Television personalities pivot to new media after departure from a major network
Former TV figures refuse to fade away. If they aren’t on screen, their relevance feels diminished for some viewers. This instinct drives their next move: unity under a newly formed production banner, Fabricantes Studio, a rapid response to keep their voices alive. The duo behind the move is Oscar Cornejo and Adrian Madrid, who launched this venture after parting ways with Telecinco.
A familiar circle from the world of daytime talk shows reassembles for a fresh project. The group, once known for their work on Sálvame and its ensemble of familiar faces—Belén Esteban, Maria Patiño, Kiko Matamoros, Víctor Sandoval, Lydia Lozano, Chelo García Cortés—signals a shift toward digital platforms like YouTube and Twitch. They debut a daily afternoon program titled Ni que fuerámos, inviting others who were once part of the fringes of mainstream TV to join the new venture. Names such as Yola Berrocal, Malena Gracia, and Loli Álvarez gradually join, creating a makeshift, mobile production crew that moves between spaces and ideas rather than staying fixed in a studio. They navigate away from the old Media giant and send greetings from a humble bar in front of Telecinco, signaling a bold rebirth rather than a quiet exit.
The group sets up a compact set in a modest apartment: a table, a couch, a kitchen counter for snacks, and a small balcony where fresh air can be drawn in between segments. Maria Patiño uses the moment to take a break for a manicure, while Belén Esteban works through a quick workout, leaning on the back of a chair. Víctor Sandoval appears in playful disguise, presenting himself as Sister from now on, and a lighter, more irreverent tone threads through the evening. Esther joins as a recurring personality, contributing to the in-house banter and ongoing chatter about the day’s media landscape.
As the conversations flow, there is no shortage of gossip about current television ratings and industry shifts. The group touches on impending moves, rumored projects, and the dynamics behind major network decisions. The drama of behind-the-scenes negotiating spills into the set, with hints about offers and counteroffers that hint at a larger tug-of-war between networks. One imagined scenario involves TVE offering a significant weekly sum to join a high-profile competition show, but the subject ultimately favors the Telecinco path because it promises a prominent role within a new program overseen by familiar producers. The chatter also touches on collaborations among production houses, including Ana Rosa Quintana and the production company Unicorn, weaving together a narrative about afternoon programming and the pressures of sustaining on-air visibility. The tone remains anchored in survival instinct: even as they pivot to new formats, the drive to stay relevant remains relentless for this group.
Industry leadership, including the Italian executive Alessandro Salem at Mediaset, becomes a factor in the broader storyline. The governance and strategic direction of Telecinco reflective of past leadership under Paolo Vasile are referenced as part of the ongoing power dynamics that shape the media landscape. The ensemble notes that changes in ownership, strategy, and risk tolerance influence what kinds of content survive and who gets to steer it. The undercurrents of this shift show that the push to reinvent can be as much about cultural survival as about new revenue streams. The group’s conversations reveal a willingness to explore provocative material and controversial formats—acknowledging that risk can be a path to renewed relevance, even when the terrain feels uncertain. In this moment, the old guard muses about what it would take to reclaim a larger slice of attention, while recognizing the reality that audiences increasingly seek authenticity and immediacy across digital channels. The story ends with a candid truth: the past may be influential, but the future belongs to those who dare to experiment beyond traditional TV boundaries.