• The producer, reinventor of the pink genre, has warmed up the engines of the new docuserie on Rocío Carrasco with a ‘moving-unboxing’ of 18 containers with the old belongings of Rocío Jurado

Adrian Madrid Y Oscar Cornejo are the brains behind The TV Factory, the ubiquitous producer of ‘Save me’ and ‘Saturday Deluxewhat has revolutionized with crudeness, ‘show’ and tension pink entertainment. This week, the company warms up the engines of the new docuserie on Rocío Carrasco, called to be the new hit of the season, with an unexpected trick: a moving-‘unboxing ‘of the containers that have housed Rocío Jurado’s old belongings. Here we review the trajectory of the men who move the guts and the heart of television.

Oscar Cornejo, with studies in Law and Journalism, he met his television partner, Adrian Madrid, graduated in Journalism, when Telecinco entrusted them with a desktop program, a ‘joint venture’ from which the pioneer ‘Here is tomato’ ended up emerging. Since then, Telecinco and Mediaset have not stopped maintaining their results.

“Vasile’s Spoiled Children”

With the initial run of success, in 2007 they founded the production company The TV Factory, fabulous vending machine for television content. Among its 40 programs, ‘Sálvame’ or ‘Sábado Deluxe’ and new formats such as the docuserie ‘Rocío, tell the truth to stay alive’ stand out. Their television products have given them unofficial titles – “Vasile’s darling children”, “Tele 5 millionaires” – but above all they have formed a business model with benefits exceeding those of 50 million euros between 2008 and 2018, according to the economic information website ‘Merca2’.

New television formula

‘The tomato’ contributed to the great officiant of the genre, Jorge Javier Vázquez, and a general rehearsal of a new formula that was going to revolutionize pink entertainment. The tension, the rawness, the modern ‘look’ and a cheek that oscillates between humor and bullying They have formed the ingredients of a ‘show’ that has had an infinite assortment of characters and that has managed to express two tics if they want toxic but deeply human: 1 / the taste for delving into the lives of others and 2 / the voracious appetite to judge the lives of others.

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Inquisitors and damned all at one

In that ‘Fordist’ production of plots, another ‘differential fact’ of the house has been blur the boundaries between commentators and characters. If you sit on a set, you usually have to be prepared both to exercise holy inquisitor how to be condemned in a ruthless dock. The same program has turned the face of Belén Esteban into a great ‘premiere’ after undergoing surgery that has allowed to frivolize about the suicide attempt of a collaborator.

Madrid acts as president and Cornejo as CEO of a company that has 244 employees and that boasts a “horizontal structure”: if molds have been broken, they say, it is because in the Fuencarral barracks all ideas are heard, no matter how far-fetched (or evil) they may seem.

Between the sets of La Fábrica de la Tele and those of Unicorn Content, Ana Rosa Quintana’s production company, not only are darts thrown that help to tighten the audimeters. In reality, the two companies are in direct competition and between the two, 35% of the productions broadcast by La1, Antena 3, Tele 5, Cuatro and La Sexta are practically shared in half.

As recorded in its accounting, the company maintains a reserve of 4.8 million euros to allocate to judicial matters. This year, they have already paid 80,000 euros to Antonio David as compensation for his departure from the production company after the start of the documentary about Rocío Carrasco.

Related news

Without a doubt, the great ‘hit’ of this year has been the docuserie ‘Rocío, tell the truth to stay alive‘, which had an average audience of three million viewers. Against all odds, this unbeatable television gadget contributed to question how these programs treat women already do pedagogy on sexist violence. Calls to 016 increased 42%.

Today, Tuesday, the four-hour special “Rocío’s last trip” was broadcast, in which the 18 containers that during all these years have housed documents, objects and memories of Rocío Jurado have begun to be opened. In fact, if the production company knows one thing to do is wrap often spurious content with bombastic words. On this occasion, each viewer will draw their own conclusions about whether the space has been a “tribute”, as they say, “to the greatest” or rather an exhumation in ‘prime time’ that has served as a great advertising campaign for the new docuserie on Rocío Carrasco.


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