From Antena 3 to Netflix: The rise of Money Heist as a global phenomenon.
Main Article Content
Abstract
The accelerated pace of production and consumption compels streaming platforms to acquire content and make safe bets with third-party content in the countries where they operate. Upon entering the Spanish market, Netflix acquired the rights to Money Heist from Atresmedia and successfully relaunched the show to a new audience. An in-depth narrative and stylistic analysis, combined with a bibliographic review, was conducted, along with in-depth interviews with professionals from Netflix, the show, and the industry in order to assess the evolution of the series before, during, and after Netflix's acquisition. There is a significant improvement in stylistic and promotional quality, along with a narrative repetition throughout the seasons created by Netflix. The show's impact was amplified through content management and promotion both within and outside social media. Successful audiovisual products are often overexploited and expanded, leading to a long-term decline in creativity and audiovisual quality. Thanks to Netflix's acquisition, a local product was transformed into a global mass phenomenon.
Downloads
Article Details
Issue
Section

This work is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License.
Miguel Hernández Communication Journal is an open access magazine. To publish on MHCJ, the authors accept the following terms:
- The authors will retain their copyright and guarantee the journal the right to first publish their work, which will be simultaneously subject to the Creative Commons Atribución/Reconocimiento-CompartirIgual 4.0 Internacional, which allows third parties share the work as long as its author and his first publication in this magazine are indicated.
- Authors may adopt other non-exclusive license agreements for the distribution of the version of the published work (eg, deposit it in an institutional telematic archive or publish it in a monographic volume) provided that the initial publication in this journal is indicated .
- Authors are allowed and recommended to disseminate their work through the Internet (e.g., in institutional telematic archives or on their website) before and during the submission process, which can produce interesting exchanges and increase citations. of the published work. (See The effect of open access).
- The document RESIGNATION OF PERCEPTION OF BENEFITS OF COPYRIGHT is intended for the print publication of MHCJ by the UNIVERSITAS publishing house. Both authors and publishers renounce the collection of economic benefits, if any, when the aforementioned publisher takes over the entire cost of printing, distribution and dissemination.
How to Cite
References
Anderson, C. (2006). La economía Long Tail. De los mercados de masas al triunfo de lo minoritario. Urano.
Arroyo-Almaraz, I. y Díaz-Molina, R. (2021). El fenómeno del meme en la estrategia creativa de Netflix España en Twitter. Icono 14, 19(2), 312-338. https://doi.org/10.7195/ri14.v19i2.1660
Benioff, D. y Weiss, D. B. (2011). Juego de tronos [Serie]. HBO.
Canet, F. y García-Martínez, A.N. (2018). Respuestas ambivalentes ante la moralidad ambigua del antihéroe: Tony Soprano y Walter White como casos de estudio. Palabra Clave, 21(2), 364-386. DOI: 10.5294/pacla.2018.21.2.5
Castro, D., y Cascajosa, C. (2020). From Netflix to Movistar+: How Subscription Video-on-Demand Services Have Transformed Spanish TV Production. JCMS: Journal of Cinema and Media Studies, 59, 154-160. https://doi.org/10.1353/cj.2020.0019
Chang, Y. C. (2022). All you can eat or all you can waste? Effects of alternate serving styles and inducements on food waste in buffet restaurants. Current Issues in Tourism, 25(5), 727-744. https://doi.org/10.1080/13683500.2020.1870939
Darabont, F. (2010). The Walking Dead [Serie]. AMC.
Doñate, J. (2022). Producción original en Netflix España: La casa de papel y Paquita Salas (Tesis doctoral). Universitat Jaume I, España. http://hdl.handle.net/10803/674325
Doñate, J., Galán, E. y Marzal, J. (2024). El meme como herramienta de comunicación de éxito en Netflix España: El caso de la quinta temporada de La casa de papel. Hipertext.net, (28), 105-128. https://doi.org/10.31009/hipertext.net.2024.i28.09
Duffer, M. y Duffer, R. (2016). Stranger Things [Serie]. Netflix.
Eguizábal, R. (1998). Historia de la publicidad. Celeste.
Fernández-Gómez, E., Martin-Quevedo, J., y Feijoo Fernández, B. (2022). Netflix’s communication strategy on Twitter and Instagram during the unlock in Spain: humour, proximity and information. Observatorio (OBS*), 16(3). https://doi.org/10.15847/obsOBS16320222054
Fernández-Torres, M. J. y Villena-Alarcón, E. (2021): Posicionamiento en los entornos digitales: el caso de Netflix y su interacción con los públicos. Fonseca, Journal of Communication, (22). https://doi.org/10.14201/fjc-v22-22693
Flayelle, M., Maurage, P., Di Lorenzo, K. R., Vöguele, C., Gainsbury, S.M. y Billieux, J. (2020). Binge-watching: What do we know so far? A first systematic review of the evidence. Current Addiction Reports, 7(1), 44-60. https://doi.org/10.1007/s40429-020-00299-8
González-Neira, A., Quintas-Froufe, N., y Gallardo-Camacho, J. (2020). La medición de la audiencia televisiva: desafíos ante las nuevas plataformas de vídeo. Comunicación y Sociedad, e7284. https://doi.org/10.32870/cys.v2020.7284
Neira, E. (2020). Streaming Wars. La nueva televisión. Libros Cúpula.
Hadida A. L., Lampel, J., Walls, W. D., y Joshi, A. (2021). Hollywood studio filmmaking in the age of Netflix: a tale of two institutional logics. Journal of Cultural Economics, 45(2), 213-238. https://bit.ly/3KZmPOS
Heredia-Ruiz, V. (2017). Revolución Netflix: desafíos para la industria audiovisual. Chasqui. Revista Latinoamericana de Comunicación, 135, agosto-noviembre 2017 (Sección Ensayo, pp. 275-296). Disponible en: https://tinyurl.com/2fb92vp8
Martín-Quevedo, J., Fernández-Gómez, E., y Segado-Boj, F. (2021). La estrategia promocional de Netflix y HBO en Instagram en un escenario de competencia. Análisis de sus perfiles en España y en EE.UU. Obra Digital, (20) https://doi.org/10.25029/od.2021.290.20
Mayorga-Escalada, S. (2019): Netflix, estrategia y gestión de marca en torno a la relevancia de los contenidos. adComunica,18, 219-244. https://raco.cat/index.php/adComunica/article/view/365734
Pereira-Villazon, T. y Portilla, I. (2020): La gestión de la marca del programa frente a la marca corporativa en redes sociales. Caso: La casa de papel. Estudios sobre el mensaje periodístico, 26 (4), 1543-1553. https://doi.org/10.5209/esmp.67807
Pérez-Rufí, J., Gómez-Pérez, F. y Castro-Higueras, A. (2020). Panorama de las plataformas de televisión OTT: agentes del mercado audiovisual y estrategias comerciales”. Comunicación y diversidad. Selección de comunicaciones del VII Congreso Internacional de la Asociación Española de Investigación de la Comunicación (AE-IC). Valencia, España, 28-30 de octubre, pp. 391-403. EPI SL. https://doi.org/10.3145/AE-IC-epi.2020.e25
Pina, A. (2017). La casa de papel [Serie]. Netflix.
Pina, A. (2023). Berlín [Serie]. Netflix.
Prodigioso Volcán (2019). Cómo construir marcas para el siglo XXI. https://tinyurl.com/5n6ea9s4
Puro Marketing (2020). La brutal cantidad de dinero que Netflix se estaría gastando en marketing. https://tinyurl.com/3wvn7y4c
Roig, A., Clares-Gavilán, J. y Sánchez- Navarro, J. (2021). Netflix fictional feature film originals: an analysis of release strategies. Communication & Society, 34(2),125-139. https://doi.org/10.15581/003.34.2.125-139
Vilaplana-Aparicio, M. J., Boix-Romero, J., y Ortiz, M. J. (2021). Análisis del emplazamiento de producto en tres series originales de Netflix. Comunicación y Sociedad, 1-25. https://doi.org/10.32870/cys.v2021.8001
Zeko, A., Jakopec, A., y Lesinger, G. (2019): Televisionvssocialmedia-anewconcept for viewing series. Collegium Antropologicum, 43(4), 281-288. https://hrcak.srce.hr/file/3477