The volume of TV ads expressed as the number of delivered advertising GRPs on Czech TV screens increased in May this year.

The volume of TV ads expressed as the number of delivered advertising GRPs on Czech TV screens increased this May. Compared to last May, it has grown by a quarter in aggregate year-on-year (+25%). The figure relates to the volume of GRPs delivered through TV spots and sponsoring. Although last May was affected by the first wave of the coronavirus pandemic, the comparison of this April and May shows that there is a growth in demand for TV space.

The highest increase in GRP as of this May is seen in the stations of Česká televize, which may only sell standard ad spots on ČT2 and ČT sport. Sports events, specifically the Ice Hockey World Championship, are one of the drivers of demand for TV advertising on public TV. A high year-on-year increase in GRP is also experienced by stations sold by Atmedia, and a two-digit growth was reported by the key players on the TV advertising market – Media Club (Prima, Óčko, Barrandov and other players excluding Atmedia) and TV Nova in May.

Share of business networks in delivered GRPs (%), May 2021

Source: Nielsen Admosphere, TV spots and sponsoring

May developments indicate advertisers’ interest in using TV ads, which is expected to continue over this year’s autumn season. The two strongest commercial TV companies have announced preparation of several new programmes for this TV autumn. Given the statutory limits of time that may be used by operators for ad broadcasting, the pressure on TV ad space is likely to grow.



TV viewers’ behaviour is changing and the advertising market has to do so as well, points out Petr Hatlapatka from Media Club.

The pressure on TV inventory and the outlook of TV GRP development in the following years require broadcast operators to search for ad placement options, says Petr Hatlapatka, Head of Online Sales in the Media Club agency.

Available research studies show that the time spent watching TV and the internet traffic have grown in the pandemic. In principal, the development follows the pandemic waves seen over the recent year. What are the impacts on online video and video advertising?

As people in the pandemic spend more time watching videos and TV, the time spent on our video portal has been increasing. The capacity for video advertising has been growing accordingly. For example, this April the time watched increased by about 15% compared to the first months of this year. The time watched is our priority as it is used to calculate a market share.

It is assumed that the current internet increase mostly relates to the news and information search  as well as to leisure time, which is mostly spent at home in the pandemic. What is the increase attributable to?

Primarily to the size of archives. This is the driver of the time spent by users on a given video portal. In general, I would say that it is an advantage for TV video portals if they post as much video content as possible to their websites. Thanks to this, they report the longest time spent watching videos, which we can clearly illustrate on our example.

Which of your websites is key for video ad sales?

Definitely, where we have the largest offer of long videos. The price for ad space on long videos is much higher than on short ones. Specifically, we have experience from Like House, a reality show watched mostly by young people aged 15-24 that has increased iPrima’s performance. The viewership of the reality show on the website is above average, we had hard times keeping the servers going. By number of started replays, Like House has even overtaken the TV series Slunečná. It is our most successful video format at present, which works well especially with young audiences. Clients mostly seek to address young viewers on social networks, which, however, lack formats adequate to TV ads. Our video spots are non-skippable for fifteen seconds and in our opinion, they are closest to TV ads.

You have mentioned the increase in online video time watched and the relating capacity increase for placing video ads. Is there any interest in them?

The interest in video advertising has increased but ad inventory went up even more. Between 2019 and 2020, we have grown 25% in income from video ads. Although last year was impacted by the pandemic, we managed to increase our income from video advertising.

Is this year’s development favourable again?

This year started with lockdown but the first four months were stronger compared to the same period last year. However, the growth has no longer been twenty percent. But on the other hand, the yield in not small in aggregate. And it is true that inventory has grown more. This helps us as the pressure on TV space is large and thanks to the growing digital inventory, we can offer space to clients for the same content. That is why we started talking about the need to connect TV and digital last autumn. We perceive that the market has not been prepared for this but in our opinion, this trend is inevitable. TV viewers’ behaviour is changing and the advertising market must do the same. The question is not whether it will change but when it will change.

Is it changing because people watch content more with a time shift and use paid video portal offerings?

Yes, it is because people increasingly watch paid video services (SVOD) such as Netflix or HBO Go. We expect that over years, the space for TV GRPs will decrease. Although TV will keep a high reach, the time spent may be expected to gradually decline, especially in younger target groups. We estimate that within five years, up to 25% of TV GRPs will disappear from the market. Moreover, there will be no ads on SVOD and if so, just very limited. The space for creating TV GRPs will be reduced, which will mean that the price for TV GRPs will go up. We cannot expect that viewers’ behaviour will return two years before the pandemic and that people will start cancelling their subscriptions to Netflix or HBO. This is an outlook with which we have to work – that is why we seek to create an adequate space for online ad communication and that is why we work with GRPs in digital as well.

What can they offer to clients?

We can see that video advertising shortens the time when a viewer starts searching products or services based on an advertisement watched. Thanks to this, video advertising can direct users to the web nearly immediately. I consider this the key benefit. Another benefit is that there is a younger audience group on the internet. Compared to the TV screen, these are younger target groups that improve the total reach by target groups in the general connection with TV advertising. Video ads thus definitely make sense for advertisers who want to address younger audiences. They can run part of their campaigns on the internet using eGRPs, which is what several clients have already been doing. Now at spring, we can see a growing interest. An important novelty is that we made video content available on the portal just based on registration. Thanks to this we are able to better target advertising messages and better recommend adequate content to viewers.

Is there any evidence of how an advertising message exactly works if it is broken down into TV and a video portal?

We are working on it. We want to show clients and media agencies what the impacts are when a portion of campaign is implemented using eGRPs and how this impacts reaches in target groups. We can see that greater concerns and barriers in using eGRPs are experienced by media agencies than by clients. The crucial thing is that the content created in Prima is just one and is placed on TV and online. Distribution makes no changes to the content. The difference may be that online content is consumed more with a time-shift and is based more on users’ needs.

In your outlook for this year, do you take into consideration that usability of digital GRPs will increase?

We expect it namely in the months when the demand for TV ads is high. For us, iPrima is in fact another channel within which campaigns can be delivered. Colleagues who organise TV campaigns can see the number of GRPs on individual thematic channels and on in our internal system. If there is no crucial change in the pandemic development in autumn, we estimate that video advertising will grow by 10-15%.

Are you planning any news for advertisers in the nearest future?

The largest piece of news is that we are going to launch dynamic ads for HbbTV. This will be suitable for clients who want to communicate in real time during their current offer, such as e-shops or betting companies. Dynamic advertising should be ready before the start of the autumn season.



Tech-savvy consumers demand 24/7 entertainment at the touch of a button—anytime, anywhere

The current TV landscape has transformed as viewing habits have changed, streaming giants battle it out for subscriptions and new players and emerging direct-to-consumer offerings enter the fray, shaking up the status quo.

In an always-connected era, consumers are tech-savvy and demand round-the-clock entertainment at the touch of a button—anytime, anywhere. And they want it at the best value for money possible. Since the turn of the century, we have seen the dramatic rise of on-demand content services and major changes in the way consumers want to access content across multiple devices—place and time shifting.

Moreover, the way in which audiences are willing to pay for this content is also evolving.

Traditional TV advertising remains the principal revenue source for content owners and service providers, totaling $166 billion in 2019. But revenues are declining—in 2020, there was a 12% year-over-year fall, due partly to the impact of Covid-19. Although starting from a lower base, OTT video ad spend is on a healthy growth curve.

On the subscription side, traditional cable and satellite pay-TV revenues are also declining, with subscriptions set to fall to just a 40% share of TV services in 2026, compared to 81% in 2016. In contrast, spend on OTT subscriptions rose 34% in 2020—in the U.S. market, consumer spend is set to reach $76 billion by 2024.

Although the various forecasts differ by a few percentage points, a likely picture is that OTT subscription and ad revenue will eventually eclipse all other sources of income—with some estimates suggesting $221 billion by 2025.


On the production side, content costs are increasing as new media players enter the bidding for key producers, brands and sports rights. In response, traditional media is consolidating to secure intellectual property, reduce overhead cost and pool technology investments.

However, further back in the content supply chain, rights owners and content creators are bypassing incumbent distributors and creating direct-to-consumer OTT offerings. Sports TV is a key battleground with players like Formula One, MLB and NHL all creating domestic and global offerings that remove a layer of distribution and capture a greater share of revenue directly from consumers.

These early pioneers are not alone. Individual and small-scale content creators are growing, enabled by low-entry barriers for semi-professional production and low-cost distribution models that utilize platforms including YouTube, Twitch and Patreon.

It is a complex and fast-evolving landscape—difficult to navigate for traditional broadcasters that have to fend off rivals from the world of telecommunication that see “content” as an opportunity to create stickier broadband and 4G/5G bundles. At the same time, broadcasters are up against internet rivals who are jostling for the number one spot with different goals such as supporting retail sales via “Prime-Style” subscriptions or tying users into walled garden ecosystems like Apple or Google.

Broadcasters, caught between a rock and a hard place, are trying to attract and retain eyeballs to support advertising revenue and ultimately create innovative, unique content that not only consolidates traditional viewership but engages new audiences. In short, the market is in a state of flux. Over the course of the next few years, we will see who comes out on top—and those who struggle to adapt to this changing landscape.


However, several interesting trends are worth further investigation. One of the areas where traditional broadcasters have retained a consistent viewership is within the news.

The three main news networks in the U.S. have experienced only a mild decline in viewership over the past three years, primarily due to the rise of alternative news sources such as Facebook, Twitter and Instagram. What is more interesting is at the local level. The Pew Research Centre for Journalism and Media showed that local TV news is still more popular than national news networks, and the hours-per-day of local TV news consumption has grown by 62% between 2013 and 2018.

Although traditional local TV advertising revenues have declined over the last few years, digital advertising around news content has seen strong double-digit growth leading to only a marginal overall shortfall.

These data points suggest an overall positive growth trend for local TV news and point to an optimistic future. Local news can harness opportunities in new technology and innovative Electronic News Gathering (ENG) methods to power more news quantity, quality and diversity, while internet networks can provide a greater reach for localized news and enhance cost-efficiencies.


The localization trend also plays into the other big success story for traditional TV—live sports. Although the world’s two most popular sports leagues, the NFL and English Premier League, have seen a multi-year decline within their home nations, audiences have increasingly tuned in from around the globe.

For example, the 2019 ICC Cricket World Cup was the most watched sporting event of that year, with the tournament achieving a cumulative live audience of 1.6 billion viewers. And in esports, international viewership is surging — live streaming audiences are set to hit 920 million by 2024, growing approximately 10% year-on-year.

Sports that may have been too niche for traditional TV in the past—such as formula E, MMA, darts, rowing and competitive cycling—have found audiences on DTT, cable and increasingly OTT services where they can support an FTA (free-to-air) model that is backed up by digital advertising. Local sports—as grassroots as a town’s football, cricket or rugby club—may well tie into the desire for local news delivered via OTT, as long as production costs can be kept low and the production quality can remain acceptable to viewers.


The current TV landscape is exciting—success is up for grabs for those who are willing to innovate. Increased localization opportunities and future-proofed distribution models present just some of the promising avenues for growth. The digital revolution has ushered in a consumer shift that is forcing many to reevaluate their business structure, and media players now face more competition than ever before.

For more than a year, our industry has witnessed the economic impact of the global pandemic, and in that time, data points and longer-term trajectories may have been skewed. The status quo between content producers, distributors and consumers has irreversibly changed, while innovation in future-ready production and distribution models has accelerated. Right now, media players need to be bold to stay ahead of the curve—and to shape a successful roadmap for the future.



Voyo wants to create space for its services in the prepaid video market. “In order to make progress, we will have to double the number of subscribers every year,” says the Director of Digital Media of CME, Daniel Grunt.

Daniel Grunt has been managing internet activities of Central European Media Enterprises (CME) since this March. He has also taken responsibility for the digital direction of the local TV Nova. In an interview with Daniel Grunt, we discussed the priorities of TV Nova’s digital strategy for this year and the transformation of the strategy.

Let’s start with the tasks in your new role in CME and TV Nova. The position is rather broad, comprising all countries within the group and local online activities of the Nova group. What are you going to focus on this year?

I am in charge of all CME digital activities and as we want to make fast progress with the Voyo video portal, my attention will focus nearly exclusively on the Czech and Slovak markets in the first year. We see the development of Voyo as key. We have set an ambitious goal to achieve one million subscribers in the Czech Republic and Slovakia within five years. In addition, we want to move the website closer to TV News. The third point on the agenda is the re-launch of Nova’s AVOD services.

Voyo is in all countries within the CME group. Does it mean that you are not going to address Voyo in Romania, Slovenia and Bulgaria?

The thing is that in the Czech Republic, Slovakia and Romania we have launched a new platform while in other countries another platform is used. We want to integrate them in future but now, it is important to focus on the key markets and accelerate Voyo’s progress on them. And after that we will focus on other states. However, this does not mean that in other countries Voyo will not develop, we will just pay special attention to the Czech Republic and Slovakia.

It is interesting that already in 2012 when Voyo was launched Nova had a rather ambitious goal in the number of subscribers it wanted to win. At that time, about thirty thousand subscribers were attracted and then the group’s focus moved, Voyo support subsided and the number of subscribers was not growing.

It is true that the number of subscribers was constant in principle. But there was a change last year when the number doubled. In general I think that Voyo was introduced ahead of its time in 2012. In terms of development, it was an absolutely appropriate project but it was launched much earlier than people were ready and willing to pay for video services. Now the situation is different. Penetration of the high-speed internet and Neflix-like global players’ activities were of help. In order to make progress, we will have to double the number of Voyo subscribers every year.

Is it realistic to achieve a million subscribers in the Czech Republic and Slovakia in aggregate within 5 years?

If I were to answer this question half a year ago, I would have said that it was probably not realistic. Now I have been inside for a couple of weeks and can see great willingness and enthusiasm of CME and Nova to invest a considerable amount of money into the development of Voyo – both into content and marketing. We have a sophisticated strategy and a team that wants to move Voyo up. Seen from this angle, this goal makes sense and within five years, we could achieve one million subscribers in both markets. The market development also plays into our hands with Czech users learning to use paid services more and more. This makes the task easier.

On the other hand, with the development of video services including those provided by global players the market gets more crowded and less space is left.

Global competitors may benefit from economies of scale – they shoot at a large cost but their expenses may be covered by offering their products on global markets. We are playing on a substantially smaller playfield. Our big investments are incomparably lower than those of the global players. But I estimate that in our market, the theory of three may apply under which on any reasonably big market three players may coexist having a chance of a profitable life. I am convinced that Nova as a major producer of Czech content has a right to be among those three. It is the only firm that will provide professional and local content. Apart from Netflix, which has made significant progress in the pandemic, Disney+ will win its way in the local market as the second most important player in my opinion. I believe that if we do our job correctly and continue consistently we should be the third player to join Neflix and Disney+.

There are also other two strong local players – Česká televize, which is preparing a new form of iVysílání.cz, and the Prima group where you participated in the development of digital media in previous years including the development of the key platform

In the previous question, I was namely talking about prepaid video services (SVOD). But it is true that in order to achieve the required scale, a paid video library will naturally compete with AVOD services that are available free of charge. We thus have to show that our offering is substantially better than that available for free. In general, we want to attract people’s attention. We will fight for it not only with AVOD services but also with linear TV, Spotify and other services, so the battlefield is rather big.

In a meeting with journalists, CME’s CEO Didier Stoessel and the Programming Director, Silvia Majeská, have outlined Voyo’s strategy. How will you implement it?

There is much to build on, Voyo has become a famous brand over the nine years of its existence. We should considerably increase user experience, which should be data-driven and should adjust to specific users. This means for example offering content that the user will most likely want to watch. Users must receive sufficient amount of content through the best possible user interface. We will carefully monitor the metrics of time spent, which expresses satisfaction with the content offered. In terms of content we must offer the best shows of our own local production. This can differentiate us. It is unlikely to make some interesting acquisitions. Global players are building their own AVOD or SVOD services and withdrawing their own production from all potential competitors. Disney is withdrawing its shows from TV and Netflix and keeps them for itself and the same applies to other players. I don’t expect to make any strong acquisition within five years when the market pattern will start changing again. We thus have to have strong local content.

How would you like to expand Voyo’s content?

Already this year, we are planning to introduce miniseries that will be on Voyo only and will not be on TV. We are planning a new reality show, Love Island, that will be produced primarily for Voyo. We continue with previews of our original series that work well. But we cannot build just on them. This year’s investments will be relatively significant and next year they should be even several times higher and we will go on this way. We have addressed a number of local productions that should make series for us so that we can offer our viewers a new series every month. The view of the life cycle of content that is produced here has changed in the group. So far, an original series has been shown on TV and then placed on the internet on Before showing it on TV, a preview is offered in advance on Voyo. In the future, premium content will be produced primarily for Voyo. It’s the same as when a film is released in the cinema. First, it is shown in the cinema and only then it is on TV. Therefore, we want the most exclusive production to be on Voyo. After a year and a half or two years it will go to TV screens and from there to the AVOD service as a catch up for a week or two and then it will go back to Voyo to the full archive. This should help us invest effectively in the local content.

It was mentioned several times that Voyo’s development will require considerable investments and that CME has them ready for this purpose. How big are these investments?

Unfortunately, I cannot comment on this.

What will be the core of your effort to make Voyo more user friendly for its users?

Voyo has undergone a substantial re-launch recently, the service has been redesigned and I think it was done appropriately. But we will work on certain details so that, for example, users do not have to click several times before they get to what they want to watch. We want to offer them content based on our knowledge of their preferences and make the path to starting the video as short as possible. The longer they will search something or think the higher is the risk that they will leave. These details should lead to a notable improvement of the service.

If we take into consideration the Nova group’s five year goal to significantly expand the number of Voyo subscribers and if the plans are implemented, the paid services will generate much higher yield. This would result in a different pattern of revenues from advertising and paid services of the entire group. Is it possible to outline how strong digital should be within the Nova group in terms of revenues?

In the long-term I can imagine that income from users and from advertising should be balanced. It is in line with the general market development. Income from advertising will not skyrocket but income from users may rise considerably, which may be a large source of money for the group.

Apart from Voyo, which is paid, Nova has the and Nova web sites where videos are available for free. You have mentioned that you will address AVOD services as well this year. What will be their profile?

Our goal is to make our AVOD services more clear and simple. works as a link site from which users go to This is not user friendly in my opinion. There are too many brands, my concept is simpler, we should build a single brand. This should be another digital channel of TV Nova allowing users to watch what they haven’t seen on TV for some reason. Long-form videos should be the core of this service. Nova Plus is now focused a lot on bonus materials and articles. But what users want the most are long-form videos that are on TV. That’s why I want to change the logic of the AVOD service so that it focuses more on entire episodes that will be supplemented by bonus materials.

Wouldn’t it be better for Voyo and its development to place entire episodes to Voyo only?

For Voyo development, this would be the simplest and cleanest solution. But video advertising generates not negligible amounts in Nova. If we are investing massively in Voyo we cannot cut off such a big source of income. SVOD will now be in our focus instead of AVOD. The primary portion of our ideas, sources and marketing is directed at SVOD. But we want to keep AVOD as well because it works well for our advertisers. The service just should be fine-tuned and cleaned to work even better.

For some time, we can watch previews of original TV series on Voyo. Do they work well as a source of traffic?

They do, definitely. It is one of the largest attractions. With new subscribers, they form at least half of their first visit. In the total rating, previews represent tens of percent. It is an important element of Voyo’s offer and the easiest way to lure viewers to a paid service. As I have already said, we cannot build on previews only, we have to expand Voyo to include shows that were not on TV.

Do you consider a Voyo subscription price different from the existing CZK 159 per month?

The price has been continuously tested and it seems to us that it has been determined correctly. We will see what to do next. Now our priority is to enlist as many subscribers as possible. Profitability comes second and possible new packages may be considered later.

So should be the key pillar in the AVOD offering and should be key in the SVOD offering. Is it realistic to consider development of websites connected to the thematic stations of the Nova group? Unlike its competitors, Nova does not have any such websites.

We are not thinking about this. These websites had their purpose when it was possible to generate interesting income from display advertising. But now this advertising makes less than a third of digital income for TV players. On the contrary, video advertising represents a large portion, which is key to us. Our goal is our AVOD service capable of concentrating content of all of these stations.

When will the website be introduced in its new design?

We want to be able to launch the new design of this year, we have just started working on it. The new design of should be more connected with TV News and should be its extension.

The last question relates to HbbTV where Nova has not been too active. Will this change?

We definitely plan a more significant development of HbbTV but now we concentrate on three basic issues that I have described – Voyo, and AVOD. But I perceive the red button as the easiest way to increased inventory. Its conversion from linear broadcasting is also very good as it is easy to use. We know that we should work on HbbTV. I would be satisfied if we make at least a new design of the entry page to the red button world and launch Voyo’s version for HbbTV.

Daniel Grunt, Head of Digital, CME

He started managing digital activities of CME in March 2021. At the same time, he became the New Media and Diversification Director of TV Nova. From 2012 to spring 2020, he was the New Media Director of FTV Prima. Before joining Prima, he led new media in the former publishing house Sanoma Media Praha, where he worked for a year and a half. Before that, he managed all internet activities of TV Nova for more than two years. He was the Marketing and Product Director of the internet portal He also worked as a Multimedia Manager in Nokia Czech Republic.



The ongoing coronavirus pandemic did not bring any significant fluctuations in the number of delivered GRPs to the advertising TV market.

The aggregate number of advertising GRPs delivered by TV in this first quarter decreased by 2% compared to the last year’s first quarter. It is a good result given the adopted measures against the coronavirus. The result includes classic TV spots and sponsoring. This is the outcome of Nielsen Admosphere’s data monitoring.

The development in the first three months of this year shows that the most favourable situation was in March when GRPs had grown year on year. March is also the strongest month of the first quarter. On the contrary, GRPs decreased most in February year on year.

Out of individual business groups, Media Club (Prima, Barrandov, Óčko and other) and TV Nova continue to be the strongest.

Share of business networks in delivered GRPs, 1Q/2021



We have prepared a ranking of the top media on the Czech market in terms of turnover based on sales in 2019.

The Nova TV group, the internet company and the Prima TV group were the three strongest media on the Czech market by sales in 2019.

In that year, Nova’s sales grew to CZK 5,45 billion, achieved CZK 4.7 billion and FTV Prima CZK 3.28 billion. Two years ago, the sales of the Mafra media group, which had acquired Bauer Media a year earlier, also managed to exceed the level of three billion crowns.

Comparing media firms by sales is complicated by the fact that the data on financial results for 2019 is not available for all firms. Where the results are not disclosed we have used data for the most recent year available (indicated in the table below).

In some cases, consolidated results for the group are provided. Specifically, for Vltava Labe Media the results include printing companies. Its competitor, Czech News Center, has only reported results for the publishing company (without printing companies). Czech Print Center (CPC) merged with CNC last autumn. Data on CPC’s profit or loss is thus not available for 2019; the most recent information available is for 2017.

The ranking does not include media companies for which no figures on sales are available for several previous years.

Media companies by sales in 2019 (CZK thousand)

Ranking Media company Owner/group Sales in 2019 (CZK thousand)
1. TV Nova PPF 5 453 979
2. Seznam 4 690 242
3. FTV Prima GES Media 3 275 130
4. Mafra Agrofert 3 027 877
5. Vltava Labe Media Penta 2 120 885
6. Czech News Center Czech Media Invest 2 039 186
7. BigBoard Praha JOJ Media House (majority owner) 1 265 343
8. Economia Economia 741 250
9. Barrandov Televizní studio Empresa Media 645 050*
10. O2 TV PPF 636 902
11. Czech Print Center Czech Media Invest 635 513**
12. Borgis Borgis 614 978
13. Burda International CZ Burda Eastern Europe 506 625
14. Empresa Media Empresa Media 383 058**
15. Europlakat JCDecaux 273 602
16. JCDeacux městský mobiliář JCDecaux 266 999
17. Rencar Praha JCDecaux 231 546
18. Active Czech Media Invest 159 687
19. Stanice O Agrofert 152 313
20. Londa Agrofert 133 013
21. Evropa 2 Czech Media Invest 103 674
22. Our Media Synot Invest Limited 100 826
23. Frekvence 1 Czech Media Invest 95 042*
24. Media Bohemia Media Bohemia 78 378
25. Radio United Broadcasting GES Media 76 623

*sales in 2018, ** sales in 2017

Source: Cribis, financial statements and annual reports for 2019

If sales by owners or groups are aggregated, the owners with the highest sales (based on accumulated sales) include PPF,, GES Media, Agrofert, Czech Media Invest and Penta.

We provide separate results for media agencies selling advertising space. The strongest position in this area is held by Media Club (owned by FTV Prima).

Media agencies by sales in 2019 (CZK thousand)

Agency Owner Sales in 2019
Media Club FTV Prima 4 633 039
BigMedia BigBoard Praha 1 100 499
Media Marketing Services Media Bohemia 973 405**
Radiohouse* Media Bohemia / Active 847 342
Impression Media Media Bohemia 101 857

* Throughout almost the whole 2019, Radiohouse was owned by members of the Media Bohemia and Active Radio groups; at the end of 2019, Media Bohemia became the sole owner and in 2020, the portfolio of represented radios changed

** The result is significantly higher year on year thanks to the acquisition of Radiohouse, Source: Cribis, financial statements and annual reports for 2019



There is no division between online and broadcast TV video; platforms support each other and the so-called total video wins today, says Štěpán Wolde.

Live TV continues to be the strongest source of video content consumption in the general population older than 4 years in the Czech Republic. Its share in all video viewing (including video content on carriers) is more than 43%. If live viewing is aggregated with archive TV content viewing and live TV content viewing on the Internet, the total share of the ‘TV content’ accounts for nearly 62% of video content consumption. Other video content is watched via the Internet by nearly 29% of population aged 4+. These are the results of a research by ATO-Nielsen Admosphere. At the last year’s Czech Internet Forum conference, the topic of video content consumption was covered by Štěpán Wolde, CEO of the Óčko music TV group.

Video content viewing by young Czechs aged 16-34 is differentiated with internet video having the largest share in the videos watched (45%). When young people start families, their behavioural pattern changes and so it does with their age. The group of 25-34 year olds with children has a preference for live TV with the proportionate decline in other video content viewing via the Internet.

The term ‘video content’ covers many things today according to Wolde. It is not limited to videos on YouTube and Facebook but it also includes content on live TV (linear broadcasting), catch-up TV, and platforms of TV operators and independent players, such as Netflix or AppleTV+. The term also covers online video of the internet media such as DVTV and various clients, e.g. Red Bull.

Although the names of stream services such as Netflix, HBO Max or AppleTV+ are widely discussed, they are not the dominant players in video content. This fact is supported by the UK market data where the highest share in daily video content consumption is held by live TV (49.5%). Moreover, live TV remains to be the strongest platform for addressing audience by advertising. The UK BARB’s data shows that the reach in general population by ad video broadcasting is achieved at 83% through live TV. In the audience group of young Britons aged 16-34, the share of live TV accounts for 66% of the total ad reach attributable to video.

The UK data also shows that while live TV broadcasting in watched the most on a TV screen, Netflix-type services are consumed this way by only 74.2% of people. Other people prefer notebooks (12.1%), tablets (7.1%) or smart phones (6.5 %) through which they mostly watch videos on YouTube (35.5%) and other online videos (46.7%). In the Czech Republic, people consume online videos on notebooks much more than on their mobile phones. Live TV is watched predominantly via TV screens.

During the spring wave of the pandemic, the interest in VOD services increased but broadcast TV viewing grew up as well.

“There is no division between online and broadcast TV video, platforms support each other and the total video wins today,”

says Štěpán Wolde, explaining that connection of individual platforms helps increase viewing of TV Óčko, specifically the recent release of the Naked Attraction reality show. “We can see that a strong campaign on Facebook where people can taste content and post comments brings new audiences to our TV. Therefore, content cannot be divided; individual platforms can help each other,” concluded Wolde.



Although the pandemic has affected the volume of TV advertising GRPs namely in spring, in total, TV delivered GRPs comparable to the previous year.

The aggregate number of TV ad GRPs delivered by TV companies last year achieved a level nearly comparable to the previous year. Given the coronavirus pandemic, it is a good result. The number of GRPs decreased by only 0.5% year-on-year. The result includes classic TV spots and sponsoring. This is the outcome derived from the data monitored by Nielsen Admosphere.

It is obvious from the monthly development between 2019 and 2020 that during 2020, TV succeeded in delivering a slightly higher number of GRPs, namely in early 2020 and then from August for the rest of the last year. On the other hand, a lower number of delivered GRPs is apparent in the spring months of 2020, especially in May.

Within individual business groups, there are differences in the GRPs delivered. The stations of Česká televize decreased by approximately ten percent because due to the pandemic, they lacked sports events connected to the sale of advertisements. The strongest TV advertising group, Media Club, reported a slightly better outcome last year (up by nearly 2 percent). Nova Group delivered nearly two percent of GRPs less but given the situation on the market, the result in stable.

Share of business networks (%) in delivered GRPs in 2020

In terms of viewership, Media Club (without Atmedia) achieved 31.40% in the 15-69 audience group. Nova Group achieved 33.64% (all day) in its key audience category of viewers aged 15-54 and Česká televize reported 30.86% in the 15+ group. Atmedia accounted for 4.74% in the 15-69 group.



EP negotiators and the Bulgarian Presidency of the Council of the EU agreed on substantial rules for audiovisual media services, including digital platforms, on Thursday evening.</strong

The revised legislation will apply to broadcasters, but also to video-on-demand and video-sharing platforms, such as Netflix, YouTube or Facebook, as well as to the live streaming on video-sharing platforms. EP negotiators managed to secure enhanced protection for children, stricter rules on advertising, and at least 30% of content in programmes of TV channels and VOD platforms must be European.

Protecting minors from violence, hatred, terrorism and harmful advertising

MEPs introduced “effective and efficient” new rules into the law that prohibit any content inciting violence, hatred and terrorism, while gratuitous violence and pornography will be subject to the strictest rules.

While co-regulation and self-regulation are prioritised, video-sharing platforms will now be responsible for reacting quickly when content is reported or flagged by users as harmful. At the request of the Parliament, platforms need to create a transparent, easy-to-use and effective mechanism to allow users to report or flag content. Technical solutions to explain the nature of the content in the hosted videos and follow-up when a video has been flagged are also needed.

Health and safety concerns regarding minors are also addressed. The new law includes strict rules on advertising or product placement in children’s TV programmes or content available on video-on-demand platforms. Measures should be put in place to effectively reduce children’s exposure to publicity on unhealthy food or beverages. Product placement and teleshopping will be prohibited in children’s programmes, while member states can decide individually whether they also want to exclude sponsorship from children’s programmes.

EP negotiators also secured a personal data protection mechanism for children, imposing measures to ensure that data collected by audiovisual media providers are not processed for commercial use, including profiling and behaviourally targeted advertising.

Advertising limits redefined

The new rules impose a maximum 20% quota of advertising of the daily broadcasting period between 6.00 and 18.00, giving the broadcaster the flexibility of adjusting their advertising periods. A prime-time window between 18:00 and 0:00 was also set out, during which advertising will only be allowed to take up a maximum of 20% of the broadcasting time.

30% of audiovisual content on the video-on-demand platforms’ catalogues must be European

In order to support the cultural diversity of the European audiovisual sector, MEPs ensured that 30% of content should be European, also in the video-on-demand platforms’ catalogues.

Video-on-demand platforms are also asked to contribute to the development of European audiovisual productions, either through a direct investment in content or a contribution to national funds. The level of contribution in each country should be proportional to their on-demand revenues in that country (member states where they are established or member states where they target the audience wholly or mostly).

The Parliament also secured measures to ensure the integrity of the signal. It applies to smart TVs and means that the media service provider cannot add a window with content to the screen during a programme, without first having the agreement of the broadcaster. Rules are also foreseen to ensure that media services providers continuously and progressively make audiovisual services more accessible for people with disabilities.


EP negotiator Petra Kammerevert (S&D, DE) said:

“We made major breakthroughs in the negotiations and now have a political agreement on all pending key issues. The outcome is well balanced, especially with regard to the scope of the directive, including video-sharing platforms and audiovisual content on social media, a more level playing field for all communication stakeholders, and protection of European works.”

EP negotiator Sabine Verheyen (EPP, DE) said

“By applying similar rules to similar services, irrespective of whether the media content is consumed online or offline, we have made EU regulation fit for the digital era. Protecting children and minors has always been a top priority for us. We have now negotiated a level of protection for internet media services similar to that in place for traditional broadcast media. The transparency rules on advertising, and in particular on product placement and sponsorship, now also apply to user-generated content uploaded to video-sharing platforms. This will protect consumers, especially children and minors.”

Next steps

Following the informal agreement, the text will have to be voted on by the Culture and Education Committee, which is leading the negotiations. A vote in plenary to endorse the new rules is likely to take place in September (tbc).

Source:  European Parliament


In the first year of its existence, the Association of Commercial Television (AKTV) set two main goals: to spread awareness among advertisers about television being a key advertising mediatype and to do so through marketing activities as well as to engage in law-making processes with a direct impact on commercial television business. During its first year, AKTV also joined the Chamber of Commerce, where it has been an active member of the Creative Industry Section, and it also became an associate member of the EGTA Association, which brings together television and radio media representatives.
The Association of Commercial Television (AKTV) was formed in spring 2017, in response to the growing need to defend and promote the common interests of commercial broadcasters in the Czech Republic. The founding members of the Association are the Nova, Prima and Óčko television networks and the first presidential mandate was headed by Jan Vlček from Nova.
As part of its marketing activities, in response to frequent unsubstantiated statements made by global players in online advertising, AKTV focused on direct communication with the most important advertisers in the Czech Republic. In the first year of its existence, AKTV organized two educational seminars for senior management of the largest advertisers as well as for CEOs and marketing directors. The common denominator of both conferences were exceptional foreign speakers and premium and highly relevant content.
Les Binet, a renowned expert and an author of marketing books from the adam & eve DDB London agency, gave a lecture at the first conference, and Karen Nelson-Field, an Australian university professor and researcher, presented the results of her latest research, which compares the performance of television and online advertising, at the second conference. AKTV will continue with its activities this year so as to respond to the demand of the advertisers for relevant and undistorted information on the current status of the individual mediatypes and the trends in their use.

“We have heard more and more often that television is dead and online advertising is the only option in the future. However, as the data show, the time people spend watching television does not decrease. In fact, people spend more time in front of the TV and we feel the need to emphasize this fact to the advertisers. Last year, for example, viewers aged 15 years or more watched television for 3 hours and 45 minutes a day, which is almost 15 minutes more than five years ago and 30 minutes more than ten years ago. In addition, television remains the most popular type of media among viewers of all age groups,”

says Jan Vlček, President of AKTV.
Marketing activities of AKTV also include active involvement in the global initiative called The Global TV Group, an unofficial grouping of associations of television companies and media representatives in Europe, United States, Canada, Australia and Central America, which aims to promote TV broadcasting.
In addition to the raising of public awareness about marketing, AKTV has also focused on legislative processes, both at national and European level. For example, AKTV and ACT, its partner association, organized a seminar on European audiovisual legislation for Czech and Slovak Members of the European Parliament in Brussels.


The European Commission’s proposal for a revised Audiovisual Media Services Directive in May 2016 promised to create a fairer environment for all players, to ensure adequate protection for consumers, especially children, to sustain the production of original European content and to introduce more flexibility on the advertising rules for broadcasters.
The original proposal was a step in the right direction and was welcomed as such by European sales houses and broadcasters, in particular the flexibility on advertising time as well as the simplification and liberalisation of the rules on sponsorship and product placement.
As the trilogue negotiations come to a conclusion, egta members would like to urge decision-makers to keep those initial objectives in mind when agreeing on the final balance of the text.
Broadcasters are increasingly concerned at the potential erosion of what was a modest evolution of the rules in the first place. Since the publication of the initial proposal, online advertising sales have been growing steadily and in 2016 became the main media for advertisements on a pan-European level, with €36.8 billion in revenue, surpassing TV advertising (€31.4 billion)1. As things stand, apart from the moderate liberalisation of the advertising time, there will be little to no discernible flexibility in the qualitative advertising rules, the articles on sponsorship and product placement and the other linear specific advertising provisions.
We strongly urge the Parliament, Member States and the Commission to take the opportunity of the final trilogue meetings to ensure that this revision process delivers on its original objectives of a competitive, creative and safe European audiovisual landscape.
This could be achieved by introducing measures safeguarding broadcasters’ signal integrity, simplifying the rules on product placement and sponsorship as per the Commission proposal, liberalising isolated adverting spots in article 19.2 and ensuring that no further measures adversely impact broadcasters’ current revenue streams.
To secure a robust level of consumer protection, a fair environment for business and competition with other actors, all content providers, including video sharing platforms, should also adhere to the basic advertising principles in articles 9, 10 and 11. In a fast-changing market place where all content providers, both online and offline, linear and non-linear, are competing for audience and advertising revenues, qualitative prescriptions should be simplified and harmonised in order to secure a more equal environment, so that the financing of quality content shall be sustainable in the longer term.
As noted throughout the studies that informed the Commission’s impact assessment, Europeans have never been presented with more choice of audiovisual content. It is in this context that broadcasters need to secure future proof revenue streams that will allow them to continue offering the content that viewers expect and are interested in.
Therefore, the European audiovisual sector needs a regulatory environment that reflects the current market place, provides proportionate and balanced rules and will remain relevant as technological developments occur. We strongly believe that simplification and legal certainty in the AVMSD will match those objectives.
egta is the association representing television and radio sales houses that market the advertising space of both private and public television and radio stations throughout Europe and beyond. egta counts 140 members across 40 countries.
 1 The EU online advertising market – Update 2017, European Audiovisual Observatory, 2017.


Media operators and advertising agencies from professional associations support the new amendment to the Pharmaceuticals Act, which will be voted on at the plenary session of the Chamber of Deputies on Friday and which proposes to repeal the latest amendment to the Act on Regulation of Advertising. In the last year, the Act on Regulation of Advertising was amended as a rider to the Pharmaceuticals Act. The responsibility for the compliance of advertising content with the law was extended to the broadcasters and it concerns selected types of product – medicinal products for human use, food supplements and foodstuffs intended for particular nutritional uses and for infant nutrition. Until then, it had only been the subjects, which had helped create the advertising content, who had been responsible for the compliance of advertising of such products with the law, as is the case with other types of products. The amendment seeks to return to the original form of the Act on Regulation of Advertising.
The problematic amendment, which introduced the joint liability of the disseminator of advertising for the compliance of the advertising content (medicinal products for human use, food supplements and foodstuffs intended for particular nutritional uses and for infant nutrition) with the law, has been effective since April 2017. The amendment has not contributed to increasing the level of consumer protection. Instead, it has proved to be easily misused in the competitive fight among the producers of the products concerned. In the spring of last year, the entire media sector warned that extending the responsibility for the compliance of advertising content with the law to the disseminator of advertising could not contribute to increasing the level of consumer protection. The reason for this is that the advertisers do not have any professional qualification or legal tools to gather the necessary background information that would help them professionally assess, for instance, whether the advertised product actually strengthens one’s immune system or not.

“Media operators understand that the aim of the amendment was to provide greater consumer protection but transferring responsibility to the advertiser is not the right way to do so. Consumer protection can only be enhanced by effective enforcement of legal obligations of advertisers. We hope that the legislators will understand this and that they will support the amendment, which will return the text of the law on regulation of advertising to its original form. We also hope that they will reject the current amendment to the Act as non-conceptual and non-systemic,”

commented Ján Simkanič, Chairman of the Executive Board from The Association for Internet Progress (SPIR).