Lenka Hrivnáková, Author at The Association of Commercial Television

ORLANDO WOOD AND SIR JOHN HEGARTY ON HOW CREATIVITY FUELS BRAND GROWTH

This year marks a symbolic anniversary – 150 years since the first documented use of the word creativity in English. Historian Adolphus William Ward used the term in 1875 in reference to William Shakespeare’s “poetic creativity”.

Today, the importance of creativity in all sectors, including the media, is unquestionable. According to Sir John Hegarty, who co-authored the report The Business of Creativity, creativity is vital to human progress because it shapes culture, supports business, fosters empathy and gives meaning to human existence.

That’s why, on Wednesday 24 September 2025 at 4pm, two of the most renowned experts on the subject of creativity – Orlando Wood and Sir John Hegarty – will join together for a webinar, ‘The Case for Creativity’, to explore why creativity is vital to the long-term success of business and how brands can recapture the attention of audiences in today’s overwhelmed media environment. You’ll learn why bold ideas and creative advertising are needed more than ever on TV today, what role emotion, storytelling and compelling scripting play in an advertising-overloaded digital environment, and hear
👉 why companies that invest in creativity get better results than others.
👉 how great ideas, delivered with emotion and fun, can spark real innovation.
👉 why TV remains an unrivalled platform for creative campaigns.

Creative industry legends Orlando Wood and Sir John Hegarty will offer their insight into why creativity is not a luxury, but a necessity for long-term brand success and business growth.

The webinar is FREE, online, on September 24 at 4pm.

Registration is available here.

This free webinar is hosted by The Global TV Group and is open to anyone interested in the intersection of creativity, effectiveness and media.

COUPLE ACCUSED OF €4.4M SKY PIRACY FRAUD IN BAVARIA

An elderly couple from Bavaria is standing trial in Landshut, accused of orchestrating a large-scale piracy scheme that allegedly defrauded pay-TV operator Sky Deutschland of more than €4.4 million.

According to a report by German newspaper BILD, Sergej M. (68), an electromechanic, and his wife Valentina (70), a shop assistant, are charged with serious joint computer fraud in 4,611 cases. Between 2014 and 2019, the pair are said to have sold hundreds of manipulated satellite receivers from their small electronics shop, allowing customers to access Sky’s full pay-TV offering without a valid subscription.

The set-top boxes – referred to in court as “Russian receivers” – were modified Octagon boxes. Prosecutors allege the couple sold 1,755 of these hacked devices for around €250 each, earning more than €500,000 in revenue. In addition, they reportedly charged customers €50 for regular software updates, with the manipulated devices enabling savings of around €79.99 per month in subscription fees.

In total, prosecutors estimate that Sky suffered damages of approximately €4.426 million as a result of the illegal sales and software manipulations.

A Sky spokesperson told BILD:

“Sky takes piracy very seriously. We systematically analyse illegal offers and regularly initiate criminal proceedings against illegal providers. We also file criminal charges ourselves against users.”

The company declined to quantify its annual losses from piracy but noted that “the number of investigations has increased significantly in recent years.”

According to Süddeutsche Zeitung, the receivers not only allowed unauthorised access to Sky’s full line-up of films, series and sports, but also opened up additional subscription services such as Netflix, Amazon Prime Video, Magenta Sport and foreign channels. Customers reportedly paid up to €40 more for this extended access. The newspaper reports that the receives were accessing a so-called card sharing server in the Netherlands, which decrypted Sky’s codes and transmitted them to the devices.

At the opening of the trial before the Landshut regional court, the defendants chose not to comment on the charges. However, so-called exploratory talks took place, raising the possibility of a reduced sentence should the couple decide to confess. The court has scheduled 26 further hearing days, with investigators, customers and Sky employees called to testify.

Source: broadbandtvnews.com

ATO: STICKING TO THE PLAN. OUT-OF-HOME MEASUREMENT WILL START IN JANUARY 2026

The ReDAM project, which aims to bring out-of-home TV and video audience measurement to the Czech market, is progressing according to plan. According to ATO’s Managing Director, Michal Jordan, the official launch is still scheduled for January 2026.

The Association of Television Organizations (ATO) is in the final preparation phase of the ReDAM project, which aims to deliver the first data on out-of-home TV viewership starting January 2026. According to Michal Jordan, ATO Managing Director, the planned schedule is being maintained. A key element is mobile measurement, with the panel gradually growing to the target size. The entire TV audience measurement system in the Czech Republic recently underwent an international audit, and the results confirmed the quality and relevance of the current PCEM project.

Details about the ReDAM project and other measurement plans in the Czech Republic are provided in an interview with ATO Managing Director Michal Jordan.

At what stage is the out-of-home audience measurement initiative, known as the ReDAM project? Are you managing to keep to the planned schedule to deliver the first combined data from January 2026?

The ReDAM project is currently on schedule, and the original goal of delivering combined data from January 2026 remains unchanged. All the implementers—ResSolution, the technology provider DCore, and Nielsen, which handles the fusion and merging of data—are working with maximum effort under the pressure of ambitious deadlines. I deliberately say “currently,” because anyone who has ever managed a similar project knows how complex the finalisation phase can be. However, we have no negative news and believe we will meet the planned schedule.

A key component of ReDAM is mobile measurement. How is the recruitment of panellists going so far, especially since you have set stricter rules than usual? Are you encountering any complications when approaching respondents?

Recruitment is generally difficult in any current research project, not just here. It is a global problem. However, I cannot give a more specific answer yet because we are still in the process of building the panel. The panel is not yet representative in all characteristics, and whether problems will arise in certain demographic groups during the final phase remains to be seen.

Are there already initial test results that might indicate the impact of out-of-home audience measurement on overall ratings?

Currently, our panel includes over 600 individuals, with a target size of 1,000. Since early August, we have received certain private outputs from the implementers, but we have handled these very cautiously. The panel is not yet fully representative and is still “too new” in terms of respondents’ acclimatisation.

The first figures from out-of-home measurement were relatively high and reached levels comparable to some similar international projects. However, it is important to expect that the results will still change. This is partly because we started in the summer, when there are generally more opportunities to watch TV outside the home, and partly because the distinction between small and large screens will only be implemented in the autumn. Additionally, ATO plans to only work with large screens in the official results. Therefore, in the autumn, we are preparing a workshop for PCEM data users where we will discuss all these issues in detail.

One of the common practical questions is at what time the new data will be available from January 2026. Is it already clear whether the distribution will be in the morning or in the afternoon?

Contractually agreed deadlines basically anticipate afternoon distribution. However, I am confident that all providers will do their best to ensure that the delay compared to the current situation is not too long. If we recall the introduction of the original people meters, data delivery times also gradually shortened until they reached their current format. I expect a similar development for the new system as well.

And I might add something a bit “against the grain”. If we say that the world of television and digital video is becoming dramatically more complex, and that we want the largest possible data samples and the most robust methodologies, we have to accept that processing such data takes a bit longer. It’s the price we pay for the complexity we live in today.

The contractually set deadlines basically anticipate afternoon distribution. However, I am confident that all the providers will do their best to ensure that the delay compared to the current situation is not too long.

Michal Jordan

If the ReDAM project successfully gets underway, what significance do you think it will have in ATO’s long-term strategy, which aims to gradually expand the project for measuring television and video content?

I would refer to the answer I gave earlier. Our vision is to add new components to the existing measurement system. Mobile measurement is one of these components, and what’s important about it is not just the actual measurement outside the home, but also a certain technological and methodological independence from the main project. I also mentioned AdCross, which I am convinced is only a matter of time before it becomes part of ATO’s official measurement, as well as RPD. These answers still hold true today, although some things are progressing more slowly than I initially expected.

Can you be more specific then? Are you planning to use RPD data?

We are intensively exploring various possibilities. In neighbouring Austria, an interesting project has emerged, which we are closely monitoring. Simply put, it involves modelling a large data source through a panel, with calculations performed on the resulting ‘synthetic’ data source. Crucially, this is a solution that the local TV market developed independently, without multinational platforms. It is inspirational for us; we are in communication with our Austrian colleagues, but so far, no decision has been made. My conviction that the integration of large data samples is essential in the future remains unchanged. Equally unchanged is the fact that the path to achieving this is significantly more complicated than it might seem at first glance.

What methodological or technological challenges do you see in the current measurement? Is it, for example, distinguishing by screen size, type of environment, or preventing duplicates?

I consider overall complexity to be the greatest technological challenge. When only linear television was available, ‘measuring TV’ was significantly simpler and less costly. Today, it is necessary to cover a whole range of new technologies and ways of consuming content. Each such extension comes with a cost, and for each one, it is necessary to define how to finance it and why it is needed. A typical example is the measurement of smart TV applications, which are now part of the system, whereas a few years ago, such technology did not exist at all.

In the past, ATO mentioned an interest in expanding measurement to digital platforms and streaming services. In this regard, in which direction are you heading, and is it realistic to include global players like YouTube or Facebook?

I would divide the question into two parts. When it comes to local streaming services or VOD platforms, ATO is definitely interested, and this is also related to AdCross. However, regarding global platforms like YouTube or Facebook, we do not expect that a solution can be found solely within the Czech market. We are part of international organisations and observe how this issue is being addressed in larger markets. And we see that it is still quite difficult. Over time, a European or global solution may emerge, which we would then adopt. The purpose of ATO is primarily to support the development of the local market, and therefore, entities wishing to be monetised through official measurement must actively participate in its development.

When it comes to global platforms like YouTube or Facebook, we do not expect that a solution can be found solely within the Czech market.

Michal Jordan

How should the Czech measurement system keep pace with international developments? Do you see room for deeper cooperation with foreign organisations or inspiration from models in other markets?

I might say something different than expected. On the side of multinational research players, I see few products that would truly be suitable for medium-sized markets like ours. I’ve already mentioned the Austrian example, but even our mobile measurement project uses local technologies from ResSolution and DCore, AdCross runs on a platform developed specifically for the Czech market, the software has Czech origins, and the data fusion is tailor-made. That doesn’t mean we don’t want to draw inspiration from abroad, but sometimes it’s more complicated. Some things we simply have to solve on our own.

Is it realistic that in the future, the ATO membership base could expand to include representatives of digital platforms or new players on the market?

I’m not aware of any major changes at the moment. However, ATO is continuously working on finding the most effective internal decision-making mechanisms. In general, I perceive the Czech market as very rational and cooperative, which I consider great news.

ATO underwent two international audits this year. Could you please explain their results and significance?

At the end of last year, CESP conducted a test of the DCore technology, which we decided to use in the ReDAM project. This was a necessary condition for us before giving the project the green light — since it was a new technology not yet used anywhere else, the independent risk audit significantly reduced potential risks. The results were very good, which is evident from the fact that the project was approved.

In the spring and summer of 2025, a second audit took place, this time focused on the “main” PCEM project. We are currently in the third year of a five-year cycle and need to decide how to proceed. The audit results were positive from ATO’s perspective; it confirmed that the project is relevant and that we need not worry about its quality. I was personally surprised by the scope and depth of the audit, as in certain areas, it went into much greater detail than I have ever experienced. I would recommend such a thorough “X-ray” examination to every research project.

The audit was also related to the question of whether ATO will exercise the option to extend the PCEM project into the years 2028–2030. The audit results allow for the use of this option, so the decision will be up to the ATO members, and it will come relatively soon. If the option is not exercised, alternative solutions will need to be sought. In any case, even within the current cycles, we have the possibility to further develop the project, as exemplified by ReDAM.

I was personally surprised by the scope and depth of the audit, as in certain areas, it went into much greater detail than I have ever experienced. I would recommend such a thorough “X-ray” examination to every research project.

Michal Jordan

If the ATO members decide not to exercise the option, what would that mean, and how would you proceed regarding the next phase of the PCEM project?

Exercising the option is just one of the possibilities we have. We can modify the business agreement with the current supplier or consider some systemic changes. ATO has plenty of information and business contacts with practically all relevant entities (both local and international) that could potentially provide parts of a new solution. In most cases, we even know the current prices. Therefore, I believe we have a fairly comfortable position to consider where we might take the measurement next and how.

My answer does not anticipate or favour any particular option. We are satisfied with the current project, but if we have to consider time horizons around the year 2030, we should make decisions with the greatest possible knowledge of all the ‘possible’ measurement options, as well as the technological and commercial development of the market.

Source: mediaguru.cz

FACT TARGETS IRISH SHOPS IN ANTI-PIRACY OPERATION

FACT (Federation Against Copyright Theft) and its partners have conducted an enforcement operation addressing Irish retail outlets involved in providing access to illegal TV streaming services.

FACT teams, together with Sky, delivered legal notices to 15 shops and resellers across nine counties: Kerry, Louth, Laois, Mayo, Donegal, Kilkenny, Wexford, Meath, and Cavan.

The targeted businesses were identified as either selling subscriptions to illegal streaming services, supplying devices set up for such access, or connecting customers to resellers via phone numbers or advertising materials. Each has been given a deadline to cease these actions or potentially face further measures. The majority have responded to the notices and agreed to stop these activities.

This operation marks the first direct focus on retail outlets by enforcement teams, reflecting the role these stores play in consumer access to illegal streaming at a local level.

Kieron Sharp, Chairman of FACT, commented: “This operation shows that we are actively targeting every link in the illegal streaming supply chain. When shop owners sell illegal streaming devices, subscriptions or act as referral points to providers, they are supporting criminal organisations and generating criminal profits. FACT will continue to work with partners to identify, disrupt and shut down this activity across Ireland.”

JD Buckley CEO Sky Ireland said: “Illegal streaming puts consumers at real risk of online harms including fraud and identity theft while draining money away from the creative industries that invest in the shows and sports people love.” He added that Sky aims to protect its customers and uphold content production standards, and that collaboration with FACT serves to stop unauthorised activity through various channels.

The action follows other enforcement measures against illegal streaming services in Ireland. Last month, David Dunbar from County Wexford was ordered to pay €480,000 (£417,259) in damages to Sky and received a permanent injunction preventing future involvement with IPTV after a High Court case.

Since March 2023, nearly 70 illegal services in Ireland have closed following actions by FACT and associates, and tens of thousands of unauthorised streams have been disrupted.

Source: broadbandtvnews.com

ACE AND DAZN SHUT DOWN ITALY’S CALCIO ILLEGAL STREAMING NETWORK

The Alliance for Creativity and Entertainment (ACE) and DAZN’s anti-piracy team have shut down Calcio which streamed unlicensed content from its base in Moldova.

The operator of the service agreed to cease operations after being approached by the ACE-DAZN team.

Calcio drew more than 123 million visits in the past 12 months across 134 domains. With over 6 million monthly visits from Italy alone, it was the most popular sports streaming website in the country.

The service provided unauthorised access to premium sports content including top European football leagues such as Serie A, Premier League, La Liga, Bundesliga and Ligue 1; UEFA club competitions including Champions League, Europa League and Europa Conference League; international competitions such as FIFA World Cup and UEFA EURO; basketball leagues including the NBA; motorsports (including Formula 1 and Moto GP), tennis matches, and more.

“Shutting down illegal operations like Calcio is vital for protecting fans, safeguarding jobs, and preserving the value and integrity of live sports,”

said Ed McCarthy, COO of DAZN Group. “ACE and DAZN’s decisive action in removing this site has prevented further harm to the wellbeing of the sports ecosystem.”

Eighty percent of the traffic came from Italy, with smaller percentages originating from Spain, the United States, Germany, and France.

“Piracy diminishes the commercial value of a live sports broadcast well before the final whistle blows, harming broadcasters, sports leagues, and fans alike,” said Larissa Knapp,
Executive Vice President and Chief Content Protection Officer for the Motion Picture Association (MPA). “With the start of the Italian football season, I commend the team for the timely takedown of this notorious operation.”

All Calcio domains have been transferred to ACE and are now redirected to ACE’s Watch Legally site.

Source: broadbandtvnews.com

THE MOST WATCHED HOLIDAY SHOW WAS THE POLICIE MODRAVA SERIES. HOW DID THE TVS DO THIS SUMMER?

Police Modrava once again confirmed its strong position in the summer offer and became the most watched show of this year’s holiday season.

The most watched show of this year’s holiday TV season (1.7.-17.8.2025) was the series Policie Modrava (Nova). It was the only one of the main evening shows to attract more than one million viewers during the holidays. The next places were occupied by Televizní noviny, Počasí, Sportovní noviny (all Nova) and the rerun series Specialisté (Nova). This is according to official ATO-Nielsen data.

Also, the second half of the ranking of the most-watched holiday shows belonged to reruns, even of an earlier production date than those listed above. Included here were Malý pitaval z velkého města (Nova) and Hříšní lidé Města pražského (ČT), as well as the more recent Octopus (ČT).

July for ČT, August for Nova

Czech Television had the highest share of the TV market in July, despite a year-on-year decrease, in the universal audience group 15 . In 15-54 and 18-69, Nova was the strongest. In August, TV Nova was number one in all major audience categories.

Compared to the same period a year earlier, ČT’s July-August performance was down less than four percentage points year-on-year (15 ), while both major commercial groups improved. TV Nova gained more, gaining almost two percentage points year-on-year (15 ), and even four percentage points in 15-54. Prima increased its share by more than one percentage point year-on-year in July-August (15 ).

The year-on-year comparison is mainly due to the decline of ČT Sport (last year’s Euro football and the Paris Olympics). Of the individual ČT channels, ČT1, ČT2 and ČT24 improved year-on-year . Prima Krimi and CNN Prima News, as well as Television Seznam, also continued their significant growth.

Source: mediaguru.cz

JAN MAXA O PRO PRIMA PLUS STRATEGIES

Jan Maxa has been the head of the streaming platform prima+ since May.The video library has about 300,000 subscribers so far, which is not a small number for two years on the market, but it has not yet reached the point where it is “in the black”.

👉 What strategy has he prepared for Prima and how does he plan to work with different target groups?
👉 How does he think the media market has changed?
👉 And why did he leave Czech Television?

Read exclusively in the new issue of Marketing & Media magazine here.

Source: mam.cz

ORLANDO WOOD INTERVIEW: WHY ADVERTISING NEEDS SHOWMANSHIP AGAIN – AN INTERVIEW WITH ORLANDO WOOD

A leading voice in advertising effectiveness, Orlando Wood has transformed the industry’s understanding of how creativity drives commercial success. As Chief Innovation Officer at System1 and an Honorary Fellow of the IPA, he has studied more than 26,000 ads and authored the acclaimed books Lemon and Look Out. His award-winning research has shown why showmanship matters more than ever in an age of AI, streaming, and short-termism. We asked him to share his views on the enduring principles of effective advertising, the future role of television, and how brands can rediscover the creativity that fuels long-term growth.

From AI-driven campaigns to the enduring power of TV, Orlando Wood shares why advertising’s future depends on rediscovering its roots in showmanship

You’ve said that advertising needs to return to its roots. Why do you believe this is necessary, and what do you think has been lost or changed?

Over the last 20 years, advertising effectiveness has declined. We’ve shifted from a period of advertising showmanship to one of advertising salesmanship.

Showmanship builds salience and preference through narrative, character, and humour. Salesmanship speaks to the already half-interested, giving them reasons to buy and nudging them over the line.

Both are important, both have a long history, and each supports the other — but of the two, it’s showmanship that’s more crucial for long-term profit and growth. That’s something we seem to have forgotten. In fact, good showmanship also strengthens your salesmanship.

Unfortunately, we’ve become stuck in a salesmanship rut. What we need is a new creative revolution — one that brings us back to what drives growth.

In what ways can advertising reconnect with its roots in today’s landscape of digital platforms, AI, and streaming? How can it remain relevant while adapting to new media environments?

The first step is understanding what showmanship and salesmanship are, what they look like, and what kind of business outcomes they create. They operate very differently.

Showmanship captures attention among a broad audience and lodges the brand in memory through emotional appeal. Its effects build over time.
Salesmanship targets people already primed to buy — its effects are direct, immediate and short-lived.

You can clearly see the same kind of business outcomes associated with each school in new media too. Our work at System1 shows that these two schools of advertising exist across even the most modern of platforms, with showmanship driving salience, trust and sales, and salesmanship achieving only conversion (see our report, The Long and Short (Form) of It). The outline of these two schools and their outcomes can even be seen in influencer content.

Understanding advertising’s origins, roots and principles helps us to clarify what we need to do. Do this, and you realise that while practices change, principles endure. This is something I set out for participants in my effectiveness course Advertising Principles Explained (a.p.e.).

Showmanship will always work best with high-attention and broad-reach media. It requires a stage on which to perform. And this is why TV is so important.

As fully AI-developed campaigns begin to emerge, what role do you see AI playing in the creative process of TV campaigns? How do you view this development?

AI can be a brilliant creative partner — but only if you know how to brief it and how these two schools operate.

ITV has taken a proactive step with AI: it now offers a service where its creative team uses AI to develop ads for new-to-TV advertisers. This approach has two big benefits:

It helps new advertisers get started in an unfamiliar medium.
It lets them reallocate creative development budgets toward media spend.

We’ve tested some of these AI-generated ads at System1, and they can perform very well, surpassing the emotional scores achieved by advertising for established advertisers in the category.

Perhaps AI can help to up everyone’s game.

What role does television, both linear and streaming, play in today’s rapidly evolving media environment, where consumer behaviour is constantly shifting? How should advertisers adapt?

TV plays a hugely important part in today’s media mix – not just because of its reach, but because it delivers high attention. It can also, through its programming and sponsorship opportunities, help to insert a brand into culture.

So if you’re an advertiser, use TV’s strengths to deliver emotional, memorable and broad-reach campaigns – the kind that create long-term value and matter more than ever in a short-term world.

I often tell advertisers: you have to be more interesting, more arresting, more entertaining than the content that surrounds you. Remember that you are competing for time and attention.

And that’s true wherever you show up.

Transparency and targeting of political advertising

Statement of the Association of Commercial Television on the proposal for a regulation of the European Parliament and of the Council on the transparency and targeting of political advertising

AUGUST 2025

The Association of Commercial Television (AKTV) brings together the most prominent commercial broadcasters in the Czech Republic. The Regulation on Political Advertising (2024/900) has a fundamental impact on our members, as they are an integral part of the advertising market. As such, the Regulation will apply to them in cases where political advertising is published. For this reason, we highly appreciate the initiative of the European Commission, which aims to issue guidance to support the proper application and compliance with the Regulation, among other things, by including practical examples of political advertising.

After carefully reviewing the published version of the guidance, we are of the opinion that it is necessary to further refine the text of the guidance in two key areas in order for them to truly meet the expectations placed upon them by the advertising market—namely, to facilitate the practical application of the Regulation. This objective can also be supported by the feedback the European Commission receives from stakeholders as part of this initiative, which is, after all, the aim of the EU’s consultation strategy.

We cannot overlook the fact that the Regulation itself has already sparked a wide range of reactions. For this reason, we attribute immense importance to the guidance, as it is likely to become a key framework for the proper implementation of the Regulation on Political Advertising in practice. It is also possible that various entities will decide based on the guidance whether or not to publish political advertising at all. In this context, and briefly for the sake of completeness, we draw attention to a recent announcement published by Meta on its social network (https://about.fb.com/news/2025/07/ending-political-electoral-and-social-issue-advertising-in-the-eu/), which specifically states: “From early October 2025, we will no longer allow political, electoral and social issue ads on our platforms in the EU. Despite extensive engagement with policymakers to share these concerns, we have been left with an impossible choice: alter our services to offer an advertising product which doesn’t work for advertisers or users, without guarantee that our solution would be viewed as compliant, or stop allowing political, electoral and social issue ads in the EU. We’re not the only company to have been forced into this position.”

The first part of the guidance that requires further attention and adjustment to meet the needs of practical application is the section addressing the very nature of political advertising. Clear criteria and examples of messages that are to be considered political advertising are exactly what the market primarily expects from the guidance. However, it is not acceptable for the guidance to expand the definition of political advertising. From the perspective of legislative instruments, the guidance is a tool intended to interpret the law within its boundaries—by its nature, it cannot go beyond the law. On the contrary, it is essential that the guidance is clear and comprehensible so it can serve as a helpful guide in interpreting the Regulation on Political Advertising. The primary goal of the guidance should be to clarify the definition of “political advertising” as set out in the Regulation, ensuring it is clear and unambiguous. Therefore, we present our recommendations below:

Specifically, we are concerned that even purely commercial messages with a societal dimension may be incorrectly classified as political advertising. Commercial advertising with ethical or value-based content must not be automatically considered political advertising. The ‘elements to be considered’ that are shown in Table 1 on pages 20 to 23 of the guidance contain various criteria intended to help identify when a particular case involves political advertising. However, these criteria are of a purely subjective nature and are also commonly found in commercial advertising. Therefore, they cannot be taken as definitive indicators that a message constitutes political advertising. We are convinced that only objective and enforceable criteria will help distinguish between political and societal advertising. Commercial advertising with ethical or value-based content must not be automatically treated as political.

Another part of the guidance that needs to be revised—as we have already mentioned above—is the section concerning obligations under the Regulation. Media outlets disseminating advertising naturally have no influence over the content of the advertisement or its original intent. We must therefore clearly object to any discriminatory shifting of responsibility for political advertising onto a single link in the advertising chain—namely, onto us as media houses—especially since Article 7(1) of the Regulation and Section 3.2.4 of the guidance require providers to verify whether an advertisement qualifies as political. This effectively demands that we, as mere disseminators, subjectively assess the nature of submitted advertising. Responsibility for political advertising must be shared across the entire advertising chain—each party should bear responsibility only for the part it can objectively control. All of this must be based on clearly defined criteria.

Conclusion

To briefly summarise our recommendations and the direction in which the guidance should be adjusted in Section 2 (What is political advertising?) and Section 3 (Obligations under the Regulation): As for the criteria used to determine whether an advertisement constitutes political advertising, there must be a clear and direct link to a political objective—that is, objective and enforceable criteria. This will provide legal certainty and reduce the risk of overregulation, a concern that has been frequently raised since the publication of the Draghi report. Regarding the objections raised to the obligations imposed on broadcasters—as an integral part of the advertising chain—it is absolutely essential that responsibility is distributed fairly and does not rest solely on us as broadcasters. Any other approach would undoubtedly have a significant impact on the sustainability of the entire media sector. We see the potential of the guidance in the fact that, if it meets the expectations placed on it by the advertising market, it could become a trigger for a reassessment of the currently hesitant attitudes toward the Regulation on Political Advertising.

NOVA OPEN TO BRINGING ORDINACE BACK TO TV

Nova wants to build on this year’s results with its autumn programming, having succeeded in increasing its market share. Nova group’s Programming Director, Silvia Majeská, believes that the autumn lineup is strong and will find its audience.

The Nova group expects its autumn programming schedule to continue the current growth in viewership. Nova group’s Programming Director, Silvia Majeská, considers the family series Bratři a sestry to be the biggest new addition to the autumn lineup. It will replace Jedna rodina and will air on Tuesday and Thursday evenings. “The decision to end Jedna rodina was not easy because it was popular with viewers. Expectations for the new series are therefore even higher,” Silvia Majeská said in an interview with MediaGuru.cz after presenting the autumn premieres.

Other new additions to the lineup include the reality show Jáma lvová, which combines an entertainment format with support for small businesses. Expectations are also high for the premiere of the series Metoda Markovič: Hojer, which has so far only been available on Oneplay and will debut in the Sunday prime-time slot this autumn. It aims to build on the high summer viewership of the rerun of the series Policie Modrava in this time slot. New episodes will also be released for the series Kriminálka Anděl, the reality show Hell’s Kitchen, and the competition show Na lovu (The Chase).

Alongside the main channel, the streaming platform Oneplay is playing an increasingly important role. It is also the home of the premiere episodes of Ordinace v růžové zahradě. On TV Nova’s main channel, reruns of the series from 2014 currently air every weekday afternoon. Nova is considering whether to include the episodes of Ordinace that viewers have already seen on Oneplay in the linear broadcast schedule as well to reach a wider audience.

What do you consider the biggest new addition in Nova’s autumn programming schedule?

I think the biggest new addition is the family series Bratři a sestry. We have talked several times about looking for a title that would follow the successful series Jedna rodina. It was popular with viewers, so the decision to end it was not easy. Expectations for the new series are therefore even higher. The show will air two evenings a week and bring a new and interesting topic. I’m curious to see how viewers will respond to this theme.

Do you see the series Bratři a sestry as a long-term show, or is it planned with a limited number of episodes?

We intend it to be a long-term project, but the question is what one means by “long-term.” When you look at series like Ulice or Ordinace v růžové zahradě, which have been airing for twenty years, it’s relative. For us, it’s important that the story lasts for at least one to two seasons. If the series then gains viewer favour, it can definitely continue further.

How many episodes do you have prepared?

We have filmed episodes for both the autumn and spring seasons.

Competitor Prima is preparing a new show for the same time slot in which you will air Bratři a sestry. How do you think this battle will play out?

That is always difficult to predict. Viewers choose based on many different factors – they might be drawn to the topic, the way it’s presented, or a particular actor. We believe that Bratři a sestry will find its place on Tuesday and Thursday evenings. Additionally, we offer the series on Oneplay, where viewers can watch it in advance or catch up later, so we trust they will find their way to it.

Does the new series Bratři a sestry have the potential to appeal to a broader audience beyond your main 15-54 age group? For example, similar to the series Policie Modrava, which reaches beyond that target group?

Our main target audience is the 15–54 age group, where we have traditionally been strongest. Of course, we intend to create projects that appeal to as many viewers as possible, but primarily, we develop themes that resonate with the active population. We’ll see how it develops, but I believe that Bratři a sestry will complement our reality shows well and offer viewers a more varied programme.

For us, it is important that the story of Bratři a sestry lasts for at least one to two seasons. If the series then gains viewer favour, it can definitely continue further.

Silvia Majeská

Výměna manželek (Wife Swap) is not appearing in the autumn lineup. Will you no longer be airing it? It should be noted that the show has sparked some critical reactions.

We are not including new episodes of Wife Swap in the autumn schedule; we mainly air it at the beginning of the year, and we plan to do so again in 2026. New episodes were available on Oneplay during the summer. We are definitely not abandoning it, but every format evolves, and we are working to ensure it reflects current topics and viewer interests.

A new addition to the Wednesday lineup, specifically in the second prime-time slot, is the business reality show Jáma lvová. Does this represent a shift in the type of reality shows Nova wants to include in its schedule?

We are interested in formats that not only entertain but also help people. Jáma lvová gives small entrepreneurs who need support—both financial and experiential—a chance. Investors can help them take their projects further. Similar to Extreme Weight Loss, where participants were given the opportunity to change their lives, here we give people the chance to fulfil their entrepreneurial dreams.

Why did you decide to include the series Metoda Markovič: Hojer, which has been available only on Oneplay since last year, in the Sunday prime-time slot on TV Nova?

We have already used the same strategy with the miniseries Iveta and Král Šumavy. Before we launch the new season on Oneplay at the beginning of the new year, we remind viewers of the previous season on television. This strategy has proven effective for us. Episodes can be watched anytime on Oneplay, but it’s good to remind audiences of the series through linear broadcasting.

Will Metoda Markovič: Straka, coming at the beginning of the new year, be available only on Oneplay?

Yes, that is an original Oneplay production, so it will be available exclusively there.

Do you plan to include any other Oneplay originals in the television broadcast as well?

We will do so if it makes sense. We have already included series like Národní házená and Gumy this way. It always depends on the specific situation.

What about Ordinace v růžové zahradě? Will it remain only on Oneplay, or will it return to prime time on Nova?

We are discussing the best way to offer viewers their favourite shows because that matters most to us. It is possible that in the future, we will also bring episodes currently airing on Oneplay to television. However, this is still just a consideration. At the moment, Ordinace has its premiere season on Oneplay, where a new episode is released every week and where it also has a very strong viewer base. The question for the future is whether it will find an additional audience on TV. But that is a matter still under discussion.

It is possible that in the future we will also bring the episodes of Ordinace currently airing on Oneplay to television. However, this is still just a consideration.

Silvia Majeská

Do you plan to continue the reality show Farma (The Farm) in the Czech Republic next year?

It’s still too early to say; we first need to evaluate the first season. Personally, I’m glad that The Farm has appeared in the Czech Republic. In Slovakia, it’s a strong format that continues to evolve, and I believe it has great potential here as well.

What are the overall expectations for the autumn schedule?

Every season is a big challenge for us. We prepare projects for a long time and never have the certainty that we will exactly meet viewers’ expectations. However, we believe that the autumn lineup is really strong and will find its audience. So far, this year has been very successful for Nova, with growth on both the main channel and the thematic stations. We are all the more eager to receive feedback from viewers.

Source: mediaguru.cz

MAJOR ARREST IN ARGENTINA’S SPORTS PIRACY CRACKDOWN

In a sweeping move against digital piracy, Argentine authorities have arrested the alleged founder of Al Ángulo TV, a notorious illegal sports streaming platform that had gained massive popularity across Latin America.

The suspect, known online as Shishi, was detained at his home in Paraná, Entre Ríos, where police uncovered a fully equipped tech lab used to operate the piracy network. The raid was ordered by Judge Esteban Eduardo Rossignoli of the Juzgado de Garantías 4 de San Isidro, and executed by the Argentine Federal Police and Buenos Aires Provincial Police, under the guidance of the Specialized Prosecutor’s Office for Cybercrime (UFEIC).

Al Ángulo TV streamed unauthorised broadcasts of national and international football matches, as well as Formula 1 events. It used 14 mirror domains to replicate stolen content and had recently launched an Android app that drew tens of thousands of viewers. The operation was monetised through informal advertising, exposing users to malware and data theft. Profits were funneled through cryptocurrency wallets, which were seized during the raid.

The investigation was spearheaded by ALIANZA, the Alliance Against Audiovisual Piracy, with technical support from La Liga, Spain’s top football league. Their data helped pinpoint the infrastructure and trace the digital footprint of the operation.

“Shishi” had cultivated a bold online persona, boasting on social media about his reach — over 100,000 followers — and claiming he was “untouchable”. His arrest sends a clear message: even the most elusive digital pirates can be tracked down.

Source: broadbandtvnews.com

GRUNT: NOVA TO RAISE AD PRICES ONLY SLIGHTLY— ONEPLAY TO CATCH UP WITH TV BY 2030

TV Nova’s CEO, Daniel Grunt, confirms that Nova will increase TV advertising prices next year. However, the increase will not be as significant as last year. At the same time, he estimates that streaming revenues could match those from TV advertising around 2030.

Launched this March, the Oneplay platform is increasing its number of subscribers, according to Daniel Grunt, CEO of TV Nova. However, Nova does not officially disclose specific numbers, explaining that it values the time users spend on the platform more. According to data presented at the press conference for the autumn schedule, the average time spent on Oneplay per user is said to be up to 30 hours per week.

Although streaming is growing rapidly, television broadcasting remains important for Nova. Last year, TV advertising and other commercial messages on television generated CZK 5.9 billion, about 64% of total revenues. According to Daniel Grunt, the digital business is gradually becoming more significant as well. Revenues from subscriptions and online advertising exceeded CZK 1 billion last year, and by 2030, their share could match TV advertising revenues. “Streaming will grow in double digits, but traditional broadcasting still holds a stable position in the Czech Republic, which is why we continue to invest in it,” Grunt said in an interview with MediaGuru.cz.

He also comments on the future development of TV advertising prices. According to him, Nova will raise prices again in 2026, but not as significantly as in the past two years, when it aimed to reduce excessive sell-outs.

The interview also addresses the topic of cooperation with operators, the exclusivity of Oneplay, considerations about advertising layers in streaming, and the overall situation in the TV advertising market.

Oneplay, the platform combining the former Voyo and O2 TV, has been operating since March. What most of the market is interested in is how the merger has impacted the number of customers. How is the subscriber base developing?

With the launch of Oneplay, we decided that we would no longer disclose subscriber numbers. It was interesting and motivating for us when we started Voyo five years ago because it was a commitment. We set a goal to grow from tens of thousands to one million subscribers within five years. This was primarily an internal factor to motivate people to start taking a fundamentally different approach.

Are you no longer setting a similar goal now?

In the case of Oneplay, that’s not really the goal anymore, because Voyo, together with Slovakia, has nearly reached that million mark (editor’s note: the last published number was 950,000 subscribers in December 2024), and O2 TV was the largest IPTV service (editor’s note: with nearly a million users at the end of 2024). Since its launch, Oneplay has been a major platform. Now, it’s much more important for us to know how much time people spend on Oneplay. That’s why I talked about it today (editor’s note: at the press conference for the autumn schedule; the average time spent by one user on Oneplay is 30 hours per week). My goal with Oneplay is to create one central, most popular place — a single app where Czech households will come for content. We have combined two worlds that were not fully connected before. O2 TV viewers were essentially pay-TV customers who made minimal use of their video library and typically subscribed to Voyo or another VOD service alongside it. On the other hand, Voyo users consumed up to 99% of the VOD library but barely used our linear channels. That’s why it’s now crucial how the integrated service is structured, how the interface is set up, and how to present the most attractive content to people, regardless of whether it’s linear broadcasting or video library content. The goal is to keep viewers, so they don’t feel the need to go elsewhere.

Besides the average viewing time, you mentioned that the service is “growing right before our eyes.” Does this growth relate to both content and users?

Yes, when it comes to paying customers, the numbers are indeed growing. However, at this moment, it is far more important for us to quickly teach viewers from both segments—TV and VOD—to use the part of the content they haven’t accessed yet. Because once they start using it fully, they realise the value they get from Oneplay. Nowhere else on the market are Oneplay Originals or older Voyo Originals available. They won’t find the top Czech football or hockey leagues anywhere else, and nowhere else can they watch TV Nova’s own content without ads before it airs on TV. The more they take advantage of these benefits, the more the service will grow. At the same time, it’s a very effective tool to reduce the churn rate. As users spend more time on the platform, they feel less need to pay for additional services.

Will the merging of these “two worlds” affect the usage of the terrestrial platform? If so, by how much could IPTV grow?

We don’t think about it that way. Our key goal is combined reach with our content—that is, reach through both linear broadcasting and VOD, regardless of the distribution platform. But yes, it can generally be expected that people will increasingly use online distribution, which offers them greater comfort and benefits.

At this moment, it is far more important for us to quickly teach viewers from both segments—TV and VOD—to use the part of the content they haven’t accessed yet.

Daniel Grunt

How are you tracking the user statistics for Oneplay?

We have one set of statistics. At Nova, we collect data on viewership as well as business data such as “gross add,” meaning the number of new subscribers, and “net adds,” which is the ratio between new subscribers and those who have cancelled. We keep all of this statistical and business data.

If a customer paid for O2 TV, are they counted as a linear TV viewer or as a Oneplay user?

A user who pays for Oneplay through O2 (a former O2 TV customer) is considered an O2 customer. Oneplay is a single service, but it has two operators. Nova creates the platform, handles content and marketing, and owns Oneplay. However, for the O2 customer base, Oneplay is operated by O2, while for users who purchase the service directly without commitments, it is operated by Nova. Nova manages its own user database, and O2 manages theirs.

What has changed for you in your relationships with other operators as a result of this merger? Are you considering new forms of cooperation with other operators?

Since our company operates both streaming and linear channels, operators remain our partners from the perspective of linear channels. This is an important part of our revenue, whether it’s free-to-air channels—classic TV Nova channels—or paid sports channels. This area is of long-term interest to us. Then there is the streaming part, through which we offer something exclusive only for Nova and O2 viewers. Users can either purchase the service directly from us or through O2. There is no other way for users to access Oneplay.

Will it stay that way?

Never say never, but this is how we intend to keep it in the long term.

Users cannot access Oneplay anywhere else but through O2 or Nova. This is our long-term intention.

Daniel Grunt

The financial results of the Nova group from last year show that revenues from traditional TV advertising on Nova reached CZK 5 billion out of a total of CZK 9 billion, remaining the majority share.

Purely television advertising—including ads, sponsorships, and product placements—accounts for more than 60% of revenues. However, just three years ago, it was over 75%.

Online advertising and Voyo (now Oneplay) generated over CZK 1 billion in revenue last year. How is the volume of these revenues expected to change?

I believe it will grow in the long term for two reasons. First, the subscriber base will increase. And second, we have raised the price, which will lead to higher revenues.

How high could they become?

I estimate that around the year 2030, the share of revenues could be balanced. This means that television advertising will continue to be important for us. We are not giving up on these revenues, which is why we keep investing more and more in original content for linear channels. Although the TV market is slowly declining, it is not shrinking as quickly as in other European countries or the United States. Therefore, it is still worth focusing on content for traditional broadcasting. Our goal is to grow in a slightly declining market and increase our market share. And there is also streaming, which continues to grow rapidly, with double-digit growth. Since the launch of Voyo, we have been growing the fastest in the market.

We talked about the importance of operators. Although it is not explicitly disclosed in the income statement, it can be inferred that revenues from operators amount to around CZK 2 billion. Is that possible?

The two billion corresponds to the entire category of “other income,” which includes carriage fees. So the amount is actually lower, but revenues from operators of paid services for distributing our channels are the second highest after television advertising, followed by streaming.

Are you planning to raise TV advertising prices in 2026?

We will definitely increase prices, but I can’t say by how much yet. We are still evaluating it, but it certainly won’t be as much as in recent years (editor’s note: last year +22%). Over the past two years, we raised prices more to prevent maximum sell-out rates that we were facing. Nova was not used to having sell-out rates around 94-95%. Excessive sell-out reduces viewer experience and also lowers effectiveness for advertisers. We wanted to maintain the quality of the advertising product, so we took a more significant price increase.

Although the television market is slowly declining, it is not shrinking as quickly as in other European countries or the United States. Our goal is to grow in this market and increase our market share.

Daniel Grunt

Will you manage the volume of GRPs in VOD (Oneplay) by preventing ad skipping in catch-up viewing?

Last year, as we approached full sell-out, the need for additional GRPs was more urgent than it is this year. Many TV stations across Europe are gradually moving toward banning ad skipping. We have been considering this for several years as well, but so far, we have not decided whether or when we will implement such a measure. There are many factors involved in this decision.

Could an advertising layer also be introduced for Oneplay? Are you considering it?

That is, of course, also a possibility; however, it is not on the agenda at the moment. As I mentioned earlier, we want users to get familiar with the service and learn to use it fully.

What has changed in the TV advertising market that you are not under as much pressure to find additional capacity for GRPs? Is it due to Nova’s audience growth, or a slowdown in the advertising market?

It’s a combination of three factors. First, Nova is strengthening its share of viewership, which helps us. The second factor is that there is a sense of caution in the market this year. We expected the market to grow faster. I would describe this year’s development as between slight growth and stagnation. However, that is still very good, because last year saw significant growth. And the third factor is price increases, which have led to fewer GRPs being purchased for a similar amount of money.

Source: mediaguru.cz