this country among the top ve in Europe with the highest percentages of podcasts on the audio consumption menu. e growth
of this cultural product has multiplied this gure even further, and includes increasingly younger listeners, as pointed out by
organisations and institutions that call for greater protection of minors on the Internet.
Ana Pérez -Escoda.
Accredited professor, researcher and lecturer at the Faculty of Communication Sciences at Francis
-
co de Victoria University. Member of the Media-MIND group. She directed the PhD programme in Innovation in Digital
Communication and Media at Nebrija University (2021-2024) and was director of the Doctoral School (2017-2019) and
coordinator of Innovation (2016-2019) at the Pontical University of Salamanca. Her research focuses on digital literacy,
disinformation, social media and digital communication. IP of the European project WISE-ME: e right use of social
media to face disinformation and fake news, and member of several European and national projects in this eld. Author
of more than 40 highly cited academic articles in JCR and Scopus.
Universidad Francisco de Vitoria, Spain
[email protected]
https://orcid.org/0000-0002-4895-0043
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<p>[Enlace de URL / hc (has AS)]</p>
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Access to audio is performed mainly through mobile devices, which children start using around the age of 12, on average,
according to the Qustodio report (2024). Moreover, this report includes data from Spain, France, the United Kingdom, the United
States, and Australia. Parents and guardians believe their children spend more time than necessary browsing the Internet, and
they are concerned about the ease of access to content that is either sexual (72%), related to suicide (55%), or linked to drug and
alcohol use (53%). Furthermore, self-injury, violence, and risky dares are a concern for 49% of all parents (Qustodio, 2024).
Experts agree that digital connection has a signicant impact on children’s cognitive and emotional development, given that
the brain learns how to establish future behaviour through emotion. Consequently, easy access to harmful content has serious
consequences for the mental development of children, as they are unable to either comprehend or react to certain information,
behaviour, or language (ONTSI, 2023). Beyond disinformation and manipulation, national and international studies indicate that
psychological and emotional damage from injurious content is associated with higher rates of depression, anxiety, and lower
emotional well-being in minors (ANAR Foundation, 2025; Ives
et al.
, 2025; PAHO, 2023; AAP, 2016). Despite the fact that parental
control is exercised over audiovisual content, 41.7% of minors between the ages of 11 and 17 have seen inappropriate online
content (Incibe, 2021). us, it is easy to imagine the amount of content they might be consuming in audio, where age ratings do
not exist, as this percentage is unmeasured.
In addition to early access to technology and the amount of time spent online, the proliferation of content through the global
use of smartphones means that traditional media oerings are no longer received in an organised way. Instead, such content is
dispersed in a continuous ow that makes it dicult for users to know whether they are consuming a product from television,
radio, newspapers, or lms. Previous studies reveal that there is no standard regulation in the audiovisual sector to ensure age-
appropriate consumption (Martín-Nieto, Martínez-Otón and Pedrero-Esteban, 2023).
Furthermore, the fast pace of technological change, the diversity of platforms, and the hybridization of genres and languages
complicate the categorization of content even further. In short, it is increasingly dicult to stay up-to-date with the new types of
distribution and access, as they are changing at a rapid pace. Protecting minors online is a continuous and growing challenge,
especially considering the following statistics: in 2024, a total of 69.4% of the world’s population, or 5.61 billion people, were using
a mobile phone; more than 5.3 billion people were navigating the internet; and 5.4 billion individuals were using social media.
Moreover, the time spent on these platforms is on the rise (Digital Report, 2024).
e ever-increasing use of technology goes hand in hand with the growing trend toward limiting the utilization of mobile devices
by children. Experts suggest that screens should be avoided until the age of six; from that age onward, they should be used with
adult supervision; and between the ages of 12 and 16, there should be strict parental controls both on time of use and content
(Europa Press, 2024).e Draft of the Organic Law for the Protection of Minors in Digital Environments [
Anteproyecto de Ley
Orgánica para la protección de los menores en los entornos digitales
] was forged by the Spanish Government in April of 2024. is
law set forth both the need and objective of “guaranteeing the rights of minors in the digital sphere, the right to have their personal
data protected, and the right to have access to content that is appropriate for their age” (Ministry of the Presidency, 2024). Both in
the draft and in the initial work of experts, a scenario was outlined in which the responsibility of the content creation industry, as
well as the role of families and other actors in society, are paramount.
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Podcasts have become a culture industry that produced 209 original titles in 2023, all of which appeared on the eight main audio
platforms alone. Of the 209 items, only 3% contained a recommendation or warning about content that could be inappropriate
for minors (Pedrero Esteban
et al.
, 2024). Audio is proving to be a great resource for family leisure, in addition to providing
classroom learning without the use of screens. Nevertheless, there is a scarce oering created ad hoc for these audiences, who
often consume audio content in the company of adults who are close to them. erefore, it is necessary for all listeners to know
whether the product being accessed could be harmful to a child’s normal cognitive development.
e criteria and indicators of age ratings in television, lm, video streaming platforms, and video games in Spain, the United
Kingdom, France, Germany, Italy, and Portugal have been reviewed, organised, and systemised (Martín-Nieto, Martínez Otón,
Pedrero-Esteban, 2023). However, in spite of this, it was essential to dene a code for audio: an age rating system for audio
content would involve protecting minors from uncontrolled access to inappropriate content and, as in other digital scenarios,
this does not mean subjecting them to surveillance and monitoring (AEPD, 2023). Instead, the aim is to oer guidance for age-
appropriate consumption. is objective has been achieved through the
Audio Con_Sentido
code, a project of the Federation of
Associations of Media Consumers and Users [
Federación de Asociaciones de Consumidores y Usuarios de los Medios
], (iCmedia),
with additional support provided by the Ministry of Social Rights and Agenda 2030 (Cacharela, 2024). e code has been available
for implementation by content creators, publishers, and on-demand audio platforms since February of 2025.
2. Objectives and methodology
e main objective of this research is to verify the applicability of the age rating code known as
Audio Con_Sentido
, to audio content
in the Spanish podcast industry, which can serve as a consensus guide to help parents and guardians in selecting content that is
appropriate for children and adolescents. e specic objective is to apply the code to the RNE Audio catalogue, which is part of the
public radio and audio platform of Radiotelevisión Española (RTVE), in order to evaluate its eectiveness and determine whether
it meets the necessary requirements for implementation in real environments involving audio platforms that oer streaming.
RNE Audio is an audio service that is free and on-demand. It aggregates all Spanish public radio programmes, as well as the
original and exclusive audio content of RTVE Play Podcast. In July 2023 it was launched with the name RTVE Audio, and later
renamed RNE Audio in 2025. In addition to the corporation’s broadcasts, it also oers native podcasts, which are the subject of
this research. e audio oering is available through Android and iOS mobile applications, and this radio app has become the
most highly rated by users (RTVE, 2024). In the current year of 2025, an age recommendation has been included in each title in
response to an editorial decision, which does not follow any particular consensus code. Instead, the suggestions were adopted
based on corporate social responsibility criteria, given that the organisation in question is a public media outlet.
Regarding methodology, the testing was conducted on a sample of 22 (n=22) original podcast titles from this platform. e sample
encompasses various topics, types of content, and styles, which were analysed using eight variables, 46 sub-variables, and ve scaling
points that were created and dened in the code proposed by iCmedia (2025). e sample comprises 352 episodes, mostly non-
ction narratives and conversational productions of varying lengths, and it was based on titles published through December of 2024.
e analysis is based on previous research using a triangulation methodology. e qualitative review regarding bibliographic data
revealed the need to move beyond single-media classication systems. Although such schemes made sense in the era of analogue
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television, today a new roadmap is needed in order to unify criteria that are consistent with digital content, including audio
(Martin-Nieto, Martínez-Otón and Pedrero-Esteban, 2023). Moreover, in analysing the rating systems of other cultural industries
in Spain and neighbouring countries, it was found that there are none for audio, including podcasts, radio, and audiobooks.
In the absence of a specic system for audio, a consensus was reached, and a code was developed. e code was created by
the agents involved in child development, including families, teachers, and educational psychologists, as well as gures from
the podcast industry including creators, experts, researchers, and ocial institutions. Next, the code was applied to the RNE
Audio catalogue and monitored, which is the phase addressed in this article. To validate the test, a code book was created with
indicators categorised into a matrix, which grouped together 54 variables and sub-variables, each clearly dened. is code book
was used to provide a detailed age scale (six ranges), which addressed the topics covered (seven) and their extent of processing
(ve) (Figure 1).
Figure 1. Age range classications for the
Audio Con_Sentido
code
Age RangeTopic CategoriesDegree of Application
1. Children’s content (
CI
)
1. Violence1. Not mentioned
2. Suitable for General Audiences (
TP
)
2. Gender2. Contains a mention or reference
3. Age 7 and over (7+)3. Fear or distress 3. Contains a clear presentation
4. Age 12 and over (12+)4. Addictions4. Contains a recurring presentation
5. Age 18 and over (18+)5. Discrimination5. Contains an idealised presentation
6. Adult content (
CA
)
6. Behaviour worth imitating
7. Language
Source: iCmedia, 2025
3. eoretical framework
3.1. e evolution of podcast penetration in Spain and its impact on children’s audio
In recent decades, audio consumption has undergone a profound transformation due to the digitisation of production processes
and content. is evolution has led to a proliferation of podcasts worldwide, both amateur and professional. In March of 2025,
more than 4,450,000 podcasts were produced, according to real-time information from the Podcast Index. One estimate claims
that there are more than 500 million listeners (Singh, 2025). Of these, more than 140 million are in the English-speaking market,
and more than 110 million are in the European market sector (González, 2024). is development is also evident in Spain,
where the production and consumption of podcasts has grown steadily in various sectors and audiences (Pedrero Esteban,
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Barrios-Rubio and Medina-Ávila, 2019; Reuters Institute, 2025), which is redening the way and frequency with which listeners
access information and entertainment through audio.
However, despite the growing volume of production, the information related to children’s audio consumption of radio and
podcasts is scarce. Likewise, the latest study on radio audiences involving children from 6 to 13 years of age was conducted in
2018 by
AIMC
[association of research on communication media]. e study estimated the audience share of this age group
to be around 34%. Subsequent research, including a study by Espinosa-Mirabet and Ferrer-Roca (2021), lowered the gure to
28%, unlike other countries, such as Australia, where the audience share of audio content among minors reached 80% in 2021,
according to the same report.
In studies on radio audiences in Spain, the
AIMC
has chosen to use the
EGM
[general media studies] to measure the percentage
of listeners aged 14 and over. Consequently, information on audio consumption in childhood and pre-adolescence is scarce and
inconclusive. Moreover, research aimed at gaining knowledge of audiences in these age groups gives an isolated view of their
habits and behaviour, without the potential of identifying evolution or trends over time, which is the case with older audiences
(Pérez-Alaejos, Hernández-Prieto and Martín-Nieto, 2025). Consequently, this situation inuences the audio content available to
these age groups (Pérez-Maíllo, Sánchez-Serrano and Pedrero-Esteban, 2018). To address this situation, a report was carried out
entitled, How Podcasts Sound in Spain; an Overview of Original Productions on Digital Audio Platforms in 2022 [
Cómo suenan
los podcasts en España. Radiografía de la producción original en las plataformas de audio digital en 2022
] (ONE, 2023). e
report conrms that a persistent shortage of children’s content on traditional radio is also the case on the main audio distribution
platforms. In fact, only six original titles aimed at children were produced in 2022, and ve in 2023.
e Convention on the Rights of the Child (CRC, 1989) highlighted the importance of the media in promoting child welfare.
However, throughout its history, Spanish radio has shown little interest in this age group. e programme entitled
Matilde,
Perico y Periquín
of Cadena SER, and
Dubiñaca
of Radio España (Sánchez-Serrano and Pérez-Maíllo, 2013), are among the few
examples of children’s programmes that appeared on generalist radio stations in the 20th century. In recent years, Radio Nacional
de España has maintained programmes such as
La estación azul de los niños
,
Crescendo
, and
Contando cuentos en R5
, yet there
is still a persistent lack of children’s content on private broadcasting channels (Zumeta, 2015; Martín-Nieto, Pérez-Alaejos and
Hernández-Prieto, 2025).
To counteract the scarcity of children’s programming on traditional radio stations, several initiatives have emerged over the
decades, such as Baby Radio in the City of Cádiz, Radio Sol XXI (now Sol Radio Madrid), and Peque Radio in the Autonomous
Region of Valencia, the latter of which describes itself as the rst and only radio station produced by and for children. At the
international level, several projects have emerged that target children and teenagers, such as Radio Junior (France), Radio Teddy
(Germany), Fun Kids (the United Kingdom), and Keysforkids (the United States), all of which are committed to children’s radio
(Barbeito Veloso and Perona Páez, 2018).
3.2. Digitisation and the new opportunities for children’s audio
With the general spread of the Internet, along with the rise of podcasting, the production of audio content for children has been
revitalized, yet there is still a lack of enthusiasm. Edison Research (2023) found that in the USA, 46% of children between the
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ages of 6 and 12 have listened to a podcast at some point, and 30% have done so in the last month. In Spain, the transition from
traditional radio to digital platforms has enabled the creation of projects such as Baby Radio, founded in 2011. is venture
started with digital broadcasting, then made the leap to radio waves, and ultimately evolved into a content ecosystem that
includes podcasts, a YouTube channel, an in-house app, and an audio distribution platform (Piñeiro-Otero and Pedrero-Esteban,
2022). Another noteworthy example is XL Kids Radio, which operated from 2016 to 2019 with an educational approach aimed at
fostering children’s creativity and imagination. However, the economic viability of these projects remains a challenge, which has
led some of them to explore subscription models and income diversication.
One example of generating additional income can be found in the innovative marketing strategies of podcasts, which have
combined children’s content with monetisation through branded podcasts such as Fisher Price’s
El Sonajero
. is programme
was launched in 2018 on the Podium Podcast platform with nearly 60 items aimed at babies. Examples include the podcasts
“Placentera”, “Dale al play”, and “Bebé a bordo”, with another for their families, which includes a space for relaxed discussions
about motherhood and fatherhood (MarketingNews, 2018). Other series also premiered on the same platform, such as
Inés y los
huevos mágicos
with four episodes, and
Ídolos
, a podcast about famous musical artists. e latter was also broadcast on the radio
station Los 40 Classic, which even led to several concerts taking place (Fisher, 2021).
3.3. e platformisation of children’s audio: New trends and business models
In the 2020s, children’s audio consumption has found a new space for growth on digital platforms. In 2022, projects such as
Nubba and Ditto emerged in Spain, both of which focused on safe and supervised content for children under 9 years of age.
Nubba evolved from Baby Radio, the former of which stands out for its community of more than 500,000 monthly listeners, access
by subscription, and forming part of the Babypar service. Ditto, on the other hand, emphasises the educational value of audio and
is backed by the Chair of Neuroeducation at the University of Barcelona, who asserts that consuming audio without images assists
cognitive development (
Ditto.es
, 2024).
At the international level, platforms such as Pinna (USA) and Keeku (France) have managed to attract child audiences by using
subscriptions, or through funding schemes involving advertising suitable for minors (Vázquez, 2020). ese projects reinforce
the idea that children’s audio not only has great potential as an alternative to screens. In fact, this tool is both educational and
entertaining (Martín-Nieto, Pérez-Alaejos and Hernández-Prieto, 2025).
In recent years, these services have been joined by other types of audio access that are experiencing strong growth in some
European countries (DosDoce, 2023). In fact, children’s audio has the opportunity to gain momentum thanks to the proliferation
of specic listening devices such as Jooki, Yoto, and Storybutton, which try to oer a safe, screen-free experience (Vázquez, 2023).
Given the context, radio and podcasting face the challenge of adapting their strategy for the purpose of attracting a generation that
accesses content in a fragmented and multi-platform way. At the same time, they need to ensure that access is safe, educational,
and entertaining. To do so, both families and teachers must know for whom each title is recommended before oering or
prescribing audio content, so as to ensure safe access to the listening items in question.
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3.4. Design of the Audio Con_Sentido code
Previous research has been conducted on age rating systems for diverse audiovisual industries such as lm, TV, OTT platforms,
and video games, which has occurred in Spain, France, Germany, the United Kingdom, Italy and Portugal (Martín-Nieto,
Martínez-Otón, Pedrero-Esteban, 2023). ese investigations have laid the foundation for the development of the
Audio Con_
Sentido
age rating code, which adheres to the guidelines for the rating of audiovisual content contained in the resolution known
as CRITERIOS/DTSA/001/15. is resolution was a combined eort of the National Commission for Markets and Competition
(
CNMC
), as well as the Draft Bill of the Organic Law for the Protection of Minors in Digital Environments (April 2024).
ere is widespread social interest in protecting children from the decisive inuence of the cultural and leisure industries.
is has led to the creation of focus groups comprising agents involved in the education of minors, including their families,
teachers, psychology and educational professionals, as well as audio and podcast experts. e aim of the rst focus groups was to
discover how this audience relates to audio, and how audio is associated with education and the positive development of children
and adolescents. To do so, the authors took into account the categories and themes identied. As for the research with audio
professionals, the relevance and viability of the ratings code was discussed. Lastly, the results were shared with several ocial
organisations involved in child protection in this area, such as the
CNMC
(National Commission on Markets and Competition), as
well as the Secretariat of State for Digitisation and Articial Intelligence, under the auspices of the Spanish National Government.
is approach made it possible to rene more precisely both the age categories and the issues related to protection.
Figure 2. Age ranges of the
Audio Con_Sentido
code
RankingDescription
Children’s content
Podcasts designed or adapted for children, with themes or tones specically aimed at
child audiences.
General audiences
Podcasts that do not feature or present any content considered harmful to the
development of minors.
Ages 7 and over
Podcasts that make slight and brief references, whether real, unreal, or make-believe, to
language, issues or approaches that are harmful to the development of this age group.
Ages 12 and over
Podcasts that clearly feature or portray, in a realistic, unrealistic, or make-believe way,
any issues, language or approaches that are harmful to the development of this age group.
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Ages 18 and over
Podcasts that repeatedly and explicitly feature or portray, in a realistic, unrealistic, or
imaginary way, any issues, language or approaches that are harmful to the development
of this age group.
Adult content
Podcasts that advocate, normalize, or portray in an idealized manner any issues,
language or approaches that are harmful to the development of minors.
Source: iCmedia, 2025
e code design encompasses the following six age categories: 1) Children’s content (
CI
), including podcasts designed or adapted
for children, with themes or tones specically aimed at child audiences; 2) General audiences (
TP
), or podcasts that do not
feature or present any content considered harmful to children’s development; 3) Ages 7 and over (7+), which covers podcasts
that make slight and brief references, whether real, unreal or make-believe, to language, issues or approaches that are harmful
to the development of this age group; 4) Ages 12 and over (12+), includes podcasts that clearly present or depict, in a real, unreal
or imaginary way, any issues, language or approaches that are harmful to the development of this age group; 5) Aged 18 and over
(18+), refers to podcasts that repeatedly and explicitly present or depict issues, language, or approaches that are harmful to the
development of this age group; and 6) Adult content, which includes podcasts that advocate, normalize, or portray in an idealized
manner any issues, language or approaches that are harmful to the development of minors (Figure 2).
e rationale for assessing the suitability of podcasts is based on the narrative language of audio. is includes the words, music,
and sound eects used to describe, portray, or set the scene for situations that try to produce a specic eect on the listener, both
in conversational podcasts, as well as in non-ction and ctional narratives. Regarding the latter (non-ction and ction), Rodero
(2024) points out that “the combination of the two has resulted in a new and original sound dimension capable of conjuring any
reality”. In establishing guidelines for the scaled age recommendations for listening, which were organised according to levels of
intensity, the content was grouped and categorised in a way that was similar to the audiovisual codes described above. Moreover,
the main objective of the code is to highlight positive content for new listeners.
4. Results
4.1. Podcast age ratings based on the Audio Con Sentido code
Once the
Audio Con_Sentido
age rating code had been designed (iCmedia, 2025), its viability and eciency were tested by
applying it to the content oered by RNE Audio (RTVE). is enabled the identication of materials that are suitable or unsuitable
for children and adolescents on this platform. In this research, the 22 original native titles produced and released by RNE Audio
were examined, from the date of its launch until December 31, 2024. is sample involved exploring a total of 352 episodes,
which is an average of 16 episodes per title.
Diario de Ucrania
was the title with the highest number of episodes with a total of 53,
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followed by
Diosas y rebeldes
with 47, and
Esto merece una explicación
with 33. By contrast,
Sapiensantes
had the fewest episodes
released in 2024 with three, followed by
Econoclan
,
El profesor Melorock
, and
Las tumbas de Gaztambide
, with four episodes each.
In terms of genre, the catalogue examined is divided between non-ction narratives and conversation programmes. e former
account for more than 77% of the total, while the latter comprise just ve titles, which is slightly less than 23%. is distribution is
noteworthy, as the former require a larger budget and production eort than the latter. It also bears mentioning that among the
original native podcasts produced and released in 2024, which make up the sample, RNE Audio does not have any titles devoted
to audio ction, despite RNE’s long history of producing and promoting this genre.
To achieve the main objective of this research, detailed listening was carried out in order to analyse the individual content of
each episode. During the listening, the
Audio Con_Sentido
code was applied to the podcast, which had been developed in prior
research and previously published by the Federation of Associations for Media Quality (iCmedia, 2025). As noted earlier, the
code provides protection against seven topic categories: 1. Violence; 2. Sex; 3. Fear or distress; 4. Addictions; 5. Discrimination;
6. Imitative behaviour; and 7. Language. Each category contained several specic situations, along with six age categories. e
age rating of each title was determined according to the frequency and intensity with which the themes appear, based on the
following criteria: no mention; slightly mentioned; noticeable presence; repeated presence; and a highly frequent presence.
Among the 22 titles analysed, ve (22.7%) are specically aimed at children, as they oer child content, or
CI
. us, these
items include themes and aesthetics suitable for this age group and encompass the following programs:
¿Y si…?
,
Econoclan, El
profesor Melorock, Sapiensantes
, and
Protagonistas del aula
, all of which are non-ction narratives except for the last, which is a
conversation program based on interviews
.
Moreover, all these titles have seven episodes or fewer, with the exception of
¿Y si…?,
which is a podcast that answers interesting questions in less than 15 minutes, and which released 28 episodes in 2024 (8% of the
catalogue). ese items ensure content that is safe for children and can be recommended by families and teachers for listening.
In fact, they could even be consumed without adult supervision, if necessary (Figure 3).
Figure 3. Podcasts with Child Content (
CI
) that premiered in 2024
Covers of:
¿Y si…?, Econoclan, El profesor Melorock, Sapiensantes, and Protagonistas del aula.
Source: RNE Audio
e catalogue also includes titles intended for General Audiences (
TP
). is means that although they are not specically aimed
at children, they can be enjoyed by listeners of all ages, including families, since they do not contain or represent any content that
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is inappropriate for minors. Four titles have been identied in this category, which account for 18% of the oering analysed, and
include the following:
De éxodos
,
Educando emociones
,
Locos por los clásicos
, and
Redes de aprendizaje
.
Regarding genre, or the story development, the podcasts are mostly non-ction narratives, including reports and short
documentaries. e only conversation program in this category is
Redes de aprendizaje
. is program delves into education and
psychology, and is aimed not only at families, but also professionals who work in child and adolescent education. Among these
titles, the number of episodes varies considerably, ranging from 8 episodes in
De éxodos
, to 31 in
Redes de aprendizaje,
16 in
Educando emociones,
and 22 in
Locos por los clásicos
(Figure 4).
Figure 4. Podcasts with content for General Audiences (
TP
) released in 2024
Covers of:
De Éxodos, Educando emociones, Locos por los clásicos, and Redes de aprendizaje.
Source: RNE Audio
e third age group dened by the
Audio Con Sentido
code is 7+, which encompasses podcasts not recommended for children
under seven years of age. is category includes titles that “make slight and eeting references, whether real, unreal, or imaginary,
to language, topics, or approaches that are harmful to the development of this age group” (iCmedia, 2025). RNE Audio has
identied three titles with this rating, which comprise 13% of the total and have more than 40 episodes. e three titles include,
Las abogadas
.
La verdadera historia
,
Las tumbas de Gaztambide
, and
Esto merece una explicación
. ree-quarters of the episodes
belong to
Esto merece una explicación
, a podcast that provides information and context on current issues in about 30 minutes.
Figure 5. Podcasts with content for children over 7 years of age released in 2024
Covers of:
Esto merece una explicación, Las abogadas, and Las tumbas de Gaztambide.
Source: RNE Audio
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Placing these titles in the 7+ category of the code is an indication of content that should be brought to the audience’s attention.
For example, in
Esto merece una explicación
, some episodes mention or allude to the “consumption of drugs and other addictive
substances such as tobacco and alcohol” (point 4.1 of the code). Another example is
Las abogadas. La verdadera historia,
which
contains references to the intentional use of physical violence, torture, murder, and similar acts (point 1.1).
Las tumbas de
Gaztambide
includes allusions to “stimuli that include fear, revulsion, and terror, and an atmosphere of dread and foreboding”
(point 3.3 of the code), and is therefore classied as 7+.
Las abogadas. La verdadera historia
, is the only one of the three that
is a conversation program based on interviews with the protagonists, while the other two are non-ction narratives such as
documentaries and reports.
e category for age 12+ includes “podcasts that clearly present or portray themes, language, and approaches that are harmful to
the development of this age group, regardless of whether they are displayed in a manner that is real, unreal, or imaginary.” Once
the code was applied, this category contained the highest number of titles in the RNE Audio catalogue, with a total of seven (31%
of the catalogue) and 155 episodes (44% of the total). ese productions include the following:
Figure 6. Podcasts with content for listeners aged 12 and over released in 2024
Covers of:
Diario de Ucrania, Diosas y rebeldes, Germen, Hey!, Las del Cadillac, Megamix-El Podcast, and Tamayazo
. Source: RNE Audio
e code recommends placing this content in this age group for various reasons. Of the seven titles, three contain content related
to violence:
Diosas y rebeldes
and
Megamix brutal
are addressed by 1.1 of the code, which refers to clear depictions of physical
injury, including the intentional use of bodily aggression, torture, murder, and similar acts. e third title,
Diario de Ucrania
refers
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to the clear presence of content related to the “use of weapons, or situations of armed conict such as explosions, gunre, combat,
or content that promotes war”.
Some of these titles also include references to sex, which is the second content category of the code. On the one hand,
Diosas y
rebeldes
refers or alludes to non-consensual acts such as rape and sexual abuse, which is addressed in point 2.4 of the code. On
the other hand, the podcast
Hey!
, which is devoted to Julio Iglesias, mentions or implies “the use of sexual language, including
references, pranks, or dirty jokes about sex”, which is covered in point 2.7 of the code. e third potentially harmful type of content
covered by the code is fear. In this case, only
Diosas y rebeldes
contains references not recommended for children under 12, as it
clearly includes the “death or abandonment of characters who are close to the child’s family or emotional environment, which
could result in emotional distress among listeners”; in addition, some of its episodes contain “scenes of natural disasters such as
earthquakes, tsunamis, oods, avalanches, and other calamities, as well as portrayals of the victims of these catastrophes”.
Another category of content deemed suitable for viewers aged 12 and over is imitative behaviour (category 6 of the code): for
example, the consumption of alcohol and tobacco, or the inducement to consume, is clearly presented in
Las del Cadillac
, in
addition to situations of institutional corruption, either public or private, in the analyses of
Megamix brutal
and
Tamayazo
.
Regarding the conversations in
Germen
, the authors have found that the way language is used would place this podcast in the
12+ category, as it clearly contains oensive language, or blasphemy, which is coarse, obscene, inappropriate, and indecent
(point 7 of the code). All of the podcasts in this category are non-ction narratives with the exception of two, which are based on
interviews:
Germen
and
Las del Cadillac
.
Figure 7. Podcasts with content for adults aged 18+ released in 2024
Covers of:
Código 6, Correspondencia Criminal, and Terror en blanco.
Source: RNE Audio
ere are three titles for adults over 18 years of age in the RNE Audio catalogue from 2024, with a total of 31 episodes (8.8% of
the total). All three are non-ction narratives:
Código 6
tells the true stories of people who have disappeared;
Correspondencia
criminal
gathers the letters of correspondence between a journalist and convicted criminals; and
Terror en blanco
recounts
terrifying stories. All these podcasts repeatedly and explicitly present or depict themes, language or coverage that is harmful to
the development of minors under the age of 18, as established by the
Audio Con Sentido
code. e rst two include repeated
references to the following: physical attacks (1.1); psychological violence (1.2); damage to property or heritage assets through
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vandalism, robbery, theft, and other means (2.4); and the explicit display of minors as either the perpetrators or victims of
violence (2.8).
Código 6
also includes repeated portrayals of fear through the death or abandonment of characters close to a child’s family
or personal environment, which could result in emotional distress among listeners (3.1). On the other hand,
Terror en blanco
repeatedly presents situations that provoke fear, such as settings related to terror or fright (3.3), including paranormal content,
exorcism, and the presence of diabolical forces, which are displayed for the purpose of generating fear or distress (3.7).
Finally, the authors have not found any titles with content alluding to category 5 of the code, which addresses discrimination,
including references to negative stereotypes, insults, degrading jokes, intimidation, and aggression based on race, gender,
religious beliefs, country of origin, age, etc. Nor did the authors nd any titles that support discrimination against individuals
or groups, nor depict minors as the main characters or witnesses. Lastly, no content was found in the catalogue that could be
classied as adult content (CA). Such items are labelled with a red colour, which warns users of podcasts that either advocate,
mainstream, or idealize topics, language, or coverage that is harmful to the development of minors.
4.2. Comparative analysis of the RNE Audio recommendation system
Since autumn 2024, RNE Audio has been introducing information on age recommendations into the metadata of its podcasts.
is is a pioneering initiative in Spain, as previous research (Pedrero-Esteban
et al.
, 2024) has shown that distribution platforms
that oer streaming of voice audio lack this type of information. In fact, only 3.3% of the podcasts produced and released in
2023 had warnings about unsuitable content for children or sensitive audiences, mainly on Audible and Spotify. Moreover, such
warnings were oered in isolated titles rather than appearing broadly in all titles of a particular platform. In the case of RNE
Audio, the warning is available on its app, but not on its website. Moreover, to access the information, you must enter each title
individually, go to the details tab, and search in that section for information on the recommended age. Although this feature is not
yet available for the entire catalogue, such information seems to be of concern to the platform due to its public service mandate.
As noted previously, this research applied the age classication code for audio to RNE’s oering, with the ndings outlined above.
ese were then compared with the labels included in the RNE Audio application in order to verify whether the recommendations
matched. As seen in Figure 8, in addition to titles without warnings, other titles show matching results, while others dier.
Eight of the 22 titles analysed from RNE Audio lack age recommendations, or similar information, which would give the
audience a preview of the content they would nd before listening. is, in turn, would reduce the chances of such content
being recommended by parents or educators for children. Of the remaining 14 titles, seven match the age ratings of the
Audio
Con_Sentido
code, which include the three podcasts rated 18+, two rated 12+ (
Germen
and
Las del Cadillac
), and another aimed
at children. In the research, the four podcasts classied as specically intended for children (
CI
) are categorized by RNE Audio
as
TP
(General Audiences). By contrast, those classied as
TP
in the code do not have any age recommendations in RNE Audio.
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Figure 8. Comparison of age ratings between RNE Audio and the
Audio Con_Sentido
code
Title
Age Classication of RNE Audio
Age Classication of the
Audio Con Sentido
Code
1.
¿Y
si…?
Child ContentChild Content
2.
Código 6
18+18+
3.
Correspondencia criminal
18+18+
4.
De
Éxodos
None
General Audiences
5.
Diario de Ucrania
7+12+
6.
Diosas y rebeldes
None12+
7.
Econoclan
General AudiencesChild Content
8.
Educando emociones
None
General Audiences
9.
El profesor Melorock
General AudiencesChild Content
10.
Esto merece una explicación
7+7+
11.
Germen
12+12+
12.
Hey!
None12+
13.
Las abogadas.
12+7+
14.
Las del Cadillac
12+12+
15.
Las tumbas de Gaztambide
None7+
16.
Locos por los clásicos
None
General Audiences
17.
Megamix brutal
None12+
18.
Protagonistas del aula
General AudiencesChild Content
19.
Redes de aprendizaje
None
General Audiences
20.
Sapiensantes
General AudiencesChild Content
21.
Tamayazo
18+
12+
22.
Terror en Blanco
18+18+
Source: created by the authors
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Regarding the comparison, it bears mentioning that three of the podcasts have dierent ratings:
Diario de Ucrania
is classied by
RNE Audio as 7+, yet the rating for this podcast is 12+ according to the code;
Las abogadas. La verdadera historia
is rated by the
code as 7+, but RNE Audio places it at 12+; and
Tamayazo
, which is rated by the code as 12+, is designated as 18+ by RNE Audio.
After consulting those in charge of the platform, it was found that this pioneering initiative does not adhere to a pre-dened code
book. Instead, they have chosen to categorize productions using common sense, rather than relying on systematic criteria such
as those included in the
Audio Con Sentido
code, which has seven themes and ve levels of scaled classications.
It has also been observed that RNE Audio has ve age groups: a) specically recommended for children; b) General Audiences; c)
7+; d) 12+; and e) 18+. However, the criteria for placing a title in one age category or another are not specied. As a public service
for the production and distribution of digital audio, it would be advisable for RNE Audio to apply the proposed code, which has
been approved by teachers, psychologists, educators, families, and audio experts, in addition to being endorsed by the
CNMC
and
the Secretariat of State for Digitisation. e code could serve as a benchmark and driving force for the industry’s commitment to
children, especially in the case of private platforms, which have a much wider reach. Moreover, it would enable easy access to safe
listening for children, create a closer link between the industry and its audience, and increase listener trust in the industry itself.
5. Discussion and conclusions
Experts working in this eld advocate the need to protect children on all fronts in order to preserve their mental health and,
consequently, their development. In general terms, the key areas of support in the online environment include prevention in the
classroom, eective regulation of the digital realm, investment in shared responsibility on platforms, and assistance for families.
Specically, this proposal focuses on the audio environment.
e absence of a broad agreement regarding an age rating system for audio content stands in sharp contrast to the solid, well-
established regulations in other audiovisual media, both analogue and digital, which encompass lms, television, SVOD services,
and video games. Moreover, this situation is compounded by the signicant rise in podcast consumption, which is largely driven
by the incessant growth of mobile phone use by young people. Consequently, this scenario creates a more urgent need to
implement measures to protect the cognitive development of children and adolescents.
is research has conrmed the viability of applying an age-based guidance code for audio to the RNE Audio catalogue, which
includes 352 episodes and 22 titles from 2024. Furthermore, this total ranges from productions aimed at children to content
intended for adults over 18 years of age. e seven themes of the code, which include violence, sex, fear, addiction, discrimination,
imitative behaviour, and language, have been integrated into the analysis among six age groups and ve levels of intensity. e
code allows each episode to be classied easily and rigorously, which makes it an ecient tool with the potential to be adopted
by the audio industry in the future.
It also paves the way for families and teachers to have a reliable guide they can use before recommending or allowing listening.
During the research, it was observed that RNE Audio is starting to incorporate age metadata into some of its titles. However, the
results indicate that its classication system has a shortcoming, as it still needs to be based on clear and easily applied criteria, as
evidenced by the following ndings: Eight of the 22 podcasts analysed do not provide any age recommendations, and only half
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of the designations match those of the code. is discrepancy highlights the need for a single, rigorous standard, which must be
endorsed by experts in education, psychology, and the media in order to ensure transparency and safety.
However, the exponential growth in supply often makes it dicult to distinguish appropriate content. e proposal in this paper,
which is in line with the Draft of the Organic Law for the Protection of Minors in Digital Environments, oers a practical solution:
an age classication code for audio content, which is applied by the industry and well-known to the public. Furthermore, RNE
Audio has taken an interest in this expert-endorsed classication system, and it had planned to incorporate the code into its new
productions in the summer of 2025. In addition, the proposal oered by this research opens up new lines of investigation in this
area. As a nal thought, the widespread implementation of this age rating system on podcast platforms has the potential not only
to enhance the industry’s social responsibility status, but also to promote safe access to children’s audio, which is in line with the
child protection guidelines set forth by the
AEPD
.
6. Acknowledgements
is article has been translated into English by Charles Arthur, to whom we are grateful for her work.
is article is part of the
ESCUCHAD.es
project, the name of which stands for the Comprehensive Study of the Digital Audio
Cultural Industry in Spain: agents, content, consumption habits, professional proles, and literacy strategies. Code PID2023-
149124OB-I00; funded by MICIU/AEI/10.13039/501100011033, and by FEDER of the European Union.
7. Specic contributions from each author
Name and surnam
e
Conception and design of work
Rebeca Martín-Nieto, Laura Martínez-Otón,
Luis Miguel Pedrero-Esteban, Ana Pérez-Escoda
Methodology
Rebeca Martín-Nieto, Laura Martínez-Otón,
Luis Miguel Pedrero-Esteban, Ana Pérez-Escoda
Data collection and analysisRebeca Martín-Nieto, Laura Martínez-Otón
Discussion and conclusions
Rebeca Martín-Nieto, Laura Martínez-Otón,
Luis Miguel Pedrero-Esteban, Ana Pérez-Escoda
Drafting, formatting, review and approval of versions
Rebeca Martín-Nieto, Laura Martínez-Otón,
Luis Miguel Pedrero-Esteban, Ana Pérez-Escoda
8. Conict of interest
e authors declare no conict of interest.
<p>[Enlace de URL / hc (has AS)]</p>
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doxa.comunicación |
nº 42, pp. 499-518
January-June of 2026
Rebeca Martín-Nieto, Laura Martínez-Otón, Luis Miguel Pedrero-Esteban and Ana Pérez-Escoda
ISSN: 1696-019X / e-ISSN: 2386-3978
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518 |
nº 42 pp. 499-518
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January-June of 2026
Podcast Age Ratings in Spain: a Case Study of the RNE Audio Platform
ISSN: 1696-019X / e-ISSN: 2386-3978
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