The dramatic clash over talent show scheduling and cross-network negotiations intensified the moment Josie entered the scene. A tense media tug-of-war unfolded between Telecinco and TVE as producers, agents, and publicity teams jockeyed to secure prime slots for high-profile dance formats. In the middle of this fray stood the decision to run Dancing with the Stars against a competing program with the working title Dance as Much as Possible. As Ricky García revealed in an exclusive on YOTELE, a last-minute change added a layer of chaos for both networks, complicating already delicate plans and forcing rapid strategic shifts on multiple fronts.
On the show Fiesta, a familiar collaborator who previously contributed to Zapeando was at the heart of the unfolding discussion. This move, reported by El Periódico de Catalunya, a publication under Prensa Ibérica, suggested a pivot in the talent landscape. Initially, the team favored a talent show on the public network, which prompted the production company to alert Zeppelin TV, part of Banijay Iberia, about the potential reshuffling. The situation highlighted how talent decisions ripple across brands and formats, affecting schedules, partnerships, and audience expectations.
Nevertheless, despite a period of confidence in her commitment, Josie ultimately chose a path that would align with Telecinco’s stronger emphasis on dance programming. The change occurred after a period of internal debate, and the final decision positioned her within the cast of the Bulldog TV-produced series Dancing with the Stars. This move underscored the modern reality of media careers where public visibility, contractual flexibility, and cross-network opportunities can compel rapid shifts in allegiance, even after initial assurances were issued.
Josie’s evolving stance reportedly caused friction at RTVE, which had previously trusted her to anchor two cycles of MasterChef Celebrity. The shifting dynamics also drew disappointment from Banijay Iberia, whose broader strategy in the region relies on stable collaborations and predictable project pipelines. The mutual surprise extended to Atresmedia as well, which had recently backed her for Neox content and other high-profile projects, including promotions tied to Cristina Pedroche’s appearances for Antena 3. The rapid rethink in Josie’s commitments highlighted how talent management, network loyalties, and production calendars can collide, creating a delicate balancing act for executives across rival groups.
From the producer end, there was resonance across the industry about how such moves ripple through planned lineups. Atresmedia, assessing the broader picture, noted the potential impact on sister channels and the cadence of upcoming seasons. The shift also touched the broader entertainment ecosystem, where collaborations with Gestmusic, Zapeando, and related formats have historically shaped the competitive environment. The episode illustrated the precarious nature of non-exclusive contracts, where performers often juggle multiple offers that can surface with little warning and alter the trajectory of an entire season.
Looking ahead, Telecinco announced the kickoff for its dance competition slate with Dancing with the Stars slated to premiere on a Saturday in January. Meanwhile, TVE had been quietly building anticipation for a counterweight program, Baila as You Can, whose development had advanced significantly and was scheduled to begin in February. The timing of these launches reflects a broader strategy in which networks aim to capitalize on early-year audience engagement, secure cross-promotional opportunities, and leverage marquee personalities to drive viewership during a period traditionally receptive to top-tier talent and high-production-value formats. The outcome of Josie’s choices could reverberate beyond the current season, potentially shaping negotiation leverage, talent pipelines, and the appetite of viewers for live competition experiences across the two major players. (Source notes: industry reporting from El Periódico de Catalunya and YOTELE)