MIPCOM CANNES 2023 Preview magazine by MIPMarkets

PREVIEW October 2023 CANNES PREVIEW

www.mipcom.com

PERSONALITY OF THE YEAR PRESIDENT & CEO, PARAMOUNT GLOBAL, BOB BAKISH

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MEDIA MASTERMIND KEYNOTE

VICE-PRESIDENT, TENCENT; CEO, TENCENT ONLINE VIDEO, ZHONGHUAI SUN

BANIJAY CHAIR, AMERICAS, CRIS ABREGO & ACTOR AND PRODUCER EVA LONGORIA

MEDIA MASTERMIND KEYNOTE DIVERSITY & INCLUSION 28

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Please join us for the

MIPCOM CANNES

World Premiere Screening Tuesday, October 17 th 6.00 - 7.15 pm Palais des Festivals Grand Auditorium

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THE BIG TAKEAWAYS at MIPCOM CANNES Third-party sales and distribution have never been more vibrant The assumption in recent years was that streaming would upend distribution with studios keeping all rights; and that markets like MIPCOM CANNES would diminish in purpose. Au contraire: we are now in a very different era where third-party content sales complement rather than compete with streaming and platform businesses. This year’s Personality Of The Year – Paramount Global CEO Bob Bakish – is emblematic of MIPCOM CANNES’ focus on championing distribution. Bob has placed a big bet at Paramount that streaming and content licensing will not only co-exist but flourish together. We are thrilled to honour Bob on Tuesday in the Grand Auditorium.

FAST and AI forecast the future in our MIP LAB MIPCOM CANNES has inaugurated the MIP LAB, a new event space and incubator, to bring the opportunities of FAST and AI to the global entertainment market. Our FAST & Global Summit focuses on the explosive international growth of FAST channels, asking a ‘who’s who’ of the key players globally ‘what’s next?’ AI is also poised to transform TV and is at the centre of debate among studios, writers, actors and producers. We take AI head on with our first-ever Unlocking AI Summit where we explore the impact of this powerful tech revolution, providing practical insight to harness AI through the experience of leading global experts and decision makers.

China shines large as 2023 County Of Honour Marking its much-anticipated large-scale return to the Croisette, China is recognised as this year’s Country Of Honour. The honour is marked with a widespread programme of activity, curated not only to throw the spotlight on China’s dynamic co-production, acquisition and distribution market, but to help unlock further international deal-making and partnership opportunities across all areas of our industry.

Join us for a cocktail! As ever, I’d like to say a huge thank you from the whole MIPCOM CANNES team for your support throughout the year, and to wish you a hugely enjoyable and highly productive market. And if you are able to join us at the Opening Night Party from 19.00 at the Majestic on Monday, we would love to say that thank you in person. Thanks and have a great market. Lucy Smith, Director of MIPCOM CANNES

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MIPCOM CANNES PREVIEW CONTENTS 58 MIPCOM CANNES Event Screening ZORRO

10 MIPCOM CANNES Personality Of The Year

Bob Bakish, president & CEO, Paramount Global

14 MIPCOM CANNES Country Of Honour: China 20 MIPCOM CANNES Keynote

Media Mastermind Keynotes 16

Tencent vice-president Zhonghuai Sun

Mediapro Studio CEO Laura Fernàndes Espeso

Canal+ CEO Maxime Saada

Warner Bros. Discovery president Gerhard Zeiler

EbonyLife’s Mo Abudu

Cris Abrego & Eva Longoria

30 Diversify TV Awards 38 A+E/MIPCOM CANNES Women In Global Entertainment Lunch

PREVIEW October 2023

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DIRECTOR OF PUBLICATIONS Michel Filzi MANAGEMENT TEAM Entertainment Division Director MIPTV & MIPCOM Director: Lucy Smith; TV Division Sales Director: Geraud de Lacombe; SVP Sales & Business Development: Robert Marking; Director UK Sales: Vanessa Van Santen Smith; Marketing Director: Debora Atala; Conference Director: Tania Dugaro EDITORIAL DEPARTMENT Editor in Chief: Julian Newby; Deputy Editor: Debbie Lincoln; Contributors: Andy Fry, Gary Smith; Editorial Management: Boutique Media International Ltd.; Graphic Studio: studioA Design; Graphic Designers: Sunnie Newby, Harriet Palmer PRODUCTION & ADVERTISING DEPARTMENT Publishing Director: Martin Screpel; Publishing Manager: Amrane Lamiri; Printer: CMPC, Le Muy (France). RX France, a French joint stock company with a capital of 90,000,000 euros, having its registered offices at 52 Quai de Dion Bouton 92800 Puteaux, France, registered with the Nanterre Trade and Companies register under n°410 219 364 - VAT number: FR92 410 219 364. Contents © 2023, ISSN 2104-2179, RX France Market.

40 Women’s Mentoring & Networking Breakfast 44 Unlocking AI Summit 50 FAST & Global Summit 60 International Premiere Screening Alice & Jack

62 World Premiere Screening Concordia

64 Seaview Producers Hub The home of MIPCOM CANNES’ Co-Production Market

All MIPCOM print products are printed on paper from sustainably managed sources using printing processes that comply with the PEFC standard.

Product News Content for sale from around the world

72 Fireside Chat: BBC Studios 74 Japan

Buyers’ Award; Treasure Box Japan; Sony Content Creation Summit

78 National Pavilions 80 Content & Formats Awards 82 Market Intelligence

International Overview, Glance; Fresh TV, The WIT

104 MIPCOM CANNES highlights 109 At-A-Glance programme

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Into the Congo with Ben Fogle Duration: 3 x 60’ Producer: Mentorn Media

Tycoons Down Under Duration: 3 x 60’ Producer: WildBear Enteeainment

New insightful factual content

Yorkshire by the Sea Duration: 4 x 60’ Producer: True Nooh

Visit us at: MIPCOM Stand P4.C18

JFK: The Home Movie that Changed the World Duration: 1 x 60’ Producer: Shearwater Media

MIPCOM CANNES PERSONALITY OF THE YEAR

We’re in a constant state of change’ Bob Bakish, president and CEO of Paramount Global, is MIPCOM CANNES Personality Of The Year. He will receive the honour on Tuesday, October 17, after a keynote session when he will discuss Paramount Global’s strategy and the industry generally. He spoke to Julian Newby ahead of his keynote address and acceptance of the award

BOB BAKISH oversees a group of companies across over 180 countries including Paramount Pictures film studio; television networks CBS, Nickelodeon, MTV, Comedy Central, BET, Channel 5 in the UK, Network 10 in Australia and Telefe in Argentina; streaming services Paramount+ and Pluto TV. ‘‘He is equipping Paramount for its next era,’’ MIPCOM CANNES director Lucy Smith said. ’’Our Personality Of The Year honour could not be timelier or more relevant.’’

There’s a vast difference between the Viacom you joined in 1997 and the company. Many in similar roles to yours have jumped from company to company but you’ve stayed. Is such continuity important to you? Continuity matters, but only to a certain extent. Without question, the institutional knowledge I’ve gained over the years has helped me in my role. But more important than continuity is having an effective strategy, consistency of execution, and, with that, the ability to adapt and be resilient in change. It also helps to be surrounded by people who you can learn from, and I’ve been very lucky to work for some incredibly talented executives that were also fantastic mentors. Chalk it up to my engineering background, but I’ve always loved taking on interesting challenges, and the media landscape certainly presents that — it did in 1997 and it does today. It’s been a privilege and a point of excitement to do what I love for a company that entertains and informs global audiences. Doubling VIMN’s revenues and the successful merger with CBS have been key achievements. How do you approach such projects? I’d say it depends on what you’re trying to accomplish, but a few things come to mind. First, you need a clear vision and a set of goals to realise that aim. Second, you need to do your homework and collect data to inform your strategy and decision-making. As part of that, I’m a big proponent of piloting an idea and then scaling it up once you demonstrate its power and fine tune it as required. Whether it

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MIPCOM CANNES PERSONALITY OF THE YEAR

works or not you can take those learnings and make improvements to better your chances of success. Last, but perhaps most important, you need a great team that is empowered to execute. Without that support you’re doomed to fail. That’s why it’s so important to create a culture that inspires people to do their best work and equips them accordingly. Your strategy has been to maximise content across pay, free and premium streaming services. We observe constant change in this area — with the growth of FAST, the move towards advertising funded elements with the big streamers, changes in subscription rules and models and so on. Looking to the future do you see constant change as always inevitable? Without a doubt we’re in a moment of significant industry-wide transformation, and I don’t see the pace of that change slowing down. It’s why one of our core values is adaptability. The pandemic brought new meaning to that word, and it’s important as we continue to navigate a challenging macro-environment. But I firmly believe that when you have a coherent strategy, strong execution and the ability to stay nimble, your business will be resilient in such periods of change. At Paramount, we’re focused on executing a strategy that works for us: make high-quality content with mass, popular appeal; monetise that content across multiple platforms and multiple revenue streams; and build a sustainable economic model for growth. So, you’ll see us continuing to feed consumer demand for storytelling, including in streaming, as we scale Pluto TV and Paramount+. How do you see the industry in the next five years and the next 10 years? We’re in a constant state of change and the landscape will continue to shift. I’m confident that two things will stay the same. One, you have to make killer content that people want to watch. And two, you have to make money doing it. Sumner Redstone’s maxim ‘Content is king’ will continue to ring true years from now. But world-class IP alone doesn’t equate to success. To survive you need a differentiated strategy that leads to profitability. I think we’ll see the world outside the US continue to grow in importance, and not just with respect to consumer demand, but also as a source for fresh content. Which is why companies that

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operate with a global approach — and have the operating footprint and capabilities to support that approach — will be best positioned. Your role as president and chief executive officer at Paramount is time consuming. In what ways do you relax and switch off? I’m actually pretty good about setting aside more time to recharge. I like to ski in the winter and wake surf in the summer. I’ve been cooking more, and we’ve started a vegetable garden at home which has been fun. Music has always been a big part of my life, and while I haven’t been playing guitar as much, I still go to concerts. Kicking back with a glass or two of wine always works too! What are you like as a consumer of content? As a viewer? What have you recently binged? I try to see as much of our own content as I can. I’m a sucker for action-thrillers so shows like Rabbit Hole or Special Ops: Lioness from Taylor Sheridan were at the top of my watch list. I’ve also really enjoyed our new slate of international originals for Paramount+ in the US, including Bargain from South Korea and The Gold from the UK. And with college football and the NFL in full swing, it’s been tough

to tear away from CBS during the weekend. As MIPCOM CANNES Personality Of The Year you join a long list from Ted Turner to Sumner Redstone, David Zazlav to Bob Greenblatt, Issa Rae to Shonda Rhimes. What does it mean to be included in this stellar line-up? All of these past winners are universally recognised for their impact, so it’s very humbling to be included, especially when I think back to my first MIPCOM experience while at Viacom International Media Networks. A lot has changed, but one thing that’s constant is the importance of MIPCOM as a facilitator for partnerships that have expanded the global marketplace for great entertainment and storytelling. That reason alone makes receiving this award an incredible honour. Aside from your on-stage acceptance of your Award and your keynote, what other plans do you have for your visit to Cannes? MIPCOM at Cannes is always an exciting whirlwind of activity, but other than the Award ceremony, what I’m most looking forward to is getting the opportunity to connect with some of our global sales team that I don’t get the chance to see as often in real life.

‘After all these years, I still get a thrill from walking around the Paramount Pictures lot’

MIPCOM CANNES PERSONALITY OF THE YEAR KEYNOTE, AWARD CEREMONY AND FIRESIDE CHAT TUESDAY, OCTOBER 17, 17.00-17.45

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COUNTRY OF HONOUR FORUM AUDI A MONDAY, OCTOBER 16, 09.00-10.00

COUNTRY OF HONOUR

China is MIPCOM CANNES Country of Honour China is being recognised as the 2023 Country Of Honour at the 39th MIPCOM CANNES. The honour is being marked with a widespread programme of events ACROSS the MIPCOM CANNES week, the specially curated programme will spotlight China’s co-production, acquisition and distribution activities and opportunities. One of the six dedicated sessions is Fresh Content China, presented by the China Pavilion, featuring the country’s latest output, alongside distinguished creatives from the China TV industry who will share learnings from its evolution domestically and internationally. This event will showcase Chinese TV content of various genres, from distinctive drama series to offbeat documentaries. Further sessions include masterclasses focusing on successful format adaptations and the use of latest technology within production, and showcases specialising in the latest in animation, script-

ed and non-scripted content to be emerging from the country. Another of the sessions, Wisdom In China: Original Chinese TV Formats Bring New Opportunities For Future International Cooperation, includes a discussion on the international collaboration that led to the creation of the format Sing With The Legend from SMG. The format pairs young musicians and legendary artists, resulting in an eclectic mix of music to show how music can blend across generation to create new sounds. Another highlight of the week will be the presentation of Tencent’s The Three-Body, a milestone for Chinese science-fiction dramas as one example of the evolution of Chinese stories. Based on Liu Cixin’s sci-fi novel of the same name, The Three-

Body is produced by a Chinese team that shows the quality and depth of Chinese storytelling to the world, winning recognition and admiration from overseas media and audiences. The story weaves together scientific intrigue, political turmoil and a virtual world called the ThreeBody Game. When scientists discover that Earth is not alone in the universe, humanity’s first contact with aliens brings about a crisis of monumental proportions. Tencent vice-president and CEO of Tencent Online Video, Sun Zhonghuai gives a keynote speech in the Grand Auditorium of the Palais des Festivals on Monday, October 16, one of the MIPCOM CANNES Media Mastermind Keynote sessions. More than 300 delegates and over 100 companies from China are

FRESH CONTENT CHINA AUDI K MONDAY, OCTOBER 16, 16.45-17.45 CHINESE STORIES, GLOBAL LANGUAGES CHINA ANIMATION INTERNATIONAL EXCHANGE AND COOPERATION PROMOTION CONFERENCE VERRIÈRE CALIFORNIE, TUESDAY, OCTOBER 17, 09.30-10.30 SHANGHAI TOP QUALITY AUDIOVISUAL BOUTIQUE PROMOTION CONFERENCE VERRIÈRE CALIFORNIE, TUESDAY, OCTOBER 17, 10.45-11.45 THE 6TH WISDOM IN CHINA——ORIGINAL CHINESE TV FORMATS BRING NEW OPPORTUNITIES FOR FUTURE INTERNATIONAL COOPERATION AUDI A TUESDAY, OCTOBER 17, 11.15-12.15

expected at this year’s market, the country’s biggest presence at MIPCOM CANNES since 2019. MIPCOM CANNES director, Lucy Smith, said: “The Country Of Honour spotlight provides an unrivalled insight and discovery which can unlock further global dealmaking and partnership opportunities. We look forward to welcoming everyone who has kindly agreed to contribute to what will be an unmissable programme of events.”

The Three-Body (Tencent)

KEYNOTE: GERHARD ZEILER MONDAY, OCTOBER 16, GRAND AUDITORIUM, 11.15-11.45

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MEDIA MASTERMIND KEYNOTE: ZHONGHUAI SUN

‘Value for Users, Tech for Good’ China is Country Of Honour at MIPCOM CANNES and as part of a packed schedule of related activities, Tencent’s Zhonghuai Sun is giving a Media Mastermind Keynote ZHONGHUAI Sun is vice-president of Chinese media and entertainment giant Tencent, and CEO of its streaming platform Tencent Online Video. In his MIPCOM CANNES keynote session, he will discuss Tencent Video’s IP development strategy and content ecosystem, covering various programming categories including drama, variety shows, movies, animation, and documentaries. In a wide-ranging talk, he will also touch on Tencent Video’s overseas strategy and its perspective on future technologies. Speaking to the MIPCOM CANNES Preview ahead of the market, Sun said Tencent Video has “two key strategies for international expansion. Firstly, we collaborate with international partners to produce quality content and acquire copyrights, enabling us to import and export quality dramas and develop new content. Secondly, our overseas platform, WeTV, which operates in over 100 countries and regions.” Explaining how international companies can work with Tencent Video, he added: “Tencent Vid-

‘I’m looking forward to meeting creators and partners from around the world’

eo maintains extensive contacts with international partners and offers various opportunities for co-operation. We work with partners around the globe by partnering on content rights, importing high-quality works, and distributing original IPs globally. In June, we announced a multi-year partnership with Formula 1.” With around 300 Chinese delegates coming to MIPCOM CANNES, there is clearly an opportunity for global companies to partner with one of the world’s largest consumer markets. Offering his advice on how to do business effectively with China, Sun said: “Chinese audiences are receptive to quality content, similar to other countries worldwide. Te n c e n t Video can prov i d e assis-

tance in terms of distribution, promotion, and understanding the cultural nuances of the Chinese market. With Tencent Video’s support, international content creators can reach a large Chinese consumer audience and succeed in the Chinese market.” Tencent has been a tech pioneer from the outset: “Tencent’s mission is ‘Value for Users, Tech for Good’, which shapes our approach to technology,” he said. “At Tencent Video, we prioritise the needs of creators and users, with technology serving as a means to enhance their experience.” Sun added: “Our goal is to become a leader in the video entertainment sector through the power of technology and art, with a constant focus on art. While scepticism is common when new technology arises, our belief is that it can be harnessed positively.” Away from the Grand Auditorium stage, Sun will seize the opportunity to network at MIPCOM CANNES. “I’m looking forward to meeting creators and partners from around the world to gain insight into emerging industry trends. And of course, we should take advantage of the beautiful Mediterranean weather and enjoy the sun and fresh air.”

MEDIA MASTERMIND KEYNOTE: TENCENT’S ZHONGHUAI SUN MONDAY, OCTOBER 16, GRAND AUDITORIUM, 12.00-12.30

Phil Gurrin

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MIPCOM CANNES KEYNOTE

‘I can think of no better setting for this conversation’ Banijay’s chairman of the Americas Cris Abrego and actor, director, producer and activist Eva Longoria are taking part in a special MIPCOM CANNES joint keynote presentation. Collaborators for over 20 years, the keynote will highlight the experiences and insights of one of the US’ foremost creative entrepreneurs and television executives, and one of the entertainment industry’s most distinguished, recognised and influential leaders

What can MIPCOM CANNES delegates expect from your presentation?

The industry is undergoing a number of challenges right now, from labour disputes to mergers to the unknowns of AI. What makes you remain optimistic? Cris Abrego: Yes, the industry is undergoing a profound shift and there is a lot of dislocation at the moment. Even though the way audiences access content has changed and will continue to change, there will always be a hunger and a need for high-quality storytelling that engages viewers. Coming out of this moment, there will be a focus on quality over quantity. Storytelling that connects in a powerful way will continue to be a good investment, so it’s essential we all continue to support creators and talent in meaningful and expansive ways. In some quarters there is a perceived pullback from the focus on diversity in the US entertainment industry. Are you concerned? Eva Longoria: “We all know that storytelling talent is not concentrated among any one segment of population or even the world.

Eva: “At the centre of each of these endeavours is a desire to connect with people in a way that is meaningful to them — through a cultural anchor like futbol/soccer, through a toast or celebration, and of course, always through content. Directing Flamin’ Hot was so special to me because of how deeply it resonated with my own background and life story. I felt an immense weight of responsibility and a joy for the opportunity too. When I saw how our film connected with audiences, made them feel seen and valued — it has truly been one of the most gratifying experiences of my life. I won’t ever close the door on new opportunities to create impact like that.”

Eva Longoria

Photo: Brian Bowen Smith

Cris Abrego I think that any organisation or platform that is seeking new stories needs to mine the worlds and talent that have not been fully explored to create the sort of innovative work that transcends the clutter and can attract audience attention. Likewise, any streaming platform has to be able to attract all audiences to reach the kind of scale that is viable.” Cris: “Eva is exactly right. In the

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case of content, demographics are destiny. Despite the pullback from some of the inclusion programmes that studios initiated over the last several years, the marketplace will continue to demand diversity in storytelling and point of view. Our audience in the US is extraordinarily diverse, as is the global audience, and it will only become more so. In the long term, attracting a broad and inclusive audience through compelling, authentic characters and stories is the single best way to future-proof our businesses.” Eva, you’ve diversified from acting for some years now, into sport, your tequila brand, directing and producing. Do you enjoy keeping all these plates spinning or do you one day see yourself again focusing on one field of enterprise?

Eva: “Our industry is facing tremendous disruption and transformation which can lead to opportunities that can transform and reshape the future of what content looks like. I’m looking forward to discussing how we can drive what’s to come.” Cris: I can think of no better setting for this conversation than alongside Eva at MIPCOM CANNES, the annual gathering that has distinguished itself as course-setting for the global and US content industry.” KEYNOTE: THE FUTURE OF CONTENT: WHAT COMES NEXT? MONDAY, OCTOBER 16, GRAND AUDITORIUM, 16.00-16.30

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MEDIA MASTERMIND KEYNOTE

‘Creativity, innovation and passion’ The Mediapro Studio CEO Laura Fernández Espeso gives a keynote speech at MIPCOM CANNES, as part of the Media Mastermind series. The session will take the form of a fireside chat, during which she will discuss the explosive growth of Spanish-language content and share insights into the strategy at the prolific Madrid-based studio AS CEO of The Mediapro Studio, Laura Fernández Espeso oversees creative, production and distribution strategy worldwide. Since taking on her role, the studio has opened several international offices and launched high-profile strategic alliances. These include the launch of production company Moonlyon with Penélope Cruz, a joint-venture with Turkey’s Medyapim, and a production deal with Belgium’s Be-Entertainment. Under her stewardship, The Mediapro Studio has built an extensive portfolio across scripted, non-scripted and film. Key scripted titles have included The Head, shot in English and distributed in over 90 countries; and upcoming series Mano de Hierro (Netflix), Romancero (Amazon Prime Video) and El Otro Lado (Movistar Plus+). As for non-scripted, credits include the docuseries Lola (Movistar Plus+) and hit TV programmes including El Conquistador (RTVE, ETB) and El Intermedio (LaSexta). The studio has laid the foundation for significant production development in Latin America, with titles such as Iosi, The Regretful Spy, Las Bravas, Primate, Código Implacable, Victoria Small and

It Was Always Me. The studio is also working on its first productions in the US and UK, which are currently under way. Speaking to the MIPCOM CANNES Preview magazine, Fernández Espeso said: “The Mediapro Studio is structured around three main areas of action: creation, production and distribution of content. It operates exclusive agreements with creators of international prestige, such as Ran Tellem and Daniel Burman, and outstanding Spanish creators including Marc Vigil, Iván Escobar, Clara Roquet, Berto Romero, Fernando González Molina and Marc Cistaré. We also have external agreements with creators including Fernando León de Aranoa, (The Good Boss), and Paolo Sorrentino, with whom we co-produced The Young Pope and The New Pope.” Mediapro produces both in Spanish and in English, “and is placing special focus on the Anglo market,” Fernández Espeso said. “We have several projects currently in the development phase in the US. Aside from The Head, examples include films Hunting Ava Bravo, the action thriller directed by Gary Auerbach, starring Kate del Castillo and released on Amazon Prime Video; and

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Laura Fernández Espeso ©The Mediapro Studio 2022

MEDIA MASTERMIND KEYNOTE: LAURA FERNÁNDEZ ESPESO TUESDAY, OCTOBER 17, GRAND AUDITORIUM, 16.00-16.30

Give Me Your Eyes, the aforementioned Sorrentino series, also shot in English. Our most significant show in development in English is The Young Poe, created by Ran Tellem.” Firmly committed to equal opportunity and promoting new talent, Fernández Espeso is the main promoter of The Mediapro Studio-UCM Master’s in Screenwriting and is a member of the Diversity and the Sustainability Committees at Grup Mediapro. “The international market is the fundamental base on which The Mediapro Studio has grown,” she said. “Series including The Head, Express, Paraíso and Locked Up are present in numerous markets and even have their own adaptations. This success is the result of a long history of work that began before the streaming era with the international distribution of our series titles such as Los Serrano, which caused an enormous impact in Eastern and Northern Europe; The Boarding School Laguna Negra, Un Paso Adelante, The Boat and Paco’s Men.” She added: “We have been successfully co-producing for a long time.” During her Media Mastermind Keynote, she will “highlight the values of The Mediapro Studio, the importance we give to creativity and the qualities that define our company. In addition to creativity, I would highlight flexibility, innovation, hard work and passion, all of which are the shared DNA of Grup Mediapro, a company with ambition and courage.” “MIPCOM CANNES sets the pulse for the world television industry every year and offers us the best showcase for meeting and exchanging ideas, projects, and business opportunities,” Fernández Espeso said. “I am honoured to participate this year as a keynote speaker to share our experience as a global factory for content creation, production, and distribution.”

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VARIETY VANGUARD AWARD

Maxime Saada is honoured in Cannes MAXIME Saada, chair and CEO of Canal+ Group, gives a Media Mastermind Keynote address at the Grand Auditorium on Monday, October 16, where he will also receive the Variety Vanguard Award, which “recognises television industry leaders who have made a significant contribution to the global business of entertainment”. Under Saada’s leadership, Canal+ Group has grown its international footprint from 11 million subscribers in 2015 to 25.5 million in 2022 across more than 50 countries in Europe, Africa and Asia. This year the company took a 12% stake in Scandinavian streamer Viaplay, as well as 26.1% in Asian streaming service Viu. Canal+ acquired the pay-TV broadcaster M7 for over €1bn ($1.01 bn) back in 2019, launched in Ethiopia and Austria in 2021, and increased its stake in MultiChoice to 31.7%, making it the South African pay-TV operator’s leading shareholder. Canal+ Group, the parent company of leading film and TV production/distribution Studiocanal, is France’s biggest backer of local movies, having invested 600m in French and European films from 2022 to 2024.

Saada told the MIPCOM CANNES Preview: “I am very honoured to receive this prestigious award and would like to thank Variety and MIPCOM CANNES. It is the result of the work of our 7,600 employees, because our Group can count on thousands of passionate people around the world, which is probably its greatest strength.” He added: “I would like to sincerely thank all my teams, because we owe this success above all to their commitment, their passion for the work we do. This award is also a sign of recognition of the relevance of the strategy introduced over the past few years and especially the successful transformation of the Canal+ Group into a global audiovisual player, with a presence in more than 50 countries.” MIPCOM CANNES director Lucy Smith said Saada’s “contribution to the entertainment business globally has been nothing short of exceptional. It is our privilege to partner with Variety to provide the stage for his achievements to be recognised in front of the global TV industry, and to do so in France, his home, and where his work has had such a positive impact across several decades.”

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Ralph Lee

MEDIA MASTERMIND KEYNOTE VARIETY VANGUARD AWARD MAXIME SAADA, CHAIR & CEO, CANAL+ MONDAY, OCTOBER 16, GRAND AUDITORIUM, 17.00-17.30

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MEDIA MASTERMIND KEYNOTE: GERHARD ZEILER

‘Media is in a once in a lifetime transition’ President of international, Warner Bros. Discovery (WBD), Gerhard Zeiler, gives the opening Media Mastermind Keynote at MIPCOM CANNES when he will share insights into WBD’s post-merger transformation and the company’s worldwide content and streaming strategy GERHARD Zeiler joined Warner Bros. Discovery (WBD) in 2020 and now has strategic oversight of brands and joint responsibility for direct-to-consumer activity — including subscription streaming service Max — across 220 markets. His wide-ranging role also encompasses local theatrical production, acquisitions and country and region-specific networks and businesses. On the eve of the market, he said he is “looking forward to speaking about how WBD is putting storytelling first and refining and innovating to drive agility and flexibility”. The years 2022 and 2023 have been challenging for streamer-led studios like WBD. But Zeiler is optimistic the company is now positioned for success. “The media industry is in the middle of a once in a lifetime transition from a highly profitable linear TV business to a still-emerging streaming model. Added to this are headwinds facing the global economy. On the other side of these transformative times, there’s the opportunity to emerge even stronger. There will always be challenges. But with Max now live in the US and launching internationally next year and our US DTC business expected to be profitable for the year — a year ahead of our guidance — we are making good progress.”

The rollout of Max is critical to WBD’s strategic plan, and Zeiler said the ambition and scale of the platform is unparalleled. “Max represents a distinct fusion of HBO, Warner Bros. films, Max Originals, the DC Universe and children’s content, alongside toptier programming from HGTV, Food Network, Discovery Channel, TLC, ID, and more. Furthermore, the platform now boasts the capability to deliver live programming which opens the door for sports on Max in the future.” He added: “In the US, we have announced that CNN Max, a 24/7 news service, is being added to the platform. Additionally in Europe we have a unique combination of local network channels and original productions, and we look forward to sharing more on that soon.” Although a lot rides on Max, Zeiler stressed that subscription-based streaming is only one dimension of WBD’s business. “When I talk about streaming, I include all business models, whether purely subscription or purely advertising or a mix. And we aren’t giving up on linear either; we believe linear will be present for a long time.” He also gave a clear indication that WBD is still in the distribution business: “We want consumers to decide on what device

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and platform they consume our content. And that means not everything has to be exclusive on our networks and platforms. We are open to selling some of our content to third parties as we want it to be seen by the broadest audience possible. We are also 100% committed to theatrical. What we learned, especially during the pandemic, is that nothing is more impactful in making a film popular to a broad audience than theatrical release.” Looking at WBD’s upcoming

MEDIA MASTERMIND KEYNOTE: GERHARD ZEILER MONDAY, OCTOBER 16, GRAND AUDITORIUM, 11.15-11.45

content slate, Zeiler is “excited for the second season of House Of The Dragon, and another Game Of Thrones prequel, A Knight Of The Seven Kingdoms: The Hedge Knight — and the highly anticipated third season of The White Lotus. Season two of Spanish horror series 30 Coins is set to premiere this October, and we’re also looking forward to our inaugural French Max Original — a fourpart psychological thriller with working title The Mythomaniac Of The Bataclan.” Zeiler will be joined on stage for the second part of the Media Mastermind Keynote, by Leah Hooper Rosa, senior vice-president, head of streaming, EMEA, Warner Bros. Discovery

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The World’s Fastest Selling NEW Game Show Format

Will your country be next to join? Territories that have already acquired the brain-teasing format include: • France for France Télévisions, recommissioned following the local adaption breaking viewing records with 3.5m and an 18.6% share for 4+ • The Netherlands for RTL, two series launched #1 in their time slot • Germany for Sat1, saw an increase of over 11% in the 14-49 demo and have since recommissioned • Spain for Atresmedia Television, broadcasting soon • Israel for Kan11, recommissioned and received over 1,000 contestant applications in 24 hours • Australia for the Seven Network, becoming the channel’s #1 highest ranking game show of the year

“The 1% Club is a game show where an eight-year-old has as much chance of winning as an 80 year old,” explains Dean Nabarro, Joint Managing Director at Magnum Media.

Play The 1% Club LIVE at MIPCOM

Nabarro adds, “At the helm you have a host who is quick-witted, drawing out the humour, to make a really funny and entertaining show.” “It’s this appeal,” says André Renaud, SVP Global Formats at BBC Studios, “that makes it so successful to be reformatted around the world.

What I love about The 1% Club is that everyone is on a level playing field, meaning that families can watch together and play along at home. The concept that the answer is right in front of your eyes makes the format clear enough that countries can easily adapt it using their own data to know how much of their country’s population would get the answer right.”

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A Hit in the UK In the UK, The 1% Club launched on ITV1 in April 2022 and is now recording its third series. The first series delivered phenomenal viewing figures, ranking as ITV’s #1 quiz show of the previous ten years with 16-34s and a consolidated audience of 4.3m and 27% share. It was ITV’s biggest quiz show launch of 2022.

It’s a primetime entertainment format that’s not about what you learned at school or your ability to memorise facts – it’s about real intelligence. “The show’s winners are not quiz geniuses, but everyday people whose brains just happen to work in a way that gains them a place in The 1% Club – an elite group of people that can honestly say they’re smarter than 99% of the population!”

“I’m not surprised at the appetite, nor the results we’re seeing. It’s an outstanding concept and I expect this trend to continue. We’re having great discussions with new clients and we will be announcing more sales soon,” concludes Renaud.

Monday 16th October 09:45 arrival 10:00 – 10:55 session Hi5 Studio (5th Floor) Palais des Festivals See for yourself why viewers around the world love this entertaining format. Please email format.sales@bbc.com to book your place now!

In seven countries and counting…. “The 1% Club is performing incredibly well internationally,” adds Renaud. “It’s testament to the format that in little over a year, The 1% Club had three international versions confirmed before the original series had even hit screens in the UK. We’ve since had further sales as well as recommissions confirmed.”

In April 2023 the second series outperformed the first with a 4.5m consolidated audience and 31% share, in turn placing it #1 in its competitive primetime Saturday night slot. “It’s truly humbling to see the show perform so well with UK audiences and receive such fantastic results, it’s something you always strive for from concept,” remarks Nabarro.

Companion App Series two in the UK included a new play-along App that allowed viewers to interact in real time • Achieved 900,000 downloads in 12 weeks • In the top three free Apps in the UK every Saturday night of the series • 235,000 viewers playing live each episode • Includes a ‘Question of the Day’ outside transmission • 100,000 viewers continue to play post series

20/09/2023 16:02

MEDIA MASTERMIND KEYNOTE DIVERSITY & INCLUSION

‘A giant leap in the right direction’ Mo Abudu, CEO of Nigerian powerhouse production studio EbonyLife Media is giving the Diversity & Inclusion Media Mastermind Keynote at MIPCOM CANNES, during which she will discuss the secrets of her company’s inspirational success on the global stage, and share her box-seat observations regarding the progress that the global content industry is making on diversity SPEAKING to the MIPCOM CANNES Preview ahead of her keynote presentation, Abudu gave a sneak preview of her speech, saying it would set out to “highlight the transformative impact of diverse voices and perspectives in shaping the future of entertainment”. She added that the keynote would “delve into the importance of global collaboration. I will emphasise the power of partnerships that bridge continents, cultures and creative minds. I’ll also share insights into the potential for African storytelling on the global stage, drawing from the successes of projects like Blood Sisters, Black Book and our partnership with Green Door Pictures.” Blood Sisters, produced by EbonyLife, is notable for being Netflix’s first original Nigerian series. Abudu called it “a significant milestone for the Nigerian and African entertainment industry as a whole, with 11 million hours watched around the world in its first week of premiere. The inclusion of diverse narratives and talent from the continent is a giant leap in the right direction.”

While celebrating the show as “global recognition of Africa’s rich storytelling heritage”, Abudu said: “It is essential to remember that while this is a remarkable achievement, it should be the beginning of a sustained commitment to fostering more diverse narratives from Africa and its diaspora on platforms like Netflix.” EbonyLife recently established a partnership with British actor, producer and director Idris Elba’s Green Door Pictures, and Abudu said the “fruits of this partnership will be groundbreaking. By combining the global reach and influence of Idris Elba with our commitment to African storytelling, we aim to create content that entertains, educates, inspires and represents the richness of our diverse cultures. Through this partnership, we envision the creation of compelling narratives, both in film and television, that shed light on the African experience in fresh and innovative ways.” A major aspect of the partnership is Abudu’s plans for “capacity building across the continent and using the current Ebonylife Creative Academy to roll out more

28 MIPCOM CANNES PREVIEW OCTOBER 2023

academies there. We are currently deep in conversations with many on how this will roll out.” Addressing the issue of diversity, equity, and inclusion (DEI) more generally, Abudu said: “DEI across the content industries is a multifaceted journey. While there have been notable strides, there is still much work to be done. The entertainment industry, like any other, has had its challenges and moments of reckoning. However, it is heartening to see an increasing commitment to diverse representation both in front of and behind the camera.” She said the key to further progress “lies in maintaining this momentum and driving systemic change. It requires industry stakeholders to prioritise DEI not as a trend but as an ongoing imperative. We must continue to push for more authentic representation, equal opportunities, and fair compensation for underrepresented voices.” Away from the keynote, Abudu

said she “looks forward to engaging in meaningful discussions, networking, and exploring new opportunities for collaboration in Cannes. MIPCOM CANNES provides a unique platform to connect with industry leaders, discover emerging trends and forge partnerships that can elevate the reach and impact of African content. This exchange of ideas and knowledge is vital for the continued growth and global recognition of African storytelling.”

MEDIA MASTERMIND KEYNOTE DIVERSITY & INCLUSION GRAND AUDITORIUM, TUESDAY, OCTOBER 17, 11.15-11.45

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MIPCOM CANNES DIVERSIFY TV AWARDS

‘Diversity is not a trend, it is our reality’ MIPCOM CANNES is set to host the seventh edition of the ground-breaking MIPCOM CANNES Diversify TV Awards. This year will see nine award winners selected across a range of scripted and unscripted categories. Below we hear from some of the Jurors involved in this year’s event CATEGORIES for the MIPCOM CANNES Diversify TV Awards 2023 are: Representation of Race and Ethnicity (Scripted and Non-Scripted); Representation of LGBTQIA+ (Scripted and Non-Scripted); Representation of Disability (Scripted and Non-Scripted); Representation of Diversity in Kids Programming (Pre-school and Older Children) and the Behind The Scenes Impact Award. To be eligible, programmes must provide a fair and balanced representation of race and ethnicity, LGBTQIA+ and disabled com-

munities; show a positive impact; challenge stereotypes; and stand out in originality and excellence of storytelling. To put the scale of the Cannes-based awards event in perspective, 2022 saw a record 191 submissions from 27 countries. Finalists are shortlisted by the MIP Markets Diversity Advisory Board and Short List Jury, composed of a peer group of international industry professionals, with winners chosen by a Final Round Jury of leading advocacy organisations and specialised publications within D&I, which in 2023 includes: ADHD Foundation – The Neurodiversity

Charity; APF France Handicap; Gadim; Glaad; Minority Rights Group; Show Racism the Red Card; Scope; True Colors United; and ODA. The awards are organised by MIPCOM CANNES in collaboration with founding partner Diversify TV, and in association with Founding Presenting Partner A+E Networks and Data Presenting Partner, Gracenote. Awards Partners also include All3MediaInternational, Iron Mountain, Telefilm Canada and the Canada Media Fund, OUTtv, the United Nations Media Compact, D.I.M.E.S. and Lightboat Media — among other

Mark Garner, executive vice-president global content sales & business development, A+E Networks The Diversify TV Awards are incredibly significant. Very early on, A+E Networks recognised the necessity of having a vehicle to highlight DEI and foster networking at MIPCOM CANNES — and here we are today. We are so proud to have co-created Diversify TV with RX Global and to have joined other wonderful companies as the founding sponsor right since the inception. The Diversify TV Awards provides a spotlight to under-represented storytelling around the globe and is uniquely positioned vis a vis MIPCOM CANNES to connect talent — writers, directors, actors, producers — with commercial opportunities to produce and distribute the incredible stories. Each year the submissions are getting better and more plentiful. What’s most encouraging is that we are seeing phenomenal contributions coming from many more places representing talented voices, rich cultures and important events which had not been shared until recently. A+E’s top priority is to continue its vigilance and focus on the importance of Diversity, Equity and Inclusion within our community. Several years ago, our industry made bold commitments to ensuring generational diversity. The industry needs to recommit itself to those aspirations.

supporting partner companies and organisations. “During this 75th anniversary year of the Universal Declaration of Human Rights, it’s particularly important to celebrate diversity and inclusion,” director, United Nations Regional Information Centre for Western Europe (UNRIC), Sherri Aldis said. The media industry is uniquely placed both to showcase the best of humanity and break down stereotypes, and to build diverse teams and inclusive work environments. We must all stand up for human rights, all the time, everywhere.”

Zuelika Brown, series editor, Lime Pictures I think there has been some progress in the industry with regards to diversity and fair representation. However, there is still a heck of a way to go to see parity on our screens and platforms. I think the MIPCOM CANNES Diversify TV Awards are very significant to the D&I cause. I have only judged one category with 16 entries this year, but from participating as a juror that means I have watched 16 D&I shows — and I’m pleased to think there are several categories with many more entries. The Awards highlight that there needs to be representation for all categories on screen — people need to see themselves and their experiences on screen too. In terms of priorities, I think the transgender experience and representation still needs much more coverage. There is still so much more to educate and normalise when it comes to this subject.

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MIPCOM CANNES DIVERSIFY TV AWARDS The significance of these awards lies in their ability to highlight and recognise the efforts and achievements of individuals and organisations in promoting D&I within the industry. They serve as a platform to showcase and celebrate the work being done to advance D&I causes. By acknowledging and honouring individuals and organisations that have made significant contributions to D&I, these awards inspire others to take action and strive for greater inclusivity. I personally see some progress, however I still feel

that there is more to be made. Diversity and inclusion is not a trend, it is our reality. For the Awards, my top priority is to see more content coming from Africa; we saw new entries from the continent, but not enough. In terms of the industry as a whole, there are several areas that still show slow progress in D&I, for instance diversity in leadership roles. While progress has been made in increasing diversity in entry-level positions, there is still a lack of representation in leadership roles.

David Cornwall, managing director, Scorpion Television These awards are more vital than ever. They alert the industry to the amazing quality and creativity of shows that centre diversity and let the wider market know what shows and formats might work in their territory. The awards impact is only growing. This year we will have the ceremony on Tuesday afternoon in the main auditorium to put it squarely in the middle of MIPCOM CANNES and allow as many executives as possible to attend. Progress has been made but there is still much to do. There are some fantastic new shows I have enjoyed with diverse casts at their heart — including Heartstopper and Champion — but the progress still feels incremental. Many Diversity and Inclusion executives in the US and UK leaving their jobs makes you wonder how seriously the industry is taking the issue. There is still much to do on disability programming. There seems to be one or two acceptable faces in the UK and that’s it — as if broadcasters feel they have done their part. More everyday representation is needed across all groups — not just shows specifically about an under-represented group. Studies show that exposure to different communities leads to greater understanding and acceptance.

Mounia Aram, founder and president, Mounia Aram Company

Mbuotidem Johnson, CEO/creative director, Basement Animation Nigeria I am a jury member for the kids’ categories this year. I’m excited to help choose deserving winners who champion positive representation. These awards play a crucial role in the progress of the D&I cause within the content industry. They not only celebrate and reward exemplary work but also encourage, educate and set a standard for all-encompassing storytelling. I believe there has been significant progress, but the journey towards full diversity and equitable representation is ongoing. In going forward, it’s crucial to sustain these creativities and strive for even more diversity across all facets of the content industry. In my view, progress has been made, but we must ensure diverse voices and perspectives are also heard in the creative and decision-making processes, from writing rooms, production teams and executive roles. We need to ensure that under-represented communities are not only represented but also accurately portrayed.

Vikram Kulkarni, Vice-president, strategic initiatives Gracenote, a Nielsen company

Adrian Smith, aka Sypped, presenter of The Three Drinkers on Amazon Prime

Gracenote became a presenting partner of the Diversify TV Awards because we believe we can help MIPCOM achieve its goal of bringing attention to inclusive content and voices. Based on our content analytics and data expertise, we are playing an important role advancing diversity in the programming creators make and viewers watch. By ensuring a connection between programming and audiences, we are helping to make TV more engaging and entertaining to viewers and therefore more valuable to the providers who present it.Data supports the fact that content which authentically reflects the identities, sensibilities and experiences of its viewers naturally resonates more with them. We’ve seen marketers benefit from lift in both brand and sales metrics by aligning with inclusive content versus non-inclusive content. We’ve also seen diverse representation in programming drive binge-viewing and attract new viewers to streaming platforms.There are significant challenges today in terms of equitable representation in content. But progress is being made.

My overall view is that the industry is slowly getting there on D&I, but there is still a very long way to go. Speaking for the disability diversity community, I’d like to see more presenters and roles being filled by those in this community. It seems commissioners still very much fear that people with disabilities will be a burden on production. By far the most disregarded D&I community in the TV and film industry right now is the disability community. Case in point — I am a presenter and executive producer with Tourette Syndrome — one of the only active TV presenters with the condition in the world. To date, I have never been commissioned for a role in another’s show due to the stigmas of disabilities like this and commissioner fears of us being a production burden, due to a lack of understanding. I had to create my own TV series, funding it myself via branded content to achieve my goal. It has now won several awards, airing on Amazon Prime in over 80 territories alongside major airlines. Getting a commission still seems out of reach. This is what I want to change.

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MIPCOM CANNES DIVERSIFY TV AWARDS

‘I found my people! I left Cannes invigorated’ Femi Oke, international journalist and broadcaster, and former anchor of Al Jazeera’s news and current affairs programe the Stream, is presenter of the MIPCOM CANNES Diversfy TV Awards for the second year in a row. She spoke to the MIPCOM CANNES Preview ahead of the event Why is it important to highlight the issue of diversity through these awards? I’m going to answer this question with a question. It’s the night before a live broadcast and the experts booked for the current affairs show you present are all male. What do you do? Graciously drop some of the guests and spend all night as a team looking for a line-up that’s more diverse, or shrug and try and do better next time? Al Jazeera’s The Stream team would always stay up all night and “fix” the line-up, because diversity is built into the DNA of the show. However, so many well-meaning broadcasters shrug and stick with what they have, even when it’s obvious that their production lacks diversity. The Diversify TV awards showcase what’s possible when you’re determined to step outside the norms of mainstream TV and make the effort to honestly portray the world in all its complexity and messiness. The Diversify TV awards lead by example.

Do you have a strong example of a show or series that demonstrates seamless and meaningful diversity in its content or approach to production? Two hugely successful series have taken the genre of British period drama and epic fantasy storytelling and reimagine casting. Bridgerton and House Of The Dragon are entertaining, sexy, playful and impressively ethnically fluid. They challenge our preconceptions and misconceptions that people of colour don’t belong in these formats. Why hasn’t the industry progressed as much as it should have done in this area? Or has it? Change takes time. Growing up as a child in the seventies I remember watching sitcoms with white actors blacking up, mocking Indian accents, being jingoistic and racist. These hit shows were accompanied by laughter tracks and huge viewing numbers. It has taken 40 years to evolve beyond this and do better. The Diversify TV Awards are

34 MIPCOM CANNES PREVIEW OCTOBER 2023

FEMI OKE

helping to accelerate the trend towards making more inclusive productions. I hope that youngsters watching what we produce today will have a far better experience when it comes to seeing diverse representations of themselves and their peers than I had. As producers we know how to be inclusive, we just have to get on with it. What thoughts did you take away from last year’s event? When you care that viewers see themselves reflected in your programmes it can feel like a lonely mission. Last year, as host of the 2022 awards, I watched all the entries from the finalists. Binge

watching never felt so good. I found my people! I left Cannes invigorated, and proud to be part of a thriving TV community of diversity warriors making some of the best TV in the world. On October 17, on the stage of the Grand Auditorium of the Palais des Festivals in Cannes, I have no doubt the audience will be just as inspired by the finalists and winners of the 2023 MIPCOM CANNES Diversify TV Awards.

THE MIPCOM CANNES DIVERSIFY TV AWARDS TUESDAY OCTOBER 17, GRAND AUDITORIUM, 12.00-13.00

DIVERSIFY TV AWARDS PARTNERS AND SPONSORS The awards are organised by MIPCOM CANNES in collaboration with founding partner Diversify TV, and in association with Founding Presenting Partner A+E Networks and Data Presenting Partner, Gracenote. Awards Partners also include All3MediaInternational, Iron Mountain, Telefilm Canada and the Canada Media Fund, OUTtv, the United Nations Media Compact, D.I.M.E.S. and Lightboat Media — among other supporting partner companies and organisations.

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CHEER ON OUR 25 NOMINEES ACROSS 9 AWARDS REPRESENTATION OF

DISABILITY NON-SCRIPTED

Inside our Autistic Minds (UK) Original Broadcaster: BBC Two Distributor: BBC Studios Production Company: BBC Studios The Roads of Ae-rin and Woo-ryeong (South Korea) Original Broadcaster: KBS (Korean Broadcasting System) Distributor: KBS Media Production Company: KBS Disability & Abortion: The Hardest Choice (UK) Original Broadcaster: Channel 4 Distributor: Banijay Rights Production Companies: RFD Television and Hey Sonny SCRIPTED About Antoine (Canada) Original Broadcaster: Club illico, TVA Distributor: Amuz Distribution Production Company: ComediHa! Aspergirl (France) Original Broadcaster: OCS Distributor: France tv distribution Production Company: Patafilm Simple (Spain) Original Broadcaster: Movistar Plus+ Distributor: Beta Film Production Companies: Movistar Plus+ in collaboration with Destrucción y Salvación

REPRESENTATION OF

DIVERSITY IN KIDS PROGRAMMING OLDER CHILDREN Phoenix Rise (UK) Original Broadcaster: BBC iPlayer Distributor: Sinking Ship Production Company: BBC Studios Kids & Family Supa Team 4 (South Africa) Original Broadcaster: Netflix Distributor: Netflix Production Companies: Triggerfish Animation Studios and Cake Entertainment Ghostwriter (Canada) Original Broadcaster: Apple TV+

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Distributor: Apple TV+ Production Companies: Sinking Ship Entertainment, Sesame Workshop PRE-SCHOOL Dog Squad (UK) Original Broadcaster: BBC Distributor: BBC Production Company: Hello Halo Kids for BBC Reu and Harper’s Wonder World (UK) Original Broadcaster: Channel 5 Distributor: Channel 5 and Doc Hearts Ltd Production Company: Doc Hearts Ltd Kiya & the Kimoja Heroes (USA) Original Broadcaster: Disney Jr and Disney+ Distributor: eOne Production Company(ies): Frog Box, Disney EMEA, France Televisions, Triggerfish Animation Studio

REPRESENTATION OF

LGBTQIA+ NON-SCRIPTED

Queerstralia (Australia) Original Broadcaster: Australian Broadcasting Corporation Distributor: ABC Commercial Production Company: Guesswork Television Lotus Sports Club (Cambodia) Original Broadcaster: TVK National Television of Cambodia Distributor: Dutch CORE Production Company: Document Our History NOW and RoCK Naked Education (UK) Original Broadcaster: Channel 4 Distributor: All3Media International Production Company: Betty TV SCRIPTED Nights in Tefía (Spain) Original Broadcaster: ATRESplayer Distributor: Buendia Estudios Canarias Production Companies: Buendia Estudios Canarias with the participation of Atresmedia TV About Sasha (France) Original Broadcaster: france tv slash and France 5 Distributor: France tv distribution Production Companies: Jerico TV & Big Band Story

She Loves to Cook, and She Loves to Eat (Japan) Original Broadcaster: NHK (Japan Broadcasting Corporation) Distributor: NHK Enterprises Production Companies: NHK (Japan Broadcasting Corporation)/MMJ

REPRESENTATION OF

RACE AND ETHNICITY NON-SCRIPTED The Swap (Australia) Original Broadcaster: SBS Australia Distributor: No Distributor Production Company: Southern Pictures Folau (Australia) Original Broadcaster: The Australian Broadcasting Corporation Distributor: ABC Commercial Production Company: In Films Fight the Power: How Hip Hop Changed the World (UK) Original Broadcaster: BBC 2 Distributor: BBC Studios Production Company: BBC Studios SCRIPTED Riches (UK) Original Broadcasters: Amazon Prime Video and ITV Distributor: Banijay Rights Production Company: Greenacre Films Little Bird (Canada) Original Broadcaster: Bell Media and APTN Distributor: Fremantle Production Companies: Rezolution Pictures, OP Little Bird Sam - A Saxon (Germany) Original Broadcaster: Disney+ Distributor: Disney Production Company: Big Window Productions (An UFA Fiction Productions GmbH Label)

BEHIND THE SCENES IMPACT AWARD Deborah Williams, Chief Executive Officer, Creative Diversity Network, UK

28/09/2023 17:23

WOMEN IN GLOBAL ENTERTAINMENT

‘Redefining the F word’ One of the hottest tickets of the week is the A+E MIPCOM CANNES Women In Global Entertainment Lunch. Taking place in the Majestic hotel, the invitation-only event has developed into a must-attend networking and learning opportunity for both senior and future female leaders in the media business THIS YEAR, the two-hour celebration will kick off with a panel discussion involving leading female executives. An A-list lineup of guest speakers includes Ruth Berry, managing director of ITV Studios Global Entertainment, Beatrice Springborn, president at Universal Content Productions and Universal International Studios and Hollywood Reporter’s Nekesa Moody. “A+E Networks conceived the A+E MIPCOM CANNES Women In Global Entertainment Lunch over a decade ago, as a meeting place for female executives attending the market to meet, network and be inspired,” A+E senior vice-president, corporate and international relations, Vicky Kahn said. ”Over the years the lunch has been graced with some inspiring keynote guests, most recently, Catherine Zeta Jones, Dream Hampton, Alyssa Milano and many others.” Melissa Madden, senior vice-president, international marketing at A+E Networks, told the MIPCOM CANNES Preview that the event is “an incredible opportunity for diverse women in media to come together. MIPCOM CANNES is one of the few places where so many of us gath-

er from all over the world. So it’s a unique platform for us to network, have conversations about what’s going on in the industry, and be inspired.” Once the panel is over, Madden said the session is all about “enjoying a meal and having a discussion with the like-minded people at your table. The conversation really focuses on what it means to be a female executive in this business. And there’s usually something bubbling up in the industry zeitgeist that emerges as a hot topic. At the same time, there is a real willingness to give advice and share experiences.” Meanwhile, there’s no question that a lot more women have reached top positions in the business over recent years. So how does that influence the dialogue? “I think we’re at an interesting moment in time on this point,” Madden said, “and it’s something we will be reflecting on. Our theme this year is ‘Redefining the F word’ — with F standing for both female and feminism. We’ll be asking how things have changed and where we are right now. The beauty of this event is that attendees are very receptive to having honest and provocative conversations.”

38 MIPCOM CANNES PREVIEW OCTOBER 2023

A+E Networks’ Melissa Madden

Universal’s Beatrice Springborn

ITV’s Ruth Berry A+E MIPCOM CANNES WOMEN IN GLOBAL ENTERTAINMENT LUNCH MONDAY, OCTOBER 16, MAJESTIC HOTEL, 12.30-14.00 DOORS OPEN 12.00

ITV’s Berry said: “The Lunch gives us a forum to share experiences that help us to identify the next wave of opportunities, consider what our personal contribution should be, and to learn how to affect change if the pace is falling short of our ambitions.” Berry said that there is still a “deeply ingrained bias in history to shake off”, but she agrees that women have come a long way in the TV media industry, citing industry leaders and role models including Carolyn McCall (ITV), Maria Kyriacou (Channel 5) and Alex Mahon (Channel 4) in the UK, and the likes of Donna Langley (Universal), Kelly Campbell (NBCU), Channing Dungey (Warner Bros.), Dana Walden (Disney) and Jennifer Salke (Amazon) in the US. “I’m really proud to be at a company like ITV where there is a robust structure to nurture female talent and leaders, and I know we’re not alone in that. Company culture is key in supporting any type of diversity and inclusion, and it’s no coincidence that the gender bias became much more equal at ITV under Carolyn’s leadership. Role models are so important, seeing is believing and the proximity to strong female leaders is empowering to other women.” Those involved in the Lunch say that the concentrated two-hour event continues to inspire and inform them when they have returned to their own workplaces. And Madden says A+E and MIPCOM CANNES organiser RX would love to build on that vibe: “Maybe it could happen more often and in other places. I certainly think there is a shared desire for it to be something that is more of a year-round event.”

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WOMEN’S MENTORING & NETWORKING BREAKFAST THE MENTORS

Celebrating ‘success and sisterhood’ The International Women’s Mentoring Breakfast is organised by MIPCOM CANNES with Paris-based MédiaClub’Elles. This year’s patron is EbonyLife CEO Mo Abudu, who will address the gathering at the start of the event MÉDIACLUB’ELLES exists “to create awareness of unacceptable situations that women find themselves in, and not just on a professional basis,” according to the organisation’s founder and president Florence Sandis. “And especially, to highlight those women who work to improve the representation of women in media via our annual awards Les Trophées Médiaclub’Elles, at French parliament building the Assemblée Nationale.” Launched in 2018, the Mentoring & Networking Breakfast, now in its 10th edition, is designed to offer women attending MIPCOM CANNES and MIPTV the chance to meet experienced female TV professionals who share their experience, tips and advice to help develop their careers. The event is also a place to find new business opportunities, as mentors and mentees discuss all aspects of Mentors and mentees gather on the steps of the Palais after the MIPTV 2023 edition of the International Women’s Mentoring Breakfast

the industry in a roundtable format. When it comes to choosing the mentors, Sandis, said that variety is key: “We like to include talented women from as many different territories and areas of expertise as possible. This year we have a fabulous international line-up of TV professionals,” Sandis said. “With our partners at MIPCOM CANNES we discuss the potential mentors that we have heard of or read about — but it is not unusual to be approached by a future mentor who is actively involved in helping the younger women around her in her own company and wants to join in.” Sandis added that the event is principally about “women supporting women. The warm and friendly atmosphere that is created during the short time spent together also encourages participants to feel at ease to discuss. Participants hopefully come away feeling more posi-

tive and having really enjoyed their experience.” She added: “We also encourage the participants to keep in touch afterwards to drive new business opportunities and some do keep in touch and work together. Success and sisterhood… these are our best achievements.” And genuine new business opportunities do emerge from the breakfast. At the last breakfast, held at MIPTV in April of this year, Claudia Kessler, an aerospace engineer, spoke of her ambition to put the first German woman into space. That hasn’t happened yet, so she decided to make a TV series about it. During the roundtable discussion Kessler found likely partners for her series, titled The Astronaut, about a woman with the ambition to launch the first German woman into space, but who is constantly discredited by “the grey masters of the European Space Organisation and the German Space Institute”. Headline findings and conclusions from the April session included: Don’t let fear stop you from doing what you do; Know your value; Learn how to negotiate properly; In difficult situations it’s important to find an ally in the room, and; Determine what it is you want and then stick to your goals. Sandis said at the April event: “We are victims of our success. There are many more women here this year; we will need more mentors next year.” And that is exactly what has happened: the number of mentors — and tables — has increased this year from eight to 10.

Zeinab Abu Alsamh, MBC Studios (Saudi Arabia) Caroline Béhar, France Télévisions (France) Ruth Berry, ITV (UK) Mikiko Nishiyama, Nippon TV (Japan) Sharon Levi, yes Studios (Israel) Karla Pita Loor, Banijay Americas/Endemol (US) Adina Pitt, Warner Bros. Discovery (US) Bouchra Rejani, Wemake Productions (France) Katayoon Shahabi, Shahrzad Media International (France) Ana Celia Urquidi, Atenea Media (Mexico)

INTERNATIONAL MENTORING & NETWORKING BREAKFAST FOR WOMEN IN MEDIA VERRIÈRE GRAND AUDITORIUM, WEDNESDAY, OCTOBER 18, 08.30-10.30

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UNLOCKING AI SUMMIT

Experts unlock the secrets of AI With generative AI tools such as ChatGPT and Google Bard poised to transform the creative industries, MIPCOM CANNES is launching its first-ever Unlocking AI Summit. Featuring experts and decision-makers from around the globe, this dynamic new forum will explore the impact of the latest tech revolution and provide delegates with practical ideas about how to harness AI AFTER an opportunity to network at the start of the Unlocking AI Summit, there will be a series of talks exploring what AI means for the TV industry. From physical production to content discovery, the Summit will examine the impact of AI across the entire creative and distribution ecosystem. Hot topics such as the threat AI poses to creators — encompassing regulation, copyright and ethics — will be addressed by executives working at the forefront of emerging tech. Speakers include Deep Fusion Films producer Benjamin Field; Google Cloud head of media broadcasting solutions, Anshul Kapoor; Largo.ai CEO Sami

Arpa; Aive CEO and co-founder Olivier Reynaud; and creative technologiest Ross Goodwin. Presenting the Summit is Kati Bremme, head of innovation, France Télévisions and advisor to HUB France IA. Speaking to the MIPCOM CANNES Preview magazine, Bremme said: “One of my daily responsibilities is to identify emerging trends, comprehend new user behaviours, and anticipate forthcoming technological revolutions.” According to Bremme, key questions on AI from delegates would include: “How can AI act as an accelerator for creativity instead of supplanting creative profession-

als? What legal framework and regulations should be established for new challenges surrounding intellectual property, particularly now that AI is capable of imitating image, voice, and style? What will be our relationship to truth and reality in a world where falsehoods can now be mass-produced?” Her advice to delegates in Cannes? “Seize this time for exchange with peers and experts to cut through the hype and identify genuine business cases that align with your company’s values. It is not AI that will replace us, but rather those individuals who have grasped the potential of AI will supplant those who turn a blind eye.”

In addition to the talks on Tuesday, there will be a series of roundtables on Thursday — each to be led by an AI pioneer. Confirmed roundtable leaders include: Hannah Taieb, head of business development, Spideo; Marianne Carpentier, chief innovation & technologies officer, Newen Studios; Atul Phadnis, CEO, Vitrina AI; Dimitri Konovalov, CBDO and co-Founder, DubFormer; and Nathan May, Data Scientist, Backup Systems/MovieChainer. Ahead of MIPCOM CANNES’ first unlocking AI Summit, we spoke to some of the professionals involved in the event.

Dragos Tudorache MEP, European Parliament & Vice-President of the Renew Europe Group A SESSION on AI regulations that looks towards building a “trustworthy, lawful, and efficient framework” includes contributions, by video link, from Dragos Tudorache, MEP, European Parliament and vice-president of the Renew Europe Group. The session is moderated by lawyer and consultant Dr Mathilde Pavis. Tudorache reports on the AI Act to the Civil Liberties, Justice and Home Affairs committee (LIBE) and among others, he sits on the Committee of Inquiry to investigate the use of Pegasus and equivalent surveillance spyware (PEGA). He was also chair of the Special Committee on Artificial Intelligence in the Digital Age (AIDA). 44 MIPCOM CANNES PREVIEW OCTOBER 2023

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UNLOCKING AI SUMMIT My work involves finding practical solutions that allow creative projects to integrate new exciting AI technologies without negatively impacting the people involved — like the actors, the director, or the viewers. For example, how can an actor collaborate with a production company to make an engaging film using a clone of their voice created with AI technology without exposing themselves to risk in relation to their privacy or their intellectual property? With each new AI application comes a new challenge of exciting creativity to be balanced with an ethical, equitable and legal way of working. Content editing and post-produc-

tion work is a routine example of AI technology impacting the content business. Today’s editing software invariably has AI integrated into its technology to generate faster and better edits for users at all entry levels. Today, you can use free software to post-produce sound for a podcast recorded by an amateur producer at home that will make them sound like they recorded from BBC or CNN. If you take this stepchange into video editing, you can only imagine the quality. Digital cloning is another area which has advanced leaps and bounds. For example, the latest voice-cloning tools have experts in awe at the speed and quality with

which digital replicas of people’s voices can be generated today. We are also poised to see high-quality digital face clones integrated into movies, series or video games. There are three key practical steps you can take to work with AI better or more effectively: (1) learn enough about AI to ask the right questions with collaborators, funders or clients; (2) seek and ask for consent before applying AI technologies to your collaborators’ content; (3) be transparent about when and how you use AI with the people you work with and your audience. If you do this, you will remove 99% of the problems most creative project or businesses face today when creating with AI.

Dr Mathilde Pavis, lawyer and consultant, expert in IP and AI

Kati Bremme, head of innovation, France Télévisions and advisor to HUB France IA

Hannah Taieb, head of business development, Spideo Spideo is a leading European player in personalisation for the entertainment industry. By bringing transparent algorithms and human-centred AI, we create a space where the algorithm is able to help boost productivity and user experience to a maximum for streamers. In terms of likely-use case scenarios, self-generated content sounds like the most impactful AI element for the content business. Are the possibilities infinite? Probably not, as without human curation and fine-tuning the quality would quickly be deprecated — as it would just augment a hyper-choice of bad content. My advice to MIPCOM CANNES delegates? The more you learn the better it is, so freely explore the possibilities of AI and decide whether it’s a good investment or not.

46 MIPCOM CANNES PREVIEW OCTOBER 2023

With the advent of ChatGPT and large language models like Transformers, the game has completely changed. Scientists may tell you that this technology has been mature for some time — but what has changed is its accessibility to the general public: everyone knows how to use a conversational interface, everyone can issue a text command to Midjourney to create an image that was previously only within the reach of seasoned artists, and tomorrow, everyone will be able to produce a video, compose a piece of music, or even create a game. So, for me, AI is unequivocally a game-changer — far more so than the hype surrounding the metaverse that we experienced last year. Where AI is extremely useful today is in upstream collaboration and creation: it allows for the easy visualisation of settings, brainstorming of plot ideas, challenging of different versions of a story, and co-creation with multiple individuals, even overcoming language barriers. Tomorrow, AI could assist in tailoring the user experience; you could choose your favourite star to host a programme or engage in an interactive narrative with multiple possible outcomes. The technology could allow individuals to see themselves reflected in a diverse range of content. However, there are limitations: the goal is not to encase each individual within their own personal experience bubble, but also to create meeting points, emotionally resonant and impactful experiences, and dialogues, to enable everyone to maintain an open mind.

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UNLOCKING AI SUMMIT Dimitri Konovalov, CBDO and co-founder, DubFormer Even before the revolution driven by Generative AI, a significant trend was the rapid growth of content due to the simplification of various content creation and distribution processes. This trend was closely

tied to the increasing demand for content localisation. Consequently, the first usage of AI-driven dubbing for content localisation began well before the latest wave of the current revolution. With the advent of generative AI, this trend is poised to continue, and the need for scalable localisation will only intensify. Furthermore, the AI dubbing process itself is undergoing rapid changes in multiple aspects. For example, I anticipate utilisation of large language models (LLMs) to enhance localisation, or the adoption of various speech-generation techniques that yield higher-qual-

ity outputs, thereby enhancing viewer engagement. In addition to content localisation, I believe AI will have a significant impact on two other major areas within the content business. Firstly, AI can be harnessed to further streamline content production. This doesn’t entail the creation of entire movies with the push of a button, but rather practical applications such as optimising workflows with visual effects, facilitating scene changes, or tailoring dialogues for different target audiences. Secondly, it’s the use of neural

networks to make the relationship between the content and the viewer stronger. Think of it as video analytics that can find utility in various applications, from improving recommendation engines to extracting insights. For MIPCOM CANNES delegates considering the implications of AI, I would offer the following advice: embrace the current exciting era of AI experimentation. Many are exploring its potential, making it very easy to get started. However, before diving into a new AI test, prioritise the establishment of clear metrics for measuring impact.

Atul Phadnis, Founder-CEO of Vitrina AI AI’s impact in the content industry is going to be deep and powerful. AI is already adding new capabilities, increasing operational efficiencies as well as helping in content creation, curation and transformation. Here at Vitrina AI, we are using AI to map, profile and connect specialist companies within the entertainment industry for upcoming production, post and localisation projects as well as content requirements. AI is already causing large waves in VFX, animation, post, localisation. It’s also helping in storyboarding, design, marketing communication and creating social/digital media. The ability for AI to change the form of the medium — text to text, text to images, text to video, image to text, voice to voice, text to voice and so on — these are limitless breakthroughs that could create innumerable applications inside the media and content industry. My advice to MIPCOM CANNES delegates is as follows: Learn… and not shut-out. Caution… but not halt. Embrace in time… and not be left out forever.

UNLOCKING AI SUMMIT THE MIP LAB TUESDAY, OCTOBER 17, 08.45-11.00

AI ROUNDTABLES THE MIP LAB THURSDAY, OCTOBER 19, 09.30-10.30

48 MIPCOM CANNES PREVIEW OCTOBER 2023

Marianne Carpentier, chief innovation & technologies officer, Newen Studios AI is definitely a game-changer. These new systems, endowed with the ability to learn and create autonomously, have the potential to revolutionise content production. On the one hand, generative AIs can act as virtual collaborators, helping to generate scripts, create bluffing visual effects or marketing material. On the other, they open up a complex debate on intellectual property and the authenticity of art. The potential impact on our business is immense. However there is also an ethical challenge. We are committed to navigating these uncharted waters with care and responsibility, establishing ethical principles to guide our explorations. I don’t think anybody can predict the most likely use case scenarios. But I do believe we can choose where we want to put AI or not. As far as I’m concerned, I choose to use AI as a tool for humanity to enhance its creativity, not to replace it. My advice to MIPCOM CANNES delegates is to use AI, play with existing tools, don’t be afraid of it but master it. It could help you in your daily routine, for small tasks, and maybe one day it will help you to unleash your creativity!

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FAST & GLOBAL SUMMIT

FAST: ‘a lean back discovery experience for free content’

$12bn by 2027. So it was no surprise to see MIPTV CANNES’ first ever FAST & Global Summit in April packed to the rafters.

The second edition of the FAST & Global Summit looks like it will be just as heavily-subscribed, with scores of leading industry players signed up to participate. At the time of writing, companies including Paramount Streaming, Vizio, Tubi, Xumo, Roku, Samsung TV Plus, Fremantle, Banijay Rights and Little Dot Studios have all confirmed their participation. The FAST & Global Summit consists of a series of thought leadership sessions and roundtable

workshops offering practical guidance to delegates. Professor and media commentator Evan Shapiro is unveiling his new FAST Map from his company EShap.TV, via video link. Presenting partner is Amagi, a pioneering Indian company that has helped numerous content owners transform their FAST strategy from shop talk to live schedules. We spoke to some of the participants in the Summit ahead of MIPCOM CANNES.

limited to the US anymore. Data from our in-house data analytics solution, Amagi Analytics, shows similar growth trends across the globe. While the ad impressions are up by 27%, hours of viewing (HOV) have grown by a whopping 51%, along with the increase in channel deliveries at 87.5%. Apart from it being a source of free, high-quality content, some key driving forces behind its growth include the massive penetration of connected TVs (CTVs), targeted content and ads. Projections indicate that the global FAST market will experience a remarkable 15.4% compounded annual growth rate (CAGR) from 2023 to 2032, reaching a substantial $28bn market size. Clearly, the golden era of FAST is on the horizon. Overall, it’s safe to say that FAST has exceeded

expectations, consistently setting new records in the ever-evolving streaming landscape. FAST is increasingly gaining viewer attention, and it is becoming a global phenomenon owing to a high level of CTV penetration, superior internet bandwidth availability, and advancement in technologies related to video streaming. We see ad dollars slowly moving to FAST channels as viewers move away from traditional pay-TV subscriptions to more cost-effective linear viewing experiences. Therefore, there is no better time than now to enter the FAST space. Apart from a compelling and unique content library, the distribution network is the other critical success factor when launching FAST channels. Choose your FAST partners in such a way that they give you access to a global network of FAST

platforms, help you with programmatic ad sales, and hassle-free ad insertion solutions. The barrier to entry in the FAST segment is still quite low, so if your channel is not generating viewership and ad revenues, you can discontinue at will. There is no need for expensive, upfront infrastructure investments. You can pay as you go! This time at MIPCOM CANNES, we will be happy to show our progress since the announcement of Amagi Connect at MIPTV. In a short span of time, we have more than 300 channels using the content marketplace. We are now enabling both content owners and platforms to discover each other. Platforms can expand their channel line-up while content owners get access to new distribution and destinations, all within a few clicks.

One of the most remarkable developments in the global TV business over the last 18 months has been the expansion of the ad-supported FAST channel sector. Driven initially by growth in the US market, there are clear signs that FAST is now coming to the global market, with channels popping up across Europe and Latin America EARLIER this year, research firm OMDIA predicted that FAST channel revenue would triple over the next five years, reaching

Lior Friedman senior vice-president, business development, Amagi SAYING that FAST is booming would be an understatement. Samba TV’s latest report claims that one in every three households watch FAST. These growth trends are not

50 MIPCOM CANNES PREVIEW OCTOBER 2023

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FAST & GLOBAL SUMMIT Jens Richter, CEO commercial and international, Fremantle FAST is a great opportunity to provide a lean back discovery experience for free content, direct to the customer, with a less cumbersome and less costly distribution method then traditional cable. It is easier for digital platforms to support, but it is moving into the next stage of maturity. The monetisation opportunity for the channels needs to be enhanced, the customer experience needs to be focused on and the competition for EPG space is heating up with major studios entering the arena. All the benefits mentioned above, plus the fact that many device manufacturers have world reach, are driving international growth. Additionally, many cable and broadcast power players are pivoting into the space internationally and that comes with built-in local ad demand. The question is how fast the platform tech and ad markets can mature internationally, and how we can bring true demand to support the business?

Cedric Monnier, CEO & co-founder, OKAST In the US, the model is closed to saturation (over 1,500 channels) and has proved to be sustainable. In Europe, it’s gaining ground, with local channels and advertisers coming up. We also see massive adoption in LatAm and rising figures in Asia. FAST is going premium, and is entering a competitive/ emulation phase. This means channels have more professional scheduling, better video editing, and more premium content. We also see more big broadcasters and studios launching their channels. My advice to delegates thinking about launching FAST channels? Play local! Platforms want local content, well known by the audience and advertisers. If you don’t have known, local content, licensing to aggregators or platforms may be the right move. 52 MIPCOM CANNES PREVIEW OCTOBER 2023

Stephen L Hodge, CEO, OTTera We view FAST as the natural evolution of linear television. Adoption continues to increase and the low-cost eases new entry into the space. The hype is certainly real with many publishers finding FAST representing a lucrative new revenue stream. However, success is not a guarantee to any company entering FAST from any angle and involvement should be assessed, analysed and budgeted as a business opportunity. If looking to launch channels, we suggest you be aware of your niche and the size of the market you are looking to address, review channel listings of key platforms you are looking to reach and select a vendor who can get you there. For content licensing, it’s a great way to expand upon monetisation efforts, be open to partnering with established channels with strong reach across leading platforms. In terms of trends, I believe dynamically created, personalised channels are coming soon, as well as e-commerce made simple with interactive overlays on channels.

Laura Florence, senior vice-president, Global FAST Channels, Fremantle My goal is to look at how I can bring lessons from broadcast and sponsorship/monetisation and pair it with optimising the customer experience. The biggest challenge is the limited amount of data passed through to help FAST operators make decisions. Unlike broadcast where you operate off panel ratings, FAST platforms have all the metrics of how the ads are serving, streams are performing and how customers engage with the content. Providing a way for operators to view and grow channel performance while not hurting platform protection will be key. Personalisation and discovery will be the next big thing as they are critical components to growth. My advice to delegates thinking about launching channels is to think of a channel as a long-term brand investment. What is the yes for why your channel is relevant vs a major studio partner?

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FAST & GLOBAL SUMMIT

Sarah Shriver, vice-president, programming, marketing and sales, FAST channels and VOD, BBC Studios

As a table host at this year’s FAST & Global Roundtables session — part of the MIPCOM CANNES FAST & Global Summit — Sarah Shriver is responsible for growing monetisation opportunities and the overall footprint of BBC Studios-owned programming across VOD and FAST, platforms and partners. Prior to that she spent 14 years at A+E where she held both digital content sales and ad sales roles, as well as leading strategy for growth business across the digital A+E Networks portfolio including digital ad sales, launching apps, FAST channels and VOD collections to connected-TV (CTV), OTT streamers, free ad-supported TV (FAST) and VOD services. Shriver is a member of CHIEF, a network of women in leadership, and of Women in Cable Television (WICT).

Samuel Harowitz, vice-president, content acquisitions and partnerships, Tubi

Richard Young, director of FAST & OTT platforms, Little Dot Studios Our view on FAST is that the market will continue to expand and develop because consumers like a lean back linear experience in addition to other formats. With the move of pay-TV content from the likes of Disney and Paramount to SVOD, FAST will, in many markets over time, substitute ‘basic’ pay cable and satellite channels. FAST provides a linear experience — but with channels that are more targeted at audiences and which also deliver aspects of VOD such as binge viewing. The US was the first market to develop FAST services and is still the largest. Structurally, the market favoured FAST, because with cord cutting driven by the proliferation of SVOD services, consumers started to look for a free alternative to linear channels. Other markets such as the UK, Australia and Spain have a stronger free-broadcast market. However, FAST channels are becoming part of the multichannel offering that in broadcast has historically been delivered by pay channels bundled with cable and satellite. That creates programmatic advertising opportunities. After the first few years of rapid growth in viewing and flow of ad spend into FAST, this year has been one of more consolidation. Bigger groups have entered the market and we think this will continue, but the key trend we see is more traditional cable or satellite platforms entering the space and integrating FAST channels into their proposition. This is important because these platforms still have significant customer bases.

FAST certainly continues to be a hot topic these days. With the entrance of major studios onto the FAST-channel landscape, we’re seeing an uptick in the availability of premium programming that was previously not accessible in AVOD. And while this is great for services like Tubi, ultimately it’s living up to the hype for viewers who are the real beneficiaries of this new, but familiar, means of consuming entertainment. FAST offers a lean-back experience that many are looking for when they consume content, especially for those who are accustomed to using an EPG (electronic programming guides) as is standard on linear television. And while we’re encountering continued growth of FAST channels, both domestically and internationally, where it can attract new viewers to a service — we believe the future of streaming is VOD and that the experience FAST offers is complementary to our VOD library. We are seeing that live programming is continuing to develop in the FAST arena. We see a lot of engagement on live programming across Tubi’s FAST channels where out of the near 250 channels we offer, 126 are live local news and we’re adding more live sports that super-serve specific audiences. We are seeing that local news, and sports are tune-in drivers, much like they continue to be for linear broadcasters.

Katherine Pond, group vice-president, platform content and partnerships, Vizio Speaking during the Fast & Global Talk Series, part of the FAST & Global Summit, Katherine Pond leads digital distribution, content acquisition, and strategic partnerships. She lead Vizio’s recent re-brand and launch of its owned and operated (O&O) streaming service WatchFree+. Pond co-founded Vizio’s Ascend Women’s Network, which helps promote the success of women by providing mentorship, leadership, education and networking.

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Gavin Bridge, vice-president, media research, and FAST master, CRG Global I’ve been invited to speak all over the world this year about the opportunities within FAST, and wouldn’t have travelled to Canada, Europe, Australia and Korea if there was not serious interest in the format. Warner Bros. Discovery, NBCUniversal, A+E Networks, Vevo and Amazon have all leaned deeply into creating new FAST channels in 2023; something that they wouldn’t do unless revenues where there. My view is that this is certainly the year of international FAST. I was told in Australia that this was the first time that there was considerable domestic interest in the format, and I think that holds true for many areas that had not previously been that into FAST. I think the next development will be exclusive channels on platforms. The real battle is going to be for FAST services to stand out to attract attention, and that’s where channels that are exclusive to them will be essential. If you own a content library like Fox, Paramount or NBCUniversal, that’s great. But the global free radicals of FAST — Fremantle, Banijay, A+E, AMC, Sony Pictures, WBD, Blue Ant Media, New ID, BBC Studios, ITV, Vevo, Lionsgate — have a very important

FAST & GLOBAL SUMMIT PART I: ROUNDTABLES TUESDAY OCTOBER 17, MIP LAB, 14.00 FAST & GLOBAL SUMMIT NETWORKING RECEPTION TUESDAY OCTOBER 17, MIP LAB, 16.00-17.00 FAST & GLOBAL SUMMIT PART II: TALK SERIES WEDNESDAY, OCTOBER 18, MIP LAB 08.30 WELCOME COFFEE 09:00 TALK SERIES PART I 09:50 NETWORKING COFFEE BREAK 10:05 TALK SERIES PART II PRESENTING PARTNER AMAGI SUMMIT PARTNERS OTTERA MERZIGO FREQUENCY THE FAST COCKTAIL RECEPTION SPONSORED BY XUMO ROUNDTABLE SPONSORS EITB OKAST.TV A+E NETWORKS INSIGHT TV MEDIAGENIX PAPERCUP 56 MIPCOM CANNES PREVIEW OCTOBER 2023

Shaun Keeble, vice-president digital, Banijay Rights FAST channels have been among the buzziest set of words in our industry for some time now. And, for the most part, this space is living up to the hype — as demonstrated by the rapid growth of our own portfolio. Banijay Rights currently has 24 live FAST channels with 134 live streams, spanning territories including the US, Canada, the UK, Germany, Australia and Brazil. I understand why so many producers and distributors are looking to generate revenue outside of traditional finished tape sales and launch more channels. Our take is to remain focused on catalogue sales in this space, and monitor additional opportunities that might arise if commercial models and ROI grows. I predict more premium content will start to appear. But personalisation needs to occur too. Whether this is in the form of targeted content or electronic programming guides, content discoverability is the name of the game if distributors are to cut through the crowded markets. Meanwhile, I expect we’ll start to see the growth of original content on platforms at some point, for this to happen commercial models will need to shift as FAST continues to grow across emerging and key markets. There are five basic pillars I always swear by when launching a FAST channel: pick the right territory to launch in; have decent content volume and recognisable IP to launch with; think about the best commercial model; choose the best method of hosting a channel; and work on an effective marketing and promotion campaign.

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EVENT SCREENING: ZORRO

‘A rare franchise that resonates with everyone’ MIPCOM CANNES is hosting the Event Screening of Zorro, a highlyanticipated 10 x 52-mins live-action series that reimagines the legend of the masked hero who champions the poor. The screening, which will act as a curtain raiser to the market, is co-hosted by distributor Mediawan Rights and will be attended by leads Miguel Bernardeau, Renata Notni and Dalia Xiuhcoatl

EVENT SCREENING: ZORRO

OPENING MIPCOM CANNES and open to all delegates, on Sunday, October 15, is the Event Screening of Zorro. The screening is followed by a Q&A with stars of the series Miguel Bernardeau, Renate Rotni and Dalia Xiuhcoatl, and key executives including Sergio Pizzolante, president of commercial & international distribution at the show’s producer Secuoya Studios. Set in 1834 Los Angeles, Zorro stars Bernardeau, (Elite, 1899, The Last One) in the eponymous role — landowner Diego de la Vega and, when in disguise, the masked hero of the people. Featured alongside him is rising star Renata Notni as Lolita Marquez. Speaking about the role, Bernardeau called it “an enriching experience. The coming of age of Diego, finding himself as Zorro and discovering a purpose in his life, has an appealing contrast with all the action and comedic sides.” Zorro is a Secuoya Studios production for Amazon Prime Video in the US, Latin America, Spain, Portugal and Andorra with Mediawan Rights holding the remaining distribution rights. Valérie Vleeschhouwer, general manager of Mediawan Rights, said: “The show has everything to embrace a global audience: it respects the codes of the franchise but also adds great storylines with a contemporary relevance, strong cast and characters, stunning scenes and high-end production.” Executive producer David Cotarelo said there were three key

landmarks: “The first was when we read the first script by Carlos Portela. Through Carlos, we found the tone and the way to modernise an iconic character. The second was when we finalised the cast. There, we knew that our vision was not only valid on paper. And the last was when we started filming, after a very tough pre-production.” Pizzolante added: “For Secuoya Studios, this is the culmination of a long road.” Of Mediawan, he said: “We wanted a part-

‘The show is pure entertainment that can be watched by all the family’ Valérie Vleeschhouwer

ner that shared our vision and had robust global distribution. From the get-go, Mediawan clearly understood the opportunity.” Vleeschhouwer said the partners will present the first episode of the series at the opening of MIPCOM CANNES. Expanding on its appeal, she added: “Zorro is a huge IP, one of the rare franchises that resonates with everyone… The show is pure entertainment that can be watched by all the family.” The TV market is rapidly evolving, Vleeschhouwer said. “Buyers are reducing the volume of their acquisitions while fo-

cusing an efficient and powerful content. Having a show which is such a famous brand and that provides a good mix of action, adventure and uplifting moments while reaching a co-viewing audience, is exactly what channels and platforms are looking for.” In terms of the key personnel who brought the project to life, Cotarelo said the “driving force behind this project has been executive producer David Martínez. We have all contributed and collaborated, but he pushed to keep our spirits up and has been the primary reason for the wonderful outcome.” “After eight months of filming in Gran Canaria, we anticipate the series debut in the first half of 2024,” Martinez said. “We firmly believe that its debut on Prime Video will be a success, solidifying this significant venture as one of the most prominent among next year’s releases.”

EVENT SCREENING: ZORRO SUNDAY, OCTOBER 15, GRAND AUDITORIUM, 18.00-19.15

MEDIAWAN RIGHTS’ VALÉRIE VLEESCHHOUWER SECUOYA STUDIOS’ SERGIO PIZZOLANTE AND EXECUTIVE PRODUCER DAVID COTARELO

MIPCOM CANNES PREVIEW OCTOBER 2023 59

INTERNATIONAL PREMIERE SCREENING

‘The tingling anticipation of love’s joy’

INTERNATIONAL PREMIERE SCREENING: ALICE & JACK MONDAY , OCTOBER 16, GRAND AUDITORIUM, 18.00-19.15

Andrea Riseborough and Domhnall Gleeson in Alice & Jack

MIPCOM CANNES is hosting the International Premiere Screening of Alice & Jack — an intimate love story starring actor and producer Andrea Riseborough and actor, director and screenwriter Domhnall Gleeson — in the Palais de Festival’s Grand Auditorium. The screening will be followed by a Q&A with some of the talent from the series ALICE & JACK is described as “a love story for the ages”. When Alice and Jack meet “they’re bound by a connection so powerful it seems nothing can break it. But will their path lead them to a place of happiness? Or will life and their own emotional complexities get in the way?” Starring Academy Award-nominated actress and producer Andrea Riseborough (To Leslie, Birdman) and actor, director, and screenwriter Domhnall Gleeson (The Patient, The Revenant), Alice & Jack is created and written by Victor Levin, (Mad Men), with director duties shared by Juho Kuosmanen (Compartment 6) and Hong Khaou (Lilting). The series is produced by Fremantle, Groundswell Productions, Me + You Productions and De Maio Entertainment, and has already secured licence deals with Channel 4 in the UK and PBS Masterpiece. Channel 4 head of acquisitions and international Nick Lee said: “The intimacy of Alice & Jack makes it heart-wrenching and unmissable in equal measure. It is something quite special.” Speaking to the MIPCOM CANNES Preview magazine, Gleeson said he first read the scripts a few years ago. “At that time, the project didn’t come together, but it stayed in my mind. Then I learned it was under consideration again, and that Andrea was attached. At that point, our condition for committing was that we find the right lead director. Andrea men-

tioned Juho and everybody was excited because we had seen his work. He’s a world-class filmmaker. He makes things beautifully, and is all about connection on screen. He also has a sense of humour, which was really important for these scripts.” Love, of course, is a well-worn theme on the small screen. So how did the creative architects of Alice & Jack bring a fresh perspective to the series? Kuosma-

alive. It all feels very palpable.” Riseborough said Alice & Jack’s story is “for anyone who could or couldn’t make the sacrifice that love demanded, for anyone who battles and accepts the one who makes their soul soar, for anyone who longs to feel, who has felt, and who feels the tingling anticipation of love’s joy.” The bulk of the action takes place around London and Southeast England where Alice works in financial services and Jack is a biomedical researcher. But Kuosmanen stressed it is “not landmark London. I spent a

lot of time cycling around with cinematographer Max Smeds looking for locations that would really make it feel like they live there — by the canals, up on Hampstead Heath.” Alice & Jack is distributed by Fremantle, whose CEO of global drama Christian Vesper added: “Rarely does a TV series pitch love and comedy in such a flawless combination. We’re proud and humbled to be bringing such a smart and sophisticated drama from world-class creatives at the top of their game.”

Andrea Riseborough and Domhnall Gleeson in Alice & Jack

‘Rarely does a TV series pitch love and comedy in such a flawless combination’ Christian Vesper

nen said: “Alice & Jack is about the complexity of love, the beauty and the pain. Love may not be a new subject, but it’s all about how you portray it.” Gleeson, whose career has moved in the direction of TV in recent years, with critically acclaimed series including The Patient and The White House Plumbers, added: “It’s one of those relationships where they can’t live without each other. But how they relate changes over the 16 to 18 years of the story. Sometimes their love is killing them. And other times it’s the only thing keeping them

MIPCOM CANNES PREVIEW OCTOBER 2023 61

MIPCOM CANNES WORLD PREMIERE SCREENING: CONCORDIA

When AI gets into the wrong hands Beta Film and ZDF Studios present the World Premiere Screening of their highly anticipated surveillance drama Concordia at MIPCOM CANNES, produced by the companies’ joint venture Intaglio Films. The series’ showrunner and executive producer Frank Doelger spoke to the MIPCOM CANNES Preview ahead of the premiere CONCORDIA tells the story of a futuristic town that is powered by AI surveillance. It is on the verge of expansion when twin catastrophes strike: the first-ever murder and a hack of its AI tech. A team races to solve both crimes but, in doing so, uncovers a shocking original sin that could bring everything crumbling down. A six-part series, Concordia is

produced by Intaglio Films for ZDF, France TV, Hulu Japan and MBC, and is jointly distributed globally by Beta Film and ZDF Studios. Created by Mike Walden (The Frankenstein Chronicles) and Nicholas Racz (The Burial Society), the series is shot in English across various European locations, including Rome, Gothenburg and Leipzig. Commenting, Jan Wün-

62 MIPCOM CANNES PREVIEW OCTOBER 2023

Ruth Bradley in Concordia

‘The debate as to whether AI is a force of good or evil is central to the drama which drives Concordia’ Frank Doelger

schmann & Robert Franke, managing directors Intaglio Films, said: “This new, captivating, and thought-provoking series will grant audiences a glimpse into what seems like a bold new world, where technology and its potential for abuse converge.” The premiere will be followed by a Q&A with multiple Primetime Emmy Award winner, showrunner and executive pro-

ducer Frank Doelger (Game Of Thrones, The Swarm) – and key cast members including Christiane Paul (Counterpart) and Ruth Bradley (Ted Lasso). Explaining his attraction to the project, Doelger told the MIPCOM CANNES Preview that he has “always been fascinated by utopian communities which are created to serve better the needs of their residents and the larger society in which they were a part. I was also intrigued by the idea of imagining what such a community might be like today.” He said the idea behind the series strikes him as “extremely relevant” right now “given that the debate as to whether AI is a force of good or evil is central to the drama which drives Concordia. It’s hard to imagine a country in the world whose people

aren’t — or won’t soon be — grappling with the impact of AI on their lives.” With a budget of around €3m per episode, Concordia brings together several of the partners involved in another high-concept drama from Intaglio, The Swarm: “We pitched the idea to our partners on The Swarm,” Doelger said, “and as they saw the promise in the idea and its potential to break through, they came on board.” Concordia is a limited series, but has the potential to continue, Doelger said. Explaining the decision to shoot in English, he said: “English is the official language of the town, whose residents come from every corner of the globe. But we do have scenes in other languages when right for the characters and situation.” According to Doelger, there has

been a sense of satisfaction in being able to work with some of the same behind-the-scenes talent on both The Swarm and Concordia. “As was true of my experience on Game Of Thrones, it was great to be able to promote so many members of The Swarm crew to more senior positions on Concordia.” In the series, Christiane Paul stars as Juliane, the visionary behind the new utopia, together with Steven Sowah, who plays her son Noah, the ambassador in charge of expanding the experiment. Ruth Bradley is Thea, an external investigator, who joins up with Isabelle, played by Nanna Blondell, to uncover Concordia’s secrets. At MIPCOM CANNES, Beta Film and ZDF Studios will premiere the first episode, the remaining five to be completed early next year.

MIPCOM CANNES WORLD PREMIERE SCREENING: CONCORDIA TUESDAY, OCTOBER 17, GRAND AUDITORIUM, 18.00-19.15

Concordia cast members Steven Sowah (Noah), Christiane Paul (Juliane), Ruth Bradley (Thea) and Nanna Blondell (Isabelle)

MIPCOM CANNES PREVIEW OCTOBER 2023 63

THE SEAVIEW PRODUCERS HUB

Producers Hub turns spotlight on co-production and finance THE SEAVIEW Producers Hub is a 1,000 sq m theatre and networking space, the annual business hang-out for producers and everyone involved in co-productions worldwide. Introduced to reflect the increased focus on the market for exploring early-stage development, the Hub “hosts all the the key creative sessions [Sunday to Thursday] surrounding co-production partnerships and financing across scripted and non-scripted, serving as a catalyst for international deal-making at MIPCOM CANNES,” according to the sessions’ curator, film and TV consultant, Laura Gragg.

Sponsors of the Hub include Plex, a platform that offers free ad-supported TV shows and movies, FAST channels and live TV channels to over 180+ countries, in 81 languages. “We lead the streaming industry with international and foreign-language content, offering a plethora of opportunities for our partners to get in front of our global audience,” Plex vice-president, marketing, Scott Hancock, said. He added: “We are independently owned and have partnered with the biggest names in entertainment. As we continue to expand our product portfolio, we’re focused on continuing to

Your opportunity to meet the experts A NEW format of informal conversations around the bar area of the Seaview Producers Hub – under the title Meet The Expert are curated by Peter Hamilton, industry consultant and publisher of Documentary Business. In the first, How To Navigate SVOD, AVOD And FAST Options And Rights For Your Documentary, acquisitions, originals and distribution expert Wendy Bernfeld will engage in an informal conversation during which delegates get the chance to ask questions about streaming platform opportunities, and business and rights issues that can determine the success and failure of their projects. Bernfeld’s company The

Rights Stuff is an international consultancy providing content strategy and pragmatic licensing services, including content curation, acquisition, distribution and development, with emphasis on maximising the potential of rights and windows across evolving platforms and traditional media. In the second, on Tuesday, October 17, and titled The Music Documentary Challenge: Keeping The Peace Between Producers, Estate Stakeholders And Commissioners, documentary production and distribution expert Peter Worsley answers questions about the access and rights issues that determine the success of their projects. Worsley is a veteran documenta-

64 MIPCOM CANNES PREVIEW OCTOBER 2023

drive opportunities for our partners to help scale their audiences across our growing platform.” Also sponsoring the Seaview Producers Hub is the Greater Miami Convention and Visitors Bureau (GMCVB), whose mission is to attract tourism and business to an area long associated with the film, music and fashion industries. The GMCVB presents a showcase at the Hub on Monday, October 16, at 17.30. Another Producer’s Hub sponsor, Audiovisual From Spain, is hosting a number of networking and matchmaking activities there, including Spain & Canada: Focus On Co Production on

ry and concert film producer and distributor. His recent documentary projects include Miles Davis: Birth Of The Cool and Shania Twain: Not Just A Girl — both on Netflix — and the concert film Eric Clapton: Across 24 Nights. Hamilton said: “In their Meet The Expert sessions, industry veterans Wendy Bernfeld and Peter Worsley will answer MIPCOM CANNES participants’ pressing questions about how to successfully manage rights negotiations with the platforms.”

Wendy Bernfeld

Monday, October 16, at 14.00, for Canadian and Spanish producers interested in exchanging projects looking for co-production partners. Film AlUla, the film agency of the Royal Commission for AlUla which is establishing a new film and TV studio complex at the site of the ancient Saudi city, is also a sponsor of the Hub. .

Plex’s Scott Hancock

HOW TO NAVIGATE SVOD, AVOD AND FAST OPTIONS AND RIGHTS FOR YOUR DOCUMENTARY THE SEAVIEW PRODUCERS HUB MONDAY, OCTOBER 16, 14.00-14.30 THE MUSIC DOCUMENTARY CHALLENGE: KEEPING THE PEACE BETWEEN PRODUCERS, ESTATE STAKEHOLDERS AND COMMISSIONERS THE SEAVIEW PRODUCERS HUB TUESDAY, OCTOBER 17, 14.00-14.30

Peter Worsley

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SEAVIEW PRODUCERS HUB

Professionals from around the world share their thoughts on the Producers Hub stage An A-list line-up of executives from around the world will take part in a packed programme of talks and panels in the Seaview Producers Hub during the four days of MIPCOM CANNES. Here we highlight some of the people scheduled to appear MIPCOM CANNES delegates get the chance to hear, close-up, talks and discussions involving industry experts, creatives and executives from around the world, during a four-day programme at the Seaview Producers Hub. Robert Franke, head of drama, ZDF Studios joins a panel to present a case study of The Swarm, the most expensive German TV production — produced in English — of all time. From Italy, producer Luca Bernabei, CEO of Lux Vide, shares recent developments at the production company and offers a close-up look at the production landscape in his country. He will also explain the new rights-sharing business model of a new highend drama series from Lux Vide. Addressing one of the big challenges facing the industry right now, Romain Bessi, CEO at France’s Newen Studios, is interviewed about ongoing changes in

the market, in the context of turbulent times across the world and the global economic slow-down. Sara Fernández-Velasco, CEO, Izen, Spain, joins Camila Jimenez-Villa, founder and co-CEO of LA-based production company The Immigrant, for the session Bridge Across The Atlantic, that focuses on the challenges and opportunities of working pan-regionally, with specific reference to IP and talent. And in his first speaking engagement since joining Banijay this year, the company’s head of global scripted, Christian Wikander,

examines the global landscape of drama series, with a focus on France. In the session Prime Video – Spotlight on Africa, head of MENA, Originals, Ned Mitchell; Wangi Mba-Uzoukwu, head of Nigerian Originals — and a surprise guest, discuss Amazon Stdios’ ambition to be a home for talent by being inclusive and collaborative, nurturing new voices as well established names.

AT THE SEAVIEW PRODUCERS HUB THE DO’S AND DONT’S OF CO-PRODUCING WITH JAPAN MONDAY, OCTOBER 16, 10:30-11:00 THE SWARM – A CASE-STUDY FOR THE FUTURE MONDAY, OCTOBER 16, 14:30-15:00 IP THAT IS AI-PROOF! MONDAY, OCTOBER 16, 15:15-15:45 DRAMA CO-PRODUCTION BREAKFAST TUESDAY, OCTOBER 17, 8:30 – 9:30 RENAISSANCE PRODUCERS TUESDAY, OCTOBER 17, 9:45-10:15 NEWEN, HOW TO TAKE ON THE CHALLENGE OF A FASTCHANGING MARKET? TUESDAY, OCTOBER 17, 14:30-15:00 BRIDGE ACROSS THE ATLANTIC TUESDAY, OCTOBER 17, 15:15-15:45

LUCA BERNABEI

THE INDIES - SURVIVING AND THRIVING WEDNESDAY, OCTOBER 18, 9:00-9:30 PRIME VIDEO - SPOTLIGHT ON AFRICA WEDNESDAY, OCTOBER 18, 9:45-10:15 NEW PROGRAMMING FUNDING AND COMMERCIAL PRODUCTION MODELS WEDNESDAY, OCTOBER 18, 10:30-11:00

SARA FERNANDEZVELASCO

ROBERT FRANKE

A QUESTION OF SURVIVAL – TALENTS IN CRISIS WEDNESDAY, OCTOBER 18, 15:15-15:45 OMDIA - THE LANDSCAPE FOR TV AND ONLINE PRODUCTION FUNDING WEDNESDAY, OCTOBER 18, 16:00-16:30

CHRISTIAN WIKANDER CAMILA JIMENEZVILLA

ROMAIN BESSI

THE SEAVIEW PRODUCERS HUB

Experts hail an era of ‘peak factual’ A SESSION taking place in the Seaview Producers Hub, titled The Future Of Factual, “will present new, creative approaches to help equip producers in maintaining an era of peak factual”, according to curator and moderator Amanda Groom, managing director of London-based global media co-production TV & film specialist The Bridge. What is “peak factual”? According to panelist Danny Fenton, CEO of London-based indie Zig Zag Productions: “At a time when there there has been writers and actors strikes in Hollywood, factual has never been more valuable or relevant.” He added: “In the age of the streamers, factual has become more premium.”

Also on the panel, Anke Stoll, senior vice-president, acquisitions and co-productions at Tel Avivbased Keshet International, echoes Fenton’s point: “We’ve had the golden age of drama, which has been great, but budgets have risen incredibly over the last couple of years. This has made scripted series harder to finance, and left commissioners much more financially exposed — so they have started to play it very safe on the drama side. This has opened the arena for factual. It’s cheaper, quicker turnaround, less financial exposure and producers are finding great stories and different ways of storytelling.” The panel will also discuss what Groom refers to as “future facing

Budget pressures boost private funding AN EARLIER session, New Programming Funding And Commercial Models, also curated and moderated by the Bridge’s Amanda Groom, focuses on the rapid evolution of funding models for content creation, in the context of the advent of AI and tech-driven content funding algorithms. Panelist Jon Gosier, founder of film and television financing company FilmHedge, said that “there is a lot of change financing films below $1m, while for the major productions $1m and up, the process has more or less been the same for the past 30 years”. But he said the big change over the past 30 years is that “studios and networks do not put as much

capital at risk as they previously did to fully finance productions. Many of them now realise that they can share the risk with private financiers by either waiting until a production is completed without them to buy it as a finished production through festivals or from sales agents.” With television, “things are now different”, he said, “as the networks are greenlighting fewer shows into production while licensing existing shows is on the rise. These are some of the many reasons why private credit groups like FilmHedge are on the rise in the film and TV finance world. We bridge the gap for needed capital between the buyers (stu-

68 MIPCOM CANNES PREVIEW OCTOBER 2023

commercial and editorial models in factual programming”, including ground-breaking commercial partnership models that help producers to “break through broadcaster commissioning bottlenecks and advanced approaches to format creation designed to capture new, international business”. Also on the panel: Universal Television Alternative Studio’s Monica Rodman; and Max Einhorn, senior vice-president, acquisitions & co-productions at US distribution company FilmRise.

Keshet International’s Anke Stoll

Zig Zag Production’s Danny Fenton

Universal Television Alternative Studio’s Monica Rodman

dios, streamers and networks) and the sellers (producers).” Gosier is joined on the panel by Judith Chan, executive director, media banking, Coutts Bank, who will talk about the need for a personal relationship with funders during the production process; and Wayne Borg, managing director, media, entertainment, culture and fashion, at Saudi Arabia-based urban area and industrial powerhouse Neom, which includes key elements of the growing Saudi media infrastructure — which, for example offers up to 50% funding back-up for eligible productions. NEW PROGRAMMING FUNDING AND COMMERCIAL MODELS THE SEAVIEW PRODUCERS HUB WEDNESDAY, OCTOBER 18, 10.30-11.00

THE FUTURE OF FACTUAL THE SEAVIEW PRODUCERS HUB WEDNESDAY, OCTOBER 18, 14.30-15.00

FilmHedge’s Jon Gosier

Coutts Bank’s Judith Chan

Neom’s Wayne Borg

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SEAVIEW PRODUCERS HUB: FRAPA

‘The global community needs a conscience’ FRAPA, the Format Recognition & Protection Association, is hosting its biannual Summit at MIPCOM CANNES. Expected to draw around 200 participants, FRAPA co-chair Phil Gurin calls the Summit “the pinnacle of the year for many people in the industry. We gather formats executives from all across the globe, so that they can connect, listen to interesting speakers, get a preview of what’s hot in the marketplace, and draw on the expertise of leaders in the format community.” An action-packed two-hour session, the Summit will feature one-on-one interviews with format movers and shakers, a presentation from K7 Media and a series of roundtables. “It’s an opportunity to network,” said Gurin, who is also president and CEO of his own format production firm, The Gurin Company. “But it is also about delivering information.” FRAPA is a non-profit organisation that was set up to help format creators protect the value of their IP. It often intervenes in international disputes about format theft — acting as an objective arbiter as to whether or not a creator’s IP has been stolen. For Gurin, the Summit helps support the organisation’s “mission of spreading good industry practices about format creation

‘I’ve been screwed just like any other producer’

and protection. The global community needs a conscience and FRAPA tries to help provide that. It’s all about being honest so we can all benefit from our work.” The Summit is also a way to promote the work of the Association, in order to drum up new members. “We have members all over the world, ranging from large format owners down to small companies — each paying an annual fee that reflects their stature. But we need more members to support this important idea of good industry practices,” Gurin said. In terms of specific benefits, Gurin points to FRAPA’s format registration and format analysis services. “In dispute scenarios, we can employ a best-practices analysis to compare a show with another that the producer believes is a rip-off. We’re not a legal body, but the power of our argument and community means our analyses are often utilised in court.” Coming into late 2023, Gurin believes FRAPA’s role is more important than ever. “The economics of scripted TV is getting tougher, so the world of unscripted and formats is on the

rise again. That’s good news for our members who are creating in-demand content.” He also believes there is currently a strong argument for US producers to join FRAPA: “We’re really well represented in Latin America, Europe and Asia, but not so much in North America where I’m based. For a long time, I think North American producers just automatically assumed their ideas would be picked up in their entirety by global platforms. But that model is changing, with the risk being spread between multiple territories and platforms. So format creators in North America need to become part of our community to protect their IP.” Gurin is keen to discuss AI with his peers. “I think there are some interesting issues emerging around tools like ChatGPT. If I use a chatbot as inspiration for an idea, do I own the idea, or does the chatbot creator? What about the various places that the chatbot has drawn information from to provide its response to me?” Explaining why he remains so committed to the FRAPA cause, Gurin said: “At the end of the day, if you protect your intellectual property rights, you’ll make some money. I’ve been screwed just like any other producer, which is why I’m so passionate about FRAPA. I want to give back to the business that feeds my family. It’s really that simple.”

THE FRAPA SUMMIT TUESDAY, OCTOBER 17, SEAVIEW PRODUCERS HUB, 10:30-12.30

Phil Gurin

70 MIPCOM CANNES PREVIEW OCTOBER 2023

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FIRESIDE CHAT: BBC STUDIOS

BBC Studios team lays out future plans in a Cannes Fireside Chat A Fireside Chat with Rebecca Glashow, CEO BBC Studios Global Distribution and Ralph Lee, CEO BBC Studios Productions is taking place in the Hi5 on day-two of MIPCOM CANNES. They spoke to the MIPCOM CANNES Preview ahead of the event AT MIPCOM CANNES last year, BBC Studios was honoured as Studio Of The Year, and the company’s CEO Tom Fussell addressed the Cannes audience to mark the honour. Fussell spoke about the company’s rapid growth — with the acquisition of five production labels and the doubling of turnover from from £850m to £1.6bn in one year. In a Fireside Chat one year later, Rebecca Glashow and Ralph Lee will explain the strategies in place to build on that growth. “We’re looking to accelerate our momentum in production, reflecting the creative excellence and growth both in the UK and globally — and this is clear in the quality of the slate we are bringing to MIPCOM this year which has a broad and diverse offering across all genres,” Lee said. “Since last year BBC Studios has taken full ownership of Firebird Pictures and Voltage, as well as acquiring Scandinavian production company STV to form new international production base, BBC Studios Nordic Productions. Our recent development and distribution partnership deals include As-

cendant Fox (the makers of multi-award-winning Boiling Point) and Bonafide Films (the makers of BAFTA-winning Mood). New linear and digital services have launched in India, South Africa, Taiwan and The Nordics.” Lee added: “In all our work we aim for the very highest production values and we value timeless storytelling and classic production techniques. Technology is also giving us an edge to engage and delight audiences with new ways of seeing the world.” Last year Fussell stressed the need for diversity on and off camera, and Glashow said that DEI continues to inform all aspects of the company’s strategy. “Representing our global audience through our content is really important to us so it’s brilliant to see that three BBC Studios-produced series have been shortlisted for the MIPCOM CANNES Diversify TV Awards this year. Inside Our Autistic Mind has been shortlisted in the category of representation of disability non-scripted; Fight The Power: How Hip Hop Changed The World for Representation of Race for Ethnicity

72 MIPCOM CANNES PREVIEW OCTOBER 2023

Ralph Lee

Rebecca Glashow FIRESIDE CHAT: BBC STUDIOS TUESDAY, OCTOBER 17, HI5, 09.30-10.10

in non-scripted; and Phoenix Rise for Representation of Diversity in Kids Programming for Older Children.” “We led the UK industry with our Inclusion Rider at the end of 2020, committing to a minimum target of 20% of our on-screen talent and production teams on all new commissions coming from a diverse ethnic-heritage background, having a lived experience of a disability, or being from a low-income background,” Lee said. “Our programmes also raise awareness of issues and drive positive change, for example The Unique Boutique champions inclusivity, fighting back against the limitations of the mainstream fashion industry, whereas Inside Our Autistic Minds increases understanding of autism.” In terms of global trends in content, Glashow said she has seen demand for programming that “offers fun and escapism for the whole family, as well as shows with broad appeal that fill a primetime entertainment remit”. She added: “Scripted formats have been a success for us in Asia and the US and we expect this to continue and expand into other markets.” During their Fireside Chat, the pair will “discuss how BBC Studios is approaching the global marketplace. We’ll talk about what we are seeing globally in terms of trends, challenges and opportunities and how we are supporting commissioning and distribution customers around the world,” Glashow said. And away from the MIPCOM CANNES stage, Lee advises that delegates attend the “exclusive and live, playalong game of primetime entertainment format from Magnum Media, The 1% Club” [In the Hi5 at 10.00 on Monday, October 16]. He added: “It looks like it will be lots of fun and an opportunity to try before you buy!”

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JAPAN IN CANNES

Streaming puts Japan on the world stage THE MIPCOM Buyers’ Award for Japanese Drama was established in 2009 through a partnership between MIPCOM CANNES and the International Drama Festival in Tokyo. The annual event allows international buyers to view and choose the best Japanese TV dramas for their own markets — and has grown over the years, attracting a growing number of Japanese creatives to Cannes. This year there are 10 nominees submitted by eight commercial TV broadcasters, Japan’s public broadcaster NHK, and satellite subscription service Wowow. The titles range from a fantasy historical drama to mysteries, comedies, romance and corporate intrigue. Some are based on existing manga or novel properties, a common practice in the creation of Japa-

nese drama. But this year there are many strong original works, according to international media journalist Setsuko Inaki. Other recent trends include “comedy skit-style shows”, thanks to more Japanese comedians writing their own scripts; and “Japanese-style feminism”, as there are a growing number of assertive female characters in leading roles. “Many of the drama series entered in this year’s Festival earned high ratings both for broadcast and video-on-demand, and fit these trends,” Inaki said. “There is also a more open attitude towards the streaming industry, more partnerships with Netflix, Disney, and other known SVODs, and as a result production values have improved.” Inaki added that broadcasters still target Japanese audiences due to

Japan targets global market with nextgeneration formats THIS year’s Treasure Box Japan showcase of new variety shows will represent six broadcasters. As in past years, the programmes were devised and developed with a domestic Japanese audience in mind, but as the media landscape in Japan changes, many producers want to expand their audience overseas and thus are thinking more broadly in the wake of the COVID pandemic,

which suppressed already declining advertising revenues. Fuji TV’s Let Me Tell Your Fortune was created with an international market in mind, since fortune-telling is popular all over the world. Tokyo Broadcasting System’s (TBS), The Muscle Door takes a physical approach to the variety format by showing the training of several ‘lightweight’ contest-

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The Wowow team collects the 2022 MIPCOM Buyers’ Award for Japanese Drama, for the drama series Truth

fierce competition for advertising revenues, but now that streaming services are dominant worldwide, they are more aware of how their productions could fare overseas. That’s why this year’s Festival has the highest number of nominees ever — and one of them, TBS’ Vivant is actually set in Central Asia with Japanese actors speaking some of their dialogue in local languages. It was a bold move and proved to be very popular and became one of the top-rated drama series of this year in terms of viewer ratings. Japanese dramas have always been popular in Asia, but breaking into other regions has been difficult apart from some success

in selling drama formats, so taking advantage of streaming partners is seen as an attractive option to moving forward. There is the issue of Japanese license holders working with foreign producers, as in the case of Netflix’s adaptation of the popular manga One Piece, which was produced by a US company, Tomorrow Studios. “Japanese broadcasters need to step up their game in this competition,” Inaki said.

ants into more muscular figures to perform feats of strength. Yomiuri TV has been focusing less on local talent, instead fortifying formats for greater general appeal. developing new shows with an awareness of overseas markets. TV Tokyo’s entertainment programming is now focusing less on local celebrities in favour of pure format ingenuity, in order to develop shows that will be accepted by overseas viewers. Thanks to its experience with NBCUniversal in developing The Secret Game Show in 2020, ABC Japan already has an idea of how to reach a global audience, and combined with its fo-

cus on and now fully aspires to creativity that “resonates with a diverse international audience”. In Nippon TV’s brand-new studio game show titled 5 Friends, 5 Favors!, friends battle it out to win for their celebrity friends and it tests the friendships among the contestants. The highly adaptable format is developed as a universal format with a distinct Japanese twist.

MIPCOM CANNES BUYERS AWARD FOR JAPANESE DRAMA MAJESTIC, MONDAY, OCTOBER 16, 08.00-10.00

TREASURE BOX JAPAN JAPANESE FORMATS SHOWCASE PRESENTED BY TBJ MONDAY, OCTOBER 16, 14.15-15.15

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WORLDSCREENINGS

For a full list of beneﬁts and examples of previous Exclusive Showcases, please visit WorldScreenings.ws. World Screen has totally redesigned its ﬂagship video portal, WorldScreenings.com, offering a slew of improvements and a sleek new look. In addition, we have unveiled four new targeted screenings destinations:

• TVKidsScreenings.com • TVDramaScreenings.com • TVRealScreenings.com • TVFormatsScreenings.com For more information, please contact Ricardo Guise (rguise@worldscreen.com) or Dana Mattison (dmattison@worldscreen.com)

SONY CONTENT CREATION SUMMIT

Sony sees new tech as the way ahead for storytellers DURING the COVID pandemic, narrative content creators in film and television were limited by circumstances as to how they could continue with productions. Some turned to virtual production, which allowed them to create content without the need for a physical studio setup. The Corporate Technology Strategy Division at Sony Group Corporation plans to expand this concept to help creators carry out their work in a more flexible, cost-efficient way. “Sony has a unique view of the overall entertainment industry,

video games. “To accelerate new applications, integrating existing products such as game engines into virtual production systems is one option,” she said. “This is important for content creators as software is often hard to master, but game engine software is designed for people who make games, making it easy for new professionals to get involved.” As a company with its own ma-

“We have the opportunity to provide new ways forward for the industry” Asako Tomura since it is directly involved in film, gaming, and music,” the division’s general manager, Asako Tomura, said. “So we think we have the opportunity to provide new ways forward for the industry technologically, especially with regard to TV and film production.” One of the areas of Sony’s interest, according to Tomura, is the use of game engines — visual development tools used to create

Sony’s Asako Tomura

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jor film studio, Sony has always worked closely with artists and directors who are interested in new technologies that can help them achieve their creative goals. It was through this experience that Sony developed the digital cinema camera, VENICE, with input from some of the most famous professionals in the movie business. VENICE was designed to accommodate in-camera visual effects can be seamlessly integrated into virtual production workflows. “We are looking for higher quality in virtual production by leveraging each Sony group company’s expertise, such as hardware, filmmaking, and CG/ VFX creation,” business producer of the division, Yuji Ikeda, added. Tomura believes these new tools will appeal not only to “existing industry players”, but also to new players from emerging countries and regions, which is why she is keen to discuss them during the Content Creation Summit in Cannes. “We want to provide the best tools to unleash creative work,” she said.

MIPCOM CANNES CONTENT CREATION SUMMIT - VIRTUAL PRODUCTION AND BEYOND PRESENTED WITH SONY TUESDAY, OCTOBER 17 SEAVIEW PRODUCERS HUB WELCOME COCKTAIL & SNACK 12.45, FOLLOWED BY... CONTENT CREATION SUMMIT, PART I: HOW TO IMPROVE DRAMA PRODUCTION EFFICIENCY – LEARN FROM THE MOST PRODUCTION SOLUTIONS 12.50-13.45 WEDNESDAY, OCTOBER 18 VERRIERE CALIFORNIE NETWORKING BREAKFAST 08.30-09.00 TREMENDOUS INNOVATION CAN TOTALLY CHANGE THE DOCUMENTARY & NEWS CONTENTS WORLD 09.00-10.00 NON-BROADCASTING BUSINESSES: WHAT ARE THE NEW BRANDS BEYOND TV? 10.00-11.00 LOOKING AT INDIAN INNOVATION: CONTENT & TECH TRENDS IN INDIA 11.00-12.00 NETWORKING LUNCH NEW EFFICIENT WAYS TO PRODUCE TV DRAMA WITH ADVANCED TECHNOLOGIES 14.30-15.30 USING NEW TECHNOLOGY TO DRIVE SPONSORSHIP FOR LIVE CONTENT 15.30-16.30

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NATIONAL PAVILIONS

A tour of the world of television More than 25 countries have established national pavilions, lounges and stands at MIPCOM CANNES this year, where delegates can learn about their audiovisual industries and meet representatives from companies open to international partnerships. Here we hear from a selection of the pavilions’ representatives and organisers THE QUÉBEC CREATES’ pavilion is hosting 40 companies — and more than 80 participants — during MIPCOM CANNES. “Québec Creates is operated by SODEC in partnership with media association AQPM with the support of Raymond Chabot Grant Thornton and the National Bank of Canada,” according to SODEC international affairs delegate, Véronique Le Sayec. “Among a packed schedule of events, the pavilion is hosting a cocktail on Monday, October 16 and a VIP dinner during MIPJUNIOR, where producers from Québec will meet buyers from HOP (Israël), SVT (Sweden), Paramount (EMEA), Pop Channels (UK), HR (Germany) and Bein (MENA).” “Last year we launched our very first edition of Netherlands Pavilion at MIPCOM — the Holland Lounge — and this year promises to be even more memorable,” according to Lorraine Joore of Dutch CORE, an international sales company that represents all Dutch Public Broadcasters, the Belgian Broadcaster VRT and a number of Dutch independent producers. “After a successful first edition in 2022, Dutch CORE, in collaboration with Incredible Film and broadcaster VPRO, will once

again facilitate the Dutch pavilion. Known as the Holland Lounge, it focuses on Dutch productions and was created with the support of the National Public Broadcasters, the NPO and NL Netherlands (the Netherlands Enterprise Agency). With the Holland Lounge, Dutch CORE creates a central market and meeting place with an informal and hospitable atmosphere, welcoming buyers, broadcasters, OTT and streaming platforms, independent producers, distributors, and media organisations. Events at the pavilion include Dutch Drinks And Bites on Tuesday, October 17. “KOCCA, the Korean Creative Content Agency, has expanded its pavilion by 50% for MIPCOM CANNES 2023. KOCCA is promoting Korean content at the pavilion and throughout MIPCOM CANNES, notably with a Korean Drama Showcase on Wednesday, October 17 at 11.00 in Auditorium A in the Palais des Festivals, where delegates can enjoy new dramas from Korea. On Tuesday, October 16, the KOCCA Pavilion is hosting a cocktail party for MIPCOM CANNES delegates keen to meet representatives of the Korean audiovisual industry.”

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NATIONAL PAVILIONS IN CANNES ARGENTINA AUDIOVISUAL AUDIOVISUAL FROM SPAIN BASQUE AUDIOVISUAL CANADA PAVILION CATALAN FILMS CHINA COMMERCE INTERNATIONAL EXHIBITION CO. CHINA PAVILION CREATIVE EUROPE MEDIA ENTERPRISE IRELAND/ IRELAND ON SCREEN FILM AUSTRIA GERMAN PAVILION HOLLAND LOUNGE ICA PORTUGAL ICE ITALY IRAN PAVILION ISTANBUL CHAMBER OF COMMERCE JIANGSU PAVILION KOCCA QAZAQSTAN/KHABAR SERVICES EXPORT PROMOTION COUNCIL SODEC – QUÉBEC CREATIF TAIWAN CREATIVE CONTENT AGENCY UKRANIAN CONTENT GLOBAL COOPERATION UNIFRANCE WALLONIE BRUXELLES IMAGE ZHEIJANG PAVILION

The UKRAINE Content Club (UCC) is “an alliance of the Ukrainian media groups and creative powerhouses, including Film.UA Group, Starlight Media. 1+1 Media and Suspilne Ukraine. Its mission is to build a bridge between the Ukrainian and international AV industries and to promote Ukraine as a high-end supplier of unique and demanded content for screens worldwide,” a spokesperson for the UCC said. “The UCC stand will host over 25 representatives of the Ukrainian broadcasters, production and distribution companies operating within the media groups. Despite the ongoing war in the country, they are open for new co-operation possibilities and are committed to expanding their partnership networks.” AUDIOVISUAL From Spain is the brand that groups Spanish companies in the television content sector for their international promotion at professional trade shows around the globe. Created by ICEX Spain Trade & Investment, part of the Spanish Ministry of Industry and Trade, Audiovisual From Spain is organising two areas within the Palais des Festivals that will showcase the Spanish industry at MIPCOM CANNES this year. “The brand works as an umbrella responsible for showcasing the best of the country’s creators, producers and distributors, supporting both the distribution of their content worldwide and encouraging co-production with other countries,” according to Audiovisual From Spain’s Eva Salve. “The Spanish pavilion is the meeting point where delegates can find and receive information about any company and content from Spain.”

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CONTENT AND FORMATS AWARDS

Content Innovation Awards recognise contributions to the global industry THE TBI CONTENT Innovation Awards ceremony returns to Cannes for its ninth year, in an exclusive partnership with MIPCOM CANNES. The event aims to “celebrate companies that are making significant contributions to the transformation of the global television industry”. As the industry continues to evolve rapidly, The Content Innovation Awards provide a platform for industry leaders to showcase their achievements, celebrate their outstanding content and share their insights with the global television community. The Awards cover 25 categories, including Best New Scripted Series, Best Documentary, FAST Channel of the Year, The Sustainability & Innovation Award, and The Representation & Inclusion

Award, among others. Special honours include the Excellence In TV Award; the Outstanding Contribution to Content Award; and the Rising Star Award. The categories have been chosen to “reflect the diverse and dynamic nature of the television industry today”. On-stage presenters for the event are TBI Editor Richard Middleton and deputy editor Mark Layton. Guests presenting awards on stage include MIPCOM CANNES director Lucy Smith, and Shaftesbury CEO Christina Jennings. “The past 12 months have dealt a tough hand for producers and creatives, whether it’s streamers cutting spending, writers going on strike or broadcasters facing an ad squeeze,” Middleton said. “Yet even against this backdrop,

The International Format Awards THE INTERNATIONAL Format Awards honour people and companies working in the global format business, recognising creativity and excellence across a range of categories. The Awards event is a co-production between players in the formats business: C21Media, FRAPA and the Entertainment Master Class (EMC), in association with MIPCOM CANNES.

FRAPA co-chair Phil Gurin said: “We are proud to be a part of these annual awards that recognize the best new and returning formats from creators and companies all over the world. A truly international collection of the best of the best, working with our partners we know that even a nomination is recognition that can help a format achieve wider attention and audiences.”

80 MIPCOM CANNES PREVIEW OCTOBER 2023

the immense pool of talent within our industry is on full show at this year’s Content Innovation Awards and it is a pleasure to be honouring the most compelling, beautiful and engaging shows — and the people behind them — alongside RX at MIPCOM CANNES this year.” All MIPCOM CANNES delegates are welcome to the event and can register by sending an RSVP via the Awards website, tmt.knect365.com.

TBI CONTENT INNOVATION AWARDS WEDNESDAY OCTOBER 18 GRAND AUDITORIUM, 17.30-20.30 17:30 RECEPTION GALA 18:30 CEREMONY 19:30 CELEBRATORY COCKTAILS

THE CATEGORIES: • BEST BRAND-DRIVEN FORMAT • BEST COMPETITION REALITY FORMAT • BEST COMEDY FORMAT • BEST FACTUAL ENTERTAINMENT FORMAT • BEST MULTI-PLATFORM FORMAT • BEST SCRIPTED FORMAT • BEST STUDIO-BASED GAMESHOW FORMAT • BEST RETURNING FORMAT • BEST REALITY FORMAT • BEST HOST OF A TELEVISION FORMAT • THE INTERNATIONAL FORMATS BUSINESS GOLD AWARD 2023

Judging took place between September 4 and 24 this year and nominees were announced on September 29. The Awards ceremony

takes place on Sunday, September 29 at the Club C21 Hyde Beach in Cannes on Sunday, October 15 from 17.00–19.00. By invitation.

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MARKET INTELLIGENCE: GLANCE

Research reveals the full picture

Beatrice Rossmanith

RESEARCH firm Glance’s curtain-raising overview of the global content market has become something of an institution for MIPCOM CANNES delegates. Held in the Grand Auditorium, the latest edition of the data-led session will provide a wealth of timely programming insights to ensure buyers, sellers and content creators are staying ahead of current and emerging trends A 45-minute event, the first part will see Glance senior vice-president Frédéric Vaulpré discuss current challenges across the industry, exploring how audience results can provide a navigational aid for firms. Speaking to the MIPCOM CANNES Preview magazine ahead of the market, he said: “We are entering a time of uncertainty. All players have to face different challenges. The objective of the first part of our presentation will be to give a compass with four major cardinal points.” These four compass points “represent the main concerns of every executive right now”, Vaulpré said: “First, what are their plans to cope with reduced linear TV consumption? Second, how can they make IP stand out in a crowded market? Third: how are they dealing with dwindling revenue in a time of streaming wars? And finally, what are the next ground-breaking technology developments — with a particular focus on AI.” On the first point, he said:

“Broadcasters are trying to take the most of replay now until +28 days, and also of a targeted pre-broadcast approach. The UK market is one of the most sophisticated territories in this approach with several examples.”

‘True crime offers seamless pathways between scripted and unscripted’ Beatrice Rossmanith He added that platforms “are developing new approaches in terms of releasing content”, and are exploring more creative windowing models. As for AI, he said, “its impact will be multi-layered: from writing to production facilitator through to data usage and customer insights: keeping in mind always that reliable AI demands reliable data.” The remainder of the session will

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Frédéric Vaulpré CRACKING AUDIENCE TRENDS MONDAY, OCTOBER 16, GRAND AUDITORIUM, 09.00-09.45

be led by Beatrice Rossmanith, Glance head of global business and managing director of Tape Consultancy, who will dive into content trends that the company has observed via programme exports and audience successes worldwide. “A key aim of our research is to look at the full picture,” Rossmanith said, “which is why we have been keeping a close eye on the US and in particular the strikes in Hollywood.” Two trends that were already well-established have been exacerbated by the dispute, she said, they are: “an increasing appetite for nonUS originated content and a demand for unscripted content.” In terms of genres, true crime continues to enjoy momentum, “and is quite varied in its sub-genres, the latest being the high-profile celebrity trial. True crime also still offers seamless pathways between scripted and unscripted, with the same story told in different formats and multiple times.” Another trend that is highly relevant “is the way brand integration is now at the core of heavyweight IP across mainstream entertainment.”

GLANCE bases its findings on global audience ratings and analysis of new content launches. As of 2023, it is able to access and aggregate TV audience results across 100+ territories via a range of partnerships. The firm has also extended its partnership model to non-linear video audience measurements providers and covers some 25 markets.

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ANIMATION & MORE SUMMIT

TRENDS & INSIGHTS

Fresh TV: there’s a power shift in formats The WIT, co-founded by Virginia Mouseler in 1996, is a globally focused agency specialising in research and information on TV programmes worldwide. Mouseler is hosting three Trends & Insights sessions at this year’s MIPCOM CANNES; Fresh TV Formats; Fresh TV Fiction; and a Best Of session on the final day FOR MONDAY’s Fresh TV Formats session, the WITs Virginia Mouseler points to several new sources of content: “According to our exclusive The WIT Top Formats data, over the last six months, format adaptations came, as usual from the UK and the US (22% each) and the Netherlands (12%) — but buyers are also very curious about South Korean, Japanese and Israeli formats. Those three countries collectively accounted for 12% of new launches.” Analysing the elements a format needs in order to have a chance of international success, Mouseler said that some sort of USP is no longer needed these days. “Currently we have a lot of look-alike formats which continue to have appeal as long as they cater to the most popular genres, which are dating and adventure. And underlying that trend is the fact that buyers need brands more than for-

mats. That means we are seeing a host of brand extensions such as spin-offs, reboots, and relaunches. Generally speaking, the IP market is buoyant.”

‘The thrill of a great story arc has not yet worn off’ Virginia Mouseler Wednesday’s Fresh TV Fiction session will provide yet more proof that globally there is still strong demand for headline-making drama. Despite years of primetime TV being dominated by high-adrenaline shows, the thrill of a great story arc has not yet worn off. “Nothing indicates linear or VOD audiences are tired of high drama.

84 MIPCOM CANNES PREVIEW OCTOBER 2023

The numbers are high for fiction,” Mouseler said. “But there are quite simply too many shows on offer, which means that the big numbers only happen for a few titles. Also, addressing the issue of series reportedly having little repeat value, I’d put that down to the way that platforms, Netflix in particular, have accustomed viewers to “fast-fiction”, the kind of fiction you binge on with pleasure, but you forget quickly. It’s a different product life cycle, but it’s not really an issue if you can quickly offer viewers more fast-fiction titles.” Meanwhile South Korean drama is making impressive progress on the international market, according to Mouseler. “And that’s largely due to Netflix and other platforms. But it’s also thanks to its unique style and a different type of content, which typically mixes fantasy and romance and appeals particularly to a young demographic.” The Best Of session on Thursday morning does exactly what it suggests: “It’s our pick of the best shows previously shown in the Formats and Fiction sessions,” Mouseler said. “It’s a distillation of the two previous sessions and it will show that, in terms of global trends, right now, safety is the buzzword for formats and fiction. Fiction is tightening its net, leaving behind niche projects and refocusing on its most predictable audience drivers like true crime, novel adaptations and renewable IP. In formats, creativity is high, but when new titles or ideas are offered, the market seems to be inhibited by the classic brands which are still doing well. And then there are the even older formats being rebooted, which seems to point to an overall lack of ambition in new projects.”

Virginia Mouseler

FRESH TV FORMATS MONDAY, OCTOBER 16, GRAND AUDITORIUM, 13.00-14.00 FRESH TV FICTION WEDNESDAY, OCTOBER 18, GRAND AUDITORIUM, 13.00-13:45 BEST OF FRESH TV THURSDAY, OCTOBER 19, SEAVIEW PRODUCERS HUB, 10.30-11.00

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Content for sale Here we highlight some of the multi-genre content brought to MIPCOM CANNES by companies from all over the world

IN THE new dating format Alumni Lovers (12 x 70 mins), brought to MIPCOM CANNES by Korea’s MBC, a selection of singletons who graduated from the same schools are invited to a dating reunion. The five men and five women visit their old school and several familiar locations. They also return to school field trip destinations to refresh their memories and spend time with each other again. Meanwhile, in the studio panels are given clues from the individuals’ past and present to try and guess who is who. Alumni Lovers (MBC)

TRACE STUDIOS FRANCE- and South Africa-based distributor and producer Trace Studios returns to Cannes with a slate of new content, including: Je Suis La France (1 x 97 mins), a documentary based on the testimonies of brothers and sisters of victims of police violence, recounting the story of five young men killed during arrests and the families’ struggle for truth; The Afro-Canada (4 x 60 mins), featuring a classroom of the future where a group of Canadian children interact with the history of the men and women who helped build Canada; and feature films Eternel (1 x 120 mins), from Ivorian producer ZIV, about the love story of a wealthy heir who suffers from an incurable disease, and a young nurse, and Le Voyage De Talia (1 x 79 mins), following a young Afro-European woman who arrives for the first time in Africa, in Senegal. The Afro-Canada (Trace Studios)

PRIME ENTERTAINMENT GROUP PARIS-based Prime Entertainment Group brings a range of new Hollywood related content to MIPCOM CANNES. Highlights include its new season of Close Up (120 x 26 mins), bringing a new roster of celebrity portraits including Margot Robbie and Ryan Gosling. Their latest documentary trilogy, The Kuperberg Collection (3 x 52 mins), includes documentaries on two iconic Hollywood figures — actress Mary Pickford and director Vincente Minnelli, with the third documentary exploring the historic role of Native Americans in Hollywood.

THE AMERICAN Buffalo: A Film By Ken Burns (PBS Distribution)

Margot Robbie, a subject of Close Up (Prime Entertainment Group)

Photo: Craig Mellish

MBC

PBS INTERNATIONAL THE AMERICAN Buffalo: A Film By Ken Burns (2 x 120 mins/4 x 60 mins/UHD) is the dramatic story of this iconic mammal, which sustained native people for generations and was driven to the brink of extinction before an unlikely collection of people rescued it from disappearing forever. Another documentary special from the US distributor is Concorde: The True Story (2 x 47 mins/HD), about how two superpowers and a new European consortium went head-to-head in a battle for supersonic domination. Concorde in Europe, Tupolev TU-144 in the Soviet Union and Boeing 2707 in the US would all end in failure and tragic disaster. Further HD titles include: season two of Native America, (4 x 60 mins); Elon Musk’s Twitter Takeover (1 x 60 HD); Power Trip: The Story Of Energy, Season 2 (6 x 60 mins); season one of Baby Animals: The Top 10 (6 x 50 mins); The Platypus Guardian (1 x 52 mins) and Epic Train Journeys From Above (6 x 44 mins). MIPCOM CANNES PREVIEW OCTOBER 2023 87

MIPCOM CANNES PRODUCT NEWS

POORHOUSE INTERNATIONAL

World War II: Women On The Frontline (Woodcut International)

WOODCUT INTERNATIONAL UK DISTRIBUTOR Woodcut International brings new history documentary series World War II: Women On The Frontline (3 x 60 mins) to MIPCOM Cannes. Produced by Woodcut Media the series explores the daring and unknown histories of remarkable female soldiers, pilots and spies who fought and died in the Second World War. Defying expectations, overcoming prejudices and often outperforming their male counterparts, this series sheds light on some of the unwritten stories of the women who led the charge. Featuring archive footage, the series includes stories of Selma van de Perre who as a teenager worked for the Dutch Resistance, the Soviet sniper Lady Death and Lee Miller, former model, fashion and fine-art photographer and war correspondent for Vogue in the Second World War.

A SONG For Cesar (1 x 85 mins/HD) is a documentary about the American labour leader and activist Cesar Chavez (1927-1993). Chavez combined leftist politics with Catholic social teachings and an admiration for the movement led by Mahatma Gandhi. Running the United Farm Workers Labour Union, he encouraged voter registration, launched an insurance scheme, credit facilities and a newspaper. Director Andres Alegria tells the story about musicians and artists who dedicated their time, creativity and even their reputation to advance Chavez´s causes. Another priority is Uderzo And His Asterix Adventure (1 x 85 mins/4K), an English-language special, featuring Antoine de Caunes, Geoff Johns and David Lloyd.

YES STUDIOS SET IN the early 2000s, before the #MeToo movement, and inspired by headline-grabbing real events, Unsilenced (6 x 60 mins) is a story about sexual violence, and the lengths to which influential perpetrators will go to silence victims — in this case a President and his allies — and how women can come together to seek justice. The first five episodes are each told from a different point of view, with the sixth bringing all the characters’ stories together. Brought to Cannes by Israel-based Yes Studios, the series is also available as a format.

A Song For Cesar (Poorhouse International)

FIFTH SEASON

Unsilenced (Yes Studios)

HOT YACHTS (8 x 60 mins), produced by Curve Media for Paramount+ in the UK, puts the spotlight on an elite group of yacht brokers who compete ruthlessly to sell super yachts in South Florida. From the Fifth Season scripted catalogue comes Strife (8 x 30 mins), a comic drama based on a book by Mia Freeman, that tells the story of a modern, imperfect woman and publisher and her journey from lounge-room blogger to becoming a force in women’s media.

WILDBEAR INTERNATIONAL

Animal Attack Rate (WildBear International)

WHETHER for defence, mating rivalry, finding food or survival, there are many ways that animals can harm. Animal Attack Rate (4 x 60 mins), brought to MIIPCOM CANNES by Australia’s WildBear International, counts down nature’s most successful killers. In epidemiology attack rate is the likelihood of being infected, multiplied by the harm caused. The same algorithm is used to understand health and safety risks. This series travels to Africa, Australia, South America and North America and uses the same calculation to reveal how dangerous wild animals might be. Some answers challenge expectations.

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Strife (Fifth Season)

MEDIAWAN RIGHTS BEIJING JIATONG INTERACTION ENTERTAINMENT MEDICAL Examiner Dr. Qin: Silent Evidence is a crime procedural web series created by forensic scientist Qin Ming. Produced by Beijing Jiatong Interaction Entertainment and starring Zhang Yujian and Zhou Yutong, it is adapted from Qin Ming’s novel of the same name which features investigations into 30 real-life cases and 28 bizarre deaths. With the help of police officer Lin Dang and others, the talented young forensic scientist steps out of his childhood trauma and becomes a renowned medical examiner who can take charge of the whole bureau. Medical Examiner Dr. Qin: Silent Evidence (Beijing Jiatong Interaction Entertainment)

DRAMA highlights from France’s Mediawan Rights include: Zorro (10 x 52 mins), with a new Zorro ready to avenge his father’s death; Sphinx (6 x 50 mins), about the abduction of a schoolgirl who reappears three years later; and Drone Games (1 x 90 mins), about Tom, a lonely teenager and drone fan who crosses paths with an anarchistic gang that includes him in a series of drone heists. A factual priority is Space Factory (1 x 52 mins), which looks at the possibilities of settlement on other planets in the near future. Combining art and technology, architects are now designing homes for future human colonies.

Zorro (Mediawan Rights)

ABACUS MEDIA RIGHTS OBSERVATIONAL documentary series Top Guns: Inside The RAF (6 x 60 mins) is brought to MIPCOM CANNES by the UK’s Abacus Media Rights. The series, produced by True North Productions, follows the men and women based at the Royal Air Force’s Lossiemouth airbase in northern Scotland. Whether policing NATO airspace in the skies over eastern Europe; patrolling the North Sea hunting suspicious Russian warships; or deployed to carry out the fight against Daesh in the Middle East, this series shows what life is really like for the service personnel at the heart of the UK’s defence.

NIPPON TV JAPAN’s Nippon TV is at MIPCOM CANNES with new scripted drama series The Greatest Teacher. From the creators of Nippon TV’s Mr. Hiiragi’s Homeroom, this suspenseful series of 60-minute episodes, tells the story of a teacher who is mysteriously pushed off the school balcony after a graduation ceremony. The last thing she sees is the sleeve of someone’s uniform, but the next minute she finds herself transposed back one year to her classroom on the first day of school. With 30 suspects and only a fleeting glimpse of a uniform sleeve, the rebooted and determined teacher embarks on a journey to unveil the truth of her fall. The Greatest Teacher (Nippon TV)

Top Guns: Inside The RAF (Abacus Media Rights)

DISTRIBUTION360 MR. DRESSUP: The Magic Of Make-Believe (1 x 90 mins), produced by marblemedia, in association with CBC, Hawkeye Pictures and Pyre Pictures, is a documentary about legendary Canadian children’s entertainer Mr. Dressup. His CBC show built a legacy of kindness, inclusivity and creativity in 4,000 episodes across 29 years. Telling the story for the first time, it combines never-before-seen footage, interviews with Mr. Dressup: The Magic Of Make-Believe (Distribution360) puppeteers, his family and other notable Canadians. It also includes insights into how he worked with creators and partners, including his friendship with Fred Rogers, with whom he originally worked as a puppeteer.

MIPCOM CANNES PRODUCT NEWS

GLOBAL SCREEN CENTURY UU

Love Me, Love My Voice (Century UU)

CHINESE drama distributor Century UU presents Love Me, Love My Voice (33 x 45 mins) at MIPCOM CANNES. Gu Sheng, a college senior studying music editing, harbours a hidden identity as Sheng Sheng Man, a relatively unknown artist in the ancient Chinese music circle. Her greatest dream is to have the renowned voice actor Qing Qing Ci narrate her songs. Unexpectedly, their paths cross when he enters her chat room and sparks a connection by recording a simple recipe. As their meetings become more frequent, he woos her with food and his enchanting voice. Despite her disbelief that a star like him could be interested, Gu Sheng finds herself falling deeply in love.

DAVOS 1917 (6 x 45 mins) is a spy drama based on real events in the early days of the European Secret Services. Davos, the spa town in the Swiss Alps, seems like an oasis of peace from the horrors of war. But behind the scenes, neutral Switzerland takes centre stage in a relentless battle between the secret agents of the world powers. Young nurse Johanna gets caught between the fronts while searching for her daughter. She then gets involved in a deadly game with the German secret services. The series is brought to MIPCOM CANNES by German distributor Global Screen.

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Davos 1917 (Global Screen)

DCD RIGHTS

Prue Leith: My Cotswold Kitchen (DCD Rights)

PRUE Leith: My Cotswold Kitchen (10 x 60 mins), produced by Yeti for the UK’s ITV, is brought to Cannes by DCD Rights. In the series, veteran British chef Prue Leith offers up some favourite recipes, guaranteed to tempt taste buds. She also meets a range of guests and experts to share their foodie passions and skills. Prue’s husband John also tries out beekeeping and traditional stone-walling and shares some of his own top tips — from gardening hacks to cocktail making.

RED ARROW STUDIOS INTERNATIONAL NEW DRAMA highlights from Red Arrow Studios International at MIPCOM CANNES include: dramedy While The Men Are Away (8 x 30 mins), set in Australia during World War II, which follows the lives of women left behind on the home front; and Those Who Stayed (6 x 30 mins), an anthology series showcasing gifted voices in Ukrainian filmmaking. Produced by Film.UA Group in co-production with SVT (Sweden), YLE (Finland), NRK (Norway), the series is inspired by true events in Kyiv in the first few weeks after the Russian invasion of Ukraine. While The Men Are Away (Red Arrow Studios International)

BAVARIA MEDIA INTERNATIONAL THE MIPCOM CANNES line-up from Germany’s Bavaria Media International is led by Inside A Family (6 x 45 mins). The high-end drama and suspense series delves into the lives of four siblings reuniting for a wedding and grappling with their past traumas. When the groom mysteriously disappears on the honeymoon, it triggers the family’s buried memories. Also on the roster: Dead End (12 x 45 mins), intertwining four women’s destinies through a hidden secret, blending tension and humour; and Meme Girls (6 x 25 mins), which follows Liv 15, an aspiring influencer forced to navigate a new life after her parents banish her from the online world.

Inside A Family (Bavaria Media International)

DUTCH CORE DUTCH Core is highlighting a line-up of series at MIPCOM CANNES. Lions De L’Atlas explores the history of the Moroccan football team that gained so much attention during the recent World Cup in Qatar. My Generation At War portrays the changing lives of 20-something Ukrainians. They are forced to deal with fear, violence and the possibility of death, but they refuse to give up on their dreams. From the drama catalogue, the second season of pre-school series Kabam!’ is scheduled for 2024. My Generation At War (Dutch Core)

3DD PRODUCTIONS CLASSIC Movies The Story Of (6 x 60 mins) is a co-production that examines some of the greatest movies ever made. In the first episode, host Ian Nathan goes to Vienna, Little Venice and Kent to explore the magic of director Carol Reed’s The Third Man with the late film critic Derek Malcolm. Further episodes feature Kurosawa’s Ran, John Boulting’s Brighton Rock and James Cameron’s Terminator 2. The series is from 3DD Productions, in association with Sky Arts, is directed by Lyndy Saville and executive produced by Jack Oliver and Dominic Saville.

GAUMONT MIPCOM CANNES highlights for Gaumont include a range of successful drama series. Narcos (60 x 60 mins) is an action-drama series about notorious drugtrade criminal Pablo Escobar and his legacy in the US and South America. Hannibal (39 x 60 mins), is the iconic psychological horror series starring Mads Mikkelsen, which celebrates its 10th anniversary this year. Procedural series The Art Of Crime (32 x 60 mins) combines humour, art and police investigation, with a seventh season coming soon. Finally El Presidente (16 x 60 mins) is a satirical drama set against the backdrop of international football and corruption, with a second season available. El Presidente (Gaumont)

Africa Direct (Al Jazeera)

AL JAZEERA AFRICA Direct, from Al Jazeera English, is a series of immersive short documentaries from a wealth of African filmmaking talent, shining a light on a diverse and often narrowly represented continent. The show is an all-African production featuring African narratives and storytellers, offering insights with depth and complexity to counter prevailing narratives and stereotypes. Urban or rural, poor or powerful, surviving or thriving, at the heart of each film is a person whose story provokes thoughts, emotions and connections.

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MIPCOM CANNES PRODUCT NEWS

DYNAMIC TELEVISION THE TELEVISION SYNDICATION COMPANY

HIGHLIGHTS from US producer and distributor Dynamic Television’s slate at MIPCOM CANNES includes Dates In Real Life (7 x 30 mins), which follows a twentysomething who discovers that her online boyfriend is dating another woman, and is then determined to find a real love of her own. Further priorities include: the second season of Harry Wild (8 x 60 mins), starring Jane Seymour as an amateur sleuth; dark comedy crime Reindeer Mafia (8 x 42 mins), a family saga set in the Arctic region; and Savage River (6 x 30 mins), about an ex-convict who comes under suspicion when a shocking murder takes place in her home town.

NEW TITLES in a variety of genres are brought to Cannes by The Television Syndication Company. Protect Our Paradise (6 x 30 mins/HD) is a timely series addressing the threats to the environment and what can be done to protect it. Extraordinary Fascism: Voices From The War In Ukraine (3 x 60 mins/HD/4K) features victims in Ukraine who share devastating stores of war and loss, with analysis from experts. An Ozark Mountain Symphony: A Musical Celebration (1 x 60 mins/HD) brings together musicians from all genres. Shot in countries throughout the world, The Soccer Academy (12 x 30 mins/ HD) introduces teens and families to different cultures while providing soccer tips and skills.

BIG MEDIA

Protect Our Paradise (The Television Syndication Company)

IX MEDIA

InterLib Data Intelligent Service Platform (IX Media)

Dates In Real Life (Dynamic Television)

IX MEDIA is presenting its Chinese content platform at MIPCOM CANNES. Developed and operated by Hangzhou Blossom Clouds Technology, InterLib Data Intelligent Service Platform uses cutting-edge innovative technology, including AI and cloud computing, to help search operations, procurement and security. The system includes more than 5,000 dramas to date, including the latest trending Chinese content.

BIG MEDIA, a producer with offices in the US, UK, Germany, Czech Republic and India, brings a range of programming to MIPCOM CANNES, including Spy Ops (8 x 60 mins), featuring intelligence operatives from MI6 to the CIA who share insider stories of spy craft. After a global Spy Ops (Big Media) premiere on Netflix, Big Media is presenting the series to international buyers. Another priority is the second season of Destruction Decoded (8 x 60 mins), which analyses the chain of events that led to the world’s worst maritime disasters, collapsed buildings around the world, and also an amusement park disaster.

PARAMOUNT GLOBAL CONTENT DISTRIBUTION ELSBETH stars Carrie Preston as an unconventional attorney who, after her successful career in Chicago, uses her skills to work alongside the NYPD, based on the character from The Good Wife and The Good Fight. Another series produced by CBS Studios and distributed by Paramount Global Content Distribution, is Matlock, starring Kathy Bates as a brilliant septuagenarian who recommences her career in a prestigious law firm where she uses her unassuming demeanour and wily tactics to win cases. Another priority, produced by Miramax and Turkish producer Ay Yapim, is The Turkish Detective, set in Istanbul and based on the series of Barbara Nadel novels. 92 MIPCOM CANNES PREVIEW OCTOBER 2023

KO DISTRIBUTION

Elsbeth (Paramount Global Content Distribution)

CANADA’s KO Distribution introduces its newest unscripted series Extreme Couples Challenge (8 x 46 mins) at MIPCOM CANNES. Each episode features a couple who are parachuted into a hostile environment to endure more than 36 hours of survival challenges, testing their relationship and their ability to handle conflicts that might arise. The experience is individually designed by a psychologist and a survival expert, who provide insights along the way. Their performance is analysed by the experts and the show’s host.

Extreme Couples Challenge (KO Distribution)

3BOXMEDIA STUDIOCANAL CRIME thriller Of Money And Blood (12 x 52 mins), from Curiosa Films for Canal+ Creation Originale, is based on Fabrice Arfi’s book of the same name, inspired by the story of a carbon tax scam between 2008 and 2009. Customs inspector Simon Weynachter sets out to track a gang of small-time crooks from Belleville that partnered with an upper-class trader to carry off an epic swindle, as casino capitalism collides head-on with politics and greed. The series is brought to Cannes by StudioCanal.

Of Money And Blood (StudioCanal)

Everest With Three Fingers (3Boxmedia)

FILMRISE ON THE slate from New York-based distributor FilmRise are: Statute Of Limitations (10 x 30 mins), a new crime series where people confess to the non-violent crimes; Not Like Mama (10 x 22 mins), in which a family member prepares their family’s recipe and then the hosts and their relatives judge the dishes; Unsolved Mysteries: Behind The Legacy (1 x 60 mins), celebrating one of the longest continuously running series; The Uncle Roger Show (15 x 30 mins), featuring comedian Nigel Ng; and paranormal show Sam Not Like Mama (FilmRise) And Colby (30 x 60 mins).

HG DISTRIBUTION

Touch Kink (HG Distribution)

SPANISH-German distributor 3Boxmedia is at MIPCOM Cannes to showcase: Life Among Lions (3 x 50 mins), revealing never-before documented behaviours of wild lions with naturalist Jorge Alesanco, who has lived on the savannah for more than 15 years; Everest With Three Fingers, (1 x 52/90 mins), about achieving the most extreme mountaineering challenge of all, with limbs missing or compromised; Methuselah. Becoming A Super-Ager, a documentary-comedy about how to cope with ageing; Garajonay. The Ancient Forest Of Europe (1 x 50 mins/4K); and Monfragüe National Park (1 x 49 mins/4K), discovering the world’s largest area of Mediterranean forest.

FACTUAL titles from Canada’s HG Distribution include: AI: To Be Or Not To Be (1 x 60 mins), in which scientists, philosophers, psychologists, researchers and creators of humanoids explore ethical issues related to artificial intelligence; Touch Kink (1 x 74/ 60 mins), an intimate look into the world of sado-masochism, bondage and fetishism; and Farming Without Harming (1 x 60 mins), which looks at major agricultural revolutions that empower people with greater food security while producing healthier food, healing land, cleansing waterways and creating a path to a more sustainable future. Worldwide rights are available for all programmes.

My Lovely Boxer (KBC)

ACUN MEDYA

KBS

ISTANBUL-based Acun Medya’s priority for MIPCOM CANNES is Exatlon, a mix of adventure, challenge and reality. Two teams, living together in Exatlon camps, embark on a physical and emotional challenge, sharing their journey as they push themselves to the limit. The team faces daily competitions, including a high-octane parkour. There is a winning team each week and at the end of the season an individual is crowned the Exatlon Champion.

MY LOVELY Boxer (12 x 70 mins) is a drama that combines sport and romance. Taeyoung is an agent who will do anything, even dirty tricks, for the clients. He is dragged into a dangerous match-fixing scenario, then tries to persuade a friend to join him. Korea’s KBC also presents Golden Girls (12 x 80 mins), an entertainment show in association with JYP, a major player in the K-pop industry. Four Korean female vocalists who already have numerous hit songs, are reborn as a K-pop girl group. The Black Box On Earth (4 x 70 mins) is a documentary following K-pop artists as they perform in six locations around the world that are being devastated by climate change. Live Your Own Life (50 x 70 mins) is the story of a troubled romance between a fitness trainer and the son of an unwelcoming wealthy family.

Exatlon (Acun Medya)

MIPCOM CANNES PRODUCT NEWS

TERRANOA

Obituary (APC)

A WOMAN In Kabul is among the new completed history titles released by Terranoa. It is the story of a woman called Elisabeth, who married a member of the Royal Afghan family in the 1930s and spent 40 years supporting women’s emancipation. The archive-based account uses notebooks and family archives to bring a new perspective to Afghan history. The French distributor also highlights: Pink Triangles, Homosexuals Facing Nazism; and Vasa, The Ghost Warship, an account of a legendary shipwreck; Ocean One K, The Archeologist From The Abysses; and coming soon, a portrait of actor Sean Penn.

Ocean One K, The Archeologist From The Abysses (Terranoa)

ABOUT PREMIUM CONTENT (APC)

PASSION DISTRIBUTION

TWO DRAMA series are on show in Cannes from Paris-based APC. Obituary (6 x 60 mins) follows 24-year-old Elvira who adores her job writing obituaries. When she ‘accidentally’ kills a terrible person, she discovers that she might have an untapped bloodlust, and finds ever more crafty methods to kill off the town’s unpleasant residents while making them look like accidents. However, the paper hires a suspicious new crime cor-respondent with a penchant for conspiracy theories. In crime series The Truth (8 x 52 mins) Detective Zohar has two weeks to present evidence to judges after two murders, 10 years apart, look suspiciously similar.

IN DOCUMENTARY series Into The Congo With Ben Fogle (3 x 60 mins), produced by Mentorn Media for the UK’s Channel 5, adventurer Ben Fogle embarks on his most extreme journey to date, exploring the Republic of the Congo to better understand the wildlife and people in a land still steeped in great myth and misconception. The UK distributor also highlights: Strip (6 x 60 mins), profiling workers at Crazy Horse III Gentlemen’s Club in Las Vegas; Coastguard: Search And Rescue S.O.S (6 x 60 mins), a new series following His Majesty’s Maritime and Coastguard Agency; and Tycoons Down Under (3 x 60 mins).

XIXI PICTURES NEW DRAMA Her Islands is brought to MIPCOM by Chinese producer and distributor Xixi Pictures. The story centres on the women in one family, including Qiao Haiyun, the authoritative grandmother who has three daughters. The eldest MengMingwei has a strained relationship with her daughter Li Yijin. The second daughter Meng Wanqing and her daughter Tao Shuna seem to have an ideal relationship, but they both harbour secrets. The youngest Meng Yi’an resembles Qiao Haiyun in her assertiveness, however, she is determined to find her own path. The series portrays distinct mother-daughter dynamics, highlighting the complexity of these close relationships.

Her Islands (Xixi Pictures)

94 MIPCOM CANNES PREVIEW OCTOBER 2023

Into The Congo With Ben Fogle (Passion Distribution)

NEW DOCS THE LATEST line-up from German distributor New Docs includes: Arming Against Putin – NATO And The Baltic Sea, looking at how the Baltic Sea is again the focus of international geopolitical interests; Hans Hass – Pioneer Of The Deep, telling the story of an Austrian pioneer of underwater filming, who during the troubles of the 1940s pursued a career as a diver, filmmaker and zoologist; and Cryptocurrencies – The Future Of Money?, about the shift in the global financial architecture and the profiteers and victims, supporters and critics of digital currencies.

Hans Hass – Pioneer Of The Deep (New Docs)

CHINA INTERNATIONAL TELEVISION CORPORATION (CITVC)

The Ambitions Of The Heroes (CITVC)

TWO SERIES top the MIPCOM CANNES catalogue for CITVC. Drama animation series The Ambitions Of The Heroes (60 x 45 mins), adapted from the martial artsbased writing of Sun Xiao, follows four heroic young men who, in the turmoil of their country, eradicate evil and defeat enemies, while upholding their personal ideals. The Land Of Spirits (4 x 55 mins) is a documentary series which explores a variety of extreme natural landscapes and the ways humans, animals and nature can live in harmony. The series focuses the Siberian tiger, the white dolphin, the giant Asian elephant and the wild yak, among other subjects.

WURL SAN FRANCISCO-based Wurl brings a new machine learning tool for connected TV (CTV) to MIPCOM CANNES. ContentDiscovery performance marketing aims to help streaming platforms and apps grow audiences, increase engagement and reduce churn. With this system streamers and publishers can: target the right viewers by connecting content across CTV, mobile and desktop; keep viewers engaged by targeting promos individually; and define campaign goals and measure ROI.

FUTURE TV CHINESE distributor Future TV presents new drama Ordinary Road (40 x 45 mins) at MIPCOM CANNES. Pan Yan is a trainee lawyer in Rongke Law Firm. He and Shu Yinan, Zuo Na and Zhu Xin Xin, who entered Rongke’s internship at the same time, get involved in various litigation commissions while progressing their legal careers. The drama and growing pains in their daily lives are not only taking place at work, but also in their exhausting family relationships, including with their parents.

Soap (Gigglebug Entertainment)

GIGGLEBUG ENTERTAINMENT NEW ADULT comedy animation Soap (20 x 20 mins), created by In Stitches, Gigglebug Entertainment’s new dedicated adult animation label, is a workplace comedy from the point of view of a bar of hotel soap. When affairs unravel marriages, a drug deal blows up (literally) or a serial killer repaints the walls red, who is there to clean up the mess? — Suds and her pals, the cleaning products at the Seedy Hotel (it’s supposed to be Serendipity Hotel but some of the lights are broken). The series is due for delivery in 2026. Worldwide rights are available. Parish (AMC Networks)

YOUHUG MEDIA

AMC NETWORKS

SHANGHAI-based Youhug Media introduces two drama series at MIPCOM CANNES. League Of Legends Pro League Web Series marks the debut of the iconic filmmaker Zhang Yimou into the world of web series. In contrast Panda & Me is a unique drama series centred around real giant pandas, not in animation or documentary form. The series is set against the backdrop of a serene panda park, a distinct contrast to the chaos of the big city.

PROGRAMMING at MIPCOM CANNES from AMC Networks includes: new drama Parish (6 x 60 mins), following Gray Parish (Giancarlo Esposito) who gave up crime for life as a family man, but when his son is murdered, old habits return; two 6 x 60 mins seasons of Western crime series Dark Winds, set in 1971 on a remote outpost of the Navajo Nation; Mrs. Sidhu Investigates (4 x 90 mins), starring Meera Syal as a crime-solving high-end caterer; fantasy series Sanctuary: A Witch’s Tale (7 x 60 mins); docu-series True Crime Story: Citizen Detective (6 x 60 mins); two 6 x 60 mins seasons of The Walking Dead: Daryl Dixon; The Walking Dead: The Ones Who Live (6 x 60 mins); two 6 x 60 mins seasons of The Walking Dead: Dead City; two seasons of Anne Rice’s Interview With The Vampire; and two seasons of Anne Rice’s Mayfair Witches.

Panda & Me (Youhug Media)

Ordinary Road (Future TV)

MIPCOM CANNES PRODUCT NEWS

ONEGATE MEDIA GERMANY’s OneGate Media brings parts three and four of Lost In Fuseta (2 x 90 mins/4 x 45 mins), to MIPCOM CANNES. Produced by 307 Production, it features Inspector Leander Lost, a high functioning autistic police detective who discovers that his colleague Teresa is missing. When he finds that the lead suspect is the victim of blackmail, Lost fears he is now dealing with a murder case. Another drama priority is Isolated (8 x 45 mins), from producer Lucy Loves Drama, set on Utö Island, in the Finnish Archipelago. When the residents of the island await the weekly ferry they hear a strange, booming sound. Minutes later the island’s electricity and water supplies fail, along with the radios and telephones, until all contact with the outside world is cut off, and the islanders are overcome by fear.

BBC STUDIOS BBC STUDIOS scripted slate includes: the second season of Time (3 x 60 mins), a drama told through the stories of three very different female prison inmates; Truelove (6 x 60 mins), a drama combining romance and humour with elements of a thriller, and a core cast in their late 60s and 70s; A Good Girl’s Guide To Murder (6 x 45 mins); and Famous Five 3 x 90 mins), based on Enid Blyton’s 21 stories. Unscripted highlights include: Uncanny (3 x 60 mins), featuring real-life stories of supernatural encounters; and natural history series Mammals (6 x 60 mins), Big Little Journeys (3 x 60 mins) and Earth (5 x 60 mins). Further factual programming includes: Disco (3 x 60 mins/working title); and Julius Caesar: Rise Of The Roman Empire (3 x 60 mins/working title).

Truelove (BBC Studios)

Ancient Apocalypse (ZDF Studios)

ZDF STUDIOS OFF THE FENCE OFF THE Fence brings a MIPCOM CANNES catalogue with programming across its three content pillars — Yesterday, Today and Tomorrow. In the Yesterday strand is Cursed Histories (6 x 60 mins) produced by Go Button Media and otf studios, which explores the puzzling historical elements, places, icons or events that seem to be plagued by what can be described as a curse. A highlight from the Today strand is Game Of Leopard Thrones (3 x 60 mins), featuring the Djuma Private Game Reserve in South Africa and the drama to see who will be crowned the next leopard king or queen. From the Future strand comes A User’s Guide To The Voice (1 x 60 mins), an exploration of the key components of the vocal system.

Lost In Fuseta (OneGate Media) Game Of Leopard Thrones (Off the Fence)

96 MIPCOM CANNES PREVIEW OCTOBER 2023

HIGHLIGHTS from the vast slate from Germany’s ZDF Studios includes: the second season of Ancient Apocalypse (6 × 50 mins), which provides insights into the downfall of some of history’s greatest empires. From the Mexican Aztecs to the ancient Minoans of Crete; Mega Building Collection (10 × 50 mins), looking at incredible buildings, vehicles and projects, providing insights into ground-breaking achievements in technology and engineering; Namibia’s Natural Wonders (2 × 50 mins/UHD), from the arid savannahs to flowing rivers and rugged coastlines; and Wanna Bet?, a format that can be adapted from 180 minutes to 60 or 30 minutes. Showcasing international stars, Wanna Bet? is a mix of talk, game and variety elements held together by a charismatic host.

The Couple Next Door (Beta Film)

BETA FILM

SMG WINGSMEDIA

THE CANNES line-up for Beta Film includes: thought-provoking social-technology thriller Concordia (6 x 60 mins), which explores surveillance and data security; psychological drama The Couple Next Door (6 x 60 mins), exploring the fallout of chasing dark desires; I Know Your Soul (6 x 60 mins), starring Jasna Djuricic, who plays a prosecutor investigating a case which threatens to destroy her family and career; Maxima (6 x 60 mins), depicting the life of Argentinian-born Maxima Zorreguieta who became Queen of the Netherlands; Ukrainian drama In Her Car (10 x 30 mins), taking place during the ongoing crisis; and Estonia (8 x 60 mins), the first ever Finnish-Swedish-Estonian co-production investigating one of the biggest civilian maritime disasters in post-war history.

SHANGHAI-based SMG WingsMedia brings new singing competition Sing With The Legend to international buyers in Cannes. The show pairs young musicians with legendary artists, across generations. The result of the collaborations brings together different types of music to mix and clash. The format has been successfully adapted in Spain under the name Duos Incredibles.

JOURNEYMAN PICTURES DISTRIBUTOR Journeyman Pictures brings a slate of topical documentaries to MIPCOM CANNES. Between The Rains (1 x 54/81 mins) is a cinematic narrative that gains rare access to Northern Kenya’s Turkana people to explore the impact of climate change, through the story of a young goat herder. Other leading titles include: Under The Sky Of Damascus (1 x 88 mins), a female-centred story documenting the fight against misogyny in contemporary Syria; Under Deadly Skies (1 x 57 mins), which shows investigative journalist John Sweeney gathering evidence on torture and illegal weapons in Ukraine; and Endless Sunshine On A Cloudy Day (1 x 52/97 mins), which asks how we process love and grief in the age of social media.

Between The Rains (Journeyman Pictures)

Sing With Legends (SMG WingsMedia)

HUANYU ENTERTAINMENT CHINESE studio and distributor Huanyu Entertainment presents new historical costume dramas in Cannes, including: Story Of Kunning Palace (38 x 45 mins), about a calculating evil queen who travels back in time to change her fate; Gone With The Rain (37 x 45 mins), featuring two women helping each other to survive during wartime; Royal Feast (40 x 45 mins); romance Story Of Yanxi Palace (70 x 45 mins), focusing on the life of women in the palace; and Hi Producer (35 x 45 mins), which tells the workplace story of a reality show production crew.

CORUS STUDIOS IN THE series Bryan’s All In (10 x 60 mins) Bryan Baeumler travels off-the-beaten path to help struggling entrepreneurs renovate their businesses. Travelling in his RV, he spends a week helping a budding business owner through a make-or-break point in their evolution. Further content from Canada’s Corus Studios includes: The Love Club Moms (4 x 120 mins), a movie franchise that follows the romantic lives of four strong, Bryan’s All In (Corus Studios) successful women as they juggle motherhood with trying to find their happily ever after; and Pamela’s Cooking With Love (8 x 60 mins), featuring Pamela Anderson, who invites chefs to join her on a stunning rural property on Vancouver Island, where together they prepare plant-based meals. MIPCOM CANNES PREVIEW OCTOBER 2023 97

MIPCOM CANNES PRODUCT NEWS

CINEFLIX RIGHTS THE DOLL Factory (6 x 60 mins), a gothic thriller set in 1851, sees Iris, who paints dolls for a living, cross paths with Silas the taxidermist and artist Louis in a story of love, art, freedom — and what happens when a woman dares to take what she wants in the world. The series is brought to MIPCOM CANNES by the UK’s Cineflix Rights. Other priorities include: Men Up (1 x 90 mins), a gently comic drama set against the first clinical trials for an unknown drug which later became Viagra; and Hidden Frontiers Arabia With Reza Pakravan (6 x 60 mins), following US explorer Pakravan on a journey into uncharted territory across the Arabian Peninsula.

HAT TRICK INTERNATIONAL (HTI) A MIPCOM priority for HTI is Police Rescue Australia (6 x 60 mins), produced by Lune Media for Channel 9. For the first time the NSW Police Rescue and Bomb Disposal Unit are opening their doors, and Police Rescue Australia follows the real-life drama of a group of officers as they deal with high-risk and traumatic situations. This select group comprises some of the best trained and hardest working rescuers in the world, from cliff and mountain helicopter rescues, to missing person searches in the Blue Mountains, to sieges, bomb disposals, and abseiling down the Sydney Harbour Bridge. Police Rescue Australia (HTI)

ROYA MEDIA GROUP JORDAN’s Roya Media Group brings drama project Becoming The Madam (8 x 45 mins) to MIPCOM CANNES, and is looking for co-producers. Mama Amina, who has been a loyal housekeeper at Dar Al Bashawat Becoming The Madam for 20 years, leads a rebellion (Roya Media Group) alongside her friend Montaha and protege Mariam. They overthrow the grandmother’s rule, form a network of maids and create an underground group that embraces life to the fullest. Roya Media Group, Jordan’s largest private media company, comprises diverse platforms and brands offering comprehensive services and premium content globally.

GRB MEDIA RANCH RELATIVE Justice (150 x 30 mins/with a second season in production) looks at when family squabbles can become destructive, especially when money is involved. These family disagreements play out in the arbitration-based reality court show with Judge Rhonda Wills. Joint-venture distributor GRB Media Ranch also brings the format Round Table, from Wonwoo Park, creator of The Masked Singer. Round Table is a singing competition where celebrity contestants without any singing skills sing in karaoke-style rounds, each sing their part of a song before passing the next part to someone else. Round Table (Media Ranch) The Doll Factory (Cineflix Rights)

98 MIPCOM CANNES PREVIEW OCTOBER 2023

The Long Shadow (All3Media International)

ALL3MEDIA INTERNATIONAL DOCUMENTARY Searching For Satoshi: The Mysterious Disappearance Of Bitcoin’s Creator (1 x 90 mins) looks at the mysterious disappearance of the inventor of Bitcoin. A secretive character, Satoshi Nakamoto launched Bitcoin in 2009, which spread like wildfire across the globe and transformed the way money and currencies operate. Did he die? Was he killed? Or did he just walk away on principle? London-based All3Media also brings: The Long Shadow (7 x 60 mins), a powerful drama about the desperate five-year hunt for serial killer Peter Sutcliffe in the UK; and action thriller Boat Story (6 x 60 mins).

SILVERLINING BRISTOL, UK-based Silverlining is highlighting three titles from its MIPCOM CANNES offer. Instascam: Give Me Back My Face (1 x 60 mins/working title) is about scams in which criminals steal the online identities of people — like the host James, who discovers that it’s not only those conned who are the victims, many of those carrying out the con are suffering even more at the hands of gangs behind this crime. The Lost Princes (1 x 90/60 mins/working title) follows Philippa Langley, the writer who located the final resting place of Richard III, and criminal barrister Rob Rinder as they investigate the disappearance of two young princes in the Tower of London — was it Richard III who orchestrated a brutal murder? Bill Bailey’s Wild Western Australia (4 x 60 mins) sees the comedian embark on a 21,000km trek, through five climate zones, along the vast coastline and inland.

Bill Bailey’s Wild Western Australia (Silverlining)

TGC GLOBAL ENTERTAINMENT (TGC GE) TGC GE — which was launched in January by formats veteran Phil Gurin — comes to Cannes with a catalogue featuring formats, documentaries and non-scripted series from both US and international broadcasters, platforms and producers, along with original content from The Gurin Company. Current slate highlights include Canada’s Ultimate Challenge, a primetime reality competition format; entertainment format Fridge Wars; singalong game show The Singing Bee; and guerrilla super-fan game show Parking Lot Payday, now heading into its second US season on cable channel AXS TV.

Masters Of Handicrafts (Daehan Mediaworld)

DAEHAN MEDIAWORLD MASTERS Of Handicrafts (2 x 52 mins/4K), at MIPCOM CANNES from Korea’s Daehan Mediaworld, features craftspeople from across the world, including Indonesia, England, India, Spain, Japan and Korea. What can often be lonely occupations, fuelled by passion and devotion, can produce objects of incredible beauty. Another priority is RE Forest (2 x 52 mins/4K), which explores the need for sustainable forest management for our future and the important role that forests can play as a healing environment for humans.

SOMETHING SPECIAL BATTLE In The Box is a new format represented by Seoulbased format agency Something Special. Two celebrity teams stay for 20 hours in a specially designed container, known as The Box. Through a series of games, they can win comfort items that they need as the container is empty when the game starts. When a duel between the teams happens, a moving wall shifts and the winning team’s space expands while the losers’ space shrinks. An 8 x 60 mins series is currently in production in the UK by Interstellar for UKTV. The format is available in several territories. The Box (Something Special)

Singing Bee (TGC GE)

Along Ancient Tracks (Albatross World Sales)

ALBATROSS WORLD SALES THE SLATE from Germany’s Albatross World Sales includes: Save The Wild (3 x 52 mins/4K), which looks at ways to protect biodiversity around the world; Webs & Wings – Nature’s Tiny Ballet (3 x 52 mins/4K), focusing on flies, ladybugs and spiders; Travel Along Ancient Tracks (3 x 43 mins/HD), following historic train tracks in Romania, Bulgaria and Albania; and Secret Network Of Animals (1 x 52 mins/4K), in which scientists bring to light the invisible network that shapes animals lives, migration and behaviours and how it can help predict natural disasters.

MIPCOM CANNES PRODUCT NEWS

The Joan Of Arc Case (ARTE Distribution)

ARTE DISTRIBUTION

AMUZ DISTRIBUTION

ARTE Distribution returns to Cannes with a wide range of new and exclusive documentaries. Europe’s Wildest Heritage (5 x 43 mins) visits iconic historic sites in Europe and profiles them from the point of view of the diverse and often unexpected wildlife, looking at how natural and historical heritage can become allied. Another priority is a 3D animation documentary The Joan Of Arc Case (1 x 90 mins). The film follows the story of the young village girl who claimed to have been sent by God to save France from the English invaders and uses never-before-seen documents of her rehabilitation trial to profile her journey from war leader to enemy of the French kingdom. Another animated documentary on the slate is Legends Of Paris, about 19th-century artists in Paris. The Chinese Triads (3 x 52 mins) includes exclusive interviews with former members of the triads.

QUEBEC-based Amuz Distribution brings an uplifting series about a family triumphing over limitations to MIPCOM CANNES. About Antoine (10 x 30 mins) is the story of Julie who, when she begins a new romance with Marc, finds herself drawn into an extraordinary family with a remarkable child named Antoine. With authenticity and humour the story tackles the sensitive theme of life with a poly-handicapped child and those around him. Available in all territories outside of Canada, the second season is in production.

BLUE ANT INTERNATIONAL MY BEST Friend’s An Animal (6 x 60 mins/4K/HDR) is a heart-warming series which tells the stories of humans around the world who have extraordinary friendships with wild animals, featuring six stories per episode. Canadian distributor Blue Ant International also brings Silk Road From Above (3 x 60 mins/4K), an aerial adventure along the world’s most renowned trade route from the eastern terminus in China to the shores of Italy’s Lake Como, passing through Central Asia, Turkey and Europe.

About Antoine (Amuz Distribution)

QUINTUS STUDIOS NEW FACTUAL content from Quintus Studios includes 7 Vs Wild, a reality format, originally shot for a YouTube channel, where seven teams of content creators and influencers go into the wilderness with basic items to help them survive 14 days. Illegal Gold: The New Cocaine (4 x 60 mins) looks at illegal extraction of gold in some of the world’s most biodiverse areas. Red Zones (4 x 60 mins) investigates the lives of people living in some of the world’s most precarious places, from a coal-mining town in Ukraine to fishing villages along the South China Seas. The German company also brings: the fourth series of Exceptional Engineering (6 x 60 mins); and Behind Bars – The World’s Toughest Prisons (6 x 60 mins).

7 Vs Wild (Quintus Studios)

NOVOCOMEDY FRENCH distributor of comedy shows and clips, Novocomedy, is releasing two new series at MIPCOM CANNES. The company will show the first teaser of Atomik Pranks (13 x 22 mins), a non-dialogue compilation of high-budget hidden-camera pranks, with delivery due soon and a second season planned for Q2 2024. Novocomedy is also introducing its latest new series of home-video bloopers, Pop Video (13 x 22 mins), also non-dialogue. Another round of 13 episodes will be available early next year. Pop Video follows on from Novocomedy series Hilarious Home Video (200 x 22 mins).

My Best Friend’s An Animal (Blue Ant International)

100 MIPCOM CANNES PREVIEW OCTOBER 2023

Atomik Pranks (Novocomedy)

ELECTRIC ENTERTAINMENT US DISTRIBUTOR Electric Entertainment brings a range of series to MIPCOM CANNES, including: The Librarians: The Next Chapter (12 x 60 mins), from showrunner Dean Devlin, a new rendition of the series which follows a ‘Librarian’ from the past who time-travelled to the present; two seasons of The Ark (24 x 60 mins), about a spacecraft and its remainng crew who fight to survive after a catastrophy causes massive destruction to the ship during its mission to save humankind; two seasons of Leverage: Redemption (29 x 60 mins), about the Hitter, the Hacker, the Grifter and the Thief who, with help from a new tech genius and corporate fixer, take on villains; and two seasons of Almost Paradise (20 x 60 mins), about a retired US DEA agent in the Philippines who uses his skills to catch criminals. The Librarians: The Next Chapter (Electric Entertainment)

Tributaries (Pixcom)

FREMANTLE TWO TITLES head the documentary roster for Fremantle. House Of Kardashian features never-seen-before archive and exclusive interviews with those in the inner circle, focusing on Kris Jenner, Kim Kardashian and Kylie Jenner. Coco Chanel: Unbuttoned is a documentary about the enigmatic designer, voiced by Sophie Marceau, including exquisite animation, interviews and unprecedented access to House of Chanel archives. From the entertainment catalogue comes The Lost Ones, which sees a group of ordinary people dropped into the wilderness in individual locations, equipped only with a radio, essential survival items and a locked canister containing an unknown share of the prize fund. If they want to claim the cash prize, they must find a way out together before the time runs out. Mamma Mia! I Have A Dream, filmed against the backdrop of the Greek islands, is a search for two hopefuls to play the roles of Sophie and Sky in Mamma Mia! in London’s West End.

The Lost Ones (Fremantle)

PIXCOM CANADA’s Pixcom brings drama Tributaries (6 x 60 mins) to MIPCOM CANNES. The story features Sarah Deléan, a brilliant young lawyer, who finds the body of her Mexican neighbour lying in a pool of blood. Sarah soon discovers that the discrete woman, hiding in a fake identity, left her country because of the death threats she received after forcing the closure of a mine owned by a Canadian company which Sarah’s law firm represents. Sarah conducts her own investigation and uncovers controversial mining activities in Quebec’s Côte-Nord and in Mexico’s Oaxaca Valley. Caught in a dilemma, torn between loyalty to her professional family — which includes her fiance — and the help needed by a group of citizens to protect their health, water and land, it’s up to Sarah to choose a side and discover her true nature.

MIPCOM CANNES PRODUCT NEWS

LINEUP INDUSTRIES

GLOBO

DUTCH distributor Lineup Industries is bringing new science format Space Challenge: Mission To Mars to MIPCOM CANNES, and has brought the European Space Agency and its astronauts on board for local versions, which uses the latest augmented reality to bring space travel to life. Aimed at family audiences, Space Challenge: Mission To Mars is an immersive trip to the red planet. Seven episodes guide viewers through each stage of the mission and the support of the European Space Agency will see a real-life astronaut feature as a host, alongside a co-host from the local channel, as well as present up-to-date space insights and research. Space Challenge: Mission To Mars was originally developed by KRO-NCRV in collaboration with SpacePlays B.V. and Hens Concept & Motion Graphic Designs and produced by KRO-NCRV for NPO.

PRIMETIME Brazilian drama Land Of Desire is brought to the international market at MIPCOM CANNES by Globo. The telenovela is a classic story, with family dramas, disputes and unspeakable secrets, set against the Brazilian countryside. Aline (Barbara Reis) is a young woman who sees her family cut down by a crime. With courage she shows that strength and love can act as an engine of transformation, justice and hope. Aline is moved by the desire for reparation when she crosses paths with the family of Antônio La Selva (Tony Ramos), which is divided by ambition and many secrets. Land Of Desire (Globo)

Space Challenge: Mission To Mars (Lineup Industries)

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A RICH MULTI-FACETED PROGRAMME // Thought leadership // Tech & data Upfront // Dynamic Distribution // More Power to Content // Screening Big // Empowered & Diverse // Insights & ideas

MIPCOM CANNES PERSONALITY OF THE YEAR

MON. 16 - 12:00-12:30 GRAND AUDITORIUM

Diversity & Inclusion Keynote

TUES. 17 - 11.15 -11.45 GRAND AUDITORIUM

Zhonghuai Sun Vice President, Tencent, CEO, Tencent Online Video

TUES. 17 - 17.00-17.45

Mo Abudu CEO, EbonyLife Media

GRAND AUDITORIUM

Bob Bakish President & CEO Paramount Global Award Ceremony and Fireside Chat

MON.16 - 16.00-16.30 GRAND AUDITORIUM

TUES. 17 - 16.00-16.30 GRAND AUDITORIUM Cris Abrego Chairman of the Americas, Banijay

MON.16 - 11.15-11.45

Eva Longoria Award-winning Actress, Emmy-nominated Director, Producer & Activist

GRAND AUDITORIUM

Gerhard Zeiler President of International, Warner Bros. Discovery

Variety Vanguard Award

MON.16 - 17.00-17.30 GRAND AUDITORIUM

with

Leah Hooper Rosa SVP, Head of Streaming, EMEA, Warner Bros Discovery

Maxime Saada Chairman & CEO, CANAL+ Group

Laura Fernández Espeso CEO, The Mediapro Studio

CHECK OUT OUR SCHEDULE IN THIS MAGAZINE OR MIPCOM.COM FOR OUR FULL PROGRAMME AND SPEAKERS.

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HIGHLIGHTS CONTENTS

FAST & GLOBAL SUMMIT

ARTIFICIAL INTELLIGENCE

TUES. 17 - 14.20-16.00 Meet the Experts from A+E Networks; Banijay Rights; BBC STUDIOS; Little Dot Studios; OKAST.TV; Samsung TV Plus; TUBI and more

TUES. 17 - 8.45-11.00

PART I. FAST & GLOBAL ROUNDTABLES

FOLLOWED BY THE FAST & GLOBAL NETWORKING RECEPTION HOSTED BY XUMO

PART II. FAST & GLOBAL TALK SERIES WED. 18 - 9.00-11.30

PART I. UNLOCKING AI SUMMIT

Presenter: Kati Bremme, Head of Innovation, FRANCE TV 8.45-10.10 | IMMERSIVE SHOWCASE OF INNOVATIONS Harness the Power of AI Keynote Speaker: Anshul Kapoor Head of Media Broadcast Solutions, Google Cloud, Google 10.10-11.00 | ETHICAL & LEGAL CHALLENGES How to Regulate AI?

Presenting Partner: Conference Partners:

CONTENT CREATION SUMMIT mipcom highlights.indd 2

Keynote Speaker: Dragos Tudorache Member of the European Parliament LIBE rapporteur on the AI Act Industry Partner:

PART II. AI & DATA ROUNDTABLES: HARNESSING THE POWER OF TECH THU. 19 - 9.30-10.30 Join these expert-led roundtables to become an early & responsible adopter of AI technologies.

TUE. 17 -12.45-13.45 - SEAVIEW PRODUCERS’ HUB WED. 18 - 8.30-16.30 - VERRIÈRE CALIFORNIE Virtual production & beyond Applying innovative solutions for the creation of entertainment content. The latest in Virtual Production / Advanced TV Broadcasting Studios / Game-Changing Cameras & shooting techniques / VR / MR / AR / XR / Transformative hybrid experiences. In partnership with

CRACKING AUDIENCE TRENDS Presented by Glance MON. 16 - 9.00-9.45 GRAND AUDITORIUM

FRESH TV Presented by The WIT

Opening Keynote: Jeff Schulz Chief Strategy Officer and Chief Business Development Officer, Paramount Streaming Exclusive Interviews & Presentations starring international trendsetters in FAST from A+E Networks, Fremantle, Omdia, Roku, Vizio, ESHAP, Xumo and partners.

DON’T MISS OUR MARKET INTELLIGENCE SESSIONS

FRESH TV FORMATS MON. 16 - 13.00-14.00 GRAND AUDITORIUM

FRESH TV FICTION WED.18 - 13.00-13.45 GRAND AUDITORIUM

BEST OF FRESH TV THU.19 - 10.30-11.00 SEAVIEW PRODUCERS’ HUB

MASTERING DATA: A JOURNEY THROUGH THE GLOBAL STREAMING LANDSCAPE Presented by BB Media

THU. 19 - 11.15-11.45 SEAVIEW PRODUCERS’ HUB

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Zorro

SUN. 15 - 18.00-19.15 - GRAND AUDITORIUM

EVENT SCREENING: ZORRO Presented by Mediawan Rights

Los Angeles, California, 1834. After a heroic battle, the masked avenger perishes in flames. Zorro is dead. But Zorro is not a man. Zorro is a symbol… Followed by a Q&A with Miguel Bernardeau (Elite, 1899, The Last One), Renata Notni (El Dragón: Return of a Warrior), Dalia Xiuhcoatl (Luna Negra), and Sergio Pizzolante, Producer at Secuoya.

Alice & Jack

MON. 16 - 18.00-19.15 - GRAND AUDITORIUM

Concordia

TUES. 17 - 18.00-19.15 - GRAND AUDITORIUM

INTERNATIONAL PREMIERE: ALICE & JACK

WORLD PREMIERE SCREENING: CONCORDIA

Featuring Andrea Riseborough & Domhnall Gleeson

CONCORDIA is the town of the future, powered by AI surveillance, and on the verge of expansion when twin catastrophes strike.

Presented by Fremantle

When Alice and Jack first meet, they’re bound by a connection so powerful it seems nothing can break it. Followed by a Q&A.

INTERNATIONAL SCREENINGS

Presented by Beta Film & ZDF Studios

Followed by a Q&A with Primetime Emmy® Award winner, Showrunner and Executive Producer Frank Doelger (Game of Thrones, The Swarm, John Adams, Rome), International Emmy® Award winner, Actress Christiane Paul (Counterpart, In July) and Actress Ruth Bradley (Ted Lasso, Humans).

KEYNOTE

TUES.17 - 11.15-11.45 GRAND AUDITORIUM Mo Abudu, CEO, EbonyLife Media

INTERNATIONAL MENTORING & NETWORKING BREAKFAST FOR WOMEN IN MEDIA WED. 18 - 8.30-10.30 VERRIÈRE GRAND AUDITORIUM

MIPCOM CANNES DIVERSIFY TV AWARDS TUES. 17 - 12.00-13.00 - GRAND AUDITORIUM

Celebrating Inclusivity in front and behind the camera. Presented by Femi OKE, International Broadcaster Journalist & Author, co-founder of Moderate the Panel. 13.00-14.00 Drinks & Petits Fours In association with:

Awards Partners:

In partnership with MediaClub’Elles Supporting Parners:

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HIGHLIGHTS CONTENTS

TUES. 17 - 15.15-15.45

MON. 16 - 9.45-10.15

BANIJAY’S SCRIPTED SUCCESS: CULTIVATING CREATIVE AMBITION

BRIDGE ACROSS THE ATLANTIC

With new head of global scripted Christian Wikander, Dominique Farrugia, Managing Director, Shine Fiction, France and Alexia Laroche-Joubert, MD, Banijay, France

Camila Jimenez-Villa, Founder and co-CEO, THE IMMIGRANT & Sara Fernandez-Velasco, CEO, iZEN - The challenges and opportunities of working pan-regionally. Camila Jimenez-Villa

WED. 18 - 9.00 – 9.30

THE INDIES: SURVIVING AND THRIVING Dominique Farrugia

Alexia Laroche-Joubert

Christian Wikander

Emily Feller, WARP FILMS (UK) & Klaus Zimmermann, Dynamic Pictures (US) & Alvaro Benitez, Plano A Plano (ES). Talent, IP, rising budgets. How to position oneself and get noticed in this market?

TUES.17 - 14.30-15.00

NEWEN – HOW TO TAKE ON THE CHALLENGE OF A FAST-CHANGING MARKET? Romain Bessi, CEO, NEWEN

Romain Bessi

INTERNATIONAL FORMAT AWARDS SUN. 15 - 17.00-19.00

The leading awards for the global format business, recognising creativity and excellence across a range of categories.

MIPCOM CANNES OPENING NIGHT PARTY & RED CARPET MON. 16 - FROM 19:00 HOTEL MAJESTIC

Emily Feller

Klaus Zimmermann

CONTENT INNOVATION AWARDS WED. 18 - 17:30-20:30 GRAND AUDITORIUM

NEW TO MIPCOM CANNES Open to all delegates

Open to all delegates

17 winners - 9th Edition Honouring companies, individuals and content at the forefront of innovation in the global television industry and celebrating those making significant contributions transforming the medium of television.

Incl. The Gold Award recipient Arthur Essebag, Founder & TV Host, Satisfaction the Television Agency Arthur Essebag

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Alvaro Benitez

Reception Gala: 17:30 Ceremony: 18:30 Celebratory Cocktails: 19:30

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MIP MARKETS THE WORLD’S LARGEST ENTERTAINMENT CONTENT MARKETS

21-24 October 2024 Palais des Festivals, Cannes, France

19-20 October 2024 JW Marriott, Cannes, France

14-17 November 2023 Moon Palace, Cancun, Mexico

Built by

ln the business of building businesses

15-17 April 2024 Palais des Festivals, Cannes, France

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CONFERENCES & EVENTS PROGRAMME The world’s greatest gathering of tv and entertainment executives

SUNDAY 15 OCT. 23 Grand Auditorium

Seaview Producers’ Hub

Other Venues

14:00

15:00

16:00

17.00 17:00 - 19:00

Club C21, Hyde Beach Cannes 17:30 - 18:15

First Timers’ Presentation

18:00 18:00 - 19:15

MIPCOM CANNES Event Screening Zorro Presented by Mediawan Rights Followed by a Q&A with the talent

19:00

International Format Awards – Gala Awards Final

With C21, MIPCOM CANNES, FRAPA & Entertainment Masterclass By invitation only

Open to All MIPCOM CANNES Delegates

20:00 Programme subject to change

Sessions will be available to catch-up on mipcom.com

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MONDAY 16 OCT. 23 Grand Auditorium

Seaview Producers’ Hub

MIP Lab

Other Venues

8:30

09:00 - 10:00 8:00 - 10:00

Hotel Majestic - Salon Marta

9:00

MIPCOM Buyers’ Award for Japanese Drama

9:00 - 9:45

Cracking Audience Trends Presented by Glance

Banijay’s Scripted Success - Cultivating Creative Ambition

10:00

The 1% Club

10:15 - 11:00

Presented by BBC Studios

11:15 - 11:45 KEYNOTE

Media Mastermind Keynote Gerhard Zeiler

The Do’s and Don’ts of Co-producing with Japan

SVP, Head of Streaming, EMEA

12:30 - 14:00

Hotel Majestic Doors open at 12:00 Women in Global Entertainment Power Lunch with A+E Media Group

13:00 - 14:00

Fresh TV Formats

14:00 - 14:30 MEET THE EXPERT

Bar Area

14:30 - 15:00

The Swarm - A Case-Study for the Future

15:15 - 15:45

16:00

17:00

18:00

IP that is AI-Proof!

Media Mastermind Keynote

14:30 - 15:00

MIP Talk: Is Social Media Your New Biggest Revenue Stream?

14:15 - 15:15

Hi5

14:30 - 15:30

Presented by BEAJ

Focus on Finland Showcase

Treasure Box Japan

Auditorium A

Presented by Audiovisual Producers Finland

15:15 - 15:45

MIP Talk: Hear from Streamers

Cris Abrego, Chairman of the Americas, Banijay Eva Longoria, Award-winning Actress, Emmy-nominated Director, Producer & Activist

16:00 - 17:00

Auditorium A

La Mesias

Presented by Movistar Plus + International 16:45 - 17:45

17:00 - 17:30 KEYNOTE

17:30 - 18:00

Auditorium K

Maxime Saada Chairman & CEO, Canal+ Group

Sun, Sand, and Serious Savings: Greater Miami and Miami Beach Film Incentives Turn Dreams into Blockbusters

18:00 - 19:15

18:00 - 19:00

Presented by The State Council Information Office of the People’s Republic of China & National Radio and Television Administration of the People’s Republic of China

Media Mastermind Keynote Variety Vanguard Award & Fireside Chat

MIPCOM CANNES International Premiere Alice & Jack

19:00

By invitation only

How to Navigate SVOD, AVOD and FAST Options and Rights for Your Documentary

16:00 - 16:30 KEYNOTE

India’s New Push

Indian Jewels: New Offerings in TV, OTT, Film and Animation

Vice President, Tencent, CEO, Tencent Online Video

15:00

11:00 - 12:00

Hi5

Media Mastermind Keynote Zhonghuai Sun

14:00

Presented by Red Arrow Studios International

12:00 - 12:30

12:00 - 12:30 KEYNOTE

Presented by The WIT

New Scripted Showcase

Auditorium A Verrière In Her Car Californie Presented Coby BETA FILM productions:

& Leah Hooper Rosa

13:00

Auditorium K

11:00 - 12:00

President of International, Warner Bros Discovery

12.00

China: Where Stories Evolve-Audiovisual Production and International Distribution Summit

09:45 - 11:00

Hi5

10:30 - 11:00

Auditorium A

Presented by The State Council Info. Office & National Radio and Television Admin. of the People’s Republic of China

09:45 - 10:15

11:00

Screenings & Showcases

Presented by Fremantle Followed by a Q&A

Fresh Content China

Producers’ Hub Networking Drinks with Greater Miami

From 19:00

Hotel Majestic

MIPCOM CANNES Opening Night Party & Red Carpet

20:00 Programme subject to change

Sessions will be available to catch-up on mipcom.com

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TUESDAY 17 OCT. 23 Grand Auditorium

Seaview Producers’ Hub

MIP Lab

Other Venues

Screenings & Showcases

8:30 8:30 - 9:30

8:45 - 11:00

By invitation only

08:15 Welcome Coffee

Drama Co-production Breakfast

9:00

9:45 - 10:15

10:00

Renaissance Producers

Unlocking AI Summit

08:45 Introduction: The Dawn of a New World 09:00 Part I. Immersive Showcase: Harnessing the Power of AI 10:10 Part II. Ethical & Legal Challenges: How to regulate AI?

9:30 - 10:30

9:30 - 10:10

Hi5

BBC Studios: Growing a Global Content Studio in a Disrupted Marketplace Rebecca Glashow, CEO BBC Studios Global Distribution & Ralph Lee, CEO BBC Studios Productions

11:00 11:15 - 11:45 KEYNOTE

12.00

Media Mastermind Keynote Diversity & Inclusion Mo Abudu, CEO, EbonyLife Media

10:30 - 12:30

FRAPA Formats Summit

10:45 - 11:45

Verrière Californie Shanghai Top Quality Audiovisual Boutique Promotion Conference Presented by Shanghai Municipal Admin. of Radio & TV

12:00 - 13:00

MIPCOM CANNES Diversify TV Awards

13:00

Open to all

Followed by Drinks & Petits-Fours from 13:00 to 14:00

12:45 - 13:45

Content Creation Summit Part I - How to Improve Drama Production Efficiency

11:15 - 12:15

Auditorium A The 6th Wisdom In China Original Chinese TV Formats Bring New Opportunities For Future International Cooperation Presented by SMG

In partnership with SONY

14:00 - 14:30 MEET THE EXPERT

Bar Area

The Music Documentary Challenge: Keeping the Peace Between Producers, Estate Stakeholders & Commissioners

14:00

14:30 - 15:00

15:00

Newen – How to Take on the Challenge of a Fast-Changing Market? 15:15 - 15:45

Bridge Across the Atlantic

16:00

16:00 - 16:30 KEYNOTE

18:00

19:00

14:00 Welcome Coffee

14:00 - 15:30

12:30 - 13:45

Speed Matchmaking - Unscripted

The Best Content in Gwangju

Matchmaking Area ( P-1) Pre-registration Required

Auditorium A

Followed by a Snack Lunch in Verrière Californie Presented by GICON

Limited seats, pre-registration recommended

Hosted by XUMO

16:00 - 17:00

Auditorium A

Neighbours

Presented by Fremantle 16:45 - 17:45

Auditorium K

MIPCOM CANNES Personality of the Year Bob Bakish, President & CEO, Paramount Global

Pioneering the B2B Concept of Digital Content Rights Marketplace with AI Solutions

Award Ceremony & Fireside Chat

Presented by Orasi Media Inc.

18:00 - 19:15

Presented by Beta Film & ZDF Studios Followed by a Q&A with the talent

FAST & GLOBAL Summit Part I. Roundtables

FAST & GLOBAL Summit Networking Reception

17:00 - 17:45 KEYNOTE

MIPCOM CANNES World Premiere Screening - Concordia

14:20 - 16:00

16:00 - 17:00

Media Mastermind Keynote Laura Fernández Espeso, CEO, The Mediapro Studio

17:00

Verrière Californie Chinese 9:30 - 10:30 Auditorium A Stories, Global Boat Story Languages, Presented China by All3Media Animation International Exchange 10:15 - 11:45 and Auditorium K Cooperation Globo Promotion Presents: Conference Executives Presented Roundtable by Shanghai + ‘The Municipal Others’: Admin. of Exhibition Radio & TV

18:00 - 19:00

Producers Hub Networking Drinks with PLEX

20:00 Programme subject to change

Sessions will be available to catch-up on mipcom.com

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WEDNESDAY 18 OCT. 23 Grand Auditorium

Seaview Producers’ Hub

MIP Lab

8:30

8:30 - 10:30

9:00

9:00 - 9:30

FAST & GLOBAL Summit Part II. Talk Series

9:45 - 10:15

08:30 Welcome Coffee

10:30 - 11:00

New Programming Funding and Commercial Production Models

11:00

09:00 - 11:30

The Indies – Surviving and Thriving

Prime Video Spotlight on Africa

10:00

12.00

Other Venues

09:00 Talk Series Part I. 09:50 Networking Coffee Break 10:05 Talk Series Part II.

12:00 - 12:30 KEYNOTE

Verrière Grand Auditorium

Screenings & Showcases

8:30 - 12:00

Verrière Californie

Content International Creation Summit Mentoring & Networking Part II In partnership Breakfast For Women with Sony In Media 08.30 - 09.00 In partnership with MediaClub’Elles

Breakfast Networking

09.00 - 10.00 Tremendous Innovation Limited seats, Can Totally pre-registration Change the recommended Documentary & News Contents World 11:00 - 12:00 Press Club 10.00 - 11.00 Non- Palais 3 Broadcasting Businesses: What are the Press Conference New Brands Beyond TV? 11.00 - 12.00 Looking at the Indian Innovation: Content and Tech Trend in India

C*A*U*G*H*T – A conversation with Sean Penn, Matthew Fox & Kick Gurry Presented by Fremantle

11:00 - 12:00

Auditorium A

Highlighting Creativity - IPs from KOREA

Followed by a Networking Cocktail Presented by KOCCA

13:00 13:00 - 13:45

Fresh TV Fiction

Presented by The WIT

14:00 14:00 - 15:30

14:30 - 15:00

15:00

The Future of Factual

MIP Talk : FAST & AVOD Leaning into Originals

15:15 - 15:45

A Question of Survival Talents in Crisis

16:00

16:00 - 16:30

OMDIA – The Landscape for TV and Online Production Funding

14:30 - 16:30

Speed Verrière Matchmaking Californie - Scripted Content Pre-registraCreation tion Required Summit Part III

In partnership with SONY 14.30 - 15.30 New Efficient Way to Produce TV Drama with Advanced Technologies

17:30 - 20:30

TBI Content Innovation Awards 17:30 Reception Gala

19:00

MIP Talk: Leveraging the Power of Data

Matchmaking Area ( P-1)

15.30 - 16.30 Using New Technologies to Drive Sponsorship for Live Content

17:00

18:00

14:30 - 15:00

18:30 Ceremony

18:00 - 19:00

Producers’ Hub Networking Drinks

19:30 Celebratory Cocktails

Open to All MIPCOM CANNES Delegates

20:00 Programme subject to change

Sessions will be available to catch-up on mipcom.com

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THURSDAY 19 OCT. 23 Grand Auditorium

Seaview Producers’ Hub

MIP Lab

Other Venues

Screenings & Showcases

8:30 9:00 9:30 - 10:30

AI & Data Roundtables: Harnessing the Power of Tech

10:00

09:00 Welcome Coffee

10:30 - 11:00

Limited seats, pre-registration recommended

Best of Fresh TV

Presented by The WIT

11:00

11:15 - 11:45

Mastering Data: A Journey through the Global Streaming Landscape Presented by BB Media

12.00

12:00 - 12:30

MIPCOM CANNES Wrap Up

13:00 Programme subject to change

Sessions will be available to catch-up on mipcom.com

MIPCOM CANNES SPONSORS & PARTNERS

SDG MEDIA COMPACT

LOGO

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For further information, please contact.

https://www.kyodo-senpaku.co.jp/news/2023/10/248/

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