The mystery of 'The Ministry of Time': Honor and reputation

Just nine years after its premiere on TVE,

El Ministerio del Tiempo

is back in the news.

It is because the BBC (without which I doubt that I would be a screenwriter, I owe them so much) launches a project with the same name and similar synopsis to the one that my brother Pablo and I created at the time.

It happens when the series has not been broadcast for more than three years.

And yet, the networks burn.

Her followers (the

ministers

) defend her passionately, as always.

The media covers the news.

And with exciting solidarity and unanimity, audiovisual and cultural professionals (including an icon like the Prado Museum) show their unconditional support.

Today marks 9 years since the premiere of @MdT_TVE, an exemplary series that did a lot to bring closer and popularize culture and that celebrated in its chapters some of the main milestones in our history, with unforgettable protagonists like Velázquez # GraciasMinisterioDelTiempo pic.twitter.com /i1OrKzSuSa

— Prado Museum (@museodelprado) February 24, 2024

How is it possible that a series that has not been broadcast for three years is still in the news?

I don't have a clear answer: the series and what surrounds it has been surprising me since its premiere.

In chapter two, a Ministry official crossed paths with Alonso de Entrerríos cursing that he had to travel to Atapuerca.

Five minutes later, on social media, the Atapuerca Foundation invited us to visit the place.

In chapter three, an expert in these matters taught me that we had pirated subtitles in Russian, Italian, Chinese, English... In chapter five, I receive messages from Spanish

Erasmus students

in Russia telling me that Irene Larra is an icon of the LGBT movement...

More information

RTVE will ask the BBC for explanations for the series 'The Ministry of Time'

The National Library calls to anticipate the plots of the season to document each chapter with images from its collections and tweet, like another

ministry

, each chapter.

The real image of Lorca, Lope de Vega or Velázquez is often that of those who play them in the series (Ángel Ruiz, Víctor Clavijo and Julián Villagrán).

Despite never leading the linear audiences, paradoxes of the industry, the series is a

trending topic

(worldwide) every episode and its name is used in journalistic chronicles, in a popular way.

The chapters are used in schools and institutes.

They are also used in teaching Spanish to foreigners: a couple of years ago, at the University of Salamanca the thesis “The application of subtitled audiovisual media in teaching Spanish to Chinese speakers: the case of

El Ministerio del Tiempo

” was read.

Its author, Lin Jia, kindly sent it to me.

Furthermore, recognition from the media and professionals gave us the chance to win almost every possible award, including a Platinum and two consecutive Waves.

Even in a survey carried out (in 2017) critics chose us - these surveys are not usually fair - as the best Spanish series in history.

How does a series that is not renewed and that many say has no audience achieve all this?

How is it plagiarized by NBC (

Timeless

) with writers of the stature of Kripke and Ryan?

How does the BBC announce a series with the same name and the same premises?

How are there

ministers

all over the world?

Nacho Fresneda, Aura Garrido and Hugo Silva, in 'The Ministry of Time'.

As you can see, the history of the series is a succession (almost always happy) of paradoxes and mysteries.

Even so, I believe that its creation is based on a series of concepts that I do not want to be forgotten.

The first is creative freedom: Pablo and I wrote

The Ministry of Time

as the series that we would have liked to see, even if we didn't sell it.

No influences.

Without algorithms.

And with the non-negotiable requirement of being

its

showrunners .

And TVE gave us complete freedom.

Thus a pop series emerged that mixed the fantastic with adventure... And with our History.

Because as in

Isabel

,

Víctor Ros

or, soon, in

Ena

the idea is to talk about ourselves, our successes and our failures.

Believing that Felipe II is as much History as Emilio Herrera.

Lorca as Luis Aragonés.

The Hatless as Isabel.

And respecting our elders: Jardiel, Chicho, Armiñán, Berlanga, Ibáñez... Believing that it is time to end the issue of the two Spains, because there are more.

That being Spanish is a broader concept than an ideology and that we must be suspicious of ideologies that grant certificates of patriotism or goodness.

Timing is also an important factor.

The Ministry of Time

arose when all of us who had been making series for many years, fought for a change, tired of exhausted formulas, with creators like - among others - Ramón Campos, Álex Pina and then Los Javis..., who have grown up at home with the television always on.

And we love her and will never look down on her.

We will never say that a series “is a longer movie.”

Finally, respect for the viewer, which is the most intelligent thing (whatever one may say) in this industry.

What happens is that when he sees stupid products, he runs away from the screen.

We needed direct communication with him (with who else?).

The Ministry of Time

has been a pioneer in transmedia communication.

This way we managed to make each broadcast a party, which speaks of the need for quality free-to-air television, as is done in European fiction.

And that entails the need for powerful public television.

And the party continues.

Because, although the series is not broadcast, behind it there is a community that does not forget Alonso de Entrerríos' motto, key to the series: Honor and reputation.

Javier Olivares

is a screenwriter and creator of series such as

Isabel, Víctor Ros

and

Ena,

soon to premiere on La 1. Together with his brother Pablo Olivares he created

El Ministerio del Tiempo

.

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