NATPE Honors Europe: Meet the TV Execs Managing the Streaming Transition — and War in Ukraine
The winners from such countries as Hungary, Czechia, Poland, Greece, and Ukraine were feted during an event at the Dorothea Hotel in the Hungarian capital. 'After an incredibly successful launch of the awards at NATPE Global in Miami this February, it was clear that we needed to recognize outstanding leadership in the CEE region,' said NATPE executive director Claire Macdonald. 'These recipients inspire us with their bold ideas and unwavering commitment to excellence.'
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THR surveyed the NATPE Honors Europe winners to find out their takes on the state of the industry and its outlook. Check out their thoughts below.
Daniel GruntCEO, Nova GroupCzechiaShift Disturber Award, 'honoring individuals whose bold ideas and leadership are driving transformative change,' NATPE says.'Recognized for the incredible success of the Voyo platform, which, with an unprecedented investment in high-end original and locally relevant content, is winning ratings and subscribers whilst competing with global streamers.'
Among people lauding him and his work in a tribute video were colleagues from across the company and its corporate parent.
How does it feel to receive the inaugural NATPE Honors Europe award, and which professional achievement from the past year are you most proud of?I truly appreciate this recognition — both personally and on behalf of the entire TV Nova team, to whom this award belongs even more than to me. It reflects the long-term efforts of many people across the company, especially those working tirelessly to transform TV Nova into a digital-first organization, and the ongoing support we receive from [parent company] CME and [its owner] PPF.
Last year was full of milestones, but I would highlight four achievements in particular. First and foremost, the continued growth of Voyo. We reached 950,000 subscribers at the end of the year, being close to our goal of one million. When we made that commitment four years ago, Voyo had just 60,000 subscribers, so this is a transformation we're extremely proud of. In the process, we've built not just a service, but a loved brand.
Second, while driving that growth, we were also preparing the launch of Oneplay, which replaced both Voyo and O2 TV this March. It is a unified platform that brings together the best of streaming and television in one place. Oneplay offers high-quality content in Czech, exclusive original productions, live sports broadcasts, and modern features — all in an intuitive and user-friendly environment. It's the result of merging the country's largest local streaming service with the largest local IPTV provider — an unprecedented move in our market.
Third, we've continued to invest in high-quality local original productions for both streaming and linear TV. These have earned strong recognition from audiences and industry professionals alike, and we're seeing growing international interest in our storytelling and talent.
And finally, our digital transformation journey is progressing successfully. We've made significant shifts in our organizational culture, becoming truly viewer-centric. This evolution is reflected in the new visual identity of our main channel, which now more clearly communicates who we are and what we stand for.
This new award recognizes 'trailblazing individuals whose creativity and visionary leadership are reshaping the entertainment industry.' Could you share an example of your work that best reflects this?Streaming platform Voyo is the best example. We've built the biggest local streaming platform on the market — and more importantly, a brand that people truly love.
Oneplay is another strong example. It was never just a technology upgrade. It was a direct response to real user frustrations — fragmented services, poor discoverability, the constant need to switch between platforms. We brought everything together into one intuitive service. For us, innovation means making tangible improvements that make people's viewing experience simpler, smoother, and more enjoyable.
What drives this innovation is our deep focus on our viewers. We put a lot of effort into understanding people's lives, needs and habits — and we build around that. Over just a few years, we've transformed ourselves from a traditional TV company into a digital multimedia house, where data sits at the core of how we think, work, and make decisions.
Even in a shrinking TV market, we continue to grow the reach of our content thanks to a smart combination of linear broadcasting and digital distribution. This dual approach allows us to stay relevant, expand our audience, and serve content wherever and however viewers want to watch it.
How much do you try to take on Netflix and other global streaming giants directly and how much do you try to follow a different, unique strategy?Our goal has never been to imitate or directly compete with global platforms. We take a different approach, focused on our local viewers and their specific needs. Voyo was, and Oneplay is, built around what global players can't replicate: strong local content, cultural proximity, and a clear, all-in-one viewing experience. That's the strategy we believe in, and it's proving successful. We offer the broadest portfolio of local content on the market. Our strategy is built on premium, original programming that draws on deep knowledge of our cultural environment and audience. We also fully leverage synergies with our linear TV operation — the strongest television group in the country — to amplify and support our streaming offering.
Magdalena SzwedkowiczProducer, MAG EntertainmentPolandShift Disturber Award, 'honoring individuals whose bold ideas and leadership are driving transformative change,' NATPE says.'Celebrated for transforming the landscape of the Polish film and television industry and for producing high-quality hits, including Forgotten Love (Znachor), Justice (Napad), Squared Love, and Sleboda (Deadly Ties) that showcase the rich cultural heritage of Poland, and resonate with global viewers.'
Among colleagues and other people lauding her and her work in a tribute video was Prentiss Fraser, president of Fox Entertainment Global.
How does it feel to receive the inaugural NATPE Honors Europe award, and which professional achievement from the past year are you most proud of?It's always nice to be recognized by peers in the industry. I appreciate the acknowledgment and the opportunity to connect with other professionals across Europe. This past year, I am especially proud of continuing to build strong creative partnerships and pushing forward projects.
I am most proud of bringing a locally rooted story to a global audience which is always an additional value. Seeing Forgotten Love (Znachor) resonating beyond its original market reinforced my belief in the power of authentic storytelling and the strength of international collaboration.
This new award recognizes 'trailblazing individuals whose creativity and visionary leadership are reshaping the entertainment industry.' Could you share an example of your work that best reflects this?
A project that best reflects this is Forgotten Love (Znachor) for Netflix. While the story is a beloved and iconic part of Polish cultural heritage, it was virtually unknown outside of Poland. When we announced that we were bringing it back, the reaction was intense — there was a great deal of skepticism and even backlash, as people felt protective of the earlier film version. Touching such an iconic IP was seen as a bold risk.
But together with Netflix, we believed deeply in its emotional power and universal themes. By reimagining Znachor for today's audience while honouring its roots, we found success both locally and internationally. It became one of Netflix's most-watched non-English films globally and helped spark a wider trend. Since then, there has been a noticeable rise in remakes and a renewed interest in revisiting classic stories and books — showing that heritage and innovation can coexist, and that there's real value in reintroducing timeless narratives to new generations.
What makes this project especially meaningful to me is that I dedicated the film to my father, who was a brilliant cardiologist. The story's emotional core — a doctor reconnecting with his humanity — mirrors the values he lived by. So while the project pushed boundaries professionally, it was also deeply personal. Seeing how audiences around the world responded showed me that taking creative risks with cultural heritage can reshape how we tell stories — and who they reach.
How much opportunity do you see for your hit series to travel abroad and in which parts of the world?Forgotten Love (Znachor) is a great example of how a deeply local story can travel globally when its emotional themes are universal. According to Netflix's What We Watched report, the film reached over 43 million views and more than 100 million watched hours in the second half of 2023 alone, and it continues to perform strongly — with an additional 19.6 million views and 45.8 million watched hours in 2024.
It appeared in the Netflix Top 10 in many countries, which shows the growing appetite for non-English content that's emotionally grounded, culturally rich, and well-crafted. This success reaffirms that stories don't have to be global in subject to have global resonance.
What made the film connect, I believe, was its honesty. We didn't try to make it something it wasn't — we stayed true to the emotional core of the story and its cultural roots. That authenticity builds trust with audiences. When people feel that they're being told a story with sincerity and respect, they respond — no matter where they are in the world.
The opportunity today isn't about chasing universality for its own sake, but about leaning into what makes a story unique, human, and truthful. That's what travels. And we've seen that clearly not just in Central and Eastern Europe, but also across Latin America, Asia, and Western Europe — where audiences are more open than ever to diverse and emotionally honest storytelling.
Levente MálnayManaging director and executive vp, AMC Networks International, Central and Northern Europe HungaryNorth Star Award, 'recognizing career achievements of individuals whose strong leadership has had a bar-raising impact, providing guidance as the industry navigates change,' says NATPE.'Honored for playing a pivotal role in establishing commercial television in the region after the fall of communism, and exceptional leadership across production, channel launches, and managing one of the most diverse portfolios of channels in the region.'
Among colleagues and other people lauding him and his work in a tribute video were AMC Networks CEO Kristin Dolan and Liberty Global CEO Mike Fries.
How does it feel to receive the inaugural NATPE Honors Europe award, and which professional achievement from the past year are you most proud of?I am truly touched. This is only the second time I have received an award in my life. The first one was over 20 years ago but it always feels special to be acknowledged by our own industry.
What I am most proud of is that I have had the opportunity to empower a number of very talented executives and been able to build a best-in-class management team in the region. Launching our first SVOD service in the region — SELEKT last September in Hungary — and securing distribution on the largest Romanian platform DIGI for our recently launched linear FilmMania channel in Romania were important successes last year.
This new award recognizes 'trailblazing individuals whose creativity and visionary leadership are reshaping the entertainment industry.' Could you share an example of your work that best reflects this?I was lucky to get the opportunity, ever since the beginning of my career, to work with and learn from very motivating leaders who gave me their trust. My approach has always been to use but never abuse that trust.
I have always focused on the fact that while the entertainment industry is about entertainment, it is a business — a tough one. However, serving fans and bringing them the content they love makes even a tough day more fun. My job is to change business models when necessary, stay locally relevant and make wise content selections in an environment where consumption habits keep changing and business models are constantly evolving. Foreign exchange and inflation can also influence returns in the region. So, there is never a dull moment.
On top of all that, whatever worked yesterday may not work tomorrow. There are no guaranteed success recipes. In this environment our portfolio became the third largest in Hungary in the last few years and we grew quite visibly in most other territories as well — probably our growth in Romania has been the steepest.
Your company has so many channel brands in your region. How much have you focused on rolling out the streaming brands the company has in the U.S. in your region or different streaming offerings?It is very fortunate to be a part of a company that is based in the U.S., the number one media market in the world, which is perhaps ahead of other markets in confronting these changes in our industry. In the U.S., AMC Networks is moving confidently and effectively into targeted streaming, FAST channels, new ways of reaching viewers. We can learn from all of this, while our challenge overall is which local market is ready for these platforms, when and in what specific form.
In many Central Eastern markets, linear is still a very good value proposition. My job is not only to prepare for a world with more streaming products to satisfy our viewers and distributors, but also to figure out when and how it makes sense to invest in what works best for our local audience – this guides everything we do.
George LevendisManaging director, ANT1 TV, Mak TV & Antenna StudiosGreeceNorth Star Award, 'recognizing career achievements of individuals whose strong leadership has had a bar-raising impact, providing guidance as the industry navigates change,' says NATPE.'Celebrated for a commitment to innovation, an uncanny ability to adapt to emerging trends, and advocating for burgeoning talent in Greece and beyond, as well as a knack for creating key partnerships that have driven the success of multiple global hits.'
Among colleagues and other people lauding him and his work in a tribute video was none other than Simon Cowell.
How does it feel to receive the inaugural NATPE Honors Europe award, and which professional achievement from the past year are you most proud of?I'm honored to receive this recognition at NATPE Budapest. The North Star Award feels particularly significant because it acknowledges something beyond individual achievement — it recognizes the complexity of what we do in this industry. Our job is really about creating an environment where creativity can thrive and doing our best to shield artists from the commercial pressures that can sometimes get in the way of inspiration. It's not always easy, especially in a market that's crowded, constantly shifting, and incredibly competitive. At the same time, we're all adapting to a business model that's evolving faster than ever.
I wouldn't point to one single achievement that stands above the rest. For me, it's the collective impact of helping to build a culture where creativity and innovation can thrive, while staying grounded in the realities of a competitive business environment. I like to call it a dual mindset — something I've been working to refine since my early days in the music business. Whether it's launching content that truly connects with audiences or introducing new formats that challenge the status quo, each step forward feels like a personal milestone. Receiving the NATPE Honors Europe Award is a testament to those efforts and to the collaboration of everyone in our team at ANT1 TV striving to make this possible.
This new award recognizes 'trailblazing individuals whose creativity and visionary leadership are reshaping the entertainment industry.' Could you share an example of your work that best reflects this?I'm genuinely grateful for the recognition. That said, I see my work as more grounded in the day-to-day realities of managing a creative business — especially during what is likely one of the most disruptive, yet opportunity-rich, periods our industry has faced. If anything reflects my contribution, it's the effort to stay adaptable and focused balancing creativity with commercial demands and staying closely aligned with shifting cultural and technological trends. It's not about big, singular moments, but about consistently helping teams navigate change and move good ideas forward. I would like this award to represent years of dedication to delivering content that resonates with audiences across markets.
It also reflects the values at the heart of ANT1 TV's work: innovation, storytelling and creativity. From pioneering pay-TV services for the Greek diaspora to introducing digital catch-up, SVOD services and hybrid broadcast models, we've consistently embraced bold and forward-thinking strategies to entertain audiences.
Rather than pointing to a single example, I think what best reflects the spirit of this award is the broader role we play in supporting creators, opening up new opportunities and building strong partnerships that enhance both the audience experience and collaboration across our companies.
Over the past year, we've placed a strong focus on creating synergies across our businesses within Antenna Group — whether through deeper integration with Village Cinemas, expanding our social media presence through an innovative partnership approach, or refining our content strategy across AVOD, SVOD, and free-to-air platforms. We've also launched a live events division, extending our content beyond traditional screens, and even brought major sporting events to the big screen through our collaboration with Village.
On the content side, we secured our first format deal for the drama series Wild Bees, and have worked closely with Netflix on several scripted series. These kinds of partnerships are key as they allow stories to travel, connect with diverse audiences, and still retain their authenticity.
Starlight MediaYana Honcharenko, chief communications and sustainability officer, accepting on behalf of Starlight MediaUkraineCause + Action Award, 'celebrating a purpose-led champion of change for their social good impact,' says NATPE.'Recognizing Ukraine's largest broadcasting group for supporting and amplifying the voice of veterans, notably putting a war vet in the spotlight in the most recent edition of The Bachelor.'
Among the people lauding her and her work in a tribute video were a broad range of Starlight colleagues.
How does it feel to receive the inaugural NATPE Honors Europe award, and which professional achievement from the past year are you most proud of?Receiving the inaugural NATPE Honors Europe award is an extraordinary moment — not just for me personally, but for the entire Starlight Media team. The moment the announcement was made, we were sharing it across our internal chats — with screenwriters, showrunners, marketers, producers, journalists, and top management. It became a warm moment of joy for everyone who pours their heart into building our social impact.
This award specifically recognized our work supporting Ukrainian veterans and veteran women of the ongoing war with Russia — a mission that has become deeply personal and central to us as a company. For us, this honor feels not only like recognition of our creative and strategic efforts, but also like a powerful gesture of solidarity — with those who have served, with their stories, and with Ukraine itself.
This new award recognizes 'trailblazing individuals whose creativity and visionary leadership are reshaping the entertainment industry.' Could you share an example of your work that best reflects this? This award specifically recognizes our work supporting veterans — and I'm deeply grateful for that, because it's not just about what we do as a company, but about the people and the values we choose to stand with.
My greatest privilege and passion lie in working alongside creators and industry leaders in a way that goes beyond traditional professional dialogue. It's a shared journey of asking bold questions — about who we are, what stories we tell, and how we can reshape entire systems through the power of culture and collaboration.
At Starlight Media, this has meant reimagining formats beloved by generations of Ukrainians, building new narratives, and creating space — both on screen and off — for those whose lives have been shaped by war. More than 80 of our colleagues are now serving in the military. Over 20 veterans are part of our current team. These are not numbers — these are people who transform us as a company, every single day.
We knew from the start that this work couldn't stay only within our own walls. That's why I initiated and co-authored the Principles of Veteran-Friendly Business — a framework quickly embraced by the Ministry of Veterans Affairs, Forbes Ukraine, and Veteran Hub. Just weeks later, 58 of Ukraine's leading companies became signatories, committing to long-term veteran inclusion across hiring, communication, partnerships, and workplace culture.
Recently, we gathered these businesses at Ukraine's National Theater — not for a ceremony, but for a conversation. A conversation about how, together, we can shape a new national culture of respect. One that honors lived experience. One that includes everyone in rebuilding our future.
So yes, we're a media company. But the change we're working on goes far beyond media. And I'm proud to be one of many in our organization who believes — with heart — that this is our role.
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Chicago Tribune
08-08-2025
- Chicago Tribune
Lynne Turner, CSO harpist since 1962, retires from the orchestra
You could say Lynne Turner's Chicago Symphony Orchestra career really began in 1956. That year, she made her debut with the orchestra, the winner of an audition call to headline its Young People's Concerts. Turner, then 14, played Handel's Harp Concerto in B-flat in four concerts that March. Covering Turner's win, a Chicago Tribune society writer described her as a 'pretty, vivacious miss' who was 'equally at home on a bike or roller skates, and likes nothing better than to spend a Saturday afternoon exchanging feminine chatter with school girl chums.' 'I suppose that was her way of reassuring readers that I was still a normal teenager,' Turner recalls, with some amusement. Normal, sure, but Turner grew up around an abnormal amount of music. Her father, Sol Turner, was a first violinist in the CSO; her mother, Evelyn, a pianist. According to the same Tribune article, her older sister, Carol, was accomplished enough on the violin to join the Civic Orchestra of Chicago, the CSO's prestigious training ensemble. Meanwhile, Turner's baby brother, Richard, followed in her footsteps: After his own Civic tenure, he went on to become principal harp in the Winnipeg Symphony Orchestra for 45 seasons. Before those Young People's Concerts, Turner wasn't gunning for an orchestra career, per se. But she now thinks of those performances as a catalyst. She also passed through the Civic Orchestra, then, in 1962 — the same year she became the first American to win the International Harp Contest — she joined the CSO itself. Turner's 63-season tenure with the orchestra ends with concerts at Ravinia on Aug. 9 and 17. 'For most of my life, the schedule of an orchestral musician has been the guiding rhythm — rehearsals, performances, travel, and, of course, practicing, which requires many hours each and every day,' she told the Tribune over email. 'But now, I feel a quiet pull toward a different kind of rhythm — one that makes space for more freedom, more spontaneity and perhaps a few surprises.' Life in the CSO has only gotten more bustling in recent decades. The orchestra often tops lists of the busiest American orchestras, calculated by the number of performances, rehearsals and other on-the-clock engagements. But playing under Fritz Reiner, the music director who hired Turner, brought its own intensity. Leading the CSO from 1953 to 1963, Reiner was a brutal taskmaster, the ensemble's musical excellence coming at the cost of some musicians' favor. Turner, however, fondly remembers the year she played under the Hungarian conductor's exacting baton. 'Maestro Reiner had a reputation for being intimidating, but on a personal level, he was very kind to me,' she says. 'There was an intensity and clarity to his leadership that brought out the best in all the sections of the orchestra. I understood from the very beginning that my performance had to be at the highest possible level. Anything less simply wouldn't do… In many ways, it shaped the way I approached my craft for the rest of my career.' Said craft is highly specialized. Today, second harpists are usually hired out as a freelance position and rarely part of permanent orchestra rosters. In repertoire that calls for more than one harp, the second harpist needs to be carefully attuned to the principal's sound in addition to their own. As Turner puts it, 'there's often an element of echo, shimmer, or color reinforcement in harp writing… and when the partnership clicks, it adds a real richness and depth to the texture of the ensemble.' That's easier said than done, according to Julia Coronelli, Milwaukee Symphony's principal harpist. '(Lynne) has a very signature sound that I've never heard anybody else recreate,' says Coronelli, who frequently sits next to Turner as a substitute in the CSO. 'I do think it's harder to play second harp in a lot of ways. You have to place everything with the principal player. That's very hard because of the immediate attack of the string.' The CSO's reputation as a world-class interpreter of Gustav Mahler's symphonies — which require supersized ensembles — means that Turner can be heard on the majority of the CSO's defining Mahler recordings. After joining the orchestra on its recent tour to the Mahler Festival in Amsterdam, Turner sought out the orchestra's 1971 recording of Mahler's Symphony No. 8 with then-music director Georg Solti. She was electrified all over again. 'It has been described as one of the greatest recordings of the 20th century, and I would agree,' Turner says. 'There was a sense among all of us that we were part of something momentous. The scale of the piece, the forces involved, the acoustics of the hall… It all added up to something unforgettable and enduring.' Another favorite CSO album, from 1976: David Del Tredici's 'Final Alice,' featuring soprano Barbara Hendricks and conducted by Solti. In that premiere recording, excerpts from Lewis Carroll's 'Alice in Wonderland' tumble through a kaleidoscope of orchestral color. 'It was such a bold, imaginative work — wildly inventive and completely unlike anything else in the repertoire,' she says. Though not recorded, Turner likewise treasures the memory of accompanying Chicago Symphony Chorus members in Benjamin Britten's 'A Ceremony of Carols,' for treble choir and harp. For that performance, Turner worked closely with Margaret Hillis — not only the founding director of the Chicago Symphony Chorus, but the first to break the CSO podium's gender barrier. 'Margaret Hillis was an undeniable presence: commanding, insightful and absolutely wonderful to work with. She had a deep musical intelligence and a real sense for shaping a performance in a way that brought out its emotional core,' Turner says. In Coronelli's eyes, Turner has been a pathbreaker in her own right. According to CSO records, just a little over a dozen women had been in the orchestra before her tenure. At the time she was hired, Turner was one of just three women in the ensemble. 'Obviously, she had to be really strong to do that,' Coronelli says. Today, about 40% of the orchestra's membership are women. That progress is thanks, in part, to pioneers like Turner. 'Today, the CSO reflects a far broader range of voices and identities, and that shift has been both meaningful and necessary,' she tells the Tribune. 'I'm proud to have witnessed — and been part of — that evolution.' Four musicians are retiring from the CSO this year — including assistant principal trumpet Mark Ridenour, who was acting principal of that section between 2003 and 2005, and violinist Joyce Noh, who became the first Asian woman to join the orchestra when she was hired in 1979. Upon their retirements between the 2024/25 and 2025/26 season, harpist Turner and principal trombonist Jay Friedman will be the longest-serving CSO musicians in history, having both joined the orchestra in 1962. Hired in their early 20s by the legendary conductor Reiner, few audiences have known a Chicago Symphony without them. Look for a story about Friedman in an upcoming edition of the Tribune's A+E section.
Yahoo
25-07-2025
- Yahoo
Notorious French singer faces new probe over ex-wife's death
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UPI
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- UPI
Hungary bans Irish rap group Kneecap from the country
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