Lenka Hrivnáková, Author at The Association of Commercial Television

SIR JOHN HEGARTY FOR GTVG ON THE POWER OF CREATIVITY

Few figures have shaped modern advertising as profoundly as Sir John Hegarty. From co-founding Bartle Bogle Hegarty to producing some of the most iconic TV ads of the last half-century, his work has consistently championed the power of creativity to move people and markets. As brands today navigate an increasingly data-driven landscape, Sir John remains a powerful advocate for the human truths and emotional insights that lie at the heart of great advertising. We asked him to share his thoughts on creativity, the enduring role of television, and how the industry must evolve without losing its soul.

You’ve often emphasized the importance of truth and emotional resonance in creative work. In an era dominated by data-driven advertising and performance metrics, how do you see the role of intuition and human insight evolving?

There’s a growing obsession with what can be measured. But the truth is, measurement doesn’t lead to meaning. Creativity does. Intuition and emotional insight remain the lifeblood of great advertising. Data might tell you what’s happening, but it rarely tells you why it matters. When you ignore instinct, you risk creating work that is technically efficient but emotionally empty.

People remember how you made them feel. That’s what moves markets. And that’s something a spreadsheet can’t capture.

TV has historically been one of the most powerful platforms for building iconic brands. In your view, what does great TV advertising still do better than digital, and what must it do differently today to stay creatively relevant?

TV has the unique ability to enter the public consciousness. A great spot on television can shape the national conversation in a way digital often can’t. Digital has its strengths. It’s nimble and targeted. But too often it’s consumed in silence, in a private scroll. Television, by contrast, still delivers scale and shared experience. That collective moment still matters. The challenge for TV is not just to stay relevant, but to stay bold. It must entertain and stand for something.

Having built some of the most memorable TV campaigns of the past few decades, how do you feel the craft of storytelling in TV ads has changed? Are we gaining or losing something in the shift toward shorter formats and algorithm-optimized content?

There’s nothing wrong with shorter formats. Brevity can be beautiful. But compression should never come at the expense of clarity. We’ve mistaken attention for engagement. And that shift is dangerous. A great story still needs room to breathe. When every message is trimmed to fit an algorithm, we lose the craft, and that’s often what makes people care. Brands must remember that storytelling is not a trick. It’s a connection.

Interview Questions from David de Jong:

You’re a strong advocate for creativity. How do you view the current content produced by TV companies, both linear and streaming platforms, public and private, in terms of creativity? How well are they embracing it, and where is there room for improvement?

I don’t much like the word content, the inside of my toilet pipes are technically filled with content. I think that’s part of the problem, there is more ‘content’ than ever. But much of it is creatively cautious. We’re seeing safe choices, not bold ones. Streaming platforms have unlocked ambition. But speed to market and volume targets often dilute the vision. Public broadcasters, meanwhile, are wrestling with their identity. The ones that win will be the ones that commit to original thinking, not just audience metrics. When companies back vision over validation, we get culture-shaping work. We need more of that.

How do you see the world of video commercials and creativity evolving today, especially in the wake of a quiet digital revolution? What changes are you noticing, and how do you think AI will influence this evolution? How can creatives continue to thrive in this shifting landscape?

Advertising is drifting, too little is felt. Digital has changed how we distribute ideas but not what makes them powerful. As for AI, it’s a collaborator – not a tool. I think creatives would do well to view it as such and embrace it in your work. Rather than being like a pencil or a camera, it’s like a colleague. The only difference is it cannot imagine. Our job is not to replicate what already exists. It’s to create what doesn’t.

The Netherlands has a strong tradition of humour in TV advertising. Yet, some within the creative and advertising industries suggest this has diminished due to social and political shifts. How do you perceive this trend, and what’s your take on its impact?

Humour used to be a hallmark of Dutch advertising. It made the work memorable. Lately, that edge feels blunted, but there is a global climate of caution too. And yes, humour can be risky. But it’s also human, it builds rapport and invites participation. In many ways, it’s the antidote to the overly polished, overly cautious work we’re seeing today. A culture that forgets how to laugh forgets how to connect. Let’s not let that happen.

A Note on Cannes for Sir John Hegarty: An Industry Divided?

Cannes has long stood as the global celebration of creativity in advertising. As the event had been growing in recent years, with a very big presence of American tech and platforms, do you feel a certain ideological divide slowing installing? On one side, the creative voices in the Palais champion storytelling, emotion, long term brand building and originality. On the other, the rise of data, automation, and AI is shifting how success is defined, toward performance, efficiency, and precision.

While both sides are present, they often seem to speak different languages, driven by different values. The Palais-guests vs the fringe participants. Is this tension at Cannes reflective of a deeper fracture within the industry itself? One where creativity and tech are not necessarily in conflict, but no longer aligned in purpose? And in that context, should TV businesses, rooted in both brand storytelling and audience scale, play a more active role in bridging this gap and getting better at telling a story that proves that they can be both?

There is a divide, and Cannes makes it obvious. Inside the Palais, creativity is championed as emotional, enduring, brand-building. Outside, on the beaches and yachts, it’s performance, data, precision. And they rarely meet in the middle.

This isn’t inherently bad. But it becomes a problem when we stop speaking a common language. Creativity must work. It must solve real problems for real brands under real pressure. If it doesn’t, then what exactly are we awarding?

Mark Ritson’s research was a necessary provocation. If the best work isn’t the most effective, then we’ve lost the plot. Creativity isn’t for galleries. It’s for growth. That’s what DDB and CDP understood. They didn’t chase applause. They built reputation and results.

So yes, Cannes reflects a tension. And no, tech and creativity don’t have to be in conflict. But we need to stop pretending they’re aligned if one side celebrates reach and the other forgets reason.

This is where television can play a role. It understands the need to be remembered and to reach many. It knows how to marry scale with story. The industry needs to stop splitting its soul and start joining its strengths.

Otherwise, we’re just clapping for ideas that never leave the beach.

~~Register for September 24 th webinar about power of creativity here.~~

AI Codex

Position of AKTV on the General-Purpose AI (GPAI) Code of Practice

JULY 2025

In response to the Ministry of Culture’s request for a statement on the GPAI Code of Practice, specifically regarding one of its sections—namely the chapter “Copyright”—we provide below our observations and recommendations.

The chapter “Copyright” is one part of the Code; this part is inherently closely connected with another chapter of the Code titled “Transparency”. In our opinion, the Ministry of Culture should regard at least these two chapters as a single whole and comment on, monitor, and evaluate them in the context of their interrelated content, as both are fundamental chapters for rights holders.

Although the final version of the Code has undergone partial changes in both of the chapters mentioned above compared to the draft versions, these changes are ultimately mostly cosmetic. The final version has failed to meet the expectations that the audiovisual industry had placed in it, particularly in light of the ongoing, unprecedented violations of copyright by GPAI providers.

We are concerned that even after 2 August this year, the trend of one industrial sector infringing upon the rights of another will continue at an unstoppable pace and with limitless scope. Specifically, we fear that GPAI providers will continue to unjustly profit at the expense of rights holders—those who, through their creative work, have generated value in the form of data on which GPAI providers, under the guise of inevitable progress for all humanity, are training their models and will likely continue to do so in the future without the consent of rights holders, all for economic gain. In its current form, the Code is not capable of curbing this trend to an extent that would adequately protect the rights of copyright holders.

Transparency regarding the data used for training is absolutely fundamental. Without comprehensive information about the training data used by GPAI services, the implementation of the AI Act will not be in line with the letter of the law, and at the same time, it will prevent us—as rights holders—from effectively enforcing our rights or negotiating fair licenses for copyrighted works. In this respect, the provisions of the Code are overly general and incomplete.

At this stage—when the adequacy of the Code will be assessed by the Member States (at the level of the European Artificial Intelligence Board) and, most importantly, by the European Commission (at the level of the AI Office), and when the European Commission may subsequently approve the Code and grant it general applicability within the European Union through an implementing act or establish common rules for fulfilling the relevant obligations itself should the AI Office find the Code inadequate—we can now only appeal for the Czech Republic to stand behind the Czech audiovisual industry by demanding the development of rules that are fair to both rights holders and GPAI providers. In the next steps, an active role is essential not only from EU institutions but also from national authorities to ensure that the situation is properly assessed and that subsequent steps are taken based on that assessment. As for the specific actions of the Czech Republic, it is essential that the Ministry of Culture actively participate in the above-mentioned future steps and processes of monitoring and impact assessment, and that these processes and steps be carried out with the involvement of stakeholders from the audiovisual industry—meaning we should be consulted through targeted questionnaires, interviews, or other methods for the purpose of providing feedback on AI-related issues, specifically the rights of copyright holders.

In conclusion, we state that the audiovisual industry makes a vital contribution to the freedom of the press and news media, and forms the foundation of European cultural diversity, social cohesion, European values, and democratic dialogue. We are part of this industry and therefore deserve appropriate protection. This is our appeal to the Czech Republic.

CONSUMERS 65 TIMES MORE LIKELY TO BE INFECTED BY MALWARE THROUGH PIRACY SITES

An argument frequently used by rights holders as they attempt to persuade consumers not to view illegally obtained content has been given new backing.

A new study released by the Alliance for Creativity and Entertainment (ACE), has found consumers are up to 65 times more likely to be infected with malware when using piracy sites as compared to legitimate websites.

The report, Consumer Risk from Piracy in Southeast Asia explored activity in Indonesia, Malaysia, Singapore, Thailand, and Vietnam.

“As this study makes clear, the risks and ramifications substantially increase for those in Southeast Asia who visit piracy sites,”

said Study author Dr Paul Watters. a cybersecurity researcher and thought leader at Cyberstronomy. “Though efforts to curb digital piracy are ongoing, these stark results require additional action – such as smart tools and proven measures – to mitigate the relevant digital threats in each country.”

Overall, the study concluded that piracy sites – including streaming piracy platforms, P2P networks, IPTV services, scam portals, anime piracy sites, and manga repositories – carry a cyber threat risk more than 22 times higher than that of mainstream legitimate sites.

“The research findings reaffirm the extensive harms piracy networks inflict upon consumers and the economy in Southeast Asia,” said Larissa Knapp, Executive Vice President and Chief Content Protection Officer for the Motion Picture Association. “We applaud Dr. Watters and his team for their work in revealing the dangers of using these illicit sources, and we look forward to further collaboration with law enforcement throughout the region to detect these bad actors, deter future misdeeds, and dismantle unlawful operations that endanger a thriving creative marketplace.”

Peer-to-peer networks, scam portals, and streaming piracy sites carry the highest relative risks of cyber threat, while consumers in Indonesia, Singapore, and Malaysia have the highest average relative risk of encountering a cyber threat from a piracy service – each approaching or exceeding a 34-fold increase over legitimate sites.

Source: broadbandtvnews.com

ILLEGAL STREAMING: GERMAN AUTHORITIES DISMANTLE PIRATE IPTV NETWORK

German investigators have struck a significant blow against illegal IPTV operations, arresting suspects, seizing servers, and confiscating assets worth around €500,000.

The large-scale anti-piracy action was coordinated by the Criminal Police Inspectorate in Weiden and the Central Office for Cybercrime Bavaria (ZCB), following investigations that began in early 2024.

Five men – three 25-year-old Germans, a 25-year-old Austrian, and a 27-year-old Azerbaijani – are suspected of reselling premium streaming services, including those of a German provider and Netflix, to paying customers through an illicit IPTV platform.

On 3 June 2025, after months of preparation, simultaneous raids were carried out at nine locations: one in the district of Tirschenreuth, two in Munich, one in the district of Pfaffenhofen an der Ilm, and five in Hamburg. More than 100 officers were involved in the coordinated operation, led from Weiden in cooperation with a ZCB prosecutor.

Three suspects were initially remanded in custody. The arrest warrant for a 25-year-old from Munich has since been lifted after initial analysis of seized data failed to confirm strong suspicion, though investigations continue.

Another suspect from Hamburg faces additional charges: preliminary evidence from his seized devices suggests incitement to severe child sexual abuse via a messenger service, as well as involvement in the creation and possession of child abuse material. A 25-year-old software developer from the Tirschenreuth district, believed to be the main perpetrator, remains in custody.

The suspects allegedly operated with advanced IT knowledge and a sophisticated server infrastructure. Securing digital evidence was therefore a priority. The mobile forensic lab “Paladin” from the Upper Franconia Police Headquarters was deployed to ensure rapid on-site data capture.

With assistance from cybercrime specialists in Amberg, Regensburg, Munich, Upper Franconia, the Bavarian State Criminal Police Office and Hamburg’s LKA, investigators seized extensive hardware and storage media. Many encrypted devices were successfully unlocked on site.

Given the suspected financial gains from the illegal streaming scheme, investigators also focused on confiscating assets. Cash, gold coins, and cryptocurrencies valued at approximately €500,000 were secured, with the help of specialists in asset recovery and cryptocurrency tracing.

The operation yielded what investigators called a “major interim success”: an entire server infrastructure, numerous mobile phones, USB sticks, gaming consoles, and large volumes of cloud data were secured. Several servers abroad, allegedly used to operate the illicit IPTV services, were also seized. Processing the terabytes of data is underway and will still take some time.

The suspects face charges of commercial unlawful exploitation of related rights under the German Copyright Act. Customers who subscribed to the illegal IPTV services should also expect criminal proceedings. One suspect faces additional accusations of incitement to severe child sexual abuse, commissioning the production of child abuse material, and possession of such content.

Source: broadbandtvnews.com

POWER OUTAGE AFFECTS TV VIEWING

TV viewing during the blackout: dramatic drop in affected areas offset by growth in other regions.

The power outage that hit a large part of the Czech Republic on Friday, July 4, had a significant impact on television viewership. In the most affected regions, live viewership fell by up to tens of percent. However, the impact of the blackout was mitigated nationwide by increased viewer interest in unaffected areas, according to Atmedia, citing data from ATO-Nielsen.

The largest power outage in recent years hit Prague, the Central Bohemian, Ústí nad Labem, Liberec, and Hradec Králové regions, as well as parts of the Pardubice and Olomouc regions on Friday, July 4.

In the most affected regions, there was a dramatic drop during the outage. For example, in the Ústí nad Labem region, live viewership between 12:00 and 15:00 was 80% lower than the average Friday afternoon over the previous three weeks. In the Liberec region, it fell by 67%, in Prague by 44% and in the Central Bohemian region by 40%.

In contrast, people in unaffected regions spent more time in front of their screens than usual. The South Bohemian Region recorded a 28% increase in viewership, the Pilsen Region 27%, and the South Moravian Region 23%. Higher viewership was also reported in the Vysočina, Zlín, and Moravian-Silesian regions.

“Total live TV viewership between 12:00 and 15:00 was 11% lower than on the previous three Fridays. The significant decline in some regions was partially offset by increases in others,” explains Pavel Müller, Senior Head of Research & Marketing at Atmedia. According to him, all-day viewership was only 4% lower.

According to Atmedia representatives, it is common for exceptional situations to increase interest in television broadcasting. Viewers turn to television not only as a source of information, but also for entertainment and relaxation.

“Extraordinary events usually increase television viewership,” says Michaela Suráková, director of Atmedia. “We saw this, for example, during the floods in September last year or when COVID-19 measures were announced. At that time, television became a daily companion for millions of people.”

According to her, we see similar trends during major sporting events such as the Olympic Games or the Ice Hockey World Championship. TV viewership is also traditionally strong during Christmas and New Year’s Eve.

Last year, an average of 5.6 million viewers aged 15+ tuned in to television in the Czech Republic every day, spending 3 hours and 36 minutes in front of the screen – which is above the European average.

Source: mediaguru.cz

ČT WAS THE STRONGEST IN THE FIRST HALF OF THE YEAR, BUT NOVA GREW THE MOST

Despite a decline, Czech Television maintained its highest share of all-day viewing in the universal 15+ group in the first half of this year. However, Nova recorded the highest growth, winning in the younger viewer categories and in prime time.

Česká televize maintained its strongest position on the television market in all-day broadcasting in the first half of 2025. In the 15+ target group, it achieved a share of 29.29%, which still puts it in first place ahead of Nova and Prima. However, due to savings in its programming, the public broadcaster recorded a year-on-year decline in all monitored viewer categories. This is shown by data from ATO-Nielsen for the period from 1 January to 30 June 2025.

ČT recorded a more significant decline in prime time, where it reached 28.50% (-1.71 pb) of the total population aged 15+. It recorded greater losses among the younger target groups surveyed, i.e. 15–54 and 18–69.

The Nova Group, on the other hand, continues its growth trend. In the all-day measurement, it recorded year-on-year growth in all groups. In the key 15-54 group, its share increased by 1.7 percentage points year-on-year. In prime time, it maintains its leading position in all viewer groups.

The Prima Group maintains relatively stable performance in terms of viewership. In all-day broadcasting in the 15+ target group, it achieved a share of 26.91%, which represents a slight decrease of 0.41 percentage points. It reported a similar result in its target group of 18-69.

Among smaller television players, the biggest shift was recorded by Televize Seznam, which strengthened across all target groups and daily time slots. In all-day broadcasting in the 15+ target group, its share rose to 1.98% (+0.44 pb), and in prime time to 1.95% (+0.48 pb). In the commercial groups 15–54 and 18–69, its results are slightly above 1.8% and show a similar trend.

TV Nova is the year’s biggest climberIn terms of individual stations, the most significant year-on-year increase in the first half of the year was recorded by the main channel TV Nova (+0.91 pb to 18.21%). It was followed by the news channel ČT24 with an increase of 0.68 percentage points (to 4.54%). The third highest increase was recorded by the station Nova Gold (+0.52 pp to 2.45%). All figures are for the 15+ target group in all-day broadcasting. CNN Prima News continued the trend from previous periods and strengthened by 0.43 percentage points year-on-year (to 2.41%). Among thematic stations, growth was recorded by, for example, Prima Krimi (+0.28 pp to 4.46%) and Nova Lady (+0.13 pp to 1.0%).

The first half of the year was dominated by ice hockey

The most watched programme of the first half of the year was the ice hockey match between the Czech Republic and Sweden at the World Championships (ČT sport). It was watched by 1.66 million viewers aged 15 and over (47.4% share). The second most watched programme was the January TV detective film Kroky vraha (ČT1), based on a novel by Michaela Klevisová. It was watched by 1.64 million viewers. Czech ice hockey matches at this year’s World Championships appear five more times in the top ten. The series Limity (ČT1), Vraždy v kraji (Nova) and Televizní noviny (Nova) also made it into the top ten.

Source: mediaguru.cz

MAN JAILED AFTER MAKING £300,000 FROM ILLEGAL STREAMING SERVICE

A man who pocketed £300,000 through the operation of an illegal streaming service before he fled the country, has been sentenced to five years in prison.

Mark Brockley, 56, ran a subscription-based IPTV service known as aFINITY IPTV for around five years, between 2014 and 2019.

The sentencing follows an investigation led by the Police Intellectual Property Crime Unit (PIPCU), following a referral from BT, which identified Brockley as being involved in the illegal sale of streaming services.

Brockley was arrested and later charged with fraud and copyright offences at Liverpool Crown Court in June 2021. After being released on police bail, he failed to appear at multiple court hearings, and sentencing proceeded in his absence in May 2023.

Financial investigations revealed that Brockley had been using bank accounts based in France. Further digital enquiries eventually traced him to an apartment block in Spain. In August 2024, he was located and arrested in Girona during a coordinated operation involving the PIPCU, National Crime Agency (NCA), Europol, and Interpol.

However, having been released pending further investigation, Brockley appealed his extradition back to the UK and was subsequently bailed. He failed to attend multiple court hearings in Spain and was circulated as wanted by Spanish authorities.

In a coordinated effort between UK and Spanish authorities, Brockley was eventually arrested at Barcelona Airport while attempting to board a flight to the UK last week (Friday, 20 June).

He was remanded in custody at Heathrow Airport and will now commence his five-year sentence.

Source: broadbandtvnews.com

LALIGA PRESIDENT SAYS COST OF NOT FIGHTING PIRACY IS HIGH

Spanish LALIGA clubs are losing between €600 and €700 million a year as a result of online piracy, according to LALIGA president Javier Tebas.

Last season, LALIGA introduced new AI monitoring technology to monitor registration patterns, track suspicious behaviour in traffic and amplify the capacity of teams working to detect fraud. As previously reported in Broadband TV News, LALIGA has also been engaged in the dynamic blocking of IP addresses.

Speaking at the second edition of the LALIGA EXTRATIME industry forum in Singapore, Tebas said:

“Fighting audiovisual fraud has a high cost for LALIGA, but we choose to lead, because the cost of not doing so is much higher. We are facing highly organised criminal networks that cause unimaginable damage across the economy.”

“The scale of the challenge means that there must be total commitment at the institutional level and between companies, both in the sports industry and technology. This fight is global and collaborative, and we must also act by denouncing the inactivity of some intermediaries, who are allowing criminal content to be shared through their infrastructures,” he said.

Delegates heard that according to a report by the Live Content Coalition (LCC), 10.8 million illegal sports broadcasts were detected in Europe alone in 2024.

LALIGA participated in 2024 in Operation Kratos, led by Europol, which succeeded in dismantling a network of 22 million users in Europe. In this operation, weapons and drugs were also seized in searches. Legal milestones have also been achieved, such as the landmark ruling that allowed LALIGA to carry out dynamic IP blocking. In addition, LALIGA has strengthened its cooperation with responsible intermediaries such as Meta, YouTube or TikTok in recent seasons.

Source: broadbandtvnews.com

THE TRANSITION OF O2 CUSTOMERS TO ONEPLAY IS NEARING COMPLETION. WE WANT TO CREATE A NEW LOVE BRAND, SAYS NOVA CEO

Nova TV completes a major transition of customers from O2 TV to its new platform, Oneplay. In an interview with e15, Nova CEO Daniel Grunt describes why Nova has given up the successful Voyo brand, how it is handling the technical difficulties that accompanied the launch of Oneplay, and explains where the new streaming giant plans to go next. “Globally, we are seeing a trend of a decline in pay TV in favour of streaming services,” says Grunt, explaining the end of O2 TV.

When exactly will the transition of O2 TV customers to the new Oneplay platform be complete, and why has it been staggered into so many stages?

We are now finalising the last part, which should be done in the coming weeks. By the end of June, the entire base should be completely migrated, and O2 TV will cease to exist.

What were the biggest unexpected challenges during the transition to the new platform?

The most obvious problem occurred on the very first day, when unfortunately, our service went down for two hours due to a database failure within Amazon’s AWS. It was supposed to be zero-downtime service, and there should have been an automatic capacity increase, but that didn’t happen. There was another fifteen minute outage the next evening, but we haven’t experienced any massive problems since then.

As expected, we are still experiencing minor technical problems. Even though we spent two years preparing for the migration and four months testing the final version, a real deployment will always show a million different combinations – TV type, hardware, software updates, home connection and other factors. It’s only in live operation that these issues start to become apparent and are resolved.

Are you still dealing with any transition-related issues now?

We are currently dealing with isolated issues that affect perhaps tens to hundreds of users. Fortunately, our customers communicate well, and their feedback allows us to address individual issues effectively. Overall, the quality and availability of the service are already close to the level that customers were used to with Voyo. We will be fine-tuning minor technical improvements for a few more weeks, but overall, we are on track.

Many people have experienced problems due to older equipment. How many users have been affected by these limitations, and how have you addressed this?

Unfortunately, we had to stop supporting some of the oldest devices. Voyo has historically supported the widest range of TVs dating back to 2013-2014, but the new service is more technically challenging. Customers started advising each other on social media about what devices, like Chromecast or different set-top boxes, to get to make the service work. It’s great to see that the user community was able to help itself. Of course, we tried to advise them as well.

One user experience: Why do I have to manage my subscription through a web browser rather than directly in the app?

We haven’t managed to implement this functionality yet. The service is large, and every time we launch something this big, not all the planned features fit into the first version. However, we have this functionality in the roadmap, and it will be available in a few weeks to months. We have deliberately tried to launch the service quickly, so some things have been deferred to later updates.

Voyo is still working in Slovakia. Do you have any plans yet to merge this service with Oneplay?

Not yet. At the moment, we are fully focused on completing the migration of O2 TV in the Czech Republic and getting users used to the new service quickly. We are going through a sensitive period right now, as people have lost the services they have been used to for years and have been given a product that looks different and in some cases is more expensive. We need to get through this period, and then we will continue to build customer satisfaction.

The Voyo brand was already well established. Isn’t it a shame that it’s now being replaced by a new platform?

The Voyo brand has been really successful, and we have invested a lot of money and energy in it. People are asking a lot about this change. When we started the re-launch of Voyo four years ago, few people believed we would grow from 60,000 users to a million and become a major streaming service and love brand. Now we are starting again, and we believe Oneplay will be even more successful.

Why did you decide to create a new Oneplay brand instead of developing your existing services?

Many people laughed at me and said I had lost my marbles when we started building Voyo as a strong brand with the goal of growing to a million paying customers. Very few people really believed that. Ironically, the same people ask me today why we cancelled this successful brand. But the decision had a rational basis – we were combining two different services, pure streaming Voyo and classic IPTV O2 TV.

Our goal was to create an entirely new category of services, not just enhanced versions of existing products. We are creating a central point for Czech households where they can find quality Czech content, live TV, plenty of sports and other interesting shows. We are convinced that such a big change should be underlined by the new brand, and we believe that Oneplay will soon become a love brand for Czech households.

Did the reasons for the merger also include concerns about a potential decline in the future popularity of O2 TV?

Globally, we see a trend of pay TV declining in favour of streaming services. In America, Western and Northern Europe, this trend has already happened. In the Czech Republic, the pay TV market has been stagnant for the last three years. That’s why we wanted to combine the most successful Czech IPTV with our streaming service in time to prevent future decline and offer users a unified and comprehensive service.

Do you still have any plans for the original Voyo brand, such as using it in other countries?

At the moment, this is not yet decided. We are focused on successfully completing the integration in the Czech Republic. Other possible markets for expansion are Slovakia and Romania. In each country, we will decide individually, depending on the market situation and the available options. For example, in Romania, we do not have a telecom operator, while in Slovakia, our operator is relatively small. The decision on whether we will use the Oneplay brand or keep Voyo has not yet been made.

Is it possible that you would extend the Oneplay concept to countries where you are not yet operating?

So far, we are only focusing on countries where we have strong TV stations or telecom operators. These factors are key to the success of a streaming service. For example, in Serbia, we launched Voyo in cooperation with the Yettel operator, although we don’t have a TV station there, and we use content from Croatia and Slovenia. So, there is the opportunity for cross-border expansion, but it has to make business sense.

How did the name Oneplay come about, and what other names did you consider?

We considered hundreds of different names. Personally, I was closest to the Voyo brand for a long time, but we knew we couldn’t use it. We needed a simple, easy-to-pronounce name. Other options included Vixo or Epic, which we ended up not using because of trademark complications. In the end, we chose Oneplay because it met our requirements.

Source: Petr Kobliha

How has your content strategy changed since the unification of services?

There have been no major changes in our original production, fiction and documentary, we continue to grow. We are adding more shows and reality shows, which are very popular with the younger generation. For example, this summer we will launch a new reality show called The Farm. In addition, we are significantly expanding our sports offerings as the new service has combined the content portfolio of both platforms. Oneplay will thus offer viewers a unique combination of exclusive quality content, including sporting events.

What place does news have in your strategy?

News is a key pillar of any great television. Our TV news (Televizní noviny) has long been the most watched news programme in the Czech Republic. In recent years, we have also strengthened our journalism and political debates.

You described news as an important part of your strategy. What are your future plans in this area?

News is key for us, whether it is linear television or digital platforms. Nowadays, people don’t want to be tied to a specific airtime, so we distribute our content across different channels such as social media, our website TN.cz or YouTube and TikTok. This allows us to create a wide reach. We have also recently expanded our digital channel, TN Live, where we are testing new formats and faces. Gradually, we want to turn it into a full-fledged digital news and lifestyle channel with new shows, including podcasts.

You buy shows from Czech Television. Is it profitable for you?

Buying content from Czech Television is a must for us because we want to be the biggest platform with local content. Voyo had the largest range of Czech and Slovak films and series, which continues with Oneplay. Czech Television produces quality content, which we regularly buy, although it is not cheap. I can’t give exact figures, but the volume of content we buy is growing every year.

Source: Petr Kobliha

How do you try to reach young viewers?

Nova has historically always targeted a younger audience, and that is still the case. Our main target group is viewers aged 15 to 54. We invest in content that appeals to young viewers, such as reality shows. This year, for example, we will launch a new reality show, The Farm, which is successful in Slovakia. We also have other popular formats such as Survivor or Love Island. Reality shows are most successful on the digital platform, while shows like crime dramas are more popular on TV. We try to distribute content in a balanced way between the digital platform and TV, which helps us reach a diverse audience.

How much revenue does Oneplay generate for the Nova Group?

We don’t disclose specific figures, but I can say that Voyo already had a double-digit share of total revenue. TV advertising accounted for about 60 per cent of revenue last year, with the rest coming from other sources, including the digital platform, which is now in its second year of profitability.

Source: e15.cz

NORDIC SERIES FROM VIAPLAY WILL BE LAUNCHED IN THE SUMMER. AI IS ALREADY MAKING ITS WAY INTO BROADCASTING, SAYS PRIMA CEO

The streaming service prima+ has been on the market for over two years and, according to Marek Singer, head of the Prima Group, it has reached what he calls an “imaginary halfway point.” In an interview with e15, he describes what genres work, why they rely on Czech originality and why they decided to work exclusively with Viaplay. “We expect the cooperation with Canal+ to deepen,” says Prima’s CEO.

How do you assess the development and current position of the prima+ platform after more than two years of operation? Has it met your expectations?

I think we are at a kind of imaginary halfway point. We already know what works and what doesn’t. The current priority is to scale production appropriately and to build what we call a “retention supply”—ensuring there are enough compelling titles in each genre to give viewers a reason to stay. For reality shows, we are already gearing up for another season of The Traitors, and we will be adding a fun new reality series to the spring season. Honza Maxa is now starting a “series supply”—the production of dramatic content that will regularly feed the streaming service.

What works and what doesn’t on prima+?

It turns out that the Czech audience is divided. One part of the audience has progressive, cosmopolitan tastes, prefers VOD platforms and seeks content without ads. The other part is more conservative, watches mainly linear broadcasts, likes familiar faces and established formats. We try to offer both groups what they expect—in different channels and different ways. Reality shows work well on VOD, but they may not include just the ones produced abroad. Viewers want original content that has an identity. The Traitors, a reality show with detective game show elements, is one example.

Genre experiments such as true crime or miniseries inspired by true events have proven successful in the fiction sector. At the same time, we have found that audiences are ready for more challenging topics if they are presented with high-quality execution. And this applies to both documentaries and dramatic works. But not everything works right away. Some projects have underperformed. For example, Starhouse this spring did not repeat the success of last year’s Traitors.

You recently announced a collaboration with Scandinavian streaming service Viaplay. Was this an initiative on your part or were you approached?

It was an active choice on our part. We are looking for quality international content to complement our offering. Viaplay offers Scandinavian production that is different in genre and style from what we normally see in the Czech Republic. And we know that this style resonates strongly with a certain type of audience. This is a major difference from, for example, Disney+, where many titles run in parallel elsewhere. We have an exclusive partnership with Viaplay that includes more than 200 hours of content annually. It’s a multi-year deal with an option that allows us to include some shows in the linear broadcast, not just on prima+.

Viaplay will offer something for an audience that likes Scandinavian production, while complementing our Czech portfolio. The first titles will start appearing in the summer. We are dubbing them now. We have secured the best Nordic true crime films such as Fenris, Furia, Rebus, Crime Scene Sweden, and A Murderer Goes Missing. We are sure that this selection will delight our TV viewers and users.

Is it somehow related to the fact that Prima had Scandinavian owners in the past?

Indirectly. Of course, past contacts help – when you know people, it’s easier to get along. But it wasn’t a decisive aspect.

Viaplay is less than 30 per cent owned by the Czech investment group PPF, which also runs your direct competitor, Oneplay, in the Czech Republic. Is this just a funny coincidence?

Yes, it is a funny coincidence. But PPF did not interfere in any way in those negotiations.

One of Viaplay’s other shareholders is Canal+, which is now active in the Czech Republic. Do you plan to work more closely with it?

Yes, we already represent it commercially and sell advertising on its behalf. We believe that the cooperation will continue to deepen. I think they are still looking for the ideal model for the Czech market and the Czech audience. You can see it in the way they are testing dramatic formats.

prima+ offers two versions: a paid, ad-free option and a free, ad-supported one. How has this model performed so far?

The model has proven successful. We have approximately 21 per cent paying users. In total, we have over 1.4 million registered users. But we are still not at the point where we have “exploited” everything. We haven’t yet covered all audience segments with regular content, which is a prerequisite for subscribers to come back and stay.

Is it possible to build an interesting business on the advertising model?

It’s getting more interesting. For one thing, the reach of prima+ is increasing, but at the same time, the opportunities for targeting advertising are improving as part of partnerships with operators. IPTV is growing fast, and this opens new opportunities. So far, TV advertising and online advertising are not that different in terms of advertisers, but the online version allows us more targeting and personalisation. In the future, we expect more diversification and separate advertising strategies for each environment.

Which operators are key for you?

Primarily Vodafone. We have a joint product with them, and we are also preparing a deeper cooperation for the autumn season. For example, within The Traitors, we plan to create a dedicated ‘channel’ on their platform in the zero position. The other major partner is, ironically, Oneplay, where cooperation was initially difficult, but we ultimately found a commercially attractive model. A new partner is SledovaniTV, with whom we are testing new forms of targeted advertising and integration of our content.

Are advertisers’ requirements changing?

Not as significantly as we would expect, but it is starting to happen. The online environment allows for more variability and immediate feedback. We will see what the next few years bring. For example, we are trying new types of advertising formats with some advertisers, such as “theme block” style sponsorships or interactive elements that link the show to the brand.

Is there a trend in the development of the two versions of prima+?

The free version more closely follows the evolution of TV ratings. It is stable, less prone to short-term fluctuations. The paid version is more sensitive to specific titles. Once you have strong content—like last year’s Traitors—you can get thousands of new subscribers in a few days. Conversely, when supply is stagnant, churn can be very rapid. That’s why we are working on retention tools: genre collections, series sequels, community features, podcasts or making-of.

Like Oneplay, you also buy content from Czech Television’s iVysílání. How big is this segment for you?

It is definitely a good addition to our offering. If we want to be one of the two biggest video content providers in the Czech Republic, we have to include public service content. I wouldn’t say it’s core for us, but it certainly has its quality. In total, we offer almost 20 popular shows and almost 200 episodes from Czech Television.

Where do you get your inspiration from?

We follow the RTL+ model in Germany. They have a great combination of a strong linear brand and a digital platform that can offer relevant content to different audience segments. In America, we follow Hulu and Paramount+ with their Pluto TV model, which tests different types of advertising variants. We have also taken inspiration from France, where a ‘catch-up hybrid’ model works, combining archive and premiere content with advertising and paid versions.

Where do you think CNN Prima News has moved in its four years of operation?

We started as a TV channel. Today, we are a digital brand. This year, we launched a new newsroom where we combine the work of the TV, online team and social media. We create content in a modular way—each medium gets its version of the news. For example, a report from the field will be edited for TV and, at the same time, an article for the web, a short video for Instagram and a clip for TikTok will be created. And sometimes we make a podcast or a longer investigative format.

Source: E15 Michael Tomeš

How do you want to differentiate yourself from Czech Television in the election broadcasts that are soon to come before the autumn parliamentary elections?

We are already starting with a series of debates in June and plan a continuous campaign until October. The first big pre-election debate in the Czech Republic, aptly titled 100 Days to the Election, will take place on Thursday, 19 June. We are now working on a weekly basis with STEM, which supplies us with data on voters’ priorities. We will confront politicians with what voters demonstrably want, not what politicians say they want. We are also preparing several format innovations. We want the debates to be not just a TV ritual but a tool for voters’ navigation.

Is CNN Prima News economically self-sufficient?

Just barely, yes. But we are doing it primarily because of the broad reach of the news. CNN Prima News is part of a media ecosystem that has synergies with the group’s other activities. Economically, it’s hard to separate, but in terms of brand and reach, it makes sense.

What is the future of linear TV and its audience profile?

Linear broadcasting will gradually age with the audience. But it’s not just about age—regions or value settings also play a role. It turns out that young viewers are not lost to linear TV, they just aren’t watching it every day like their parents. If the content appeals to them, like The Traitors, they will come. But otherwise, we have to follow them where they are.

Are you working more with fragmentation of attention and the role of media personalities?

Everyone is learning how to work with influencers these days. We have a small advantage in that some actors or performers act as “unpaid influencers”. They are active in social media and create a secondary campaign. We want to do better and more with this, although it is a challenging discipline. But technology will start to help us do that.

Are you incorporating artificial intelligence into the process?

New technologies, including AI, are already helping us in video production. We have seen what our people can do overnight with new software. The quality is already good enough to go on air. It’s not just about distribution, it’s about transforming production processes.

How has AI specifically transformed content selection and production?

All routine operations—whether in post-production or pick-ups—can be made faster, more cost-effective, or enhanced through the use of AI—or all three at once. It can be used in automated subtitling, transcription, translation, and editing. We are also testing synthetic voices and AI visualisations for some news formats. It depends on how creative you get. It will definitely start with shorter formats, but over time, it will transform the whole thing. We are also trying AI in predicting viewership or analysing what viewers enjoy.

Which Prima thematic stations are growing the most?

Prima Krimi has strong long-term growth. People like the crime genre, and when they get it in a clear package, it works. Prima Star also has good development, benefiting from nostalgia and well-targeted content. For the main channel, last season was excellent, and now we are gearing up for the autumn news.

Source: E15 Michael Tomeš

Is there going to be any consolidation of the TV market? There is talk of a possible sale of TV Barrandov. Would you be interested?

Maybe. If Barrandov were to be sold, and the price were realistic.

There is also a convergence between Karel Pražák as the owner of Mafra and Marek Dospiva, who controls the media house Vltava Labe Media. It is possible that after a prospective merger, they may have to sell some of their media due to the antimonopoly authority. Will you be interested, for example, in the radio station Impuls?

We do not comment on our business activities in the long term.

Are negotiations underway?

As I said, we do not comment on our business activities. In general, the Czech market can’t be expanded endlessly. When supply meets demand, consolidation is a logical step.

What were Prima’s economic results last year?

Last year, we consolidated the sales of all fourteen companies in the group for the first time. They reached almost seven billion crowns. Profit at the EBITDA level amounted to CZK 1.712 billion. This is a significant shift from the days when we had a turnover of 3.5 billion and a profit of 150 million. Growth was driven by digitalisation, the development of prima+, the development of advertising models and more efficient operations.

Source: e15.cz

ITALY’S PIRACY EPIDEMIC: 4 IN 10 WATCHING FILMS AND SPORT ILLEGALLY

Piracy has become normalised for four out of ten adult Italians who now consume unlicensed services.

According to a Fapav-Ipsos report, in 2024, 38% of Italians used audiovisual content illegally. The figures represent the loss of €2.2 billion in turnover, an estimated loss of €904 million and over 12,000 jobs.

“It is not just an economic or industrial problem but increasingly takes on a social connotation where the individual pirate becomes part of a criminal system, whose only objective is business,”

said Federico Bagnoli Rossi, president of Fapav.

While the February 2024 introduction of the so-called Piracy Shield has helped – the blunt instrument has managed to take down legal streams as well as the illegal ones – it applies only to sport, leaving movies and series available to the domestic hackers.

“The new regulation from AGCOM regarding a 30-minute block is producing initial results. There is still much to be done, but the path taken is the right one. We are convinced of this, and in the next report, we will have specific data. This slight contraction does not overall diminish the seriousness of the phenomenon, which remains alarming, especially in terms of the economic damage caused to audiovisual and sports industries, as well as to the economic and employment system of our country”.

The cost is put at €61 million in lost admission fees, translating to damages of €530 million, a figure that rises to €778 million when the impact on legal subscriptions is included.

Source: broadbandtvnews.com

REPORT: ANIME DRIVES TV PIRACY

Piracy data monitoring specialist Muso has released its 2024 Piracy Trends and Insights Report in which it suggests that in 2024, piracy didn’t vanish – it evolved.

Muso tracked 216.3 billion visits to piracy websites in 2024. “While that’s a modest 5.7 per cent decline from 2023, the full picture is far more nuanced,” said the company. Beneath the surface, some sectors surged while others receded, painting a complex map of shifting global media demand.

Piracy Trends by Content Category

TV Piracy: TV piracy remains the dominant form of unlicensed content consumption, with a total of 96.8 billion visits globally. This represents a 6.8 per cent decrease. The continued demand for episodic content, particularly Anime, is a key driver.

“The genre’s relentless release cycles and delayed localisation make it a magnet for unlicensed consumption,” said Muso.

Publishing Piracy: Publishing piracy experienced an increase in 2024, with visits rising to 66.4 billion. This represents a 4.3 per cent increase. The rise of Manga and digital self-publishing contributes to this growth.

“This isn’t a niche trend anymore. Publishing piracy is now the second-largest piracy category, behind only TV,” noted Muso.

Film Piracy: Film piracy declined in 2024, with visits dropping to 24.3 billion, an 18 per cent decrease. This decline may be attributed to the increasing availability of legal streaming options and a decrease in major film releases due to production delays.

“The Hollywood strikes of 2023 left gaps in the release calendar, reducing demand simply because there was less to pirate,” suggested Muso.

Software Piracy: In 2024, software piracy declined to 14.9 billion visits, a 2.1 per cent decrease. The shift towards cloud-based subscription models continues to impact software piracy.
Music Piracy: Music piracy saw a decline, falling to 13.9 billion visits, a 18.6 per cent decrease. The growth of licensed streaming services has likely contributed to this decline.

In conclusion, Muso sees piracy as a demand signal, suggesting that it persists not because consumers reject legitimacy, but because legitimate options still fail to meet expectations in price, access, or timing. The data from 2024 makes this clear:

Publishing piracy is now structurally driven, not seasonal
TV remains hampered by platform fragmentation
Film piracy reflects real-time release trends
Music and software sectors show what success looks like when access models evolve
Piracy insights can directly inform revenue recovery strategies

“Piracy is a map of unmet audience demand and a signal of where the industry must go next,” concluded Muso.