Sam Barnett Shares Insights on Local Shows, Love Island, and The Bachelor in Central Europe While Competing with Global Streamers

Sam Barnett has established himself as a prominent figure in international media over the last few decades. Renowned for his instrumental role in the production revolution across the Middle East, Barnett has become a significant television dealmaker, engaging with major industry players such as Netflix and top U.S. studios.

Previously, he served as the long-standing CEO of MBC, a leading media conglomerate in the Middle East. This year, Barnett made the pivotal decision to return to Europe, accepting the CEO position at Central European Media Enterprises (CME), the largest independent broadcaster in Central and Eastern Europe, which caters to an audience of approximately 49 million viewers.

After leaving MBC, where he spent 23 years, Barnett took the helm at CME in May, aiming to steer the company’s transition from a traditional TV-first entity to a digital media powerhouse, embedding streaming as a core component of its strategy—an evolution mirrored by media companies globally.

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CME has established strong ties to Hollywood, with Time Warner acquiring majority ownership during the 2010s after initially purchasing a 31% stake in 2009. Following AT&T’s acquisition of Time Warner in 2018, the current ownership transferred to PPF, an international investment group, whose co-CEO, Didier Stoessel, previously held the CEO position at CME.

Operating across six markets—namely the Czech Republic, Romania and Moldova, Slovakia, Bulgaria, Slovenia, and Croatia—CME is a crucial facilitator of talent. The Czech Republic accounts for significant revenue, generating €169 million ($198 million) out of CME’s €468 million total revenue in the first half of this year, followed by Romania at €110 million, Slovakia at €74 million, Bulgaria at €47 million, Slovenia at €37 million, and Croatia at €31 million.

Since joining PPF in 2020, CME has enjoyed substantial financial backing. Barnett notes the necessity of maintaining or aspiring to a leadership position in every market, highlighting PPF as “an interesting family company” committed to operational excellence. He emphasizes that PPF’s diverse verticals enhance the overall media ecosystem, making CME an attractive employer.

‘Dunaj, k Vaším Službám’ – a CME network hit

Barnett benefits from the supportive presence of Stoessel, who is now co-CEO of PPF alongside Kateřina Jirásková. Barnett appreciates having a superior who understands the intricacies of media values, noting, “CME has had a fantastic run under Didier and it’s my privilege to take over the reins when this company is performing extremely well.”

PPF played a pivotal role during this year’s prolonged battle for dominance over ProSiebenSat.1 Media, having held a 15% stake in the German company. At one point, it appeared PPF was cooperating with the eventual acquirer, MediaForEurope, led by the Berlusconi family. However, a later offer to shareholders was refused, allowing MediaForEurope to eventually secure the acquisition.

While CME prioritizes its operations in Central and Eastern Europe, Barnett addressed the potential allure of a major German broadcaster within the group. He responded, “I was brought in for CME in the six markets [I oversee], so I’ve been very busy over the last six months focusing on those. But PPF is an interesting company. It is ambitious and has aspirations, so we’ll see what happens.”

Local hits

CME’s portfolio includes prominent networks such as Nova in the Czech Republic, Markiza in Slovakia, Pro TV in Romania and Moldova, Pop TV in Slovenia, and RTL in Croatia, as well as Oneplay, a newly launched over-the-top video streaming service in the Czech Republic. Despite linear television performing relatively well—CME estimates that Romanians watch an average of 5.5 hours of TV on some Saturday nights—Barnett’s mission involves transitioning the organization towards a digital-first business model similar to the success he achieved with MBC’s Shahid platform.

Notable programs include adaptations of The Bachelor and Love Island on Nova, the premium drama Sl’ub from Slovakia, and historical series Dunaj, k Vaším Službám (Danube, at Your Service), along with Pro TV’s news program, which Reuters ranks as Romania’s most credible news source. Barnett takes particular pride in this accolade, especially amidst the political turbulence in Romania, where the coalition government has faced six confidence votes in six months, prompting public demonstrations and diverse narratives in the media.

“When countries are going through these challenges, it’s extremely important that the news that goes out on linear is of high quality—credible and without bias,” Barnett expressed. “We are very proud when Reuters stated that Pro TV News was the most credible news outlet in the country.”

Barnett reflects on the significance of delivering high-quality news, particularly during times of national instability. “In a very divided country, more people believe the news that is coming out of Pro TV than anywhere else. That’s the kind of impact which adds immense value not only for the news program but for the entire media network,” he added.

Regarding entertainment, Barnett highlighted the success of The Bachelor at the Český Slavík awards, where it became the first series globally to feature twins in the title role, generating excitement across social media.

Reality television’s role in CME’s digital transition has been pivotal. Barnett noted, “Love Island was not something that I engaged with in the Middle East, but it has proven immensely popular here. How our linear stations are able to leverage reality TV to drive online engagement has been intriguing.”

A notable success, Sl’ub, which explores Slovakia’s socialist history, secured a regular 30% television share. When its stars toured across ten towns, they attracted an estimated 50,000 fans—almost a percentage of Slovakia’s total population of 5.5 million. Barnett remarked, “We captured videos of enthusiastic children meeting the stars; it’s a unique achievement not many shows could replicate.”

Additionally, Slovenia’s Pop TV launched Skrito v Raju (Camping Royals), which garnered a remarkable 39% share upon its debut last year.

The future for CME

With a wealth of experience navigating complex local politics at MBC, Barnett’s professional history remains notably understated. He acknowledges the valuable mentorship he received from MBC’s founder, Sheikh Waleed bin Ibrahim Al Ibrahim, and expresses having left the broadcaster “on very good terms.” He values the family-oriented structure of PPF, wherein Renáta Kellnerová and her three daughters hold complete control over the company through Amalar Holding.

Barnett emphasizes his focus on cultivating successful television enterprises, stating, “The approach to succeeding in both the Middle East and CME markets is quite similar. It centers around offering premium local content as a cornerstone.” He believes that the strong heritage in linear television facilitates this transition, enabling them to optimize digital propositions while retaining local content. He noted, “International streamers may find it challenging to replicate this strategy.”

Optimistic about CME’s prospects within a competitive European streaming landscape that includes platforms like Netflix, Prime Video, Disney+, HBO Max, and Paramount+, Barnett acknowledges the influence of major players’ algorithms on viewing preferences and advertising. Yet, he is confident that local competitors are harnessing advancements such as AI and enhanced streaming services to bridge the gap. “In this new landscape, we can gather considerable data from our digital platforms to make informed content recommendations,” he asserted.

Barnett envisions that leveraging AI will enable CME to adapt more rapidly than in the past, strengthening their position against international streamers.

Barnett addressed the cooperation between public service broadcasters and international streamers, as observed in Germany and France, to enhance local content production. Responding to inquiries about potential collaborations to increase “premium level” shows, he offered a different perspective. “Our successful streaming platform and established linear channels should allow us to balance costs and benefits between both platforms,” he stated. “I am hesitant to forego windows in markets where we aim to outperform competitors.”

Barnett also expressed a preference for collaboration with local media rather than seeking partnerships with international streaming giants, underscoring the opportunity for cooperation among local players to bolster their positions.

With this strategic vision, Barnett and CME are poised to make a significant impact in the Central and Eastern European media landscape.