In late July, Movistar Plus parent Telefonica announced its half-year results. Chairman José Maria Álvarez-Pallete spent three-quarters of his introduction talking about a return to growth, and one-quarter about how Telefonica, which was nominated for Europe’s Climate Leader prize by the Financial Times, is aligned with U.N. sustainable development goals.

Big companies these days have to show and believe they’re making the world a better place.

La Fortuna,” says Alejandro Amenábar, is principally feel-good entertainment.

“After the terrible year we’ve all had, we want to appeal to what is good in us and bring a smile to viewers’ lips,” he told Variety. But the series also carries a cultural and ethical charge, inherited, Amenábar explains, from the true-events inspired Spanish graphic novela “The Treasure of the Black Swan,” which he adapts in the series and which insists on the importance of countries’ defense of their cultural heritage.

“We’re talking about a country’s cultural heritage. Every sunken ship is part of your history. Your soul,” Clarke Peters’ character, Jonas Pierce, a maritime lawyer, insists to Spanish bureaucrats arguing they should fight to recover “La Fortuna’s” treasure.

If he lived in Spain, Pierce would probably subscribe to Movistar Plus.

“We have a responsibility for building a strong cultural legacy in Spain both for the consumers [as users and citizens] and for the overall society,” says Cristina Burzako, Movistar Plus CEO.

Since it drove into original series production, Movistar Plus has become not just a distributor of upscale Spanish culture but also one of its prime creators, channeling its great artistic traditions, and plumbing the tragedy of the past, in “The Plague,” “The Invisible Line” and now “La Fortuna.”

Some global platforms make series in Spain. Movistar Plus makes Spanish series, says its president, Sergio Oslé.

There’s a very big difference, he argues.