MIP Markets - MIPCOM, MIPJUNIOR, MIP CANCUN & MIP LONDON

LET'S GO! 🚀 The countdown is on! Follow the LinkedIn Event for #MIPCANCUN 2024, the premier Latin American International Co-Production and #Entertainment Content Market, happening from November 19- 22 at the beautiful Moon Palace in #Cancun. We can’t wait to see you there! 🎯 Register now: https://lnkd.in/g9nGp7VK

✨ Early Bird extended! ✨ Get your pass for just £450 and be part of London’s biggest content week. Join us from 23 - 27 February for 5 days of screenings, networking, and deal-making. ⌛ Register here before 29 November: https://bit.ly/3XUq2Jb #MIPLONDON #MIPMARKETS

Thank you for joining us this week! It was wonderful to celebrate with you the 40th edition of #MIPCOM CANNES, and everyone at RX France looks forward to seeing you soon at #MIPCANCUN in November, and then at #MIPLONDON in February 2025. #TVIndustry #Cannes #EntertainmentContent

And here we are, the final Day 4 at #MIPCOM CANNES. As always, this particularly intense week seems to have swished by in a blur.   The Producers’ Hub was buzzing with activity this morning, with a networking roundtable breakfast dedicated to streaming platforms and how to make the most of the international opportunities they offer for content owners, producers, and distributors. The tables were rife with busy conversations, with not an empty chair in sight. With each table dedicated to a specific topic – from licensing to distribution collaboration to maximising revenue on YouTube – participants could deep dive into the subjects that matter to them the most.   One thing that has been heard over and over during this market is the deep change the entertainment content industry is going through, and how it makes it very difficult to make sense of the near future. This was precisely the tone of the conclusions shared by Guy Bisson from market intelligence company  Ampere Analysis in his presentation this morning, also in the Producers’ Hub: “Making Sense of Uncertainty”. He confirmed with detailed data the general feeling, that the downturn in the market is deep and prolonged. Citing the pandemic, the strikes in the USA and subscription fatigue, he talked about the “triple whammy” affecting the content industry in the past few years. “We are at a low, and it’s very difficult to see where the upward trend is going to come from,” he said. But it’s not all gloom and doom. In addition to growth in licensing, Ampere’s data did show some areas where things were slowly starting to pick up. Certain streamers, namely Netflix and Amazon, have slightly increased their commissioning activity over the past quarters, and public broadcasters are also coming back to life. “Fingers crossed, this is the start of something bigger,” summed up Bisson. That being said, the major streamers are moving away from high-budget scripted drama and moving towards content with a more generalist appeal and a lower cost, specifically crime, comedy, and romance. They are also commissioning a lot more unscripted. Why? Because in a difficult market, they need viewers to keep coming back to the platform. Unscripted formats work well for that, as well as staggered releases, which streamers are favouring again (with the notable exception of Netflix). This also explains the return of procedurals in the scripted arena, a format that doesn’t work well for binging but instead encourages viewers to come back for a weekly release. The session’s key takeaway was one that has been shared by many others during the market: peak TV is over, and it’s not coming back; but viewers will never stop wanting fresh content…   The morning concluded with a Best of Fresh TV session, where @Virginia Mouseler from research agency @The Wit shared some of the most striking programmes from her various presentations throughout MIPCOM.

🎬 Check out our latest blog post, highlighting inspiring sessions and strategic insights! 👇 #MIPCOMCANNES #TVIndustry #Networking #Innovation

📅 What's up today at MIPCOM CANNES? For this last morning of the Mother of all Entertainment Content Markets, head to a networking breakfast about international opportunities in streaming, learn about global content trends and grab a wrap-up of the best of Fresh TV! 📺 👉 Details here: https://bit.ly/488CuZe #TVStreaming #TVaudiences #InternationalTV #Networking

In her Fresh TV session dedicated to fiction, The WIT’s Virginia Mouseler presented as always an exciting slew of new series from all around the world. Her research indicates that 9% of new fiction this year was based on true stories, a percentage that grows every year. In a presentation she had entitled “World of Tomorrow?” she showcased numerous series addressing the topics of true crime, dystopia, and climate catastrophes. A chilling translation of our troubled world.   Why should YouTube matter to the TV industry? Perhaps because it’s where the largest number of eyeballs are today. But it seems it’s only relatively recently that the world’s leading streaming platform has started to be taken seriously by content owners. The talk with Neil Price, YouTube’s Film and TV partnerships Lead UK, and Wayne Davison from Little Dot Studios at #MIPCOM CANNES this afternoon definitely confirmed that interest. At a panel conversation moderated by Alice Redman from Broadcast Intelligence, they reminded a packed MIP Innovation Lab that “the audience is already in this environment, not just for creators but also for traditional media, so it’s a really important part of any strategy.” The directness of YouTube’s beginnings, launched as a platform for people filming themselves in their bedroom, remains to this day, with “a feeling of authenticity for viewers, a sense that you don’t need to get through gatekeepers,” said Price. “Broadcasters and production companies are now taking advantage of that audience, even if they’re not endemic creators.”   One thing they’re endemic creators of is TV series. Over at the Producers’ Hub, Richard O'Meara and Patricia (Patti) Linnett were sharing K7 Media’s yearly scripted format report in a presentation entitled 'Tracking the Scripted Giants' that was chock-full of data on the titles that were the most successful, sold and adapted around the world last year. “Things are slowing down a little, but the scripted format market is still dynamic,” they said, stating that new scripted format launches fell by approximately 16% between 2022 and 2023. A few fun facts? The country with the biggest number of its formats adapted last year was South Korea, followed by the UK and France; the countries picking up the most scripted formats for adaptations were Thailand, Turkey and India; and the most produced genre of fiction was Crime & thriller. Also, medical procedurals are on the rise, France has never been such a popular provider of scripted formats with the successes of HIP and Call my Agent, both with numerous adaptations globally, and the most adapted scripted format of 2023, with a dozen versions around the world and five new launches just this year is British drama Doctor Foster.

✨The Riviera lit up on Monday night for an evening of glamour, celebration, music, and fireworks! 🎇 The opening party celebrating #MIPCOM CANNES' 40th anniversary and this year’s Country of Honour, Spain, with Audiovisual from Spain, was studded with red carpet glitz, bringing together the entertainment content community at the iconic Hôtel Barrière Le Majestic Cannes in a joyous frenzy of chatting and dancing, and wowing the crowd with a monumental cake and a beautiful fireworks show over the bay of Cannes.🏝️

#MIPCOM CANNES’ Day 3 started at the MIP Innovation Lab, with a set of conversations and presentations about the state of connected TV, for the aptly named Connected TV Summit, with presenting Partner Samsung TV Plus and conference partner Wurl. The morning’s host Alan Wolk, the man who coined the acronym FAST, kicked off the event with a presentation listing ‘Six things you need to know about connected TV.’ A few takeaways: other media companies are not the enemy, tech giants are. Churn is a real issue: users are no longer hesitating to sign up and cancel streaming subscriptions at a rapid pace. And most importantly for today’s topic: ad-supported TV streaming is getting popular to the point of beating out ad-free models.   Antoine Chotard from Samsung TV Plus made a presentation about his company’s TV streaming service, and stated that while SVOD platforms remain on top, FAST viewership is growing quickly. “We are seeing the rise of app-based TV,” he said. “Streaming and connected TV are the new normal.”   But this requires well-crafted user interfaces, which was the subject of the following panel talk, where Keith Bedford from Wurl, Bernd Riefler from veed analytics, Amanda Stevens from All3Media International and Marc Zand from Anoki Inc discussed how the right UX can make or break a streaming service. They said one challenge for consumers is the paradox of choice – users faced with too many options of things to watch – and agreed on certain pain points, namely: the interfaces are still frustrating, the metadata is often no good, and contextual advertising needs to be improved, a key element to improve the UX but also to increase ad revenue.   As you know, this year’s Country of Honour at MIPCOM CANNES is Spain. As part of this programme, The Mediapro Studio gave a Media Mastermind Keynote to present its latest venture: The Mediapro Studio USA & Canada. The Spanish production powerhouse’s CEO Laura Fernández Espeso presented the new division headquartered in Los Angeles and the company’s strategy to “double down on English-language content.” In a conversation with Stewart Clarke from Deadline, the studio head Juan "JC" Acosta presented an exciting slate of new content that will be coming out of his department. “We’re writing a new chapter,” he said. “We’re very confident we have a competitive advantage and that we can lean in, offering content with flair, global appeal, and diverse narratives.”   In the following Media Mastermind Keynote, Ramin Setoodeh, co-editor- in-chief at Variety, was invited to talk about “Apprentice In Wonderland”, his book about how Donald Trump’s persona rose to fame through reality TV, namely his show The Apprentice, which aired on NBC 2004-2015. Setoodeh, who conducted more interviews of Trump since he lost the 2020 American presidential election than any other journalist, chillingly explained that the ex-president “is a reality TV star, not a politician. He sees the white house essentially as a reality TV set.”

📡 Final Day of TellyCast - the content industry news podcast Live from MIPCOM CANNES! We’re live once again from Cannes, from 13:00 to 16:00 CET. Don’t miss the final day of exclusive content, with the hottest updates and interviews. Sponsored by ITV Studios and Shooting in Spain (a brand of ICEX-Invest in Spain). Let’s wrap it up in style! 🎤 #MIPCOMCANNES #TellyCastLive #FinalDay