A new page has appeared around the phenomenon known as ‘Ministry of Time’ and its resemblance to the original program. RTVE sent a bureaufax to the British BBC stating that the issue may amount to plagiarism in the creation and distribution of a new series, as explained by Vertele.
The notice asserts that the information published indicates the audiovisual work titled ‘Ministry of Time’ was produced and distributed without prior permission, potentially infringing the copyright of the original material. The letter to the UK public broadcaster declares that the original work is wholly owned by RTVE and could be considered an offense classified as plagiarism.
In expressing the stance, RTVE notes the social impact it has on its audience and stresses that the organization cannot remain passive. The message emphasizes that the production and distribution of this audiovisual work is at a high level of quality, which could harm not only RTVE but also the authors of the original project. There are voices that have already conveyed their concerns to RTVE, according to the communication.
RTVE also proposed that both public bodies cooperate as members of the European Broadcasting Union to pursue a resolution. The letter frames the request in terms of longstanding collaboration and mutual respect between public broadcasters across Europe, suggesting that the situation may have arisen from a misunderstanding or that there could be an explanation for it.
The correspondence, carried by Ernesto Real Millán, who directs RTVE’s legal rights department, asks for contact to clarify the events and expresses a desire to reach an agreement after a discussion.
The public reaction to the bureaufax event surprised observers. Javier Olivares, a co-creator of the Spanish series, took to X, the platform formerly known as Twitter, to share his thoughts: without adding a comma, he stated his gratitude to TVE, noting that the matter had drawn public attention and commentary from various voices.
As the situation unfolds, industry commentators highlight the importance of intellectual property protections in the sphere of television and streaming, especially when similar formats and narrative structures emerge across national borders. Legal experts remind audiences that copyright law supports rights holders in arguing that an original work must be properly authorized before any derivative production can proceed. The case underscores how cross-border media collaboration can trigger complex questions about ownership, licensing, and the responsibilities of broadcasters to safeguard creative works. (RTVE)