CZECHS CONTINUE TO TRUST ČT AND ČRO THE MOST. THE ROLE OF AI CHATBOTS IN FOLLOWING THE NEWS IS GROWING

16. 6. 2026 The latest Digital News Report confirms that ČT and ČRo are still regarded as the most trusted media outlets in the Czech Republic. Overall, the report highlights the growing role of AI chatbots in news consumption, the increasing number of people who avoid the news, and the growing role of videos posted on social media.

M6 UNLIMITED TESTS AI SPOT CREATION FOR SMALLER TV AND STREAMING ADVERTISERS

22. 5. 2026 M6 Unlimited is building a simpler route into TV and streaming advertising for smaller and newer advertisers. Its offer combines a dedicated SME buying path through its future ad manager, lower entry budgets, support across strategy, creative production and measurement.

THE TV ADVERTISING PARADOX, A THINKTV NEW ZEALAND CASE STUDY (2/2)

22. 5. 2026 The strategic response: the TV advertising paradox.

PPF IS BUILDING A MEDIA ECOSYSTEM. ONEPLAY IS OUTPACEING GLOBAL STREAMING PLATFORMS AND SETTING THE STANDARD FOR EXPANSION

29. 4. 2026 PPF Group is developing a strategy for interconnected media and telecommunications platforms. The Oneplay streaming service serves as a model for other markets in Central and Eastern Europe, explained Didier Stoessel, co-CEO of PPF Group, at the Shifts conference.

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

27. 4. 2026 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.

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 TV ADVERTISING PARADOX, A THINKTV NEW ZEALAND CASE STUDY (1/2)

24. 4. 2026 In late 2024, ThinkTV New Zealand, under the leadership of Jacqueline Freeman, GM Communications, undertook a full market review to understand how television was being perceived, valued, and used across the New Zealand marketing ecosystem. This was a broad diagnostic rather than a simple pulse check. It drew on perspectives from CMOs, CFOs, insights people, media agencies, creatives, and people working at the front line within television itself. The objective was not to validate assumptions already sitting in the market. It was to uncover what had changed, where belief had shifted, and why.

AD EMISSIONS MEASUREMENT: LESSONS FROM THE FINNISH MARKET

31. 3. 2026 Finland’s commercial TV broadcasters spent the past year developing a carbon emissions measurement framework for linear TV advertising, starting with no local methodology and ending with a validated model owned by an industry body. For markets facing the same challenge, the experience offers a useful reference point. Start narrow, then scale The project focused exclusively on linear TV rather than attempting a cross-channel solution from the outset. This kept the scope manageable and delivered results sooner.

A NEW WAY FOR FRANCETV PUBLICITÉ TO SELL CONTEXTUAL VIDEO ADVERTISING

27. 3. 2026 FranceTV Publicité (FTP), the advertising sales house for French public television, has introduced Context.IA into its digital video offer. The solution uses programme context to decide when an ad should appear, instead of relying only on fixed scheduling. That makes Context.IA a new commercial tool inside FranceTV Publicité’s own video inventory. Context.IA links programme cues to ad delivery Context.IA uses a multimodal AI model to analyse image, text, audio and video within broadcast content. It identifies editorial cues and connects them to ad switching, so a campaign can appear when those cues are detected. The mechanism is simple to describe: define the cue, connect it to the creative, and deliver the ad when the condition is met.

BUILDING A SHOPPABLE, ATTENTION-READY CTV OFFER: THE BIG BROTHER CONTEXTUAL CASE

26. 3. 2026 In 2025, Paramount Australia, in partnership with FreeWheel and egta, hosted a webinar outlining a forward-looking view of the evolving advertising market. One key topic explored the industry’s shift to pull-based discovery, experience-driven engagement, and frictionless content-commerce integration. Paramount Australia’s Contextual Advertising Suite directly responds to these trends, reinforcing the company’s leadership in premium CTV innovation through real-time, contextually immersive ad experiences, that meet audiences in the moment.

YOUNG LIONS FOR OGILVY, FOLLOW BUBBLE, VML, STORY TLRS AS WELL AS PRAZDROJ

23. 3. 2026 The Young Lions competition has announced its winners, with teams from Ogilvy, Follow Bubble, VML, Story TLRS and Plzeňský Prazdroj taking top honours.

MIDDLE EAST CONFLICT CASTS SHADOW OF GLOBAL AD OUTLOOK

20. 3. 2026 The ad spending numbers for 2026 looked good until the war in the Middle East made them provisional.

AI HASN’T KILLED EARNED MEDIA. IT MADE IT MORE VALUABLE

12. 3. 2026 Earned media can power brands being cited by AI-generated search. Here are 5 ways PR must lead, writes Doe-Anderson’s Kathy Keadle.

THE MEDIA IS UNDERGOING RAPID CHANGE, BUT QUALITY CONTENT REMAINS KEY

11. 3. 2026 Although today's media are undergoing rapid change thanks to technological developments, quality content remains the basis of their success. This was the consensus among media managers at the TOP Women of the Czech Republic conference.

WARNING TO CZECH MEDIA: POLITICAL PRESSURE, AI AND PLATFORM DOMINANCE

28. 2. 2026 According to the Report on the State of Czech Democracy, Czechia maintains a high degree of media freedom, but at the same time, attacks on journalists are intensifying and pressure is growing for changes in the financing of public service media. Furthermore, the country is not prepared for the regulation of digital platforms and the impact of artificial intelligence on the media market.

TV ADS TOP THE CHARTS FOR PURCHASES, AND FOR ANNOYANCE

24. 2. 2026 TV ads drive purchase behavior for 49% of consumers, making them the most effective channel, even though 36% find them disruptive, according to a January report from DISQO.

HOW L’ORÉAL PARIS AND RTL MADE STREET HARASSMENT HARD TO IGNORE

24. 2. 2026 Context Sexual harassment in public spaces is one of the most common forms of gender-based violence in the world. Two figures frame the issue: 80% of women have experienced street harassment, but 85% of people say they lack training on how to intervene. Ad Alliance and L’Oréal created a campaign to respond to this problem with a practical idea: show what intervention looks like in a situation viewers recognise, then point them to an online training called “Stand Up”. A program against street harassment that L’Oréal Paris and Right To Be launched in 2020.

HOW AD ALLIANCE USED VIRTUAL SET GRAPHICS TO RESKIN THE LET’S DANCE STAGE FOR UNIVERSAL PICTURES

24. 2. 2026 Context This campaign promotes a film by changing the look of a well-known TV studio during the ad break, so the show setting becomes part of the idea.