How much do you spend per month on series platforms?

The paper house

was only nominated for the Feroz awards in 2018, with its first season.

Alex Pina's series competed against

,

,

and

.

won

, at that time the only one of the five competitors that was not broadcast on free-to-air television.

It didn't take long for voices to be heard against AICE, the journalists' association (to which I belong) that votes and delivers the Feroz: they accused us of having allowed ourselves to be seduced by the novelty and glamor of Movistar+, a platform that inaugurated the production of

Spanish with bets as risky (and expensive) as those of the Sánchez Cabezudo brothers on a nuclear accident in Asturias.

Such a complaint had an adjective attached: snobs.

It is still curious that Netflix had already taken over

, a fiction that would no longer return to the Feroz but also had no need to do so.

Also converted into a paid series, the Professor and his henchmen would soon reach the rank of a planetary phenomenon and its protagonists the status of superstars.

One of them, Itziar Ituño, competed for a Feroz in 2023. She did so as the protagonist of

, also a Netflix series, in an edition in which no series broadcast in the open had any candidacy.

We repeat: none.

On the other hand,

, the great winner of the night, and

, a luxurious production that could well have given a surprise at the awards, came with the seal of Atresplayer Premium, the own platform of Atresmedia, owner of Antena 3, chain native of

.

The platform on which the

to have occurred in 2022. Five years after that 2018 in which a very intense and arid drama from Movistar + took over the most important Feroz of series, the panorama is completely different.

Here and out.

In the last Golden Globes, only the winner of the award for best comedy (

) is broadcast free-to-air (in the US, not here).

At the 2022 Emmys, the presence of series that do not require a subscription was not much higher.

And no one talks about snobbery anymore.

Paradoxically, Netflix, as a word, has come to mean more of an idea than a company ("Netflix and blanket") while Netflix as a platform has ceased to be omnipresent and omnipotent.

Their latest commercial moves, perhaps a bit passive-aggressive, have gone through offering cheaper subscriptions with advertising and preventing shared accounts, a practice that until recently was encouraged.

The answer to this, in a world of multiple platforms (and those that appear on the horizon) remains to be seen.

Some of us have not yet calculated the price per series that we pay, being subscribed to multiple operators at the same time.

In any case, the total amount of all these subscriptions has not been anecdotal for a long time: 15 euros here, 20 there... In a relatively few years, Netflix has gone from being an innovative whim to a massive service and from there to ... dispensable expense?

And who says Netflix says any other platform.

The decision of whether to keep them all or give up some translates, in the offices of its executives, into aggressive business plans and corporate operations on a global scale.

streaming

They have been freeing themselves for years and they are fierce.

It went from attracting "virgin" subscribers to being, with hardly any marketing effort, another item on the list of their fixed expenses.

The next thing was to protect yourself from the threat of competition.

Now perhaps it is time to explore new and original strategies to convince the consumer (sorry: the viewer) that it is still worth spending a few euros a month in exchange for being able to watch series that free-to-air TV no longer has.

Even agreeing with your enemies on some coordinated action to justify that total monthly bill that in my expense statement is called "platforms" and that hasn't been small change for a long time.

A lot has happened since the criticized Feroz de

.

According to the criteria of The Trust Project

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