TOP GUN TURNS 40: THE HIT FRANCHISE HAS INSPIRED A WAVE OF FILM-THEMED ADVERTISING

15. 5. 2026 | 10 min read Forty years have passed since the premiere of Top Gun, yet the film’s iconic aesthetic continues to influence the worlds of advertising and pop culture. Fighter jets, aviator sunglasses, cockpit shots, motifs of speed and adrenaline-fuelled imagery have appeared over the years in campaigns by car manufacturers, fashion brands, airlines and many other companies. Top Gun has grown from a Hollywood blockbuster into a marketing phenomenon that brands keep coming back to.

CONSUMERS DON’T HATE AI ADS – THEY HATE BAD ADS

13. 5. 2026 | 4 min read There’s a story I keep reading in the trades, and I want to analyze it because I don’t think it’s fully accurate. It’s the story about how consumers hate AI-generated ads.

CANNES LIONS: A RECORD NUMBER OF INDEPENDENT AGENCIES JOINED THE JURY

12. 5. 2026 | 2 min read Cannes Lions has announced the jury for this year’s festival. The jury will select world-class creative work, which will then be judged, awarded and celebrated during the Cannes Lions International Festival of Creativity, taking place from 22 to 26 June 2026.

THE BEST CAMPAIGNS FROM THE 2026 WORLD CUP

11. 5. 2026 | 2 min read The 2026 World Cup is just round the corner, and TV screens, social media and shop shelves are rapidly filling up with sponsored products, a parade of sporting legends (no surprise there – Beckham is back) and plenty of events brimming with the spirit of football.

MARK RITSON: WHAT REALLY DETERMINES THE EFFECTIVENESS OF ADVERTISING CREATIVE

11. 5. 2026 | 9 min read Is there a formula for effective advertising? During his presentation at the Media, Marketing & Effectiveness conference, Mark Ritson offered his perspective on the subject. He combined data from System1 and Effie with research by Paul Dyson to demonstrate why some campaigns perform many times better than others. He argues that successful advertising rests on three key principles: emotional impact, instant brand recognition and the ability to work over the long term. He also challenges a number of modern marketing habits, from an obsession with constant change to the underestimation of television as a brand-building medium.

PRIMA’S NEW ADVERTISING FORMAT, PAUSE AD, PROMISES 100% VISIBILITY

11. 5. 2026 | 2 min read The advert is only displayed to the viewer when they actively interact with the remote control and pause the content they are watching.

NEM DUBROVNIK REVEALS 2026 AGENDA

5. 5. 2026 | 2 min read NEM Dubrovnik has unveiled the full agenda for its 2026 edition, which will bring together more than 300 companies, over 200 buyers and more than 150 exhibitors.

ESG ADS ATTRACT LESS ATTENTION, BUT BOOST INTEREST IN THE TOPIC

5. 5. 2026 | 4 min read Although ESG adverts are, on average, less effective at capturing attention than standard campaigns, they can significantly boost interest in the topic being communicated, according to new research by Ipsos. The data also confirms growing consumer scepticism towards sustainability claims and a shift in how people define ‘green’ products.

FLEMEDIA LAUNCHES THE 21ST EDITION OF THE FLE MEDIA AWARDS

3. 5. 2026 | 2 min read The FLE Media Awards competition is entering its 21st year. Flemedia has opened entries for Czech and Slovak campaigns, which creators and clients can submit until the end of June.

THE DEVIL WEARS PRADA 2: THE RETURN OF A BOX-OFFICE HIT SPARKS A WAVE OF ADVERTISING

30. 4. 2026 | 8 min read A beautiful woman, a strict boss and a look behind the scenes at a fashion magazine. The cult story from the world of haute couture is returning to cinema screens after many years, building on the legacy of the original hit The Devil Wears Prada, which defined not only how the fashion world is portrayed on film but also how luxury brands reach audiences. With the return of the iconic characters, film, fashion and marketing have once again come together to form one powerful whole. The result is a wave of advertising campaigns built on fashion aesthetics, micro-stories from the original film and the star power of the actors associated with this phenomenon.

ADC CZECH AWARDS: GRAND PRIX FOR KITKAT PHONE BREAK CAMPAIGN

29. 4. 2026 | 3 min read The Grand Prix at this year’s ADC Czech Creative Awards went to the “KitKat Phone Break” campaign by VML Prague.

NOT ALL IMPRESSIONS HAVE THE SAME VALUE: ATTENTION IS THE KEY TO EFFECTIVE VIDEO ADVERTISING

29. 4. 2026 | 6 min read One of the most promising developments in video advertising is the emergence of genuine cross-platform measurement—the ability to track impressions across all screens, platforms and devices. However, this progress also raises a fundamental question: are all the impressions combined into a single overall picture really equal? VAB challenges this assumption. Drawing on findings from various studies, it shows that the true value of video lies not in volume, but in attention. In this article, Screenforce summarises the main findings and recommendations.

TV NOW AND NEXT: A FIXED POINT AMID THE TRANSFORMATION OF MEDIA

27. 4. 2026 | 8 min read The world of video viewing has undergone a significant transformation over the past decade. New platforms have emerged, viewing habits have changed, and the options for how and where content can be consumed have expanded. Yet despite this dynamism, it is becoming clear that Total TV, which includes traditional broadcasting and streaming services, remains a dominant and stable element of the media landscape.

THE MARKETING COMMUNICATIONS MARKET GREW BY TEN PERCENT LAST YEAR. THIS YEAR, IT IS MORE CAUTIOUS

27. 4. 2026 | 4 min read Growth in the Czech marketing communications market in 2025 was driven not only by media channels but also, to a significant extent, by non-media channels, according to an expert report by the AKA.

STUDY HIGHLIGHTS RISE OF DUAL-SCREEN BEHAVIOR DURING TV VIEWING

27. 4. 2026 | 2 min read tvScientific released its “2026 Consumer Trends Report,” positioning television as a full-funnel channel that drives discovery, trust and purchase behavior across a multiscreen environment.

A BIG-SCREEN STUDY FINDS STRONGER ATTENTION ON TV4 PLAY THAN ON YOUTUBE

24. 4. 2026 TV4 just launched its third attention study, comparing the viewing experience on its streaming service (TV4 Play) with YouTube’s big screen experience at home. It confirms once again the assumption that the streaming environment provided by a qualitative TV network (BVOD) delivers a much bigger attention than UGC platforms, such as YouTube. An at-home test with regular users of both services The comparison took place in December 2025, with research partner COG Research, and was built to test the attention of viewers who already used both TV4 Play and YouTube on a big screen. To take part, they had to use both services at least two to three times a week, for around 20 to 30 minutes per session. The viewing took place in participants’ homes, not in a test room. Attention was measured with an eye-tracking device (iVue glasses), as viewers chose current programmes or videos they were interested in and were told to behave as they normally would. The comparison also kept the screen conditions close: both platforms were viewed in full-screen mode and with longer video formats.

THE ADC CZECH CREATIVE AWARDS COMPETITION HAS ANNOUNCED ITS FINALISTS

24. 4. 2026 | 2 min read Out of 257 entries, 120 have made it onto the shortlist for this year’s ADC Czech Creative Awards.

WHO PAYS FOR YOUR FAVOURITE STORY? A HUNDRED YEARS OF ADVERTISING THAT QUIETLY BECAME PART OF THE CONTENT

22. 4. 2026 | 13 min read At first glance, it may look like an old advertising relic from the age of radio and black-and-white television. But the Brought To You By model, in which the sponsor is an acknowledged part of the content, has in fact never completely disappeared. On the contrary, it has simply evolved along with the media, audiences and the business logic of the entertainment industry. The story of BTYB is therefore not only the history of a single advertising format but also the history of the tension between creativity, commerce and the question of who actually pays for the stories we so love to watch.