social media. As Vacas Gómez points out (2017:432) the success of this series “is based on the radical funny side of the approach of his stories and the stereotyping of his characters is pushed to the extreme”.

This TV series has become much more than just a weekly date. Over the course of 11 seasons, since 2007, it has become part of the lives of some three million people, more than half of them children and teenagers, as previously mentioned. As stated in the Report of the Women’s Institute (2007: 98) the series Aquí no hay quien viva “created sexist stereotypes, both for women and men, enhancing unequal treatment for both sexes”. Many disgraceful feminizing patterns are present in the female characters (from that series). Another piece worth mentioning about this series is that it was the television series best known to young people (2007:116), with 83.5% of men and 86.8% women. In addition, the most worrying fact is the 44.4% of respondents who support the thesis that their favourite TV series faithfully represents reality, (2007: 150).

Since 2007, the audience of LQSA has been meeting not only around the TV during the different days of the week in which they have shown this program, but also on the internet, the rest of the channels and through the website. The broadcast of the series on the Internet expands the typologies of the media, their forms, contexts and interactions, with the particularity that they generate an immediate debate that extends the content itself, as well as its influences. It is no longer just watching the series on TV and discussing it the next day with friends, at work or in high school. Through the multiplication of contents, as Hernández-García, Ruiz-Muñoz and Simelio-Solà (2013:453) say, “users have integrated among their daily practices the appropriation of television content to rework, transgress them, reinvent them and ultimately redistribute them through new discovery windows”.

On this matter, Lacalle and Castro (2016: 147) have paid special interest to the follow-up that fans make of their favourite series on the internet and ensure that it is “complementary to the marketing strategies implemented through Internet networks (distribution of information and images of programs, streaming, merchandising, participation of actors, etc.), dialogues between fans have cultural, social and economic implications (Lee, 2012)”.

Given this reality, what this analysis is intended to raise with regard to such audiences is to determine the nature of the parameters exhibited in the series with which they reflect and define a recreation of reality, as well as the characteristics of actors who are going to be cross-checked with the gender roles used by Simone de Beauvoir, mainly for the females. As Belmonte and Guillamón confirm (2008) “in general, these series present a standard speech on uses, customs, roles and gender relations which help reinforce social stereotypes. Sexual stereotypes are however presented as a proper form of sexual difference”.

Moreover, on this subject, we follow Charo Lacalle and Deborah Castro (2017) when they declare that “representations of sexuality are important in perceptions of sexuality and sexual behaviours among viewers (Eyal and Finnerty, 2007), especially among young people.”