The television panorama of the generalist channels in the prime time or maximum audience schedule has changed completely in the last five years. According to the magazine Perspectivas, published by School of Communication of the University of Navarra, television channels have found in national fiction their maximum guarantee of success and profitability.

The audience success of Farmacia de Guardia made the networks turn to in-house production, which has caused national fiction to dominate the prime time television grid, according to Perspectivas. Some examples are Al salir de class, Periodistas, Ala...Dina, etc.

This hegemony is due to the fact that national series seem to connect better with the audience than foreign series. This harmony with the viewer arises because Spanish fiction narrates stories and situations that are closer to the audience, where the characters are easily identifiable by the audience.

Although the future is difficult to predict, the Degree acceptance of the national fiction genre is so significant that its presence seems to be guaranteed in the coming years, according to the publication of the University of Navarra.

The success of national series has transformed the Spanish television industry, which has gone from a buying attitude to selling its contents in the large audiovisual markets. Latin American and European countries have become receivers of Spanish fiction. It should not be strange, therefore, to observe how Compañeros, the series produced by Antena 3, is broadcasted in Colombia; and Manos a la obra, of the same channel, in Poland. Tele 5, which has already exported Médico de Familia to countries such as Italy or Portugal, currently markets the series Al salir de class and El Comisario.

But the triumph of national fiction is not exclusively due to the generalist networks. We cannot forget, says Perspectivas, the work developed by independent production companies, which have become a fundamental part of the television industry. The production of these companies is divided between programs and fiction series. From agreement with the School of Communication of Navarra, the production company with the largest production Issue is Gestmusic, which devotes 100% of its resources to the production of programs, while other companies such as Globo average, Zeppelin or Cartel maintain a mixed model .

The growing importance of these independent production companies has led foreign audiovisual companies to become shareholders. Thus, the Dutch production company Endemol, whose owner is Telefónica average, participates in Gestmusic and Zeppelin, while the Mexican company Televisa participates in Europroducciones.