Opening sequences has been suffered from a transformation process until becoming an integral and integrating part of fictional story. The present text collects a study of the opening of Isabel, Víctor Ros and El Ministerio del tiempo, created by Javier Olivares. A research developed from four main points of work, analysis of formal, narrative, typographic and sound aspects. Through common and dissimilar traits shared with credit titles, it is about proving the relationship with the building process of identity and brand of the audiovisual product as an independent unit from its creator.

Opening sequences has been suffered from a transformation process until becoming an integral and integrating part of fictional story. The present text collects a study of the opening of Isabel, Víctor Ros and El Ministerio del tiempo, created by Javier Olivares. A research developed from four main points of work, analysis of formal, narrative, typographic and sound aspects. Through common and dissimilar traits shared with credit titles, it is about proving the relationship with the building process of identity and brand of the audiovisual product as an independent unit from its creator.

Millennials and centennials are two generations highly involved with social issues at a political and technological level. This interest has been raised in many of these individuals, some members of «woke» communities, a search for politically correct language both in networks and contemporary audiovisual fiction usually consumed on streaming platforms. This study aimed to analyze the psychosocial feeling of political efficacy millennials and centennials have as streaming platform users in Spain and Mexico to determine their predisposition and justification to prioritize their points of view in the face of content censorship and cancellation. The results reveal that centennials have a greater sense of efficacy than millennials, the latter being the most concerned about censorship and freedom of expression when receiving a story.