An observatory denounces that Spanish fiction "uses the Canary Islands" as a set but dilutes its identity

Spanish fiction released in 2025 uses the Canary Islands as a "desirable but meaningless" tourist setting, with an abundance of images of beaches, sun, and leisure, but with a scarce presence of Canarian characters, of their accents, and of a critical look at the social and territorial impact of tourism and foreign investment.

This is according to the Report of the Observatory of Diversity in Audiovisual Media (ODA) 2026, an analysis of the representation of diversity in Spanish fiction of 2025 in cinema and television, which highlights that the archipelago has consolidated itself as one of the main filming destinations for national fiction, driven by the fiscal incentives of the Canarian Government. 

According to this document, published this Wednesday with the support of the Ministry of Culture, series and films such as 'Weiss y Morales', 'Física o química: La nueva generación', 'Playa de lobos', 'Bajo un volcán' or 'El cuento del lobo' present the islands as a setting for plots mostly starring characters unrelated to the territory, while the local population is relegated to an anecdotal or absent role. 

The ODA cites 'Weiss y Morales' as an example, where wealthy German characters appear, who have their second or third residence on the islands, and a plot about a foreign company polluting the beaches, "without really considering the impact of tourism and foreign investment on the territory," which reinforces the idea of the archipelago as "a mere backdrop."

It also mentions 'Playa de lobos', which turns Fuerteventura into a "mere ideal holiday resort" as a backdrop for the conflict between an Argentine character and an Andalusian one, or 'Bajo un volcán', where two protagonists with no ties to the island investigate a possible eruption in Tenerife.

In the case of the film 'Maspalomas', the report points out that, although it reflects on the place as a "queer bubble of freedom," it does not question the implications that this model has on the Canarian environment.

"Therefore, the territory and its characteristics are often used as a backdrop, or as an exploration of the identity of external characters," it states, denouncing that "Canarian identity is diluted and turned into something anecdotal, a product to sell to audiences."

The analysis also warns of the general problem of accents in Spanish fiction, which are often not respected in the territories where the stories take place, an artificial neutral is spoken, or they are forced by performers who do not have them, "which distorts the image offered about an area".

Likewise, it denounces that when Canarian accents are used, it is to reinforce regional stereotypes from comedy or with connotations associated with education and resources.

The document acknowledges that the increase in productions in the Canary Islands responds to an institutional strategy that presents the islands as "one of the best places in Europe to host filming," thanks to its climate, landscape diversity, and qualified professionals, but questions the real benefit for the local population.

In this regard, the ODA warns that filming and fiction contribute to the deterioration of the archipelago's natural spaces as well as its touristification, which causes an increase in the cost of living for residents.

The report encourages those involved in these productions "not to treat the islands as a set, but to generate a realistic imaginary that narrates the lives of the Canarian population without stereotypes, and by putting them at the center."

At the national level, the document points out that the presence of characters with disabilities increased in Spanish series and films from 2025 to 5.8% compared to 3.2% in 2024, while LGBTIQA+ roles have stagnated around 10%.

"Although more than 60% of queer characters are main characters, less than half of them have a plot related to something unrelated to their identity," lament the authors of the study, who have also detected a decrease in racialized characters.

Regarding gender representation, the ODA detects a "dichotomy" in the presence of women, as in cinema there is a decrease - 44.79% compared to 46.98% in 2024 - but in series it has increased, as they are 48.44% of the total, higher than 46.75% the previous year.

The middle class predominates on screen, accounting for 47.19% of characters in films and 48.34% in series, concludes the chapter especially developed in this edition.

But poverty accounts for the class of 21.67% of characters in films and only 13.18% in series, with more rich people in serial fiction (27.68%) than in cinema (18.44%).