Deutsche Telekom’s MagentaTV will become the first platform in Germany to broadcast a major football tournament in Dolby Vision and Dolby Atmos when it carries the FIFA World Cup 2026.

The agreement with Dolby Laboratories will see all 104 matches of the tournament delivered with HDR picture quality and immersive audio, marking a significant milestone for premium sports broadcasting in the German market.

MagentaTV, which holds rights to all 104 World Cup matches and will air 44 exclusively, plans to offer more than 1,000 hours of World Cup programming across three channels. The entire service will be available in Dolby Vision and Dolby Atmos for compatible devices.

The move follows a growing trend among broadcasters and streaming platforms to use major sporting events to showcase premium viewing technologies. Last week, NBCUniversal confirmed Peacock’s Spanish-language coverage in the United States would also be available in Dolby Vision and Dolby Atmos, while Telemundo has similarly committed to immersive coverage of the tournament.

“The World Cup is one of the most emotional and unifying sporting events in the world,” said Javier Foncillas, Vice President, Commercial Partnerships and Global Sales at Dolby Laboratories.

“Live sports continues to be one of the most compelling entertainment experiences for audiences worldwide, and Dolby Vision and Dolby Atmos elevate every match with stunning picture quality and immersive sound.”

The agreement further strengthens MagentaTV’s positioning as Germany’s premium sports streaming platform.

Arnim Butzen, responsible for MagentaTV at Deutsche Telekom, said Dolby Atmos would provide a more realistic stadium atmosphere, from crowd noise to the positioning of commentators and on-pitch action.

The announcement reflects the increasing importance of premium technical features as broadcasters compete for sports audiences. Low-latency streaming, UHD resolution, HDR formats and immersive audio have become key differentiators as operators seek to enhance the viewing experience beyond traditional television broadcasts.

Viewers will require a Dolby Vision-compatible television and Dolby Atmos-enabled audio system to access the full experience.

The BBC has revived the post of Deputy Director-General for the first time in almost a decade, appointing former interim chief Rhodri Talfan Davies as second-in-command to Director-General Matt Brittin.

The move creates a senior editorial counterweight within the BBC’s leadership team and complements Brittin’s background as a technology and digital executive rather than a career journalist. Brittin joined the BBC from Google in May following a 30-year career in technology and digital media.  

Talfan Davies is one of the BBC’s most experienced editorial leaders, having spent more than 28 years at the corporation in journalism, regional broadcasting and senior management roles. He also served as interim Director-General between April and May following the departure of Tim Davie and before Brittin formally took up the role.  

As Deputy Director-General, he will be responsible for editorial strategy, editorial standards and safeguarding public trust in the corporation, while ensuring the BBC responds rapidly to editorial and operational issues.

Matt Brittin said Talfan Davies was “the outstanding choice” among a strong field of candidates and praised his judgement and commitment to the BBC’s public service mission.

The appointment comes as the BBC prepares for Charter Review negotiations and seeks to accelerate its digital transformation under Brittin’s leadership. The pairing combines Brittin’s technology and platform expertise with Talfan Davies’ deep editorial and public service broadcasting experience, a blend likely to be particularly important as the corporation navigates questions around online safety, AI, journalism and the future of public service media.  

The new functionality enables football fans to jump directly to key match moments such as goals, near misses and red cards without manually fast-forwarding through broadcasts. The feature will be available on most free-to-air channels carrying World Cup matches, including SRG’s SRF, RTS and RSI services, as well as Das Erste, ZDF, RAI and BBC channels.

In addition, blue TV customers can now use a chapter navigation feature within Replay TV for selected SRG SSR programmes. The function is available for news and magazine shows on SRF including Tagesschau, 10 vor 10, Rundschau and Kassensturz, as well as Sportpanorama and Happy Day. RTS programmes such as 12h45 and 19h30 are also supported, alongside RSI formats including Telegiornale, Il quotidiano and Prima ora.

The chapter markers allow viewers to navigate directly to specific stories or programme segments without having to watch or fast-forward through an entire broadcast. According to Swisscom, the chapters are generated shortly after transmission and can also be discovered through the platform’s search function.

“Television brings people together, especially during major events like the FIFA World Cup. Through these new features, we are bringing our customers even closer to the action. Finding key moments is now faster and easier than ever, giving viewers maximum excitement in minimum time. This is television at its most enjoyable!” said Dirk Wierzbitzki, Head of Residential Customers and Member of the Executive Committee of Swisscom Switzerland.

Netflix is expected to strengthen its position as the world’s largest subscription streaming platform over the next five years, despite growing consolidation among rival media companies, according to new forecasts presented by Omdia at NEM Dubrovnik 2026.

Speaking at the Croatian TV industry event, Maria Rua Aguete, Omdia’s Head of Media & Entertainment, said Netflix is forecast to approach 400 million subscribers globally by 2031, further extending its lead over competing streaming services.

The analyst firm also predicts Netflix’s monthly audience will exceed one billion viewers by 2027, underlining the platform’s continuing global scale.

However, Omdia believes the next phase of competition will be shaped by consolidation as streaming companies seek greater scale and profitability.

A combined HBO Max and Paramount+ service could reach approximately 175 million subscribers worldwide by 2031, according to Omdia’s forecasts, placing the merged platform among the world’s five largest streaming services.

“The streaming industry is entering a new era where scale, profitability and audience reach matter more than ever,” said Rua Aguete. “Consolidation will create stronger competitors, but Netflix remains uniquely positioned to capitalise on global growth opportunities.”

Omdia said the proposed combination would benefit from significant audience overlap and cross-selling opportunities. Its consumer research indicates that 40% of Paramount+ subscribers would also subscribe to HBO Max, while 26% of HBO Max customers already take Paramount+.

Despite Netflix’s dominance in subscription streaming, Omdia highlighted the growing influence of YouTube across the broader video ecosystem.

The research company forecasts YouTube will reach around 2.7 billion monthly active users during 2026 and continue to outscale every streaming service globally. By comparison, Netflix’s audience is expected to exceed one billion monthly viewers by 2027.

“The industry’s biggest battle is no longer simply streamer versus streamer,” said Rua Aguete. “Netflix is winning the subscription streaming war, but YouTube is becoming one of the most powerful forces in television as it adds more premium content to the platform.”

Omdia expects the next stage of industry growth to be driven by further consolidation, advertising expansion, content bundling and intensifying competition for consumer attention across both subscription and ad-supported services.

The forecasts were presented during NEM Dubrovnik, the annual television and media industry conference for Central and Eastern Europe.

Ecoflow X has launched as an independent industry initiative aimed at developing practical tools and technologies to improve sustainability across the streaming media ecosystem.

The project, which began life as an IBC Accelerator initiative, has been established by Accedo, Humans Not Robots and the Institution of Engineering and Technology (IET) as a dedicated experimentation platform focused on measuring and reducing the environmental impact of streaming operations.

Operating as what the founders describe as an “experimentation arm for sustainability”, Ecoflow X will bring together technology vendors, broadcasters and streaming companies to test and validate approaches for reducing energy consumption across the media value chain.

A key objective is the development of a sustainability observability framework that will enable the collection and analysis of energy-related data across streaming workflows. The initiative also plans to explore the use of digital twins for modelling and simulation, allowing organisations to forecast the impact of different energy optimisation strategies before deployment.

In addition, Ecoflow X will investigate the use of agentic AI systems to provide operational recommendations and real-time analysis designed to improve the efficiency of streaming services.

François Polarczyk, Sustainability Director at Accedo, said the initiative was created to move sustainability discussions towards practical action.

“What started as an IBC Accelerator project has gained traction and interest. Now we need to involve people across the industry to help us create practical tools that can help the entire industry become more sustainable,” he said.

Kristan Bullett, Founder and CEO of Humans Not Robots, said the creation of an independent organisation would help accelerate progress on sustainability projects that could benefit both businesses and the environment.

The initiative has been founded by Accedo, Humans Not Robots, ITV and the IET. Foundational contributors include the DTG, the EBU, Channel 4, Quortex and Fairmile West, while observing partners include DIMPACT, UKTV and Bouygues Telecom.

Ecoflow X is seeking participation from organisations across the media and technology sectors to help define future projects, contribute data and support experimentation around sustainable streaming technologies.

Local content remains the strongest weapon against global streaming competition, according to executives speaking on the second day of NEM Dubrovnik 2026, as industry leaders debated the future of television distribution and changing viewer habits.

Speaking in a keynote session, CME chief executive Sam Barnett argued that audiences across Central and Eastern Europe continue to favour content rooted in local culture and experiences.

“Local wins,” Barnett told delegates. “Audiences in our part of the world want stories rooted in their own culture, their own history, their own moment, and that’s the one thing no global competitor can manufacture or acquire.”

Barnett said CME’s long-term investment in local content, trusted news operations and technology had strengthened its position across the region.

The future of television distribution was another major theme of the day. During a panel sponsored by SES, executives from broadcasters, operators and distribution companies discussed the role of satellite in an increasingly hybrid television ecosystem.

Participants concluded that while OTT distribution continues to grow, satellite remains important for live events, large-scale content delivery, reliability and cost-efficient distribution, particularly when combined with streaming platforms in hybrid models.

The economics and unique characteristics of the CEE market were explored in a separate panel examining how operators across the region differ from their counterparts in Western Europe. Speakers argued that CEE markets are shaped by distinct audience behaviours and commercial realities rather than simply being smaller versions of larger European territories.

Tomislav Čizmić, President of the Management Board at Telemach Slovenia, said consumers in the region increasingly expect the same quality of connectivity, content and digital services available in larger markets.

The event also featured a keynote from Fremantle CEO Jens Richter, who reflected on the company’s evolution over the past decade.

Richter noted that Fremantle had expanded significantly beyond its traditional entertainment formats business, building positions in premium drama, mainstream scripted content, factual programming and feature films.

The day’s programme also included showcases and screenings from ITV Studios, The Walt Disney Company, Paramount Global Content Distribution and Audiovisual from Spain, highlighting upcoming scripted and unscripted programming for international buyers.

Now in its largest edition to date, NEM Dubrovnik continues to bring together broadcasters, streaming platforms, distributors, technology companies and telecom operators from across Central and Eastern Europe and beyond.

Titan OS has strengthened its sports offering with the launch of two dedicated Inter Milan FAST channels across Europe.

The Barcelona-based connected TV platform operator has partnered with Italian football club Inter to launch 24-hour channels featuring club content, match replays, interviews and behind-the-scenes programming.

The rollout includes an Italian-language version of the channel for viewers in Italy, San Marino and Vatican City, while an English-language feed will be available across the rest of Europe.

The channels will be distributed on Philips, AOC and JVC smart TVs powered by Titan OS, as well as through Titan Channels on selected Sony Android TV devices. Channel delivery is being provided by Amagi.

The move continues Titan OS’s expansion into premium sports FAST content as competition intensifies among connected TV platforms seeking to attract viewers with free ad-supported programming.

“Bringing the passion of Inter to our platform is a major milestone for our sports lineup,” said Anna Campistol Agustí, FAST Channels Lead at  Titan OS.

She added that offering both Italian and English feeds would allow one of Europe’s most recognisable football clubs to connect with supporters across the continent.

The launch follows a wider trend among sports rights holders and clubs using FAST channels to extend audience reach, monetise archive content and deepen engagement with fans outside live match windows.

Inter joins a growing list of sports brands using free ad-supported streaming channels to complement traditional broadcast and streaming distribution strategies.

Frequency has appointed James Smith as General Manager, Monetization as the streaming television technology provider looks to expand its advertising and revenue capabilities.

Smith joins the Los Angeles-based company from Amagi, where he led the company’s global advertising business. Prior to that, he managed Meta’s global entertainment and streaming advertising portfolio and held senior digital media roles at Disney and Sony.

The appointment comes as Frequency increases its focus on helping FAST, OTT, connected TV and virtual MVPD operators improve revenue generation and advertising performance. It follows the recent launch of the company’s In-Scene Advertising product, which creates advertising inventory within live and streamed television content.

Blair Harrison, founder and CEO of Frequency, said the next phase of streaming television would be defined not only by audience growth but by the industry’s ability to monetise those audiences more effectively.

“The next chapter of streaming isn’t about creating more ad inventory, it’s about creating better inventory,” added Jon Cohen, Chief Revenue Officer at Frequency.

Smith said Frequency’s position within the streaming television ecosystem, combined with its channel distribution network and technology platform, provided an opportunity to help content owners extract greater commercial value from their services.

Frequency provides SaaS-based channel creation, management and distribution services for broadcasters, studios and content owners. The company says its platform is used by media companies including Amazon MGM Studios, Hearst Television, Red Bull Media House, BBC Studios and Sony Pictures Entertainment, with channels distributed across more than 200 platforms worldwide.

Smith will represent the company at The Stream TV Show in Denver later this month and at Cannes Lions in France, where Frequency plans to meet with content owners, distributors and advertisers to discuss streaming television monetisation strategies.

DAZN has outlined an enhanced in-app experience for the FIFA World Cup 2026 after securing rights to the tournament in Spain, Italy and Japan.

The sports streaming platform will show all 104 matches live in the three territories, alongside highlights, replays and a range of interactive features designed to increase fan engagement throughout the competition.

The service will include high dynamic range picture quality, Dolby 5.1 audio and multilingual commentary options. DAZN will also offer a Multiview feature enabling viewers to watch up to four matches simultaneously on a single screen.

In Japan, the platform is introducing additional interactive options, including fan voting to select players for dedicated camera feeds and a four-angle viewing mode featuring player cameras from each team.

The company is also expanding its social and community features through FanZone, allowing viewers to participate in live chats, polls, quizzes and games during matches. Fans will also be able to interact with footballers and other supporters through the DAZN app.

The announcement highlights DAZN’s continued efforts to differentiate its proposition through product features rather than simply rights acquisition. Interactive viewing, multi-camera options, social engagement and personalised experiences have become increasingly important as streaming platforms seek to deepen fan engagement around major sports events.

Shay Segev, CEO of DAZN Group, said the company wanted to deliver an experience that goes “far beyond broadcast”.

“The FIFA World Cup 2026 is the pinnacle of global football, and securing rights in Spain, Italy and Japan underscores our ambition to bring the best of sport to audiences across the world,” he said.

The enhanced World Cup experience follows DAZN’s broader strategy of combining live sport with social and community features, including its recent integration of FIFA+ content into the platform and ongoing investment in FanZone.

The FIFA World Cup 2026 begins on 11 June and will be jointly hosted by the United States, Canada and Mexico.

Netflix has appointed longtime board member Jay Hoag as chairman, succeeding co-founder Reed Hastings, who has stepped down from the board after nearly three decades with the company.  

Hoag, co-founder of venture capital firm TCV, has served on Netflix’s board since 1999 and has been lead independent director for more than a decade. He formally assumed the chairmanship following the company’s annual shareholder meeting on 4 June.  

The move completes a leadership transition that began in 2023 when Hastings handed day-to-day control of the streaming giant to co-CEOs Ted Sarandos and Greg Peters. Hastings announced in April that he would not stand for re-election to the board, saying he wanted to focus on philanthropy and other interests.  

Hastings co-founded Netflix in 1997 and oversaw its transformation from a DVD-by-mail rental service into the world’s largest subscription streaming platform.