CZECH INTERNATIONAL AI FILM FESTIVAL WELCOMES AGAIN A SHOWCASE OF THE BEST FILMS MADE WITH AI

The Czech International AI Film Festival 2025 will showcase top films selected from more than a thousand submissions, offer meetings with experts and filmmakers in a panel discussion, and culminate in an award ceremony. An exceptional opportunity to see the future of film on the big screen awaits you. This year CIAIFF is entering its biggest and strongest year yet, with a record number of entries from around the world and ambitions to become one of the leading AI film festivals in Europe.

The Czech Association of Artificial Intelligence (CAAI), in collaboration with YDEAL and the zero1cine platform, invites all of you who are interested in where filmmaking is heading to the third edition of CIAIFF, an event with an international reach that brings together film, art and technology and proves that AI is not just a technical tool, but also a creative partner capable of turning dreams, ideas and a distinctive vision into a cinematic reality.

Czech Association of Artificial Intelligence (CAUI), the leader of the Czech AI ecosystem, together with partner agency YDEAL and platform zero1cine presents the third edition of the Czech International AI Film Festival (CIAIFF), a unique event that connects filmmaking, technological innovation and new forms of visual storytelling. The festival will take place on 13 December 2025 at Prague’s Cinema City Slovanský dům.

“CIAIFF is not just a film festival, but a laboratory of the future. It shows that AI in film is not a substitute for human creativity, but a multiplier of it. Prague is thus becoming one of the world’s centres of film innovation,”

says Lukáš Benzl, Director of the Czech Association of Artificial Intelligence.

CIAIFF is one of the pioneering festivals of its kind in Europe and has long shown that AI is not just a technology, but also a creative partner that can capture the imagination, dreams and thoughts of creators in a way that the classic camera cannot. After successful editions in 2023 and 2024, which captivated media from Wired to Forbes, the festival comes this year in its biggest form yet.

International competition and record number of entries

More than 1,300 films from all over the world entered the competition section, from which the curators selected the ultimate selection of the best works of contemporary AI cinema. The festival will award prizes in nine main categories:

  • Best AI Film
  • Best Science Fiction
  • Best Documentary
  • Best Experimental Film
  • Best Music Video
  • Best Screenplay
  • Best Photography
  • Best Sound Design
  • Creative use of AI

The programme also includes special prizes from partners Curious Refuge, Eleven Labs and Minimax to support the winners with education, equipment and further development of their work.

International jury and inspiring guests

Winners will be decided by an expert jury of leading creators, producers and AI innovators:

  • Odair Faléco, festival president and award-winning director
  • Gaby Sitt, film director
  • Mauricio Tonon, technical AI artist
  • Michaela Ternasky-Holland, internationally acclaimed filmmaker

The accompanying programme will feature appearances by prominent figures who are pushing the boundaries of film and digital filmmaking, including:

  • Boris Eldagsen, visual artist and AI photography pioneer
  • Justin Hackney, co-founder of Wonder Studios
  • Elliot Grove, founder of Raindance Film Festival

Project blocks, networking and ceremony

The festival will offer a half-day programme including screenings of films in competition, discussion panels, meetings with filmmakers and AI experts. The highlight of the evening will be the award ceremony for the winners of each category.

“While cameras only capture what is in front of the lens, AI captures and translates what is happening in the mind of the artist, in their imagination and dreams, and this is unique to this medium,”

says Odair Faléco, president of the festival.

Since its inception, CIAIFF has profiled itself as a global platform connecting professional filmmakers, AI creators, technology innovators and the general public. This year’s edition aims to show that the future of film is not just beginning, it is already underway.

CIAIFF is a platform open to filmmakers and lovers of film, art and technology – it doesn’t matter if you are an established filmmaker, a visual artist, an AI enthusiast or just someone who wants to see where film is heading in the new decade. The festival will appeal to anyone who believes that AI can bring new aesthetics, new forms of storytelling and push the boundaries of creativity. It’s also a unique opportunity for young talented filmmakers – the competition is international and open to anyone who uses AI as a major creative tool.

Practical information:

Date: 13 December 2025 from 15:00
Cinema City – Slovanský dům, Na Příkopě 22, Prague
Tickets: available now on GoOut (previous editions were sold out)

Source: asociace.ai

LA LIGA RECORD TV CONTRACT FOR THE PERIOD 2027-2032 EXCEEDS 5 BILLION EUROS

For the period 2027-2032, La Liga has negotiated a new television package expanded with the addition of Movistar and DAZN channels. This agreement represents an increase over the previous package, but also continues to illustrate the gap that opens up for Premier Leaguez in terms of broadcasting rights.

The current contract, worth €4.95 billion, runs until 2027 and has an approximate value of €990 million per season. This amount is then split between the teams. With the new contract, Movistar and DAZN will continue to split league matches, with five games appearing on each channel. The cost of watching all the games, which is already the highest of all the big five leagues, is likely to be very high in Spain.

The new contract, worth €5.25 billion, represents a 6% increase.

It has been confirmed that the total value of the new contract is €5.25 billion over five seasons, an average of €1.05 billion per season, an increase of €60 million. According to Marca newspaper, the contract was approved by La Liga’s TV rights control committee, with Real Madrid being the only dissenting vote, all the other clubs in the top two divisions voted for the contract, and Atletico Madrid praised it.

The total package amounts to €6 billion including add-ons

Including an additional €650 million for the service providers, €60 million for free service packages and highlights and other rights, the total package is €6.135 billion, a 9% increase on the previous deal, which was praised by La Liga president Javier Tebas.

“In a difficult national and international context, securing an overall increase of 9%, more than €500 million more than in the previous cycle, is excellent news for the economic sustainability of our clubs and for the future of Spanish professional football, which will receive domestic rights revenues in excess of €6.135 billion,” explained Tebas in a press release.

“At a time when many leagues are losing value, the continued growth and record success of LaLiga is particularly significant. This result reflects the strength of our product and the confidence of broadcasters, due in large part to our determined fight against piracy, which has helped us increase subscriber numbers, and the clubs’ efforts to continually improve audiovisual content to offer fans the best possible experience.”

Comparison with other major leagues

However, constant comparisons with the financial strength of the Premier League leave La Liga far behind. Its TV package for 2025-2028 is worth €1.6 billion per season, a difference of €550 million or 35%. Tebas often refers to the Bundesliga as a more realistic point of comparison, but according to Kicker, their current deal will mean revenues of €1.346bn a year, a difference of €296m or 22%.

Serie A currently has a €4.5 billion contract (Insider Sport) that runs until 2028, worth €900 million per season; La Liga’s new contract will surpass it by €150 million, or 14%. Ligue 1 is running its own broadcasting rights service after the collapse of its contract, and L’Equipe reports that the French top divisions will split just €80.5 million between them this season.

Source: football365.sk

KAMIL HOUSKA: VIEWERS HAVE HAD ENOUGH OF POLITICIANS ARGUING ON THE NEWS

He started in TV Nova news from scratch – as a reporter in 2003. Gradually he worked his way up through the ranks from editor-in-chief and programme producer to director of news and journalism at Nova, the head of one of the most influential media outlets in the country. The guest of the First League podcast was long-time media manager Kamil Houska, who will “celebrate” 30 years in the business next year.

Kamil Houska (photo) has been the head of Novak News and the newsroom since 2017. First as co-director together with Martin Švehlak, a few months later he remained the only director of Nova’s newsroom. His team is fresh from covering a newsworthy event – this year’s parliamentary elections (in early October). This included a series of specialised reports, debates, interviews, continuous broadcasts with results and coverage on TN.cz, or new programmes such as the debate for young voters, Voice of Gen Z, or interviews with candidates for key ministerial posts Why, Minister?

“In terms of our work, the parliamentary elections are one of the important events for which we prepare months in advance. We have been preparing for these elections since January. However, if we talk about the audience, especially for those political issues, we have been observing a certain shift of people away from politics lately, not only in the Czech Republic but also abroad. So you have some increases in audience numbers for certain types of programmes before the elections, you have increases in viewership, readership of articles and so on, but objectively it’s not what it used to be. I think overall there’s a sense of a move away from politics by some people. Project-wise, elections are a thing that we throw a lot of capacity at, we dedicate a long time to, but it’s far from being the most important event on the planet in terms of viewership. It just isn’t,”

Houska said.

The commercial station did extensive research into viewers’ preferences in news coverage some time ago. “There, it came out pretty clearly, one, we live in difficult times. Some people don’t understand those times and are not happy with them. The second thing is that there is a certain disgust with politics. And what, for example, and we’ve been trying to change this in recent months, what those viewers of ours that we’ve been asking have been accusing us of, for example, is that sometimes they feel that the political coverage, not just here but in the media in general, is about things that are actually, like, from their point of view, inferior. They want politics that affects them. We understood from that that making every argument between two politicians who get caught in the House over some marginal issue, that’s not what those viewers want anymore. That they’re kind of sick of it. And they also missed positive topics,” commented Houska, who said that at the same time people’s interest in regional news and consumer news (how much, what it costs, how to save money, etc.) was growing.

More at borovan.cz

Source: borovan.cz

WORLD TELEVISION DAY AND HIGHLIGHTS ITS IMPORTANCE AS A MEDIUM THAT SIGNIFICANTLY IMPACTS PEOPLE’S LIVES AND ADVERTISERS’ BUSINESS SUCCESS

World Television Day, which falls on 21 November, aims to highlight the contribution of television as a symbol of communication and global connectivity between people and nations. This year’s event is a reminder of the importance of a medium that has been with us for more than seventy years.

World Television Day was declared by the United Nations in 1996 following the first World Television Forum, which discussed the growing importance of television. This decision was made in an effort to highlight the growing impact of television on society and culture, its influence on decision-making and its ability to inform and influence public opinion.

Today’s television differs from the way it was then in almost every respect. Whereas the television screen used to be a single window on the world and broadcast according to a fixed schedule, today it offers unlimited access to content anytime, anywhere. Viewers are no longer passive recipients, but actively choose what, when and on what device they watch – on a smart TV, computer, tablet or mobile. Today’s TV is connected, personalised and global. It offers live streaming, archived shows, interactive features and personalised recommendations. The evolution of technology has contributed to the transformation of television into a medium fully adapted to today’s turbulent media environment. It’s a vibrant, flexible ecosystem that ranges from traditional linear TV to internet-connected TV, streaming services, HbbTV and FAST channels to TV in the sense of total video (where TV includes the latest trends in digital TV and video formats).

“The essence and power of TV remains unchanged even after decades. Even today, we still see it as a reliable source of information and a means through which we can share experiences, entertain, educate and dialogue across generations. Last but not least, television remains an important partner for businesses – helping brands to stand out, tell stories and stimulate emotions that can help them build or maintain a strong position in the marketplace.”

says Marek Singer, President of the Association of Commercial Television.

This year, members of the Association of Commercial Television will also join in the celebration of World Television Day by airing a birthday spot whose main message is that television is constantly evolving, but its essence remains the same. Today, it remains a medium that can reach mass audiences, shape our world view, inspire, educate and connect.

We wish television all the best!

CNN PRIMA NEWS, ČT24 AND ÓČKO WERE ALSO THE FIRST TO GROW IN OCTOBER

Czech Television maintained its highest share of the television market in the over-15 age group in October. The Nova Group won the 15-54 and 18-69 audience groups and prime time.

Czech Television stations remained the most watched group in the over-15 age group in terms of all-day viewership in October. Their share was 28.18%, up 0.7 percentage points from last October. The Prima group came a close second in this audience group, but its share with the Nova group is almost identical in this audience group. In the 15-54 and 18-69 audience groups during the day and evening, as well as in prime time 15, Nova remains the market leader. This is shown by official ATO-Nielsen viewership data.

Compared to last October, the Nova group has managed to strengthen in both daytime and primetime, especially in its primary 15-54 group, where its share has increased this year. In contrast, it fell short of its last October result in the universal 15 group. In the case of Czech Television, it was the other way around: in the 15 group it slightly strengthened, while in the 15-54 group it declined. This is also true for prime-time. The Prima group also decreased its share in the younger target group 15-54 in all-day broadcasting, while it defended its result in 15 last October. In primetime, Prima Group strengthened in 15 and confirmed last October’s result in 15-54.

Televize Seznam continued its upward trend and the Óčko group also improved. The inclusion of the reality show Naked Attraction helped it to almost double in primetime (18-69).

CNN Prima News’ Jumper of the Month

Of the individual stations, CNN Prima News posted the highest year-over-year increase in October. Its share increased by 1.39 percentage points in October to 3.49%. The October parliamentary elections also helped CT24 to grow. The Czech Television news station gained 1.15 percentage points year-on-year and recorded an overall share of 5.41% (valid for CS 15 , full day). The thematic station Prima Krimi continued to grow its share in October, closing the tenth month with a share of 4.42% ( 0.65 pp).

The growing share was also confirmed by Televize Seznam, which gained 0.35 p.p. to 2.20% in October 15. TV Óčko (i.e. the main channel TV Óčko) then managed to almost triple its prime-time share in the younger 15-54 audience group thanks to the reality show Naked Attraction.

The most watched TV programmes in October were the series Octopus (ČT1) with 1.44 million viewers (episode broadcast on 20 October), Televizní noviny (Nova) with 1.14 million viewers (broadcast on 6 October) and Kriminálka Anděl (Nova) with 1.06 million viewers (20 October). All valid for CS 15 .

Source: mediaguru.cz

A SIGNIFICANT STEP IN THE FIGHT AGAINST PIRACY. AMAZON BLOCKS STREAMING APPS THAT ALLOW PIRATE VIEWING OF PAID CHANNELS

Amazon has announced a major action to combat piracy. Its Fire TV media box, which until now has allowed illegal IPTV streams to be played through various third-party apps, will gradually start blocking those apps. Amazon has not even allowed the installation of similar apps through its official app store until now. However, it was possible to install apps on the device outside of this environment, and so far they have worked normally in this environment.

Amazon has stressed that it does not intend to make it completely impossible to install independent apps, but will block any apps that allow the viewing of illegal streams at the operating system level.

Amazon has gradually started blocking in the UK and German markets, and is expected to extend this measure to the US and other countries in the near future. The next steps in the UK were reported a few days ago by The Sun, which was confirmed directly by Amazon representatives.

“Piracy is illegal and we have always tried to prevent it from spreading in our app store. Through an expanded program led by the Alliance for Creativity and Entertainment (ACE), a global coalition fighting digital piracy, we will now block apps that have been found to provide access to pirated content, including those downloaded outside our app store. This action builds on our ongoing efforts to support creators and protect customers, as piracy can put users at risk of malware, viruses and fraud,”

the company said in a statement to a UK newspaper.

This is the first time Amazon has taken the approach of blocking certain apps on its multimedia device.

Legitimate streaming apps such as Netflix, Disney , Amazon Prime Video, DAZN and others will understandably not be affected by this decision. According to media reports, Amazon will apparently maintain a list of problematic apps that allow unauthorized access to copyrighted content, and then refuse to install or run those apps on the Fire TV device.

Furthermore, this blocking method will ensure that users cannot access illegal content even through a VPN, as the app that allows the illegal stream to be played will itself be blocked.

Source: tvkompas.cz

CNN PRIMA NEWS BRINGS ON ITS FIRST VIRTUAL ANCHOR NORA

CNN Prima News is launching an AI News video podcast, featuring virtual presenter Nora for the first time.

CNN Prima News is launching a new video podcast , AI News, in collaboration with the Czech Association of Artificial Intelligence and Ydeal. It will also feature virtual presenter Nora for the first time ever on a multi-platform. She will offer the first on Saturday , November 1 at 2.40pm on CNN Prima News and immediately afterwards on the web and on the most widely used podcast apps. Each episode will summarize current events in the world of AI and also show the public, through examples, how to use each tool to make their work more efficient or their daily lives simpler.

“The show shows AI as a tool that both inspires and raises questions,”

said the show’s programmer Martin Blažek.

Each episode will offer, in addition to news from the world of AI, an interview with professionals in various fields, led by experts with experience in AI – Alexander Bruna from Elevaty.ai and the director of the Czech Association of Artificial Intelligence Lukáš Benzl. In the third part, virtual presenter Nora will present examples of how to make AI your helper. For example, she will show how to use Chat GPT or Gemini tools, how to write and optimize a prompt for an individual need or how to detect fraudsters and make yourself more secure with the help of AI.

Source: mediaguru.cz

KLÁRA BRACHTLOVÁ REPRESENTS CME ON THE BOARD OF ACT

Klára Brachtlová has won a position on the board of the Association of Commercial Television and Video-on-Demand Services (ACT).

Media group CME, owner of the Czech television station Nova, now has a representative on the board of the Association of European Commercial Television and Video-on-Demand Services (ACT). Klára Brachtlová, deputy CEO and director of external relations at CME, has been appointed.

Klára Brachtlová has more than 15 years of experience in managing the operations and finances of television broadcasting and oversees the operation of CME’s stations and streaming platforms in six Central and Eastern European countries. In addition to her new role at ACT, she remains a member of the Board of Directors of the Czech Association of Commercial Television (AKTV) and Vice-Chair of the Board of the State Audiovisual Fund.

ACT brings together around thirty television and streaming companies as well as holders of sports broadcasting rights. CME is the only member from the Czech Republic; other members include Paramount, Disney, AMC Networks, Canal and Warner Bros. Discovery.

Source: ACT

INDUSTRY-WIDE CALL FOR EU TO ACT ON REAL-TIME PIRACY

Some of Europe’s biggest sports leagues, broadcasters and live event operators are urging Brussels to introduce new EU rules to tackle real-time piracy of live content, warning that current measures are failing to protect revenues, audiences and public services.

In a joint letter sent to the European Commission in October, 36 organisations – including the Premier League, Serie A, LaLiga, Sky, Canal+, DAZN, Warner Bros. Discovery Sports Europe, TF1, Disney and RTL – say piracy of live sport, entertainment and cultural events has reached “scales that can no longer be ignored” and is now driven by “organised criminal enterprises”.

The group is calling for binding legislation forcing platforms and intermediaries to take down illegal live streams within 30 minutes of notification, backed by EU-wide “live dynamic blocking orders” that can be used to block mirror sites and new domains as they appear. It also wants tougher ‘know your business customer’ checks on infrastructure providers such as hosting platforms, VPNs, CDNs and app stores, so that large-scale pirate IPTV operations cannot hide behind anonymous registrations.

The companies argue that voluntary efforts and private enforcement have been outpaced by industrialised piracy, particularly around IPTV subscriptions and streaming devices. They cite 2024 data showing that 81% of millions of detected illegal live streams in Europe were never suspended, and that fewer than 3% were removed within 30 minutes of a takedown notice. They say data from the first half of 2025 shows “no improvement”.

They also set out the economic hit. According to the signatories, estimated annual losses to rightsholders are €2.2 billion in Italy, €1.8 billion in Germany and €1.5 billion in France. The letter argues that piracy drains tax revenues and exposes viewers to malware, data theft and inappropriate content – often without parental controls.

The appeal is addressed to Executive Vice-President Henna Virkkunen and Internal Market Commissioner Glenn Micallef, as the Commission considers its next move after a 2023 Recommendation on combating online piracy of live sports and other events. That Recommendation pushed for faster removals and better coordination but was non-binding. The group says implementation “has yet to deliver tangible results” and is now asking for legislation.

Specifically, they want three measures written into EU law:

  1. A hard deadline for removals: illegal live streams should be taken down “as near to immediately as is possible and in all cases within a maximum time frame of 30 minutes”, arguing that most of the commercial value of sport and live events is in-the-moment and that faster takedown is technically possible.
  2. EU-wide dynamic blocking orders, including IP blocking, available in every Member State to act quickly against mirror and successor sites.
  3. Mandatory and enforced Know Your Business Customer rules for intermediaries.

They are also calling for stricter enforcement of the Digital Services Act, and for national Digital Services Coordinators to grant “Trusted Flagger” status to industry bodies so that pirate streams can be escalated and removed more quickly.

The signatories – spanning football leagues, pan-European competitions, pay TV groups, streaming platforms, venue operators, anti-piracy vendors and unions – frame the issue as more than a pay TV problem. They say live piracy now threatens jobs, grassroots sport investment, production funding and future rights values across Europe, and warn that rightsholders “must not be left to confront the growing threat of live piracy on their own”.

Source: broadbandtvnews.com

STRATEGIC SHIFT TO REALITY SHOWS HAS TV ÓČKO BRING NEW REVENUE

The fundamental step of Óčko TV is to reorient the programme offer to ensure higher viewership and new revenues from the sale of advertising time.

The strategic change of the programming offer towards reality show formats is one of the steps taken by Óčko to improve its economic results. In addition, it is taking cost-saving measures, especially in the area of overheads, increasing its online and social media reach and seeking to monetise it more effectively. This is according to the annual report of the operator of Óčko TV, for 2024.

Although Óčko managed to stabilise the viewership of its linear TV channels in autumn 2024, its financial results remained loss-making last year. Last year’s loss amounted to CZK 13.4 million. CZK 11.3 million in 2023 and revenues from the sale of products and services decreased by 25% year-on-year to CZK 96.9 million in 2024. CZK. Key revenues from the sale of advertising time fell by CZK 35.4 million year-on-year. CZK. This decline, according to the company’s management, “was unfortunately complemented by the negative development of the direct business, which also lost sales year-on-year.”

This year’s bet on the domestic version of the reality show Naked Attraction thus proves to be the right move in terms of viewership. To date, the first three episodes have been watched on TV Óčko by an average of 164 thousand viewers over 15 years of age, with a share of 7% (9% in CS 18-69). This is several times higher than the average viewership of TV Óčko and Naked Attraction is by far the most watched October show on Óčko. As expected, the show is even more popular with younger viewers, specifically in the 15-24 audience group, with a 28% share of the audience (source: ATO-Nielsen).

The follow-up programme One Blade Naked: Second Chance, with which the Philips brand has teamed up, is also above average in terms of viewership, with a share of over 6% (CS 18-69).

Although the foreign versions of Naked Attraction do not achieve the same viewership as the local editions, their viewership on Óček is also higher than that of the classical music programmes.

The management of Stanice O estimates that the implemented measures will lead to an improvement in the company’s performance. They believe that Óčko will “strengthen both the viewership of classical television broadcasts and performance on social networks and secure additional revenues from the sale of advertising space”. The reorientation of the programming offer is a crucial step in this effort.

Source: mediaguru.cz

STUDY: AI ASSISTANTS DISTORT NEWS IN ALMOST HALF OF CASES

As many as 45% of AI assistants’ responses contained serious errors in their output when dealing with intelligence information. This is according to a study by the EBU and BBC.

New research coordinated by the European Broadcasting Union (EBU) and led by the BBC has revealed that AI assistants such as ChatGPT, Copilot, Gemini or Perplexity distort news content. The study involved 22 public service media from 18 countries, including Czech Radio. Journalists from the participating public media outlets examined more than 3,000 responses from AI tools in 14 languages. Four key criteria guided their evaluation: accuracy, sourcing, differentiation of opinion and facts , and contextualization. The research uncovered a number of systemic issues across the four leading AI assistants.

“The results show that nearly half of the responses – 45% to be exact – contained at least one major error. The most common issue was insufficient or misleading sourcing, which appeared in 31% of responses. In one fifth of cases, there were factual inaccuracies, including hallucinations or outdated information,” Martina Májíček Poliaková, Director of Strategic Development at Czech Radio, describes the results of the study. According to the study, the worst performing tool was Gemini, where the evaluators noted serious errors in 76% of the responses, mostly due to misquoting and unprovable statements. Although there has been a partial improvement from the previous phase of the BBC survey, the overall error rate remains high and worrying.

“These are not exceptions – they are systemic failures that transcend national boundaries and threaten public confidence. When people don’t know what to trust, they often stop trusting altogether, and this can undermine the very foundations of a democratic society,” said Jean Philip De Tender, EBU Director of Media and Deputy Director General.

Key findings

  • 45% of responses had at least one major error.
  • 31% contained problems with citing sources – including false, misleading or non-existent references.
  • 20% had factual inaccuracies, often called hallucinations or outdated information.
  • Gemini failed in 76% of responses, mainly due to misquoting and unverifiable statements.

Compared to the previous phase of BBC research, there has been some improvement, but error levels remain worryingly high

Accuracy and facts first

From the perspective of the public service media, representatives say it is crucial that AI assistants’ responses to news queries are first and foremost accurate, free of factual errors, hallucinations or misattributed statements. Transparency is also key – every answer should be based on clearly stated and verifiable sources. Assistants must be able to distinguish facts from opinions and not introduce hidden or unstated interpretations into the text. Developers should also pay particular attention to providing context, especially for complex or controversial topics where there is a risk of simplifying or omitting important information. The whole process should be under regular and independent scrutiny, with opportunities for feedback from the media and the public, and with clear rules for continuous improvement of the output.

“Public service media must be at the forefront of the fight for credible information. Artificial intelligence has enormous potential, but according to this study, it also has major limitations. We approach reporting with the utmost care, verifying facts and working with sources according to clearly defined rules. But when processed by AI assistants, the result can be a narrative that does not honor the same principles of quality journalism. That is why it is our duty to protect the public from distortions and misinformation, regardless of the tool that spreads it,” adds René Zavoral, Director General of Czech Radio.

The EBU therefore believes that AI responses need to be regularly and independently tested, as one-off analyses are not enough. It is equally important to have an early warning system that can quickly detect when AI tools start to spread biased outputs. But none of these steps can be effective without collaboration. AI companies, regulators and the media must work together.

Czech Radio’s experience

AI assistants’ performances in the Czech environment have shown recurring mistakes, ranging from the use of untrustworthy websites to the misinterpretation of laws or politicians’ opinions, see examples:

  • Distortion / shift of meaning

Perplexity claimed that surrogacy is prohibited by law in the Czech Republic. In fact, it is neither explicitly allowed nor prohibited – Czech law does not regulate it.

  • Use of disinformation sources

Both ChatGPT and Copilot drew key information in the example from the website prvnizpravy.cz, which was designated by military intelligence as a pro-Russian disinformation channel and blocked by some internet providers after the invasion of Ukraine.

  • Mistaking opinion for fact

Copilot in reply to “What is NATO doing?” cited as fact a statement that came from an interview with politician Alexander Vondra. The AI transformed it into a generally valid fact, making the answer misleading.

  • Silencing counterclaims

Copilot answered the question “What does China export?” based on a radio debate where two opinions are expressed (CRo Plus, Pro and Con) – but AI only included one, leaving out the other entirely. This distorted the tone of the whole issue.

EBU challenge

The EBU calls for immediate action from all key players in the digital and media space:

  • Technology companies should immediately adjust the way their assistants respond to news enquiries. They have a News Integrity Toolkit that outlines specific requirements for quality, accuracy and working with sources.
  • Regulators and legislators should ensure that rules to protect information integrity are consistently applied in the AI environment. At the same time, public media literacy needs to be strengthened to help people navigate new technologies.
  • The news media have an indispensable role to play in monitoring developments, detecting risks and informing the public. Their voice is key to ensuring that technology serves the public interest – and not the other way around.

According to the Digital News Report 2025 (Reuters Institute), 7% of online news users use AI assistants, and the figure is as high as 15% among the under-25s.

The full study is available at this link: Report EBU MIS BBC

Source: mediaguru.cz

UEFA JOINS ACE TO BOLSTER LIVE SPORTS ANIT-PIRACY

UEFA has become the first exclusive sports rights-holder to join the Alliance for Creativity and Entertainment (ACE), deepening cross-sector efforts to disrupt illegal live streaming worldwide.

The move positions UEFA and UC3 – the body commercialising UEFA club competition rights – at the forefront of coordinated global enforcement.

UEFA will participate in ACE’s Live Tier, which targets sports piracy through real-time intelligence, takedowns and cooperation with law enforcement. ACE, led by the Motion Picture Association, now counts more than 50 entertainment companies among its members.

Guy-Laurent Epstein, UEFA’s executive director of marketing, said the partnership expands UEFA’s enforcement capabilities and leverages ACE’s tools to disrupt illegal services. MPA and ACE chair Charles Rivkin said UEFA’s membership strengthens efforts to detect, deter and dismantle piracy affecting broadcasters and fans.

UEFA and UC3 said protecting media-rights revenue remains essential to funding professional and grassroots football across Europe.

Source: broadbandtvnews.com

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