CANNES — News of the death of Mip-TV looked greatly exaggerated if the 2023 edition, which played out over April 17-19 in Cannes, was anything to go by, with Lucy Smith, director of MipTV and Mipcom, Cannes two TV trade fairs, announcing final figures of 5,560 participants, including 5,510 on-site delegates.
That said, attendance was sizeably down on pre-pandemic levels – 9,500 attendees in 2019 – with major European drama sales companies literally counting the cost of attendance and exhibition space versus Mip-driven sales. In a fast-evolving TV landscape, the future and identity of MipTV still remains uncertain. 10 takeaways from this year’s edition:
MipTV: The Impact of Brute Market Forces
Two major macro market trends, both presented by Ampere Analysis’ Guy Bisson’ in an early MipTV panel, go a long way to explaining 2023 MipTV. Global streaming commissions in the fourth quarter of 2022 were the lowest in over two years; unscripted represented 30.35% of streaming commissions last quarter 2019, 50.3% Oct.-Dec. 2022. Established broadcasters, free-to-air and pay TV, look to have followed much the same commissioning and programming trends as commissions and budgets contract and production costs escalate. “I do feel like the bubble has somewhat burst,” Studiocanal CEO Anna Marsh said in a keynote, adding that “[development] periods are stretching out, there aren’t as many green lights as there were in the past.”
Yet the Market Needs Markets
Yet, the new international landscape in some ways plays in the favor of Mip-TV and other markets. “I think that the market for exclusive buying up all rights in perpetuity has to change because all of these big companies need to make money,” said Jane Featherstone, who accepted PvNew’s 2023 International Achievement in Television Award on behalf of Sister, the production company behind “Chernobyl” and “Landscapers.” As global streamers foreseeably bring more of their productions onto the open market, selling to third parties, the market at large will need on-site marketplaces to position and push their titles.
Super Indie Presence
That was already happening at MipTV. Even if they didn’t have a massive exhibition presence, Europe’s super indies were often still present at MipTV one way or another. ITV’s Ruth Berry, for instance, delivered a keynote on how under her new role it is leveraging the breadth of their portfolio across multiple platforms. “MIPTV is still an important moment in the calendar for us. We will be attending this year with several of our sales executives to meet with clients and will also be taking part in a panel at the FAST summit,” said Jens Richter, CEO International, Fremantle, who attended MipTV in person.
New Drama Titles at a Premium
Led by Benedict Cumberbatch fantasy series, “How To Stop Time,” from Sunny March, Studiocanal and Canal+, some big new dramas were brought onto the market at MipTV. The ever more synergising Canal+ and Studiocanal are still expanding in the scripted space, buying into Strong Film & Television, led by “Broadchurch” director James Strong. But, with many big drama outfits having primed and sold their biggest scripted fare at the London Screenings or Series Mania, big new reveals were at a premium.
Big Buzz Titles
Of the three big U.S. world premieres at Canneseries – Apple TV+’s “Silo,” headed by Rebecca Ferguson; Prime Video’s Rachel Weisz-starrer “Dead Ringers”; and Paramount+’s “Fatal Attraction,” with Lizzy Caplan, and Joshua Jackson– “Silo” was the bestreceived, though both “Fatal Attraction” and “Dead Ringers” had their fans. In Canneseries Competition, best screenplay winner “Bargain,” part of Paramount’s global content alliance with South Korea’s CJ ENM, was one favourite, another was “Spinners,” from Showmax, Canal+, Federation MEAC and Studiocanal, a mean streets coming of age saga and calling card for South African premium series production values. Netflix’s banner French bio series “Tapie” was also very well received.
MipTV: Back to Basics
In many ways, however, a now scaled down MipTV represented a return to basics, where, as before the drama boom, it stood apart from bigger sister Mipcom for its steady dealing in formats, factual and kids. Paramount, for example, brought Paramount+ titles “Fatal Attraction” and “Bargain” to Cannes,“The titles which typically ring the bells are our series,” said Lisa Kramer, president of international TV licensing, Paramount Global Content Distribution, in reference to these two titles. “However, we are at MipTV for kids. and the amount of factual and unscripted content that we bring to the market is enormous,” she added.
Unscripted Rules
At 2023 MipTV, it was, however, unscripted – formats, docs and factual – and kids content which made most of the running this week in Cannes. In maybe the most significant sales news at MipTV, All3Media International announced six brand new format commissions – including Portugal, Greece, Hungary, Israel and Sweden – for big breakout reality hit “The Traitors,” originally produced by its Dutch outfit, IDTV. “The Traitors” and “FBoy Island” are “the true trendsetting formats of the season,” The Wit’s Virginia Mouseler said at her Fresh TV Formats presentation at MipTV.
Potential Next Big Things, from Korea and Beyond
South Korea is also bidding to become a format super-power. As pointed out during a K-Formats showcase, 2022 marked the fourth year in a row when “The Masked Singer” was crowned as the best-selling format in the world. But there is more, with companies at MipTV’s K-Formats teasing the likes of CJ ENM’s “The Time Hotel,” where the only currency is time, or gameshow “Gganbu Race,” inspired by “Squid Game.” Highlights of Fresh TV Formats ranged from “For the Love of DILFs” and U.K. show “I Kissed a Boy” to Belgium’s “Destination X” from Be-Entertainment, in which clueless contestants travel across Europe in a black bus with opaque windows. Their challenge? They have to figure out where they are.
Kids Content: Thriving at MipTV
However much off the radar, kids content trading at MipTV looked to be thriving. Sebastian Debertin, head of international content acquisitions & co-productions, at KiKA, the joint kids’ channel of Germany’s public broadcasters ARD and ZDF reports KiKA had 483 “serious requests” for meetings, and was forced to cut meetings to 20 minutes a shot. It also received 360 international content offers just because of MipTV. “I heard some people’s complaints about MipTV this year but I must say that MipTV is truly an essential source for me and many, many other buyers, as we all need a market early in the year in Spring,” Debertin added.
To Sell or Not to Sell
With scripted commissions drying up and deep-pocketed players ready to pounce, independent TV companies are either selling, looking to sell, or finding alternative ways of forming alliances. During MipTV, a pair of big French players, Mediawan and Studiocanal, announced new acquisitions. Mediawan, which is becoming increasingly international, bought the Dutch banner Submarine whose credits include Richard linklater’s “Apollo 10 1⁄2: A Space Age Childhood,” while Studiocanal bought a stake in U.K. outfit Strong Film & Television. Meanwhile, Canneseries and MipTV organized a networking event Mip x Canneseries Connection which brought together execs and creatives from indie players and mini-majors with the idea of spurring first-look deals, international co-productions and acquisitions.
Second Windowing, a Growing Interest
Keshet International began to sell at Cannes linear rights to Apple TV+ Original “Suspicion,” one of the rare instances where an original on a streamer (that’s still available globally on the platform) has been sold on the open market,Varietynoted. Distributed internationally by Paramount Global Content Distribution, “The Great” Season 2 bowed first on Starzplay in the U.K. in December 2021 and then on Channel 4, eight months later, Kramer notes. Signature Paramount+ Originals, such as “Fatal Attraction” and “Bargain,” will always bow on Paramount+ in territories which have the service. However, “if there are second window opportunities, we would absolutely explore them,” she added. As Hollywood studios seek more bang for their buck with split rights deals, second windowing looks set to grow.
The Deals, and Industry Announcements
*Studiocanal announced Benedict Cumberbatch romantic historical fantasy, “How To Stop Time” and a stake in Strong Film & Television and presented “The Brigade,” its bid for a big new crime franchise.
*James Corden and Arthur Essebag revealed a new joint venture.
*Germany’s Telepool, owned by Will Smith’s Overbrook, confirmed it is moving into lead producing series, movies.
*Rakuten TV used MipTV’s FAST Summit to confirm new FAST Real and Crime channels in Continental Europe and U.K.
*Eco-thriller ‘The Swarm,’ from showrunner Frank Doelger and Beta Group/ZDF Studios, was picked up by Sky for the U.K.
*Beta Group also announced Season 6 of “Hudson and Rex,” adding it to its MipTV sales slate.
*Netflix scooped rights to French fantasy “Vortex,” from France Distribution.
*Screen Global introduced WWI espionage thriller “Davos,” with “Sisi” star Dominique Devenport,
*All3Media International announced six more format commissions – including in Portugal, Greece, Hungary, Israel and Sweden – for “The Traitors.”
*BBC and NBCUniversal co-commissioned Belgian travel reality competition show. “Destination X.”
*ViX and The Mediapro Studio brought onto the market “Las Pelotaris, 1926,” set in the dawn of today’s battle for gender equality.
*REinvent boarded female empowerment series ‘Vigdis’ from the creators of “Blackport.”
*ZDF Studios picked up doc “Colonies in Conflict” and announced Jeffrey Haverkamp would take up the newly created position of director of international content partnerships.
*Keshet International revealed sales on “Undercover: Sexual Harassment – The Truth” and “My Name is Reeva.”
*Walter Presents inked RTVE noir thriller “Sequía’s’” VOD Rights for English-language territories.
*Mediacrest unveiled eco reality format “The Village.”
*’Sintonia’ Creators KondZilla, LB Ent. announced three new series.
*Sipur unveiled a new dating format, “Everybody Loves…,” as it rapidly builds as an Israeli film-TV studio.
*TrustNordisk sells psychological drama “Copenhagen Does Not Exist.”
*”Magnificent Century” producer Timur Savci launched Turkish show “Modern Woman” at MipTV.
*“We Need to Talk about Kanye,” talking about Kanye West, was sold by Abacus Media Rights to a bevy of territories.
