FRIEND MTS AND AGILETV INTEGRATE CDN WATERMARKING TO SPEED ANTI-PIRACY DEPLOYMENTS

Friend MTS and AgileTV have completed the first integration of AgileTV’s content delivery network (CDN) with Friend MTS’ server-side watermarking technology, allowing operators to deploy premium content protection more quickly.

The pre-integrated solution combines Friend MTS’ watermarking platform with the AgileTV CDN, enabling operators using either technology to add the other with reduced integration effort. The companies say the approach is designed to accelerate deployment while maintaining video quality for premium live sports and entertainment services.

When combined with Friend MTS’ piracy monitoring platform, the solution enables operators to identify subscriber accounts used to source illegal streams and, if required, automatically disable those accounts in real time.

The integration uses server-side A/B watermarking, with the AgileTV CDN generating uniquely watermarked streaming sessions based on subscriber session tokens. This allows pirated streams to be traced back to individual subscriber accounts without affecting the viewing experience.

The companies will demonstrate the joint solution at IBC2026, showing how subscriber-level watermarking supports rapid piracy detection and enforcement.

This announcement reflects a wider industry trend towards embedding content protection directly into video delivery infrastructure rather than treating it as a separate system.

Server-side watermarking has become increasingly important as sports rights holders demand stronger anti-piracy measures. Unlike DRM, which aims to prevent unauthorised access, forensic watermarking enables operators to identify the source of leaked streams after they appear online.

Source: broadbandtvnews.com

3. 9. 2026

CZECH ATTENTION STUDY REVEALS SIGNIFICANT DIFFERENCES ACROSS ADVERTISING FORMATS

Viewer attention can vary significantly depending on ad length, position within an advertising break, and the type of advertising format. These are among the preliminary findings of a pilot project by Omnicom Media, the first study in Central and Eastern Europe to measure real-world attention to TV and video advertising in people’s homes.

Omnicom Media is completing the pilot phase of its attention measurement study, which tracks actual viewer behaviour while audiences are exposed to television and video advertising. The project is being conducted in partnership with technology company Amplified Intelligence and local research partner ResSolution Group. As the first initiative of its kind in Central and Eastern Europe (CEE), it uses continuous attention measurement across a panel of 300 Czech households.

The study captures both active and passive attention across linear TV, connected TV (CTV) and online video, with the aim of establishing a single, comparable metric for evaluating different advertising formats.

According to Zuzana Horáková, Technology Director at Omnicom Media, the first results, covering the period from May to August, already indicate substantial differences in the ability of individual formats, ad lengths and positions within commercial breaks to capture and sustain viewers’ attention.

The pilot phase is now evolving into a longer-term initiative designed to create a continuous data source for the planning and evaluation of video advertising in the Czech market.

What did the preparation for the attention study involve, and how long did it take to get the project up and running?

The preparation involved several months of intensive work. As the first organisation to launch a study of this kind anywhere in the CEE region, our goal was to establish a robust and methodologically rigorous measurement framework. This required extensive technology testing as well as adapting a global methodology to the specific characteristics of the Czech market.

One of our key advantages was Omnicom’s strong international network. Our colleagues in the UK have been successfully conducting this research with the same lead partner for the past three years. Following an initial pilot, they moved to continuous measurement, which has since become an established part of the market data ecosystem.

We therefore had a proven foundation to build on and were able to draw on established methodologies and practical experience.

The commitment of five of our clients, who joined us during the pilot phase at a time when no one knew exactly what the data would reveal, was equally important. Together, we defined the hypotheses, technical setup and analytical framework to ensure the study covered linear TV, CTV and online environments.

How exactly does the measurement work, and how does it differ from existing attention studies?

The fundamental difference lies in our unique approach. We do not rely on self-reported data, laboratory-based models or modelled estimates.

Instead, we use a real-world, technology-enabled panel of 300 households, capturing people’s actual active and passive attention on a second-by-second basis in their natural home environment.

The technology combines advanced facial and gaze detection with audio matching, enabling the system to accurately identify and match the content being viewed in real time.

We measure the market comprehensively and apply Amplified Intelligence’s single, globally standardised methodology across multiple video formats and screens.

Our long-term vision is to establish a unified metric that enables direct and fair comparisons of attention across all media types — from digital and television to other channels — providing comparable data on how much real attention consumers actually devote to advertising.

Who are you partnering with on the research, and how is the project structured from a technical and methodological perspective?

The partnership combines global expertise in attention measurement with strong local research infrastructure.

Amplified Intelligence serves as the project’s technology and methodology partner and is one of the world’s leading authorities in the field of the Attention Economy, ensuring a consistent methodological standard.

From the very beginning, we have discussed the project directly on several occasions with Amplified Intelligence founder Professor Karen Nelson-Field, giving us confidence that the methodology is being implemented to the highest possible standard.

For data collection and operation of the Czech panel, Amplified Intelligence selected ResSolution Group as its local partner. The company has extensive experience with large-scale research programmes, including out-of-home TV audience measurement.

ResSolution Group manages the representative household panel on behalf of Amplified Intelligence, providing the project with the statistical robustness required for detailed segmentation by demographics, channels and specific placement types.

We do not rely on self-reported data, laboratory-based models or modelled estimates. Instead, we use a real-world, technology-enabled panel of 300 households, capturing people’s actual active and passive attention on a second-by-second basis in their natural environment.

The study is designed to compare attention according to ad length, position within a commercial break, channel type and advertising format. How did you decide which parameters were most important to measure?

We started with the real-world questions agencies and advertisers address every day.

We did not want to limit the study to traditional commercial breaks. We therefore examine the impact of different ad lengths, positions within the break, and differences between thematic and generalist TV channels.

At the same time, the study also covers sponsorships, branded in-programme inserts and product placement, allowing us to map the broader advertising ecosystem using one consistent metric.

What could this research bring to the wider market in terms of how television and video advertising are evaluated today?

It represents a fundamental shift from simply measuring an “opportunity to see” an advertisement to measuring the amount of actual attention delivered, in seconds.

Until now, the market has often worked on the assumption that having a viewer in front of the screen automatically equates to 100% exposure.

Our research provides robust, objective data showing how much attention people actually pay to advertising messages, creating opportunities for more effective use of advertising inventory.

Until now, the market has often worked on the assumption that having a viewer in front of the screen automatically equates to 100% exposure. Our research provides robust, objective data showing how much attention people actually pay to advertising messages.

How could this research influence the use of attention as an optimisation metric for TV and video planning in the Czech market?

Attention is moving from an abstract concept to a measurable planning currency.

With this data, media strategies can be optimised not only against reach and frequency, but also directly against cost per attentive second.

This allows us to optimise the balance between shorter and longer ad formats, make more strategic decisions about positioning within commercial breaks, and allocate budgets more precisely across linear TV, CTV and online video.

The objective is to maximise brand memory and advertising impact while maintaining optimal cost efficiency.

How can advertisers use the resulting data?

For advertisers, the data can provide a significant competitive advantage.

Our five pilot clients can already compare their own performance directly against competitors, their category and the market as a whole. The early findings suggest that their decision to participate in the project from the outset has given them a substantial head start.

Advertisers can determine exactly how their creative performs over time by analysing attention decay, identify which formats deliver the greatest amount of attention per unit of media investment, assess whether premium placements generate sufficient incremental value, and understand how the behaviour of their target audience differs from that of the population as a whole.

This enables significantly more precise media investment decisions and helps reduce inefficient media spend.

Are you able to share any preliminary findings?

We are keeping the specific figures and benchmarks exclusive to our clients for now, but the first data from May to August is already challenging a number of long-standing assumptions.

For example, we are seeing major differences in attention-retention curves across different ad lengths, surprising behavioural patterns among specific age groups at different times of day, and highly interesting findings regarding the performance of sponsorships and branded in-programme inserts compared with traditional commercial breaks and online video.

The project also consists of two stages. The pilot measurement phase is currently reaching its conclusion, and we are seamlessly transitioning into a longer-term project together with key partners in the TV market.

The objective is to move towards continuous data collection and track the long-term evolution of advertising attention in the Czech market.

We will be presenting the data soon.

Source: MediaGuru.cz

2. 9. 2026

MEDIAVISION: NORDIC HOUSEHOLDS SPEND €280M ANNUALLY ON ILLEGAL IPTV

Nearly 1.2 million households across the Nordic region now have access to illegal IPTV services, spending an estimated €280 million a year, according to new research from Mediavision.

The figure equates to more than €23 million per month, or approximately €760,000 per day. Households using the services report paying an average of around €20 per month.

Mediavision defines illegal IPTV as paid services offering unauthorised access to extensive TV channel packages and content from multiple streaming platforms.

Its spring 2026 survey found that almost one in ten households in Denmark, Finland, Norway and Sweden had access to illegal IPTV. Sweden has the highest number of affected households, at around 465,000.

Penetration is highest in Norway and Denmark, where approximately 12% of households have access to the services. Sweden follows at 10%, while Finland has the lowest level at 5%.

“Close to 1.2 million Nordic households pay for illegal access to TV and streaming content,” said Adrian Grande, Principal Analyst at Mediavision. “Even at a relatively low monthly cost, the combined spending amounts to a sizable market alongside legal services.”

The regional total is lower than in spring 2025, although the trend varies by market. Mediavision said the declines in Sweden and Finland are clear, while changes in Denmark and Norway are not large enough to confirm a decline.

Grande added that, despite progress in some markets, the scale of illegal IPTV remains significant for the Nordic television and streaming sector.

Source: broadbandtvnews.com

2. 9. 2026

NOVA VIEWERS WANTED MORE ORDINACE. BOŽÍ PLÁN RESPONDS TO A NEW TREND

The return of Ordinace v růžové zahradě (The Rose Garden Clinic) to TV Nova, albeit with older episodes, is a direct response to viewer demand, says Programming Director Silvia Majeská. Nova’s revised approach to Tuesday and Thursday evenings, which will feature the new series Boží plán (God’s Plan), likewise reflects changing audience preferences.

TV Nova’s autumn schedule launches in the week beginning 31 August and will introduce several new titles within its established programming line-up.

One of the most prominent changes is the return of SuperStar, which will air on the same day in both the Czech Republic and Slovakia — on Wednesday evenings.

Another change concerns Nova’s Tuesday and Thursday evening slots, which will now feature a self-contained scripted series rather than a traditional long-running production. This autumn, Nova will fill these slots with Boží plán (God’s Plan), followed, once the series concludes, by another new title, Muži v letu (Men in Flight).

Nova will also continue strengthening the connection between its linear TV offering and Oneplay. As a result, series such as Studna (The Well), Kauza Kramný (The Kramný Case), Případ Stodolovi (The Stodola Case) and Případ Janákovi (The Janák Case) will make their way to linear television, alongside older, non-premiere episodes of Ordinace v růžové zahradě 2 (The Rose Garden Clinic 2), which until now have been available exclusively to Oneplay subscribers.

Silvia Majeská, Programming Director of TV Nova and TV Markíza, explains to MediaGuru.cz why Nova opted for this particular scheduling strategy, how the broadcaster evaluates the performance of new scripted series, and how it approaches the transition of original Oneplay content to linear television.

One thing that stood out to me in the autumn schedule is the decision to place SuperStar on Wednesdays. Traditionally, the reality show has aired at weekends. Why did you choose Wednesday evening?

SuperStar is a Czech-Slovak production and will be broadcast by both Nova and Markíza. We needed to find a slot that worked for both channels because we want SuperStar to air on the same day and at the same time in both markets.

We therefore looked for a solution that would suit both broadcasters, and Wednesday ultimately proved to be the best option.

The show also includes live broadcasts, so we need to be perfectly synchronised. SuperStar has a strong social media presence as well, and we want all communication and information to go out simultaneously in both countries.

Did you consider any days other than Wednesday?

Yes, but every other day we considered presented some kind of obstacle that made it unsuitable in one of the two markets. We went through all the available options, and Wednesday ultimately emerged as the optimal solution.

Another reason is that audiences in both countries are already accustomed to watching reality and entertainment formats on Wednesdays.

For some time now, Nova has used its Wednesday prime-time slot for reality shows and factual entertainment formats such as Extrémní proměny (Extreme Transformations), MasterChef, Hell’s Kitchen, Výměna manželek (Wife Swap) and Utajený šéf (Undercover Boss).

Wednesday therefore aligns naturally with audience expectations.

If we were to schedule SuperStar on a Monday, for example, when Nova has a particularly strong line-up of crime dramas and scripted series, the show would feel significantly out of place within the broader programming context.

At the same time, I assume you also have to take into account that younger audiences in particular are more likely to watch reality shows on Oneplay.

That’s right. We use a similar model with MasterChef, which also does not premiere on Nova on the same day as it becomes available on Oneplay.

We aired MasterChef on Wednesdays on Nova, while episodes were available earlier on Oneplay. Our viewers are already familiar with this model, so I don’t think it will come as a surprise to them.

Another major addition is the Tuesday and Thursday series Boží plán (God’s Plan). It has 24 episodes and is then expected to be replaced by Muži v letu (Men in Flight), which has eight episodes, effectively covering the entire autumn season. This represents something of a departure from the long-running series that traditionally occupied these weekday slots. But what happens if Boží plán performs exceptionally well? Would it not be a missed opportunity that it wasn’t conceived as a long-running series?

We would of course be delighted if it performed very well, because an enormous amount of energy goes into preparing every new production of this kind. It is a process that takes many months and sometimes even several years.

At the moment, Boží plán has 24 episodes. If it proves successful, I believe there could certainly be an opportunity to continue the series.

So in that case, you could bring the series back with new episodes. Why did you decide to limit this initial run to 24 episodes rather than opt for an open-ended format, which has traditionally been more common in these slots?

There is a reason behind that decision.

We value the time viewers are willing to spend with us, and we try to understand their preferences as closely as possible. That is why we want to offer stories that deliver suspense, humour, romance or compelling family entertainment.

We are looking for dynamic, fast-paced series that do not require audiences to make what feels like an “endless viewing commitment”, while still providing the satisfaction of a strong and rewarding finale.

I assume one of the major draws will be the acclaimed series Studna (The Well), which until now has only been available on Oneplay but is moving to Nova’s Sunday schedule this autumn. Last autumn, you used a similar strategy with Metoda Markovič: Straka (The Markovič Method: Straka), which achieved a 25–30% audience share within your key target group. Are you expecting similarly strong viewing figures for Studna?

The scheduling of Metoda Markovič: Hojer (The Markovič Method: Hojer) last year worked extremely well. The same was true of Iveta and Extraktoři (The Extractors).

We are naturally pleased when viewers have the opportunity to see original productions on television that combine high production quality, strong local subject matter and the best creative talent in the market.

Studna was a highly successful original production, both in terms of audience interest and its reception among industry professionals and critics.

We therefore believe it will also be a very attractive title for linear TV audiences this year.

Another new feature of the autumn schedule is the return of Ordinace v růžové zahradě 2 (The Rose Garden Clinic 2) in Nova’s second prime-time slot on Tuesdays. After roughly five years, Ordinace is therefore returning to TV Nova’s evening schedule. Why did you decide to bring episodes that have been available exclusively on Oneplay since 2022 back to linear television?

Viewers explicitly asked us to bring Ordinace back to television, and this year we decided to respond to that demand.

Our research, viewer enquiries and direct feedback from audiences at our annual regional roadshow Den s Novou Naživo (A Day with Nova Live), which travels across the Czech Republic, all show that there is significant interest in these episodes.

We are aware that not every viewer subscribes to Oneplay. At the same time, we know that Ordinace consistently attracts strong viewing figures on Oneplay and has a very loyal audience base.

Broadcasting these older episodes on television gives us an opportunity to reach linear TV viewers who previously did not have access to these seasons.

How large do you think that audience could be? Do you expect most linear TV viewers to be watching these episodes of Ordinace for the first time because they haven’t seen them on Oneplay, or do you expect a significant overlap with viewers who already know them from the streaming platform?

It is very difficult to determine precisely because fans often return to programmes they have already seen. That is part of the role of linear television as well.

For example, we regularly repeat Policie Modrava (Modrava Police) because viewers actively want to watch it again.

I therefore expect a combination of audiences: viewers who have already seen these episodes of Ordinace on Oneplay and want to revisit them, as well as new viewers who will have the opportunity to see them for the first time through the linear broadcast.

There are quite a large number of episodes of Ordinace v růžové zahradě that have never aired on linear television. The autumn schedule currently has them airing once a week on Tuesday evenings. Are you considering increasing that to twice a week, as was common before the series effectively “moved” to what was then Voyo and is now Oneplay?

We certainly could, and we cannot rule out doing so in the future.

For now, we will see how Ordinace performs in linear broadcasting this autumn and make further decisions based on the results.

Source: mediaguru.cz

31. 8. 2026

MAN IN HIS 60S JAILED FOR 6.5 YEARS AFTER MAKING MORE THAN £980,000 THROUGH ILLEGAL STREAMING

A 68‑year‑old man from Chorley has been sentenced to six and a half years in prison for running a large‑scale illegal IPTV operation that generated £980,812 in criminal profits.

Milan Ibrahim was convicted of conspiracy to defraud at Preston Crown Court and now faces additional proceedings under the Proceeds of Crime Act to recover the money he made from selling unlawful streaming subscriptions.

The investigation, led by the Police Intellectual Property Crime Unit (PIPCU) at the City of London Police, uncovered a sophisticated criminal enterprise supplying illegal IPTV services to thousands of customers in the UK and overseas, particularly British expats. Ibrahim captured and redistributed TV broadcasts from major rights holders — including the BBC, ITV, Sky, the Premier League and the Motion Picture Association — converting them into IPTV‑ready formats and selling access worldwide.

The business operated across 80 servers located at premises in Chorley, generating close to £1 million over three years. All servers were seized and shut down during enforcement activity, significantly disrupting the illegal service.

Detective Inspector Emma Warbey of PIPCU said Ibrahim’s actions caused real financial harm. She stressed that illegal IPTV “is not a victimless crime,” noting that piracy deprives broadcasters, rights holders and creative professionals of legitimate revenue. She added that PIPCU will continue to pursue offenders both in the UK and internationally.

Industry bodies also welcomed the conviction. FACT investigations manager Nick Sumner said the sentence “sends a clear message” that selling unlawful access to premium content carries serious consequences. Sky’s anti‑piracy director Matt Hibbert praised the collaboration required to dismantle the operation, while Premier League legal director Stefan Sergot called Ibrahim “one of the UK’s most prominent and long‑standing suppliers of pirate services.”

BBC Studios also highlighted the wider impact of piracy, saying it harms creators, businesses and licence fee payers, and welcomed PIPCU’s diligence in bringing the case to court.

Source: broadbandtvnews.com

27. 8. 2026

TELEVISION AUDIENCE MEASUREMENT IS PASSING INTO CZECH HANDS, WITH ATO AND ADMOSPHERE COLLECTIVE TAKING OVER

Nielsen Admosphere is changing hands and, following the Nielsen Group’s withdrawal from the Czech market, is passing into Czech ownership. The Association of Television Organisations initially acquired a 100 per cent stake in the company; the Admosphere Collective group will subsequently acquire a majority stake. The project to measure television viewing figures and digital video is set to continue unchanged.

The Association of Television Organisations (ATO) is acquiring a 100 per cent stake in Nielsen Admosphere from its Dutch owner, AGB Nielsen Media Research B.V. In a subsequent step, Admosphere Collective will acquire a 66 per cent stake in the company, which will be renamed Admosphere. ATO will retain a 34 per cent stake. The transaction is intended to ensure the continuity of television audience measurement and to create the conditions for the further development of television and digital video measurement on the Czech market. The ATO stated this in an official press release.

The acquisition is the result of long-term negotiations between the ATO and the multinational Nielsen Group. Admosphere Collective will thus become the main partner for the next phase of development of the television and digital video measurement project (PCEM). The project is intended to build on the existing operations and long-term development of measurement, which will continue unchanged.

Admosphere Collective is a consortium of Czech companies operating in the fields of media research, data analytics and technology services. The group comprises Admosphere Time (owned by Tereza Šimečková), ResSolution Group (the current provider of out-of-home audience measurement) and Visentio (a developer of data analysis software), as well as other experts involved in research and technology projects within the Czech media market. As part of the changes within the company, Tereza Šimečková and Tomáš Hynčica (ResSolution Group) have also been appointed to the management team alongside Petr Matyáštík (previously of Nielsen Admosphere).

According to ATO, the aim was to find a solution that would maintain the current operation of television audience measurement whilst enabling its further development within the local environment. The projects will continue to be managed by the existing Czech team. “It was important for us to find a solution that preserves what has been working on the Czech market for a long time and is also unique on a European scale. The new arrangement provides continuity for broadcasters, agencies and clients, whilst also giving us a solid foundation for the further development of audience measurement in the coming years,” said ATO Managing Director Michal Jordan.

ATO has also declared its intention to gradually develop audience measurement towards greater technological openness. In future, it intends to transition to a modular model that will allow solutions from multiple suppliers to be integrated and will not be dependent on a single technological platform. “Continuity is fundamental for us. The current system works, and there is no reason to change things simply because the company’s ownership structure is changing. At the same time, however, the way people watch television and video is changing rapidly, and audience measurement must be able to adapt to this. We therefore want to retain the best aspects of the current solution whilst having greater scope to integrate new technologies in line with what the market actually needs,” added Jordan.

The acquisition was financed in the first phase by ATO through loans from its members, which are TV Nova, FTV Prima, Seznam.cz TV and the media agency Atmedia. These liabilities will be settled as part of the second phase of the transaction following the entry of Admosphere Collective.

Statements from ATO member organisations regarding the transaction

Daniel Grunt, Managing Director and CEO of TV Nova

“I am pleased that, following Nielsen’s departure from the Czech market, we have managed to find a stable solution that will ensure reliable, accurate and trustworthy measurement of video content viewership, whilst maintaining continuity in measurement. This is one of the fundamental prerequisites for a healthy television market and a common point of reference for broadcasters, agencies and advertisers alike. At the same time, it is important to continuously develop the measurement system so that it keeps pace with new technologies and ways of watching television video content, which the new ownership structure will enable.”

Lukáš Kubát, Chief Executive of the Prima Group

“It is crucial for the Czech television market that we have succeeded in ensuring the continuity and independence of video content audience measurement. The new ownership structure supports further development towards total video measurement, which will meet the needs of the Czech media market. I would like to thank ATO for overseeing the entire process and bringing it to a conclusion that creates a stable framework for the operation and development of video content measurement in the Czech Republic.”

Ivan Mikula, Director of Seznam TV and Radio

“Nielsen’s departure posed a major challenge for the television market, primarily in terms of the further development of television measurement. Thanks to ATO and its professional handling of the entire process, we have managed not only to maintain the long-term continuity of independent television measurement, but above all to ensure its potential for further development towards cross-platform audience measurement. Given current trends in video content consumption, this is an absolutely crucial step. Furthermore, the new solution will enable us to respond very flexibly to any future technological challenges in the field of video content measurement.”

Michaela Suráková, Managing Director, Atmedia Czech

“I have long regarded cross-platform TV audience measurement as a reliable and trustworthy source of data for the entire television market. I am convinced that the new structure will maintain its high quality whilst opening up scope for further development. For thematic TV channels, the ability to expand data sources – for example, to include RPD data – is crucial, as this can contribute to more accurate measurement of viewership and performance for smaller channels.”

Petr Chajda, Chair of the Media Agencies Association Committee

“We are pleased that the members of the ATO and its staff have managed to deal professionally with the difficult challenge posed by developments in global markets. Television broadcasters, agencies and, through them, advertisers are being provided with a solution that will ensure video content measurement on the Czech market remains of high quality, objective and independent, whilst guaranteeing market stability. At the same time, the new structure ensures great potential for the development of measurement and its openness. And all this is thanks to the cooperation of companies that have in-depth knowledge of the market and understand its needs, particularly the expectations of advertisers.”

Source: mediaguru.cz

25. 8. 2026

TELEVISION AUTUMN SEASON GETS UNDERWAY, NEW SHOWS ARRIVING FROM THIS WEEK

The autumn television season is getting underway. This week, Prima will unveil its main new offerings. Nova and Czech Television will join in from next week. Some days of the week will have a new look in the autumn schedules.

In the week beginning 24 August, the main channel of the Prima group will start adding its new programmes and premiere episodes of established titles to its schedule. One week later (from 31 August), TV Nova and Czech Television will also introduce their new offerings.

The main highlights of the autumn season include the new series Boží plán and Muži v letu (Nova), the second season of Kriminálka Slapy: Pod hladinou (Prima), the third season of Docenta (Czech Television), the third season of Zákony vlka (Prima), the new series Na tělo (Czech Television), the return of Superstar (Nova), StarDance (Czech Television), as well as Ordinace v růžové zahradě (Nova), the new programmes Talkshow Na jednoho, the series Filter (Czech Television), and the television premiere of the miniseries Studna (Nova).

Monday: only Kriminálka Anděl with premiere episodes

The start of the week will traditionally be dominated by crime series. However, only TV Nova will offer premiere episodes, launching another season of Kriminálka Anděl from 31 August. ČT1 will air a repeat of the detective series Místo zločinu Ostrava, while Prima will turn to the archive with Malý pitaval z velkého města, followed by the series Dobrodružství kriminalistiky.

Tuesday and Thursday: a new prime-time line-up

The closely watched Tuesday and Thursday battle will take on a new dimension. Nova will introduce the new series Boží plán, which will be replaced by Muži v letu in the second half of the autumn. They will compete against Prima’s established series Polabí. Czech Television will air the French series Inspektorka Candice Renoirová in prime time. The second time slot is also being reshaped. On Tuesdays, Prima will air Show Jana Krause (SJK), which is moving from Wednesday evenings following the departure of 7 pádů Honzy Dědka to Televize Seznam. SJK’s broadcast time will partially overlap with the return of Ordinace v růžové zahradě (previously unaired episodes dating back to 2022). On Thursdays after 9 p.m., ČT1 will offer the magazine programme Gejzír, Nova the business show Jáma lvová, and Prima new episodes of Ano, šéfe!. The aforementioned Honza Dědek talk show will now air on Thursdays.

Wednesday: the return of Superstar and new episodes of Pod hladinou

One of the most prominent new developments this autumn will be the return of the singing competition Superstar to Nova, where it will move into the Wednesday prime-time slot. Czech Television will counter it with the new Talkshow Na jednoho, followed by the series Vyprávěj. At the same time, Prima will deploy the second season of Kriminálka Slapy: Pod hladinou, followed later by a repeat of the second season of Dvojka na zabití. In the later part of the evening, ČT1 will premiere the new youth series Filter.

Friday: entertainment and a new series

Friday evenings will be devoted to traditional entertainment. Alongside Všechnopárty, Czech Television will also premiere Jan Hřebejk’s new series Na tělo. Prima will offer another season of Máme rádi Česko!, while Nova will rely on Czech films.

Saturday: new episodes of Zákony vlka and StarDance

Saturday prime time will mainly bring entertainment and suspense. Nova will air the second season of the entertainment show Možné je všechno, Prima will continue the series Zákony vlka with a new third season, and in the first part of the autumn, after Chalupáři concludes, Czech Television will once again turn to Zázraky přírody. From 10 October, a new season of StarDance will arrive, traditionally the main attraction of Saturday evening.
Sunday: original productions versus true crime
Sunday evening will feature a strong line-up of original productions. Czech Television will air the third season of Docent, while Nova will introduce television viewers to the series Studna, which it has already released on its Oneplay platform. It will be followed by the documentary project Kauza Kramný. Prima will retain feature films in its prime-time slot. Czech Television will also air the two-part film Gerta Schnirch during the autumn (the date has not yet been announced).

Source: Mediaguru

Source: mediaguru.cz

24. 8. 2026

AMID ‘SPIDER-MAN’ AND ‘THE ODYSSEY’ LEAKS, HOLLYWOOD’S BATTLE AGAINST PIRACY ENTERS A WHOLE NEW ERA

The Oscar winner and generation-defining talent spent three years writing, directing, producing and editing “The Odyssey,” making his movie into its own kind of myth: a hand-crafted spectacle shot across six continents on the most rarefied cameras in the world, powered by the biggest stars and designed to be seen exclusively in movie theaters. But after only eight days of wide release last month, millions of viewers globally watched a pirated version of Matt Damon’s struggle to return to Ithaca on the social platform X. Audio and visual quality was as premium as the site could handle, and pixels on smartphones broadcast Nolan’s labor of love for free before it was yanked over copyright violation.

This is the lawless new universe of piracy. In the ’90s, outlaws in the aisles filmed “Jurassic Park” on camcorders and sold copies on street corners. In the early aughts, “Finding Nemo” was burned onto blank DVDs and hustled all over major markets by the caseload. These were physical goods dealt in the shadows. Now, the moviegoing public can stumble on perfect replicas of theatrical blockbusters on numerous social apps and screen them in full before copyright teams can hit the panic button.

The losses for media companies sit in the high tens of billions of dollars, a number that will climb as technology advances. This kind of piracy has become a double-edged sword for legacy media companies. To the delight of Hollywood, the “selfie generation,” Gen Z, has unexpectedly packed movie theaters lately — but they’ve brought along their digital habits. Audience members film crucial plot points and wild crowd reactions to show that they were there, and the studios look the other way and call it marketing.

“It’s terrifying,” says Jonathan Eirich, the co-CEO of Rideback and producer of Disney live-action remakes “Lilo & Stitch” and “Aladdin.” Eirich wonders, “Do consumers understand how serious this is, or does it still feel harmless?”

Just ask Peter Parker. “Spider-Man: Brand New Day” fell victim to the same scheme as “The Odyssey” this summer. The gargantuan Sony Pictures hit is barreling toward becoming the highest-grossing movie ever in the U.S. It also played for 5.9 million X accounts — on opening day — before the studio shut down the bootleg version. Management consulting firm Kearney and anti-piracy company Muso estimate that piracy costs the industry $75 billion a year, and project it will reach $125 billion by 2028. With the average movie ticket costing $16, those 5.9 million views of “Brand New Day” on X surely cut into its potential revenue. In other words, Spidey himself can’t stop the astonishing speed with which illegal versions of brand-new tentpole films are appearing online.

“Once a movie is out in the world, some piracy is inevitable,”

one top film studio source says. “That’s the reality of releasing content globally in a digital environment.”

The current method for catching and killing pirated movies online is about as complicated as filling out customer service forms. Studios submit takedown requests to TikTok, Instagram and other social media companies and await responses. If the stolen files are replicated widely enough, alarmed phone calls are made and lawyers get involved, the source adds, and most platforms act swiftly (with the exception of Elon Musk’s “notoriously difficult” X, per the source). A spokesperson for X did not respond to a request for comment.

The timing of this plundering couldn’t be worse. The industry is reveling in a rare moment of triumph as the summer box office hits $4 billion in ticket sales for only the second time since COVID closed theaters and cratered the economy (the 2026 total box office was more than $6.5 billion at press time). Titles like “Obsession,” “Backrooms,” “Toy Story 5” and “The Devil Wears Prada 2” — in addition to this summer’s smash hits “The Odyssey” and “Brand New Day” — have all contributed to this milestone. And all have been just as vulnerable to the near-instantaneous bootlegging.

Despite the streaming revolution and fierce competition from social media, gaming and YouTube, Hollywood largely makes money the way it always has. That means a film’s theatrical opening is gravely important for a studio — in terms of both recouping its investment and setting up a film for profitability in later release windows. Diminished ticket sales due to piracy also affect actors and producers, who negotiate profit participation as part of their compensation for mounting a movie or TV show.

“The Producers Guild and the MPA have their estimates on losses, but not knowing the specifics is almost more painful. It could be $5 million, $20 million or $50 million,” says Eirich. Most producers don’t see a dime until break-even, he says, when a studio recoups the entire cost of its production budget.

Any harm to box office within this sensitive first window is a crisis. Audiences may be showing up in droves this summer, but moviegoing habits have yet to fully reach pre-pandemic levels. Internally at the studios, copyright divisions spend their energy targeting larger criminal operations enabling these digital pirates — the hives sharing and disseminating premium content.

“We build out the more complex cases against bigger piracy groups. We try to take them down and prevent them from reconstituting,” says Larissa Knapp, chief content protection officer at the Motion Picture Association. The trade group represents Hollywood’s interests in Washington, D.C., and has long crusaded to prevent billions in revenue from slipping through the cracks. Going after one rogue account showing “The Odyssey,” after all, is like picking cracked pepper out of a salad.

Groups like the MPA still encounter piracy in the form of physical media. For example, the MPA routinely goes after rogue manufacturers of set-top boxes that help users pirate Netflix, Disney+ and other subscription media platforms. Policing that involves working with security departments at major companies like Amazon and Walmart to keep illegal goods off their commerce sites, where third parties are permitted to sell merchandise.

There are also still hustlers sitting at the movies with cameras. These days, the equipment is a bit more subtle. “They make pretty creative contraptions to conceal how they record. It’s not Kramer with the camcorder anymore,” Knapp says, referring to an episode of “Seinfeld” about movie piracy.

Another new threat is camera-enabled eyewear such as Meta AI glasses. Although the devices currently can record only three to five minutes of video, Knapp worries that criminals will be able to use AI to improve the quality of pirated recordings, smoothing out jerkiness or camera glitches. Who would spend their time capturing an entire movie on their glasses in three-minute blocks? Motive is a complicated question when it comes to piracy.

Dig long enough in any Reddit thread, and you’ll find Robin Hood figures who want to stick it to the ever-consolidating media conglomerates. Others have genuine accessibility issues, from those who don’t live close to movie theaters to superfans thwarted by rights deals that block their geographic locations from showing a movie or series. Regional culture also comes into play. Pirating “Heated Rivalry” in China is the only way to see it, given the country’s strict censoring of LGBTQ+ content and explicit depictions of sex.

While Hollywood adapts to these sophisticated new digital enemies, perhaps it is reconciling with the milder forms of piracy that they enable. For this year’s indie horror smash “Obsession,” TikTok was flooded with live reactions to the film’s many jump scares, and they’re still live on the platform. The same thing happened during a pivotal moment in 2025’s “A Minecraft Movie” when a beloved character from the titular game entered a scene, and Gen Z audiences went apeshit, screaming and cheering at AMC and Regal screenings around the world (and posting every second of their joy). The year before that, Cynthia Erivo’s rousing anthem “Defying Gravity,” which closed the first chapter of Universal’s “Wicked,” was clipped everywhere as fans wept in their reclining theater seats.

“Finding a full and perfect copy of a movie online will probably keep you from buying a ticket and seeing it in person,” Eirich says, weighing the complex calculus of how much piracy is too much. “But if the studio makes a decision that a little is OK? If it galvanizes people? Marketing is full of risk. The matter here is a lack of control. It’s when someone else makes that decision for you, it becomes a violation.”

Source: variety.com

21. 8. 2026

STUDY: 174 BILLION ILLEGAL STREAMS DURING FIFA WORLD CUP 2026

There were 6.2 billion illegal streams of 90 seconds or more globally for the Spain vs Argentina Final match according to GCI.

While the FIFA World Cup 2026 broke viewing records in the U.S. on linear TV and on streaming platforms, new data from Gaming Compliance International (GCI) suggests that an enormous amount of illegal streaming also occurred around the world. Its first complete global measurement of illegal streaming across the 2026 FIFA World Cup, estimates that there were 174.3 billion qualifying illegal stream views of 90 seconds plus globally across the tournament.

19. 8. 2026

‘THE ODYSSEY’ STREAMING SCAM COULD STEAL YOUR BANK INFO

Fake streaming sites are using Christopher Nolan’s blockbuster to steal payment details, passwords and personal information.

Christopher Nolan’s “The Odyssey” is one of the biggest movie releases of the summer. You have been hearing about it for months, but maybe you have not made it to the theater yet. Then an ad pops up promising you can watch “The Odyssey” online for free. The site looks polished. Reviews make it appear legitimate. Better yet, you can supposedly start watching within minutes.

There is one catch. You need to create an account. Then the supposedly free service asks for your credit card information to activate a trial. Enter those details, and you could soon discover there was never a movie waiting for you. The real purpose of the site was to get your financial information.

Security researchers say scammers are taking advantage of the enormous interest surrounding “The Odyssey,” which Universal Pictures released in U.S. theaters in July. Here’s how these fake streaming traps work and what you can do to avoid getting caught in one.

How ‘The Odyssey’ streaming scam works

Cybercriminals have created fake websites that claim to let you stream “The Odyssey” online for free. Some sites appear through online ads or search results. Others can be reached through questionable streaming and piracy sites. The pages can look surprisingly convincing. According to reports citing Kaspersky researchers, scammers have created versions in different languages. Some even advertise dubbed versions based on the visitor’s location. Fake reviews and ratings help make the service look trustworthy.

When you try to play the movie, the website asks you to register. You may first be asked for your name and email address. Eventually, the site requests your bank card information. It claims the information is needed to activate a free trial. There is no free movie. Instead, you have handed sensitive information to people who may use it for fraudulent transactions or other scams.

The U.S. government has warned about free streaming malware

The Federal Trade Commission has specifically warned that websites offering free movies and TV shows can infect computers with malware. The agency says criminals use malware to steal personal information and commit fraud. That can include login information for online accounts. The FTC also warns that malware can steal usernames and passwords as well as bank account numbers.

That makes a fake movie site more than an annoyance. Clicking the wrong download or following a bogus instruction could put information stored on your device at risk. We’ve seen this playbook before when we previously reported on how hackers use free streaming movies to lure people toward malware. We also covered how illegal movie downloads can hide dangerous malware. Scammers keep recycling the same strategy whenever a major release creates enough interest.

Malware scams appeared right after ‘The Odyssey’ hit theaters

There is another reason to be careful when searching for copies of “The Odyssey” online. Cybersecurity company Malwarebytes found scams targeting people searching for pirated copies within hours of the movie’s release. Researchers found cloned piracy sites displaying fake browser warnings. Other scams offered movie downloads that were actually Windows executable files disguised as video files. One fake warning claimed the browser was missing a component and encouraged visitors to click a button to fix it.

There was no missing browser component. According to Malwarebytes, clicking the button could push visitors into a malvertising network. Where they ended up could vary depending on the advertising campaign running at that moment. Researchers also found a supposed Odyssey movie download ending in .exe. That is a huge warning sign. An .exe file is a Windows program, not a video. If a website says you need to install software or fix your browser before watching a movie, leave the site.

Why fake movie scams can be so convincing

Criminals understand timing. When a movie becomes a cultural event, millions of people start searching for it. Some want to know when it will arrive on streaming. Others hope they can find a free copy. That creates an opening for scammers.

A fake website does not have to convince everyone. It only needs to catch the person who is excited enough to click before checking where the movie is actually available. Fake reviews make that easier. So does a professional-looking video player. We saw a similar tactic during the Barbie craze. CyberGuy reported on scammers using the movie’s popularity to steal bank information from moviegoers. The next bait could be whichever movie or show everybody is talking about next.

How to spot a fake streaming site

A slick website does not prove you are dealing with a legitimate streaming service. Start with availability. If a movie has only recently arrived in theaters, be suspicious when an unfamiliar website suddenly claims you can stream it for free. Universal Pictures currently lists “The Odyssey” as a theatrical release. Next, look closely at the website address. A scammer may use a domain that resembles a familiar streaming service. A small spelling change or an unusual domain ending can be easy to miss when you are moving quickly.

Do not rely on reviews posted on the streaming site itself either. Reports about “The Odyssey” scam say fake ratings and reviews were used to make fraudulent pages appear legitimate. You should also be wary when a website promises something for free but suddenly needs your credit card. Legitimate companies can require payment information for free trials. The difference is that you should already know and trust the service before handing over your card.

We reached out to Universal Pictures for comment about the fraudulent sites targeting “The Odyssey” but did not hear back before our deadline.

Tips to stay safe from fake streaming scams

A few extra seconds of checking can save you from a much bigger headache later.

1) Use strong antivirus protection

Strong antivirus software can help detect malicious downloads and warn you about dangerous websites. That protection becomes particularly valuable when a scam starts with an innocent-looking search or advertisement. Get my picks for the best 2026 antivirus protection winners for your Windows, Mac, Android & iOS devices at Cyberguy.com.

2) Stick with official streaming services

Use established streaming platforms or check the movie studio’s official website to see where a film is available. If you have never heard of the streaming service, investigate it before creating an account.

3) Stop when a free offer suddenly asks for your card

Do not enter payment information simply because the page says it needs to verify your account. Open a new browser tab and research the service independently.

4) Check the full website address

Look carefully at the domain before entering personal information. Do not assume the first search result or a sponsored result is automatically legitimate.

5) Never install a mystery movie player

A streaming site should not require you to install an unfamiliar program to watch a movie. Be especially careful with .exe files. Malwarebytes found one being disguised as a supposed Odyssey movie download.

6) Use unique passwords and turn on MFA

If you create an account on a fraudulent website and reuse a password from another service, scammers may try those credentials elsewhere. Use a password manager to create and store a unique password for every important account. Then turn on multi-factor authentication wherever it is available.

What to do if you already entered your information

  • Act quickly if you entered financial information into one of these sites.
  • Contact the bank or card issuer using the number printed on your card or information from its official website. Tell them you may have given your card details to a fraudulent website.
  • If you paid a scammer with a debit or credit card, contact the issuing company or bank, report the fraudulent charge and ask whether the transaction can be reversed.
  • Next, change any password you created on the fake streaming site.
  • If you reused that password on another account, change it there as well.
  • The FTC also recommends going to IdentityTheft.gov if a scammer obtained sensitive personal or financial information. The site provides recovery steps based on the information that was exposed.
  • If you downloaded something suspicious, update your security software and run a scan using strong antivirus software. We recommend scanning your device if you believe a malicious link or attachment installed harmful software. Get my picks for the best 2026 antivirus protection winners for your Windows, Mac, Android & iOS devices at Cyberguy.com.
  • Finally, keep checking your bank and credit card accounts for transactions you do not recognize.

Kurt’s key takeaways

I think movie scams work so well because they arrive at exactly the moment we are looking for something. You already want to see the film. Then somebody puts a shortcut in front of you. That is where a little skepticism pays off. “The Odyssey” may be the bait this summer, but criminals can use the same idea around the next blockbuster. A few minutes of entertainment are never worth giving a stranger access to your credit card or computer. I would much rather wait for a movie to reach an official streaming service than spend the next few weeks disputing charges or changing compromised passwords. When “free” entertainment asks for your financial information, the price can become very real.

Would a professional-looking streaming site with convincing reviews ever persuade you to enter your credit card for a movie you have been dying to see, or are you now too suspicious to take that chance? Let us know by writing to us at Cyberguy.com.

Source: foxnews.com

17. 8. 2026

NOVA PREPARES NEW MONETISATION MODEL FOR ONEPLAY AND AIMS TO RETAIN KEY SPORTS RIGHTS

Nova is getting closer to launching a new ad-supported subscription tier for its Oneplay video platform. The move will also introduce a new approach to advertising sales across linear and digital viewing. Nova plans to reveal the details this autumn. At the same time, Nova CEO Daniel Grunt expects the cost of sports broadcasting rights to continue rising.

Nova Group is preparing to introduce an advertising-supported model for its Oneplay video platform. As part of this initiative, it is also developing Max Reach, a project designed to connect advertising sales across linear television and digital viewing.

Another upcoming change will be restrictions on ad-skipping in catch-up viewing. Nova will, however, disclose the full details when it presents its commercial policy for 2027 this autumn.

At the same time, the broadcaster expects competition for sports rights to intensify. According to Nova Group CEO Daniel Grunt, the launch of rival channel Prima sport is likely to increase competitive pressure.

Speaking to MediaGuru.cz following Nova Group’s autumn programming press conference, Grunt also indicated that the company would not rule out collaborating with other broadcasters when acquiring sports broadcasting rights.

Nova announced in June that it was preparing to launch an ad-supported tier for Oneplay. According to our information, you are also developing the Max Reach project, which is expected to connect digital and linear advertising in some form. Can you tell us more about it?

It is still too early to go into detail. We will present the full concept together with our new commercial policy for next year, which we will announce during the autumn.

Will that also include details on ad measurement and options for buying advertising across both linear TV and Oneplay?

Yes. All commercial aspects will be presented as part of the new commercial policy.

We will also provide details of the consumer proposition, including the pricing of ad-supported subscription tiers, how many tier options will be available, the amount of advertising inventory, and other related parameters.

All of this will be announced well ahead of the launch.

Will you also announce restrictions on ad-skipping in catch-up viewing at the same time?

It is already public knowledge that operators have received the relevant information.

From mid-November, viewers should no longer be able to fast-forward through advertising. This is the first step towards enabling us to subsequently monetise this inventory through advertising sales.

The notification to operators has already been issued, and we can confirm that. We will, however, provide the detailed information together with our commercial policy.

Your competitor Prima is now launching a new sports channel, Prima sport. Nova already has an established portfolio of Nova Sport channels and, following the merger with O2 TV, also Oneplay Sport. Acquiring rights to premium competitions has required significant investment. How difficult will it be to retain those rights? Does Prima have the potential to win some of them away from Nova?

We will have to see.

Prima is at the beginning of its journey and needs to build its sports channel around strong properties and brands. I therefore expect it will actively compete for attractive rights packages.

Which will push the price of rights higher.

More broadly, this confirms a trend we are seeing worldwide.

Sports rights are becoming more expensive, particularly due to pressure from streaming platforms. International services often acquire global rights to individual competitions, typically including US leagues such as the NHL and others.

This leads to a certain degree of market fragmentation, because fans increasingly need to use several different services to follow the competitions they are interested in.

The NFL is a typical example, where viewers often need subscriptions to multiple streaming or cable services in order to access all games.

That is a development we are somewhat concerned about in the Czech market.

We can expect competition to intensify, and this may also be reflected in rights pricing. Our objective is to continue offering Oneplay users the most attractive sports broadcasts, tournaments and events in one place.

That does not necessarily mean that all rights need to be carried under the Oneplay Sport or Nova Sport brands.

We already distribute a number of other sports channels today, including Eurosport, Sport1 and Sport2, and that model will continue.

My goal is to retain the key brands and local rights, because these are particularly important to the value proposition and brand perception of Oneplay.

If an opportunity emerged, would you be interested in acquiring any rights currently held by Česká televize (Czech Television)?

It is difficult to say whether such an opportunity will arise.

For example, Česká televize secured the rights to the Ice Hockey World Championship for the next rights cycle without us having an opportunity to participate in the relevant tender.

Generally speaking, however, we monitor what becomes available in the market, and any sport or major sporting event with strong audience appeal is of interest to us.

We will always seek to acquire such rights where the commercial terms make economic sense for us.

Could you also imagine jointly acquiring rights with Prima? For example, could Prima obtain some UEFA Champions League matches from Nova?

The situation regarding UEFA Champions League rights for the next three-year cycle, beginning next year, has not yet been finalised, so it will depend on how the process develops.

It is not our strategy or intention, but I can imagine circumstances in which it could make sense to cooperate with another broadcaster on certain competitions — whether that is Česká televize or another partner.

Source: MediaGuru.cz

12. 8. 2026

‘I DON’T WANT TO WAIT THREE EPISODES BEFORE SOMETHING GRIPPS ME,’ SAYS ONEPLAY’S HEAD OF DEVELOPMENT

These days, it only takes viewers a few minutes to decide whether to give a series a go. Michal Reitler, Head of Development at TV Nova and Oneplay, talks in an interview about how the TV audience has changed, why people say they mainly want comedies but actually watch a lot of crime dramas, and the new programmes Nova has in the pipeline. He also revealed why some series need to hook the viewer right from the start and what determines whether they are renewed.

You can find the full interview at forbes.cz
Source: forbes.cz
12. 8. 2026
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