MIPCOM CANNES 2024 PREVIEW MAGAZINE

HOLY MARVELS WITH DENNIS QUAID

TRIUMPH: JESSE OWENS AND THE BERLIN GAMES

40 th Anniversary

Fireworks on the Croisette Monday 21.30

Happy Birthday MIPCOM

The mother of all entertainment content markets turns 40 with a big celebration week ahead.

In Spanish it’s fiesta and we’re thrilled to mark the occasion by celebrating SPAIN as our 2024 Country Of Honour in partnership with ICEX.

LET’S GET THIS PARTY ROLLING…

CELEBRATE GOOSEBUMP MOMENTS – Join us Monday evening at the Red Carpet and 40th Opening Night Party in partnership with Spain, followed by a Cannes-worthy fireworks display across the bay of Cannes beginning at 21.30.

CELEBRATE (BRINDAMOS) ESPAÑA – It should come as no surprise that the most non-English-language TV fiction commissioned by global streamers in Europe is produced in Spain. A cultural powerhouse and now a major European audiovisual hub: explore the creativity and excellence of one of the most formidable production countries in the world.

CELEBRATE NEW SERIES – Kick off Sunday evening at the World Premiere TV Screening of Watson – a CBS Original from Paramount Global Content Distribution. On Monday, Spain takes centre stage with the Premiere of Ena. La Reina Victoria Eugenia presented by RTVE. On Tuesday the buzz goes to Beta Film with the Premiere of Rise Of The Raven. And that’s not all. We’re presenting 17 screenings and showcases in the Palais this week.

CELEBRATE THE FUTURE AT THE MIP INNOVATION LAB – where content meets technology. The future is calling. Build a game-changing content strategy across our three summit stands focused on AI, FAST and Connected TV.

CELEBRATE OUR COMMUNITY –There are 11,000 execs in town from over 100 countries, many of whom are here for the first time. We are also welcoming 62 new exhibitors. So be sure to say hello to someone new. It could change the trajectory of your business and theirs.

Lucy Smith, Director MIPCOM CANNES & MIP LONDON Head of the Entertainment Division, RX FRANCE

October 2024

DIRECTOR OF PUBLICATIONS

Michel Filzi MANAGEMENT TEAM

Entertainment Division DirectorMIPTV & MIPCOM Director: Lucy Smith; TV Division Sales Director: Brice Dieulot; SVP Sales & Business Development: Robert Marking; Director UK Sales: Vanessa Van Santen Smith; Marketing Director: Debora Atala; Conference Director: Tania Dugaro EDITORIAL DEPARTMENT

Spain is MIPCOM CANNES Country Of Honour for 2024. To accompany this Preview we have produced a special Focus on Spain supplement that features interviews with key figures from the Spanish broadcast and distribution sectors, highlights of content brought to Cannes by Spanish companies, and a focus on how women are increasingly taking key positions in the Spanish audiovisual industry.

MEDIA MASTERMIND KEYNOTES

WBTVG’s Channing Dungey

SPE’s Tony Vinciquerra

All3Media’s Jane Turton

Variety’s Ramin Setoodeh

Paramount Global’s Dan Cohen

The Mediapro Studio’s JC Acosta

Amazon’s James Farrell & Yoshimoto’s Akihiko Okamoto

www.mipcom.com Paramount Global Content Distribution’s Watson – a CBS Origina Beta Film’s Rise Of The Raven WORLD PREMIERE TV SCREENINGS

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 © 2024, ISSN 21042187, RX France Market.

TV from The WIT

Exploring the industry with global research firm Glance

Ampere Analysis on global content trends

K7 Media on scripted formats

PRODUCERS’ HUB

The Producers’ Hub is the annual business hive and fresh hang-out point for producers and everyone involved in coproductions worldwide

Dedicated to championing and promoting diversity and inclusion in all its forms across the international television industry

the

‘Great storytelling will always reign supreme’

Chair and CEO of the Warner Bros. Television Group, Channing Dungey, has creative responsibility for all of Warner Bros. televisionproduction activities. She spoke with Andy Fry ahead of her Media Mastermind Keynote, part of the C-Suite Conversations, a MIPCOM CANNES partnership with Variety

CHANNING Dungey’s position as chair and CEO of the Warner Bros. Television Group (WBTVG) gives her responsibility for the production of scripted, unscripted and animated series for on-demand and streaming platforms, premium, pay and basic cable channels and responsibility for the company’s US broadcast networks, following the retirement of chairman and CEO of US Networks Kathleen Finch, scheduled for the end of this year. The role also puts her at the head of Warner Bros. Unscripted Television, which produces unscripted and alternative programming through its three production units: Warner Horizon Unscripted Television, Telepictures and Shed Media.

Speaking ahead of her keynote, Dungey said that in the four years she has been at WBTVG, “our content mix has shifted along with the industry — we now do much more work in the streaming space and much less in broadcast. That said, we’ve still found great success in broadcast — Abbott Elementary is a broadcast series that has really broken through and connected with audiences.”

After studying at UCLA, Dungey went to Davis Entertainment as development assistant, and later took the role as story editor at Steven Seagal’s Warner Bros.-based

company, Steamroller Productions. From there she was offered a job at Warner Bros. Studios, where she served for five years. Now back at Warner Bros., she said she has the same “great, big, expansive feeling of being part of history” when she drives through the gates, as she did when she started out at the studios. The first woman and first black

‘Audiences will always be hungry for programming they love, and it’s our job to deliver shows that wow them’

executive to run WBTVG, Dungey said she is “proud of how our WBTVG team navigates the ever-changing landscape, developing top-tier programming that resonates with audiences everywhere. As an independent studio, we sell to all platforms, and it’s been very rewarding to see series from all different genres and formats on various platforms be able to break through the noise and become cor-

Channing Dungey

MEDIA MASTERMIND KEYNOTE: CHANNING DUNGEY, CHAIR AND CEO, WARNER BROS. TELEVISION GROUP

GRAND AUDITORIUM, MONDAY, OCTOBER 21, 16.20-16.50

nerstones of popular culture.”

While scripted series like The Penguin tends to grab headlines, Dungey said the company has “a great mix of animated and unscripted programming that continues to generate comparable buzz to our live-action scripted slate. On the animation side, we just debuted Batman: Caped Crusader to widespread praise from fans and critics. On the unscripted side, The Golden Bachelor became a cultural phenomenon, reinvigorating The Bachelor franchise and paving the path for The Golden Bachelorette spinoff that just premiered.”

Dungey’s tenure at WBTVG has come with numerous challenges — first the Hollywood strikes and then the economic downturn.

Explaining the company’s ethos during this period, she said: “Our response is to focus on quality and to remain steadfast on our core mission: developing the best shows we can with the best storytellers in the business, and then finding the right homes for them that allow the best chance for success.”

The company was “one of the first studios to get back into production and back on air,” she said. “And by the end of 2024, we will have premiered at least 20 new series, including The Penguin, Brilliant Minds, Georgie & Mandy’s First Marriage and Rescue Hi-Surf — and welcomed back 20 returning series, with many more projects in various stages of production.”

Meanwhile she hopes delegates take away from her keynote “that great storytelling will always reign supreme, regardless of genre or format trends or disruption. At WBTVG, we begin all our decision-making at the story level, focusing on the strength of the creative, the uniqueness of the idea, and then the execution. Audiences will always be hungry for programming they love, and it’s our job to deliver shows that wow them.”

Surviving the boom and the bust

Sony Pictures Entertainment (SPE) chief Tony Vinciquerra will receive the Variety Vanguard Award at MIPCOM CANNES. He will collect the accolade during his Media Mastermind Keynote, which itself is part of a new MIPCOM CANNES/Variety initiative entitled C-suite Conversations. He spoke to Andy Fry ahead of his Cannes appearance

TONY Vinciquerra’s key message to delegates at his Media Mastermind Keynote presentation is that “we have a great business that will flourish for many years but will go through a significant adjustment over the next 18-24 months”. He added: “The strikes of last year are having a hugely significant impact on many facets of our business and the poor business performance of cable networks in most territories around the world needs time to work through. These processes will affect many companies, but they will adjust and at the end our business will be in very good shape. The point to focus on is that the demand by consumers to be entertained is and will be very strong.”

Vinciquerra has achieved success despite multiple challenges in recent years. Sharing his secret, he said: “I’ve been witness to boom-and-bust scenarios in several parts of the TV business, but we have responded by keeping our eye on the fu -

ture, trying not to get too high or too low during those cycles and keeping in mind the focus on common sense in making decisions through the good and bad times.”

‘We produce on time and on budget and that makes us a reliable supplier’

One of the most notable aspects of SPE’s strategy is that, aside from the acquisition of anime platform Crunchyroll, it has avoided getting embroiled in the streamer wars.

Vinciquerra said: “We made the decision not to go into the general entertainment SVOD business because all our competitors did, and it occurred to us that they would all be fighting aggressively for subscribers

Vinciquerra

MEDIA MASTERMIND KEYNOTE: TONY VINCIQUERRA, CHAIRMAN AND CEO, SPE GRAND AUDITORIUM, MONDAY, OCTOBER 21, 17.00-17.40

and would need more product than they could produce for themselves. It wasn’t a difficult decision! We produce on time and on budget and that makes us a reliable supplier, so we are in great shape for the future.”

During Vinciquerra’s time at the helm, SPE has achieved five consecutive years of increasing profit. Key company acquisitions during this time have included Crunchyroll and production companies Bad Wolf and Eleventh Hour Films. Looking ahead, he confirms that SPE is “always on the lookout for intellectual property. So we will be in the market as the shakeout mentioned earlier happens. We are also looking at location-based entertainment businesses around the world and would love to find more genre-based SVOD services — like Crunchyroll — with passionate audiences.”

Before joining Sony, Vinciquerra spent six years as a senior advisor for private equity giant TPG. And before that, he was chairman of Fox Networks Group. Asked about his key achievements to date, he said: “What I am most proud of during my tenure at SPE and Fox is how well many of the people I’ve worked with have done in their careers. That is where I get my personal satisfaction, helping people get better at what they do. I am also very proud of how SPE has developed its inclusion programmes. In the US, our company literally reflects America by almost any measure. In terms of key decisions we made, I would point to two: our decision not to engage in the general entertainment SVOD business, and the decision mostly to get out of the cable network business.”

Tony

twofour54 is Enabling a New Era of Arabic Cinema From Abu Dhabi

In the heart of the United Arab Emirate’s capital Abu Dhabi, twofour54 and Clacket Media are introducing a new dimension to Middle Eastern film production. With a shared vision for blending regional narratives with international projects, this collaboration is set to create unique content for the region. As part of their efforts, Clacket Media will be producing several new series including an Arabic crime drama titled Underground, as well as an adaptation of a European historical drama. They’re also innovating in the comedy genre, creating a special sitcom format for the Arab world. Together, twofour54 and Clacket Media are reshaping regional storytelling with world-class productions, setting a new standard for film and television in the Middle East.

For the production of Underground, Clacket Media will harness the extensive twofour54 backlot and soundstage as well as Abu Dhabi’s diverse locations to further enrich the visual story of this large-scale historical project set in early 20th-century Damascus.

With international talent working alongside local talent, the series combines regional authenticity with cinematic polish that meets the expectations of international audiences.

The supportive production environment and ecosystem in Abu Dhabi has been instrumental in nurturing Clacket Media’s creative pursuits. This synergy has not only helped bring to life drama that resonates deeply within the Middle East, enabling Clacket Media’s vision, but has also positioned Abu Dhabi as a globally competitive filmmaking destination.

Mark Whitehead, CEO of twofour54, sums up the essence of this collaboration with characteristic directness: “Our partnership with Clacket Media exemplifies what twofour54 is all about—supporting creators to produce world-class content right here in Abu Dhabi. We’ve been with them every step of the way, and we’re committed to helping them bring their ambitious projects to life.”

Eiad Alnajar, Founder and Producer at Clacket Media, said, “Our partnership with twofour54 has always been more than just a business arrangement—it’s a relationship built on trust, vision, and a strong reliance on a comprehensive ecosystem.”

twofour54’s approach goes beyond the traditional studio model. With its all-encompassing ecosystem, they handle every detail, ensuring seamless coordination and logistical support throughout the production process.

The collaboration between twofour54 and Clacket Media exemplifies Abu Dhabi’s emergence as a filmmaking hub, showcasing the region’s potential to create world-class content with global appeal.

For further information, contact us –produce@twofour54.com www.twofour54.com

‘Everything

we do has to be the best’

The growth of All3Media (A3M) has been one of the outstanding modern success stories of the global content business. Following the company’s $1.45bn acquisition by RedBird IMI earlier this year, MIPCOM CANNES delegates will be given a deep dive into the company’s strategic ambitions during a keynote conversation with CEO Jane Turton. She spoke with Andy Fry ahead of the opening session of the C-Suite Conversations track, in partnership with Variety.

ALL3MEDIA CEO Jane Turton has described the company’s $1.45bn acquisition by RedBird IMI as “auspicious” for A3M. “A supportive and well-capitalised shareholder with ambitious growth plans is always good,” she said.

According to Turton, RedBird IMI acquired All3Media “because of our creative and commercial success, the strength of our production companies and their quality content. They also see the group as an incredible platform to continue to grow and further scale to meet the global demand for high quality, premium programming.” She added: “Talent is key and the new shareholders have bought the business because of its talent base and its IP. Our job continues to be to attract and retain the very best talent. If you have high-quality talent who are motivated and incentivised, you will succeed in achieving long-term growth.”

Turton has been with A3M through several economic cycles and numerous waves of disruption. Explaining how the firm

a key role. We have 170 titles in our catalogue, 22 of which are produced in more than three territories.” Examples include The Traitors, which now has 30 versions globally and Squid Game: The Challenge, returning to Netflix for a second series.

A3M’s unscripted slate is also made up of factual series across a wide range of genres. “Keanu Reeves-fronted Brawn: The Impossible Formula 1 Story was the Nº3 rated non-scripted show on Disney+ in 2023. We are also proud of our natural history content. Silverback is a world leading producer in this genre with films including Billy & Molly: An Otter Love Story and BBC series Wild Isles, which attracted 6.1 million viewers in 2023.”

plans to stay ahead of the curve, she said: “We need to be agile, to be competitive, to do everything to the highest standard — from deal making, to development, to programme making to exploitation. Relationships and track record matter more than ever.

‘If you have high-quality talent you will succeed in achieving longterm growth’

These are earned over time and based on performance. So, literally everything we do has to be the very best and we have to be good partners.”

Turton said she is proud of what the company has achieved since she became CEO. “We had record EBITDA in 2023, a 7.2% increase on 2022. We have built the business from 19 production companies a decade ago to 40 today. Little Dot Studios, our digital platform, has grown rapidly and has 7,000 titles in its catalogue with more than 10 billion views per month on social media platforms.”

With new backers, Turton said further company acquisitions are still on the cards: “We are discussing strategy, and a part of that is organic and a part is inorganic. As always, we are very selective and disciplined in our approach to any potential acquisition.”

While scripted titles like Midsomer Murders, The English and It’s A Sin are core to the A3M line-up, Turton said that unscripted is also very important to the portfolio. “Last year we produced 2,500 hours, with 60 returning series. Formats play

In terms of emerging trends, she said: “GenAI’s role is set to be both transformative and complex. It can enhance efficiency, offer new creative tools, and provide deeper insights into audience behaviour. However, it also raises questions about creativity, job security and the authenticity of content. The industry is likely to see a blend of human ingenuity and AI-driven processes, where both complement each other.”

MEDIA MASTERMIIND KEYNOTE: JANE TURTON, CEO, ALL3MEDIA GRAND AUDITORIUM, MONDAY, OCTOBER 21, 15.40-16.10

Jane Turton

‘Where drama, chaos and confusion are rewarded’

WITH a hugely important US Presidential election on the horizon, MIPCOM CANNES has added Apprentice In Wonderland to its blockbuster line-up, a keynote session detailing the critical role of reality TV series The Apprentice in launching the political career of Donald Trump. Andy Fry reports

THE APPRENTICE In Wonderland session will be presented by Ramin Setoodeh, Variety co-editor in chief and the author of Apprentice In Wonderland: How Donald Trump And Mark Burnett Took America Through the Looking Glass.

The book is regarded as the definitive behind-the-scenes story of the NBC series that arguably changed the course of US history. Setoodeh will provide a comprehensive analysis of the rise of Donald Trump, sharing insights from his six on-the-record interviews with the former President. This is in addition to conversations with over fifty key players involved in The Apprentice franchise including network executives Jeff Zucker and Mark Burnett, as well as access to Trump family members, crew members, advisors and contestants.

Looking back at his interactions with Trump, Setoodeh said: “I interviewed Donald Trump in my early 20s as a reporter at Newsweek, covering The Apprentice. And when he was in the White House, I remember watching him on TV and won-

dering if the presidency had changed him at all. My six interviews with Trump, which took place after he left the White House, answered that question for me. Trump hadn’t changed. He still views the world, even the presidency, through the lens of ‘putting on a show,’ ratings and

‘The biggest story in the industry right now is how Hollywood has adjusted after last year’s strikes’

creating drama and division for viewers — the American public.”

Setoodeh is in no doubt that Trump’s time on The Apprentice shaped his political philosophy.

“Reality TV created Trump as a national figure in the US. And he still views the world through the lens of reality TV. He, in many

ways, governs using the tropes of reality TV — where drama, chaos and confusion are rewarded. Trump is fixated on crowd sizes because he was taught by NBC executives that’s how you get renewed, by generating big ratings.

“To cover Trump successfully, and to understand his world view, it’s important to know his origin story, which is the story that my book tells.”

The MIPCOM CANNES session is especially timely given the imminent US Presidential election. So what does Setoodeh make of the current build-up?

“This has been an unprecedented election cycle, made all the more remarkable by Joe Biden’s decision to drop out and Kamala Harris stepping in as the Democratic nominee. Trump’s first term was characterised by chaos, uncertainty and constant drama. As the star of a reality series, he thrives in chaotic environments.”

Turning to the wider trends that are impacting on MIPCOM CANNES delegates, he said: “The biggest story in the industry right now is how Hollywood has adjusted, after last year’s strikes, to content creation, streaming and the new media landscape.

“In many cases, this has meant scaling back. But the election — and the outcome of it — will also be a big story for the industry, depending on who wins and how it changes the economic landscape and media consumption habits.”

‘‘APPRENTICE IN WONDERLAND’’ DONALD TRUMP’S RISE THROUGH REALITY TV GRAND AUDITORIUM, WEDNESDAY, OCTOBER 23, 12.00-12.45

Ramin Setoodeh

It’s a confidential plan for revenge.

Scripted

Format

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‘We never stopped licensing’

As the global content business grapples with tumultuous change, MIPCOM CANNES delegates will have a priceless opportunity to hear from one of the executives on the frontline, Paramount’s chief content licensing officer and the president of Republic Pictures, Dan Cohen. There will also be special guests on stage — Cote de Pablo and Michael Weatherly from the cast of NCIS: Tony & Ziva

DAN COHEN arrives in Cannes after an extended period of uncertainty for Paramount Global, culminating in its multi-billion-dollar merger with Skydance. But he told the MIPCOM CANNES Preview that his eye remains firmly on the prize: “Our priority remains to license the great content the company creates in the global marketplace,” he said. “The need for content licensing has been a constant throughout this process, which has enabled my group to remain focused on our role within Paramount Global.”

Paramount Global will make a big splash in Cannes with a screening of its hotly-anticipated drama Watson, the latest reimagining of the Sherlock Holmes mythology. But this is just one jewel in the company’s glittering crown of content: “I love to talk about the array of fabulous series CBS Studios produces for clients around the world. That certainly includes our newest entrants: Elsbeth, Matlock, Watson and Poppa’s House. But we are also fortunate to represent the great CBS scripted procedurals, and these remain global powerhouses. We are see-

ing global success with all of our great IP — and I love witnessing how well Taylor Sheridan’s series, Yellowstone, for instance, travel.”

Cohen also reserves special mention

‘Our priority remains to license the great content the company creates in the global marketplace’

for “our top franchise NCIS, which crossed the 1,000th episode mark this year. That is simply stunning to me. I am also personally very excited for its extensions NCIS: Origins and NCIS: Tony & Ziva.”

While scripted tends to grab the headlines, Cohen stressed that the company is strong in other genres.

“We are very proud of our other content, too. Survivor remains a global juggernaut, and we have a great collection of unscripted series. We have also distributed some amazing documentaries,

including The Greatest Night In Pop, which recently received three Emmy nominations for Netflix. We also distribute Jeanie Buss’ WOW – Women Of Wrestling series globally. I would also add that we recently launched a half-dozen FAST channels in the US out of our group.”

Cohen is better placed than most to observe content trends. On the eve of MIPCOM CANNES, he said: “As trends go, it remains that quality series of every variety work. I would say budgets have started to come down a bit, from their peak levels of a few years ago.”

Lucy Smith, MIPCOM CANNES director, said: “The breadth of Paramount’s brands and distribution platforms combined with commitment to third-party licensing is second to none. An audience with Dan Cohen offers a masterclass study in creativity and monetisation, informed by his decades of experience on the international stage.”

Cohen oversees content licensing from CBS-branded divisions, The CW, Paramount+ Showtime and MTV, among others. As president of Republic Pictures, he is also the architect of productions including Blackberry and The End We Start From.

His core message to delegates is that “we never stopped licensing, whereas some others did for years. Their return to licensing validates our strategy, but it also brings additional competition to the market. Our philosophy remains that we are open for business, and we have content for every market and business model.”

MEDIA MASTERMIND KEYNOTE: DAN COHEN, CHIEF CONTENT LICENSING OFFICER, PARAMOUNT AND PRESIDENT, REPUBLIC PICTURES GRAND AUDITORIUM, TUESDAY, OCTOBER 22, 15.00-15.30

Dan Cohen

Mediapro takes the next steps towards going global

Just four months after being named as head of The Mediapro Studio US & Canada, former Paramount executive JC Acosta will take to the MIPCOM CANNES stage to outline the Spanish media giant’s ambitious expansion into Englishlanguage content. He spoke with Andy Fry ahead of his Media Mastermind Keynote

IN THE company of The Mediapro Studio CEO Laura Fernández Espeso, JC Acosta will share details of the studio’s slate with delegates. “We’re using MIPCOM CANNES as a launchpad to announce our new scripted and unscripted slate, and give everybody a feel for what our studio’s overarching creative filter is,” he said. “We are focusing on content with creative flair that has franchise-building potential, high-profile IP & talent and global appeal.”

As a 30-year-old business, The Mediapro Studio has a wealth of formats that can be adapted for the English-language market, Acosta said. But this is just one strand of the firm’s creative strategy. “We’ve identified which formats could translate in the US, and we’ll be announcing some of those in Cannes. These ideas will be combined with local, successful showrunners in the US that have the ability to translate and adapt them to the English-language landscape. We’re also looking at original ideas. We optioned some titles, and we’re working with local talent — iden-

tifying new ideas that we’d like to co-develop together.”

In terms of the core DNA of The Mediapro Studio films and series that will make them standout, Acosta said: “They have a distinctive character-led approach, stories where the char-

‘We have the creativity and infrastructure to provide solutions and be the ideal co-production partner’

acters resonate much more aggressively than in other films or series you might see. And that’s something that we’re bringing to the US as well.”

A key reason why he believes The Mediapro Studio can have success in the English-language market is down to the strength of its global network and presence across the entire supply chain. “We’re in production, we have our own distribution arm

JC Acosta

and we know how to put the financing together behind a show. We have the creativity and infrastructure to provide solutions and be the ideal co-production partner.”

Explaining why he was tempted away from Paramount, he said: “I had seen first-hand the immense growth they had in Latin America. Their passion for doubling down in the US and Canada was something that really attracted me.”

While the initial phase is likely to see The Mediapro Studio create English-language shows out of Spanish-language IP, Acosta expects the reverse to happen as the company gains traction. “What this really speaks to is the fact that this latest expansion is the missing piece in making us a global network. We’re in a place now where we can decide if a show will be best served if it is done in Spanish or English first. We have a flexibility that can give shows more of an opportunity to succeed.”

Acosta also believes the studio is well positioned to succeed in the tough new commissioning climate that has emerged post-strikes and post streamer M&A. “Everybody is much more cost conscious, with a greater emphasis on ensuring the profitability of the streaming platforms. What The Mediapro Studio brings are new financial models that will allow us to create great shows at a price point that, hopefully, will get us over the finish line when things are up for consideration.”

MEDIA MASTERMIND KEYNOTE: THE MEDIAPRO STUDIO’S JC ACOSTA AND LAURA FERNANDEZ ESPESO GRAND AUDITORIUM, WEDNESDAY, OCTOBER 23, 11.15-11.45

‘Amazon helped us deliver to the world’

Amazon’s international franchises and originals strategy is explored during a keynote session with Amazon MGM Studio’s James Farrell and Akihiko Okamoto, president of Japanese entertainment company Yoshimoto Kogyo, creator of the global hit format LOL: Last One Laughing. The two industry heavyweights discuss this and more during a Media Mastermind Keynote

AFTER starting out as a theatre operator and talent agency, the Yoshimoto Kogyo company has branched out into other areas of entertainment as well as sports talent representation. Today the company’s roster features more than 6,000 people. It was always inevitable that Yoshimoto’s output would make its way to an international audience, and through a partnership with Amazon Prime, localised versions of its comedy format LOL: Last One Laughing, is now available in more than 20 markets.

“It wasn’t our goal originally to sell LOL overseas,” said Yoshimoto president and representative director Akihiko Okamoto, speaking at the company’s Tokyo office. “But Amazon helped us deliver it to the world, which was a great thing. And we made this show ourselves and hold the rights to the content.”

When Amazon launched Prime Video in Japan, Yoshimoto was looking to promote its talents overseas and saw a partnership with Prime Video as a good opportunity. Yoshimoto already had content with global appeal, which Amazon could leverage to create hits in other parts of the world. Okamoto is looking forward to this year’s MIPCOM CANNES, where he will give a keynote speech along with James Farrell, head of international originals, Amazon MGM Studios.

“I heard it’s where all the producers and platforms gather in one place,” he said. “If I can talk to all the LOL producers from the various countries, it would be a good opportunity to work on our next business venture. Yoshimoto has a lot of other formats and content, and so we can also meet new people to whom we can present this content.” In addition, Okamoto wants to focus on current trends in other markets, with a view to finding content that could be localised in Japan.

Though Yoshimoto is famous for its comedians and its showbusiness background, it has diversified into other areas, including regional development. “For example, we try to develop content focused on specific regions of Japan, maybe in the form of a drama,” Okamoto said. “Then we can promote that local region to the rest of the world and bring more attention to it.” The company already has a partnership with China Media Group for an exchange series that airs on satellite channel BS Yoshimoto. “We show Japan what China is like and they show China what Japan is like,” he said. “I think we can do the same thing with other countries.” Yoshimoto was one of the first Japanese entertainment companies to produce drama series for the new international streaming platforms. Right after Netflix set

up business in Japan it streamed two Yoshimoto productions based on the lives of some of its comedians, including Hibana: Spark, a drama series that follows an aspiring stand-up comedian Tokunaga (Kento Hayashi), who embarks on an apprenticeship with Kamiya (Kazuki Namioka), a seasoned manzai artist, a form of Japanese comedy that echoes the double-acts of the West. And also Jimmy, in which a slightly idiotic character, Hideaki, meets legendary comic Sanma, changes his name to Jimmy and becomes a comedy superstar.

“Drama is more difficult than unscripted content,” Okamoto said. “In the past we relied on TV networks to develop drama series, but now we are developing drama content on our own for our satellite channel.”

Greater exposure to the world through the success of the LOL format has affected Yoshimoto’s domestic operations in a positive way. “Our focus now is helping our talent become more well-known around the world,” Okamoto said. “So the question is, How do we deliver this talent outside of the company?” In the past, the delivery device has always been broadcast TV, but now Yoshimoto is exploring other platforms. “Some talents who are not that popular in Japan might be popular in other countries,” he said, and mentions Indonesia, where YouTube has given exposure to previously only locally-known Yoshimoto talent. “We can get an immediate reaction through digital media, and that helps not only our talent, but motivates all our employees.”

AUDITORIUM, MONDAY, OCTOBER 21, 10.20-11.00

Akihiko Okamoto

James Farrell

Watson proves there’s life after Sherlock

Paramount Global Content Distribution presents the World Premiere TV Screening of Watson - a CBS Original, a drama series set in the years following the death of Sherlock Holmes — the continuation of a story that has fascinated audiences for over 100 years, starring Morris Chestnut as Watson. Chestnut and executive producer and showrunner Craig Sweeny spoke with Julian Newby ahead of the premiere

IN THE upcoming series Watson, a year after the death of his friend and partner Sherlock Holmes at the hands of Moriarty, Dr John Watson (Morris Chestnut) resumes his medical career as the head of a clinic dedicated to treating rare disorders. But his old life isn’t done with him, yet: Moriarty and Watson are set to write their own chapter of a story that has fascinated audiences for more than a century.

So how will Sherlock Holmes fans judge this new take on the classic tales? They’re of a particular breed; the die-hards are passionate, even obsessive, and will be the first to call into question any perceived infidelities to Conan Doyle’s original intentions.

“This is my second move into Sir Arthur’s territory. I was also an executive producer on Elementary and the author of many episodes,” showrunner Craig Sweeny told the MIPCOM CANNES

‘There couldn’t be a more exciting way to introduce Watson to the world’

Craig Sweeny

Preview. “There’s parental anxiety with the launch of any project — you want your baby to survive and do well! But, having written for, and interacted with, Sherlock Holmes fans and having had a fulfilling experience, I was less anxious this time about heading back to Baker Street. And Leslie Klinger, distinguished editor and Sherlockian [and annotator of classic genre fiction including the Sherlock Holmes novels] consults

with us and keeps us honest.”

Star of the series, Morris Chestnut, came to the project as a fan of the books and saw it as “an opportunity to play an iconic character in an iconic mythology. And once I met with the writer, Craig Sweeny, and read the scripts, it was something I had to be a part of.”

For Sweeny, the series brings together a couple of his passions: “I’ve been a fan of Sherlock Holmes since my aunt gave me an abridged edition of The Hound Of The Baskervilles when I was maybe eight years old,” he said. “And I’ve always wanted to write a medical show — it’s one genre I haven’t tackled in a long career. When I sat down to think of one that might interest me, I thought that I’d love to see a show featuring John Watson practicing medicine on his own. I assumed someone had already done it and was gobsmacked to learn I could be first.”

He added: “Watson’s investigative

WORLD PREMIERE TV SCREENING: PARAMOUNT GLOBAL CONTENT DISTRIBUTION PRESENTS WATSON – A CBS ORIGINAL GRAND AUDITORIUM, SUNDAY, OCTOBER 20 18.00-19.15

OPEN TO ALL DELEGATES

spine emerged organically from our main character’s background. But any show that features medical detection owes a debt to the brilliant House, just as House was inspired by Sherlock Holmes.”

The series is set in modern-day Pittsburgh, Pennsylvania, Sweeny’s hometown, which “is quietly a hub of academic medicine. The polio vaccine was invented there, and more recently human organ transplantation was refined there,” he said. “After the death of Sherlock Holmes at Reichenbach Falls, Watson learns that he left money to fund a clinic for his friend. Shinwell Johnson accompanies Watson to America and works with him in the clinic as he continues to reform himself. Irene Adler and others will also appear.”

For Sweeny, “there couldn’t be a more exciting way to introduce Watson to the world” than the Cannes premiere. “I’ll surely be working on a script while I’m there, too, so what fun to write about John Watson in France!”

The World Premiere TV Screening of Watson is presented by Paramount Global Content Distribution. The series is produced by CBS Studios.

WORLD PREMIERE TV SCREENING

Lead actor Martin Chestnut (centre) with the cast of Watson. Paramount Global Content Distribution presents Watson, a CBS Original

‘Action, romance, drama, intrigue’

Lavish period drama Rise Of The Raven, one of the most hotly anticipated scripted series of the year, will be screened to international buyers for the first time at MIPCOM CANNES. Andy Fry reports

PRESENTED at MIPCOM CANNES by Beta Film, the 10-episode event series, Rise Of The Raven, is an innovative co-production involving the Germany-based studio, Serendipity Films of Canada and Hungary’s National Film Institute (NFI). Shot entirely in Hungary, the sweeping historical saga features languages including Hungarian, German, Italian, Turkish, Serbian, Czech and Latin. Executive producer Koby Gal-Raday called Rise Of The Raven “one of the biggest and most spectacular European productions ever.”

According to Gal-Raday the 15th century-based story centres on “fearless army commander János Hunyadi, who devotes his life to defending Europe against an Ottoman invasion. His life is plagued by scandal, political power plays and conspiracies between noble families from Italy, Poland, Austria, Serbia and Hungary. When the Ottoman Empire mobilises an army of unprecedented size to march west with the objective of conquering the Vatican and Europe, Hunyadi leads his small but

mighty army to the battlefield, sealing a hard-fought victory.”

The story is a major point of pride in Hungary and was brought to life by Serendipity founder Robert

‘One of the biggest and most spectacular European productions ever’

Koby Gal-Raday

Lantos — with significant support from the NFI. “This very exciting chapter of European history has never before been told on film or in a series,” Gal-Raday said. “The NFI is bearing the lion’s share of the production costs, but Robert Lantos teamed up with Beta Film to close the financing of this am bitious project.”

Notwithstanding the show’s Hungarian heritage, Gal-Raday is convinced it will meet with

great international interest: “The true story of Rise Of The Raven is universal in so many ways. Not only is it an important chapter of European history, but it also caters to many target groups. It combines action, romance, drama, intrigue and history with an unforgettable assembly of characters. It offers a fresh take on the genre which is on a par with big American productions the audience loves and cherishes.”

There’s no question that the series has been a major undertaking — and a labour of love for Lantos, who has Hungarian roots. “The production and especially the

WORLD PREMIERE TV SCREENING RISE OF THE RAVEN TUESDAY, OCTOBER 22, GRAND AUDITORIUM, 18.00-19.15

filming have been a huge effort for everyone involved,” Gal-Raday said. “There were over 170 days of filming during more than a year. Gigantic sets were built on a studio lot near Budapest, including Hunyadi’s castle, historical villages and the famous city walls of Belgrade, which played a central role in the Ottoman siege and Hunyadi’s historic victory in 1456. The elaborate battle scenes involved an extraordinary amount of work and required hundreds of extras, stunt people and horses.”

In terms of what is available at MIPCOM CANNES, Gal-Raday said: “As the series is still in post-production, only a fraction of it has been shown to buyers so far. We will have the world premiere of the first episode, and other episodes are already at an advanced stage of post-production, so that buyers can get a good impression of the series.”

Beta Film is distributing the series, which is expected to air during 2025. All global rights are currently available except Slovenia, Austria, Germany and Hungary, where TV2 will air the series.

Treasure Box Japan showcases ‘out of the box’ formats

THE BROADCAST Programme Export Association of Japan (BEAJ) will once again present Treasure Box Japan (TBJ) at this year’s MIPCOM CANNES. This year’s TBJ promises a captivating array of the best new TV formats from Japanese broadcasters — everything from studio-based game shows to physical-challenge competitions staged outdoors. Some of these formats have been popular in Japan for years but never before introduced to the global market, so TBJ promises offer a unique opportunity to buyers from all over the world. The event will prove as ever that Japan’s prowess in entertainment content is not confined to just anime and gaming, but extends deeply into the realm of television formats. From the international success of Amazon’s LOL Last One Laugh-

ing over the last five years, to the enduring popularity of Dragons’ Den — that has been screened around the world now for the past 20 years — Japanese formats are now a permanent fixture of so many schedules internation-

‘Japanese producers have a lot of innovative ideas to bring to the world’

Virginia Mouseler

ally. “Japanese producers have a lot of innovative, out-of-the-box and inspiring ideas to bring to the world,” said Virginia Mouseler, co-founder of research company

Treasure Box Japan at MIPCOM CANNES 2023, where new ideas and formats were presented by Nippon TV, TBS, TV Tokyo, Fuji TV Network, YTV and ABC Japan, with the moderation of Mathieu Béjot (BEAJ/left), Virginia Mouseler (The WIT), Tim Crescenti (Small World) and Fotini Paraskakis (Empire of Arkadia)

The WIT and co-host of TBJ. What makes Japan’s unscripted format programming unique is its ability to generate innovative ideas for individual segments included in larger entertainment programmes. Often the success of these segments lead to their being developed into stand-alone programmes that can be tailored to any kind of international market. Shows to have won international acclaim recently include Takeshi’s Castle/MXC, Dragons’ Den/Shark Tank, Hole In The Wall, Ninja Warrior and the concept that led to America’s Funniest Home Videos/ You’ve Been Framed.

In recent decades more than 90 Japanese formats have been localised worldwide, not only game shows. And streaming platforms have increased the demand for unscripted content, making Ja-

pan a leader in the field. Japanese producers are continuing to come up with new formats and more attention is paid to co-productions with global partners, as in collaborations including Celebrity Fight Club and Lovers Or Liars?

BEAJ promotes these formats through the online Japan Programme Catalogue, accessible to anyone in the industry. Users can log in and see trailers to any title that interests them. It represents a one-stop resource. BEAJ also hosts large-scale online screenings on various international platforms, thus giving global stakeholders the chance to engage with Japanese content. This year’s TBJ will feature an expanded slate, presenting nine titles selected to meet the needs of a larger pool of buyers. In addition to the usual game shows and documentary-style location programmes, the line-up will include formats never before made available to overseas buyers. BEAJ invites all interested parties to join them at the networking event following the presentation and then to visit the respective stands around the Palais des Festivals to find out more.

TREASURE BOX JAPAN THE HI-5 STUDIO, MONDAY, OCTOBER 21, 16.00-17.00

Introducing the first MIP Innovation Lab

INNOVATION is at the heart of the TV industry’s remarkable transformation in recent years. Across the MIPCOM CANNES week, the latest developments in trailblazing tech will be showcased at the first-ever MIP Innovation Lab and in a series of action-packed Summits covering hot topics such as Applied AI, FAST/AVOD and CTV. Boasting an unparalleled line-up of speakers, exhibitors and partners, the Summit + Lab combination will provide delegates with the latest insights into the innovations impacting the global industry.

Located at the heart of the Palais des Festivals’ exhibition floor, the Innovation Lab combines a highend conference set-up, a networking lounge and a dedicated Tech Demo Zone. A hub in its own right, the MIP Innovation Lab will also be the location for MIPCOM CANNES’ Summits and a series of specialist discussions under the heading Streamer Talks. A lineup of partners and exhibitors includes Blue Lucy, FastHub, Amagi. Gracenote, Okast, Samsung TV Plus, Dubformer, Largo.ai, Vevo, Wurl and Xumo.

The hotly anticipated MIP Innovation Lab track kicks off on Monday, October 21, at 09.45 with the keynote How To Thrive In The Media’s User-Centric Era, from media cartographer and MIPCOM CANNES stalwart Evan Shapiro. Always thought-provoking, Shapiro will use his distinctive approach to data-based storytelling to demonstrate how “the current time in our industry is defined

by a move away from media companies as gatekeepers.”

According to Shapiro, “The consumer has never had more choice or a greater ability to sign up and cancel services. So when you see the angst emanating from the media ecosystem right now, it’s mostly due to the fact that media companies have been unable to transform themselves into organisations that let the user take control.”

Shapiro doesn’t hold out much hope for the current cohort of media giants continuing to exist in their current form. Likely outcomes in the user-centric era include greater influence

‘The current time in our industry is defined by a move away from media companies as gatekeepers’

transferring towards the big tech firms driving the shift. At the same time, he sees the digital-first content-creation economy continuing to grow in importance. “YouTube is the number-one channel in almost every territory and I think the importance and influence of the creator economy platforms is set to grow. You’re going to see a tremendous amount of the work

HOW TO THRIVE IN THE MEDIA’S USER-CENTRIC ERA INNOVATION LAB, MONDAY, OCTOBER 21, 09.45-10.10

Evan Shapiro

done by niche-oriented indie producers moving over to direct-to-consumer creator economy platforms.”

Intriguingly, one bright spot for the traditional media is the role of public broadcasters, Shapiro said. “As the likes of Netflix and Amazon spend less on content, I

think we’ll see a re-emergence of public-service media as a major voice in content creation because they have resources. We’ll see a lot of producers who want to succeed going back to relying on organisations like the BBC, ZDF, ARD and France Télévisions.”

Your chance to ‘get a front-row seat to the tech revolution’

THE APPLIED AI Summit follows Evan Shapiro’s keynote and features a series of talk sessions (Monday, October 21, 10.15-12.00), featuring Jonathan Verk, co-founder and CEO of Social Department as MC. Kicking off the Summit, Emily Golden, head of growth marketing at genAI company Runway, will give the opening keynote The Future Of Media: Generative AI’s Transformation Of Content Workflows. Jonathan Verk said the Applied AI Summit will be “a unique opportunity for entertainment and media executives to get a front-row seat to the tech revolution happening

right now. AI is no longer some far-off concept; it’s changing the way we create, distribute, and monetise content across every platform. At this summit, we’re not just talking hypotheticals. For anyone in the industry, attending the Summit isn’t just beneficial — it’s essential. It’s a chance to make sense of these seismic shifts.”

Questions to be covered include: “How are audiences discovering content in an age of algorithmic curation? How can we leverage AI to create hyper-targeted marketing and maximise revenue opportunities?” These are

GenAI has led us to ‘think again’

THE APPLIED AI Summit then features a series of talks on AI focusing on strategy, legal issues and understanding adiences, with speakers including Marianne Carpentier, director of emerging technologies for production & distribution, Group TF1-Newen Studios, who has been running a lab for experimenting with generative AI since 2023. “AI is a powerful tool that has been used for several years within the group to optimise production workflows,” she said. “The arrival of generative AI has led us to think again about our working methodologies, and how it might save time and optimise costs on certain tasks. At the same time, the creative perspectives it allows are already of great interest to us in the development

and financing phases of projects.”

Damien Viel, chief digital and marketing officer, Banijay Entertainment, will give a perspective on how one of the industry heavyweights is adapting to the new world: “The creative industries are being forced to approach the AI revolution in a way that is pragmatic, practical and humble, but also ambitious and forward-looking,” he said. “Between today’s operational reality and the anticipation that technological investment requires, the Applied AI summit is a great moment to sync with the rest of the business to talk about managing uncertainty and looking at the possibilities.”

Viel says the challenges posed by AI are a major opportunity for growth. And for this reason, Banijay is “laser focused

questions that his own company is currently seeking to address:

“Social Department has built the first AI-powered platform specifically designed to automate the entire social marketing workflow for IP owners, networks, streamers and FAST channels. Why is this critical? Because today, over 80% of audiences discover new content through social media. If you aren’t winning there, you’re losing everywhere else.”

If there’s a key takeaway that Verk wants delegates to embrace, it’s that “the world of entertainment is no longer about predicting trends — it’s about shaping them. We want executives to learn actionable steps to protect and future-proof their businesses.”

THE APPLIED AI SUMMIT INNOVATION LAB MONDAY, OCTOBER 21 10.15-12.00

Jonathan Verk

Emily Golden

Marianne Carpentier

Damien Viel

‘A massive wave of tech innovation is knocking on the door’

AFTER learning from execs at the forefront of genAI, delegates have the opportunity to get up close and personal with the subject through roundtable discussions (Monday, October 21, 14.30-15.30) — a practi cal format that has proved popular in Cannes over recent years. Roundtables will be led by key industry figures including Chris tian Knaebel, managing director, Global Media Consult (GMC). Knaebal has been a regular par ticipant in MIPCOM CANNES’ innovation-led Summits and welcomes the launch of the Lab Hub: “The TV and video-content industry is facing a lot of uncer tainty as it slowly converts into a technology and data industry. As a professional in this industry, you need to understand this par

Christian Knaebel

AI: A NEED TO ENSURE QUALITY OVER QUANTITY

ROUNDTABLE leader Sami Arpa, CEO, Largo.ai, will focus on Transforming Content Greenlighting And Audience Understanding With AI. “We’ll cover topics like AI-assisted content analysis, matching talent with projects and using AI to design targeted audiences,” Arpa said. “The key takeaway is how AI can simplify and enhance decision-making in content production.”

Largo.ai is also a MIP Innovation Lab exhibitor and described the Lab as “a great initiative… a fast-track opportunity for delegates to learn about practical applications of these innovations.”

‘Real-life cases of AI changing the game’

THE APPLIED AI Summit will round up with an Innovation Showcase, including a presenta tion by Jesse Shemen, co-found er & CEO, Papercup, entitled First AI That Can Automatically Translate Emotion In Video. Papercup is a pioneer in AI dub bing, utilising patented technol ogy to automate large parts of dubbing using human-like syn thetic voices at scale. This will be the core of the company’s showcase presentation. “It will focus on a recent breakthrough called XLPT: Cross-Lingual Prosody Transfer, which we will demonstrate for the first time on stage. It’s the first method of AI dubbing that, through a wholly automated system, allows us to

Arpa’s firm is focused on the use of AI to support film and TV players in making data-assisted decisions. One recent development is a tool that simulates focus groups, providing insights into how content will perform with different audiences. Identifying current trends, he cites “the increasing use of AI across content creation, from development to distribution. As genAI leads to more content being produced, there’s a growing need to ensure quality over quantity, which AI can help with.”

Jesse Shemen

Sami Arpa

The coming of age of FAST and AVOD

THE GLOBAL FAST and AVOD Summit on Tuesday, October 22, will feature roundtables, panel sessions and a presentation by event partner Xumo. Leading FAST executives will be present throughout the afternoon, offering insights and instruction; and participating in networking segments. We spoke to some of them ahead of the event

Among the FAST/AVOD pioneers participating as a roundtable leader is Kasia Jablonska, director of digital and VOD for EMEA, BBC Studios. She said: “FAST plays an important role at BBC Studios, as it unlocks our deep catalogue of content for new and loyal audiences. We are platform agnostic, we super-serve our audiences, whichever platform or format they chose to view our content in, and that includes FAST.” She added: “From an ad sales perspective, FAST has been treated mostly as overspill for linear TV. As the industry matures, content tagging and ad compliance for FAST is becoming more sophisticated; and there are more opportunities for programmatic and direct sales, which will help to unlock more premium content for FAST.”

Another participant in the 2024 Summit is Blue Lucy CEO Julian Wright, who says his company has “recently signed a multi-year contract with BBC Studios to use our BLAM platform to automate the collection, repurposing, and delivery of content to internal and external partners, including servicing BBC Studios’ FAST channels. This contract is just one example of how content owners and operators across the world rely on BLAM for agile media management, orchestration and integration.” In Wright’s opinion, the opportunity in FAST is clearly now. “Content owners need to unlock legacy archives, aggregate the metadata contained across disparate business systems and start generating revenue.”

Other roundtable leaders include Adam Tenorio, FAST Program Lead, Gracenote, a Nielsen company and Teresa Alonso Lopez, vice-president Whale TV+ and business development Whale TV. Another table host is Connie Hodson, director of content acquisitions & Partnerships, Little Dot Studios. An All3Media company, LDS works with over 250 content partners worldwide to license, manage and monetise content. The company has eight owned-and-operated FAST channels and also assists content partners with their own FAST channels, managing over 100 partner channels. Also, the firm operates 80+ YouTube channels, so maximising opportunities across the two. Other table hosts include: Matt Katrosar, senior vice-president, global advertising sales & strategy, Fremantle; Laura Florence, senior vice-president, global fast channels, Fremantle; and Aline Jabbour, director services business partnership for Latin America, Samsung TV Plus.

Shuan Keeble , vice-president digital, Banijay Rights, is another veteran of the FAST ecosystem, and will also offer his expertise to a roundtable of MIPCOM CANNES delegates. He says: “We work with all the major platforms, from Samsung TV Plus to LG Channels, but what’s noteworthy is our syndication of FAST channels saw over 50% growth last year alone. Our Mr Bean FAST channel is just one such example of a recent successful global launch, generating 76 live syndication streams across 31 territories in 8 languages.” Keeble says he will use his roundtable to share insights into “how we’ve built and maintained our portfolio of 32 FAST channels across 35 territories and what’s driven that success”.

Kasia Jablonska

Julian Wright

Teresa Alonso Lopez

Shaun Keeble

CHAMPAGNE

on 21 OCTOBER 4-6 p.m.

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At the GLOBAL FAST and AVOD Summit a series of talks follow the roundtables, involving companies at the forefront of the FAST revolution

Stefan van Engen, vice-president, con tent partnership, acquisition, distri bution & experience, Xumo will give a presentation entitled FAST And Furious: Lessons Learned In The FAST Lane. “We recently conducted research that uncov ered interesting trends in how US con sumers are embracing FAST,” he said. “Notably, the research found that FAST is becoming a primary means of entertain ment… one third of American adults say they regularly watch FAST channels dur ing peak primetime hours. I think as the FAST industry continues to grow (both in terms of available platforms and content choice/quality), we’re only going to see these engagement numbers increase.”

Speaker Cédric Monnier, CEO of Summit conference partner OKAST, said: “With over 600 OTT platforms and premium FAST channels deployed, OKAST has become the European leader with its modular cloud solution. The company was incubated at TF1 and Audiens and counts among its clients American, European and Chinese companies, including agencies, brands, TV, web, cinema and advertising content producers.”

Working with FAST4EU, OKAST has published a white paper, supported by RX, about FAST in Europe. Monnier said: “Based on our white paper, we’ll discuss why FAST has been less successful in Europe compared with the US so far. We’ll share key data, ad revenue estimates and testimonies from platforms and content providers.”

The big trend identified by Monnier neatly fits the evolution in MIPCOM CANNES Summit: “More and more FAST platforms now incorporate AVOD. Pluto, for example, recently pointed out that 46% of its revenue is from AVOD. This is an opportunity for content providers that are not big enough to go FAST but have catalogues for AVOD.”

SETTING THE STAGE FOR THE GLOBAL FAST & AVOD SUMMIT MIP INNOVATION LAB, TUESDAY, OCTOBER 22, 11.15-12.00

GLOBAL FAST & AVOD SUMMIT –ROUNDTABLES MIP INNOVATION LAB, TUESDAY, OCTOBER 22, 14.30-15.30

PRE-REGISTRATION REQUIRED

GLOBAL FAST & AVOD SUMMIT –DISCUSSIONS MIP INNOVATION LAB, TUESDAY, OCTOBER 22, 15.45-17.30

Stefan van Engen

Linette Zaulich

Cédric Monnier

Ed Love

Claudia de Wolff

Jennifer Vaux

Jonitha Keymoore

Key industry players to focus on the growth of streaming

LEADING executives in the vanguard of the current shift towards a streamer-led industry are taking part in a series of Global Streamers Talks on Tuesday, October 22. These include David Eilenberg, head of content, Roku; Claire Basini, executive vice-president, B2C, TF1; Olivier Jollet, executive vice-president and international general manager, Pluto TV; Cédric Dufour, CEO and president, Rakuten TV; and Maxime Carboni, chief business officer, Euronews.

“When you look across the industry, there are people doing some very innovative and progressive stuff on their platforms,” moderator Evan Shapiro said. Eilenberg has had a major impact at Roku since joining from ITV America. “The Roku Channel has been around since 2017. Today, it is a top 10 streaming service, and features a broad content mix across AVOD, FAST, Roku Origi-

nals and Sports,” he said. “As consumers continue to cut the cord and embrace streaming, we’ve really seen them increase in popularity because of the familiar lean-back viewing experience that they enable.”

Pluto’s Olivier Jollet will discuss “FAST, the role of free streaming, and how Pluto TV has pioneered a new industry segment.” While FAST has been a hot topic for a while, he said: “We can see a permanent evolution —sports is becoming key; AI and its role in content discoverability; the evolution of advertising and the future of TV Commerce. I anticipate a significant rise in direct purchasing via TV screens.” He added: “With advancements in payment methods and interconnectivity, new CTV inventory or product placements could be integrated with purchasing opportunities on the TV or asecondary screen. This could generate new revenue streams.”

GLOBAL STREAMERS TALKS INNOVATION LAB

TUESDAY, OCTOBER 22 09.00-11.00

A search for the truth about viewership

DAY TWO of the inaugural MIP Innovation Lab sees the return of the popular Global FAST And AVOD Summit. This year the Summit is expanding its remit and will also explore the rapidly-expanding and related realm of AVOD — advertiser-funded video-on-demand. Anchoring the Global Streamers Talks is media cartographer and industry analyst Evan Shapiro, who will kick off the day by presenting a report in tandem with Justin Sampson, chief executive, Barb Audiences. Shapiro said the potential impact of the session is “mind-blowing. Barb and I are go-

ing to take a look at their data in a way that’s going to show where viewership is actually going on an ongoing basis. A real issue right now for underlying economic foundation of our industry is that we don’t really know how to compare types of viewership. So the goal of our partnership is to offer a universal source of truth, assessing different forms of video viewing.” Sampson said that a lot of Barb’s recent work has involved investigating streaming: “We have developed our services to give comprehensive measurement of how people watch programme content on the stream-

ing services. The latest development is the addition of streaming services to one part of our total campaign reporting suite. In terms of our work with Evan, the big takeaway is that it is possible to get independent, joint-industry insight on how people watch walled-garden platforms.” In terms of current streaming trends, Sampson said that “live streaming is growing as a proportion of all streaming — 10% in June/July 2024 from just under 6% in June/ July 2022. This points to greater use of broadcasters’ VOD services to watch linear schedules, particularly during major sports events.”

GLOBAL STREAMERS TALKS INNOVATION LAB

TUESDAY, OCTOBER 22 09.00-11.00

Cédric Dufour

Olivier Jollet

Justin Sampson

Claire Basini

David Eilenberg

Maxime Carboni

19h at the Majestic 21h30, Fireworks

It’s not all about reboots there’s plenty of Fresh TV

THERE’S no question MIPCOM

CANNES wouldn’t be the same without its ever-popular Fresh TV sessions, curated and delivered by research consultancy The WIT. This year, delegates will be granted access to a total of three core sessions: Fresh TV Formats, Fresh TV Fiction and a Best Of Fresh TV wrap-up on the final day of MIPCOM CANNES. Also worth putting in the diary is a special event to celebrate Spain’s status as MIPCOM Country Of Honour.

Asked why the sessions are such crowd-pleasers, The WIT CEO Virginia Mouseler told the MIPCOM Preview: “When people arrive at the market, they need to get a sense of what’s emerging and where to go. The beauty of Fresh TV is that it is editorially controlled by The WIT, based on our research. So it’s not just about the shows being promoted heavily at MIPCOM CANNES. I also think that, because it is editorially driven, it has a personality that sets it apart from a traditional sales showcase.”

The content of the Fresh TV sessions is based on research that The WIT does across the year — primarily for its clients. The first findings will be delivered in Fresh TV Formats on Monday, October 21, 13.0014.00 in the Grand Auditorium.

Digging into the formats sector, Mouseler acknowledged that the big challenge with the global business is that buyers are increasingly reliant on reboots: “A lot of the talk is about searching for brands that already exist or that can be relaunched. For example, one of the

big stories of the summer was the relaunch of You Bet in the UK.”

That said, she stressed that — behind the major headlines — there is still a lot of creativity. “Everybody talks about reboots, but our research shows that two thirds of launches are new formats. So, it means that there’s still a lot of creativity. With that in mind, the role of a session like Fresh TV Formats is to highlight the productions that might be overshadowed by the big ones. It’s important that they are still alive.”

Fresh TV Fiction takes place on Wednesday, October 23, 13:0013:45 in the Grand Auditorium. Outlining a few talking points ahead of the session, Mouseler said: “The big story is the decrease in volume of launches. And our data confirms that not many shows are breaking out. With the exception of phenomena like Mr. Bates And The Post Office in the UK, there are not many series that people are talking about around the world.”

At a time when there is a lot of buzz around scripted formats, Mouseler said this area has not delivered as many new series as might be expected, and if anything is decreasing slightly. “If there is an interesting statistic about fiction right now it’s that 14% of TV launches are based on books, which is an increasing share.”

For delegates who miss the first two sessions because of meetings or who need a recap, Best Of Fresh TV takes place on Thursday, October 24, 12:00-12:30 in the Producers’ Hub.

Virginia Mouseler

FRESH TV SESSIONS PRESENTED BY THE WIT:

FRESH TV FORMATS GRAND AUDITORIUM, MONDAY, OCTOBER 21, 13.00-14.00

FRESH TV FICTION GRAND AUDITORIUM, WEDNESDAY, OCTOBER 23, 13.00-13.45

BEST OF FRESH TV PRODUCERS’ HUB THURSDAY, OCTOBER 24, 12.00-12.30

WITH SPAIN as Country of Honour, Virginia Mouseler is presenting a special Spain Fresh TV Showcase on Tuesday afternoon. In the lead-up to MIPCOM CANNES, Mouseler and her team have been diving deep into the world of Spanish TV production, looking at every genre and format that’s currently being aired, in order to present the very best new shows and series from one of Europe and the World’s production powerhouses. “It’s a real pleasure researching and screening Spanish TV content,” Mouseler said. “In every genre, you’re sure to discover life, creativity, freedom, new points of view, and projects that dare to step outside the normal rules.” Some of the producers behind the shows that Mouseler has chosen will join her on stage to discuss their latest work. “The Spanish TV industry is healthy, boosted by both national and international streaming platforms – and, of course, the always hungry Latin market,” she said.

SPAIN FRESH TV SHOWCASE AUDI A, TUESDAY, OCTOBER 22, 14.30-15.00

How to thrive in the new era of platformisation

Global research firm Glance is back at MIPCOM CANNES to provide delegates with a toolbox of actionable insights that will help their decisionmaking across an action-packed week

NOW a regular fixture of MIP markets, the popular Glance session will explore programming trends and unpack challenging industry issues around platforms and windowing. Looking at audience habits, programming strategies, content trends and successful new launches, the data-powered session will set out to answer a range of intriguing questions including: How should the industry cope with reduced linear TV consumption? What makes IP stand out in a crowded market? How can we deal with dwindling revenue in a time of streaming wars? Where does AI fit in with audience research?

The session kicks off with a presentation by Glance senior vice-president Frédéric Vaulpré: “As the landscape and audience behaviours evolve rapidly, both traditional and digital platforms are undergoing significant transformation,” he said. “Based on insights gained from global audience analysis, both linear and non-linear, our session will delve into two critical aspects of these evolutions: platformisation and windowing monetisation.”

As linear TV transitions to BVOD, global SVOD platforms explore linear broadcasting, and FAST channels gain trac-

tion, the landscape is becoming increasingly complex, Vaulpré said. Against this backdrop, “the Glance conference will explore the strategies and best practices for thriving in this new era of platformisation, ensuring that both traditional broadcasters and digital platforms can effectively navigate these changes.”

In parallel, he said that “optimising windowing strategies has become essential for maximising engagement. So I will also focus on innovative approaches to windowing strategies, examining how platforms can balance audience engagement and revenue generation through content release schedules and monetisation techniques.”

After Vaulpré has set the scene, Glance client and research director, Candice Alessandra, will highlight current and future programme trends. “Following Hollywood’s strikes in 2023, programming schedules have adapted, leading to a notable increase in Australian and Canadian exports,” she said. “While the US remains one of the biggest countries exporting TV series, these regions are gaining momentum.”

In terms of genre-based trends, she said that “crime series are becoming more complex, integrating deeper social and polit-

ical themes. At the same time, the nostalgic wave continues, with new dramas centred around childhood heroes.”

In factual and entertainment, following the growing global interest in K-pop culture, “we observe an emerging trend of documentaries focusing on the formation of music groups outside of Korea”, she said. “Elsewhere, trivia game show The Floor remains a leading export, and studio-based game shows featuring large numbers of contestants and board game adaptations are particularly popular.”

Additionally, with The Traitors continuing to be in high demand around the world, Alessandra said: “Competition formats with distinct worlds — especially those focused on crime-solving — are among the best-performing new releases.”

UNLOCKING AUDIENCE AND CONTENT DYNAMICS GRAND AUDITORIUM, MONDAY, OCTOBER 21, 09.00-9.45

Candice Alessandra

Frédéric Vaulpré

TOTAL DIGITAL REACH 78M

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SOURCE: COMSCORE MEDIA METRIX MULTI-PLATFORM

JAN 2024 — SOCIAL INCREMENTAL (DESKTOP + MOBILE + SOCIAL)

‘Let’s be real: we are never going back to the peaks of peak TV’

THESE are tough times for producers and distributors, with seismic shifts making it hard to plan for the future. But don’t despair. Ampere Analysis executive director and co-founder Guy Bisson is going to explain what’s going on in his must-attend session; Global Content Trends: Making Sense Of Uncertainty...

Bisson said he will use the session to summarise the key trends impacting the global content industry. “The time you really need data and analysis is when things aren’t going quite to plan and the market outlook is uncertain,” he

said. “That time is right now. Understanding the trends impacting the global entertainment business arms you with the information to face that uncertainty. I’ll be using Ampere’s data to distil the information you really need to know.”

Bisson said there is so much going on right now it is easy to get confused. “We are in the middle of another shift that will fundamentally change everything about the way the entertainment business works. The industry goes through these shifts every 10-15 years. The mass roll-out of direct streaming was the start of this latest wave

Ampere’s Guy Bisson

GLOBAL CONTENT

TRENDS: MAKING SENSE OF UNCERTAINTY PRODUCERS’ HUB, THURSDAY, OCTOBER 24, 11.00-11.30

and now we’re through the initial boom, we need to re-engineer business to avoid a bust.”

Bisson said there has not been a fundamental shift in the type of

What makes a format travel-worthy?

SCRIPTED formats are a hot topic, and the demand for drama and comedy stories that can be adapted for local audiences has never been higher. At MIPCOM CANNES, K7 Media head of drama and insight Richard O’Meara will unpack this intriguing subject for delegates, exploring who’s buying and selling, and demystifying what makes a story able to travel, in the Wednesday session Secrets Of The Scripted Formats. Speaking to the MIPCOM CANNES Preview, O’Meara said: “The session coincides with the release of the latest edition of our Tracking The Scripted Giants report, which delves into the scripted formats adapted around

the world between the start of January 2023 and end of June 2024. It looks at the best-selling scripted formats of all time, what makes a format travel-worthy, and some interesting regional tweaks and trends.

All will be revealed during the session, but in terms of the headlines, O’Meara confirmed that scripted formats are more important than ever. “Gener al risk-aversion in scripted has spurred interest in formats. If a story has proven a success in two or three or four different territories, this can reassure a wary commissioner. You only have to look at formats like Liar and Mother which have main

content in demand: “It is more that there is less demand combined with subtle changes. Blockbuster shows are still needed, but in lower volume; steady-performing drama is still important, so is good documentary. But what we have seen is the strengthening of crime across both drama and factual; an increasing interest in personality-led documentary; a growing interest in entertainment and shows that can be used for longer viewer engagement.”

Bisson does hold out a note of hope: “Let’s be real: we are never going back to the peaks of peak TV, but there are signs that commissioning activity is picking up and Amazon and Netflix are both really back to business. Advertising revenue is starting to grow strongly and becoming an important contributor to growth in the market.”

K7 Media’s Richard O’Meara

Producers’ Hub offers insights into what content sells and where

It’s been a tough couple of years for the scripted-content business, but there’s no question that budgets are still available for the right projects. This week at MIPCOM CANNES, executives from some of the world’s leading content companies will give delegates the inside track on what’s selling and the latest in deal structures. Andy Fry reports

A WAVE of business insights kicks off with a session entitled What All The Drama Is About; Here Is The Content That Travels at the Producers’ Hub on Monday, October 21. Joining this panel are Jamie Lynn, executive vice-president, co-production and distribution, Fremantle; Katie Keenan, group director of acquisitions, Sky; and Amanda Turnbull, CEO & founder of UAE-based Rise Studios.

Turnbull said there are three key takeaways she wants delegates to learn. “Firstly, adaptations are still popular — with demand for non-English content on the rise. Where I’m based in the Middle East & North Africa region, adaptations provide a diverse range of content while allowing regional producers to leverage successful formats that have already proven their appeal. For instance, MBC Group forged exclusive deals with Turkish production houses in 2022 to adapt their popular series for local viewers.”

Secondly, Turnbull said: “Local

originals continue to be key for audiences — driven by both local and global streamers. This trend is especially pronounced in Sau di Arabia, where hyper-localised content is gaining traction. For instance, the Saudi series Crash

‘Local originals continue to be key for audiences — driven by both local and global streamers’

Amanda Turnbull

ing Eid on Netflix garnered over 2.3 million views.” At the same time, however, “co-productions remain strong because they provide access to diverse funding, resources, and talent, resulting in higher-quality productions.” In terms of scripted trends,

WHAT ALL THE DRAMA IS ABOUT – CONTENT THAT TRAVELS THE PRODUCERS’ HUB, MONDAY, OCTOBER 21, 09.45-10.15

Matt Forde

Amanda Turnbull

Jamie Lynn

Katie Keenan

Kelly Wright

Elisa Martin de Blas

Danna Stern

Moon Palace, Cancun, Mexico

19 → 22 Nov. 2024

‘We love helping formats travel after we’ve sold the tape’

Kelly Wright

Your chance to engage with the ‘entire format ecosystem’

THE FORMAT Recognition & Protection Association is back at MIPCOM CANNES with its ever-popular FRAPA Formats Summit.

In a year when blockbuster entertainment formats have stepped into the void created by the lack of big-budget drama series, FRAPA co-chair Phil Gurin said the Summit is a key watering hole for executives in the business: “What we’ve seen over the years is that the Summit has become a social place. People know they’re going to run into creators, producers, commissioners, distributors — the entire format ecosystem.”

Aside from the networking, Gurin said there will be “punchy 20-minute interviews, one on one, with

thought leaders and experts in the industry who can share insights into what’s working, what’s not working, what they’re looking for. And we’re going to do something related to the legal sphere, linked to the growing impact of AI.”

The majority of the Summit’s 200 attendees are entrepreneurial, small- to medium-sized firms. But the event is also a key date in the calendar for global leaders like ITV Studios (ITVS). ITVS managing director, global creative & production support Mike Beale said: “As markets become more regionalised, MIPCOM CANNES is really the only one that everyone goes to. So the Summit is a good opportunity to get in front of people.”

Beale said there are three reasons why the Summit is important to ITVS: “Firstly, if there’s not a vibrant producer environment, then there are no new ideas coming through. Secondly, we sell to these producers so it is a business opportunity. And finally, there is FRAPA’s core remit, which is format protection. It’s important for us to be aligned with an organisation that is all about preventing ideas being ripped off.” He added: “In dispute scenarios, the body can compare a show with another that the producer believes is a rip-off. While not a legal body, the power of FRAPA’s argument and credibility of its community means its adjudications are often key to resolution.”

‘Forging a path through evolving times’

HOLLYWOOD’s major studios are a bellwether for trends in the global TV business — and most of them will be at MIPCOM CANNES either selling shows or sharing insights on panels, including International Production At The US Studios, where leading decision-makers will talk about their global production strategies across scripted and non-scripted. Panelists include Laura Burrows, vice-president, production, Universal International Studios at NBC Universal, who said she wants delegates “to feel hopeful about the ways in which we can, together, forge a path through these ever-evolving times. We’re all mindful of the inflection point we’re in, and while that poses challeng-

es, it also presents opportunities to find creative solutions.

As producers we are always embracing challenges head-on, motivated by incredible stories that need and deserve to be told. Now more than ever, we need to champion new ways of working.”

Despite the sector’s downturn, Burrows said: “At Universal International Studios international drama production is still a top priority. We’re looking across Universal Studio Group to maximise opportunities to support global storytellers.”

Also joining the panel is Andrew Zein, executive vice-president, Warner Bros. International Television Production (WBITVP).

One of Zein’s key moves this year was to pick up WBITVP’s

FRAPA FORMATS SUMMIT PRODUCERS’ HUB, MONDAY, OCTOBER 21, 11.00-13.00

first gay relationship format Boys Like Boys. The Taiwanese show joins hit series like The Bachelor, First Dates and FBoy Island on the WBITVP slate.

Zein said it is “too simplistic” to say it has been a tough content market in recent times. “At a global level it has been challenging, but there have been differentiations territory by territory, region by region. Here at WBITVP, we are still looking for brilliant programming, proven formats, ambitious concepts that we can get behind and back.”

INTERNATIONAL PRODUCTION AT THE US STUDIOS PRODUCERS’ HUB, TUESDAY, OCTOBER 22, 16.30-17.00

Laura Burrows

Mike Beale

Phil Gurin

Andrew Zein

Disney’s content team on the lookout for ‘noisy, true stories’

MIPCOM CANNES delegates will be granted a unique opportunity to look under the bonnet of Disney’s content licensing business in EMEA. As part of the Producers Hub programme of events, Diego Londono, executive vice-president, media networks and content, and Paolo Agostinelli, senior vice-president, affiliate and content distribution, will outline their EMEA strategy, covering everything from how the media giant sources local original content through to its windowing strategy.

On Disney Local Originals, Londono said: “To date, we have announced 73 titles for Disney+, with our planned output to be 35 to 40 titles per year across Europe. We are producing in eight markets across Europe and are looking for stories that resonate locally, in that market and in that local language. We want top local talent starring in our series, with the best local writers, directors and producers.”

During the session, Londono and Agostinelli will touch on the key EMEA Local Originals titles coming up the Disney pipeline, from Rivals to This Is Not Hollywood – Avetrana. They will also discuss highlights to date, for example the highly-anticipated UK original A Thousand Blows.

In terms of opportunities for producers to work with Disney, Londono will provide insights into what the company wants. In scripted, he said: “We work across genres, from crime and thrillers to action adventure; drama, comedy, contemporary and

period. What drives us is story, the talent behind it, and its ability to cut through in a very crowded market.” For unscripted, “we are looking for noisy, true stories with unprecedented access and episode on episode addictive storytelling, ranging from true crime doc series and reality to sports documentaries. We are also exploring entertainment shows.”

According to Londono, Disney has creative teams in London, Madrid, Paris, Milan, Munich, Amsterdam, Stockholm and Warsaw, which are “working to source innovative and compelling stories from the best in their country’s creative community”. He confirmed that Disney is “active and interested in co-pro-

‘We plan to explore what has resonated with audiences and the market’

Paolo Agostinelli

duction and pre-buys with local broadcasters and third parties, be it for one of our shows, or a story brought to us by a partner, for example Whisky On The Rocks with SVT in Sweden, or Ghosts with TF1 in France.”

As for content licensing, Agostinelli said the session will “explore how our windowing strategy offers broadcasters, third

parties and platforms the opportunity to enhance their offering with Disney’s premium content, and harness the power of Disney’s storytelling. We also plan to delve into our licensing strategy, and explore what has resonated with audiences and the market.”

Agostinelli confirmed that Disney’s Local Original content has a key role to play in Disney’s distribution strategy in EMEA. “Disney Local Original titles (such as Extraordinary, Culprits or The Lions Of Sicily) are typically available for second windows (after a certain time) once they have premiered on Disney+. For example, Disney+ UK original comedy series Extraordinary aired on ITV2 and ITVX in the UK in early 2024, after an 18-month exclusivity window on Disney+, and just before its season-two launch on Disney+.”

EXPLORING DISNEY EMEA’S LOCAL ORIGINAL PRODUCTIONS AND LICENSING STRATEGY THE PRODUCERS HUB, TUESDAY, OCTOBER 22, 11.30-12.00

Diego Londono

Paolo Agostinelli

Creativity, tech and talent all help secure bigger budgets

ONE OF the most noticeable results of the content funding crisis is that it is increasingly challengening to fund mid-budget productions — because they are either insufficiently impactful or not cost-effective. Against this backdrop, the session Go Bigger Or Smaller, Adjusting Financing Strategy To Changing Times will explore the implications of increasing or decreasing budgets.

Panelist Solange Attwood, CEO and co-founder, Serial Maven Studios, said: “With constant shifts in business models and advertising trends, we want to share insights as to the opportunities that exist in a dislocated market and how the value of partnerships is paramount.”

Attwood, whose company focuses on factual programming, said bigger budgets can be secured but all of the component parts need to be compelling. “Expert creative talent, access, never-before-seen archive or technology are all elements that must form part of a story to command a bigger budget. Auspices need to be global while relatable to audiences in their domestic market. The quality of the pitch and managing multiple like-minded prospective financiers can be very helpful in getting to a greenlight.”

If going big isn’t an option, Attwood says don’t despair: “We are seeing more lower-cost production models and greenlights as commissioners diversify slates.”

Also on the panel, Rebecca Dundon, senior vice-president, scripted content, international, Fremantle, said there are similar discussions to be had around securing drama budgets. She hopes the session will help delegates “address the challenges of the market” and enable them to “innovate existing models to navigate it”. She added: “Talent is critical, on and off screen, while known IP can help deliver an existing audience and franchise. We’re also seeing an increase in co-production and pre-

sale models. An influx of offshore productions to maximise subsidies and reduce costs has been critical to delivering lower budgets for production of quality.”

Vratislav Slajer from Bionaut, will also be joining the session.

GO BIGGER OR SMALLER, ADJUSTING FINANCING STRATEGY TO CHANGING TIMES

PRODUCERS’ HUB, WEDNESDAY, OCTOBER 23, 12.30-13.00

In search of content that resonates with YA

MAINTAINING a flow of content for young adults — aka YA — is a critical part of the TV industry’s attempt to refresh audiences and prevent them migrating on mass to social media. But it’s a tricky genre to get right. In The Secret Sauce Behind The Success of YA Series, leading executives will use current examples to explain how they persuaded Gen Z to put down their mobiles and tune in. Simon Cox, executive vice-president, content and acquisitions

Banijay Rights, said: “At MIPCOM CANNES — and particularly on this panel — we are looking to shine the spotlight on Invisible Boys [a STAN Original Series]. It’s a great example of a piece of young-adult content that resonates with its audience. Touching on key themes in the genre, this LGBTQIA+ dra-

ma is a contemporary look at love, friendship and identity.”

Based on the novel by Holden Sheppard, the series explores the challenges faced by a group of gay teens in a remote coastal town in Western Australia. “The drama explores the teens’ desires and identities in a world that often renders them invisible,” Cox said. “Drawing on the existing audience for the novel, combined with a fantastic young cast, storytelling such as this can really cut through and attract the youngadult audience to any platform.”

Also on the panel, Lawrence Szabo, executive vice-president, US content distribution, BBC Studios, will delve into A Good Girl’s Guide To Murder, which debuted and spent two weeks on Netflix as the Nº1 English-language TV series in the

THE SECRET SAUCE BEHIND THE SUCCESS OF YA SERIES, PRODUCERS’ HUB, WEDNESDAY, OCTOBER 23, 14.30-15.00

world. He said: “A Good Girl’s Guide To Murder had an eager, passionate built-in global fan base from the source material — the book series by Holly Jackson. This story was a beloved and known IP, and Moonage Pictures brought it to life on the screen with the premium, quality touch. We wanted to find a partner who understood the nuances of capturing the YA audiences. That partner turned out to be Netflix.”

Looking more broadly at the YA market, Szabo said: “The YA space in television has changed so much over the last 25 years. Our session hopes to check in on these themes so that delegates can hear real-time examples of programming that resonates with today’s audiences.” The Mediapro Studio’s Ran Tellem is also taking part in the session.

Simon Cox

Solange Attwood

RebeccaDundon

Lawrence Szabo

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Industry advised to look beyond the ‘holy grail’ of streaming platforms

THROUGHOUT MIPCOM

CANNES, delegates will be given insights into all aspect of the streaming ecosystem, via keynotes, summits and dedicated panel discussions. And as the 2024 edition comes to a close, they will have a final chance to collate these learnings and work through them with experts immersed in the field, at the session Streaming Platforms: A Wealth Of International Opportunities. Presented in the form of a networking breakfast, delegates will be able to gain actionable insights into the competitive streaming landscape through focused roundtable discussions. Each table will be led by an expert from fields such as marketing, licensing and distribution. In these smallgroup settings, they will have the opportunity to explore best practices with peers and build valuable connections.

The event will be introduced by 3Vision executive vice-president Jack Davison, who plans to use a visual data-led approach to look at how streaming platforms have changed the market for content. He will also examine how content is being offered around the world and how streamers have responded to recent fiscal challenges. Speakers at the event include Wendy Bernfeld, founder and managing director of rights and windowing consultancy Rights Stuff. A former Canal+ executive, Bernfeld said she will explore who is out there beyond the major platforms, analysing the kind of deal structures and pathways

involved in securing a deal. “I want to help delegates think beyond the Netflix/Amazon ‘holy grail’ streamers, for example the telecom, cable, OTT mainstreamers who are regional or multi-regional; and also the more niche, thematic streamers specialising in a particularly type or genre of audience or content.”

Key advice for delegates is matchmaking, Bernfeld said. “Like online dating, you need to properly align content to the site you are targeting. My big emphasis is avoiding mailchimp-type mass mailings because they’ll go in the bin.”

A key trend for Bernfeld is an upsurge in library-title buying, which is welcome news for distributors that follow her matchmaking advice. “Instead of all originals spending, there is appetite for titles for two- to seven-year-olds (SVODs) and seven-plus years old in AVOD/FAST. You see this trend even with big platforms — Netflix, Amazon etc. More library titles and non-exclusives is handy for IP rights holders.”

Other speakers include Javier Martínez, managing director, You First Originals; Teresa Alonso López, vice-president of content partnerships, rlaxx TV; Guillaume Coffin, senior vice-president, content sales, affiliates business and advertising (France, Benelux & Africa), Warner Bros. Discovery; Lara Sword, head of factual network, Eccho Rights; and Lina Matta, director Shahid AVOD, MBC 2, MBC 4, MBC Max at MBC Group.

Sword will analyse ways to max-

imise revenues on YouTube and AVOD. Discussing the session, she said it will be “an A-Z of streaming platforms. Because it will cover rights, distribution deals and marketing, it’s a chance for producers to really understand the industry, ask questions and share information and experiences.” Sword has many years experience with AVOD platforms, especially YouTube. She is keen to share her knowledge with rights holders on “how to

STREAMING PLATFORMS – A WEALTH OF INTERNATIONAL OPPORTUNITIES THE PRODUCERS’ HUB, THURSDAY, OCTOBER 24, 09.30-10.30

upload content to YouTube, implement strategies and clarify misconceptions about the platform.” Although she has been part of the digital landscape for years, she feels that YouTube remains undervalued, “especially regarding full-length programming. Although the platform is being touted as the world’s largest streaming platform, there has not been a lot of examination into how the economics stack up.”

Lara Sword

Jack Davison

Javier Martinez

Wendy Bernfeld

Define your future in The New Content Economy

‘Drag Race allowed misunderstood entertainers to shine on our screens’

Nicky Doll

Adam Pearson

Nicky Doll

attending the awards, they will also be present at a networking cocktail in the Verrière Grand Audi after the show, open to delegates.

Lucy Smith, director of MIPCOM CANNES and MIPJUNIOR, said: “These awards recognise the positive and demonstrate the possible. Our aim every year is to use our unrivalled platform to spotlight the programming and people internationally that em body excellence in representa tion as examples to be inspired by and aspire to.”

The awards are organised by MIPCOM CANNES in collab oration with founding partner Diversify TV, and in association with founding presenting part ner A+E Media Group; awards partners Telefilm Canada, Can ada Media Fund and Webe dia; and supporting partner All3Media. This year, the eighth edition of the Awards attracted an impressive 150 entries from 29 countries.

To be eligible, entries had to demonstrate a fair and balanced representation of Race & Ethnic ity, LGBTQIA+ and/or Disabled communities; show a positive impact; stand out in originality and excellence in terms of sto rytelling, casting and production values; and challenge stereotypes. Shows must have aired in the past year between 22 July 2023 and 21 July 2024 on a linear and/or non-linear platform.

The nine winners will be awarded in the following categories: Rep resentation of Race and Ethnici ty (Scripted and Non-Scripted); Representation of LGBTQIA+ (Scripted and Non-Scripted); Rep resentation of Disability (Scripted and Non-Scripted); Representa tion of Diversity in Kids Program ming (Pre-school and Older Chil dren); and the Behind The Scenes Impact Award. Last year’s win

Femi Oke

‘DEI is not a luxury brand we only wear during good times’

Key supporters of the MIPCOM CANNES Diversify TV Awards spoke to the MIPCOM CANNES Preview ahead of the event

ONE OF the staunchest allies of the Diversify TV Awards programme, A+E head of global FAST channels Mark Garner, said the Awards do so much more than just celebrate excellent work. “They have been introducing great talent to the industry as well. The awards provide an opportunity they may not otherwise have, which is really important for those people, and for our industry, so that we are not talking in an echo chamber.”

Garner believes there has been real progress during the lifetime of the awards: “The quality is improving, it’s a lot more interesting and creative now. And I think the awards are appealing to a wider audience of producers and creators. We’re not just seeing diversity expressed in the content of ethnicity and gender but much more broadly,” he said.

He believes that the issue of diversity is now much more “front and centre” than when the awards started eight years ago. But with the industry facing tough times, he says it is as important as ever to speak with a loud, clear voice: “There’s an evolution going on in the industry, and it’s very easy for this process of change to be all

consuming. It’s our job to make sure that we don’t lose sight of the importance of DEI. At A+E, it’s a cultural value that is measured every year. We talk about it consistently in the con text of our workforce, our com mercial performance and our competition.”

The Awards’ host Femi Oke echoed Garner’s view: “DEI is not a luxury brand we only wear during good times,” she said. “If we’re fortunate enough to be creating, the principles of reflecting a more diverse, inclu sive and equitable world in our work always apply.”

Mounia Aram, founder and president, the Mounia Aram Company, is a long-standing Awards board member. She said: “Over the past eight years, we’ve witnessed meaningful progress in the industry, but it’s been a journey, not a sprint. When we started, the conversation around diversity often felt like it was more about checking boxes. Now, we’re seeing a more gen uine integration of diverse voic es and stories into the fabric of content creation. This shift is encouraging, but let’s be clear — there’s still a long way to go. We need to move beyond just visible representation, towards ensur ing these voices have influence

Sallyann Keizer, Bunmi Akintonwa, Mark Garner

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Sixth Sense Media managing director Sallyann Keizer is another industry stalwart who adds her experience to the MIP Di versity Board.

“As we enter the eighth edition of the Awards, it is heartwarm ing to see the great progress our industry has made in the area of inclusion and representation,” she said. “In front of camera, content is oftentimes rich and deeply layered in its authentic representation and intersection ality, while behind the scenes steps forward continue with a more diverse workforce — both, of course, go hand in hand.”

Keizer is upbeat about progress made: “While there is always more work to be done, if we look to where we were a dec ade ago the landscape is vastly different. Shows simply won’t get commissioned and bought if not diverse. Casting and story telling are inclusive and we are most times miles away from the tokenism of days gone by.”

Keizer said areas requiring im provement include disability: “The industry has a responsibility to ensure not just fair and accu rate representation on screen of visible and invisible disabilities, but also that disabled colleagues are empowered to enter, remain and rise in our industry. This takes time, thought, dedication and investment, but is essential.”

Little Black Book Company CEO Bunmi Akintonwa agreed that on-screen diversity and off-screen representation, such as hiring practices, have im proved considerably. However she stressed that vigilance is needed during tough economic times. “The past year has been particularly challenging. Many initiatives that supported DEI have either been scaled back or

disappeared altogether. A notable example is the reduction in DEI roles, particularly in

ganisations that supports the awards is GADIM, the Global Alliance for Disability in Me

MIPCOM CANNES DIVERSIFY TV AWARDS

Mounia Aram

Patricia Almeida

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Could drama be the next big thing from Japan to go global?

THE MIPCOM Buyers Awards, presented by the Tokyo Drama Festival, returns to Cannes this year, with the jury evaluating nine new drama series from Japanese broadcasters. What can they expect? Tokyo-based media journalist Tomoko Hasegawa has been monitoring recent trends in Japanese dramas.

“Around 100 new drama series are produced in Japan every year,” Hasegawa said. “And about 20% of them are based on manga — but even the completely original dramas contain some measure of manga DNA.”

In Japan, manga — which are popular not only among children but also adults of both genders — are often adapted as dra-

mas, anime and movies. Drama producers who have grown up with such content often incorporate the essence of manga into their own original works.”

For example, with the controversial TBS drama series There Should Be A Limit To Inappropriateness.

“The series portrays this evolution as constituting a social sea change by showing how a man from 1986 transported to 2024 manifests behaviour that is now considered totally inappropriate,” Hasegawa said. “Though it generated controversy on social media, the general reaction was positive.” Lead actor, Sadao Abe, plays a typical 1980s man in his 50s in an exaggerated, comic manner. Already, it’s been an -

The 2023 MIPCOM Buyers Awards

THE MIPCOM BUYERS AWARD FOR JAPANESE DRAMA HOTEL MAJESTIC, MONDAY, OCTOBER 21, 08.00-10.00

nounced that the series will be adapted for Korean television.

“But it’s not just drama producers who have grown up with manga,” Hasegawa said. “Many Japanese viewers have enjoyed manga since childhood, so they can naturally accept the comical performances of the actors and the outlandish settings.”

TV Asahi anime targets the world

ANIME is one of those Japanese words that has effortlessly entered the global vocabulary — conveying a specific Japanese sensibility that nonetheless has universal appeal.

At MIPCOM CANNES, Japanese commercial broadcaster

TV Asahi will present 26 new episodes of its animated series, Obocchama-kun, a comedy about a crazy-rich boy who leads an outrageous life, both in school and at home.

“The Obo family in the series is incredibly wealthy, with one of the world’s largest fortunes and a mansion so vast that you could get lost without a guide,” head of an-

imation sales and development at TV Asahi, Maiko Sumida, said.

“The family is so powerful that they can influence global affairs with just a word,” she added.

The only son, Chama, more familiarly known as Obocchama-kun, is the 999th heir to the family fortune.

The series has been a fixture on Japanese TV for years, premiering in 1989 as an adaptation of a popular 1986 manga by the artist Yoshinori Kobayashi, considered the hallmark of a comic book genre called ‘gag manga’.

“Chama’s unique diction, known as Chama-nese, became a social

phenomenon,” Sumida said. Because TV Asahi has had suc cess with several other anime series — for example Doraemon and Shin chan, in Spain, Italy, and France — Sumida said Oboc chama-kun could easily appeal to European markets.

“Spain is celebrating the 30th anniversary of the arrival of ‘Do raemon,” she said, “thus demon strating Spain’s deep connection with Japanese animation.” She added: “Naturally, we welcome the opportunity to distribute it to any broadcaster or platform who can appreciate a fun ‘gag’ come dy series.”

Another show, Baby Assassins, deals with difficult subjects.

“Two high-school friends become skilled assassins in the underworld,’’ Hasegawa said, “but viewers are drawn to them. I was fascinated by the story, and before I knew it, I was immersed in the world it depicted.”

And while manga — for example, Dragon Ball and Eiichiro Oda’s One Piece — have become popular throughout the world, the next Japanese export to attract attention may be drama.

Maiko Sumida

October 22nd

12:00 to 1:00 PM

Grand Auditorium, Palais des Festivals, Cannes, France

Followed by drinks & light lunch in the Verrière Grand Audi

Femi Oke (She/Her) MC/Moderator, Moderate The Panel LLC

Pearson (He/Him) Actor, Broadcaster and Disability Advocate

(She/Her/He/Him) Performer, Singer, TV host, Advocate and Drag icon

Adam

Nicky Doll

Presented

Hosted

Cheer on our 25 Nominees accross 9 awards

Representation of

DISABILITY

[ Non-Scripted ]

Gigantene (The Giants) (Norway)

Original Broadcaster: NRK

Distributor: NRK

Production Company: Teddy TV

New Model Agency (UK)

Original Broadcaster: Channel 4

Distributor: All3Media International Production Company: Salamanda Media

The Assembly (UK)

Original Broadcaster: BBC One Distributor: Can’t Stop Media Production Company: Rockerdale Studios

[ Scripted ]

Deaf Voice: A Sign-Language Interpreter in Court (Japan)

Original Broadcaster: NHK (Japan

Broadcasting Corporation)

Distributor: NHK Enterprises

Production Company(ies): Produced by NHK & KADOKAWA in association with NHK ENTERPRISES

One Of Us S2 (France)

Original Broadcaster: TF1

Distributor: Federation International

Production Company(ies): Fédération Studios / Habanita Fédération

The Squeaky Wheel: Canada (Canada)

Original Broadcaster: AMI-tv

Distributors: Hitsby Entertainment Inc. & Shadow Pine Studios.

Production Company(ies): TSW Productions Inc. & Hitsby Entertainment Inc.

Representation of LGBTQIA+

[ Non-Scripted ]

Big Gay Wedding With Tom Allen (UK)

Original Broadcaster: BBC One Distributor: Banijay Rights Production Company: Minnow Films

They and Them (The Netherlands)

Original Broadcaster: VPRO

Distributor: Dutch CORE Production Company: Tangerine Tree

Y a une étoile (There’s a star) (Canada)

Original Broadcaster: UNIS TV

Distributor: FilmOption International inc Production Company: Bellefeuille Production

[ Scripted ]

Cris Miró (She/Her/Hers) (Argentina)

Original Broadcasters: TNT & Flow Distributors: TNT & Flow

Production Company(ies): TNT & Flow

Fellow Travelers (US)

Original Broadcaster: Showtime Distributor: Showtime Networks

Production Company(ies): Blue Days Films, Off Season Productions & Fremantle US

Lost Boys & Fairies (UK)

Original Broadcaster: BBC Distributor: All3Media

Production Company: Duck Soup Films

Representation of RACE & ETHNICITY

[ Non-Scripted ]

On The Line: The Richard Williams Story (US)

Original Broadcaster: Sky Documentaries Distributor: Fremantle

Production Company: Open Stance

This Is Indian Country-San Diego (US)

Original Broadcaster: FNX Distributor: ASD Production Company: Art Of The City Productions

White Nanny Black Child (UK)

Original Broadcaster: Channel 5

Distributor: Together Films

Production Company(ies): Doc Hearts

Limited & Tigerlily Productions

[ Scripted ]

That Cover Girl (Malaysia)

Original Broadcaster: Amazon Prime Video

Distributor: Creative Stew

Production Company: Creative Stew

Three Little Birds (UK)

Original Broadcasters: ITV & Britbox

Distributor: Banijay Rights

Production Company(ies): Tiger Aspect Productions in association with Douglas Road Productions

We Are Lady Parts (Season 2) (UK)

Original Broadcasters: Channel 4 & Peacock

Distributor: NBCUniversal Global

TV Distribution

Production Company: Working Title

Television, which is part of Universal International Studios, a division of Universal Studio Group

Representation of

DIVERSITY IN KIDS PROGRAMMING

[ Older Children ]

Beyond Black Beauty (Canada, Belgium)

Original Broadcaster: Family Channel

Distributor: Sinking Ship Entertainment

Production Company(ies): Sinking Ship

Entertainment, Leif Films & Saga Films

Dream It To Be It (Canada)

Original Broadcasters: TVO & Knowledge

Distributors: Lopii Productions & Bomanbridge Media

Production Company: Lopii Productions

Windcatcher (Australia)

Original Broadcaster: Stan Distributor: Australian Children’s

Television Foundation

Production Company(ies): Unless Pictures & Every Cloud Productions

[ Pre-School ]

JoJo & Gran Gran, It’s Time to Braid Hair (UK)

Original Broadcaster: BBC

Distributor: BBC

Production Company: BBC Studios, Kids & Family

Wordsville (Canada)

Original Broadcasters: TVOkids & PBS Thirteen Distributor: Sinking Ship Entertainment Production Company: Sinking Ship Entertainment

Yukee (Northern Ireland, UK)

Original Broadcaster: BBC

Distributor: BBC

Production Company: Score Draw Media for BBC

BEHIND THE SCENES IMPACT AWARD

Banijay Launch initiative

Banijay Entertainment for its Banijay Launch initiative: a global accelerator programme that discovers and empowers emerging female creators, pairing them with Banijay Entertainment’s global network of creatives with the aim of helping them develop bold new formats from concept to sale.

‘We need events where we can be together as women’

Guest of honour at the MIPCOM CANNES Women In Global Entertainment Power Lunch, co-hosted with presenting partner A+E Media Group, is Haitian actor, producer, TV personality and advocate Garcelle Beauvais. She spoke to the MIPCOM CANNES Preview ahead of her second visit to the city

KNOWN for a broad range of US-backed projects ranging from NYPD Blue and The Jamie Foxx Show to The Real Housewives of Beverly Hills, Garcelle Beauvais is looking forward to being back in Cannes for just the second time. “I am excited, because it celebrates the things that I love: production and women and new projects. There are so many reboots and franchises, it will be nice to see new things talked about.”

At the lunch, delegates will get the chance to hear Beauvais’s insights into how the industry has evolved since she made her first TV appearance in Miami Vice in 1984. “Things have changed quite a bit,” she told the MIPCOM CANNES Preview. “I remember being told that women in their 40s were considered done in this industry, that you’re not going to work and that this was especially true if you’re a black woman. That’s no longer true. I also think behind the scenes I’m seeing more of us, and that makes my heart really happy. It wasn’t until the movie White House Down that I saw my first female DP and I remember that I felt like it was like seeing a unicorn.”

Beauvais is living proof of the change. Among her many landmarks, she was the first black cast member to join Bravo’s The Real Housewives Of Beverly Hills. This was a move that in some

ways strikes to the heart of the decisions women have to make during their careers: “10 years ago, if you’d ask me would I ever do reality, I’d be like, no, what are you smoking? Because actors

like Beverly Hills provides a level of exposure that actually supports my other ambitions.”

Aside from adding reality TV and chat shows to her resumé, Beauvais has been working with A+E

didn’t do that. But when Beverly Hills approached me, I was traveling a lot as an actor. My twin boys were about to start middle school and I really wanted to be around more. So it really helped me be around more as a mom. And the reality now is that being in a show

Networks’ Lifetime on a slate of movies where she both stars and produces. “I have really got the bug. My family would tell you I love putting projects together and this is an extension of that. Being a producer means getting involved in hiring the director, the

DP, sorting out the locations and budget. I’ve learned so much.”

Being a producer has also allowed Beauvais to tackle issues close to her heart. Her first Lifetime project Black Girl Missing was centred on the insight that “when black and brown people go missing, we don’t get the kind of attention that we deserve. That movie really resonated with audiences and won a number of awards. What was really powerful is that, at the end of the movie, we decided to show real women who had gone missing. And two women were found as a direct result.”

The Lifetime relationship has also allowed her to have fun as a performer, she says, something that is a hallmark of her career. “Our most recent project, Tempted By Love, is a romance movie where I played a cougar. That was a fun project, but it also sends an important message about what women of a certain age go through.”

Beauvais said working with A+E and Lifetime was “a no brainer because they really support the voice and power of women, especially black women. And you know, all ethnicities need to be seen — Indian, Asian, Hispanic… it’s not just black women.”

And this sentiment extends to MIPCOM CANNES events like the Women In Global Entertainment Power Lunch. “We need events where we can be together as women and hold each other up. I’m staying on in Cannes for a few days so I can also present at the MIPCOM CANNES Diversify TV Awards. I just want to be as involved and supportive as I can.”

THE WOMEN IN GLOBAL ENTERTAINMENT POWER LUNCH WITH PRESENTING PARTNER A+E MEDIA GROUP THE MAJESTIC BARRIERE, MONDAY, OCTOBER 21, 12.00-14.00

BY INVITATION ONLY

Garcelle Beauvais

‘A very authentic moment of sisterhood’

Two events designed to serve women in the global entertainment business have become well established at MIPCOM CANNES over the years. Andy Fry spoke to two of the key people involved

ORGANISED by MIPCOM CANNES with the support of A+E Media Group, the prestigious invitation-only Women In Global Entertainment Power Lunch — which typically attracts 150-200 women — has become a key date in the calendar for both senior and emerging female leaders in the global media business. Speaking to the MIPCOM CANNES Preview, A+E Media Group executive vice-president of global content sales, Deborah Bradley, said: “It is such a great communal event. It’s all about getting women from all over the globe together, sharing ideas and really having time to connect.”

Bradley said a key strength of the Power Lunch is the diverse cross-section of executives who attend. “There are leaders from every part of the industry: women that are buying shows, selling shows, producing shows and wanting to create their own companies. And while a lot of the attendees are senior figures in the industry, there is also healthy representation among the industry’s rising stars, the women who are up-and-coming in the business.” While the event is primarily a networking opportunity, Bradley said it also acts as an empower-

Entertainment. Launched more than six years ago by médiaClub’Elles together with the MIP Markets, this popular event sees established women professionals provide tips and tools to help younger executives advance their careers.

Seated around breakfast tables, mentors are encouraged to lead and guide debates, either by drawing from personal experiences or responding to specific requests from mentees. Each mentor is free to choose and discuss the issues that have impacted her.

ing learning experience. Special guests typically share their own experiences in the industry providing insights into how they overcame obstacles. “We’ve had some amazing people in previous years, and Garcelle Beauvais is no exception,” Bradley said.

A+E Media Group has been a staunch supporter of the Power Lunch “because it aligns so closely with our company’s own culture. This company does such an amazing job of growing the next set of leaders and a big part of that is respecting diversity and inclusion… making sure that women advance into prominent, decision-making roles.”

Later in the week is another women-focused event that has built up an equally strong status within the MIPCOM CANNES ecosystem,

The International Mentoring & Networking Breakfast For Women In

President of médiaClub’Elles, Florence Sandis, said: “The breakfast is about helping women in the industry overcome some of the blocks to progress. They are already professionals, but they still face obstacles. This may be about self-confidence, or the balance between private and professional life, or how to express their level of ambition. Whatever the issue, they can connect with women from other countries facing the same challenges.”

Sandis described the breakfast as “a very authentic moment of sisterhood, which often leads to lasting relationships. Sometimes participants meet up afterwards and on occasion they even co-produce together — which makes us very happy to have been involved.”

One of the most powerful things that Sandis has learned over the years is that it is not just the mentors who add value: “The originality of this event is that the mentees are also experienced professionals and have insights and ideas to bring to the discussion.”

médiaClub’Elles’ Florence Sandis

THE INTERNATIONAL MENTORING & NETWORKING BREAKFAST FOR WOMEN IN ENTERTAINMENT

WEDNESDAY, OCTOBER 23, VERRIÈRE GRAND AUDITORIUM 08.30-10.30

Attendees gather after the 2023 Women in Entertainment International Mentoring & Networking Breakfast

Content for sale

On the following pages we highlight some of the content from around the world that is coming to MIPCOM CANNES this year

FIFTH SEASON

POLICE procedural Saint-Pierre (10 x 60 mins), set in a French territory off the coast of Newfoundland, follows Inspector Fitzpatrick, exiled there after probing a local politician’s corruption. Despite initial distrust he and Geneviève, a ex-Parisian detective, work together to solve crimes. Commissioned by Canada’s CBC, the series stars Josephine Jobert, Allan Hawco and James Purefoy. Another priority for distributor Fifth Season is Mammoth Screen and Agatha Christie Limited’s drama Towards Zero (3 x 60 mins). Set in 1936, a British tennis star, his wife, ex-wife, a lady’s companion, a valet, an exiled cousin, a family lawyer, an orphan and a French con man are at the estate of Lady Tressilian, where a murder takes place. A troubled detective must then untangle a web of jealousy, deceit and dysfunction. The cast includes Anjelica Huston, Oliver Jackson-Cohen, Ella Lily Hyland and Mimi Keene, and the commissioner is the UK’s BritBox International.

LEONINE STUDIOS

GERMANY’s Leonine Studios latest production is eco-thriller The Seed, featuring a young environmental journalist’s sudden disappearance in the stunning landscapes of northern Norway. The incident ignites a police chase with global repercussions in this tale of power, deception and the fight for food supply. Another priority title is set in the sun-soaked, crocodile-infested waters of North Queensland. Troppo, based on Candice Fox’s Crimson Lake novels featrures ex-cop Ted Conkaffey and brilliant ex-con detective Amanda Pharrell as they navigate a shadowy world of dark secrets. The second season centres on a double murder and the duo must battle rising dangers to prove a local teen’s innocence.

3DD GROUP

LONDON-based producer and distributor 3DD, now in its 30th year, is at MIPCOM CANNES with World War II: The End. Written and presented by Giles Milton, with delivery scheduled for January 2025, the two-part documentary chronicles the final months of the global conflict and is timed to commemorate the 80th anniversary of victory in Europe. Beginning with Hitler’s desperate last offensive at the Battle of the Bulge, the series follows the Allies’ advance on Nazi Germany and the collapse of Hitler’s ‘thousand-year Reich’. The series concludes with Japan’s final surrender. World War II: The End includes period footage, archival interviews and on-location filming around Europe.

Saint-Pierre (Fifth Season)

Troppo (Leonine Studios)

World War II: The End (3DD Group)

PARAMOUNT GLOBAL CONTENT DISTRIBUTION

HIGHLIGHTS for MIPCOM

CANNES from Paramount Global Content Distribution include: NCIS: Origins, which follows a young Leroy Jethro Gibbs in 1991, years prior to the events of the original NCIS series, and is narrated by Mark Harmon. In the series, Gibbs starts his career as a new special agent at the fledgling NCIS Camp Pendleton office; Matlock, starring Kathy Bates as a brilliant septuagenarian who rejoins the work force at a prestigious law firm where she uses her unassuming demeanour and wily tactics to win cases; and Poppa’s House, starring Damon Wayans and Damon Wayans Jr, about a radio talkshow host who is challenged by a new female co-presenter.

Changing the tune: Melodie’s ‘Royalty Partnership’ model unlocks music royalty revenue for television production companies.

In 2022, performing rights organisations (PROs) paid out €3.55 billion (approx. USD $4B) in royalties generated from global TV and radio broadcasts, a +11.4% increase from 2021.

PROs like (PRS, BMI and GEMA) negotiate with broadcasters and streaming platforms to clear the ‘performance’ of music on these platforms, sharing that royalty income pro rata with composers and music rights holders.

One savvy music licensing company, Melodie, is changing the way television production companies look at the music in their productions, sharing back a portion of music royalties generated from partner television shows.

“We’re transforming what was once a music licensing cost into a profit line item - unlocking new revenue from a $4B annual opportunity for prolific producers of factual and non-scripted television”, says Melodie’s Founder and Managing Director, Evan Buist, talking about their inventive royalty partnership model.

ZONE3

CANADA’s Zone3 is presenting Legends Of Likes (8 x 30 mins) at MIPCOM CANNES, a spoof reality series in which four fame-hungry youths compete to become the ultimate influencer, taking part in challenges presented by the unscrupulous host. From the unscripted genre comes Toolbox Throwdown (10 x 60 mins), a new competition reality format that sees DIY enthusiasts trying to impress the judges with their skills to avoid ‘Catastrophe House’. In the daily reality competition format Build It To Win It (40 x 30 mins), 12 couples battle it out in a two-house renovation showdown over 10 weeks. One of the couples will see their dream come true and become homeowners.

Melodie (www.melod.ie) is a techenabled music licensing solution. Combining white-glove curation with simple licensing, intuitive search and workflow tools, providing easy access to an exclusive library of fresh, highquality music from an elite roster of composers. It’s a business with purpose: paying artists fairly, and supporting a thriving creative community. In just six years, Melodie has won multiple awards and developed advanced search options, including AI-powered tools and an automatic cue sheet generator.

Melodie’s library has now been broadcast for over 20 million minutes on TV and VOD platforms worldwide, in shows like Ninja Warrior and The Amazing Race. As a result, royalty income from Melodie’s catalogue continues to grow.

Turning Music Costs into Revenue

Melodie’s royalty partnership model allows production companies to generate royalties from the music featured in their television programs, without the need for complex registrations, tracking and collection audits. Melodie partner production companies simply use Melodie music in their programs, and Melodie takes care of the administration, paying partners a portion of global royalty income each year.

Melodie’s Founder and Managing Director, Evan Buist, says, “We work closely with our partners, ensuring the Melodie library is always fit for purpose, often acquiring new music for upcoming productions. We understand that outstanding, relevant creative must always drive decision making in edit”, says Buist.

Melodie’s royalty partnership model transforms music licensing from a cost into a revenue stream, helping production companies tap into a €3.55B royalty market.

Meet Melodie at MIPCOM Cannes 21-24 October 2024, Riviera 7 - R7.B15

If you’re a television production company, book a time with Melodie to learn how you can generate music royalty income from your television programs

For inquiries: licensing@melod.ie

Legends Of Likes (Zone3)

NCIS: Origins (Paramount Global Content Distribution)

COMPETITIVE game show Man Or Mannequin? is brought to MIPCOM CANNES by Japan’s Nippon TV. The teambased show sees celebrity contestants race against time to find mannequins cleverly hidden around the city. They may be in a baby stroller in a shopping arcade or be one of a couple seemingly cozying up on a park bench. Each discovered mannequin brings the team closer to victory. But there’s a twist — there are some humans pretending to be mannequins. As the rounds progress in different locations the more cunning and witty disguises — and the difficulty — increases. In the final round, contestants enter a dimly lit room, tasked with finding a single mannequin among 10 human stand-ins.

ENCORE TELEVISION

DCD RIGHTS

COMEDIAN, author and TV host Sue Perkins travels across Europe to explore the cultural landscape of the continent in a modern version of the Grand Tour, in Sue Perkins’ Big Adventure: Paris To Istanbul (6 x 60 mins). Instead of enjoying a luxury journey Perkins opts for an immersive trip using trains, buses, cabs, boats and even two feet when necessary. The series is brought to MIPCOM CANNES by London-based DCD Rights and comes from Perpetual Entertainment for Channel 4 in the UK and ABC TV Australia.

HORROR drama Crows (6 x 45 mins) is the story of a series of gruesome murders. Gabrielle, a young rebellious investigator, newly settled in the area, must team up with Clémence, a veteran investigator on the verge of retirement, to investigate the crimes. From the factual slate for Canada’s Encore Television comes The Good Virus (1 x 52 mins), a documentary that explores phage therapy, a revolutionary treatment for life-threatening bacterial infections. As the global medical community is out of solutions for drug-resistant superbugs, scientists are turning to bacteria’s ancient enemy: bacteriophages.

Crows (Encore Television)

Sue Perkins’ Big Adventure: Paris To Istanbul (DCD Rights)

Man Or Mannequin? (Nippon TV)

3BOXMEDIA

SPANISH-German distributor 3Boxmedia is at MIPCOM CANNES with four headline titles in the nature genre. Polecat. Europe’s Relentless Hunter (1 x 52 mins/4K) reveals one of Europe’s most ferocious and least-studied carnivores. Iceland: The Awakening Of Life (1 x 50 mins/4K) explores how reindeer, seals and multitudes of birds overcome the extreme nature of the island’s inhospitable territory. The line-up is completed with Greece: The Land Of Birds Of Prey (1 x 51 mins/HD) and Harrier’s Plight (1 x 52 mins/HD). Among the social and current affairs documentaries on offer are: Revolution 3.0 (1 x 52 mins/78 mins/HD), highlighting the impact of social media on the protests in Iran; and the French production In The Shade Of The Hills’ (1 x 52 mins/83 mins/ HD), about the efforts of a group of young people to prevent Rwanda becoming fertile ground for a new genocide.

Polecat. Europe’s Relentless Hunter (3Boxmedia)

BBC STUDIOS

SCRIPTED titles from BBC Studios include: Outrageous (6 x 50 mins), about six aristocratic sisters who refuse to play by the rules, set against the gathering storm clouds of the 1930s and masked by the decadence and frivolity of British high society; Death Valley (6 x 45 mins), following the unlikely crime-solving partnership between an eccentric retired actor and a Welsh detective sergeant; legal drama The Split: Barcelona (2 x 60 mins); emotional thriller Reunion (4 x 60 mins); and the homecoming story of an Australian detective, Return To Paradise. Nature-skewed titles include: Big Cats 24/7 (6 x 60 mins) and Expedition Killer Whale (1 x 60 mins). Factual entertainment shows include Paddy And Chris: Road Tripping, focusing on how Europeans grow old gracefully, and Amazing Hotels: Life Beyond The Lobby. From the format slate comes Silence Is Golden (6 x 45 mins), Koso Koso and The Answer Run (25 x 45 mins).

ZED

AT MIPCOM CANNES Zed highlights premium history titles to commemorate the 80th anniversary of the end of WWII. The Sound And The Fury (4 x 52 mins), due in early 2025, aims to capture the full impact of the destructive global conflict, featuring exceptional archives and animation, produced by Program33 for primetime broadcast on France 2. Auschwitz, Voices Of Survivors (5 x 45 mins) is a poignant testimony through the words of 46 Jewish survivors, produced by Kuiv Productions and INA for FTV, Česká Televize, Canal+ Polska and TV5 Monde. The Nazis’ Cut And Run (1 x 52 mins) is an investigation into the Catholic Church’s secret network that helped Nazis flee Europe after WWII, produced by Muse Médias and La Compagnie des Taxi-Brousse for FTV, with delivery scheduled for November 2025.

Death Valley (BBC Studios)

The Sound And The Fury (Zed)

TERRANOA

PARIS-based Terranoa brings a slate of new content to MIPCOM CANNES. Decoding Animal Culture (4 x 52 mins) and Straits – Between Land And Sea (4 x 52 mins) travel the world in search of fascinating new animal behaviour and cultural diversity, offering glimpses of biodiversity and pristine vistas. Both the high-end series are ready in November. Journey Into The Clouds (4 x 52 mins) travels from Chile, Japan and South Africa to Australia in search of four peculiar clouds and their secret dynamics. The first episodes are available in December, with final delivery scheduled for May 2025. Fathertime (1 x 52 mins), due in February 2025, highlights the latest science concerning gender fluidity and its positive impact on males. It is an ARTE, CBC and NHK coproduction, in collaboration with SVT, with more partners to come. Also due in early 2025 is Lost City Of Sanxingdui (1 x 52 mins), co-produced by France 5 and CCTV, which showcases a 3,000-year-old treasure which revolutionises the understanding of China’s early history.

SEVEN.ONE STUDIOS

SEVEN.ONE Studios International (formerly Red Arrow Studios International) is heading to MIPCOM CANNES with a slate of content across scripted, formats and factual, including the new format Love Costs — produced by Minoria Absoluta and Televisió de Catalunya-CCMA for 3Cat and TV3 (Spain). In the dating game show, true love and cunning deceit collide as, in each episode, one hopeful seeks love among four suitors — and while two genuinely seek romance, the others are after a cash prize. Also launching at MIPCOM CANNES is the feature documentary If Pigs Could Talk (1 x 60 mins/75 mins), produced by Snowman Productions for ARD/NDR (Germany), DR (Denmark), RTS (Switzerland), NRK (Norway) and SVT (Sweden). The show unlocks the language of pigs using cutting-edge AI technology, to explore the ethics of pig farming.

SPHERE ABACUS

NHK ENTERPRISES

A BRAND-new drama from Japan’s NHK showcasing at MIPCOM CANNES is The Great Passage (10 x 49 mins), based on Miura Shion’s novel. Kishibe Midori, an editor at a popular fashion magazine, is abruptly informed that the magazine is folding and that she’s being transferred to the Dictionary Department. Midori’s life is turned upside down when she joins the department which is run by the earnest Majime Mitsuya and his idiosyncratic team. Inspired by how her new colleagues are committed to their more than a decade-long endeavour to edit one dictionary, Midori begins to discover the fantastic world of words.

HUACE GROUP

BILLY And Dom Eat The World (8 x 60 mins), from Dash Pictures, is brought to MIPCOM CANNES by Sphere Abacus. Best friends Billy Boyd and Dominic Monaghan, famed for portraying hobbits in The Lord Of The Rings trilogy, travel the world to gain new insights into the culinary cultures of different countries. Locations include London, Scotland, California, Texas, Japan and Switzerland, and in each episode the two actors explore the way food is cultivated, cooked and served in each country for a deeper understanding of how and why each place developed its unique cuisine. But to earn their meal Billy and Dom are put to work — from cattle herding in the countryside to running the market stalls in a vibrant city. In true hobbit style Billy and Dom wander on foot, searching the hidden side of cities, hunting down their next adventure, taking recommendations and changing plans as they follow their quest.

CHINA’s Huace Group headlines its MIPCOM CANNES slate with two of its latest drama series. Snowy Night: Timeless Love follows the story of a rebellious swordsman who, when seeking medicine for a friend’s son, met a master herbalist. Over a period of eight years the two gradually deepen their affection and understanding. However, due to their respective responsibilities, they are unable to properly express their love to each other. In Bank On Me, the deputy director of a bank’s credit approval department, is relegated to the bottom branch of the office, with his colleague and best friend — because of their unwillingness to allow what he thought were problematic loans. He then sets up a team to challenge the system while striving to maintain the rules of the banking industry.

Snowy Night: Timeless Love (Huace Group)

Billy And Dom Eat The World (Sphere Abacus)

Decoding Animal Culture (Terranoa)

The Great Passage (NHK)Studios)

If Pigs Could Talk (Seven.One Studios)

STUDIOCANAL

A NEW drama for StudioCanal is A Better Place (8 x 45 mins), a German-language series featuring a progressive mayor of the city of Rheinstadt, who drives an ambitious rehabilitation programme which sees the closure of the correctional facility and reintegration of its prisoners into society. Pressure builds as the launch date approaches and when the convicts are released, they immediately face prejudice and rejection, and run into conflict with those who hope to see the project fail. While the scientists and social workers are trying to make this risky programme a success, victims and their families are torn between forgiveness and justice. Could this be a fresh start for society — or will the city descend into complete anarchy?

POORHOUSE INTERNATIONAL

WHEN British director Peter Brook’s iconic masterpiece The Mahabharata was first seen on television at the beginning of the 1990s, it was hailed as ‘the television event of the decade’, and broadcast in virtually every country from the US (on PBS) to Japan (on NHK). Peter Brook passed away in 2022, but his son Simon secured funding for remastering the film (1 x 170 mins) and the television series (6 x 55 mins) to 8K, 4K, UHD and HD. Poorhouse International has been appointed exclusive distributor worldwide and is bringing the stunningly restored Mahabharata to MIPCOM CANNES for another generation of television audiences, in time to celebrate Brook’s 100th birthday next year. This great Indian saga speaks of urgent matters, of war and peace, and the spiritual progress of the soul, intertwining episodes of love, magic and comedy into its main story.

HG DISTRIBUTION

CANADIAN distributor HG Distribution brings to MIPCOM CANNES: King Khat (1 x 74 mins), about Gabi who is a combination of mad genius, drug baron and junkie. With a Ph.D. in biotechnology and a kind of scientific enlightenment, he embarks on a journey that takes him from the world of high-tech and academia to the development and distribution of new amphetamines; Cousu (7 x 48 mins), featuring Karine Vanasse as she meets fashion designers from countries around the world, including in Argentina, Italy, Denmark, Belgium, Morocco, Germany and Senegal; three seasons of Little Big Community (totalling 35 x 30 mins) — with season three available early 2025 — featuring positive stories from Indigenous people across North America; and Her Ultra (1 x 98 mins), a life-affirming documentary that follows eight adventurous women from various parts of the world who joined coach Hannah Walsh to train for a 250-km/155-mile ultramarathon, above the Arctic Circle in Lapland, Finland.

WOODCUT INTERNATIONAL

UK DISTRIBUTOR Woodcut International presents a new documentary series to buyers at MIPCOM CANNES. Commissioned by A+E Networks EMEA and produced by Woodcut Media, Faces Of Evil (6 x 45 MINS) revisits the flawed investigations into some of the most notorious killers in the US and UK. These include the so-called Death House Landlady Dorothea Puente, who managed to fool everyone into thinking she was harmless for over a decade, before she was arraigned on nine counts of murder in California, and the Kansas City Butcher, Robert Berdella Jr, who kidnapped, raped and murdered at least six young men in the 1980s, before the law finally caught up with him. The series explores the missteps and flawed procedures, which resulted in these killers evading conviction for so long, and the persistence of those who brought them to justice. Woodcut International is handling worldwide sales.

A PRIORITY for Korea’s Something Special at MIPCOM CANNES is Unforgettable Duet (8 x 80 mins), which is also available as a format. Unforgettable Duet is a heartfelt unscripted series focusing on the power of music, family and memories. The original series recently premiered on MBN in Korea in primetime. The show follows a dementia patient whose family gathers mementos and chooses some favourite music to help them recall the past. Together, they ride on a Memory Bus filled with these deeply personal mementos, revealing long forgotten life moments for each of the participants in a moving and heal-

A Better Place (StudioCanal)

Unforgettable Duet (Something Special)

Faces Of Evil (Woodcut International)

The Mahabharata (Poorhouse International)

Cousu (HG Distribution)

DARO FILM DISTRIBUTION

TWO NEW action titles are brought to MIPCOM CANNES by Daro Film Distribution. First up is the explosive movie Diablo, starring Scott Adkins and Marko Zaror. Shot on location in Colombia, it tells the story of a man on a perilous mission to fulfil an old promise by kidnapping the daughter of a dangerous gangster. Daro holds rights for Europe, CIS & Baltics, Australia, New Zealand, Japan and Africa. The Monaco-based company is also launching A Breed Apart, an action-adventure starring Virginia Gardner, Grace Caroline Currey and Hayden Panettiere. The film follows a group of social-media influencers who are forced into a desperate fight for survival against a horde of savage dogs. Daro represents worldwide rights excluding North America.

GWR STUDIOS

GWR Studios is relaunching kids show Officially Amazing (49 x 28 mins). Acquired by ABC Australia, this newly edited series follows Ben Shires on his mission to reveal the scariest and funniest record attempts from around the world. Also highlighted at MIPCOM CANNES is Best In The World (40 x 15 mins), a kids clip show featuring the wackiest record breakers. Comedian Nick Frost provides commentary as the audience is invited to get involved in segments, including: guess the winner; predict what happens next; and take on a record-breaking challenge at home. Suitable for all the family, The One Thing (26 x 15 mins) sees Guinness World Records presenters go behind the scenes to learn new skills and find out how record holders develop their talents.

KESHET INTERNATIONAL (KI)

ACUNMEDYA

TURKEY’s Acunmedya brings a reality competition to MIPCOM CANNES. Exatlon is a show that combines adventure and reality elements to explore the spirit of competition. The teams are required to live together and share their social life at Exatlon camps while taking part in daily physical challenges. The aim for contestants is not only the weekly victory of their team but also their individual prowess. Every week one person leaves the game and at the end of the season the Exatlon Women’s and Men’s Champions are crowned.

THE MOST recent scripted series acquired by KI is Save The Date (6 x 60 mins) — also available as a format — a romantic comedy for Keshet 12. When successful wedding planner Dassy finds herself single, her grandmother casts a spell to summon up her one true love, but it goes spectacularly wrong and Dassy is propositioned by four potential suitors from her past and present. KI is also launching two dramas that were included in the 2024 MIP Drama Showcase in April this year: Valhalla Project features English, Finnish and Russian dialogue and follows a climate researcher who travels to Finnish Lapland to seek access to a parallel universe with the hopes of finding solutions to the climate crisis — a parallel universe researched by her Russian scientist father, who disappeared over 30 years ago. In The 11th Body (7 x 60 mins), police detective Iris Abramov suspects foul play when an additional corpse appears in the lab of a medical school in the port of Haifa, plunging her into a deadly web of gang warfare, betrayal, and buried family secrets. Other drama titles include: Rough Diamonds, Echo 3, Too Much Love and Conflict.

FRENCH distributor Only Distrib is at MIPCOM CANNES with a slate of new content. True-crime series Left To Their Own (5 x 26 mins) investigates the disappearance of children in the 1980s in the Azores. They were allegedly sold to American couples who worked at the Lajes military base. Nearly 40 years later, some of these children were found in the US and are shedding light on the story with their testimonies. Eating: The Power To Save The Ocean (1 x 90 mins/52 mins) aims to show, with the help of scientists, politicians and farmers, that it is not too late to save the ocean and its inhabitants if we change the way we consume and produce food. World In Sight (8 x 26 mins) is a series that encounters people living in remote places and explores ancient traditions.

World In Sight (Only Distrib)

Save The Date (Keshet International)

Diablo (Daro Film Distribution)

Exatlon (Acunmedya)

Officially Amazing (GWR Studios)

ORF-ENTERPRISE

AT MIPCOM CANNES, Vienna-based ORF-Enterprise showcases a range of new content along with returning favourites. The Curious Cases of Gerti B. (6 × 45 mins) introduces a detective who investigates a murder in her neighbourhood alongside her younger boss, bringing her closer to her neighbours than she would like. Mini-series Me And The Others (6 × 40 mins) explores the relationship between the self and the environment, resulting in a tragicomic satire with an ensemble cast and sharp dialogue. School Of Champions (16 × 45 mins) and Fast Forward (78 × 45 mins) each returns with new seasons, presenting new challenges for the students at Austria’s elite ski academy and Angelika’s quest for peace in her life, despite running a detective agency.

ABOUT PREMIUM CONTENT (APC)

APC STUDIOS’ boutique distributor APC is launching three new scripted series at MIPCOM CANNES. In Finnish-language Icebreaker (6 x 45 mins) — which won MIPDRAMA 2024’s Coup de Cœur Award — an icebreaker ship is stranded in a storm. A rescue team, led by Sanna and her colleague finds survivors — and a frozen body tied to an air vent. After losing her colleague to the icy waters, Sanna tries to find out what happened, but everyone on the ship is hiding something. Boglands (6 x 45 mins) is an Irish-language crime drama set in an isolated village where a murder investigation begins when a police officer’s missing mother is discovered buried after 15 years. Historical drama The Council (5 x 50 mins) is a tragic war story of a father and daughter during the Nazi occupation of the Netherlands, each trying to do the right thing and, in the process, becoming increasingly opposed to one another.

FILMRISE

NEW-YORK-based FilmRise, a film and television studio and operator of FAST channels and ad-supported streaming apps, brings a range of content to MIPCOM CANNES, including: Z Nation (69 x 60 mins), which follows a group who escort the only known survivor of a zombie bite across the US; Hot Ones (225 x 30 mins), a virally popular series in which Sean Evans interviews celebrities as they sample increasingly intense hot wings; Highway To Heaven (11 x 60 mins), a family drama about a probationary angel who teams up with an ex-cop to help people in need; Forensic Files II (46 x 30 mins), the true-crime franchise where interviews with experts help solve real crimes — also available is a version of the series in Castilian Spanish; Untold Stories Of The ER Fast Channel (120 hours), featuring stories of emergency-room cases alongside dramatic re-enactments; and more that 350 hours of programming on the FilmRise True Crime UK FAST channel.

FILM.UA DISTRIBUTION

FILM.UA Distribution unveils My Dear Mother, a chilling six-part psychological Nordic-noir drama series, at MIPCOM CANNES. My Dear Mother tells the story of Alina, a woman trapped in a living nightmare where she is accused of murdering her mother. The narrative probes the unsettling complexities of victimhood and manipulation, challenging viewers to explore the possibilities of truth and deception. The project is a collaborative effort between Estonia’s Elisa and Zolba Productions, and Ukrainian media group Film.UA. Film.UA Distribution oversees global distribution.

MUNHWA BROADCASTING CORP (MBC)

KOREA’s MBC returns to MIPCOM CANNES with a music show that features some of the country’s most beloved and chart-topping songs. Song Stealer is a studio-based show that invites performers to take to the stage and interpret another singer’s song, in an opportunity to rediscover the charm of the originals, but from a new voice.

THE TELEVISION SYNDICATION COMPANY (TVS)

TVS MARKS its 35th anniversary with a fresh line-up including: The Royal Tour (6 x 60 mins), featuring exclusive access to countries guided by their heads of states; The 77 –A City Of Neighborhoods (5 x 30 mins), looking at five Chicago neighbourhoods through food and history; Military Sites (6 x 60 mins), exploring locations where World War II combat films were shot; travel series Authentic Escapes (6 x 30 mins); and The History Of The Most Violent Neighborhoods In Chicago (5 x 30 mins), featuring eight once-peaceful areas and examining the factors that brought on cultural decay.

The Royal Tour (TVS)

Icebreaker (APC)

My Dear Mother (Film.UA Distribution)

The Curious Cases Of Gerti B. (ORF-Enterprise)

ALL3MEDIA INTERNATIONAL (A3MI)

A3MI brings a varied roster to MIPCOM CANNES, including: Joan (6 x 60 mins), set in the aspirational world of 1980s London, inspired by the life of one of the UK’s most notorious jewel thieves and starring Sohpie Turner; The Anonymous, a 60-minute format from Studio Lambert, recently launched in the US, that sees the players who are living together complete challenges and form alliances face-to-face, though at key moments, they can communicate with each other anonymously; and The Body Next Door (3 x 60 mins), which delves into a bizarre and shocking true-crime story from 2015 which took place in a sleepy former mining village in the Welsh Valleys.

DAEHAN MEDIAWORLD

NEW PROGRAMMING from Korea’s Daehan Mediaworld includes How Architecture Is About (8 x 52 mins), an exploration to understand the ways we inhabit buildings and move through space, looking at the role that architecture plays in today’s society. The show also suggests innovative ways to stimulate the built environment. Tasty Born (4 x 52 mins) looks at some of the unique recipes in famous Korean cities. Thanks to the abundant produce from mountains, fields and the sea there is a huge range of dishes on offer, reflecting the culinary heritage and pride in the gastronomic identities of different areas.

PASSION DISTRIBUTION

MEDIAWAN RIGHTS

FACTUAL titles from France’s Mediawan include: The Last Code-Breaker (4 x 40 mins), about a young Parisian engineer who fifty years after the Zodiac killer’s disappearance, attempts to crack the last two codes that could reveal the Zodiac’s identity; An American Pastoral (1 x 52 mins), about the conflict in education that mirrors the deep divide in US politics; and Looking For Simone (1 x 52 mins), which examines the ongoing relevance of de Beauvoir’s novel Le Deuxième Sexe. Drama titles include: Tom And Lola (12 x 52 mins), about old friends and cops who, when Tom’s marriage crumbles, share a home, upsetting family dynamics; Deep (10 x 26 mins), set in 1941 when General de Gaulle sends a suicide mission to steal a German submarine; and Constantine’s Crossing (10 x 52 mins), a story set in 1944 featuring a Nazi occultist and a Yugoslav officer who is a secret vampire.

SIDEWAYS FILM

THE NEW slate from the UK’s Passion Distribution is headlined by Virgin Island (6 x 60 mins), produced by Double Act for Channel 4. The social experiment follows 12 individuals who struggle with intimacy anxiety as they undergo a programme designed by world-renowned sexologists, set against the backdrop of a luxurious island retreat. Passion is also launching documentary series Monsters Of The Deep (2 x 60 mins), hosted by explorer and wildlife presenter Steve Backshall, which explores the ocean’s depths. Additional highlights include the inspiring series Love My Face (4 x 60 mins), a fresh take on true crime with The Incident Room (6 x 60 mins) and documentary The Great Kim Kardashian Robbery (1 x 60 mins).

BARCELONA-based Sideways Film presents Fortitude: Forging The Trillion Dollar Space Economy (1 x 52 mins/90 mins) at MIPCOM CANNES. Sparked by humanity’s thirst for exploration and recent technological breakthroughs, this documentary investigates the new space renaissance. Another priority is Aquarius: Dreamers, Tree-Huggers And Radical Ratbags (1 x 52 mins/80 mins), the story of a 10-day festival in 1973 held in Nimbin in Australia, where the participants face down police interference, internal chaos, drugs and personal drama in order to imagine a blueprint for survival. Further titles on offer include Bull Run (1 x 56 mins/80 mins), following one woman’s obsession with Crypto trading, and The Caravan (1 x 52 mins/76 mins), following a family from Honduras to the US.

Fortitude: Forging The Trillion Dollar Space Economy (Sideways Film)

Love My Face (Passion Distribution)

Joan (A3MI)

How Architecture Is About (Daehan Mediaworld)

TVP

HEADLINE titles for TVP (Polish Public Television) at MIPCOM CANNES include: romantic period drama Uncertainty (1 x 113 mins), which tells the story of the youthful love of the greatest Polish poet Adam Mickiewicz; Go Against The Flow (1 x 97 mins), a biographical tale of the early days of Polish punk music, marked by the struggle against the communist system; and God’s Little Republic (1 x 132 mins), depicting the adventures of the residents of an idyllic village in contemporary Poland. Other new TVP series include spy thriller Shadow Play (13 x 45 mins), set in Stalinist Poland in the 1950s; The Kings (80 x 25 mins), profiling two monarchs from the medieval Jagiellonian dynasty; and Imperfect Time (8 x 45 mins), a multi-generational saga that pays tribute to the female heroes who contributed to the Solidarity movement.

BETA FILM

RISE Of The Raven is a 10-episode drama about 15th-century army commander János Hunyadi, who reshaped the course of European history. Another priority for Germany’s Beta Film is the UK’s Channel 4 drama Patience (6 x 60 mins), which brings together Detective Bea and young autistic police archivist Patience. Popular characters Maite and Tomás reunite to solve kidnappings and murders in the third and last season of Rapa, and in a fourth season of the royal drama Sisi (24 x 60 mins) dark family secrets are revealed. A Better Man (4 x 60 mins) follows internet troll Tom, as he maneuvers through his new life disguised as a woman after hackers expose his identity.

IFORMATS

AT MIPCOM CANNES Chinese format specialist iFormats presents Go For It, a music competition that sees bands and musicians compete with performances and challenges, some public and ticketed; reality series Become A Farmer; Blades Of The Guardians, about a bodyguard who travels through the desert of the Western Regions while evading the Imperial court; fantasy drama The Heart Of Genius; Regeneration, a mysterious story featuring a group of strangers who travel to an island for a memorial to find that the subject is still; and The Long Season, where the discovery of remains in a small town upturns the lives of the Wang family.

RAINMAKER CONTENT

THE REAL Frontline (5 x 60 mins) is brought to MIPCOM CANNES by Rainmaker Content. The documentary series tells the real stories of people touched by the war in Ukraine. The series features Ukrainian volunteer soldiers, civilians, civilian rescuers, foreign fighters and people giving aid to others. Almost all the video in the series is filmed by the people themselves using their mobile phones and traced by the producers through social media, giving this series the ultimate authenticity.

NEW DOCS

AK ENTERTAINMENT

SEOUL, Korea-based AK Entertainment is at MIPCOM CANNES to present travel show In To The World. Presenter Tae Won-jun travels across the world visiting many contrasting countries to sample the enormous variety of different kinds of traditional foods on offer.

AMONG the highlights brought to MIPCOM CANNES by Cologne, Germany-based New Docs is UNESCO World Heritage –Treasures For Eternity (8 x 52 mins), produced by telekult Film- und Medienproduktion for MDR/ARTE. Each episode features a different site — from the south of Spain through Central and Western Europe all the way up to Estonia. The current affairs documentary The New Role Of The Philippines (1 x 52 mins, DOCDAYS Productions in co-production with ZDF/ARTE) investigates the political tensions in the South China Sea. Orcas On The Attack (1 x 52 mins, produced by k22 for ZDF/ARTE) is a scientific investigation into the unusual behaviour of killer whales in the Strait of Gibraltar, exploring why a subgroup of Atlantic orcas has been attacking sailing boats.

(iFormats)

The Real Frontline (Rainmaker Content)

Uncertainty (TVP)

In To The World (AK Entertainment)

UNESCO World Heritage –Treasures For Eternity (New Docs)

Rise Of The Raven (Beta Film)

THE MEDIAPRO STUDIO DISTRIBUTION

BARCELONA-headquartered Mediapro is highlighting a variety of shows in Cannes, including: thriller The Head, with the third season set in the Sahara; Celeste, about a tax inspector who has to prove that a huge Latin star lives in Spain and has to pay her taxes; family quiz show Crush, in which teams compete with a celebrity to avoid being ‘crushed’ by a huge safe suspended above them; drama/comedy Consuelo, set in the 1950s; Quiet, an eight-episode murder thriller set in 2020 when the streets are empty; and Witness 36, a spy-thriller series about a female writer who creates fictional identities for a witness protection programme, who becomes entangled with a mysterious man.

ELECTRIC ENTERTAINMENT

FEDERATION STUDIOS

PARIS-based production and distribution group Federation Studios comes to MIPCOM CANNES with a line-up that features several premium English- and French-language series. Sherlock And Daughter is a fresh portrayal of the famous detective, starring David Thewlis; Curfew (6 x 52 mins) is a glossy, aspirational and provocative thriller for Paramount+; and Miss Austen (4 x 60 mins) is a period drama for BBC and Masterpiece PBS. More exclusive content is set to be unveiled in Cannes.

ELECTRIC Entertainment returns to MIPCOM CANNES with new and returning seasons of drama series, including: two seasons of The Librarians: The Next Chapter (24 x 60 mins), a spinoff of the original hit series, which centres on a ‘Librarian’ stuck in the present who inadvertently releases magic; three seasons of Leverage: Redemption (1 & 2–29 x 60 mins, 3–10 x 60 mins/post production), which sees the team confront a power broker, a Mayor, a pool hustler and an industrialist exploiting child labor; two seasons of The Ark, in which the remaining spacecraft crew members fight to survive after a catastrophic event; and two seasons of Almost Paradise (20 x 60 mins).

RTE PROGRAMME SALES

NARRATED by actor Jessie Buckley, The Cable That Changed The World explores the story of the first transatlantic communications cable traversing the ocean floor 165 years ago, from Co. Kerry in Ireland to Newfoundland, Canada. The quest is driven by pioneers including: Cyrus Field, a wealthy businessman; Samuel Morse, inventor of the telegraph and Morse code; Isambard Kingdom Brunel, the British engineer; and Belfast physicist Lord Kelvin. This documentary from Ireland’s RTE Programme Sales showcases innovative graphics, historical reconstructions and rarely seen archive footage.

OFF THE FENCE (OTF)

HIGHLIGHTS from the slate of Amsterdam, Netherlands-based Off the Fence includes We Are Guardians (1 x 90 mins), which journeys into the heart of the Brazilian Amazon and the fight to protect it. Directed by Indigenous activist and filmmaker Edivan Guajajara and Southern Oregon local environmental filmmakers Chelsea Greene and Rob Grobman, and executive produced by actor Leonardo DiCaprio, the film is a story of hope and resilience amidst an unfolding crisis. OTF is also launching The Amazon Review Killer, a twopart series following the real-life shocking crimes of Todd Kohlhepp, who left reviews for Amazon products which eerily foreshadowed his actions.

HAT TRICK INTERNATIONAL

THE QUEST for longer life is explored in Do You Want To Live Forever? (4 x 60 mins), produced by Lune Media and brought to MIPCOM CANNES by the UK’s Hat Trick International. The series considers whether we can live younger for longer, beat diseases and push the boundaries of human longevity much further than we have so far, and if we could, do we really want to? Science and technology are catching up with this dream and no expense is being spared. Hosts Tracy Grimshaw and Dr Nick Coatsworth look at the advances in medicine and science, looking at why we die; how science can help wind back biological clocks; how we may one day be able to cure previously incurable diseases; and what living forever might look like.

Curfew (Federation Studios)

Do You Want To Live Forever? (Hat Trick International)

The Cable That Changed The World (RTE Programme Sales)

Quiet (The Mediapro Studio Distribution)

We Are Guardians (Off the Fence)

Leverage: Redemption (Electric Entertainment)

LINEUP INDUSTRIES

NETHERLANDS distributor Lineup Industries is showcasing Mommy Knows Best at MIPCOM CANNES. The format initially started as a YouTube series and evolved into a popular segment in Belgium’s most watched magazine series Iedereen Beroemd (Everybody’s Famous) on VRT, before being developed into a long-form TV format by VRT’s digital team and Lineup Industries, which is selling the format internationally. In Mommy Knows Best, singletons go on dates with three suitors, in the company of their respective mothers, who try to find the best match. During the date the singles do not speak, but can ask a question by writing it, and their mothers bring along items that best represent or define them. A Spanish remake has been produced for Atresmedia by Thinketers, titled Si Lo Dice Mi Madre.

FILMAX

BARCELONA-based studio Filmax returns to MIPCOM CANNES with a slate of new content, including the new season of Dating In Barcelona (12 x 50 mins) a romantic comedy produced by Filmax for 3CAT (the Catalan public network) and Amazon Prime Spain. Filmax will be presenting six new episodes in Cannes. Another priority is Matador (1 x 95 mins), a documentary about Ilia Topuria, the Georgian/Spanish UFC worldwide champion. Matador is a SR Mono production for MovistarPlus+.

YES STUDIOS

AMUZ DISTRIBUTION

TWO SEASONS of Marco, My Dream Life are brought to MIPCOM CANNES by Quebec-based Amuz Distribution. The dramedy follows optimistic Marco as he reconnects with his passion for music and his former rockstar dreams. In the second series Marco balances reviving his music career and reuniting with his long-lost father. Another offer from the Canadian distributor is three seasons of sketch show Abroad (30 x 26 mins), which blends humour, culture, unexpected adventures and unforgettable moments while showcasing Filipino comedians in Canada.

BLUE ANT STUDIOS

CONTINUING its drive into premium factual content, yes Studios is launching the documentary series The Lost City – 101 Days In The Jungle (3 x 35 mins) at MIPCOM CANNES. In 2003, four young Israelis took a trip to South America and with four other travellers they met along the way, they decided to trek to the ‘The Lost City’ in Colombia. Within 48 hours, they were kidnapped by a guerrilla organisation that held them for three-and-a-half months. After 20 years they meet, for the first time, the leader of the organisation that kidnapped them to try and get answers to the questions that have been bothering them all these years. Will this meeting change everything they thought about the event that shook their lives? The series tells the chilling account of their survival using material filmed in real time, personal diaries written in captivity and conversations with the protagonists. The series is produced by Ananey Studios for yes Docu.

PRODUCER and distributor Blue Ant Studios brings Northwoods Survival (8 x 60 mins) — a Blue Ant Studios production — to MIPCOM CANNES. It follows a diverse group of young Canadians as they embark on a challenging four-season mission: to build a life in the vast and unforgiving Canadian wilderness. The series takes in some of the country’s most remote and rugged landscapes as these aspiring homesteaders face the harsh realities of living off the land, building shelter and foraging for food and water. The Toronto-based company also brings Pride Rules (5 x 60 mins), which reveals with stunning cinematography how lion prides survive and thrive in the Chobe region of Botswana.

Northwoods Survival (Blue Ant Studios)

The Lost City – 101 Days In The Jungle (yes Studios)

Mommy Knows Best (Lineup Industries)

Marco, My Dream Life (Amuz Distribution)

Dating In Barcelona (Filmax)

ZDF STUDIOS

FATEFUL Planet (5 × 50 mins) tops the factual slate for Germany’s ZDF Studios, the history of existential crises on Earth and the creation of its unique habitat. Further titles include: Welcome To The Forest (3 × 50 mins), about the evergreen woodlands in Germany; Unearthed – The Mystery Of The Shaman Woman (1 × 50 mins), about a powerful woman, buried with a baby 9,000 years ago; gardening challenge show Hack My Yard (120 × 45 mins); A Journey Through Thousands Of Years (2 × 60 mins); The Santorini Code (1 × 50 mins); and Tepui – Into The House Of Gods (1 × 50 mins). Scripted shows include: crime dramas Weiss & Morales (4 x 90 mins), Love Sucks (8 x 30 mins) and The Puzzle Lady (6 x 60 mins); family saga The Zweiflers (6 × 45 mins); romance Top End Bub (8 x 30 mins); and Concordia (6 × 45 mins), set in a town of the future.

BOAT ROCKER

PRODUCER and distributor Boat Rocker is highlighting Meeting Zelenskyy (1 x 90 mins) at MIPCOM CANNES. The ex-entertainment star and businessman, Volodymyr Zelenskyy, turned to politics at a time when corruption and economic struggle were rife. Following a landslide election he became President, and soon after that the Russian threat exploded into a full-scale invasion. This in-depth interview with actor-filmmaker Liev Schreiber shines new light onto one of the most extraordinary characters of our age. Another priority title is scripted series Mix Tape (8 x 30 mins), a romance that begins in Sheffield in 1989, and then when the couple reconnect 20 years later, from opposite sides of the world, they begin to send each other songs.

ITV STUDIOS

HEADING the drama list for the UK’s ITV Studios is The Crow Girl (6 x 60 mins), a psychological crime thriller set in a dangerous world of fight clubs, murder and historical abuse. From the non-scripted slate comes Made In Korea: The K-Pop Experience (6 x 60 mins), featuring five boys from the UK who are put through the K-pop talent process in Seoul, where cameras go behind closed doors at powerhouse SM Entertainment. The company also brings format Shark! Celebrity Infested Waters (6 x 60 mins), in which ocean-phobic celebrities come face-to-face with nature’s most terrifying underwater predators, facing increasingly nerve-testing challenges.

A+E NETWORKS

HOLY Marvels With Dennis Quaid (8 x 60 mins) explores faith through sacred objects, including the Mayan Calendar, Noah’s Ark and The Fountain of Youth. The Great War (2 x 120 mins) is the story of how the US built its army and transformed military technology to aid Allied victory in World War I — and how the stage for a new world order was set. A+E Networks also highlights the drama movie Terry McMillan Presents: Tempted By Love (1 x 120 mins), which follows Ava, a world-renowned chef living in Europe who rushes home to care for her elderly aunt after she has a fall. Picked up by Luke, a handsome driver 20-years her junior, the pair feel an unexpected, yet passionate, connection.

GRB MEDIA RANCH

US DISTRIBUTOR GRB Media Ranch returns to MIPCOM CANNES with new reality title Playground (9 x 60 mins). Playground is a premier studio for professional dancers in LA. Classes are taught by highly sought-after choreographers and auditions held by top music artists — including Megan Thee Stallion — attract the most ambitious dancers. Romance, friendships and tenacity are tested in the drama of the studio as the next hot dancer could be around the corner, trying to beat the pros for their shot at the spotlight.

The Crow Girl (ITV Studios)

Playground (GRB Media Ranch)

Meeting Zelenskyy (Boat Rocker)

Terry McMillan Presents: Tempted By Love (A+E Networks)

Fateful Planet (ZDF Studios)

ALBATROSS WORLD SALES

ALBATROSS World Sales’ line-up of new programming includes nature, technology and the fight against environmental crime. Beaches Of Europe (6 x 52 mins) reveals the geological and biological histories of six unique coastlines and showcases those who protect them. In Norway – A Call From The Wild (1 x 52 mins/81 mins), filmmaker Asgeir Helgestad offers a stunning, personal portrait of Norway’s threatened landscapes, from buzzing bees to majestic reindeer, while underscoring the impact of human actions. The German distributor also brings Wild Tech – Conservation Through Advanced Technology (1 x 52 mins), delving into the role of high-tech solutions in species conservation; and Eco Crimes (3 x 52 mins), investigating environmental exploitation, illegal fishing, poaching and climate-harming crimes.

KO DISTRIBUTION

MONTREAL-based KO Distribution, the distribution arm of Canada’s KOTV, brings new drama series Watch Over Me (6 x 60 mins) to MIPCOM CANNES. The series follows a grandmother who cares for her grandson after her daughter disappeared with her toxic partner. Three years later the daughter returns, sober and separated from her ex, determined to take care of her son, with far-reaching consequences. Other highlights include sports documentary 300 Hoops (6 x 60 mins), about Dynastie, a basketball team made up of Quebecois, French and African teenagers; and Playing Both Sides (12 x 30 mins), a police procedural comedy.

ORANGE SMARTY

THE GLUCOSE Goddess (2 x 60 mins/working title) is brought to MIPCOM CANNES by the UK’s Orange Smarty. Jessie Inchauspe is a qualified biochemist with four million followers on Instagram, who wants to kickstart a revolution, starting with glucose. Jessie works with members of the public who have serious health issues related to their poor diet and uses the latest science and her own unique diet hacks to transform not just what they eat — but how and when they eat it. Another priority is Europe’s Greatest Gardens (4 x 60 mins), profiling Germany’s Mainau, with its island of flowers and famous flower sculptures, to Leiden Botanic Garden in The Netherlands with its revolutionary gardening technology and Parque de Monserrate in the heart of Portugal with its 1,000-year-old watering system.

LOOKS FILM

GERMANY’s Looks Film is prioritising two titles at MIPCOM CANNES. A World Divided is a six-episode historical series, seamlessly integrating never-before-seen archival footage with drama. From Germany, Israel and France, to the US and Russia, the series follows the dreams and struggles of six different men and women whose destinies touch the nexus of power — Wernher von Braun, Hedwig Höß, Nikita Khrushchev, Joan Hinton, Golda Meir and Frantz Fanon. Mao (3 x 52 mins) is a comprehensive exploration of Mao Zedong, his beliefs and his methods. It shows how these have shaped the philosophy and reality of today’s China, with unique archives and interviews with contemporary witnesses, historians, journalists and other experts.

BLUE SKY MEDIA GROUP

BECOME A Farmer is a story of hard work, nature and personal growth. In this experiment 10 young men spend 190 days planting, irrigating, fertilising and harvesting on 10 hectares of land. As they nurture the wheat, they grow and mature themselves and watch a barren wilderness transform into picturesque countryside. Become A Farmer is produced by iQIYI and Blue Sky Media Group, in co-production with Hixi Media Group. The show integrated long-form video, short clips, and immersive live streaming to capture widespread attention in its home country of China.

The Glucose Goddess (Orange Smarty)

Become A Farmer (Blue Sky Media Group)

A World Divided (Looks Film)

300 Hoops (KO Distribution)

Norway - A Call From The Wild (Albatross World Sales)

FREMANTLE

PROGRAMMING highlights from Fremantle include: crime drama Costiera (10 x 50 mins), following a half-Italian former US marine who returns to Italy to work at a hotel and then has to search for the owner’s missing daughter; haunting drama The Listeners (4 x 60 mins/5 x 60 mins); docu-drama Mozart: Rise Of A Genius (3 x 60 mins), which weaves together insightful interviews, sumptuous dramatic reconstruction and live orchestral performance, filmed especially for the series; and Norwegian format The Heist Academy (working title/10 x 60 mins), a new competition reality series where 10 celebrities compete to join Norway’s top comedians in staging the most spectacular bank robbery. The contestants learn new skills to master the craft of high-stakes theft, face daring challenges and risk elimination.

BOSSANOVA

HIDDEN PIGEON COMPANY (HPC)

HIDDEN Pigeon Company is extending the works of New York Times best-selling children’s author and illustrator Mo Willems into the entertainment space and is currently developing an Elephant & Piggie series based on Willems’ popular books. The company also has several new series in development, including one spotlighting The Pigeon, Willems’ character first introduced in Don’t Let The Pigeon Drive The Bus!, and another inspired by his cat books. Already produced HPC content at MIPCOM CANNES includes: Naked Mole Rat Gets Dressed: The Underground Rock Experience; Unlimited Squirrels; Elephant & Piggie’s Storytime Shorts; and Mo Willems And The Storytime All Stars Present: Don’t Let The Pigeon Do Storytime!

CINEFLIX RIGHTS

A SERIES that explores places where mysteries and myths abound and supernatural theories thrive is brought to MIPCOM CANNES by London-based BossaNova. Mysteries Of… (6 x 60 mins/3 x 120 mins, produced by Curve Media for Channel 4/SBS, features Stonehenge, The Bermuda Triangle, Giant Sinkholes and Loch Ness. Each episode deep dives into the folklore, science and mysteries to find explanations for questions that have remained unanswered for millennia.

ONEGATE MEDIA

POLITICAL thriller series

CINEFLIX Rights’ MIPCOM CANNES slate includes new scripted and factual content alongside returning seasons. Based on books by A A Dhand, Virdee follows Harry Virdee, a cop disowned by his Sikh family for marrying a Muslim. With his personal life in chaos, he must now hunt down a serial killer. When the murderer kidnaps a local police chief’s son Harry realises that he is going to need the help of his brother-in-law, a drugs kingpin. Summer Qamp (1 x 90 mins) is a documentary following a group of LGBTQ+ youth at an idyllic lakeside camp in Canada, where they enjoy the traditional camp experience in a safe, affirming environment. Building Bad (10 x 60 mins) examines what happens when scientists, inventors and engineers turn to the dark side. From assassination drones and narco subs to a network of New York City heroin labs, the series uncovers the nefarious products of ruthless and brilliant minds.

Dangerous Truth is inspired by true events leading up to the invasion of Iraq in 2003 and is brought to MIPCOM CANNES by Germany’s OneGate Media. Dangerous Truth follows Alex, a man determined to uncover the truth behind the murder of his father, who was a sniper for the Bundeswehr. Alex has lived under a protection programme in Athens for 20 years. When his mother dies, he discovers that the deaths of his father and sister in 2003 were not, as he had assumed, the work of Serbian nationalists. Alex’s research stirs up a storm, as high-profile figures from the time seem connected to his father’s assassination. The deeper Alex digs, the more danger he faces.

Dangerous Truth (OneGate Media)

Virdee (Cineflix Rights)

Costiera (Fremantle)

Mysteries Of… (BossaNova)

Elephant & Piggie (HPC)

THE GURIN COMPANY GLOBAL ENTERTAINMENT (TGC GE)

TGC GE presents Masked Lovers at MIPCOM CANNES. The format of the show sees eight masked men and women attend a party and go on dates where they form couples as if they are in a typical dating reality show. At the end of the show, after their love has blossomed, they remove their masks and show their faces to their partners for the first time.

XIXI PICTURES

XIXI Pictures introduces its latest coming-of-age drama series, Reborn, at MIPCOM CANNES. Troubled by rumours, young Qingyu decides to investigate the cause of her sister’s death. She is determined to avenge her sister but ends up getting her family into even worse trouble. Ultimately her friends allow Qingyu to reconcile with her mother, discover the hidden love of her family and achieve personal growth. Another series from the Chinese company is Six Sisters, which follows the family over several decades as they navigate love, friendship, family and careers — and how they discover the true meaning of home.

TVF INTERNATIONAL

BRITISH factual specialist TVF International debuts the second season of Untold Arctic Wars: The Cold War (6 x 52 mins) at MIPCOM CANNES. During the Cold War, the Arctic became a spy’s playground as great powers jostled to gain control of the region. With animated maps, never-before-seen archive and CGI, the series explores how the Nordic nations were forced into a delicate game of brinkmanship.

ARTE DISTRIBUTION

DOCUMENTARY The Mystery Of The Desert Kites features the breathtaking landscapes of Saudi Arabia and Jordan, where archaeologists investigate ancient geoglyphs resembling giant kites. The oldest of these stone megastructures were built around 7000 BC. Led by French archaeologist Rémy Crassard and Jordanian researcher Wael Abu-Azizeh, the team uses cutting-edge technology to uncover the secrets of these mysterious structures, potentially reshaping our understanding of the Neolithic period. Further priorites for ARTE Distribution at MIPCOM CANNES include: Homo Plasticus (1 x 52 mins), which looks at the hidden impact of microplastics on humans; and Churchill, Roosevelt, Stalin

– The Impossible Peace, a fresh perspective on the 1945 Yalta conference.

PVP DISTRIBUTION

CANADA’s newly launched PVP Distribution is at MIPCOM CANNES with a catalogue of children’s content, documentaries and fiction series. A key highlight is Ladies’ Room (8 x 6 mins), a sketch-comedy series, offering a feminist and witty take on female friendship, exploring the surprising, profound and superficial conversations that unfold between two best friends in the bathroom. Produced by Québecbased Taïga Media, the series is already under production for a second season. PVP Distribution is also open to adapting the concept for local markets.

NEWEN CONNECT

THE €25m-budget series Cat’s Eyes, commissioned by TF1, is an adaptation from the 1980s cult manga story from Tsukasa Hojo, and is brought to MIPCOM CANNES by France’s Newen Connect. The series features the three Chamade sisters who steal art from a number of beautiful, highly guarded Paris monuments, and is a blend of action, romance and comedy. In 2023 Alexia, Tam and Sylia reunite after years of separation. Simultaneously, a painting that once belonged to their father, who disappeared over 10 years ago in a mysterious fire at his art gallery, resurfaces at an exhibition at the Eiffel Tower. Determined to uncover the truth about their father’s fate, they risk all to steal the painting. However, they’ve caught the attention of Quentin Chapuis, a police captain tasked with arresting the thieves. What he doesn’t know is that one of them is his lifelong love.

Cat’s Eyes (Newen Connect)

Ladies’ Room (PVP Distribution)

The Mystery Of The Desert Kites (ARTE Distribution)

Untold Arctic Wars: The Cold War (TVF International)

Reborn (Xixi Pictures)

Masked Lovers (TGC GE)

Navigating Global Evolution

Through our creatively curated tracks

→ IP the Pinnacle of Power

→ Innovative Content Monetisation

→ Empowered & Diverse

→ Industry Trends & Market Intelligence

→ Thought Leadership - Media Mastermind Keynotes

→ MIPCOM CANNES events

Thought Leadership Media Mastermind Keynotes

Monday 21 Oct.

10:20 - 11:00

Amazon MGM Studios & Yoshimoto: International Franchises and Originals Strategy

James Farrell, Head of International Originals

Akihiko Okamoto, President & Representative Director, Yoshimoto Kogyo

C-Suite Conversations

A MIPCOM CANNES / VARIETY

Partnership

15:15 - 15:35

Navigating Disruption.

Variety editors kick off the C-Suite conversations with a discussion of global content industry trends and key developments: Cynthia Littleton, Elsa Keslassy, Leo Barraclough, John Hopewell & Alex Ritman

15:40 - 16:10

Jane Turton, CEO, ALL3Media

16:20 - 16:50

Channing Dungey, Chairman & CEO, Warner Bros. Television Group

17:00 - 17:40

Variety Vanguard Award and Fireside Chat

Tony Vinciquerra, CEO, Sony Pictures Entertainment

Tuesday 22 Oct.

15:00 - 15:30

Dan Cohen, Chief Content Licensing Officer, Paramount and President, Republic Pictures

With Special Guests Cote de Pablo and Michael Weatherly from NCIS: Tony & Ziva

16:00 - 16:30

Spain, Where Talent Ignites: Keynote Conversation & Screening

J.A. Bayona, Director Diego Betancor, Producer

Wednesday 23 Oct.

11:15 - 11:45

JC Acosta, Head of THE MEDIAPRO STUDIO - US / Canada

Laura Fernandez Espeso, CEO, THE MEDIAPRO STUDIO

12:00 - 12:45 “Apprentice in Wonderland” Donald Trump’s Rise through Reality TV

Ramin Setoodeh, Co-Editor-inChief - Variety

Spain Country of Honour

Keynote & Screening, World Premiere TV Screening, Spain Fresh TV Showcase, Igniting Global Hits panel discussion, MIPCOM CANNES Opening Party & much more. Check out the full programme, discover the rich diverse audiovisual industry in Spain and join us in celebrating Spain as the ultimate audiovisual hub.

Akihiko Okamoto

Tony Vinciquerra

James Farrell

J.A. Bayona

Laura Fernandez Espeso

JC Acosta

Channing Dungey

Diego Betancor Dan Cohen

Jane Turton

Setoodeh Ramin

Innovative Content Monetisation

Discover the MIP Innovation Lab

A vibrant zone designed to foster synergies between Tech and Content.

Monday 21 Oct.

9:45 - 10:10

Evan Shapiro back in Cannes for a great opening!

“How to Thrive in the Media’s User-centric Era?”

APPLIED AI SUMMIT

Monday 21 Oct.

Hosted by Jonathan Verk CoFounder & CEO, Social Department

Discussions & Presentations

10:15 - 12:00

Tom Ara DLA Piper

Marianne Carpentier TF1 Group - Newen Studios

Johann Choron Google

Dave Davis Calliope Networks

Emily Golden Runway

Audrey Schomer Variety Intelligence Platform

Frank Valentin DLA Piper

Damien Viel Banijay Entertainment

Expert-Led Roundtables

14:30 - 15:30

Introduction by Mark Endemano, AlixPartners. Meet the experts from BetaSeries; Calliope Networks; DLA Piper; FanTrust; Global Media Consult; Largo ai.

AI Innovation Showcase

16:00 - 16:45

Devo Harris

Founder & CEO, Adventr

“From Audience to Player:

The Dawn of Interactive Streaming”

Jesse Shemen

Co-founder & CEO, Papercup

“First AI that can automatically translate emotion in video”

Jonathan Verk

CoFounder & CEO, Social Department

“Revolutionizing Entertainment Marketing with Vertical AI”

GLOBAL FAST & AVOD SUMMIT

Tuesday 22 Oct.

Networking Roundtables 14:30 - 15:30

Hosted by: Shaun Keeble, Banijay Rights

Teresa Alonso Lopez, Whale TV

Connie Hodson, Little Dot Studios

Aline Jabbour, Samsung TV Plus

Kasia Jablonska, BBC Studios

Matt Katrosar & Laura Florence, Fremantle

Adam Tenorio, Gracenote

Julian Wright, CEO, Blue Lucy

Discussions & Presentations

15:45 - 17:30

Hosted by Marion Ranchet, Founder, The Local Act Consultancy

“FAST and Furious:

Lessons Learned in the FAST Lane”

Stefan Van Engen, Xumo

“Scaling Success: Innovative Content Partnerships”

David Decker, Warner Bros. Discovery

Samuel Harowitz, Tubi

“Emerging Giants: Tapping into LATAM and APAC Potential”

Katrina Kowalski, Pluto TV - Paramount

Ed Love, Samsung TV Plus

Sa Eva Niébé, Dataxis

“Content Strategy and Advertising: The New Rules of Programming”

Claudia De Wolff, Vevo

Jonitha Keymoore, FilmRise

Jennifer Vaux, Roku

“Europe’s TV Markets: Adapting to Local Dynamics”

Candelaria Balaguer, BB Media

Cédric Monnier, OKAST.TV

Linette Zaulich, ZDF Studios GmbH

GLOBAL STREAMERS TALKS

Tuesday 22 Oct.

09:00 - 11:00

Join Evan Shapiro for a compelling series of interviews with:

Claire Basini, Deputy General Manager in charge of BTOC, TF1

Maxime Carboni, Chief Business Officer, Euronews

Cédric Dufour, CEO & President, Rakuten TV

David Eilenberg, Head of Content, Roku

Olivier Jollet, EVP and International General Manager, Pluto TV

CONNECTED TV SUMMIT

Wednesday 23 Oct.

Hosted by Alan Wolk

Co-Founder/Lead Analyst, TVREV Discussions & Presentations

9:00 - 11:00

Featuring world-class leaders from top Tech and Media brands, shaping the future of the TV experience.

Wednesday 23 Oct.

Why YouTube matters?

Engaging Audiences & Boosting Revenue

14:00 - 14:30 by Little Dot Studios & YouTube

14:45 - 15:30

The New Life of The Living Room by Advertiser Funded TV by

What’s Hot In Media? by

Thanks to our MIP Innovation Lab Conference Partners & Sponsors

Evan Shapiro, Media Cartographer, ESHAP

MIPCOM CANNES Events

World Premiere TV Screenings

Sunday 20 Oct.

18:00 - 19:15 - Grand Auditorium

Watson Presented by Paramount Global Content Distribution and CBS Studios produced

Monday 21 Oct.

18:00 - 19:15 - Grand Auditorium

Ena. La Reina Victoria Eugenia Presented by RTVE

Tuesday 22 Oct.

18:00 - 19:15 - Grand Auditorium

Rise of The Raven Presented by Beta Film

Tuesday 22 Oct.

12:00 - 13:00 - Award Ceremony - Grand Auditorium 13:00 - 14:00 - Drinks and Light Lunch - Verrière Grand Auditorium

MIPCOM CANNES Diversify TV Awards

Celebrating Inclusivity in front of and behind the camera. Hosted by journalist, broadcaster, professional moderator and co-founder of the diverse moderators’ bureau “Moderate

The Panel”, Femi Oke. With the exceptional participation of actor, broadcaster and disability advocate, Adam Pearson, and performer, singer, TV host, advocate and drag icon Nicky Doll

Monday 21 Oct.

12:00 - 14:00 - Hotel Majestic

Women in Global Entertainment Power Lunch By invitation

Welcome Drinks 12:00 Lunch 12:30-14:00

With

Wednesday 23 Oct.

8:30 - 10:30 - Verrière Grand Auditorium

Women In Entertainment International Mentoring & Networking Breakfast

Limited seating, Pre-Registration Recommended

In partnership with

Adam Pearson

Nicky Doll

Content Highlights

IP

The Pinnacle of

Power Producers’

Hub In Its New Beachfront Location! (C12)

Monday 21 Oct.

What All The Drama is About - Content that Travels 9:45 - 10:15

Join panelists Jamie Lynn (EVP Co-Production & Distribution Fremantle), Katie Keenan (Group Director of Acquisitions, SKY) and Amanda Turnball, CEO & FOUNDER RISE STUDIOS, UAE as they tell us what projects are selling? What kinds of deals and partnerships are recurring?

FRAPA Formats Summit 11:00 - 13:00

Connecting producers, creators, distributors, buyers and platforms. A networking & information session.

With Kunal Barai (Global Markets Director, Vitrina AI), Robin Hilton (Partner, Sheridans), Karin Lindstrom (Director of Originals Nordics, Amazon MGM Studios), Kate Phillips (Director of Unscripted, BBC), Beatrice Rossmanith (Director of Insights and Data Solutions, Vitrina AI).

Drama Formats – Producer & Distributor Collaboration In The Remake Process 14:30 - 15:00

Kelly Wright (MD Distribution, KESHET INTL), Matt Forde, (MD, Global Entertainment, BBC Studios) Elisa Martin de Blas (MD Production and Distribution, CONTUBERNIO), and moderator Danna Stern (MD, In Transit Productions) as they discuss how communication is the key to managing relationships in the world of drama formats.

Tuesday 22 Oct.

International Drama Co-Production Breakfast 8:30 - 9:30

10 hosted tables, pre-registration required.

Spain: Igniting Global Hits

- The Ultimate Audiovisual Hub 9:45 - 10:30

With Exploring Disney EMEA’s Local Original Productions and Licensing Strategy 11:30 - 12:00

With Diego Londono (Executive Vice President, Media Networks and Content, the Walt Disney Company Europe, Middle East and Africa (EMEA)), Paolo Agostinelli (Senior Vice President, Affiliate and Content Distribution, the Walt Disney Company Europe, Middle East and Africa (EMEA)), Mansha Daswani (Editor-in-Chief, World Screen).

Tuesday 22 Oct.

Meet the commissioners

- what’s hot and what’s not!

14:30 - 15:00

What genres and budgets are making the cut? José Pastor, (Head of Film & Fiction, RTVE, Spain), Alex Medeiro (Head of Content - Drama & Doc, Globoplay, Globo, Brazil)

Navigating a Complex Landscape

- What Opportunities for Tomorrow’s Fresh, Original Voices?

15:30 - 16:00

Steve Matthews, Content Executive, Banijay, Enyi Omeruah, Producer, EK 782 Films and Teresa Fernández-Valdés, Te Espera En Marte, discuss the challenges and opportunities for new talents in a risk-averse market.

International Production at the US Studios

16:30 - 17:00

Wednesday 23 Oct.

Go Bigger or Smaller? Adjusting Financing Strategy to the Changing Times… 12:30 - 13:00

The Secret Sauce Behind the Success of YA Series 14:30 - 15:00

Laura Burrows Andrew Zein

Laura Burrows (VP of Production for Universal International Studios) and Andrew Zein (EVP Creative Format Development & Sales at Warner Bros. International Television Production).

Wednesday 23 Oct.

Collaboration: The Future of Factual 9:00 - 9:30

, Head of International Content Development, The Mediapro Studio and Simon Cox (EVP Content Acquisitions, Banijay Rights) talk about the success of YA series with a focus on their upcoming shows.

YA - The Business of Anime - Beyond the Brand 15:15 - 15:45

Jennifer Batty Ninder Billing Bo Steihmeier

Amanda Groom

Join Jennifer Batty (Director of Content Partnerships for Samsung TV Plus), Ninder Billing (VP Unscripted International Co Productions, A+E Media Group), Kate Phillips (Commissioning Director, Unscripted BBC), & Bo Stehmeier (CEO, Off the Fence) as session producer and moderator, Amanda Groom (CEO, The Bridge) leads the discussion around ever more collaborative and innovative ways of working together.

The Subtle Art of Integrating Brands into Drama 9:45 - 10:15

Director, ContentAsia) talk about YA and anime content expanding globally.

Thursday 24 Oct.

Streaming Platforms: A Wealth of International Opportunities

Networking roundtable breakfast

Pre-Registration Recommended. Limited seating 9:30 - 10:30

Gain insights into the competitive landscape of streaming platforms through focused round-table discussions led by the experts: Jack Davison (Executive Vice President, 3Vision), Wendy Bernfeld (Founder and Managing Director, Rights Stuff BV), Javier Martínez (Managing Director, You First Originals), Teresa Alonso Lopez (VP of Content Partnerships, Rlaxx TV), Lara Sword (Head of Factual Network, Eccho Rights), Guillaume Coffin (SVP Content Sales, Affiliates business and Advertising in France, Benelux and Africa at Warner Bros Discovery), Lina Matta (Director Shahid AVOD, MBC 2, MBC 4, MBC Max, MBC GROUP).

Jamie Lynn Katie Keenan Amanda Turnball

Kelly Wright Matt Forde Elisa Martin de Blas

Danna Stern

Solange Attwood Rebecca Dundon Vratislav Slajer

Solange Attwood (CEO & Co-Founder, SERIAL MAVENS), Rebecca Dundon (SVP Scripted Content, Intl, Fremantle) and Vratislav Slajer (Producer & CEO, Bionaut, CZ) talk about what the right budget is when the middle is hollowed out.

Ran Tellem Lawrence Szabo Simon Cox

Lawrence Szabo (EVP US content Distribution, BBC Studios), Ran Tellem

Janine Stein Ryuji Kochi John Easum Ryuji Kochi (President, Toei Animation Europe SAS), John Easum (VP, Manga Publishing & Anime Academy, Crunchyroll SAS), Adam Woodgate (VP Research Solutions, The Insights Family), Janine Stein (Editorial

Steve Matthews Enyi Omeruah

Teresa Fernández-Valdés

Ferenc Pusztai Roberta Zamboni Sam Glynne

Ferenc Pusztai (CEO, Producer KMH Film), Roberta Zamboni (Global Head of Branded Content & Sponsorship, Fremantle) and Sam Glynne (Head of EMEA, Entertainment & Culture Marketing, UTA) talk about how brands are making their way into fiction series.

Adam Woodgate

Content Highlights

Industry Trends & Market Intelligence

Fresh

TV

Presented by Virginia Mouseler

Fresh TV Formats

Monday 21 Oct. - 13:00 - 14:00 - Grand Auditorium

Spain Fresh TV Showcase

Tuesday 22 Oct. - 14:30 - 15:00 - Auditorium A

Fresh TV Fiction

Wednesday 23 Oct. - 13:00 - 13:45 - Grand Auditorium

Best of Fresh TV

Thursday 24 Oct. - 12:00 - 12:30 - Producers’ Hub

Unlocking Audience & Content Dynamics

Monday 21 Oct. - 9:00 - 9:45 - Grand Auditorium

Presented by Frédéric Vaulpré and Candice Alessandra

Insights that Matter: Fueling your Next Strategic Move.

Wednesday 23 Oct. - 14:45 - 15:30 - MIP Innovation Lab

Maria Rua Aguete, Senior Research Director - Omdia

Jack Davison, Executive Vice President - 3Vision

Jean-Baptiste Moggio, Senior Brand Director - RTLAdAlliance

Tim Westcott, Practice Lead, Digital Content & Channels - Omdia

Secrets of the Scripted Format: K7 Media’s Tracking the Scripted Giants

For the Love of Television

19-22 November 2024

Cancun, Mexico

23-27 February 2025

London, United Kingdom

11-12 October 2025

Cannes, France

13-16 October 2025

Cannes, France

9:00 - 9:45

Unlocking Audience & Content Dynamics

Presented by Glance

9:45 - 10:15

What All the Drama is About - Content that Travels

9:00 - 9:45 Welcome Networking Coffee

9:45 - 10:10 How to Thrive in The Media’s User-Centric Era? Presented by Evan Shapiro, ESHAP

11:00 - 13:00 Frapa Formats Summit

13:00 - 14:00 Fresh TV Formats

Presented by The WIT

Other Venues Screenings & Showcases

8:00 - 10:00 Hotel Majestic MIPCOM Buyers Awards Ceremony, with breakfast Presented by Japanese Drama Festival

9:00 - 10:30

Verriere Californie World Premiere of Obocchamakun: Bringing Japanese Anime to Life in India

Presented by TV Asahi Breakfast served from 8:45

11:00 - 12:00

Auditorium A The Beach

Presented by Beta

12:00 - 14:00 Hotel Majestic

Women in Global Entertainment Power Lunch With A+E Media Group

Welcome Drinks: 12:00 Lunch 12:30-14:00 By invitation

14:00 - 14:30

Matchmaking Area

14:30 - 15:00

Drama Formats - Producer/ Distributor Collaboration in the Remake Process

15:15

15:15-15:35

15:40-16:10

16:30 - 17:00

Connecting Coproduction

Worlds: A Fiction Series on Autism Acceptance Presented by VIP2000

17:30 - 18:00 Showcase Presented by GLOBO

18:00 - 19:00

Producers’ Hub Networking Drinks With GLOBO

14:30 - 15:30

Applied AI Summit: Roundtables Welcome Coffee from 14:00 Pre-registration required

16:00 - 16:45 Applied AI Summit: Innovation Showcase

Meet the Expert - Factual Producers’ Digital 360 Distribution Strategy Ludo Dufour, Vice President of Licensing, Curiosity Inc.

10:00 - 11:00

Auditorium K Los Colorado Presented by Telefilms

14:30 - 15:30 Auditorium A The Librarians: The Next Chapter Presented by Electric Entertainment

15:30 - 16:30 Auditorium K K-Content:

8:30 - 9:30

Drama Co-production

Breakfast

Pre-registration required

9:45 - 10:30

Spain: Igniting Global Hits - The Ultimate Audiovisual Hub

10:40 - 11:10

Tech & Creativity, Today’s Innovative Vision Presented by Sony Corp.

11:30 - 12:00

Exploring Disney EMEA’s Local Original Productions and Licensing Strategy

14:30 - 15:00

Meet the Commissioners - What’s Hot and What’s Not!

15:30 - 16:00

Navigating a Complex Landscape - What Opportunities for Tomorrow’s Fresh, Original Voices?

16:30 - 17:00

International Production at the US Studios

11:15 - 12:00

Setting the Stage for the Global FAST & AVOD Summit Presented by Abema, OTTera and Tevefy

Other Venues Screenings & Showcases

10:00 - 11:00

Matchmaking Area

Speed Matchmaking Scripted

Pre-registration required

9:00 - 10:00

Auditorium A

The Power of Game & Quiz Presented by BBC STUDIOS

10:00 - 11:00

Auditorium K

LAB RAT: The Interactive Movie Presented by ADVENTR

11:00 - 12:00

Auditorium A The Great Indian Content Push Presented by SEPC

11:45 - 12:45

Auditorium K

PBS Distribution Presents: Leonardo da Vinci

11:00 - 12:00 Verrière Californie Decolonisation of Africa Documentary

18:00 - 19:00

Producers’ Hub Networking Drinks with PLEX

14:30 - 15:30

Global FAST & AVOD

Roundtables

Welcome Coffee from 14:00

Pre-registration required

14:30 - 15:30

Matchmaking Area Speed Matchmaking D&I

Pre-registration required

14:30 - 15:00 Auditorium A

Spain Fresh TV Showcase

Presented by The WIT

17:30 - 18:30 FAST & AVOD Networking Drinks

11:15 - 11:45

9:00 - 9:30

Collaboration: The Future of Factual

9:45 - 10:15

The Subtle Art of Integrating Brands into Drama

8:30 - 9:00 Welcome Coffee

9:00 - 11:00

Connected TV Summit Presented by Alan Wolk, TVREV

CTV Presenting Partner: Samsung TV Plus Conference Partner: WURL

8:30 - 10:30 Verrière Grand Auditorium International Mentoring & Networking Breakfast for Women in Entertainment With MediaClub’Elles Limited seats, pre-registration required

10:00 - 11:00 Matchmaking Area Speed Matchmaking Unscripted Pre-registration required

Media Mastermind Keynote JC Acosta, Head of THE MEDIAPRO STUDIO USA / CANADA Laura Fernandez Espeso, CEO, THE MEDIAPRO STUDIO

12:00 - 12:45

Media Mastermind Keynote “Apprentice In Wonderland” Donald Trump’s Rise through Reality TV Ramin Setoodeh, Co-editor-in-chief, Variety KEYNOTE KEYNOTE

13:00 - 13:45 Fresh TV Fiction Presented by The WIT

10:30 - 11:00 MIP LONDON How to Make the Most of MIPs New Market Conversation with Lucy Smith, Director of MIPCOM CANNES & MIP LONDON

12:30 - 13:00 Go Bigger or Smaller? Adjusting Financing Strategy to Changing Times

14:30 - 15:00

The Secret Sauce Behind the Success of YA series

15:15 - 15:45 YA – The Business of Anime – Beyond the Brand

16:00 - 16:30

Secrets of the Scripted Format: K7 Media’s Tracking the Scripted Giants Presented by K7 Media

14:00 - 14:30 Why YouTube Matters? Engaging Audiences & Boosting Revenue

14:45 - 15:30

Insights that Matter: Fueling your Next Strategic Move Presented by 3Vision, Omdia, RTLAdAlliance

18:00 - 19:00

Producers’ Hub Networking Drinks with Cluster Audiovisual Madrid

11:00 - 12:00

Auditorium A The 7th ‘Wisdom In China’ Original Formats Showcase Presented by iFormats

9:30 - 10:30

Streaming PlatformsA Wealth of International Opportunities

Networking Roundtable Breakfast

Welcome Coffee from 09:00

Pre-Registration recommended

11:00 - 11:30

Global Content Trends: Making Sense of Uncertainty… Presented by Guy Bisson, Ampere Analysis

12:00 - 12:30 Best of Fresh TV Presented by The WIT

LEM N SOUL