The second day of NEM Zagreb 2025 delivered one of the event’s most dynamic and comprehensive agendas to date, taking delegates through a fast-shifting media landscape shaped by platform evolution, new content formats, shrinking budgets, and the growing influence of AI and algorithms.

The morning opened with the panel “Video Ads: Linear TV vs. TikTok, Meta and YouTube on TV” moderated by Maria Rua Aguete, Executive Director and Technology Fellow at Omdia. Discussions centered on the changing role of social platforms in the video ecosystem. Ivan Lovreček, CEO and Producer at CGM Films, reflected on his work on the Sram/Skam adaptation for HRT, noting how its initial online-first rollout now defines the strategy for younger audiences. Denis Oštir, Editor-In-Chief at VIDAA, emphasized the lack of unified measurement standards for online success—an issue still unresolved despite rapid digital growth. Božidar Abramović, CEO of Omnicom Media Group Croatia, Nikola Vrdoljak, Founder and Partner at 404 agency, and Ivanka Mabić Gagić, Managing Director at Aleph, contributed to a broad agreement that social platforms are no longer just promotional tools but an integral part of storytelling itself. While the consensus was that linear TV will survive, they acknowledged it will continue to evolve as viewing habits shift across generations.

This was followed by Harmonic’s presentation “Revolutionizing Streaming: AI & New Monetization Innovations,” where Mikel Darrigues, Streaming Solutions Director at Harmonic, outlined how AI-driven solutions are boosting engagement for broadcasters, sports leagues, and creators. He highlighted emerging monetization models that promise to open new revenue streams in an increasingly competitive market.

Music took center stage next with a Keynote Q&A “A Band for a Brand?” featuring John Altman, Film Composer, Music Arranger, Orchestrator, Conductor and Saxophonist, in conversation with Antonija Mandić, Journalist. Altman explored how music can elevate brand identity but also warned of pitfalls in campaigns where the audio-visual synergy misses the mark.

Mandić also moderated the subsequent session: “A1 and UniqCast: B2B OTT Ecosystem for Telcos.” Darko Robič, CEO of UniqCast, and Elena Petrova, Head of Group Content, Broadcasting and Media Solutions at A1 International Business, presented their collaborative B2B OTT solution built on UniqCast’s multi-tenant cloud platform. They demonstrated how operators can quickly replace legacy systems, tap into premium and local content libraries, and tailor fully customized OTT services for their audiences.

A highlight of the morning arrived with Kenton Allen’s keynote Q&A “Ludwig: The Puzzling World of Producing,” sponsored by Pickbox. Guided by Sanja Božić-Ljubičić, CEO of Pickbox, Mediatranslations, Mediavision and NEM, the Big Talk Studios CEO offered a witty and revealing look into the chaotic, demanding, and absorbing world of TV production. From the creative challenges behind Ludwig to the unpredictability of talent, logistics and last-minute crises, Allen’s stories resonated with anyone familiar with the industry’s behind-the-scenes realities.

The midday session on “Original TV Series Formats and Adaptation,” sponsored by Viaplay Group, gathered industry leaders from CEE and beyond. Moderator Maria Chiara Duranti, Founder and Chief Editor of Formatbiz, steered a rich discussion on regional strategies for formats and remakes. Igor Draguzet, Chief Content Officer at CME, explained how formats mitigate risk and perform similarly across comparable markets, noting CME’s success adapting Turkish formats in Croatia and Romania as well as the Italian drama DOC: Nelle Tue Mani. Rahela Štefanović, Editor-in-Chief at HRT, highlighted the Sram/Skam adaptation as one of the broadcaster’s few recent format experiments. Tereza Polachová, Director of Content at Czech Television, drew on her HBO Europe background, referencing adaptations such as In Treatment, and successes like Head Over Heels. She noted that Czech Television has done few adaptations overall, naming Sense of Tumor and Life on Mars among examples, and revealed CT is now actively seeking formats for its streaming service iVysílání. Vanda Rapti, EVP of Viaplay Select & Content Distribution at Viaplay Group, reported strong international demand for Viaplay format adaptations. Katarzyna Franus, Creative Producer at TVP, described TVP’s mixed track record—successful adaptations and originals at home, but limited international traction for their own formats, which she contrasted with her preference for co-productions. Kelly Alchanati, Creative Producer & Showrunner at Argonauts Productions, emphasized the cultural challenges of comedy formats, especially divergent humor codes across markets. The session concluded with Draguzet’s observation that CEE is “on the verge” of becoming a format-exporting region, while Štefanović encouraged local broadcasters not to fear learning from established format models.

After lunch, Rua Aguete returned to introduce “The Vertical Revolution: Micro-Drama.” Presenting extensive Omdia data, she showcased the explosive global growth of microdramas—an $11 billion market in 2025, driven overwhelmingly by China with 83% of global revenue, followed by the US, Japan, South Korea and a remaining 6% spread globally. Women aged 25–50 constitute the core audience, and smartphones remain the dominant consumption device, with social platforms acting as the main discovery channel.

These insights set the stage for the panel “The Vertical Revolution: Micro-Drama” moderated by Katarina Pavlović, Program Director at Prva TV and B92. The discussion painted a vivid picture of a format reshaping user habits. Rua Aguete compared microdrama consumption to gaming—users often unaware of how much they are spending. Bethany Thomson, Creative Lead at Sea Star Productions, described producing entire microdramas in just two weeks. Milena Djuričić, Co-Founder and COO at Videomite, stressed that the trend is a true disruption emerging from gaming and fintech cultures. Elena Petrova of A1 International Business pointed to microdramas as powerful tools for loyalty and engagement, while Dario Marčac, Founder of Crew, reflected on TikTok and YouTube’s transformation during Covid, and how brands were slow to realize the value of short-form creators, noting Europe can learn much from China’s approach. Panelists identified simplicity—subtitles, low attention demand, and compact storytelling—as key drivers. Djuričić also noted that in Turkey alone, 100 microdrama titles are being produced this year. While the format is booming globally, all agreed that microdramas are unlikely to explode in CEE due to high subscription costs (often exceeding $1,000 annually) and language barriers.

The afternoon continued with Aleksandar Ašković’s session “From Broadcast to Algorithm: Why Every TV Station Needs a YouTube Strategy.” Ašković, a YouTube SEO and Strategy Expert, argued that television’s biggest competitor today is not other broadcasters but the YouTube algorithm itself. He broke down the mechanics of YouTube SEO, audience retention in the first 30 seconds, and the power of polls, posts, and Shorts to keep viewers engaged between broadcasts.

The theme of YouTube extended into the next presentation by Guy Bisson, Executive Director and Co-Founder of Ampere Analysis, titled “Distribution Strategies When TV Meets YouTube.” Bisson examined how broadcasters are turning to YouTube for incremental reach in a market where traditional economic models clash with platform-native monetization, raising essential questions about long-term value.

The day’s final panel, “Creatives, It’s Not Hard Only in Your Country,” was moderated by Yako Molhov, VP and Founding Partner at CEETV and TVBIZZ. Molhov opened with fresh data from the European Audiovisual Observatory’s Audiovisual Fiction Production in Europe 2015–2024 report, noting that Peak TV is over and commissioning volumes have declined, with public broadcasters remaining the biggest commissioners. Panelists—Lenka Szántó, Creative Producer at TV Nova/VOYO; Ella Mische, Award-Winning Actress, Producer, Writer, Director at Galileo Films and Founder of CIFF, and Co-President of the Hollywood Radio TV Association; Uglješa Jokić, Producer at Rainmaker Production; Danijel Pek, Film and TV Producer at Antitalent; Marie Roussin, Screenwriter; and Erik Pack, SVP Global Co-Production at Boat Rocker Studios—addressed shrinking budgets, varying local tastes, the challenges and opportunities of co-productions, and the long development cycles characteristic of Hollywood, which Mische outlined in detail. The conversation touched on AI, market pressures, and what might make CEE more appealing to global partners. A common thread emerged: despite cultural and structural differences, the biggest challenge for creatives everywhere remains financial—getting the resources needed to develop and sustain high-quality stories.

The conference day concluded with Dalibor Šumiga’s keynote “Inception: The Art of Planting Ideas.” Šumiga, a Behavioral Marketing Specialist and Founder of Promosapiens, also a Google Growth Engine Ambassador for the Adriatics, traced storytelling’s evolution from prehistoric cave walls to digital screens. He explored how media and entertainment shape human behavior, offering insights into the psychological mechanics of idea formation and influence.

The evening closed with the NEM Awards Ceremony, where standout projects were honored across two categories, wrapping up a packed and thought-provoking day that showcased the industry’s ongoing adaptations, ambitions, and creative resilience. The big winners were: Best Finished TV Series in the CEE: Disney+'s The Breslau Murders produced by ATM Group (Poland) and Gray Divorce by Inja Korać and Lea Stanković won the Best Pre-Development TV Series in Europe Award.