Lenka Hrivnáková, Author at The Association of Commercial Television

THE ILLEGAL STREAMING SERVICE BITPLAY HAS BEEN SHUT DOWN

The pirate service Bitplay, which, among other things, illegally provided access to premium sports television channels, live broadcasts of sports matches and selected series content, has been shut down. The service was shut down following a criminal complaint by the Association of Commercial Television (AKTV) and a subsequent investigation by the Czech Police.

The Association of Commercial Television Stations identified the pirate service Bitplay in mid-2025. Given that the operator did not cease its activities despite warnings from the legitimate copyright holders, the association’s members decided to take legal action against the operator. Together with its supplier, Warezio, which monitors the occurrence of illegally shared television content for television broadcasters, AKTV prepared evidence on the basis of which the law enforcement authorities identified the operator as a natural person.

The Bitplay service, operating on the domains bitplay.my, starstreams.pro, starsites.fun and starlive.click, offered access to premium paid sports channels and broadcasts without the relevant licences from the rights holders. The service was promoted through social networks and other online channels and targeted Czech, Slovak and Polish users.

“Illegal streaming harms broadcast rights holders, sports competition partners, and athletes and sports clubs themselves. Investment in quality content is only possible in an environment where copyright is respected and protected,” said Marek Singer, president of AKTV. “The action against Bitplay is another step in our systematic approach to combating the illegal distribution of our content. We will continue to actively take action against entities that unlawfully offer and monetise protected content.”

In addition to the damage caused by piracy to copyright holders, the use of illegal services also poses a security risk to users. The biggest problem may be the misuse of personal or payment data, but also the unintentional downloading of various malicious software (viruses, malware, spyware, and more).

In addition to actively protecting copyrights, the Association of Commercial Television Stations has long focused on educational activities. As part of these activities, it operates an information website on copyrights, which is available at NormalneLegalne.cz. Here, interested parties will find a directory of legal sources, a glossary explaining terms related to intellectual property protection, answers to frequently asked questions (FAQ), and regular news focused on internet piracy.

PRIMA WANTS THREE BIG REALITY SHOWS A YEAR, ALSO LOOKING FOR A RELATIONSHIP SERIES TO REPLACE POLABÍ

With approximately 300,000 subscribers, the prima+ platform is still in a growth phase. Jan Maxa, the new Content and Production Director at the Prima Group, describes how he plans to connect the development of programmes for linear broadcasting with prima+, and what is coming up in the near future.

On 1 February, Prima adjusted its organisational structure and, as part of the changes, created a new Content and Production division. This move unified the content strategy, development, and production across the group. The division is headed by Jan Maxa, who until then had been in charge of Prima’s VOD segment.

In the interview, he describes how he wants to connect the development of programmes for the linear broadcasting of TV Prima with prima+, how projects are divided between television and VOD, and how their monetisation is structured today. He also talks about plans for new series and reality shows, the programming strategy in prime time, the economic performance of the streaming service, and the differences between public-service and commercial television production. “We are continuously working on dozens of new projects, and viewers can look forward to at least one new premiere programme on prima+ every month,” he explains.

You have recently taken on a new role within the Prima Group, in which you are responsible for the development of programmes for both linear broadcasting and prima+. What exactly does this position entail?

I lead the newly established Production and Content division, which includes the entire production under the leadership of Lucie Kršáková, the scripted series development section headed by Lenka Hornová, the development of reality and entertainment formats led by Samo Jaško, as well as dubbing and the archive. One part of the division is still being staffed. At the same time, I continue to focus on content for prima+.

Prima+ is now temporarily led by CEO Lukáš Kubát. How have you divided your responsibilities?

Lukáš Kubát focuses primarily on the business side and the platform’s strategy, while I am responsible for the content. Together, we try to connect these two areas as effectively as possible so that the content and the business goals support each other.

What does that mean for the development of programmes? How do you plan to divide them between linear broadcasting and VOD?

Our content strategy is built so that some projects are created primarily for linear broadcasting. In drama, this mainly includes long-running or multi-season series, while in entertainment, it involves classic television formats such as talk shows or competition shows. On prima+, these titles appear as weekly previews in the paid version and later as catch-up in the free version.

In addition, we create content primarily for prima+, especially large reality formats, new drama and true crime series. We are gradually expanding the genre spectrum to include documentary and factual projects. These programmes may later appear on linear broadcasting with a certain delay, depending on how they fit into the programming schedule. The rollout is therefore flexible, and we adapt it to each title and the needs of both platforms.

What is the usual time gap between a programme’s release on prima+ and its subsequent broadcast on television? For example, this spring, the series O lidech a koních is heading to linear broadcasting, having premiered on prima+ eight to nine months ago.

The standard gap can vary depending on the specific project, but generally it ranges from six to eighteen months. Ideally, the timing would be more than a year. However, each project is approached individually.

The standard gap between a programme’s release on prima+ and its subsequent broadcast on television can vary depending on the specific project, but generally ranges from six to eighteen months.

Given that prima+ has several content packages depending on how the content is handled, the question is how the project monetisation is structured. Can you combine titles created primarily for prima+, which generate revenue only from user subscriptions, with later linear broadcasting in a way that ensures a positive return?

Monetisation for linear broadcasting is relatively straightforward. The source of revenue comes from the GRPs generated, which are sold to advertisers. For a paid VOD platform, it is more complex because there are two main sources of value. The first is the acquisition potential of a programme, for example, reality shows attract many new users, but their lifespan in the library is limited. The second is the retention potential, where drama series may not attract as many new users as large reality shows, but they retain value in the library for several years. This is combined with the total number of paying users, revenue per user, and their lifetime value, that is, the subscription duration and monthly contribution. Based on this, VOD monetisation models operate, enabling the platform’s economics to be planned.

Prima+ is currently in a dynamic growth phase, so the primary goal is to expand the user base rather than achieve immediate net profitability. With approximately 300,000 paying users, it is still difficult to reach net profitability. According to Oneplay’s experience, a balanced economy is typically achieved at around half a million paying users. Our view is similar.

According to the statement by CEO Lukáš Kubát at last year’s Forum Media conference, the format of Zrádci, which premiered on prima+ a week in advance and then aired on television, managed to “cover its costs.”

Yes, Zrádci performed much better commercially than expected. The effect was significant not only on the paid platform but also on television and beyond. Revenue came from various sources, including cinema and other partner channels, resulting in a high return on investment.

I’d like to touch on production for linear broadcasting. Are you developing any programme for Monday prime time, where you face competition from detective series and have so far struggled to match their strength?

It is true that competing against detective series in Monday prime time on the Czech market, when they are simultaneously airing on two other channels, is indeed very challenging.

But you have to deal with it. You can’t just give up the slot, because you would lose GRPs.

Certainly not, but that’s more a question for Programme Director Alex Ruzek. We don’t really expect to schedule a new drama on Mondays. It’s more appropriate to try entertainment formats, because the competition from detective series is so strong that it makes more sense to offer viewers an alternative, something that isn’t another gory series. However, it is not my role to decide scheduling or what type of programme should air where.

With approximately 300,000 paying users, it is still difficult to achieve net profitability. According to Oneplay’s experience, a balanced financial situation is typically reached at around half a million paying users. Our view is similar.

The key series for Prima in both the autumn and spring is Polabí. Are you already looking into what could replace it in production?

That is public information. On Tuesdays and Thursdays, we are looking for a new relationship-based series that could complement or eventually replace Polabí. However, Polabí will continue to air for some time, and after its finale, we see potential in a new relationship series.

You probably already know what will replace the series Kamarádi, which wraps up its Wednesday prime-time slot this spring.

For Wednesday evenings, we see an opportunity for a crime series to replace Kamarádi. We want to focus on standard detective shows, not shorter series that try to differentiate themselves purely through marketing. I believe viewers want a straightforward detective series without complicated extras, like our successful series Pod hladinou or Polda.

This spring, a new travel reality show, Asia Express, is launching on prima+. Do you aim to have one strong reality show each season?

At the moment, we plan to have three major reality shows per year. In the spring, there will be Asia Express, followed by Zrádci and a new dating reality show. I can’t say more about the latter yet, but no similar show has been aired in the Czech Republic so far.

If we look at the most-watched detective series, they can basically air on any channel and still become viewer hits. For example, the public-service series Místo zločinu Zlín could achieve solid ratings even on Prima.

It turns out that there is a certain universal model. Experience from abroad, especially from Germany, Austria, and from our own market, shows that viewers prefer a fairy-tale–like story for adults that appears rational. These are stories where good triumphs, and the viewer has the opportunity to unravel the plot alongside the detective. Moreover, this genre, in episodic form, is repeatable, which is very valuable for broadcasters. There is no need to constantly invest in new content, as already produced episodes can be used efficiently. This format thus combines viewer appeal with economic efficiency, which is key for commercial television.

Experience shows that viewers prefer a fairy-tale–like story for adults that appears rational. These are stories where good triumphs, and the viewer has the opportunity to unravel the plot alongside the detective.

When you compare your experience from Česká televize and now from Prima, do you notice any practical differences in developing drama formats for commercial television versus public-service broadcasting?

For me, the thirteen-year experience in public-service television was more of an exception. Otherwise, I have mostly worked in the commercial sector, in IT or media. In a commercial environment, you have a clear mandate: to make money for the owner. You therefore create content that is attractive, draws in advertisers or paying viewers, and ideally also makes sense in terms of return on investment. Either it is immediately profitable, or there is a clear path to profitability in the foreseeable future.

Public-service media operate differently. They try to cover a broader range of needs defined by law and their code, which is a much wider scope. That is interesting and enjoyable. On the other hand, when you have limited resources and try to manage them rationally, it is often difficult to set priorities. During my thirteen years at ČT and the twelve years I led development, this became increasingly challenging over time. There was less and less money. Our primary goal was to maintain viewer-oriented programmes so that ČT could keep reasonable ratings and relevance, but at the same time, this meant we had to limit more experimental and daring projects that ČT ideally should have been producing. If we tried to deliver audiences, there was no money left for experimentation, which was quite hard for me, and I didn’t know how to resolve it. Commercial television does not face this dilemma; it focuses mainly on viewer numbers. However, when you have a video platform like prima+, it also opens up the opportunity to create things that differ from traditional television production.

How many new formats is prima+ currently working on, and when can viewers expect to see them, at least approximately?

As I’ve already mentioned, we want to have three major reality shows per year on prima+, along with several premium drama series, several true-crime and other documentary cycles, all complemented by smaller reality and entertainment formats. This means that we are continuously working on dozens of new projects, and viewers can look forward to at least one new premiere programme on prima+ every month.

Currently, the miniseries Táta is in production, and viewers will see it on prima+ in the autumn. Just before filming is the miniseries My nejsme sekta, which deals with the issue of sect from the perspective of law enforcement authorities. One of the inspirations was the widely covered Kutná Hora case, but our focus is on the topic of manipulation in general. Psychological manipulation is a serious problem today. Through the eyes of a renowned lawyer, we gradually reveal the process by which an intelligent and originally morally sound person could be influenced by a sect to such an extent that they ultimately commit a crime.

Jan Maxa, Content and Production Director, FTV Prima

He joined the Prima group in April 2025, initially as Director of the VOD segment. Since February 2026, he has been the Director of the newly established Content and Production division. From 2012 to 2024, he was in leadership at Česká televize, where from 2012 he served as Director of Programme and Format Development, from 2020 led New Media, and from 2023 headed the Digital Services division. Between 2011 and 2013, he introduced a production management system for in-house content at ČT. He led teams of creative producers and dramaturges, was in charge of international co-productions such as Jan Hus and Marie Terezie, and from 2020 oversaw the area of new media. Before that, he worked at TV Nova and the CME group, where he implemented production systems in several countries, and served as Commercial Director at Avion Postproduction and Executive Director of the Czech branch of Hachette Filipacchi.

Source: mediaguru.cz

SPANISH COURT ORDERS NORDVPN AND PROTONVPN TO BLOCK LALIGA PIRATE STREAMS

LALIGA and Telefónica Audiovisual Digital (TAD) say they have judicial backing requiring NordVPN and ProtonVPN to prevent access from Spain to IP addresses where illegal transmissions of LaLiga matches have been verified.

In a statement, the companies describe the precautionary measures from Commercial Court No. 1 of Córdoba as dynamic, with no right of appeal, allowing updated IP address lists to be supplied as new infringements are detected.

The court decisions also recognise VPN providers as “technological intermediaries” falling within the scope of the EU Digital Services Regulation, and therefore subject to requirements to help prevent infringements using their infrastructure. The orders describe VPNs as “highly effective and accessible” tools that can distort a user’s apparent location and facilitate access to websites carrying protected content illegally, noting the defendants “acknowledge and even advertise” their ability to evade restrictions.

LALIGA and TAD said the measures are intended to stop VPN services from contributing to the evasion of access restrictions already ordered by Spanish courts, referencing the December 2024 Barcelona Commercial Court No. 6 ruling that underpins LaLiga’s wider dynamic IP-blocking approach against piracy.

The court also orders also require LALIGA and TAD to preserve sufficient digital evidence of the unlawful transmissions they notify to the VPN providers, supporting the evidential approach used under previous rulings.

Source: broadbandtvnews.com

CLOUDFLARE AND ONLINE PIRACY: THE RESPONSIBILITY OF DIGITAL INTERMEDIARIES UNDER SCRUTINY

The Tokyo District Court ruled that Cloudflare, one of the world’s leading Content Delivery Network (CDN) service providers, is liable for the manner in which it provides its services, which facilitates copyright infringement. The dispute concerned the illegal distribution of popular manga titles with a global reach, including the ONE PIECE and Attack on Titan series. The lawsuit was filed by four leading Japanese publishers – Kadokawa, Kodansha, Shueisha and Shogakukan.

The case dealt with the operation of two large pirate websites that illegally made more than 4,000 manga titles available. The sites recorded over 300 million visits per month and used Cloudflare’s CDN services, which enable fast and efficient content distribution while making it difficult to identify the original servers.

The court found that the company’s liability did not lie in the CDN technology itself, but in the manner in which it provided its services. In particular, it criticised the absence of thorough customer verification procedures (Know Your Customer – KYC) and the inadequate response to repeated notifications of copyright infringement.

According to the court, providing easy access to services without thorough client identification gave pirate website operators a high degree of anonymity. This significantly complicated the normal legal steps taken by copyright holders to protect their works.

Based on these conclusions, the court ruled out the possibility of using the so-called safe harbour under Japan’s Information Distribution Platform Safety Act. It concluded that the company was aware of the illegal nature of the activities that its services enabled and had the technical ability to terminate them. Cloudflare was therefore ordered to pay approximately 500 million yen.

The decision fits into the broader international debate on the liability of digital intermediaries. Similar issues are also addressed by European law – for example, the Digital Services Act and the Copyright Directive strengthen the obligations of platforms in the area of due diligence and cooperation and limit exemptions from liability in cases where the intermediary does not act passively or respond to obvious infringements of the law.

The company is also facing regulatory measures in Italy. The regulatory authority AGCOM recently imposed a fine of over EUR 14 million on the company for violating anti-piracy legislation (Law No. 93/2023). According to the authority, the company failed to comply with an order to block access to illegal content reported by the rights holder through the Piracy Shield system and did not take sufficient technological and organisational measures to prevent the further dissemination of such content.

This development confirms that even technology intermediaries can be held directly liable if they fail to respond to clear and timely requests to remove illegal content.

Source: previti.it

FOUR ARRESTED AS PIPCU SHUT DOWN £750K ILLEGAL IPTV OPERATION

Police Intellectual Property Crime Unit (PIPCU) at City of London Police has arrested 4 people and seized 10 servers in Manchester as part of an investigation into a large-scale illegal IPTV streaming service.

Officers executed warrants last week, confiscating servers and associated equipment valued at around £75,000 each, with total seizures exceeding £750,000 (€866,000).

The investigation began after Sky reported suspicious activity linked to an illicit streaming service. Investigators identified individuals believed to be operating an illegal IPTV operation supplying consumers across the UK, with one suspect alleged to have generated more than £3 million in revenue.

During the raids, officers shut down the servers on site. Sky said the action caused widespread disruption to the service’s illegal streaming output across the UK.

Detective Constable Jordan Day said the services are “organised criminal operations generating millions in illegal profits”, adding that working closely with partners such as Sky helps dismantle piracy networks and “send a clear message” to those behind them.

Matt Hibbert, Sky’s Group Director of Anti-Piracy, said the broadcaster would continue working with police and industry partners to disrupt criminal networks, and warned consumers that illegal streams can expose devices and personal data to risks. He pointed to research from BeStreamWise suggesting nearly 65% of illegal streamers have faced security scares such as malware.

Source: broadbandtvnews.com

US SEIZES DOMAINS LINKED TO BULGARIAN PIRACY SITES ZAMUNDA, ARENABG AND ZELKA

The US Department of Justice has issued seizure warrants against three US-registered internet domains tied to commercial websites allegedly operated from Bulgaria and accused of distributing copyrighted content without authorisation.

In a statement, the department said the services offered pirated copies of movies, television programmes and other content, including video games, software and e-books.

According to affidavits supporting the warrants, the three domains attracted “tens of millions” of visits a year, hosted “thousands” of infringed works and drove “millions” of downloads, with retail value totalling millions of dollars. The department said the sites were among the most popular in Bulgaria, with one frequently ranking in the country’s top 10 domains, and appeared to generate significant advertising revenue.

Visitors attempting to reach the services will now see a seizure notice stating the domains are in US government custody and warning that wilful copyright infringement is a crime. The domains named in the action are zamunda.net, arenabg.com and zelka.org.

The operation involved cooperation with Bulgarian agencies and Europol, one of a number of coordinated international law-enforcement operations to take place in recent weeks. The DOJ said it worked with Bulgarian partners including the National Investigative Service, the General Directorate for Combating Organised Crime, the State Agency for National Security and the Prosecutor’s Office, alongside US partners including the US Attorney’s Office for the Southern District of Mississippi, Homeland Security Investigations and the National Intellectual Property Rights Coordination Center.

The department said the investigation is being led by HSI, with prosecutors from the Computer Crime and Intellectual Property Section and the Southern District of Mississippi, and support from its International Computer Hacking and Intellectual Property programme based in Bucharest.

Source: broadbandtvnews.com

OPERATION SWITCH OFF TAKES MAJOR ILLEGAL IPTV PLATFORMS OFFLINE

A coordinated international law-enforcement operation led by the Catania District Prosecutor’s Office and Italy’s Postal and Cybercrime Police has targeted an industrial-scale illegal IPTV network, with investigators naming 31 suspects following raids in 11 Italian cities and 14 countries.

ACE said the action took offline infrastructure serving millions of users, while Italian authorities and supporting reports said more than 1,000 resellers in Italy were shut down and more than 125,000 end users were blocked in the country, with “millions” more impacted worldwide.

The operation resulted in the seizure of three well-known illegal IPTV platforms – IPTVItalia, migliorIPTV and DarkTV – alongside associated websites and Telegram sales channels. Investigators said the services offered pirated live and on-demand programming from major rights holders and platforms including Sky, DAZN, Mediaset, Amazon Prime Video, Netflix, Paramount and Disney+.

Authorities said the investigation grew out of leads and forensic work linked to a previous operation, Taken Down, and included network monitoring and financial tracing, including cryptocurrency flows. Reports also pointed to proEuropaTV being identified in Romania, distributing via six servers in Romania and an African country, and the discovery of a SIM farm in Naples with more than 200 phone cards.

ACE and industry partners framed the takedown as timely ahead of the Milano Cortina 2026 Winter Olympics, with DAZN saying the case showed the impact of “coordinated global action” against piracy that undermines investment and exposes consumers to fraud and cyber risks.

Source: broadbandtvnews.com

CZECH MEDIA SIGN SELF-REGULATION MEMORANDUM WITH EMFA

The Czech media has prepared the first representative self-regulatory mechanism on the Czech market. The self-regulatory mechanism (known as the “self-regulatory decalogue”) was created in cooperation with private and public media and organisations representing journalists. Its aim is to help maintain high standards of journalism and quality reporting in the Czech Republic. It contains a number of rules designed to ensure transparent and responsible journalism. Representatives of industry associations today signed a memorandum on this decalogue, formally completing the entire process of its adoption.

Today’s signing is the result of more than a year of debate across the entire Czech media market. Representatives of private and public media as well as the journalistic community took part in the discussion. The first joint step was the adoption last August of the so-called “self-regulatory ten commandments”, which define the principles of freedom, transparency and responsibility of the media towards the public.

To ensure that the ten commandments did not remain merely a formality, it was necessary to create a system for putting them into practice. The signatory associations (AKTV, AOV, APSV, ČUV, SPIR, CZ IPI and the Czech Syndicate of Journalists) therefore agreed in a memorandum on a clear procedure for individual media outlets to join, who will oversee compliance with the rules and how professional organisations will cooperate with each other.

Individual media outlets can now sign up to the memorandum. This option is open to both members and non-members of the associations, who can do so through the relevant signatory professional organisation that corresponds to their focus. More detailed information will be available on the websites of the signatory associations.

The main objective of the memorandum is to create a unified self-regulatory mechanism and improve the position of media service operators vis-à-vis large online platforms (VLOPs), against which Czech editorial offices can act as a strong and unified partner thanks to the agreement reached. Self-regulation was established in response to the European EMFA regulation.

“Today’s signing of the self-regulation memorandum is the result of the first ever open and systematic debate across the Czech media market. Commercial and public service media and journalists have agreed on the basic principles of transparent, ethical and responsible journalism. We believe that the self-regulation decalogue will help to cultivate news reporting and guide viewers and readers in today’s turbulent times,”

said Marek Singer, president of the Association of Commercial Television Stations.

“This is a unique moment for the Czech media market in two respects: for the first time in our post-revolutionary history, all the main professional organisations have agreed on common rules for market self-regulation. We see this as a crucial step at a time when it is increasingly difficult to distinguish relevant independent news from disinformation, propaganda in the interests of third countries, or unverified content created by AI. Secondly, this step also makes us a flagship for countries where self-regulation is still lacking or not functioning. We are pleased that the model we have created together in the Czech Republic is inspiring for many of our colleagues in Europe and that we can thus contribute to the cultivation of the media environment in other countries as well,” said Lucie Sýkorová, member of the board of the Association of Online Publishers.

“The entire media market has chosen the path of self-regulation, a path without further state intervention. We are aware that it is crucial for the future of private radio stations and all national media to retain control over content, its distribution and monetisation. It is also a way to preserve independence. At the same time, we appreciate that EMFA is raising the issue of protecting the media from the dominance of global online platforms,” Jiří Hrabák, Chairman of the Board of APSV.

“From the perspective of journalists themselves, professional self-regulation and setting standards is always better than any intervention by public authorities, regardless of who is in government,” says Robert Čásenský, Chairman of the Board of Directors of the Czech National Committee of the International Press Institute.

“Media freedom is neither a given nor a privilege – it is a responsibility. This memorandum is proof that the Czech media scene is capable of bearing this responsibility itself, openly and collectively,” said Tomáš Tkačík, Chairman of the Board of Directors of the Czech Union of Publishers.

“The digital media market is evolving faster than any regulation. That is why we consider self-regulation to be the most effective way to protect media independence, content transparency and a level playing field with global online platforms. The memorandum is an important signal that the Czech media want to bear this responsibility together,” said Michal Hanák, Chairman of the Executive Board of the Association for Internet Development in the Czech Republic.

“The fact that media partners and competitors have been able to agree together shows that they take this commitment seriously. Among other things, it is also a clear signal to government officials that the Czech media market is not a jungle but a field with clear rules that all participants have committed to follow,” Ivana Šuláková, Chair of the Czech Syndicate of Journalists.

SPAIN: LANDMARK RULING AGAINST TV PIRACY

A Spanish court has set a new benchmark in the fight against TV piracy by imposing prison sentences of up to three years on those responsible for illegally distributing the signal of Movistar+ and other pay-TV operators.

In a ruling – described as a turning point for the audiovisual industry – the Málaga Provincial Court ordered the definitive closure of the websites servicio-iptv, servicioiptvccam and servicioiptvpremium for serious breaches of Spain’s Intellectual Property Law. The portals were used to market unauthorised access to pay-TV services.

The judgment is particularly severe in that it entails mandatory prison terms, with no option to avoid custody even for defendants with no previous criminal record — a mitigating factor that had been accepted in similar cases in the past. The decision was issued as a plea agreement after the defendants admitted the facts and accepted the prosecution’s proposed sentence, ruling out any possibility of appeal and slightly reducing the overall penalty.

According to the investigation, the criminal network offered access lists to more than 8,000 national and international TV channels through its various platforms. The operation, which lasted several months, was carried out by Spain’s National Police and ultimately led to the dismantling of an organised group dedicated to the illegal commercialisation of pay-TV signals.

Among the pirated content were the 64 exclusive channels of Movistar+, whose owner Telefónica spearheaded the legal action. The case was later joined by ADIVAN, an association representing major entertainment and streaming companies including Sony Pictures Entertainment Iberia, 20th Century Fox Home Entertainment Spain and The Walt Disney Company.

In addition to custodial sentences, the court imposed financial fines, upheld the blocking of the illegal websites and established civil liability in favour of Telefónica, provisionally set at €80,000. In its reasoning, the court highlighted the economic impact of the damage caused and the particular seriousness of the offences, given the scale of unauthorised content exploitation.

The ruling also details the business model behind the illegal services, which offered fraudulent connections at reseller rates of €10 per month, €35 for six months or €50 for a full year, all providing access to thousands of channels. These factors were treated as aggravating circumstances, reflecting both significant financial gain and a repeated, deliberate infringement of intellectual property rights.

Source: advanced-television.com

AI IS ALREADY CHANGING THE WORLD OF MEDIA; IN 2026, IT COULD BE ADVERTISING’S TURN

Tech giants such as Google have made such progress with artificial intelligence that it is already having a noticeable impact on the business of many online media outlets. This trend will intensify in 2026.

The world of digital media reached a turning point in 2025. For many users of the Google search engine, for example, it no longer makes sense to click on links in search results, because Google uses AI to summarise the content of relevant pages for them. Czech users also gained access to this feature in 2025. The same applies to the deployment of AI mode, which allows users to switch the standard Google search field to a conversation mode with an intelligent chatbot modelled on ChatGPT.

Both innovations have the potential to significantly transform the way internet users consume digital content. In its recent analysis, the Association for Internet Development (SPIR) pointed to a significant decline in traffic to Czech websites from internet search engines, which are among the main sources of readers. Among other things, these findings are heightening publishers’ concerns about further erosion of their business model, where trusted websites serve as one of the sources of information for artificial intelligence models, but content creators do not profit from this in any way.

More than just a bubble

But while the business of established media may have a problem with the rise of AI, an equally pressing question in 2026 will be the financial sustainability of the whole artificial intelligence craze. In this context, it is not necessarily a question of whether the events surrounding the shares of Nvidia, Alphabet, Meta or Oracle resemble an inflated bubble. As US Federal Reserve Chairman Jerome Powell pointed out, the current investment craze surrounding artificial intelligence cannot be compared to the infamous dot-com bubble at the turn of the millennium. According to Powell, the reason for this is the overall healthy business fundamentals of today’s largest technology companies.

Investors can also take comfort in the fact that the boom in AI is being driven primarily by highly profitable companies that dominate their market segments. This includes internet advertising.

A new era of personalised advertising?

However, Google does not currently plan to display advertising in its advanced artificial intelligence model called Gemini. At the same time, it is testing the deployment of advertising in AI mode, which could gradually replace the current form of Googling for more and more users.

In the case of other forms of AI, however, the deployment of hyper-personalised advertising may only be a matter of time. During Christmas, The Information published a report that OpenAI is already discussing the possible form of advertising in ChatGPT. These considerations are reportedly driven by the tech company’s desire not to rely solely on revenue from paid features and commercial contracts. After all, only five per cent of its 800 million regular users are paying customers.

In addition, the company has huge investment plans, with plans to spend a trillion dollars in the coming years to develop its business. OpenAI co-founder Sam Altman sees the company’s IPO as one possible solution to the capital intensity of its plans. Analysts speculate that this could happen at the end of 2026, but Altman does not specify these assumptions.

However, according to his words for the Big Technology podcast, he realises that OpenAI would come under even greater scrutiny if it went public. This would also mean greater pressure on profitability from shareholders, for whom the idea of placing advertisements in ChatGPT could represent an attractive prospect for improving the financial performance of a company that has been loss-making until now.

Don’t forget about cookies

While the ingenious combination of language models and advertising is still a question for the future, marketers and publishers should not lose sight of some seemingly forgotten phenomena, even in 2026. Their industry will continue to be significantly affected by the issue of third-party cookies, which Google committed to phasing out in Chrome almost five years ago. In the spring of 2025, however, it ultimately backed down from its plan, stating that it would leave users with the existing option to access cookies in their privacy settings.

As a result, however, the entire market finds itself in a “strange hybrid state,” as was stated at the recent Adform summit. Some players are deploying new technologies, while others are trying to hold on to the old ones, even though their value is rapidly declining, practically overnight. However, a similar characteristic of the digital market may also be seen in the coming years in connection with the possible boom in artificial intelligence.

Source: mediaguru.cz

PRIMA+ NEARLY DOUBLED ITS VIEWERSHIP LAST YEAR, DRIVEN BY REALITY SHOW ZRÁDCI

The prima+ video platform recorded 200 million video views last year. This is almost double the number compared to the previous year. The reality show Zrádci (The Traitors) attracted the most viewers.

The prima+ streaming platform almost doubled its number of views last year . According to an official statement by the operating company FTV Prima, it recorded over 200 million video views in 2025, compared to 113 million in 2024. The most watched programme last year across all tariffs was Zrádci. In second place in terms of number of users was the new series of Ano, šéfe! and in third place was Farma Vojty Kotka. The most successful films of last year across all tariffs on this platform were the Czech films Kouzlo derby, Holka od vedle and Zápisník alkoholičky.

The Prima Group achieved an overall daily share of 26.78% (15 ) and 24.98% (18–69) in linear TV broadcasting in 2025. The share in prime time last year was 26.05% (15+) and 24.65% (18–69). The best months of 2025 for the Prima Group were October and April. Throughout the year, the most popular programmes among viewers in CS 15 were new in-house productions such as Polabí, Mladá krev, Kamarádi and Farma Vojty Kotka.

CNN Prima News recorded the highest growth among Prima Group stations and on the television market as a whole last year. It achieved an all-day share of 2.60% (15 ), which represented an increase of 0.64 pb compared to 2024. The most successful month was October, the election month, with a share of 3.40%. Prima Krimi also grew. More here.

Source: mediaguru.cz

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