The Paris Judicial Court has issued 2 rulings in favour of the LFP (French Professional Football League) and LFP Media, extending efforts to block illegal streaming of Ligue 1 and Ligue 2.
The decisions, issued December 18, cover the blocking of websites and IPTV services unlawfully carrying the matches, and also target tools used to bypass ISP restrictions, including VPNs and alternative DNS services.
French regulator Arcom says 66% of internet users who use illegal solutions rely on VPNs or alternative DNS to circumvent blocking measures implemented by internet service providers.
In a first, DNS4EU will be required to implement blocking measures under the court’s orders.
The LFP and LFP Media said the rulings would allow them to broaden their anti-piracy strategy to include a wider set of technical intermediaries involved in the distribution chain, and build on measures already secured against ISPs, certain alternative DNS services and search engines.
They added the approach is designed to protect rights while supporting the legal market for watching Ligue 1 McDonald’s and Ligue 2 BKT, as part of a wider strategy carried out alongside clubs, broadcasters and distributors.
The Association of Commercial Television + ScreenVoice wish you a peaceful and relaxing holiday season in the company of the stories and tales you love the most.
January will bring only a few premiere shows to TV screens. On the contrary, some more archival titles will return.
January is traditionally a weak season for commercial TV stations, which is why there are few premiere titles on their evening broadcasts. These, on the other hand, will be added to the main programme of Czech TV from the beginning of January. However, ČT1 will also have a lower number of premieres in prime-time next year than in previous years due to previously introduced savings.
The main TV news of the new year will be the show Peče celá země, which starts on Saturday 3 January, and new episodes of the crime drama Místo zločinu Zlín. The opening episode will be offered by ČT on Monday 5 January 2026. The new episodes will be followed by the series Kamarádi (Prima) at the beginning of the year. However, this is basically the end of the list of premieres of dramatic works in the first time window from 20:00.
Mondays on TV Nova and TV Prima will be marked by reruns of the detective series Specialisté (Nova) and Polda (Prima), Wednesdays and Fridays will be marked by Vyprávěj (ČT1) and Sundays by Kriminálka Anděl (Nova). Tuesdays and Thursdays will again remind of Chalupáři (Nova) before Bratři a sestry appears for its last season, and Prima is also waiting for the return of Polabí, which is fitting Czech films into the series’ usual time slot.
Next up is the foreign series Inspektorka Candice Renoirová (ČT1), again on Tuesdays and Thursdays. From the foreign productions, the Slovak crime series Neuer will also be presented, which will occupy the Sunday evening airtime. In January, ČT will also include a rerun of the series Pustina as well as the series Četnické humoresky.
Nova continues with the reality show genre on Wednesdays in the form of Výměnamanželek and the dating show BachelorČesko.
A change from last year will be made to the order of the shows in prime-time, when after the end of the daily series ZOO, Prostřeno (Prima) returns to the time from 18:00, preceded by reruns of Ano, šéfe!.
Announced news from commercial television stations Nova and Prima can be expected in the coming months of the new year.
This year, you can also look forward to fairy tales, popular films and specials of popular shows on commercial TV channels. Enjoy a fairy-tale-like Christmas, in the warmth of your home, surrounded by your loved ones, and start quietly 3️⃣ – 2️⃣ – 1️⃣ RIGHT NOW!
Familiarity with the Oneplay brand, which was established in the spring, is already at the level of the former Voya. According to Nova CEO Daniel Grunt, awareness of the service has grown very quickly. But 2026 will be marked by further work with the brand, he says.
The Oneplay platform, which was created in March 2025 by the merger of the Voyo video portal and O2 TV, is three quarters of a year old. According to TV Nova CEO Daniel Grunt, it has managed to connect two initially disparate worlds surprisingly quickly, given that it was a project that involved two companies with different cultures, business models and technology.
“It was an extremely complex and large project. We worked on it together for two and a half years. We each started from different market conditions, where O2 operates in the satellite market and we operate in the streaming market, where the customer can leave at any time,” Daniel Grunt, CEO of TV Nova, described to MediaGuru.cz after the press conference of TV Nova and Oneplay on the spring programming scheme. It is Oneplay that is set to become the “centrepiece” of Nova’s activities in its future direction.
The average user watches five hours a day
Overall, viewers have watched more than 2.2 billion videos on Oneplay since the service launched on 10 March 2025. On average, they watch 35.5 hours a week, meaning the average Oneplay user watches more than five hours a day. The wide range of content, from reality shows, series, movies to a variety of sports, brings hundreds of thousands of users to the platform at any one time.
Nova’s CEO admits that initially Nova underestimated the overlap of users between the two services, believing that there were fewer Voya and O2 TV users than there actually were. This essentially meant a reduction of tens of thousands of customers because they naturally chose only one service. However, the situation quickly stabilised and the number of subscribers has been growing steadily since the spring. Daniel Grunt does not give specific figures, but he says that the monthly trend follows seasonality. “The growth is in leaps and bounds according to the season. In the summer it was good that we didn’t decline because Farma worked perfectly as a retention tool. And in the fall season, both the series and Love Island, for example, work. Plus, the latter had its best season this year,” he says, adding that the finale garnered up to half a million votes. “I’m pleased that Oneplay is attracting young people who are very hard to catch on TV these days,” he says.
Growing familiarity and continuing to work with the brand
In terms of familiarity, Grunt says the Oneplay brand has essentially grown to the level of Voya in nine months. “We’ve built a brand that is already extremely strong. When I look at the top of mind metrics, we’re plus or minus at the level where Voyo was, so we’re a close second to Netflix,” he assesses. Awareness of the service (awarness) has grown very quickly, he says. “But we have about two years of explaining what Oneplay actually is and what the benefits are,” he adds. In the coming year, therefore, Oneplay will focus on brand work and “basic hygiene”, for example in the form of corrections to technical functioning. For now, however, it has no plans to change the pricing or set-up of its packages. “Next year, prices will definitely stay. We are not thinking about change yet, it’s early days,” concluded Daniel Grunt.
Monthly subscriptions for access to television and VOD services continue to rise in price. What’s more, each one has something to offer, but none has everything. As a result, users rely on discreet, friendly assistance and share access passwords to reduce costs. Or they search for content on ‘alternative’ streaming portals, where programmes are played in embedded windows with dangerous scripts.
Consumers are essentially creating their own virtual service packages. Operators warn that this is a violation of their terms and conditions. Global services are fine-tuning technical measures to cut off freeloaders. Czech operators do not yet see this as a major problem, but they, too, refer to contracts and limited numbers of simultaneous streams.
Users’ wishes have remained the same for a long time: to have as many films, series and sports as possible in one place and at an affordable price. However, what is acceptable to users is difficult for providers to accept, as they bear the costs of development, technology and licensing rights. Moreover, costs are rising with all the “any device, unlimited streams” approaches that users take for granted. In addition, every major player has its own exclusive library of programmes that it does not want to share with its competitors, as this would jeopardise its revenues.
Those who wish to watch a wide range of programmes will inevitably end up with multiple subscriptions. And with that comes the temptation to share access outside the household.
Terms and conditions usually stipulate that sharing passwords with third parties outside the household is not permitted, even if the operator tolerates temporary viewing while travelling. Platforms also argue that there are security risks. Sharing a password can compromise the entire account, as whoever has the password can change settings, payment information and so on.
Netflix has started charging for sharing outside the household and allows one additional person to be added for CZK 99 per month. Disney+ has introduced a similar “Extra Member” add-on for CZK 139. HBO Max is testing the “Extra Member” concept in the US. They are thus trying to convert informal user practices into regular revenue, but even this measure has its limits. In most cases, it is not possible to add more than one or two additional users, and they cannot create multiple user profiles.
Czech operators all agree that sharing outside the household is not permitted, but their approach to enforcing the rules varies significantly. The largest domestic player, TV Nova, points out that a higher number of simultaneous streams is reserved for family viewing on the Oneplay service. “Even the name suggests that sharing is intended for family members,” said Barbora Dlabáčková, Head of Communication.
T-Mobile emphasises the binding nature of its terms and conditions.
“The customer is obliged to ensure that access to the service is not shared with persons outside the household or family members,”
explains Johana Valtrová from the press department. Telly has a similar interpretation. The operator’s CMO, Jan Schöppel, states that sharing access outside the family is a clear violation of the terms and conditions.
Vodafone describes the situation differently, admitting that informal sharing occurs quite often in practice. “We notify our customers in such cases, but we do not technically block them at this time,” says Ioannis Papadopoulos. Vodafone also points out that with the possibility of up to six simultaneous streams, the temptation is naturally greater.
SledováníTV states that it does not consider password sharing to be a major problem, as the service limits the number of paired devices and parallel playbacks. Pecka TV takes a similar stance, arguing that technical measures are enforced by the broadcasters. “The limit on simultaneous streams is designed to protect the rights of content owners while allowing mobility for household members,” said Matěj Čičák, Head of Marketing. GoNET, the operator of Lepší.TV, adds another detail: some television stations require their own limits, which is why the service strictly enforces them for selected programmes.
The responses we received indicate that sharing is undesirable, but strict controls are not yet common. Most services rely on the fact that limits will logically restrict the number of people who can use the account, and that user behaviour will thus remain “within limits”.
However, completely outside this area is the grey zone of websites that present themselves as “shared link catalogues”. Sites such as Kukaj.to, Sledujfilmy and Bombuj create an environment strikingly similar to regular streaming services, including a tile-based graphical interface and players. However, they do not have or host any content of their own. In fact, this model is based on embedded video, redirection to external storage, and a dense layer of advertising.
Accessing a programme often requires closing multiple advertising windows. These sites defend themselves by arguing that they do not store content, but only link to it.
“Embedding or framing means distributing works via links or frames. There is a widespread misconception in society that it is permitted and legal, but this is not the case. In other words, it is not possible to absolve oneself of responsibility for copyright infringement simply because a specific file ‘carrying’ the work is not used, but ‘only’ a link to it,” points out the Association of Commercial Television.
“The user does not infringe on any rights by simply linking to another website where the copyrighted work is located. On the other hand, embedding should be assessed on a case-by-case basis. Czech courts have ruled in the past that embedding is considered a form of making a work available to the public and, therefore, a form of use of a copyrighted work,”
adds the Association.
In 2016, the Court of Justice of the European Union ruled that the financial aspect of linking to content is also an important consideration. The mere placement of a link to a protected work that has been published elsewhere without the author’s consent is not considered “communication to the public” if the person who publishes the link does not profit from it and does not know that the work has been published unlawfully. However, if the link is published for profit, it is assumed that the person knows about the illegality.
At the time, the dispute concerned links to illegally published photos from Playboy, which someone had obtained before they were published in the magazine and uploaded to the Australian server FileFactory. The article with the links was published by one of the most visited websites in the Netherlands. When Playboy’s publisher succeeded in having the photos removed from one storage site, the server operator updated the article and referred readers to another illegal source.
In this context, it should be noted that websites with embedded players are surrounded by advertising systems and scripts from which the website operator receives commissions. Clearly, this is not charity. The money ends up in the pockets of the operators of these websites, not with the original copyright holders.
The grey area in various forms has accompanied the distribution of digital content from the very beginning. One of the leading technology managers spoke to Broadband TV News about this long-standing problem, which is now “exploding”.
The interview, which was published a few days ago onBroadband TV News, warns of a dramatic increase in piracy, which has turned into a form of organised business, to which operators must respond by changing their strategy. Maria MalinkowitschofVerimatrix, one of the world’s leading cyber security companies, points out that traditional control methods are failing, as “81% of requests to remove illegally uploaded content are now ignored”.
According to the manager, companies are still mistakenly focusing on addressing the consequences rather than the causes. She therefore emphasises the need for a fundamental shift, whereby “the industry must move from mere reaction to detention and prevention”, which she considers to be the only viable long-term solution. Malinkowitsch identifies the abuse of distribution networks and unprotected applications that enable mass real-time streaming theft as a key threat.
How digital pirates steal
Traditional forms, such as torrents, are giving way to more sophisticated forms of piracy. The main form today is what we might call“piracy as a service”– complex illegal streaming platforms that function like professional platforms such asNetflix, with their own interface, recommendation system and thousands of channels, including premium sports. The second key form is“CDN network theft”– hackers steal login details from legal applications and use them to download original content directly from the servers where it is legally stored.
A long-standing problem is the distribution of television content via web browsers, smart TVs, smartphones or tablets, which are more easily accessible than the classic set-top boxes with encryption via decoder cards used in the past. Older viewers may remember the arrival of the Romanian satellite serviceDigi TVand its super-cheap offers. Piracy even reached such a level that keys could be obtained automatically using specially modified software.
A “business” like any other
On the dark web, which is referred to as the dark layer of the internet, you can buy a ready-made package for operating such a service. It is a completely illegal platform that already includes a recommendation system, a user management system, an administration interface, payments via payment cards and cryptocurrencies, and thousands of channels, including premium sports. The whole issue was described very well by theSynamedia portal less than three years ago.
How to deal with such services?Artificial intelligence helps significantly. Monitoring is performed using AI-controlled systems that scan the web, illegal IPTV platforms, and social networks (especiallyTelegramchannels, where “operators” find resellers). Watermarking plays a key role in detection – invisible marks are inserted into videos, which remain intact even after recoding or other manipulations. When the content appears on a pirate platform, this watermark can be identified and its exact source traced to find out who is responsible for the theft.
An example of a successful fight from the Czech Republic
TheStream Cinema Communityadd-on was long one of the most serious piracy tools on the Czech market, through whichKodiusers accessed content from all key players such as Netflix,Disney, HBO MaxandPrime Video. The technical complexity of combating this add-on lay in its legal architecture: the service itself did not host any content, but only functioned as a search engine and player for links to files stored in cloud storage.
Although the add-on (and its alternative, Stream Cinema) had been known about for a long time and was considered problematic, it wasthe Association of Commercial Television (AKTV), which represents the Nova, Prima and Óčko groups on the domestic market, that finally managed to do something about it after years. It completely disappeared from this online platform, the SCC “service” ended completely, and its alternative lost the content protected by AKTV.
Authorities in Germany have carried out coordinated raids across three federal states as part of an investigation into a suspected organised pay-TV piracy network.
The action targeted four men aged between 41 and 51 accused of large-scale card-sharing and the illegal provision of IPTV services.
According to the public prosecutor’s office in Dessau-Roßlau and the State Criminal Police Office (LKA) of Saxony-Anhalt, searches were conducted on 2 December 2025 in Magdeburg and Lutherstadt Wittenberg, as well as in Delitzsch (Saxony) and Heldenstein (Bavaria). The investigation centres on allegations of commercial and gang-related computer fraud within the cybercrime domain.
Investigators believe the suspects unlawfully shared pay-TV smartcards from a major provider over several years, distributing access to a large number of users via the internet. The resulting financial damage to rights holders is estimated to be at least in the mid-six-figure Euro range.
During the raids, police seized extensive evidence, including computer systems, satellite receivers, IPTV boxes, servers, data storage devices and smartphones. Officers also performed live forensic captures of volatile data on external servers and were able to shut down illegal card sharing servers immediately.
The investigation is ongoing, the authorities said.
The Czech International AI Film Festival 2025 will showcase top films selected from more than a thousand submissions, offer meetings with experts and filmmakers in a panel discussion, and culminate in an award ceremony. An exceptional opportunity to see the future of film on the big screen awaits you. This year CIAIFF is entering its biggest and strongest year yet, with a record number of entries from around the world and ambitions to become one of the leading AI film festivals in Europe.
The Czech Association of Artificial Intelligence (CAAI), in collaboration with YDEAL and the zero1cine platform, invites all of you who are interested in where filmmaking is heading to the third edition of CIAIFF, an event with an international reach that brings together film, art and technology and proves that AI is not just a technical tool, but also a creative partner capable of turning dreams, ideas and a distinctive vision into a cinematic reality.
Czech Association of Artificial Intelligence (CAUI), the leader of the Czech AI ecosystem, together with partner agency YDEAL and platform zero1cine presents the third edition of the Czech International AI Film Festival (CIAIFF), a unique event that connects filmmaking, technological innovation and new forms of visual storytelling. The festival will take place on 13 December 2025 at Prague’s Cinema City Slovanský dům.
“CIAIFF is not just a film festival, but a laboratory of the future. It shows that AI in film is not a substitute for human creativity, but a multiplier of it. Prague is thus becoming one of the world’s centres of film innovation,”
says Lukáš Benzl, Director of the Czech Association of Artificial Intelligence.
CIAIFF is one of the pioneering festivals of its kind in Europe and has long shown that AI is not just a technology, but also a creative partner that can capture the imagination, dreams and thoughts of creators in a way that the classic camera cannot. After successful editions in 2023 and 2024, which captivated media from Wired to Forbes, the festival comes this year in its biggest form yet.
International competition and record number of entries
More than 1,300 films from all over the world entered the competition section, from which the curators selected the ultimate selection of the best works of contemporary AI cinema. The festival will award prizes in nine main categories:
Best AI Film
Best Science Fiction
Best Documentary
Best Experimental Film
Best Music Video
Best Screenplay
Best Photography
Best Sound Design
Creative use of AI
The programme also includes special prizes from partners Curious Refuge, Eleven Labs and Minimax to support the winners with education, equipment and further development of their work.
International jury and inspiring guests
Winners will be decided by an expert jury of leading creators, producers and AI innovators:
Odair Faléco, festival president and award-winning director
The accompanying programme will feature appearances by prominent figures who are pushing the boundaries of film and digital filmmaking, including:
Boris Eldagsen, visual artist and AI photography pioneer
Justin Hackney, co-founder of Wonder Studios
Elliot Grove, founder of Raindance Film Festival
Project blocks, networking and ceremony
The festival will offer a half-day programme including screenings of films in competition, discussion panels, meetings with filmmakers and AI experts. The highlight of the evening will be the award ceremony for the winners of each category.
“While cameras only capture what is in front of the lens, AI captures and translates what is happening in the mind of the artist, in their imagination and dreams, and this is unique to this medium,”
says Odair Faléco, president of the festival.
Since its inception, CIAIFF has profiled itself as a global platform connecting professional filmmakers, AI creators, technology innovators and the general public. This year’s edition aims to show that the future of film is not just beginning, it is already underway.
CIAIFF is a platform open to filmmakers and lovers of film, art and technology – it doesn’t matter if you are an established filmmaker, a visual artist, an AI enthusiast or just someone who wants to see where film is heading in the new decade. The festival will appeal to anyone who believes that AI can bring new aesthetics, new forms of storytelling and push the boundaries of creativity. It’s also a unique opportunity for young talented filmmakers – the competition is international and open to anyone who uses AI as a major creative tool.
Practical information:
Date: 13 December 2025 from 15:00 Cinema City – Slovanský dům, Na Příkopě 22, Prague Tickets: available now on GoOut (previous editions were sold out)
How do influencers understand and exercise their own rights? How do they approach the protection of third-party intellectual property, and what impact does their behaviour have on their audience, especially young people? These questions were the focus of the study Influencers and IP, conducted this year by the European Union Intellectual Property Office. This study is the first comprehensive EU-level research systematically examining the relationship between influencers and intellectual property.
Influencer marketing is one of the fastest-growing segments of the digital economy. The global market value is expected to reach USD 32.55 billion in 2025. Influencers have a significant impact on consumer behaviour and cultural norms, particularly among Generation Z. The EUIPO therefore considered it important to understand how influencers engage with intellectual property – whether they infringe it, or, conversely, protect it or help strengthen respect for IP.
The study builds on the EUIPO’s long-standing activities in intellectual property education for young people and responds to the findings of the Intellectual Property and Youth Scoreboard 2022, which found that some young people consume pirated content or counterfeit goods based on recommendations from influencers.
The survey process
The survey was conducted between July and August 2025 via the online questionnaire made available in the 24 official EU languages. More than four thousand influencers in all 27 EU Member States were contacted, with the final sample consisting of 300 respondents. The researchers worked with four categories of influencers based on audience size, focusing on Instagram, TikTok, and YouTube. The authors of the study emphasise that this is qualitative, exploratory research, not a fully representative statistical survey, but the resulting document still provides valuable insight into the attitudes and behaviour of influencers across the EU.
The largest part of the sample (49%) consisted of influencers with a “mid-tier” audience category, who have 50,000–500,000 followers. They were followed by influencers from the “micro” category with 10,000–50,000 followers (30%). Influencers in the “macro” category with 500,000–1 million followers accounted for 13%, while influencers in the “nano” category with 1,000–10,000 followers made up 8% of the sample.
In terms of age, influencers over 30 years old predominated (58%), while approximately 41% were under 30 years old.
92 % of influencers report that they monetise their activities. However, more than half have no formal business assets. Only 30% own a brand, 18% operate an online store, and 18% hold registered intellectual property rights (trademarks, etc.). However, brand ownership does not necessarily mean that the influencer holds registered IP rights.
Source: Influencers and IP; Base: 300 influencers in the EU, who were allowed to provide multiple answers to the question. A total of 365 answers were collected. Screening question: Q5 Do you have any of the following?
The research revealed significant differences between influencers with registered intellectual property rights and those without the rights. Those who own such rights are one step ahead in their business. They are significantly more likely to own a brand and run an online store, which suggests that intellectual property protection is linked to a higher degree of professionalism.
Source: Influencers and IP; Base: 54 IP owners; 246 non-IP owners. Screening question: Q5 Do you have any of the following? (Select all that apply)
Responsibility towards the audience and brand authenticity
The vast majority of influencers (96%) feel responsible for the impact their promotions may have on their audience. Of these, 72% report full responsibility and 24% feel “somewhat responsible.” Only 1% of respondents said they feel no responsibility. This result confirms that influencers see themselves not only as entertainment creators but also as actors with an ethical commitment.
The declared level of brand authenticity verification is equally high: 92% of influencers report always verifying the legitimacy of the brands they collaborate with. However, researchers point out that the question of how this kind of verification is carried out in practice remains open.
Source: Influencers and IP; Base: 300 influencers in the EU. Question: Q1 Do you feel responsible for the impact your promotions could have on your audience?
Familiarity with IP rights
A total of 86% of influencers consider themselves at least somewhat familiar with their IP rights, with one-third reporting a strong understanding of their IP rights and 14% having only limited or no knowledge. Influencers who already hold registered intellectual property rights (94%) have significantly higher awareness.
Source: Influencers and IP; Base: 300 influencers in the EU. Question: Q3 How familiar are you with your own intellectual property rights (such as copyright, trade marks, designs) as a content creator?
This result indicates a shift towards greater professionalisation of the industry, but at the same time suggests room for further education, especially for smaller and emerging creators.
Impact of addressing IP on follower count
Influencers’ attitudes toward whether communication about intellectual property would have an impact on their audience are ambiguous. Nearly half (48%) believe that the number of followers would remain unchanged, 14% expect a positive impact, while 17% fear a decline in the number of followers.
The fear of losing their audience is one of the key findings of the study, explaining why influencers generally do not actively raise the issue of intellectual property, even though they recognise its importance.
Respect for IP
The vast majority of influencers say they avoid promoting counterfeit goods (94%) and pirated content (93%). Only a small percentage admit to having participated in such a promotion in the last year.
Source: Influencers and IP; Base: 300 influencers in the EU; Question: Q5 In the last 12 months have you promoted goods from unofficial sources/counterfeits? Question: Q6 In the last 12 months have you promoted content from unofficial/non-legitimate sources?
At the same time, 97% of influencers perceive the health and safety risks associated with counterfeit goods and illegal content:
• Roughly three-quarters (76%) of influencers are aware of these risks and exercise caution.
• 16% of influencers were previously unaware but, after completing the survey, expressed concerns.
• 5% of influencers are aware of the risks, but that does not make them more cautious about sharing.
• 2% remain indifferent or show little interest.
Most influencers say they are aware of the links between counterfeiting, piracy, and organised crime, which supports the ethical dimension of their decision-making. The exception is nano-influencers, who attach less importance to these links, with 67% of them not exercising caution. Nano-influencers are also less interested in the fact that criminal organisations are often behind counterfeiting and piracy, or do not think about it at all.
Influencers and AI
Artificial intelligence is becoming a common part of influencers’ work: 51% use it often or occasionally. Influencers have mixed feelings about AI – on the one hand, they appreciate its potential to improve performance and efficiency (56%), but on the other hand, they are concerned about content misuse and unfair competition from virtual influencers.
Source: Influencers and IP; Base: 300 influencers in the EU. A total of 588 responses were collected. Question: Q10 How do you expect AI to impact your social media activities as a content creator in the coming 12 months?
72% of influencers are aware of the risks of AI in relation to intellectual property, but nano-influencers in particular show a lower level of awareness. The study therefore recommends focusing future education on the intersection of artificial intelligence and intellectual property.
Key takeaways
The study shows a clear link between intellectual property rights ownership and a higher level of professionalism among influencers. Influencers who already own registered intellectual property rights are generally more advanced in their professional and entrepreneurial journeys. More than half of them (55%) have their own brand, and a third (33%) operate an online store. The situation is significantly different for influencers without registered intellectual property rights – only 24% have a brand, and only 14% have an online store.
The study shows that influencers are reluctant to talk about the importance of respecting IP in their content, even though they are well aware of their responsibility. Almost half of respondents (48%) believe that such a disclosure would not affect their follower count; one-fifth (21%) are unsure of the effect; 14% expect a positive impact; and 17% expect a negative one. Despite these concerns, 96% of influencers feel fully or partially responsible for the impact of their promotions, and 97% are aware of the risks associated with promoting unofficial products or content.
The study also highlighted influencers’ concerns. According to the research, every second influencer (51%) uses artificial intelligence today. At the same time, 47% of them express concerns that their content could be altered and repurposed by artificial intelligence, and 72% are aware that AI-generated output may infringe existing IP rights.
The EUIPO therefore recommends systematic cooperation with influencers, their further education, and involvement in awareness campaigns. Emphasis should be placed in particular on practical examples of the impact of counterfeiting, piracy, and the responsible use of AI.
About the study: The study Influencers and IP was published in November 2025 by the European Union Intellectual Property Office (EUIPO). The research was conducted on behalf of EUIPO by a consortium of KPMG and ICF Next based on an online survey of 300 influencers from all 27 EU Member States. Respondents included influencers who are active on Instagram, TikTok, and YouTube. They were selected to reflect the demographic makeup of the EU population and categorised by follower count to capture the widest possible range of opinions. The study is part of the EUIPO Strategic Plan 2030 and the IP Next GEN initiative.
For the period 2027-2032, La Liga has negotiated a new television package expanded with the addition of Movistar and DAZN channels. This agreement represents an increase over the previous package, but also continues to illustrate the gap that opens up for Premier Leaguez in terms of broadcasting rights.
The current contract, worth €4.95 billion, runs until 2027 and has an approximate value of €990 million per season. This amount is then split between the teams. With the new contract, Movistar and DAZN will continue to split league matches, with five games appearing on each channel. The cost of watching all the games, which is already the highest of all the big five leagues, is likely to be very high in Spain.
The new contract, worth €5.25 billion, represents a 6% increase.
It has been confirmed that the total value of the new contract is €5.25 billion over five seasons, an average of €1.05 billion per season, an increase of €60 million. According to Marca newspaper, the contract was approved by La Liga’s TV rights control committee, with Real Madrid being the only dissenting vote, all the other clubs in the top two divisions voted for the contract, and Atletico Madrid praised it.
The total package amounts to €6 billion including add-ons
Including an additional €650 million for the service providers, €60 million for free service packages and highlights and other rights, the total package is €6.135 billion, a 9% increase on the previous deal, which was praised by La Liga president Javier Tebas.
“In a difficult national and international context, securing an overall increase of 9%, more than €500 million more than in the previous cycle, is excellent news for the economic sustainability of our clubs and for the future of Spanish professional football, which will receive domestic rights revenues in excess of €6.135 billion,” explained Tebas in a press release.
“At a time when many leagues are losing value, the continued growth and record success of LaLiga is particularly significant. This result reflects the strength of our product and the confidence of broadcasters, due in large part to our determined fight against piracy, which has helped us increase subscriber numbers, and the clubs’ efforts to continually improve audiovisual content to offer fans the best possible experience.”
Comparison with other major leagues
However, constant comparisons with the financial strength of the Premier League leave La Liga far behind. Its TV package for 2025-2028 is worth €1.6 billion per season, a difference of €550 million or 35%. Tebas often refers to the Bundesliga as a more realistic point of comparison, but according to Kicker, their current deal will mean revenues of €1.346bn a year, a difference of €296m or 22%.
Serie A currently has a €4.5 billion contract (Insider Sport) that runs until 2028, worth €900 million per season; La Liga’s new contract will surpass it by €150 million, or 14%. Ligue 1 is running its own broadcasting rights service after the collapse of its contract, and L’Equipe reports that the French top divisions will split just €80.5 million between them this season.
He started in TV Nova news from scratch – as a reporter in 2003. Gradually he worked his way up through the ranks from editor-in-chief and programme producer to director of news and journalism at Nova, the head of one of the most influential media outlets in the country. The guest of the First League podcast was long-time media manager Kamil Houska, who will “celebrate” 30 years in the business next year.
Kamil Houska (photo) has been the head of Novak News and the newsroom since 2017. First as co-director together with Martin Švehlak, a few months later he remained the only director of Nova’s newsroom. His team is fresh from covering a newsworthy event – this year’s parliamentary elections (in early October). This included a series of specialised reports, debates, interviews, continuous broadcasts with results and coverage on TN.cz, or new programmes such as the debate for young voters, Voice of Gen Z, or interviews with candidates for key ministerial posts Why, Minister?
“In terms of our work, the parliamentary elections are one of the important events for which we prepare months in advance. We have been preparing for these elections since January. However, if we talk about the audience, especially for those political issues, we have been observing a certain shift of people away from politics lately, not only in the Czech Republic but also abroad. So you have some increases in audience numbers for certain types of programmes before the elections, you have increases in viewership, readership of articles and so on, but objectively it’s not what it used to be. I think overall there’s a sense of a move away from politics by some people. Project-wise, elections are a thing that we throw a lot of capacity at, we dedicate a long time to, but it’s far from being the most important event on the planet in terms of viewership. It just isn’t,”
Houska said.
The commercial station did extensive research into viewers’ preferences in news coverage some time ago. “There, it came out pretty clearly, one, we live in difficult times. Some people don’t understand those times and are not happy with them. The second thing is that there is a certain disgust with politics. And what, for example, and we’ve been trying to change this in recent months, what those viewers of ours that we’ve been asking have been accusing us of, for example, is that sometimes they feel that the political coverage, not just here but in the media in general, is about things that are actually, like, from their point of view, inferior. They want politics that affects them. We understood from that that making every argument between two politicians who get caught in the House over some marginal issue, that’s not what those viewers want anymore. That they’re kind of sick of it. And they also missed positive topics,” commented Houska, who said that at the same time people’s interest in regional news and consumer news (how much, what it costs, how to save money, etc.) was growing.
