The second day of NEM Dubrovnik 2026 shifted the focus from market trends and content announcements toward some of the industry's most pressing strategic questions. Across a packed agenda of panels, keynotes and showcases, delegates explored how broadcasters, telecom operators, distributors and content companies are adapting to a television ecosystem increasingly shaped by fragmentation, digital transformation and changing audience behavior.

While CME CEO Sam Barnett's keynote on the importance of local content generated significant discussion among delegates, much of Tuesday's conversation centered on leadership, distribution infrastructure and the growing role of telecom operators in shaping the future of television across Central and Eastern Europe.

The day began with one of the most candid executive discussions of the conference as senior industry leaders debated the balance between data, intuition and experience in modern media management.

The panel, featuring executives from Armoza Formats, RTV Slovenia, RTL Croatia and Pro Plus Slovenia, Antenna Entertainment CEE and BBC Studios, explored how decision-making has evolved in an industry facing constant technological, competitive and consumer disruption.

Avi Armoza, CEO of Armoza Formats, reflected on the evolution of his own company and the lessons learned from selling and later reacquiring the business.

“I sold the company to ITV to monetize the value we’d built, as is common in the industry, but later bought it back to regain creative freedom and control, avoiding the constraints of a large catalog and corporate structure,” Armoza said. “At this stage, independence allows for a fresh start and more innovation.”

The discussion repeatedly returned to the limits of relying solely on data, particularly in smaller and culturally diverse markets.

Natalija Gorščak, President of the Management Board at RTV Slovenia, argued that leadership often requires a combination of strategic thinking, intuition and political awareness.

A similar view was expressed by Stella Litou, CEO of RTL Croatia and Pro Plus, who emphasized that data can guide decisions but cannot replace local expertise and understanding of audiences.

According to Litou, long-term success depends on finding the right balance between corporate discipline and creative flexibility while maintaining a strong focus on curation and personalization.

Henrik Schneider, General Manager of Antenna Entertainment CEE, noted that data often becomes less reliable when operating across smaller markets with unique cultural characteristics.

Bartosz Witak, General Manager and SVP for CEE, MENA and Turkey at BBC Studios, highlighted the importance of balancing global strategy with local execution.

“That means balancing legacy with local empowerment, combining strategy and intuition, and focusing on people and teamwork,” Witak said. “Success requires both a broad vision and attention to local differences, staying humble and people-focused throughout.”

ITV Studios’ showcase which followed Barnett's keynote, presented by Huub Van Ballegooy and Martijn Plaizier, highlighted a strong mix of returning hits and new formats performing across the CEE region, with the executives noting that Game of Chefs continues to expand with a Romanian spin-off, a new eighth season ordered by TV2 Hungary, and a recent launch in Croatia, while I’m a Celebrity returns for its seventh season on RTL Hungary and remains in active international negotiations. They also pointed to the continued strength of The Chase and Beat the Chasers across Slovenia, Serbia, the Czech Republic and Croatia, alongside a forthcoming global variation, The Chase Around the World, and underlined the enduring cross-market value of The Voice, which has secured a multi-series deal and is set to launch in Serbia in 2027.

One of the most substantive discussions of the day came during the CEETV moderated panel, "The Hybrid Future of TV Distribution in 2026: Is Satellite Still 'Sexy', Relevant or Just Necessary?", which brought together executives from SES, Eutelsat, Antenna Entertainment, Telekom Serbia and Nielsen Media.

Moderator Stanislav Kimchev framed the discussion by challenging one of the industry's most widely accepted narratives. For more than a decade, the story sounded simple: streaming replaces linear, OTT replaces traditional infrastructure, and satellite gradually fades, he noted at the beginning of the session.

However, the reality in 2026 appears considerably more complex.

Kimchev noted that it's about hybrid distribution: how broadcasters, telcos, platform owners, and content companies balance reliability and latency, economics and scalability, cybersecurity and piracy, sustainability, fragmented audiences and mixed device behavior.

The discussion reflected the unique characteristics of Central and Eastern Europe, where television consumption patterns continue to differ from many Western European markets.

A central theme throughout the panel was whether the television industry has underestimated the technical and economic challenges associated with delivering television entirely through internet infrastructure.

The panelists examined whether the television industry underestimated how difficult and expensive true mass-scale OTT delivery becomes during major live events, a question that becomes increasingly relevant as sports rights and live entertainment continue migrating to digital platforms.

The conversation also explored whether satellite remains merely a legacy technology or continues to provide strategic value for broadcasters and operators.

The afternoon's panel, "Why CEE Operators' Decisions Work Differently," offered valuable insight into the increasingly influential role telecom operators play within the region's television ecosystem.

Executives from Telekom Slovenia, Deutsche Telekom, A1 International Business, Telemach Slovenia and Yettel Hungary discussed how operators across Central and Eastern Europe often face different strategic realities than broadcasters, content producers or even their Western European counterparts.

The discussion highlighted how operators are no longer simply connectivity providers. Increasingly, they serve as aggregators of television channels, streaming platforms, premium services and digital entertainment ecosystems.

Elena Petrova, Head of Group Content, Broadcasting and Media Solutions at A1 International Business, said that “scaling and centralization need to be focused on customer value... In some aspects, such as negotiations or customer relationship management, centralization definitely makes sense. But very often, the marketing approach, packaging, and bundling need to be resolved at a local level.”

Unlike many Western European markets, television continues to play a central role in customer acquisition and retention strategies across much of CEE. As a result, content decisions frequently extend beyond direct profitability calculations and become integral components of broader subscriber and bundling strategies.

The panel also underscored how operators must navigate growing complexity as consumers expect seamless access to linear television, streaming services, catch-up platforms and on-demand content through a single interface.

The day's closing keynote featured Fremantle CEO Commercial and International Jens Richter, who offered a broad assessment of how the content business has evolved over the past decade.

"Ten years ago, we were very much an entertainment company. Big entertainment shows, very much driven by talent shows," Richter recalled.

He described how Fremantle evolved from an entertainment-focused producer into a company spanning premium drama, mainstream scripted content, factual programming and feature films.

"What happened since then is that we went into drama," Richter explained. "So Fremantle was a drama company in the 80s and 90s. The early 2000s completely focused on entertainment. And then, around 2015, we went heavily into drama, starting with very premium drama."

At the same time, he emphasized the growing importance of mainstream content alongside premium productions.

One of the most interesting parts of the session focused on the enduring appeal of familiar intellectual property. "Shows from the 80s, 90s, early 2000s, they keep coming back. Because they make us feel good," Richter noted.

According to him, audience demand for recognizable brands reflects broader social and economic uncertainty. "In 2026, we have a couple of topics that might make us nervous. There's wars going on in some parts of the world, there's this and that. It's the economy, it's inflation, it's AI and our future jobs," he said. "There is a world where a little bit of cocoon, a little bit of warm and fuzzy, is great."

Yet despite the industry's constant reinvention, Richter argued that its core mission remains unchanged.

The Spain Upfront presentation provided a brief overview of upcoming content and international distribution strategies from major Spanish players including Atresmedia, RTVE, Movistar Plus International, Mediterraneo, Secuoya Studios and Artico Distribution.

As delegates moved from conference sessions to evening networking events overlooking the Adriatic, a common theme connected nearly every discussion of the day.

Whether debating leadership, distribution technologies, telecom strategies or content development, executives repeatedly returned to the same challenge: adapting established television businesses for a future that will be increasingly digital, increasingly fragmented and increasingly competitive.

The second day concluded with major studio screenings from The Walt Disney Company and Paramount Global Content Distribution, giving international buyers a first look at their latest premium programming. Fresh from the LA Screenings, Paramount showcased new scripted series including Eternally Yours, The F Ward, Cupertino and Einstein, alongside its expanding formats slate. Disney’s Carla Davies, Senior Sales Manager, CEE & Africa, presented a strong National Geographic lineup featuring No Taste Like Home, Arctic Ascent, The Devil’s Climb, Tucci in Italy and Pole to Pole, as well as the successful Secrets of franchise. She also highlighted the upcoming projects Lion, a four-year filming undertaking executive produced by Jon Favreau following a lion cub’s journey to adulthood, and Pompeii Out of Time, hosted by Tom Hiddleston. Davies further underscored Disney’s box office success, with nearly $6.6 billion in global ticket sales driven by titles such as Zootopia 2, Lilo & Stitch and Avatar: Fire & Ash, before turning to the company’s scripted slate led by Doctor Odyssey, The Lowdown, Murdaugh: Death in the Family, Shifting Gears and R.J. Decker.