With approximately 300,000 subscribers, the prima+ platform is still in a growth phase. Jan Maxa, the new Content and Production Director at the Prima Group, describes how he plans to connect the development of programmes for linear broadcasting with prima+, and what is coming up in the near future.
On 1 February, Prima adjusted its organisational structure and, as part of the changes, created a new Content and Production division. This move unified the content strategy, development, and production across the group. The division is headed by Jan Maxa, who until then had been in charge of Prima’s VOD segment.
In the interview, he describes how he wants to connect the development of programmes for the linear broadcasting of TV Prima with prima+, how projects are divided between television and VOD, and how their monetisation is structured today. He also talks about plans for new series and reality shows, the programming strategy in prime time, the economic performance of the streaming service, and the differences between public-service and commercial television production. “We are continuously working on dozens of new projects, and viewers can look forward to at least one new premiere programme on prima+ every month,” he explains.
You have recently taken on a new role within the Prima Group, in which you are responsible for the development of programmes for both linear broadcasting and prima+. What exactly does this position entail?
I lead the newly established Production and Content division, which includes the entire production under the leadership of Lucie Kršáková, the scripted series development section headed by Lenka Hornová, the development of reality and entertainment formats led by Samo Jaško, as well as dubbing and the archive. One part of the division is still being staffed. At the same time, I continue to focus on content for prima+.
Prima+ is now temporarily led by CEO Lukáš Kubát. How have you divided your responsibilities?
Lukáš Kubát focuses primarily on the business side and the platform’s strategy, while I am responsible for the content. Together, we try to connect these two areas as effectively as possible so that the content and the business goals support each other.
What does that mean for the development of programmes? How do you plan to divide them between linear broadcasting and VOD?
Our content strategy is built so that some projects are created primarily for linear broadcasting. In drama, this mainly includes long-running or multi-season series, while in entertainment, it involves classic television formats such as talk shows or competition shows. On prima+, these titles appear as weekly previews in the paid version and later as catch-up in the free version.
In addition, we create content primarily for prima+, especially large reality formats, new drama and true crime series. We are gradually expanding the genre spectrum to include documentary and factual projects. These programmes may later appear on linear broadcasting with a certain delay, depending on how they fit into the programming schedule. The rollout is therefore flexible, and we adapt it to each title and the needs of both platforms.
What is the usual time gap between a programme’s release on prima+ and its subsequent broadcast on television? For example, this spring, the series O lidech a koních is heading to linear broadcasting, having premiered on prima+ eight to nine months ago.
The standard gap can vary depending on the specific project, but generally it ranges from six to eighteen months. Ideally, the timing would be more than a year. However, each project is approached individually.
The standard gap between a programme’s release on prima+ and its subsequent broadcast on television can vary depending on the specific project, but generally ranges from six to eighteen months.
Given that prima+ has several content packages depending on how the content is handled, the question is how the project monetisation is structured. Can you combine titles created primarily for prima+, which generate revenue only from user subscriptions, with later linear broadcasting in a way that ensures a positive return?
Monetisation for linear broadcasting is relatively straightforward. The source of revenue comes from the GRPs generated, which are sold to advertisers. For a paid VOD platform, it is more complex because there are two main sources of value. The first is the acquisition potential of a programme, for example, reality shows attract many new users, but their lifespan in the library is limited. The second is the retention potential, where drama series may not attract as many new users as large reality shows, but they retain value in the library for several years. This is combined with the total number of paying users, revenue per user, and their lifetime value, that is, the subscription duration and monthly contribution. Based on this, VOD monetisation models operate, enabling the platform’s economics to be planned.
Prima+ is currently in a dynamic growth phase, so the primary goal is to expand the user base rather than achieve immediate net profitability. With approximately 300,000 paying users, it is still difficult to reach net profitability. According to Oneplay’s experience, a balanced economy is typically achieved at around half a million paying users. Our view is similar.
According to the statement by CEO Lukáš Kubát at last year’s Forum Media conference, the format of Zrádci, which premiered on prima+ a week in advance and then aired on television, managed to “cover its costs.”
Yes, Zrádci performed much better commercially than expected. The effect was significant not only on the paid platform but also on television and beyond. Revenue came from various sources, including cinema and other partner channels, resulting in a high return on investment.
I’d like to touch on production for linear broadcasting. Are you developing any programme for Monday prime time, where you face competition from detective series and have so far struggled to match their strength?
It is true that competing against detective series in Monday prime time on the Czech market, when they are simultaneously airing on two other channels, is indeed very challenging.
But you have to deal with it. You can’t just give up the slot, because you would lose GRPs.
Certainly not, but that’s more a question for Programme Director Alex Ruzek. We don’t really expect to schedule a new drama on Mondays. It’s more appropriate to try entertainment formats, because the competition from detective series is so strong that it makes more sense to offer viewers an alternative, something that isn’t another gory series. However, it is not my role to decide scheduling or what type of programme should air where.
With approximately 300,000 paying users, it is still difficult to achieve net profitability. According to Oneplay’s experience, a balanced financial situation is typically reached at around half a million paying users. Our view is similar.
The key series for Prima in both the autumn and spring is Polabí. Are you already looking into what could replace it in production?
That is public information. On Tuesdays and Thursdays, we are looking for a new relationship-based series that could complement or eventually replace Polabí. However, Polabí will continue to air for some time, and after its finale, we see potential in a new relationship series.
You probably already know what will replace the series Kamarádi, which wraps up its Wednesday prime-time slot this spring.
For Wednesday evenings, we see an opportunity for a crime series to replace Kamarádi. We want to focus on standard detective shows, not shorter series that try to differentiate themselves purely through marketing. I believe viewers want a straightforward detective series without complicated extras, like our successful series Pod hladinou or Polda.
This spring, a new travel reality show, Asia Express, is launching on prima+. Do you aim to have one strong reality show each season?
At the moment, we plan to have three major reality shows per year. In the spring, there will be Asia Express, followed by Zrádci and a new dating reality show. I can’t say more about the latter yet, but no similar show has been aired in the Czech Republic so far.
If we look at the most-watched detective series, they can basically air on any channel and still become viewer hits. For example, the public-service series Místo zločinu Zlín could achieve solid ratings even on Prima.
It turns out that there is a certain universal model. Experience from abroad, especially from Germany, Austria, and from our own market, shows that viewers prefer a fairy-tale–like story for adults that appears rational. These are stories where good triumphs, and the viewer has the opportunity to unravel the plot alongside the detective. Moreover, this genre, in episodic form, is repeatable, which is very valuable for broadcasters. There is no need to constantly invest in new content, as already produced episodes can be used efficiently. This format thus combines viewer appeal with economic efficiency, which is key for commercial television.
Experience shows that viewers prefer a fairy-tale–like story for adults that appears rational. These are stories where good triumphs, and the viewer has the opportunity to unravel the plot alongside the detective.
When you compare your experience from Česká televize and now from Prima, do you notice any practical differences in developing drama formats for commercial television versus public-service broadcasting?
For me, the thirteen-year experience in public-service television was more of an exception. Otherwise, I have mostly worked in the commercial sector, in IT or media. In a commercial environment, you have a clear mandate: to make money for the owner. You therefore create content that is attractive, draws in advertisers or paying viewers, and ideally also makes sense in terms of return on investment. Either it is immediately profitable, or there is a clear path to profitability in the foreseeable future.
Public-service media operate differently. They try to cover a broader range of needs defined by law and their code, which is a much wider scope. That is interesting and enjoyable. On the other hand, when you have limited resources and try to manage them rationally, it is often difficult to set priorities. During my thirteen years at ČT and the twelve years I led development, this became increasingly challenging over time. There was less and less money. Our primary goal was to maintain viewer-oriented programmes so that ČT could keep reasonable ratings and relevance, but at the same time, this meant we had to limit more experimental and daring projects that ČT ideally should have been producing. If we tried to deliver audiences, there was no money left for experimentation, which was quite hard for me, and I didn’t know how to resolve it. Commercial television does not face this dilemma; it focuses mainly on viewer numbers. However, when you have a video platform like prima+, it also opens up the opportunity to create things that differ from traditional television production.
How many new formats is prima+ currently working on, and when can viewers expect to see them, at least approximately?
As I’ve already mentioned, we want to have three major reality shows per year on prima+, along with several premium drama series, several true-crime and other documentary cycles, all complemented by smaller reality and entertainment formats. This means that we are continuously working on dozens of new projects, and viewers can look forward to at least one new premiere programme on prima+ every month.
Currently, the miniseries Táta is in production, and viewers will see it on prima+ in the autumn. Just before filming is the miniseries My nejsme sekta, which deals with the issue of sect from the perspective of law enforcement authorities. One of the inspirations was the widely covered Kutná Hora case, but our focus is on the topic of manipulation in general. Psychological manipulation is a serious problem today. Through the eyes of a renowned lawyer, we gradually reveal the process by which an intelligent and originally morally sound person could be influenced by a sect to such an extent that they ultimately commit a crime.
Jan Maxa, Content and Production Director, FTV Prima
He joined the Prima group in April 2025, initially as Director of the VOD segment. Since February 2026, he has been the Director of the newly established Content and Production division. From 2012 to 2024, he was in leadership at Česká televize, where from 2012 he served as Director of Programme and Format Development, from 2020 led New Media, and from 2023 headed the Digital Services division. Between 2011 and 2013, he introduced a production management system for in-house content at ČT. He led teams of creative producers and dramaturges, was in charge of international co-productions such as Jan Hus and Marie Terezie, and from 2020 oversaw the area of new media. Before that, he worked at TV Nova and the CME group, where he implemented production systems in several countries, and served as Commercial Director at Avion Postproduction and Executive Director of the Czech branch of Hachette Filipacchi.
Source: mediaguru.cz
