Denisa Kubová: We tell stories no one else tells – and we tell them in our own unique way.
CME Content Academy is more than just a school – it’s a living ecosystem where new stories, collaborations, and career opportunities are born. The initiative, created by the CME group, connects emerging creators with experienced television professionals and gives them the chance to learn directly in the field – on set, in writers’ rooms, and in production. Denisa Kubová, one of the key figures behind the academy, shares how the idea was inspired by global leaders like Netflix and Disney, why soft skills matter just as much as talent, and what role passionate mentors, producers, and now FAMU play in the concept. The result is not just valuable experience, but real television projects that students have helped bring to life – and that are now making their way onto the screen.
1) How would you briefly describe the main goal of the CME Content Academy, and what is your role in it?
CME Content Academy is about having the courage to create differently. Our goal is to connect emerging talent with the professional background and creative force of our television network, so we can tell stories no one else tells – in a way no one else can.
About four years ago, Tubi Neustadt, the founder of the academy, came up with the idea that – inspired by companies like Netflix, Disney, or WarnerMedia – we would train our own collaborators in a way no traditional school can. And so we did.
Then, a year ago, Dan Grunt said: “Let’s partner with the best.” With the support of Klára Brachtlová, we introduced major changes driven by Michal Reitler and Katka Pavlík, with our new key partner, FAMU, playing an important role.
And my role? To make all of this a reality.
2) What do you enjoy most about working with TV creators and supporting their development?
Let me start with the creators.
When I look at our four core values – creativity, enthusiasm, courage, and respect – I sometimes feel that instead of “enthusiasm,” we should say “passion.” I see it in so many colleagues across the company – in finance, technical teams, news. I can picture them clearly as I speak. And this isn’t just excitement for something new – many of them have been here for years, yet that passion is still there.
What I enjoy most is when I get to meet them through work – it feels like we are all co-conspirators in shaping our television.
As for the academy students, I don’t yet see them fully as creators, although some already have impressive experience. What excites me most is when they come with a great idea they wouldn’t be able to develop on their own – but with the help of mentors, writers, and producers, they transform it into a project that goes into development and eventually production.
So far, three projects have already made it to production, and many more are on their way.
I also love seeing growth in different forms – for example, when a student starts as a runner, survives the pressure of long shooting days on Love Island, and is later trusted with the role of a story producer or junior director.
This is one of the most challenging parts of my job.
My priority is to place each student on a project that best matches their talent and focus. However, for producers, the priority is a smooth production – a well-coordinated and experienced team.
A newcomer on set, in a writers’ room, or in production can initially be seen as a complication. That’s why I’m very grateful to the producers who were willing to take that first step and include students in their projects.
Over time, this has become the standard, and today colleagues from both fiction and R&E actually reach out when they are looking for additional support.
4)How do you see current trends in television production, and how are they reflected in the Academy's content?
I have a very fresh perspective from our latest final project presentations – the fourth edition so far.
One consistent trend is the strong demand for comedies. Out of 13 student projects, only one was a pure comedy – set in a wedding agency, interestingly enough. Across a wide range of genres – true crime, animated thriller, fairy tale, dramedy, historical saga, or even a war-themed adaptation – this one comedy concept truly lit up the entire jury. And we immediately knew: this is exactly what we want to see on television.
Another clear trend is artificial intelligence. It has never been as naturally integrated into pilot videos, research, and project outputs as it was this year. I would almost say that learning how to use it wisely will soon become just as important.
5) What impact does your work have on the development of young talent, and how do you track their career growth after the program?
In a way, I act as their agent – I “sell” them to our people.
That means I need to understand both their strengths and their weaknesses. My goal is to place them in roles where they can thrive, while also ensuring they bring value to the company and that the investment in their training pays off.
6) What qualities or skills are essential for a successful participant of the CME Content Academy?
Looking back at all our graduates, most of those who succeed are already strong in soft skills during their studies.
They know how to work with others, present themselves convincingly, and – most importantly – they are reliable.
7) What advice would you give to students or young professionals who want to succeed in the television industry?
Talent may set you apart – but reliability is what opens the door.