“On television, programs are normally put on by the industry and taken away by the viewer. With Save me It didn’t happen like that. He was left an orphan of a channel, but not of viewers.” Óscar Cornejo’s reflection is made, with his partner Adrián Madrid at his side, just a year after the cancellation of Save me. The end of what was Telecinco’s flagship, a program that structured and defined the channel’s programming for 14 years, did not come because of the audience data (it still led its slot), but because it did not fit into the plan of the new management leadership of Telecinco. Mediaset. Cornejo and Madrid are sitting in their office at the headquarters of their new production company, Fabricantes Studio, heir to the spirit and part of the staff of La Fábrica de la Tele (a brand now in the hands of Mediaset). On the other side of the wall, several workers are busy painting and preparing the room that will host the live broadcast of Not even if we were Save me, the new somersault of these television creators and the return, together, of Belén Esteban, María Patiño, Lydia Lozano, Víctor Sandoval, Chelo García Cortés and Kiko Matamoros to live television.
For this, Cornejo and Madrid have devised the Quickie Channel, which they describe as the first channel in streaming from the heart and live television, which can be seen on Youtube and Twitch. His first program, Not even if we were Save me, will last three hours, and will be broadcast from 4:00 p.m. to 7:00 p.m. from Monday to Friday. The announcement a few days ago that this program would be broadcast on streaming It had a knock-on effect that led other channels, websites and even television stations to become interested in its broadcast.
Because, in addition to Twitch and YouTube, the Quickie channel can also be seen on various FAST channel platforms (free ad-supported streaming television, that is, free digital television with ads). In your case, as the channels broadcast 24 hours a day, the program will be played in a loop. “We had not told this, but many years ago we designed a 24-hour channel Save me with Paolo [Vasile, anterior consejero delegado de Mediaset España]. It is as if what was already planted there now germinated,” recalls Cornejo.
In addition to exploring the world of FAST channels, this resurrection of Save me It will also be available on some websites, and will even reach regional DTT in prime time. As if that were not enough, it will also be available in format podcast. The two creators are very grateful for the reception of their project and the “small leaps” it has taken since it was announced. “We want to go where those spectators are who miss that company, that frivolous tension, a tension that should never have left Save me and now he roams freely through Congress and other places where he does the most damage to our society. That tension has to return to a place where it is transformed into pure and simple entertainment, fun, absurdity, delirium and disconnection,” Cornejo reflects.
“The idea is to do something modest, knowing that we are going to move in different codes, but we feel that we have the most important thing, the talent and the desire to continue,” says Cornejo. What will it be about? Not even if we were Save me? “We don’t know,” Madrid laughs. The base will be a table in the style of the streamers in which four collaborators will sit each day with María Patiño as presenter. Next to the table, other spaces will be a sofa and a place for those snacks that could not be missing in Save me. In addition, the program will have two mobile phones prepared in case its protagonists decide to go on an excursion. A clue: the Fabricantes Studio offices are just two blocks from the Mediaset headquarters.
Anything can happen. “In Save me You always knew how to start, you knew what you wanted to do, and not five minutes went by that you didn’t even know where you were. Not even if we were Save me It will surely have a lot of that because it is starring them, made by them, thought by them. But it will not be the same, because a year has passed, the windows are different and because we are the same but we are no longer the same,” says Cornejo. And the content? The news of the social chronicle, celebrities, television and, above all, the collaborators themselves. “We miss knowing how they are doing and how they face this new life,” adds Cornejo.
We are confident that, we do not know how long it will take, it can be profitable or at least self-financing. But right now, no
Adrian Madrid
The two partners are aware of the risk they are taking with their adventure in the streaming gratuitous. “We are aware that it is surely the largest experiment we have faced,” says Adrián Madrid. They are going to invest their own assets in it. The income they will obtain in the short term is minimal and they only hope that the project grows and the brands come closer. “We began to be aware that this is a very complicated universe in business terms, whose return is in the medium/long term, and that is why we live it with humility, desire to learn and almost as an experiment,” says Cornejo. “We are confident that, we don’t know how long it will take, it can be profitable or at least self-financing. But right now, no,” adds Madrid.
According to the creators of the Quickie channel and Not even if we were Save me, The collaborators signed up for the challenge with enthusiasm. “We had many doubts about how they would react, but they surprised us in a very good way,” says Madrid. “They are going to go from holding captive a million and a half people who were there no matter what you did to, maybe, 5,000 people on Twitch. I don’t know to what extent that is going to affect them,” Cornejo reflects. Now they will measure the success of the program not so much based on audience data as on the impact it has. “One of the things that encouraged us to start this was to highlight them again in a live show. Twitch and YouTube probably don’t give you the audiences of traditional television, but they give you notoriety, and that in this world we live in is absolutely essential. If you are not there, no one remembers you, no one calls you and no one thinks of you,” says Ócar Cornejo.
With Netflix what has happened to us is bad luck
Oscar Cornejo
This is not the universe’s first foray Save me outside the Mediaset umbrella. Before it was Every man for himself!, a program on Netflix in which collaborators traveled to the United States and Mexico in search of new television opportunities. Divided into two installments of three chapters each, the last minutes pointed to a continuation that was never known about. What happened to your Netflix adventure? Cornejo and Madrid reflect for a few seconds: “With Netflix what has happened is bad luck,” Cornejo begins. “There was a fear that if it didn’t come out soon, I would lose interest. But if they wanted to broadcast it when the first episo
des were released, all six did not arrive on time, so it was divided. The first three were a bomb, so much so that, even though the second three were fatal, it continues to appear in the most watched ranking. But Netflix’s last impression was, ‘let’s see if no one wants to watch them anymore.’ Together they would have been a bombshell, but separated it was a disaster. They got scared and postponed the second season, which, in reality, was already underway. Now they are incapable, and I can understand it, of overcoming the doubt of the last piece of information,” he explains.
Apart from the Quickie Channel, which could grow in the future with other programs depending on its reception Not even if it were Save me, Fabricantes Studios has more projects underway. “We cannot get away from television. We neither want nor can we. Since we created the production company we have been developing projects and speaking with the main audiovisual groups and payment platforms. Now we know almost all of them, and we have had a very good reception,” says Cornejo. “We have planted a number of good quality seeds and we trust that one or more will germinate,” he adds.
Television has become much more conservative. They are afraid and that can lead to creative paralysis. Has lost emotion and unpredictability
Oscar Cornejo
After an hour talking about television on streamingwe asked them for a diagnosis of lifelong television a year after the end of Save me. Again, as with every tricky question, they take a few seconds to think. “Television has become much more conservative,” Cornejo begins. “The industry, or the two large operators, are much more cautious, they are afraid, and being a little afraid is fine, but being too afraid leads to creative paralysis. Television is there to accompany you, but accompanying you is not about playing elevator music. Accompanying is listening, making you laugh, provoking you. “It has lost emotion and unpredictability,” he concludes.
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