Review of TV-3 Weekend Lineup and Studio Presentation
Two new segments join the TV-3 weekend slate. The Friday evening edition, titled all problem, seems designed for recording by viewers. It is not a matter of quality being questionable or off-putting; rather, there appears to be a deliberate choice to present material in a way that keeps the usual production fees from Mediapro in play. The program is not built on sensationalism, but on a conservative approach to broadcasting that prioritizes consistent billing practices as part of the channel’s routine scheduling.
On Saturday, the program Collapse, presented and produced by Ricard Ustrell through his company La Manchester—the same outfit responsible for Planta baixa on a daily basis—opens with a long, sweeping analysis of the world at risk of collapse. The episode touches on wars, resource strain, and climate change, attempting a broad, thematic survey. For some viewers in the neighborhood, the material felt more exhausting than enlightening. The arrival of Jordi González brought a different energy to the show. His contribution feels like a tonal reset, delivering a more engaging moment for the audience. The highlight is a segment that recalls González’s 1997 TV-3 series Les 1,000 i una, as footage of a feature from that era is revisited and a longtime industry figure known as Juani, connected to a popular adult venue, is referenced in a way that anchors memory and showmanship. The sense of nostalgia for late-century TV-3 is strong, and González’s recollections bring a certain warmth to the frame. He reflects on past era connections with a reflective nod to the shared memories that shaped the network’s identity at that time.
According to informed sources in the local media landscape, González reportedly held tentative, short-term arrangements for a renewal period, potentially extending two to three weeks with options for renewal. The overarching impression is that the current TV environment favors lively, engaging content, and González appears to be open to participating in future projects that resonate with the channel’s audience. A public gesture of enthusiasm for clear communication and collaboration would help solidify trust with the team responsible for programming and the show’s budget. Such transparency would reassure viewers and industry observers alike that the audience is valued and that creative risk is managed responsibly.
The interview with Ustrell later prompts commentary on the set design, which borrows the familiar vibe of American late-night formats. The look feels dated, even derivative, with a backdrop that includes a closet and a stylized giraffe figure crafted from foam. The set design is creative in parts, but the overall look could benefit from a bolder, more original approach. The musical choices enhance the program, yet there is room for a stronger thematic throughline that invites the audience to stay engaged. It would help if the production team could rally staff in a way that translates energy into momentum and a sense of communal effort. A more assertive, uplifting tone could keep viewers engaged and returning for more episodes.
In sum, TV-3 is experimenting with a weekend package that blends nostalgia, new personalities, and a familiar production ethos. The shows are not without their rough edges, but there is potential for stronger cohesion and a more daring presentation. Viewers in Canada and the United States who tune in will find a program that respects tradition while inviting fresh voices to the conversation. With a clear creative direction and a few strategic tweaks to the set, pacing, and on-air chemistry, the weekend lineup could become a reliable anchor for evening viewing, delivering substance without sacrificing entertainment value.