A Journey Through EU’s Public Broadcasters

By Medina Pasoma, RTK

Imagine boarding a flight from Prishtina to Dublin—carrying with you stacks of visa documents, all in the hope that the journey will prove more than worthwhile, opening the door to a culture and a world so different from the one you know in the Western Balkans. The moment your feet touch Irish soil, a new horizon unfolds on Europe’s western edge, where a distinct Irish identity meets echoes of a shared history with the United Kingdom. And if I had to name the highlight of it all, it would undoubtedly be the people: warm, smiling, incredibly kind and welcoming… and, of course, the fantastic food.

Even more remarkable was my one-week professional placement at RTÉ. I was welcomed with genuine warmth by two wonderful hosts, Zbyszek Zalinski and Emma Curry, who made the entire experience feel both inspiring and personal. Thanks to them, I had the chance to explore nearly every corner of the institution.

RTÉ feels like the dream destination of any young person whose heart beats for television. Multiple buildings, bustling information desks, studios full of character, and a rich programming landscape across both TV and radio—it is everything I would one day hope to see in RTK. From early morning editorial meetings and story assignments, to gathering information in the newsroom, video editing, publishing fast-paced updates online, creating vibrant social media content, and producing major stories in television studios—I witnessed passion and dedication in every corner. Most striking of all were the working conditions, still far ahead of what we have yet achieved in Kosovo*[1].

I also had the opportunity to witness the importance of valuing audiences and listeners during the celebration of the 10th anniversary of the radio show “2FM Afternoon with Tracy Clifford.” The atmosphere was filled with surprises, a live audience, gifts, music, and pure joy. What has kept this show alive and relevant over the years is precisely that strong appreciation for its audience. Another particularly meaningful moment was meeting veteran RTÉ journalist Paul Cunningham, who reported from conflict zones including Kosovo and Bosnia and Herzegovina in the late 1990s. As someone born after war in 2000, meeting a journalist whose voice once carried the harsh realities of our country to the world was deeply emotional. At the same time, it was a special pleasure to share with him how much Prishtina—and Kosovo* as a whole—has transformed since then. After my television experience in Ireland, my journey to Zagreb was filled with questions. I wondered whether Hrvatska Radiotelevizija (HRT) would satisfy my curiosity about television, strengthen my passion for journalism, and show me how different—or perhaps how similar—the experience of practising journalism in Croatia would be compared with the broader reality of journalism in the Balkans.

I had heard a lot about Croatia: that it was one of the most picturesque countries in the region, that it had some of the most developed infrastructure, and that its beautiful coastal rivieras were among its greatest attractions. Although I did not get the chance to experience the latter, Zagreb gave me something I will remember just as fondly: its many green spaces, which quickly became one of my favourite memories of the trip. Meanwhile, HRT managed to deepen my passion for television even further. It increased the number of questions I asked the staff and reminded me once again that success comes when journalistic production responds to the needs and expectations of its audience.

The most distinctive part of my one-week internship at HRT was being part of the filming of the famous Croatian game show “Potjera”, a programme that has become and remains, a defining part of Croatian television culture. With great curiosity and enthusiasm, I wanted to be involved in almost every aspect of the production set.

It started in the red-and-blue studio, which immediately created an atmosphere of challenge and competition the moment you walked in. Then came meeting the contestants and watching the game unfold, with their faces reflecting both uncertainty and an intense desire to win. Every question brought another challenge, and every answer carried the hope of moving further and further ahead.

The real intensity, however, was in the control room. It was a completely different world. Two people were constantly monitoring the entire process to ensure that the questions and answers were running smoothly, while directors, sound engineers and the television design team worked in close coordination. The intensity of the work behind the scenes was impossible to miss.

Compared with the fast pace of “Potjera”, being part of the Morning Programme was a calmer and more relaxed experience. And, naturally, we made sure to explore every corner of its production as well.
We started in the field, moving through the streets and parks of Zagreb, side by side with the camera crew, the journalist and the guests who were ready to bring each segment of the programme to life. Another enjoyable part of the experience was observing the conversations in the studio, where the aim was to convey the positive spirit and energy of Croatia as a whole.

But when you see the work that goes into the morning programme, you also need to understand what happens in the afternoon. The Culture Desk gave me the opportunity to learn how HRT reports live from cultural events. I attended a film promotion and had the chance to see first-hand how Zagreb’s artistic and cultural events are covered.

The experience would not have been complete without seeing how HRT connects television with the digital world. The online media department shared its experience of communicating with audiences through photography, video, graphics and different forms of digital design. And, most importantly, although I celebrated it somewhat later in person, I had the opportunity to mark HRT’s 100th anniversary and to see how this remarkable milestone has been reflected across its different departments and areas of work.

Looking back today, and reflecting on my experience from Dublin, Ireland, to Zagreb, Croatia, I feel deeply thankful and grateful to the International Mobility Grant programme for making this journey possible.

I will carry this experience with me throughout my life as one of the most valuable and memorable professional experiences I have ever had. It not only broadened my understanding of television and journalism, but also reminded me why I chose this profession in the first place.

Funded by the European Union, the Innovation. Media. Minds Program: Support to Public Service Journalism in the Western Balkans, is managed by the Goethe-Institut on behalf of the European Commission and in collaboration with its implementing partner DW Akademie. The contents of this story are the sole responsibility of the author and do not necessarily reflect the views of the European Union.


[1] * This designation is without prejudice to positions on status and is in line with UNSCR 1244/1999.