The Turkish TV series became a social phenomenon in the Arab world more than 10 years ago, being broadcasted by the pan-Arab MBC satellite channel. A large literature emerged then, exploring the success of Turkish productions abroad. The focus was, primarily, on existing cultural similarities and connections between the Turkish society and the new audiences (Southeastern Europe, Turkic Republics, the Arab world). In the case of the Arab world, many studies highlighted the translation and dubbing process as a necessary condition to fully explain the good reception in Arab countries. Nowadays, the Turkish TV series have become a truly transnational phenomenon and they are consumed in many parts of the world where these cultural links may not exist. In Spain, some productions like Fatmagül (Fatamagül’ün Suçu Ne?), Mi Hija (Kızım) and Mujer (Kadın) have been broadcasted in prime time arriving to larger audiences. In October 2021, the Mediaset España platform launched a channel, Dizi, completely devoted to the Turkish TV series, denoting the consolidation in the Spanish market. This research explores translation practices – both subtitling and dubbing –of Turkish TV series into Spanish. Until now, text translations have been almost exclusively performed by Turkish professionals – not local – and, originally, the first dubbing productions were originally done in Turkey by Spanish dubbing actors not known by their audiences. Besides, distinctions between the Spanish from Latin America and from Spain were blurred in the first productions, and places and characters’ names have never been adapted. Through an analysis of the nature and the evolution of translation practices of several acclaimed Turkish TV series into Spanish, this paper states that cultural translation was not a prerequisite for good reception in Spain. While Kraidy’s critical transcultural approach could perfectly fit into some contemporary transnational media phenomena as it can be the case of Netflix and the launch of the Hermes program in 2017, the Turkish TV series’ cultural adaptation in the Spanish case has followed a different path, but with high success. Here, a set of hidden cultural similarities eased the process, but cultural differences played a higher role in engaging the audience with new, previously unknown, cultural particularities.