The premiere of the second chapter of the highly anticipated series "Las Hijas de la Criada," starring Verónica Sánchez and Alain Hernández, was significantly delayed, sparking considerable viewer dissatisfaction and raising questions about Antena 3’s programming strategy. The broadcast, originally slated for an earlier slot, did not commence until 11:35 PM, more than half an hour past its advertised start time. This substantial delay is directly attributable to the extended runtime of Antena 3’s flagship entertainment program, "El Hormiguero," which has been increasingly occupying prime evening hours.
This scheduling disruption marks a recurring issue for the Spanish network’s new primetime fiction offering. The series, adapted from the novel by Sonsoles Ónega, had already faced criticism for its late premiere the previous week, starting at 11:08 PM. However, the delay for the second episode escalated the problem, pushing the broadcast 27 minutes later than the previous week and a concerning 35 minutes beyond its officially programmed slot.
The "El Hormiguero" Effect on the Schedule
The primary catalyst for these schedule deviations has been "El Hormiguero," hosted by Pablo Motos. The popular talk show consistently overran its allotted time, concluding at 11:26 PM on the night in question. This pattern was not an isolated incident. "El Hormiguero" also finished later than scheduled on Monday, the day of its seasonal return, at 11:35 PM, and repeated this trend on Tuesday and Wednesday. This consistent overrunning indicates a deliberate strategic decision by Antena 3 to extend the broadcast of Motos’s program, consequently compressing the schedules of subsequent programming.
A Ripple Effect Across the Grid
"Las Hijas de la Criada" is not the sole program suffering from this scheduling shift. Other estrenos and broadcasts have also been impacted. The premiere episodes of "El Secreto" on Monday and Tuesday, along with the second broadcast of Cristina Pardo’s "La Mesa" on Wednesday, all commenced after 11:30 PM. In each instance, the network failed to adhere to the broadcast times it had publicly announced through its program guides, promotional spots, and advertising. This widespread inconsistency erodes viewer trust and predictability.
Audience Response and Ratings Nuances
Despite the significant scheduling disruptions, the audience demonstrated a degree of resilience. The second episode of "Las Hijas de la Criada" garnered a 12.5% audience share and attracted 862,000 viewers. This represented a slight increase of half a percentage point in viewership share compared to the premiere, which recorded a 12% share. However, this apparent uptick in share comes with a crucial caveat. As the episode aired predominantly in the late-night slot, the increased share is statistically influenced by a smaller overall viewing audience. In absolute terms, the series experienced a loss of 117,000 viewers compared to the 979,000 who tuned in for the first episode.
Competitive Landscape
On the night of the second episode’s broadcast, the leading program was the premiere gala of "Supervivientes All Stars 2026" on Telecinco, which achieved a 13.3% share during the same time slot. The competition was close, with "Las Hijas de la Criada" securing second place, just 0.8 percentage points behind Telecinco’s offering. Other programs in the competitive landscape included "Horizonte," which registered an 11.1% share, and "El perro andaluz" with 10.2%.
The Digital Echo Chamber: A Chorus of Complaints
Beyond the raw ratings data, the digital sphere became a focal point for viewer discontent. Social media platforms were inundated with complaints directly addressing the inconsistent and late scheduling. Typical comments included questions like, "Is it normal for a series to start at 11:35 PM?" and strong condemnations such as, "You have the series scheduled for 11 PM, it’s an absolute disgrace." Other viewers expressed their frustration with statements like, "Every day you give us more reasons to stop watching television." These were not isolated incidents or the voice of a few disgruntled individuals, but rather a discernible pattern of widespread dissatisfaction.
One of the most frequently articulated grievances highlighted the practical implications for viewers with demanding daily routines. "Last week it finished at midnight and this one at 12:35 AM. Some of us have to wake up early for work and can’t watch it… Shameful, Antena 3," read one representative comment. This sentiment underscores a fundamental contradiction: the network’s investment in a flagship national fiction series is undermined by its treatment of the program as secondary content, subject to the arbitrary conclusion of another show.
Strategic Implications and the Erosion of Trust
The consistent pattern of delays throughout the week suggests that this is not a series of accidental programming glitches but rather a deliberate strategic choice. Antena 3 appears to have prioritized "El Hormiguero," allowing it to dictate the flow of the evening schedule. Consequently, new fictional programming, regardless of its perceived importance, is relegated to an "if time permits" status, starting only after Motos’s show concludes, and with an ever-increasing runtime.
The implications of this strategy extend beyond mere scheduling inconveniences. It directly impacts the network’s credibility. When a broadcaster publicly advertises a program’s start time and then deviates significantly, it breaks an implicit pact with its audience. This breach of trust, particularly for viewers who plan their evening viewing around advertised schedules, can be more damaging to the network’s long-term relationship with its viewers than a minor fluctuation in ratings. Rebuilding that trust, once eroded, is a significantly more challenging endeavor than simply recouping a fraction of a percentage point in audience share.
Contextualizing the Premiere and Anticipation
The series "Las Hijas de la Criada" represents a significant investment for Antena 3, aiming to capture a substantial audience with its historical drama narrative. The novel by Sonsoles Ónega, upon which the series is based, has resonated with readers, creating a pre-existing level of anticipation for its television adaptation. The casting of established actors like Verónica Sánchez and Alain Hernández further bolstered expectations for a high-quality, engaging production. The initial marketing campaigns and press releases emphasized the series as a cornerstone of the network’s autumn schedule, highlighting its potential to draw significant viewership and critical attention.
The original programming slot, while late by some standards, was at least predictable. The transition to a significantly later and fluctuating start time, however, has alienated a segment of the potential audience who find it difficult to commit to viewing a program that may begin well past midnight, especially on weekdays. This is particularly pertinent for a demographic that might typically engage with such dramas, often comprising individuals with established routines and work commitments.
The "El Hormiguero" Phenomenon: A Ratings Juggernaut
"El Hormiguero" has consistently been a ratings powerhouse for Antena 3 for many years. Its unique blend of celebrity interviews, humor, and scientific experiments has cultivated a loyal and substantial audience. The program’s success is undeniable, often anchoring the network’s primetime schedule. However, its prolonged runtime, especially during periods of strong performance or significant events, can create a ripple effect that impacts other programs. In recent seasons, there has been a noticeable trend of "El Hormiguero" extending its broadcast, a strategy that, while potentially maximizing its own ratings, appears to be occurring at the expense of other key programming.
The decision to allow "El Hormiguero" to consistently run over its scheduled time, thereby pushing back subsequent broadcasts, suggests a calculated risk by Antena 3’s programming executives. The network is likely weighing the guaranteed, high ratings of "El Hormiguero" against the potential audience loss for its fictional series. The fact that the fiction series, despite the late starts, still manages to capture a respectable audience share indicates that the core content has merit. However, the question remains whether this strategy is sustainable in the long term, particularly if it continues to alienate viewers due to unpredictable scheduling.
Broader Industry Implications
This situation is not unique to Antena 3. Television networks globally are constantly navigating the challenge of balancing established, high-performing entertainment shows with new or returning dramatic series. The increasing fragmentation of audiences across various platforms and the rise of on-demand viewing mean that traditional linear television scheduling requires careful consideration to maintain viewer engagement.
The core issue here is the perceived disrespect for the viewer’s time and commitment. In an era where viewers have more control than ever over their media consumption, predictable and reliable scheduling is a crucial factor in retaining their attention. The current approach by Antena 3 risks fostering viewer fatigue and encouraging audiences to seek out alternative viewing options that offer greater certainty and respect for their time. The long-term impact on the perception and success of national fiction productions on the channel could be significant if this trend persists. The network’s commitment to supporting its own productions is implicitly questioned when they are consistently relegated to late-night slots due to the extended run of another program. This creates a narrative that national fiction, despite its artistic and cultural importance, is a secondary concern when faced with the ratings juggernaut of a successful entertainment show.
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