The grey area in various forms has accompanied the distribution of digital content from the very beginning. One of the leading technology managers spoke to Broadband TV News about this long-standing problem, which is now “exploding”.
The interview, which was published a few days ago onBroadband TV News, warns of a dramatic increase in piracy, which has turned into a form of organised business, to which operators must respond by changing their strategy. Maria MalinkowitschofVerimatrix, one of the world’s leading cyber security companies, points out that traditional control methods are failing, as “81% of requests to remove illegally uploaded content are now ignored”.
According to the manager, companies are still mistakenly focusing on addressing the consequences rather than the causes. She therefore emphasises the need for a fundamental shift, whereby “the industry must move from mere reaction to detention and prevention”, which she considers to be the only viable long-term solution. Malinkowitsch identifies the abuse of distribution networks and unprotected applications that enable mass real-time streaming theft as a key threat.
How digital pirates steal
Traditional forms, such as torrents, are giving way to more sophisticated forms of piracy. The main form today is what we might call“piracy as a service”– complex illegal streaming platforms that function like professional platforms such asNetflix, with their own interface, recommendation system and thousands of channels, including premium sports. The second key form is“CDN network theft”– hackers steal login details from legal applications and use them to download original content directly from the servers where it is legally stored.
A long-standing problem is the distribution of television content via web browsers, smart TVs, smartphones or tablets, which are more easily accessible than the classic set-top boxes with encryption via decoder cards used in the past. Older viewers may remember the arrival of the Romanian satellite serviceDigi TVand its super-cheap offers. Piracy even reached such a level that keys could be obtained automatically using specially modified software.
A “business” like any other
On the dark web, which is referred to as the dark layer of the internet, you can buy a ready-made package for operating such a service. It is a completely illegal platform that already includes a recommendation system, a user management system, an administration interface, payments via payment cards and cryptocurrencies, and thousands of channels, including premium sports. The whole issue was described very well by theSynamedia portal less than three years ago.
How to deal with such services?Artificial intelligence helps significantly. Monitoring is performed using AI-controlled systems that scan the web, illegal IPTV platforms, and social networks (especiallyTelegramchannels, where “operators” find resellers). Watermarking plays a key role in detection – invisible marks are inserted into videos, which remain intact even after recoding or other manipulations. When the content appears on a pirate platform, this watermark can be identified and its exact source traced to find out who is responsible for the theft.
An example of a successful fight from the Czech Republic
TheStream Cinema Communityadd-on was long one of the most serious piracy tools on the Czech market, through whichKodiusers accessed content from all key players such as Netflix,Disney, HBO MaxandPrime Video. The technical complexity of combating this add-on lay in its legal architecture: the service itself did not host any content, but only functioned as a search engine and player for links to files stored in cloud storage.
Although the add-on (and its alternative, Stream Cinema) had been known about for a long time and was considered problematic, it wasthe Association of Commercial Television (AKTV), which represents the Nova, Prima and Óčko groups on the domestic market, that finally managed to do something about it after years. It completely disappeared from this online platform, the SCC “service” ended completely, and its alternative lost the content protected by AKTV.
Authorities in Germany have carried out coordinated raids across three federal states as part of an investigation into a suspected organised pay-TV piracy network.
The action targeted four men aged between 41 and 51 accused of large-scale card-sharing and the illegal provision of IPTV services.
According to the public prosecutor’s office in Dessau-Roßlau and the State Criminal Police Office (LKA) of Saxony-Anhalt, searches were conducted on 2 December 2025 in Magdeburg and Lutherstadt Wittenberg, as well as in Delitzsch (Saxony) and Heldenstein (Bavaria). The investigation centres on allegations of commercial and gang-related computer fraud within the cybercrime domain.
Investigators believe the suspects unlawfully shared pay-TV smartcards from a major provider over several years, distributing access to a large number of users via the internet. The resulting financial damage to rights holders is estimated to be at least in the mid-six-figure Euro range.
During the raids, police seized extensive evidence, including computer systems, satellite receivers, IPTV boxes, servers, data storage devices and smartphones. Officers also performed live forensic captures of volatile data on external servers and were able to shut down illegal card sharing servers immediately.
The investigation is ongoing, the authorities said.
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
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)
How do influencers understand and exercise their own rights? How do they approach the protection of third-party intellectual property, and what impact does their behaviour have on their audience, especially young people? These questions were the focus of the study Influencers and IP, conducted this year by the European Union Intellectual Property Office. This study is the first comprehensive EU-level research systematically examining the relationship between influencers and intellectual property.
Influencer marketing is one of the fastest-growing segments of the digital economy. The global market value is expected to reach USD 32.55 billion in 2025. Influencers have a significant impact on consumer behaviour and cultural norms, particularly among Generation Z. The EUIPO therefore considered it important to understand how influencers engage with intellectual property – whether they infringe it, or, conversely, protect it or help strengthen respect for IP.
The study builds on the EUIPO’s long-standing activities in intellectual property education for young people and responds to the findings of the Intellectual Property and Youth Scoreboard 2022, which found that some young people consume pirated content or counterfeit goods based on recommendations from influencers.
The survey process
The survey was conducted between July and August 2025 via the online questionnaire made available in the 24 official EU languages. More than four thousand influencers in all 27 EU Member States were contacted, with the final sample consisting of 300 respondents. The researchers worked with four categories of influencers based on audience size, focusing on Instagram, TikTok, and YouTube. The authors of the study emphasise that this is qualitative, exploratory research, not a fully representative statistical survey, but the resulting document still provides valuable insight into the attitudes and behaviour of influencers across the EU.
The largest part of the sample (49%) consisted of influencers with a “mid-tier” audience category, who have 50,000–500,000 followers. They were followed by influencers from the “micro” category with 10,000–50,000 followers (30%). Influencers in the “macro” category with 500,000–1 million followers accounted for 13%, while influencers in the “nano” category with 1,000–10,000 followers made up 8% of the sample.
In terms of age, influencers over 30 years old predominated (58%), while approximately 41% were under 30 years old.
92 % of influencers report that they monetise their activities. However, more than half have no formal business assets. Only 30% own a brand, 18% operate an online store, and 18% hold registered intellectual property rights (trademarks, etc.). However, brand ownership does not necessarily mean that the influencer holds registered IP rights.
Source: Influencers and IP; Base: 300 influencers in the EU, who were allowed to provide multiple answers to the question. A total of 365 answers were collected. Screening question: Q5 Do you have any of the following?
The research revealed significant differences between influencers with registered intellectual property rights and those without the rights. Those who own such rights are one step ahead in their business. They are significantly more likely to own a brand and run an online store, which suggests that intellectual property protection is linked to a higher degree of professionalism.
Source: Influencers and IP; Base: 54 IP owners; 246 non-IP owners. Screening question: Q5 Do you have any of the following? (Select all that apply)
Responsibility towards the audience and brand authenticity
The vast majority of influencers (96%) feel responsible for the impact their promotions may have on their audience. Of these, 72% report full responsibility and 24% feel “somewhat responsible.” Only 1% of respondents said they feel no responsibility. This result confirms that influencers see themselves not only as entertainment creators but also as actors with an ethical commitment.
The declared level of brand authenticity verification is equally high: 92% of influencers report always verifying the legitimacy of the brands they collaborate with. However, researchers point out that the question of how this kind of verification is carried out in practice remains open.
Source: Influencers and IP; Base: 300 influencers in the EU. Question: Q1 Do you feel responsible for the impact your promotions could have on your audience?
Familiarity with IP rights
A total of 86% of influencers consider themselves at least somewhat familiar with their IP rights, with one-third reporting a strong understanding of their IP rights and 14% having only limited or no knowledge. Influencers who already hold registered intellectual property rights (94%) have significantly higher awareness.
Source: Influencers and IP; Base: 300 influencers in the EU. Question: Q3 How familiar are you with your own intellectual property rights (such as copyright, trade marks, designs) as a content creator?
This result indicates a shift towards greater professionalisation of the industry, but at the same time suggests room for further education, especially for smaller and emerging creators.
Impact of addressing IP on follower count
Influencers’ attitudes toward whether communication about intellectual property would have an impact on their audience are ambiguous. Nearly half (48%) believe that the number of followers would remain unchanged, 14% expect a positive impact, while 17% fear a decline in the number of followers.
The fear of losing their audience is one of the key findings of the study, explaining why influencers generally do not actively raise the issue of intellectual property, even though they recognise its importance.
Respect for IP
The vast majority of influencers say they avoid promoting counterfeit goods (94%) and pirated content (93%). Only a small percentage admit to having participated in such a promotion in the last year.
Source: Influencers and IP; Base: 300 influencers in the EU; Question: Q5 In the last 12 months have you promoted goods from unofficial sources/counterfeits? Question: Q6 In the last 12 months have you promoted content from unofficial/non-legitimate sources?
At the same time, 97% of influencers perceive the health and safety risks associated with counterfeit goods and illegal content:
• Roughly three-quarters (76%) of influencers are aware of these risks and exercise caution.
• 16% of influencers were previously unaware but, after completing the survey, expressed concerns.
• 5% of influencers are aware of the risks, but that does not make them more cautious about sharing.
• 2% remain indifferent or show little interest.
Most influencers say they are aware of the links between counterfeiting, piracy, and organised crime, which supports the ethical dimension of their decision-making. The exception is nano-influencers, who attach less importance to these links, with 67% of them not exercising caution. Nano-influencers are also less interested in the fact that criminal organisations are often behind counterfeiting and piracy, or do not think about it at all.
Influencers and AI
Artificial intelligence is becoming a common part of influencers’ work: 51% use it often or occasionally. Influencers have mixed feelings about AI – on the one hand, they appreciate its potential to improve performance and efficiency (56%), but on the other hand, they are concerned about content misuse and unfair competition from virtual influencers.
Source: Influencers and IP; Base: 300 influencers in the EU. A total of 588 responses were collected. Question: Q10 How do you expect AI to impact your social media activities as a content creator in the coming 12 months?
72% of influencers are aware of the risks of AI in relation to intellectual property, but nano-influencers in particular show a lower level of awareness. The study therefore recommends focusing future education on the intersection of artificial intelligence and intellectual property.
Key takeaways
The study shows a clear link between intellectual property rights ownership and a higher level of professionalism among influencers. Influencers who already own registered intellectual property rights are generally more advanced in their professional and entrepreneurial journeys. More than half of them (55%) have their own brand, and a third (33%) operate an online store. The situation is significantly different for influencers without registered intellectual property rights – only 24% have a brand, and only 14% have an online store.
The study shows that influencers are reluctant to talk about the importance of respecting IP in their content, even though they are well aware of their responsibility. Almost half of respondents (48%) believe that such a disclosure would not affect their follower count; one-fifth (21%) are unsure of the effect; 14% expect a positive impact; and 17% expect a negative one. Despite these concerns, 96% of influencers feel fully or partially responsible for the impact of their promotions, and 97% are aware of the risks associated with promoting unofficial products or content.
The study also highlighted influencers’ concerns. According to the research, every second influencer (51%) uses artificial intelligence today. At the same time, 47% of them express concerns that their content could be altered and repurposed by artificial intelligence, and 72% are aware that AI-generated output may infringe existing IP rights.
The EUIPO therefore recommends systematic cooperation with influencers, their further education, and involvement in awareness campaigns. Emphasis should be placed in particular on practical examples of the impact of counterfeiting, piracy, and the responsible use of AI.
About the study: The study Influencers and IP was published in November 2025 by the European Union Intellectual Property Office (EUIPO). The research was conducted on behalf of EUIPO by a consortium of KPMG and ICF Next based on an online survey of 300 influencers from all 27 EU Member States. Respondents included influencers who are active on Instagram, TikTok, and YouTube. They were selected to reflect the demographic makeup of the EU population and categorised by follower count to capture the widest possible range of opinions. The study is part of the EUIPO Strategic Plan 2030 and the IP Next GEN initiative.
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.
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.
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.
The FilmToro server has prepared a selection of the best streaming services in the Czech Republic.
In its first article, the server focused on an overview of the Czech streaming services market. In this latest article, it helps viewers choose the optimal service according to their specific preferences.
The overview provides detailed information about the quality, prices and focus of individual streaming services. It looks at what is best from the perspective of various parameters – for example, which service is best for films, which is best for series, and where children or sports fans will have the most fun. It also covers platforms that offer experiences for Czech viewers or connoisseurs. Last but not least, the article offers a comparison based on price or the option to watch content for free.
Whichever service you choose, it is sure to offer you the right experience when watching your favourite programmes.
Streaming has become an integral part of our lives, and many viewers can no longer imagine watching series or films other than on demand, anytime and anywhere. But can you navigate the technical terms and diverse range of video-on-demand options?
If you want to expand your knowledge and get an overview of the wide range of streaming platforms, their history and current situation, read this article.
Not only does it explain the basic terminology of the streaming market (do you know the difference between SVOD and BVOD, for example?), but it also offers a look at how the streaming market has developed in our country and examines how many streaming services there are in the Czech Republic.
The third annual Prague Music Week 2025 conference and trade fair took place this year from 5 to 7 November at the Křižík Pavilions at the Prague Exhibition Grounds.
Prague Music Week confirmed its status as a key event in the Czech music industry once again this year. The fair, intended for music professionals, authors and musicians, as well as a meeting place for publishers and representatives of technology companies, offered a rich programme and opened up a number of the most current topics in the music sector.
The partner organisation, the Association of Commercial Television Stations, OSA, appeared at this year’s event in a new role as the main partner and exhibitor, confirming its long-term involvement in the development of the domestic music industry. Throughout the event, a team of experts was available at the OSA stand to explain to visitors how collective copyright management, music licensing and support for music creation work. The stand became a natural meeting place for industry professionals and a platform for open discussion on copyright in the digital environment.
Source: OSA OSA also participated in the conference’s professional programme and attracted a great deal of attention with its discussion on “AI from a copyright perspective” . Together with guests – singer and songwriter Dan Bárta, Martin Čmejrek (Mama AI), Martin Kudla (Supraphon) and Petra Žikovská (IFPI) – they discussed the impact of artificial intelligence on creative work, responsibility and the future of intellectual property protection in the digital era. In the follow-up block , “How does the music recording economy work? The collapse of musicians’ incomes,” there was a lively debate about the current revenue model in the music industry and the challenges faced by musicians and publishers in the age of streaming platforms, as well as how the financial flow in the music industry works from the first recording to the final payment to the artist’s account, and whether the distribution of revenues among all shareholders in the recording is fair.
AKTV’s participation in Prague Music Week 2025 served as a teaser for the Normálně legálně(Normally Legal) project, which has long been dedicated to raising awareness about copyright and combating illegal content sharing. The project offers a comprehensive database of verified legal sources and helps the public navigate copyright issues. Thanks to the partnership with OSA, it was possible to raise the profile of the project during the event and directly present its practical benefits to visitors through a catalogue of legal sources on the website normalnelegalne.cz.
About Prague Music Week: PragueMusic Week is a platform for everyone who shapes the future of the music scene. Prague Music Week 2025 offered 47 conference discussions, workshops and lectures featuring nearly 100 speakers. Twenty-one artists performed at four different venues during the festival. The fair featured 25 exhibitors whose ideas are pushing the music world forward. New this year was a voluntary admission system, which made it possible to come without paying admission “on a trial basis,” making it accessible to everyone. The next editionwill take place from4 to 6 November 2026at the Prague Exhibition Grounds and in Prague clubs, once again with a rich and inspiring programme. For more information, visitwww.praguemusicweek.cz.
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 PrimaNews 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 .
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.
