Editorial Standards & Content Review

CUTV publisher content is information created or substantially curated by CUTV for the benefit of the viewer. Examples include original articles, rights explainers, viewing guides, editorial introductions, source notes, programme classification, Kids safety information, interviews, distribution guidance for creators and contextual recommendations.

A third-party player by itself is not CUTV publisher content. A grid of thumbnails by itself is not enough either. Catalogue pages are useful for discovery, but CUTV does not treat them as automatically suitable advertising inventory. During the current AdSense recovery period, Google advertising is intentionally restricted to long-form editorial pages that meet our internal quality gate.

Many Christian ministries, broadcasters, artists and film organisations publish video through YouTube, Dailymotion, Vimeo or their own websites. CUTV may reference or embed those sources when the provider makes embedding available and our review does not identify an obvious reason to avoid the source.

Before publication, we look for the official publisher or channel, the programme title, language, country where known, content type, age or Kids relevance where applicable, and whether the source appears to be a full programme, trailer, clip, livestream or playlist. CUTV avoids describing a trailer as a complete film and avoids describing a public embed as a CUTV-hosted master.

If a third-party source later disables embedding, removes a video or changes its availability, CUTV may remove the catalogue reference or direct the viewer to the official publisher. We do not circumvent a provider’s technical restrictions in order to keep a video available.

CUTV does not want hundreds of pages that repeat the same sentence around different video players. For a watch page to become an indexable editorial page in the future, it must offer meaningful CUTV-created context rather than boilerplate. That can include a researched introduction, programme themes, a factual source note, a viewing guide, an editorial summary, a ministry or artist profile based on reliable information, related CUTV journalism, and clear rights transparency.

Until that level is reached, embed-oriented watch pages are kept out of the advertising inventory and, during recovery, out of the XML sitemap. This lets the public catalogue remain functional for viewers without presenting every player page to search engines as if it were an original CUTV article.

CUTV Kids is treated differently from the general catalogue. A programme is not placed in the Kids area merely because it uses animation or religious language. We consider the source, intended audience, subject matter and the reliability of the publisher. Where account controls are available, parents can manage Kids Mode, external links, autoplay and daily viewing limits.

Official third-party Kids embeds remain free. CUTV does not convert an ordinary YouTube Kids-style embed into a paid episode simply by importing metadata. If CUTV later licenses an original Kids production for paid distribution, that licence is recorded separately.

Old films require more than a label copied from an archive. Copyright status can vary by territory, and a modern restoration, soundtrack, subtitle track or artwork can have its own protection even when the underlying film is old. CUTV therefore separates clearance of the underlying work from clearance of the exact file that would be hosted.

Creative Commons works are also reviewed licence by licence. CC0, CC BY and CC BY-SA can potentially support commercial reuse when their conditions are satisfied. Licences containing a NonCommercial restriction are not routed into CUTV’s commercial reuse workflow. Attribution, licence links, modification notices and ShareAlike obligations are recorded where required.

CUTV’s long-term commercial catalogue is intended to come from original productions, verified public-domain or commercial Creative Commons material, and written agreements with rights holders. A producer may submit a film or catalogue through the distribution page, but submission does not transfer rights and does not create a licence.

For independent African and diaspora catalogues, CUTV may discuss non-exclusive licensing and revenue-sharing models. Any proposed split is only a negotiation starting point until a written agreement defines the titles, territory, term, platforms, permitted business models, revenue definition, reporting and payment rules.

CUTV deliberately separates the ability to show a page from the decision to monetize that page with Google advertising. Embed-only pages, navigation pages, login/account screens, empty states, legal forms, Kids playback pages and other low-editorial-value surfaces are not intended as Google ad inventory.

AdSense is loaded only from explicitly approved editorial pages. A CUTV Journal article must be original, reviewed and substantial enough to satisfy the internal publication threshold before the advertising script is eligible to load. This restriction is intentionally stricter than simply placing the Google tag across the whole website.

Viewers, creators and rights holders can contact CUTV at contact@christntouch.com. Rights notices can also be submitted through the dedicated copyright process. A credible complaint may cause a title, embed or commercial entitlement to be restricted while the underlying issue is reviewed.

Editorial corrections should be made transparently. When a material article update changes facts or interpretation, CUTV updates the article date and keeps the content consistent with the current evidence available to the editorial team.

The CUTV Journal is being built as the primary publisher-content area of the platform. Its purpose is not to generate thin pages around keywords. Articles should teach, explain, compare or document something useful to Christian viewers, parents, churches, creators and rights holders.

Topics include Christian media distribution in Africa, low-data viewing, parental controls, media rights, public-domain verification, gospel and sermon curation, the difference between AVOD and paid VOD, and practical preparation for independent producers seeking digital distribution.