Lenka Hrivnáková, Author at The Association of Commercial Television

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

LALIGA LAUNCHES NEW ANTI-PIRACY CAMPAIGN

With a string of new TV deals for the 2025/26 season, LaLiga is renewing its commitment to combat audiovisual piracy, which it says presents the biggest threat to the sports and entertainment industry.

LaLiga is urging sports fans to watch coverage through legal channels – in the UK this means Disney+ and Premier Sports.

Spanish football clubs alone lose an estimated €600–700 million annually resulting from unauthorised retransmissions.

However, the league is quick to point out that the penalties go beyond just financial losses. It estimates more than 50% of online viruses are linked to pirated content or illegal download platforms.

LaLiga has launched a campaign “You Get Pirated Football, They Get You”, highlighting the role of the criminal networks that are behind the illegal streams.

Spain remains one of the top countries in Europe for pirated audiovisual content consumption, especially among younger audiences, according to data from the European Union Intellectual Property Office (EUIPO).

Source: broadbandtvnews.com

CZECH MEDIA ASSOCIATIONS AND PUBLIC SERVICE MEDIA HAVE PREPARED A SELF-REGULATION DECALOGUE

On the occasion of the entry into force of the European Media Freedom Act (EMFA), Czech media associations and public service media presented a self-regulation decalogue reflecting the requirements of this European regulation. In the coming months, they will focus on adopting a memorandum to address the implementation processes of this decalogue.

As of 8 August, the European Media Freedom Act (EMFA) comes into effect. This regulation introduces a range of tools to protect the freedom, plurality, and editorial independence of media across the European Union. For more than a year, entities operating in the Czech media market have been engaged with the question of how to meet the requirements of this Act relating to self-regulation.

The undersigned professional organisations hereby announce that they have agreed on the form of the so-called Decalogue for joint self-regulation of the sector. The form of the prepared self-regulation and the Decalogue is based on principles supporting media freedom while maintaining a high level of transparency and accountability to the public. By this step, the signatories confirm their commitment to adhere to the principles formulated in the Decalogue.

The defence of freedom of expression and a free media environment is an integral part of the self-regulation system. The undersigned organisations jointly declare that, thanks to this consensus, they are prepared to fulfil the role assigned to them under the EMFA. The participating entities will act as partners to both very large online platforms (VLOPs) and the state and other public institutions, in all areas where the EMFA envisions a role for self-regulation.

Additional information will be available on the signatories’ websites throughout September.

Association of Commercial Television (Asociace komerčních televizí, AKTV), contact: Marie Fianová
Association of Online Publishers (Asociace online vydavatelů, AOV), contact: Lucie Sýkorová
Association of Private Broadcasting Operators (Asociace provozovatelů soukromého vysílání, APSV), contact: Jan Neumann
Czech National Committee of International Press Institute (Český národní výbor Mezinárodního tiskového institute, CZ IPI), contact: Robert Čásenský
Czech Radio (Český rozhlas, ČRo), contact: Lidija Erlebachová
Czech Television (Česká televize, ČT), contact: press office
Czech News Agency (Česká tisková kancelář, ČTK), contact: Petr Orálek
Czech Publishers’ Association (Česká unie vydavatelů, ČUV), contact: Tomáš Tkačík
Association of Internet Development (Sdružení pro internetový rozvoj v ČR, SPIR), contact: Filip Dotlačil
Czech Syndicate of Journalists (Syndikát novinářů ČR, SN ČR), contact: Ivana Šuláková

PRIMA AIMS TO ATTRACT COMPETITORS’ VIEWERS WITH ITS AUTUMN PROGRAMMING

With this autumn’s programming lineup, Prima aims to move toward more aspirational content. “We want to surprise viewers to some extent while still delivering what they expect from us,” says Prima CEO Marek Singer.

The Prima media group is entering the autumn season with new series Polabí and Mladá krev, the return of Zdeněk Pohlreich, the second season of the psychological reality show Zrádci, and the development of its digital platform prima+. In addition to classic television broadcasting, it is focusing on building a regular offering for streaming audiences, testing thematic FAST channels, and preparing technological support for targeted advertising in cooperation with operators.

In an interview with Prima Group CEO Marek Singer, we talked about programming strategy, expectations for the main autumn releases, developments in the advertising market, and how Prima sees its role in the hybrid television and digital world.

The series Polabí, which Dramedy Productions is preparing for Prima, can be described as the key new release this autumn on Prima. The description indicates that the style of the new release is different from the existing Tuesday and Thursday romantic series, such as Slunečná, ZOO, and Kamarádi. Was that your intention?

We wanted a change. With its romantic relationship series genre, Slunečná was perfectly timed for the COVID period, and thanks to that, it appealed to a large audience. Logically, we then built other series in a similar vein to build on its popularity. But I think it’s time to give viewers a break from modern romantic fairy tales. So, we started thinking about a different genre. Filip Bobiňski came up with the idea for the series Polabí, which we liked. It’s another longer format, an 80-episode series, but this time with a crime storyline, authentically set in everyday life. I would describe it as less fairy-tale-like and more based on life in a small Czech town. Polabí has a distinctive atmosphere, a fresh cast, and a narrative style that is different from our previous series.

Based on the trailers and initial episodes released, Polabí differs from Prima’s previous long-running series in its production approach. We should also mention that Polabí will replace the series Kamarádi, which is moving to Wednesday evenings from the autumn, a slot that has previously been reserved for detective shows on Prima. What were your thoughts and considerations about this change?

The style of Polabí is different. I would say it is significantly more civil and realistic. That’s neither good nor bad. I don’t mean to say that romantic fairy tales no longer have a place. They have their audience. Kamarádi is such a modern fairy tale. With exaggeration, I would compare the series to Beverly Hills 90210. Thanks to the combination of a romantic series and a more realistic one, such as Kamarádi and Polabí, we achieve a good balance in our programming portfolio.

What do you expect in terms of viewership? Do you think Polabí could surpass Prima’s previous results in the Tuesday and Thursday slots?

I firmly believe so. It’s new, and that brings both opportunities and threats. It’s really hard to predict. The threat is that viewers won’t like the new type of storytelling, which they are not used to. The opportunity is that we will be able to reach a new audience.

I think viewers who like series and the Dramedy Productions style (Editor’s note: Vyprávěj, Kukačky, Zlatá labuť, etc.) will like Polabí. We are also targeting the trailers differently – more suspense, a little mystery… We want to attract new viewers for Tuesday and Thursday evenings. Ideally, we should retain our existing viewers and add new ones to achieve higher ratings.

So, is the goal to appeal to viewers of the public channel, which in recent seasons has been showing foreign series on Tuesdays and Thursdays?

As I said, we want new viewers. I believe that the new series Polabí will also appeal to ČT viewers and that every viewer will find something to their liking thanks to the narrative structure.

Apart from the fact that Polabí is new, and so we can only estimate the ratings it will achieve, another unknown factor is the possible impact of your main commercial competitor, Nova, which is also launching a new series, Bratři a sestry, at the same time.

Of course, it’s also a new series, and there are more unknown aspects. I expect a battle between the series. Quality is important, but the results always depend on various factors.

And your guess? Could it end in a draw?

I have no idea, I haven’t seen the competing series. The theme is also interesting. Whether the result will be a divided audience remains to be seen. It has happened before. Previous series have also divided audiences according to target groups (Editor’s note: the series Kamarádi won in the 18–69 age group, Jedna rodina in the 15–54 age group).

The threat is that viewers won’t like the new type of storytelling, which they are not used to. The opportunity is that we will be able to reach a new audience.

Marek Singer

Prima’s autumn schedule will also feature a new crime series called Mladá krev. Can you give us a brief introduction? What kind of crime series will it be?

Mladá krev (Young Blood) is a more serious crime series than what Prima viewers have been used to in the past. The script was written by Alice Nellis and she did a really excellent job. It’s not an entertaining detective story like Polda. The basic plot revolves around two generations of criminal investigators who have to work together in one place. They don’t get along very well, which leads to various situations and relationships. So it’s mainly about the clash of experiences, approaches, and mentalities.

Is the series based on a foreign source, or is it an original idea?

It’s an original script. Each episode focuses on a single case, while an overarching storyline connects the entire series.

Are you considering a second season?

If Mladá krev proves successful, there may well be more seasons. It’s a classic genre, but with an original twist in the form of a clash between two generations. The series also has an excellent cast, and I believe both generations of actors can appeal to the audience.

After many years, Zdeněk Pohlreich is also returning with his show Ano, šéfe! (Yes, Chef!). Do you think it has a chance of building on the success of the early seasons, which were a phenomenon in their day?

They say you can’t step into the same river twice, and Zdeněk himself feels the same way. He also knows that Yes, Chef! can’t be done the same way it was before. When he started, gastronomy was in a completely different state, and there were many pubs with shortcomings. Today, operators are more experienced. But at the same time, they often face more difficult conditions after COVID-19, because the entire industry has been under pressure since then. Zdeněk sees the new series as a mission to raise the profile of quality gastronomy and show that it has its place in society. He is at his best – funny, tough when he needs to be, but of course older and calmer. For his fans, who love him, it will be a welcome return.

We have already mentioned that you have long held a detective line on Wednesdays, but now that is changing a bit with Kamarádi. Friday traditionally belongs to the show Máme rádi Česko, Saturday to the new detective series Mladá krev, and Sunday to the second season of the psychological reality show Zrádci (The Traitors). The latter is generating a lot of excitement. How do you feel about that?

It will be really interesting because the phenomenon of the first series of The Traitors grew gradually with each episode. It will depend greatly on how successfully viewers are presented with the fact that this is a different story. Just as good, maybe even better, but mainly different. The second series features different characters, so they can’t play the same game as the players in the first series. They simply play differently. Thanks to the skilled direction of Markus Krug, I believe the second season could be even more successful than the first.

The first season clearly made an impact beyond television, which is reflected in the immediate rollout of derivative formats for the second season, including an aftershow, cinema screenings with discussions starting from the first episode, and a podcast.

Definitely. The Traitors is one of the first formats that works for us outside of traditional television broadcasting, and we are producing it for our VOD offering (Editor’s note: prima+). We want to create these kinds of “waves,” but we still have to learn how. We learned in the first season, and now we’ll see how far we can go with the second.

The phenomenon of the first series of The Traitors gradually developed with each episode. It will depend greatly on how successfully viewers are presented with the fact that this is a different story.

Marek Singer

Let’s stay with Monday prime time. Last year, you said that it was a difficult evening due to strong competition from detective shows on both main rival channels (Specialisté on Nova and Oktopus 2 on ČT1 starting in September). Have you found a long-term solution?

We are currently dealing with Mondays through tactical interventions, specifically films. In general, we invest where we see a reasonable return, even in the face of tough competition. So far, we haven’t found a format that can break Monday evenings. We don’t want to try something just for the sake of it, because that’s very expensive. That’s why we’re playing it safe, focusing on slots that work for us and investing there.

If you had to sum up Prima’s entire autumn programme in one sentence, how would you define it?

I would say it’s a shift towards slightly more demanding content. We can see that the whole market is moving towards more aspirational content, and we are trying to follow that trend. We want to pleasantly surprise viewers while offering them what they expect from us.

On the prima+ video platform, you have already tried out a number of formats over the past year, including previews and your own content produced exclusively for online viewing. How does VOD work alongside linear broadcasting? Do the two worlds of linear and non-linear broadcasting make sense together?

They do make sense, but a lot depends on the specific title and how successful you are at getting “content trains” started for individual target groups. If you want to keep viewers on an online service, it’s not enough to offer them one title a year. We’ve seen that three, maybe four programme genres work very well in streaming. The key is to build content continuity so that viewers not only come to the online service and register but also pay and stay. That’s something we’re building now. We already have a pretty good foundation in the docu-crime genre. For big reality shows, we’re relying on The Traitors, to which we’ll be adding a new show next spring. We will start with drama in the autumn and expect to complete it within a year. That’s a task for Jan Maxa. If we succeed, there is a chance to monetise the content, either through subscriptions or advertising.

If you sell one GRP on television now, how many prima+ subscribers will compensate you financially?

That can be calculated. We know how much a GRP costs, we know how much a subscription costs, we deduct VAT, operating costs… The cost structure is similar in both cases. In-house production is more expensive than acquisition, but when we look at the entire portfolio, streaming currently brings lower margins than traditional television—not just for us, but for everyone. But that’s how things are developing. The world is changing, and we have to adapt. There will be more models online as well, and we will try to use various methods to get the most out of every viewer, not only through subscriptions but also through advertising. Within two years, we will see new opportunities in advertising thanks to new technologies.

How many subscribers does prima+ currently have?

We currently have 1.4 million registered users, 21% of whom are paying subscribers. That’s just under 300,000 users.

For now, streaming brings lower margins than traditional television—not just for us, but for everyone. But that’s how things are developing. The world is changing, and we have to adapt.

Marek Singer

In the past, you said that Prima wanted to appeal to linear and non-linear viewers, as well as those who watch HbbTV. How do you see the potential of FAST channels?

FAST channels are interesting, but so far, they are more of a supplement. They work well when there is a large library available that can be sorted by theme and monetised through advertising. However, it has to be as automated as possible because profitability is not high. I estimate that FAST channels will start to appear more with IPTV operators. It will no longer be as static an environment as has been so far. Channel lineups will become more tailored to what users want on a particular service.

Is Prima planning its own FAST channel?

In the autumn, we will try something like a “seasonal FAST channel” in cooperation with Vodafone. It will be a channel built around The Traitors, but it will not be only about them. If everything goes well, it will be the first step in this direction. It is a seasonal channel for this autumn.

The IPTV market has been influenced by the merger of O2 TV and Voyo into the Oneplay platform this year. Do you see this as a fundamental change?

It is significant in the sense that the competition has consolidated the subscriber base of Voyo and O2 TV. They know how much overlap they have. Since a lot of people who didn’t have O2 had Voyo, it’s interesting for them. It’s hard to say how much it will affect other operators. It will definitely have some effect. We’ll see what impact it will have on terrestrial TV, because it would be logical for Voyo and O2 TV subscribers to watch TV via O2. So far, however, it seems that viewers were watching channels via an antenna and had Voyo in addition to that. We will definitely change the way we work with other operators. We will seek further strategic cooperation, not only with Vodafone, because the merger of Voyo and O2 has essentially opened up the other half of the market for cooperation.

In addition to Vodafone, you also have a partnership with the Scandinavian VOD service Viaplay. This will give prima+ viewers access to titles from Viaplay’s offering. Is this a long-term project?

Yes, it is a multi-year contract with a relatively large volume of content. Viaplay has really high-quality titles – not only crime series that are well known throughout Europe, but also reality shows and documentaries. The catalogue is gradually expanding, and a relatively large part of the offering is changed every year. This is exclusive content that Czech viewers will not see anywhere else.

We will strive for further strategic cooperation, not only with Vodafone, because the merger of Voyo and O2 has essentially opened up the second half of the market for cooperation.

Marek Singer

Let’s return to television. Despite the development of VOD services, television advertising revenues remain the main source of funding. How would you assess this year’s developments in the television advertising market?

I would describe it as less certain. The first half of the year was comparable to last year, perhaps slightly better, but the summer has been weaker. Now we will see what autumn brings.

Are you planning a significant increase in TV advertising prices for next year?

We will raise prices, but the question is by how much. With the number of people watching television declining, we cannot maintain current advertising prices. I don’t want to speculate on the exact increase, but I expect it to be higher than a few per cent.

And how do you respond to clients who say that their target audience is under 40?

We hear that a lot. But if you say that your target audience under 40 is the only thing you’re interested in, then you’re automatically excluding at least a third of your potential customers, which doesn’t make sense to me from a marketing perspective. The reality of Czech demographics is that older audiences are key, even if not everyone admits it.

I don’t want to speculate on the exact increase, but I expect the growth in TV advertising prices to be higher than a few per cent.

Marek Singer

Are you planning any changes to your channel portfolio in the near future? You were considering launching new stations Prima Port and Prima Case. What is the current situation?

We are not planning any new stations in the autumn. We will focus more on modifying the existing ones. We will adapt the content and positioning of individual channels to better suit their target audiences. If a channel starts to stray from our intended direction, we will steer it back on course. However, this is an ongoing process and is not necessarily tied to the start of autumn.

We are preparing a new channel in Slovakia, where we will launch the Slovak version of Prima Krimi on 1 September. This will complete our portfolio for the Slovak market.

In June, you reported the consolidated revenue of the entire Prima group, including radio and online, for last year. It was approximately CZK 7 billion. You stated that the largest part of this was television advertising. Did you see a year-on-year shift in the share of VOD and other digital income in total revenues?

Television advertising remains the main source of revenue, but it is clear that digital segments are growing. Personally, I see an opportunity in inserted advertising, which is a matter of technological adjustments and negotiations with operators, which are currently underway. The percentage of non-linear revenues will definitely grow. How fast, I don’t know, but I can imagine that within five years, the share of linear and non-linear revenues could be balanced. It depends on whether we can take the best of television and the best of online and offer it in a single product.

I can imagine that within five years, the share of linear and non-linear revenues could be balanced.

Marek Singer, CEO, FTV Prima

He has been CEO of FTV Prima since March 2008, with a break from January 2013 to May 2015, when he was Executive Vice President of MTG for Central and Eastern Europe. He spent the first eight years of his career at Unilever in Europe and the United States. From 2002, he spent four years as marketing and then sales director at Masterfoods. In the following two years, he worked as sales and marketing director at Karlovarské minerální vody, with responsibility for the Czech Republic and Slovakia.

Source: mediaguru.cz

CZECH TELEVISION DEFENDS ITS LEAD IN JULY, NOVA CONTINUES TO SHOW THE HIGHEST GROWTH

The first month of summer vacation saw Czech Television take the lead in television ratings among the broader audience group aged 15 and older. However, commercial broadcasters strengthened their position year-on-year, especially the Nova group.

In July, the stations of Czech Television defended their position as the most watched television group with a 29.48% share of all-day viewing in the universal group aged 15 and over. They also achieved the highest share in this audience group during prime time. The Nova group remained the strongest in the 15-54 and 18-69 audience groups. This is shown by official data from ATO-Nielsen.

Czech Television maintained its lead despite a year-on-year decline in its share. This was mainly due to a decline in the sports channel ČT sport, which last year in the same month benefited from the broadcast of the European Football Championship and the start of the Olympic Games in Paris. This year, the Nova group benefited most from this in the 15-54 age group, increasing its share in this audience group by 4.5 percentage points year-on-year during prime time.

The Nova group confirmed its position as the fastest growing domestic television group in the first month of the summer holidays. The Prima group also improved year-on-year in July, as did its direct commercial competitors in all main viewer groups. Televize Seznam also continues to report higher audience shares than in the same period last year.

Nova leads the stations, ČT1 is the climber

The highest share in the universal 15+ group belongs to the main channel TV Nova (16.83%), followed by ČT1 (15.10%) and the main channel TV Prima (9.80%). The biggest year-on-year improvement was achieved by ČT1 (+1.27 pb), followed by Nova Gold (+0.85 pb to 2.87%), CNN Prima News (+0.81 pp to 2.53%) and ČT24 (+0.64 pp to 4.72%). On the other hand, the biggest year-on-year decline was recorded by ČT sport (-5.50 pp), which broadcast Euro 2024 in July last year and also included the first week of the Olympic Games in Paris.

July’s most watched program was Policie Modrava

The most watched program in July was a rerun of Policie Modrava (TV Nova) with 1.03 million viewers aged 15+ (episode broadcast on July 27). In addition to the news programs Počasí (Nova), Sportovní noviny (Nova) and Televizní noviny (Nova), reruns of the series Specialisté were also among the top programs.

Source: mediaguru.cz

SIR JOHN HEGARTY FOR GTVG ON THE POWER OF CREATIVITY

Few figures have shaped modern advertising as profoundly as Sir John Hegarty. From co-founding Bartle Bogle Hegarty to producing some of the most iconic TV ads of the last half-century, his work has consistently championed the power of creativity to move people and markets. As brands today navigate an increasingly data-driven landscape, Sir John remains a powerful advocate for the human truths and emotional insights that lie at the heart of great advertising. We asked him to share his thoughts on creativity, the enduring role of television, and how the industry must evolve without losing its soul.

You’ve often emphasized the importance of truth and emotional resonance in creative work. In an era dominated by data-driven advertising and performance metrics, how do you see the role of intuition and human insight evolving?

There’s a growing obsession with what can be measured. But the truth is, measurement doesn’t lead to meaning. Creativity does. Intuition and emotional insight remain the lifeblood of great advertising. Data might tell you what’s happening, but it rarely tells you why it matters. When you ignore instinct, you risk creating work that is technically efficient but emotionally empty.

People remember how you made them feel. That’s what moves markets. And that’s something a spreadsheet can’t capture.

TV has historically been one of the most powerful platforms for building iconic brands. In your view, what does great TV advertising still do better than digital, and what must it do differently today to stay creatively relevant?

TV has the unique ability to enter the public consciousness. A great spot on television can shape the national conversation in a way digital often can’t. Digital has its strengths. It’s nimble and targeted. But too often it’s consumed in silence, in a private scroll. Television, by contrast, still delivers scale and shared experience. That collective moment still matters. The challenge for TV is not just to stay relevant, but to stay bold. It must entertain and stand for something.

Having built some of the most memorable TV campaigns of the past few decades, how do you feel the craft of storytelling in TV ads has changed? Are we gaining or losing something in the shift toward shorter formats and algorithm-optimized content?

There’s nothing wrong with shorter formats. Brevity can be beautiful. But compression should never come at the expense of clarity. We’ve mistaken attention for engagement. And that shift is dangerous. A great story still needs room to breathe. When every message is trimmed to fit an algorithm, we lose the craft, and that’s often what makes people care. Brands must remember that storytelling is not a trick. It’s a connection.

Interview Questions from David de Jong:

You’re a strong advocate for creativity. How do you view the current content produced by TV companies, both linear and streaming platforms, public and private, in terms of creativity? How well are they embracing it, and where is there room for improvement?

I don’t much like the word content, the inside of my toilet pipes are technically filled with content. I think that’s part of the problem, there is more ‘content’ than ever. But much of it is creatively cautious. We’re seeing safe choices, not bold ones. Streaming platforms have unlocked ambition. But speed to market and volume targets often dilute the vision. Public broadcasters, meanwhile, are wrestling with their identity. The ones that win will be the ones that commit to original thinking, not just audience metrics. When companies back vision over validation, we get culture-shaping work. We need more of that.

How do you see the world of video commercials and creativity evolving today, especially in the wake of a quiet digital revolution? What changes are you noticing, and how do you think AI will influence this evolution? How can creatives continue to thrive in this shifting landscape?

Advertising is drifting, too little is felt. Digital has changed how we distribute ideas but not what makes them powerful. As for AI, it’s a collaborator – not a tool. I think creatives would do well to view it as such and embrace it in your work. Rather than being like a pencil or a camera, it’s like a colleague. The only difference is it cannot imagine. Our job is not to replicate what already exists. It’s to create what doesn’t.

The Netherlands has a strong tradition of humour in TV advertising. Yet, some within the creative and advertising industries suggest this has diminished due to social and political shifts. How do you perceive this trend, and what’s your take on its impact?

Humour used to be a hallmark of Dutch advertising. It made the work memorable. Lately, that edge feels blunted, but there is a global climate of caution too. And yes, humour can be risky. But it’s also human, it builds rapport and invites participation. In many ways, it’s the antidote to the overly polished, overly cautious work we’re seeing today. A culture that forgets how to laugh forgets how to connect. Let’s not let that happen.

A Note on Cannes for Sir John Hegarty: An Industry Divided?

Cannes has long stood as the global celebration of creativity in advertising. As the event had been growing in recent years, with a very big presence of American tech and platforms, do you feel a certain ideological divide slowing installing? On one side, the creative voices in the Palais champion storytelling, emotion, long term brand building and originality. On the other, the rise of data, automation, and AI is shifting how success is defined, toward performance, efficiency, and precision.

While both sides are present, they often seem to speak different languages, driven by different values. The Palais-guests vs the fringe participants. Is this tension at Cannes reflective of a deeper fracture within the industry itself? One where creativity and tech are not necessarily in conflict, but no longer aligned in purpose? And in that context, should TV businesses, rooted in both brand storytelling and audience scale, play a more active role in bridging this gap and getting better at telling a story that proves that they can be both?

There is a divide, and Cannes makes it obvious. Inside the Palais, creativity is championed as emotional, enduring, brand-building. Outside, on the beaches and yachts, it’s performance, data, precision. And they rarely meet in the middle.

This isn’t inherently bad. But it becomes a problem when we stop speaking a common language. Creativity must work. It must solve real problems for real brands under real pressure. If it doesn’t, then what exactly are we awarding?

Mark Ritson’s research was a necessary provocation. If the best work isn’t the most effective, then we’ve lost the plot. Creativity isn’t for galleries. It’s for growth. That’s what DDB and CDP understood. They didn’t chase applause. They built reputation and results.

So yes, Cannes reflects a tension. And no, tech and creativity don’t have to be in conflict. But we need to stop pretending they’re aligned if one side celebrates reach and the other forgets reason.

This is where television can play a role. It understands the need to be remembered and to reach many. It knows how to marry scale with story. The industry needs to stop splitting its soul and start joining its strengths.

Otherwise, we’re just clapping for ideas that never leave the beach.

~~Register for September 24 th webinar about power of creativity here.~~

AI Codex

Position of AKTV on the General-Purpose AI (GPAI) Code of Practice

JULY 2025

In response to the Ministry of Culture’s request for a statement on the GPAI Code of Practice, specifically regarding one of its sections—namely the chapter “Copyright”—we provide below our observations and recommendations.

The chapter “Copyright” is one part of the Code; this part is inherently closely connected with another chapter of the Code titled “Transparency”. In our opinion, the Ministry of Culture should regard at least these two chapters as a single whole and comment on, monitor, and evaluate them in the context of their interrelated content, as both are fundamental chapters for rights holders.

Although the final version of the Code has undergone partial changes in both of the chapters mentioned above compared to the draft versions, these changes are ultimately mostly cosmetic. The final version has failed to meet the expectations that the audiovisual industry had placed in it, particularly in light of the ongoing, unprecedented violations of copyright by GPAI providers.

We are concerned that even after 2 August this year, the trend of one industrial sector infringing upon the rights of another will continue at an unstoppable pace and with limitless scope. Specifically, we fear that GPAI providers will continue to unjustly profit at the expense of rights holders—those who, through their creative work, have generated value in the form of data on which GPAI providers, under the guise of inevitable progress for all humanity, are training their models and will likely continue to do so in the future without the consent of rights holders, all for economic gain. In its current form, the Code is not capable of curbing this trend to an extent that would adequately protect the rights of copyright holders.

Transparency regarding the data used for training is absolutely fundamental. Without comprehensive information about the training data used by GPAI services, the implementation of the AI Act will not be in line with the letter of the law, and at the same time, it will prevent us—as rights holders—from effectively enforcing our rights or negotiating fair licenses for copyrighted works. In this respect, the provisions of the Code are overly general and incomplete.

At this stage—when the adequacy of the Code will be assessed by the Member States (at the level of the European Artificial Intelligence Board) and, most importantly, by the European Commission (at the level of the AI Office), and when the European Commission may subsequently approve the Code and grant it general applicability within the European Union through an implementing act or establish common rules for fulfilling the relevant obligations itself should the AI Office find the Code inadequate—we can now only appeal for the Czech Republic to stand behind the Czech audiovisual industry by demanding the development of rules that are fair to both rights holders and GPAI providers. In the next steps, an active role is essential not only from EU institutions but also from national authorities to ensure that the situation is properly assessed and that subsequent steps are taken based on that assessment. As for the specific actions of the Czech Republic, it is essential that the Ministry of Culture actively participate in the above-mentioned future steps and processes of monitoring and impact assessment, and that these processes and steps be carried out with the involvement of stakeholders from the audiovisual industry—meaning we should be consulted through targeted questionnaires, interviews, or other methods for the purpose of providing feedback on AI-related issues, specifically the rights of copyright holders.

In conclusion, we state that the audiovisual industry makes a vital contribution to the freedom of the press and news media, and forms the foundation of European cultural diversity, social cohesion, European values, and democratic dialogue. We are part of this industry and therefore deserve appropriate protection. This is our appeal to the Czech Republic.

CONSUMERS 65 TIMES MORE LIKELY TO BE INFECTED BY MALWARE THROUGH PIRACY SITES

An argument frequently used by rights holders as they attempt to persuade consumers not to view illegally obtained content has been given new backing.

A new study released by the Alliance for Creativity and Entertainment (ACE), has found consumers are up to 65 times more likely to be infected with malware when using piracy sites as compared to legitimate websites.

The report, Consumer Risk from Piracy in Southeast Asia explored activity in Indonesia, Malaysia, Singapore, Thailand, and Vietnam.

“As this study makes clear, the risks and ramifications substantially increase for those in Southeast Asia who visit piracy sites,”

said Study author Dr Paul Watters. a cybersecurity researcher and thought leader at Cyberstronomy. “Though efforts to curb digital piracy are ongoing, these stark results require additional action – such as smart tools and proven measures – to mitigate the relevant digital threats in each country.”

Overall, the study concluded that piracy sites – including streaming piracy platforms, P2P networks, IPTV services, scam portals, anime piracy sites, and manga repositories – carry a cyber threat risk more than 22 times higher than that of mainstream legitimate sites.

“The research findings reaffirm the extensive harms piracy networks inflict upon consumers and the economy in Southeast Asia,” said Larissa Knapp, Executive Vice President and Chief Content Protection Officer for the Motion Picture Association. “We applaud Dr. Watters and his team for their work in revealing the dangers of using these illicit sources, and we look forward to further collaboration with law enforcement throughout the region to detect these bad actors, deter future misdeeds, and dismantle unlawful operations that endanger a thriving creative marketplace.”

Peer-to-peer networks, scam portals, and streaming piracy sites carry the highest relative risks of cyber threat, while consumers in Indonesia, Singapore, and Malaysia have the highest average relative risk of encountering a cyber threat from a piracy service – each approaching or exceeding a 34-fold increase over legitimate sites.

Source: broadbandtvnews.com

ILLEGAL STREAMING: GERMAN AUTHORITIES DISMANTLE PIRATE IPTV NETWORK

German investigators have struck a significant blow against illegal IPTV operations, arresting suspects, seizing servers, and confiscating assets worth around €500,000.

The large-scale anti-piracy action was coordinated by the Criminal Police Inspectorate in Weiden and the Central Office for Cybercrime Bavaria (ZCB), following investigations that began in early 2024.

Five men – three 25-year-old Germans, a 25-year-old Austrian, and a 27-year-old Azerbaijani – are suspected of reselling premium streaming services, including those of a German provider and Netflix, to paying customers through an illicit IPTV platform.

On 3 June 2025, after months of preparation, simultaneous raids were carried out at nine locations: one in the district of Tirschenreuth, two in Munich, one in the district of Pfaffenhofen an der Ilm, and five in Hamburg. More than 100 officers were involved in the coordinated operation, led from Weiden in cooperation with a ZCB prosecutor.

Three suspects were initially remanded in custody. The arrest warrant for a 25-year-old from Munich has since been lifted after initial analysis of seized data failed to confirm strong suspicion, though investigations continue.

Another suspect from Hamburg faces additional charges: preliminary evidence from his seized devices suggests incitement to severe child sexual abuse via a messenger service, as well as involvement in the creation and possession of child abuse material. A 25-year-old software developer from the Tirschenreuth district, believed to be the main perpetrator, remains in custody.

The suspects allegedly operated with advanced IT knowledge and a sophisticated server infrastructure. Securing digital evidence was therefore a priority. The mobile forensic lab “Paladin” from the Upper Franconia Police Headquarters was deployed to ensure rapid on-site data capture.

With assistance from cybercrime specialists in Amberg, Regensburg, Munich, Upper Franconia, the Bavarian State Criminal Police Office and Hamburg’s LKA, investigators seized extensive hardware and storage media. Many encrypted devices were successfully unlocked on site.

Given the suspected financial gains from the illegal streaming scheme, investigators also focused on confiscating assets. Cash, gold coins, and cryptocurrencies valued at approximately €500,000 were secured, with the help of specialists in asset recovery and cryptocurrency tracing.

The operation yielded what investigators called a “major interim success”: an entire server infrastructure, numerous mobile phones, USB sticks, gaming consoles, and large volumes of cloud data were secured. Several servers abroad, allegedly used to operate the illicit IPTV services, were also seized. Processing the terabytes of data is underway and will still take some time.

The suspects face charges of commercial unlawful exploitation of related rights under the German Copyright Act. Customers who subscribed to the illegal IPTV services should also expect criminal proceedings. One suspect faces additional accusations of incitement to severe child sexual abuse, commissioning the production of child abuse material, and possession of such content.

Source: broadbandtvnews.com

POWER OUTAGE AFFECTS TV VIEWING

TV viewing during the blackout: dramatic drop in affected areas offset by growth in other regions.

The power outage that hit a large part of the Czech Republic on Friday, July 4, had a significant impact on television viewership. In the most affected regions, live viewership fell by up to tens of percent. However, the impact of the blackout was mitigated nationwide by increased viewer interest in unaffected areas, according to Atmedia, citing data from ATO-Nielsen.

The largest power outage in recent years hit Prague, the Central Bohemian, Ústí nad Labem, Liberec, and Hradec Králové regions, as well as parts of the Pardubice and Olomouc regions on Friday, July 4.

In the most affected regions, there was a dramatic drop during the outage. For example, in the Ústí nad Labem region, live viewership between 12:00 and 15:00 was 80% lower than the average Friday afternoon over the previous three weeks. In the Liberec region, it fell by 67%, in Prague by 44% and in the Central Bohemian region by 40%.

In contrast, people in unaffected regions spent more time in front of their screens than usual. The South Bohemian Region recorded a 28% increase in viewership, the Pilsen Region 27%, and the South Moravian Region 23%. Higher viewership was also reported in the Vysočina, Zlín, and Moravian-Silesian regions.

“Total live TV viewership between 12:00 and 15:00 was 11% lower than on the previous three Fridays. The significant decline in some regions was partially offset by increases in others,” explains Pavel Müller, Senior Head of Research & Marketing at Atmedia. According to him, all-day viewership was only 4% lower.

According to Atmedia representatives, it is common for exceptional situations to increase interest in television broadcasting. Viewers turn to television not only as a source of information, but also for entertainment and relaxation.

“Extraordinary events usually increase television viewership,” says Michaela Suráková, director of Atmedia. “We saw this, for example, during the floods in September last year or when COVID-19 measures were announced. At that time, television became a daily companion for millions of people.”

According to her, we see similar trends during major sporting events such as the Olympic Games or the Ice Hockey World Championship. TV viewership is also traditionally strong during Christmas and New Year’s Eve.

Last year, an average of 5.6 million viewers aged 15+ tuned in to television in the Czech Republic every day, spending 3 hours and 36 minutes in front of the screen – which is above the European average.

Source: mediaguru.cz