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Tag: Mipcom

  • Bite-sized dramas are about to swallow the streaming world whole

    Bite-sized dramas are about to swallow the streaming world whole

    CANNES: Forget your boxsets. Forget your hour-long dramas. Audiences are ditching long-form television for something far more intoxicating: episodes that fit in your pocket and demand your full attention in under ten minutes.

    Microdramas—those addictive mini-narratives designed for mobile consumption—are redefining entertainment. And the numbers are staggering. According to Omdia, the consultancy that presented its findings at Mipcom, Cannes, this genre will nearly double the revenue of Fast channels, which are projected to pull in just $5.8bn next year.

    “Viewers are willing to pay for content that captures them emotionally in seconds,” said María Rua Aguete, head of media and entertainment at Omdia. “Microdramas demonstrate that attention spans may be shorter, but engagement is deeper and more valuable.”

    The monetisation model is brutally simple: hook viewers with free episodes, then charge them through subscription or pay-per-episode channels. This approach accounts for more than 60 per cent of total revenue. The payoff is formidable. Average revenue per user can reach $20 per week—or up to $80 per month—making microdramas extraordinarily profitable.

    China dominates the space, generating 83 per cent of global revenue, fuelled by a colossal audience and a mobile-first culture. Beyond China, the US claims half of international revenue, with Japan, South Korea, the UK and Thailand emerging as hungry new markets.

    “Microdramas are redefining what it means to tell premium stories in the digital age,” Aguete said. “They combine the immediacy of social media with the emotional depth of dramatic television. They are short, addictive, and irresistible.”

    This isn’t a fad. As consumer habits shift inexorably towards mobile and short-form content, microdramas are poised to become the centrepiece of digital entertainment—a seismic fusion of social video and traditional storytelling that will reshape how the world consumes drama. The wave is here. And it’s only just begun to crest.

  • Zee One shines bright during Mipcom Cannes

    Zee One shines bright during Mipcom Cannes

    CANNES: As the global television industry gathered for Mipcom 2025, Zee made history as the first Indian broadcaster to take over one of the largest LED screens along the legendary Croisette. From sunrise to sunset and long after the massive display of Zee One lit up the promenade, stopping people in their tracks and sparking real excitement.

    With over 10,600 visitors and delegates expected during Mipcom, it was the perfect moment to put Zee One, the company’s French-language Fast channel in the spotlight. The channel, available on Samsung TV Plus, LG Channels, and Rakuten TV, has quickly built a following in France for its vibrant mix of Bollywood films, heartfelt dramas, and colourful family entertainment.

    For many passersbys, it was a surprise and a delight to see an Indian media brand taking over one of Cannes most visible spaces.

    Zee has built its global presence by constantly trying what others haven’t and this Cannes moment is a reflection of that same spirit.

    Standing tall among the biggest names in international entertainment, Zee One’s luminous display on the Croisette was more than just advertising, it was a statement of confidence, creativity, and cultural pride.

    And as the lights shimmer over the French Riviera, one thing is clear: Zee knows how to make the world stop and look up.

  • Creators boost Mipcom 2025 as television’s old guard opens the door

    Creators boost Mipcom 2025 as television’s old guard opens the door

    CANNES: The suits and the streamers are finally doing business. Mipcom 2024 pulled in 10,600 delegates—a modest uptick from last year’s 10,500—but the real story wasn’t in the numbers. It was in who showed up and what they were selling.

    Buyers rose to 3,340, up 100 from 2023, with Britain leading the pack, followed by the US , France, Germany, Turkey, Canada, Spain, Italy, Japan and South Korea. Yet the buzz on the Cannes market floor centred on a new breed of attendee: the creator economy, which Lucy Smith, RX France’s Mipcom and Mip London boss, called “the biggest shift in a generation for Mipcom.”

    YouTube planted its flag with a prominent presence, including a packed keynote featuring Pedro Pina, the platform’s EMEA chief, media cartographer Evan Shapiro and BBC Studios’ Jasmine Dawson. The session offered what Smith described as the “definitive playbook on partnerships,” demonstrating how traditional media can tap new audiences and build fandoms through collaboration.

    The convergence went beyond talk. Deals between legacy players and digital creators flowed throughout the week. “It feels like a tipping point for the industry,” Smith told reporters at a wrap press conference. “The relationship between the creator and mainstream economies isn’t binary. The opportunities come from collaboration, not from working in isolation.”

    Mipcom’s pitch to creators was simple: meet everyone worth meeting in one place, at one time, and figure out who can help build new business models. The market staged its first brand-funded content summit, BrandStorytelling, bringing agencies and brands face-to-face with the global production and distribution world. Early feedback suggests it’s here to stay.

    Traditional sales and distribution—”the engine of MIPCOM,” as Smith put it—roared back to life. Every major American studio turned up. Three big international advance screenings drew talent from around the world. Rights deals showed fresh flexibility, with windowing making a comeback, albeit in more complex forms than before.

    The market floor hosted 350 exhibitors, including 88 newcomers such as YouTube. Yet not everything pointed upward: MIPJunior attendance slipped to 940 from 1,000, reflecting ongoing headwinds in children’s programming.

    Smith struck a bullish note. “From change comes opportunity. The industry is resilient, it regenerates. The fact that this definitive global market has been held here every year for the past four decades is testament to that.”

    Next year’s edition runs from 12 to 15  October. The creators will be back. So will everyone else.

  • TV Asahi to celebrate Doraemon’s French return with party at Mipcom 2025

    TV Asahi to celebrate Doraemon’s French return with party at Mipcom 2025

    PARIS: TV Asahi is throwing a Dorayaki Party at Mipcom on 14 October to celebrate the return of Doraemon, Japan’s time-travelling robotic cat, to French screens after a 10-year hiatus. Voice actors Emmanuel Curtil and Brigitte Lecordier will dish behind-the-scenes stories about reviving the beloved animation series at the Cannes event.

    The party marks the launch of 13 freshly dubbed episodes hitting French audiences from 3 October—the first French-language version since 2015. The new season drops first on YouTube France before rolling out across Anime Digital Network, Amazon Prime Video and Pluto TV.

    Paris-based distributor Soupir is orchestrating the multi-platform push, backed by a promotional blitz dubbed Bonjour Doraemon featuring voice cast videos, YouTube Shorts and exclusive previews.

    Curtil—the French voice of Jim Carrey and Disney’s Goofy—leads the cast as Doraemon. He’s joined by Lecordier, famous for voicing Son Goku in Dragon Ball, who plays Nobita Nobi and co-directs the dubbing alongside Louis Lecordier.

    “I hadn’t come across Doraemon before, but I had the pleasure of dubbing it alongside my long-time friend and collaborator, Brigitte Lecordier,” says Curtil. “I am very happy to bring this cheerful and intrepid little hero to life.”

    Lecordier calls the blue cat “a legendary figure throughout the world of animation” and says she feels “so lucky” to work on the series.

    Created by Fujiko F. Fujio, Doraemon debuted as manga in 1970 and hit Japanese television in 1979. The series has since spawned over 2,000 episodes and become a cultural juggernaut across Asia.

    TV Asahi head of animation sales and development Maiko Sumida says Japan and France share “a deep cultural affinity.”

    Soupir founder Charles Courcier, reckons the new dub will help Doraemon become “as beloved in France as it is around the world.”

  • YouTube goes big at Mipcom Cannes 2025 with 20th anniversary blowout

    YouTube goes big at Mipcom Cannes 2025 with 20th anniversary blowout

    PARIS: YouTube is pulling out all the stops for its 20th anniversary, marking the occasion with a heavyweight presence at Mipcom Cannes this October—the global television industry’s biggest annual market.
    For the first time, the Google-owned platform will anchor itself at the Palais des Festivals with a branded hospitality space dubbed the YouTube Space, a daily schedule of creator economy workshops, and a headline keynote from Pedro Pina, YouTube’s vice-president for EMEA. The festivities will span both Mipcom (13–16 October) and MipJunior (11–12 October), as the platform ramps up efforts to forge deeper alliances with global TV players.

    “Mipcom Cannes is where the industry is, and 2025 is the year of the global creator economy,” said Mipcom Cannes and MipJunior director Lucy Smith “YouTube’s presence is a strong signal of how creator-led content is reshaping traditional models.”

    The platform’s participation ties into a broader Mipcom push to bridge the gap between digital-native creators and legacy media, with new initiatives designed to foster fresh storytelling, co-production, and monetisation models.

    Chief among these is the international debut of BrandStorytelling—a summit born at Sundance and now making its European bow. The forum aims to link brands, digital creators, and producers in funding and distributing brand-backed narratives, with showcases and networking slated for 13–14 October.

    The event also sees the Producers Hub reimagined as the Mip Creative Hub, transforming a beachside venue on the Croisette into a buzzing nexus for creators, studios, and brands. Meanwhile, the expanded MIP Innovation Lab inside the Palais returns with a slate of summits and demos on AI, Fast channels, CTV, and streaming. YouTube will host a series of practical workshops on audience building, monetisation, and format strategy.

    Pina called the collaboration “a strategic move to bolster our international TV partnerships and showcase YouTube’s evolving role in the global content ecosystem”.

    Last year’s Mipcom drew over 10,500 delegates from more than 100 countries. With YouTube now in the mix, the 2025 edition looks set to be the most creator-powered yet.

  • MIPJUNIOR 2025 Reinvents Itself with Global Premiere of ‘Ki&Hi’

    MIPJUNIOR 2025 Reinvents Itself with Global Premiere of ‘Ki&Hi’

    MUMBAI: The world of children’s entertainment is gearing up for a major reset this October as MIPJUNIOR returns with a sweeping new format and a showstopper world premiere to headline its reimagined edition. Timed just ahead of MIPCOM, the 2025 event promises a sharper, more creator-driven experience that blends deal-making with cultural momentum—turning the Palais des Festivals into a hub for the future of kids’ content.

    At the center of this transformation is the global debut of Ki&Hi in the Panda Kingdom, a 52-episode anime comedy adapted from French YouTube creator Kevin Tran’s bestselling manga. Produced by Mediawan Kids & Family’s Method Animation (Miraculous: Tales of Ladybug & Cat Noir), Drawsome Studios, and Belvision, the series follows two endlessly squabbling brothers in a whimsical fantasy setting tailored to 6–10-year-olds. Its Canal+ launch later this year will mark one of the first times a true anime-style series has been developed natively for a young European audience.

    Tran, who boasts a following of 5.6 million online, has already generated strong buzz for the project, blending digital creator energy with broadcast-scale ambition. For MIPJUNIOR, the premiere is more
    than a debut—it’s a statement of intent.

    “This is a makeover with a mission,” said Lucy Smith, Director of MIPCOM CANNES and MIPJUNIOR. “Kids’ content is driving wider media trends. We’re giving creators, platforms, and partners a space to unlock new models and spark fresh collaborations.”

    The 2025 edition will debut the Gare Maritime as a networking and pitch arena, allowing creators and producers to connect directly with buyers, gaming companies, publishers, and brand studios from 60+ countries. With more than 900 delegates expected, MIPJUNIOR is positioning itself not just as a preview event, but as a launchpad for globally relevant IP.

    For Julien Borde, President of Mediawan Kids & Family, Ki&Hi underscores the shift: “We’re filling a gap with something truly original. It’s an anime with a caring, authentic voice that reflects real sibling dynamics—funny, emotional, and age-appropriate.”

    Programming across the two-day event will center on storytelling that travels—across borders, formats, and platforms. Sessions will spotlight the creator economy, hybrid production models, and the
    growing influence of digital-native stars. The shift comes as broadcasters, streamers, and IP owners look for new ways to cut through in an attention-fragmented market.

    But the heart of the event remains storytelling—refreshed, diverse, and platform-fluid. By turning Ki&Hi into a symbol of its new direction, MIPJUNIOR signals it’s no longer just about what kids watch, but how and where they engage. For those converging on Cannes, the message is clear: kids’ content isn’t just evolving. It’s accelerating.

    (If you are an Anime fan and love Anime like Demon Slayer, Spy X Family, Hunter X Hunter, Tokyo Revengers, Dan Da Dan and Slime, Buy your favourite Anime merchandise on AnimeOriginals.com.)
     

  • MIP London debuts with strong attendance, sets sights on 2026 return

    MIP London debuts with strong attendance, sets sights on 2026 return

    MUMBAI:  The inaugural MIP London market  concluded its five-day run on 27 February  with metrics that suggest a respectable, if not quite revolutionary, entry into the crowded conference calendar. Some 2,800 delegates from over 80 countries descended upon the capital for what organisers hope will become a fixture in the global television industry’s peripatetic schedule.

    The event, which ran from 23-27 February, appears to have established itself as a new fixture in the global television industry calendar, with the IET London and The Savoy already confirmed as venues for 2026.

    “MIP London’s debut exceeded expectations. This is year one of a long-term commitment and we will be back in London next year,” said MIP London and MIPCOM Cannes director Lucy Smith. “This was new, a new format, bringing in new people, and it really feels that MIP London has found its place in this busy week.”

    European delegates comprised the largest contingent, followed by North Americans, with significant representation from Asia, Latin America, the Middle East and Türkiye. More than 70 companies established meeting spaces, including country pavilions from Belgium, China, France, Korea and Spain.

    The event featured an extensive programme of international screenings, insight presentations, and industry matchmaking sessions. Notable highlights included presentations from YouTube and a headline conversation between Netflix’s chief content officer Bela Bajaria and David Beckham.

    Attendees reflected the evolving media landscape, with traditional buyers and sales executives joined by producers, content creators, and representatives from digital-first companies and streaming platforms, including Fast,  AVOD and CTV players.

    Smith emphasised that the new event was designed to complement existing industry gatherings. “Our plan has always been to complement existing events, and I thank everyone who came and engaged with the market. We will listen intently to every bit of feedback to evolve MIP London for 2026 and beyond, and to deliver what the international industry says it needs.”

    The 41st edition of MIPCOM  Cannes, MIP London’s established sister event, will take place from 13-16 October 2025, preceded by MIPJunior on 11-12 October.

  • Indian pavilion at Mipcom 24 in Cannes makes a positive impact

    Indian pavilion at Mipcom 24 in Cannes makes a positive impact

    CANNES: It’s sunny and very warm in Cannes on the French Riviera. But inside the famed Palais des Festivals the Indian pavilion put up by the Service Exports Promotion Council (SEPC) along with the ministry of information &  broadcasting (MIB) and the ministry of commerce & industry  is a hustle-bustle of activity.

    It’s almost 9:30 am in the morning and the clock is counting down the minutes as Prasar Bharti CEO Gaurav Dwivedi, Telangana special chief secretary of the industries & commerce (I&C) and information technology (IT) Jayesh Ranjan, counsel general of India in the Indian consulate in Marsielles Rupjyoti Brahma Karjee,  SEPC chairman Karan Rathore and director general Abhay Sinha are all geared up to inaugurate the pavilion which is the watering hole for many Indians who have come together to attend the  largest and most successful content trading and co-production market globally.

    Once the signal is given the four of them cut the ribbon and cheers go around celebrating India’s largest ever presence and pavilion at Mipcom. Close to 235 Indian delegates from 70 or more companies and independent creative professionals have signed up with RX – the organiser of Mipcom – to boost India’s content trade with the world.

    “We are delighted to build the platform – with the support of the two ministries –  for India’s independent animation and VFX studios, film and TV producers and distribution companies, and media and entertainment service providers at this very vibrant market,” says Sinha. “The MIB’s message is very clear: create in India and make it the content hub of the world. Our role to help achieve that goal and, If possible, crunch the time frame required to get there .”

    It is Dwivedi’s first visit to Mipcom  and he’s quite gung-ho about the opportunities it provides for the pubcaster to get connected with other public broadcasters, expose DD India, the English news channel, which provides an India view on global and Indian developments to the world. Finally, he is also looking at acquiring all genres of content from domestic Indian content owners and international producers and distributors in preparation for DD’s OTT service which is slated to start streaming next month.

    The Indian pavilion is also home to Telangana and Karnataka states. The former is promoting its image tower for the AVGC sector, inviting international companies to come and invest in the state, and to it’s annual gathering of the AVGC confab India Joy.  The latter is promoting Karnataka’s AVGC Centre of Excellence and its annual event Bangalore GAFX.

    55 other companies registered for Mipcom are also using it as a meeting place with their international clients with who they have either distribution, coproduction, or acquisition relationship.

    While the Indian presence is marked by veterans and seasoned animation studio professionals, the youngest exhibitor on the pavilion is 19 year old animation student in Paris Joyce Ahuja who has come armed with all her art work and a small teaser for her animation feature film.  

    “Mipcom is an awesome place and I am glad to have made up  my mind to attend and get feedback on my project so I can make it even more appealing globally,” she says, her eyes gleaming with excitement, despite her aching legs. She has the confidence that her project will attract the right fund providers and partners to help it get off the ground. 

  • GRB Media Ranch acquires ‘Relative Justice’ from Wrigley Media Group at Mipcom

    GRB Media Ranch acquires ‘Relative Justice’ from Wrigley Media Group at Mipcom

    Mumbai: GRB Media Ranch president Sophie Ferron has announced the acquisition of the US rights from Kentucky producers Wrigley Media Group for two seasons of the courtroom reality series Relative Justice at Mipcom 2024 where they are exhibiting at stand number R7.A16. Previous license deals from GRB Media Ranch sales & acquisition executive, Liz Levenson, with Pluto UK, Viu South Africa. Wrigley Media Group CEO Joe Livecchi closed the deal at Mipcom with Ferron and Levenson.

    Relative Justice is a daily arbitration-based reality court show featuring Judge Rhonda Wills. It explores family disputes that escalate, often involving money, with emotional conflicts at the forefront. Season one (150 x 30) and season two (150 x 30) are also available as a format.

    Ferron stated, “GRB Media Ranch is thrilled to announce the acquisition of the U.S. rights for finished program and format for two seasons of the captivating courtroom reality series, Relative Justice., showcasing real-life courtroom family drama like never before! After successfully distributing the series internationally in the U.K. and South Africa, we are excited to now bring this engaging show to American audiences.”  

    “Relative Justice hits on a universal truth, you can’t choose your family, but you can choose where to take them to court. This format is a guilty pleasure and the overwhelming verdict around the world is ’sold!’,” said Wrigley Media Group chiarwoman Misdee Wrigley Miller.

  • GRB Media Ranch announces new slate for Mipcom

    GRB Media Ranch announces new slate for Mipcom

    Mumbai: GRB Media Ranch has announced the acquisition and presentation of an extraordinary slate of newly acquired diverse programming, bringing its content slate to over 5,200 catalog hours, which will be available at Mipcom. This includes over 150 new hours of factual programming spanning paranormal, true crime, food/travel, and documentaries—acquired within a year after the landmark merger of GRB and Media Ranch. This impressive collection features gripping true crime, tantalizing food and travel, spine-tingling paranormal stories, and thought-provoking documentaries. GRB Media Ranch is setting new benchmarks for quality, quantity, and variety in content. Their Mipcom 2024 stand number is R7.A16.

    Cutlers Court: This courtroom reality show features Emmy-nominated judges Dana and Keith Cutler, who address relationship issues like cheating, paternity, and finances. They consider whether couples should continue or end their relationships. Duration: 150 episodes of 30 minutes each.

    Playground: A docu-reality series set in a premier dance studio led by top choreographers, with auditions from artists like Megan Thee Stallion. The sessions attract ambitious dancers and create plenty of drama. Duration: 9 episodes of 60 minutes each.

    Carol of the Bells: Starring RJ Mitte from Breaking Bad, this film follows a young man on a journey to find his biological mother, who is developmentally disabled. Produced by Inclusion Films, 70 per cent of the crew members have developmental disabilities. The feature won the Audience Favorite Feature award at the 2019 San Diego International Film Festival. Formats: One feature film of 100 minutes and one documentary of 25 minutes (behind-the-scenes).

    Carnival Catwalk: A thrilling fashion reality show where designers compete on a dream island, blending fashion, Caribbean Carnival, and competition for a cash prize and a showcase at Milan Fashion Week. Duration: 9 episodes of 60 minutes each.

    Owl Rescue: This South African reality wildlife and conservation show features Brendan and Danelle Murray, who run the Owl Rescue Centre, focusing on the well-being of South Africa’s owl population. They also rescue other wildlife, including porcupines and serval cats. Duration: 10 episodes of 30 minutes each.

    It’s Pawsable: Explore the captivating South African animal world with Heather and her team at Paws-itive Paws-ibilities as they rehabilitate furry patients and share heartwarming stories. Duration: Eight episodes of 30 minutes each.

    Prairie 911: Animal Rescue: This docu-series follows the recovery journeys of injured and abandoned animals at the Canadian Wildlife Haven Rehabilitation Centre, led by Dr. Fanny and her team. Duration: 26 episodes of 22 minutes each.

    Haunted Hollywood: Inside the LAPD Museum: A paranormal docu-series uncovering infamous Los Angeles true crimes, including the Charles Manson murders and Marilyn Monroe’s death. Duration: Eight episodes of 60 minutes each.

    Canadian Case Files: This series probes Canada’s most famous criminal cases from the past 30 years, featuring documentary-style reenactments of the events. Formats: 49 episodes of 30 minutes each in English and 52 episodes of 30 minutes each in French.

    Blue: The Life and Legacy of George Rodrigue: A portrait of Cajun artist George Rodrigue, creator of the Blue Dog, featuring interviews with friends and celebrities like Emeril Lagasse and Drew Brees. Duration: One episode of 60 minutes.

    Lebanese Burger Mafia: A James Beard-nominated documentary about Burger Baron, a rogue Canadian fast-food chain with mysterious origins and a cult following. Duration: One film of 120 minutes.

    No Limits: This film follows Leah Goldstein, a professional Canadian-Israeli cyclist and former world champion kickboxer, who became the first woman to win the overall solo division of the Race Across America in 2021. Duration: One film of 93 minutes.

    Ferron stated: “GRB Media Ranch is pleased to announce an unprecedented slate of acquisitions showcasing the breadth of compelling programming that we offer.  We are one of the largest U.S. independent distributors with a catalog that clearly highlights our dedication to bring only the finest and most captivating content to the world!”