MIPCOM 2025_NEWS 3

THE Beatle & the Bass

The legendary bass that shaped music history - and Paul McCartney’s hunt to find it.

The Donald Trump Show

The president stars in his own political soap opera.

‘When something scares me a little bit, that’s when I run at it’

Mattel’s Brenner: toy stories that matter

ROBBIE BRENNER, president of Mattel Studios and chief content officer, used her MIPCOM CANNES keynote to outline how the toy-to-entertainment powerhouse plans to emulate box-office sensation Barbie movie, which grossed $1.4bn (€1.2bn) worldwide.

With hundreds of toy-based franchises to choose from, Brenner said Mattel is working on a broad range of film, TV and digital content. Upcoming examples include Matchbox and Masters Of The Universe movies and a live-action series based on Mattel’s Magic 8 Ball, to be directed by M. Night Shyamalan. Also in the works are a Polly Pocket movie, a series for Amazon MGM based around the Shani doll line, and — intriguingly — a live-action Barney movie directed by Academy Award-winner Daniel Kaluuya. Brenner, who produced cultural tour de force Barbie, joined Mattel seven years ago after a feted career as an independent filmmaker. Explaining that move, she told delegates: “I met Mattel CEO Ynon Kreiz and we had this incredible meeting of minds. For me, content starts with creating great stories and working with the best filmmakers and characters. He shared that philosophy. He wanted me to take these amazing

brands and unlock interesting and surprising stories. So it was really one of those moments when my life just took a completely different path.”

The fact that Mattel’s goal is to sell toys has not got in the way of Brenner’s storytelling ambitions. “My job is to find ways to tell stories that feel authentic, have integrity and celebrate Mattel’s brands. But we do it in a way that is out of the box and unexpected.”

All of Mattel’s content activities fall under Brenner’s purview: “Film, TV and digital used to be so separate but these days everything is so blended. So it makes sense to have everybody under the same umbrella working to create an ecosystem for these brands. We have a Masters Of The Universe movie, a live-action TV show and an animated series — all of which offer audiences different ways to experience the content.”

The Barbie movie, directed by Greta Gerwig, was a great way for Brenner to stamp her vision. “I want to find bold, interesting voices and ideas I haven’t seen before. I want our productions to be culturally relevant but fun, so they don’t feel like medicine. When something scares me a little bit, that’s when I like to really run at it.”

Disney+ ‘very much embedded’ in media partners’ local ecosystems

A REGIONAL approach to Disney’s streaming platform, Disney+, is creating symbiotic relationships with local broadcasters and giving more value to viewers, according to Nami Patel, The Walt Disney Company EMEA’s senior vice-president of consumer strategy and business development, direct-to-consumer. “We are very much embedded in the local ecosystem and our video partners are very much the backbone of that,” Patel said. “They have some of the largest audiences, some of the most talked-about shows and their audiences typically skew a little bit older. Disney+ skews towards the youngest viewers out of all the streaming platforms, so we complement each other.” Patel added that deals such as the

one Disney+ recently struck with ITVX illustrate this complementary success. “Some of ITVX’s shows have made it into the top 10 on Disney+ in the UK, such as Karen Pirie, driving a larger audience for them and for us.” She explained that the partnership also included “a taste of Disney+ on ITVX”, with hits such as Only Murders In The Building, which was equally “driving new audiences for our shows”.

This local approach in Europe includes beneficial relationships with ZDF Studios in Germany and AtresMEDIA in Spain. Patel added: “We believe in local media ecosystems and in supporting the long-term future of broadcasters — it benefits eve -

ryone.” She said that, by way of contrast, “global iconic stories come from our US partners”. Meanwhile, the sharing spirit with which Disney approaches its distribution partners is highly appreciated, said Paolo Agostinelli, The Walt Disney Company EMEA’s senior vice-president of platform distribution. “We are trying to find ways to create value together and share the return on investment in a fair way. That is

the foundation of our successful partnerships,” he added. Agostinelli said that windowing strategies ensured that content reached the right audiences at the right time. “It makes sense for us to keep our newest titles available for our own platforms for a period of time, to grow our direct-to-consumer business,” he added. “But other viewers prefer to watch content in a linear way and are happy to wait, and that helps bring in a different audience.”

There’s gold in them media libraries…

MIPCOM CANNES delegates heard how to turn media libraries into global revenue powerhouses at a strategic workshop organised by YouTube on Tuesday.

Sam Vergauwen, YouTube’s country manager for Benelux, said that television has become the latest big consumption trend, adding that “26% of the time, viewers are watching YouTube together on their TVs”. In the US alone, some one billion hours of YouTube content is viewed on TV daily. Vergauwen noted that the easiest way for content owners to monetise video on YouTube is to simply “click monetise, to benefit from the global YouTube sales organisation”. However, he explained that chan-

nel owners can do far more, including partner integrations — namely, integrating their own advertisers through sponsored segments and long-term brand sponsorships. Another option is “fandom monetisation”, where content creators add paywalls, channel memberships, ticketing and live events to generate revenue.

Joining the workshop, Bora Başman, YouTube’s strategic partnerships manager, who works across Turkey and emerging markets, said that the platform is being exploited differently in a range of countries. “In Turkey, YouTube is used as catch-up TV — everything is uploaded there directly after transmission”, he said. That is gi-

ving a second life to content, while dubbing into different languages ensures that the content reaches entirely new audiences. “Production companies can also create shoulder content around their IPs, while broadcasters can extend the shelf life of IP and explore international monetisation,” he added.

Ceyda Sıla Çetinkaya, Merzigo’s chief operating officer, said that her firm now manages more than 5,000 YouTube channels, which are doubling and sometimes tripling revenues from shows. “Traditional media and broadcast is not the final destination — it’s just the starting point,” she said. “We believe that the future of broadcasting isn’t replacing TV, it’s extending it.”

‘The walls between media have collapsed’

MINDSCOPE founder and CEO Lea Karam used her MIPCOM CANNES keynote to tell content owners that they need to unpack the science of human engagement to successfully navigate the complexity of the new media landscape.

Informed by her background in behavioural science, she explained her company’s mission: “Mindscope guides media organisations in terms of understanding emerging human behaviours, then helps them turn social and human outcomes into commercial success.”

A crucial point that content creators need to understand is that “the walls between different media sectors have collapsed. Companies need to remove media silos because audiences don’t differentiate between them and neither should we. Different media formats are just vessels of delivery and integration happens in the human mind. Media companies need to understand how the human mind moves through different formats, how audiences want to participate and what motivates them.”

‘It’s not attention spans that have got shorter, but filter spans’

During the session, How to Drive Communities From Seconds To Storylines, Karam shared some exclusive insights that debunked the idea that today’s consumers have shorter attention spans. “Our research has shown that it is not attention spans that have got shorter, but filter spans. There is so much content overload now that we are just much better at filtering out information.”

This is a key observation, she said, but it focuses attention on how content owners and creators can “build signals that get the audience to engage with your content”.

She then shared an audience-first model that can help content companies win “the messy middle” where content competes for attention — based around cognitive bias, cultural contagion, human behaviour principles and audience intelligence.

Karam ended the session by bringing on Snap EMEA president Ronan Harris to talk about how social-media platform Snapchat can help content owners and brands engage with audiences. He cited an example of how Channel 5 show Seven Wonders Of The World used AR filters to engage with audiences in an innovative way. He also discussed how Taco Bell increased footfall by partnering with the Snap Map feature.

Think like a creator if you want social-media success

IF TRADITIONAL TV companies want to have hits on social media, they need to think like creators, according to Callum ‘Callux’ McGinley, co-founder of After Party Studios.

“These social platforms were built and sculpted by creators so, if you want to operate on them successfully, you have to think like them,” he said during yesterday’s MIPCOM CANNES Spotlight: The Creator Economy session.

McGinley and After Party co-founder Ben Doyle were joined by two of the creators who appear in some of the studio’s most successful formats.

Specs Gonzalez hosts Scenes, the digital-first football show that After Party makes for Sky Sports, while Nella Rose’s personality drove Find The Cheater, a format that aims to spot men who are romantic rogues, to 3.6 million views for client Channel 4.0. Rose, who also appeared in TV reality shows including I’m A Celebrity… Get Me Out Of Here!, offered the

MIPCOM CANNES audience some no-nonsense comparisons. “With reality TV, it’s scripted from start to finish,” she said. “They need characters: they need somebody to be the bad boy, somebody to be the bombshell, somebody to be the problematic person. You get cast… and the conversations they make you have are steered towards the storyline.”

She added that, in digital media, “I can just be myself. As an audience, you can tell when your favourite influencer is being produced in a different way.”

The session, hosted by What’s Trending’s Shira Lazar, also included Sean Atkins, CEO of Dhar Mann Studios, the production company named after its founder, who has tens of millions of followers on social-media and video platforms.

“There are enough scaled creators now that it’s almost like 300 cable networks have exploded in the US and around the world,” Atkins said. “Dhar has enough views on a

weekly basis to be twice the size of the Super Bowl — 52 weeks a year!” Atkins encouraged the TV industry not to see this as a threat, suggesting that creators should be seen as potential co-producers instead.

The session finished with Lazar interviewing Kudzi Chikumbu, vice-pre-

sident of creator partnerships at AVOD and FAST platform Tubi. “We are focused on long-form creators but, if they are short-form creators with long-form dreams, Tubi can be a place for them to step into that world,” Chikumbu said.

He also warned against shoehorning creators into TV formats that don’t suit them: “It’s about looking at what the creator wants to make. Let the creator be the creator. We don’t need to give them a format.”

The best creators tell authentic stories

INDEPENDENT creators and those seeking independent talent should prioritise authenticity and true storytelling above all, a panel of experts has agreed.

Taking to the stage at the MIP Innovation Lab yesterday executives specialising in content acquisition and talent spotting were asked to discuss the rise of independent creators and how creator-led IP can be developed, scaled and monetised globally.

“Stories matter,” he added. “If you want to hold [viewers’] attention for 45 minutes, you’ve got to have a story that resonates on a human level. That’s what distinguishes the very best from the others.”

Rothenberg agreed that it was crucial to accentuate the unique qualities of content creators. “It goes back to the talent,” she said.

“As producers it really goes back to ‘What is this person’s superpower as a creative?’ and is the content authentic to that talent?”

Asked by moderator Geoff Clark, chief executive of acTVe, what were the keys to successful IP

On the panel were Jonitha Keymoore, senior vice-president content acquisitions at Radial Entertainment; Joe Ochoa, co-founder, Creator Television; Tamara Rothenberg, head of talent and creators, Samsung TV Plus; and Colin Petrie-Norris, founder and chief executive of Fairground Entertainment.

creation, Petrie-Norris said that a creator must “know themselves, have an idea of their audience and really speak to that audience. Really staying true to your audience is key.”

Keymoore said that the generation that has grown up with early smart phones and the first streaming platforms has become “really digitally savvy” and is now leading the way in content creation.

Why FAST channels are a real game-changer for sport fans

SPORTS fans are being increasingly drawn to “highlight-driven, information-driven” free ad-supported streaming TV (FAST) channels, a senior executive in the field has said. Speaking to delegates at a MIP Innovation Lab session yesterday, Stefan Van Engen, vice-president of content partnership, acquisition, distribution and experience at FAST provider Xumo, said that the use of the live highlight and informational functions on FAST sports services was an increasingly popular, free accompaniment to core sports viewing.

Citing the fact that 33% of FAST sports fans surveyed had said they watch over half of their sports on FAST, Van Engen said: “That means the highlight-driven, information-driven sports channels that are available for free to users are engaging and are increasing their stickiness among fans.”

He also said that seasonality is a key factor driving increasing engagement with channels, just as it was in other forms of sports viewing, even where live streamed

games were not available.

“Seasonality continues to drive FAST exploration and FAST engagement,” he said. “Seasonality is nothing new in sports, you have

that all the time in the cable world in the US. You’ll see people with virtual multichannel video programming distributors subscribing for the NBA season, for example.

“The same is happening in FAST. On the NFL channel, the new season has started. We don’t have live NFL games on FAST, and that channel is widely distributed across multiple platforms but they do have live informational sessions all Sunday afternoon, and the engagement has grown month over month as the season continues.”

Van Engen said the lack of live NFL games on Xumo’s FAST sports service was not deterring audiences, and that the number of people using the live informational sessions linked with NFL games was steadily increasing.

“They’re not leaving, they’re sticking around for 45 minutes to 60 minutes just to get their information, their highlights.”

He also pointed to the fact that Xumo’s NBA FAST channel doubled in usership during the NBA playoffs and playoff finals in June this year.

Audiences call the shots on sports

SPORTS providers are having to think about “whole ecosystems” of content and services in order to satisfy modern users’ increasing expectations, an executive from a major sports rights holder and platform has told delegates.

Speaking at a MIP Innovation Lab session yesterday, Lisa Eller, vice-president for advertising at DAZN Group, said that providers had to be conscious of the new ways modern audiences are engaging with sports and the “expectations that come along with the audience”.

Eller said audiences were demanding additional services and chan-

nels where they can interact with each other, “but also with us”.

“For us as a rights holder and as a platform that means we have to create a whole ecosystem to make sure that we reach the audience in whichever context they want to use our services,” she said.

“It’s a challenge to create a holistic offering for brands and make sure that they reach the user in the exact moment they want to reach them with the exact same asset that they want to use.”

Eller was speaking beside her colleague Haruka Gruber, senior vice-president media, Central EU, who described some of the

challenges to sports streaming services, including content piracy.

Gruber said that “rights holders should do more to fight piracy”, which is reported to cost the industry some $28bn (€24bn) per year, adding that there should be “more of a social marginalisation” against people who use VPNs to illegally watch sports content.

“Nobody’s ashamed to say that they use VPN but they really should be because they are really threatening the whole business model,” he said. “But even with the best products it’s an issue that is not solved and that’s something that we all need to focus on.”

‘It’s the right time to be in the prank business’

SHORT, un-dialogued comedy content including street pranks is a “gold mine” waiting to be exploited by broadcasters, according to the head of a production company specialising in the genre.

François-Xavier Poirier, chief executive of French production company Novocomedy, has said that the long-running genre of short comedy clips involving hidden camera pranks is entering into a new era of relevance thanks to new media and formats.

Poirier said that a new content-leverage model that takes advantage of existing libraries could provide a vital new stream of revenue for broadcasters and production companies, saying that “cumbersome” existing structures were holding them back.

He is advocating for a new approach to producing and broadcasting short comedy clips, including non-verbal content, adapted to meet the new demands and opportunities of OTT and digital channels. With the right model, he said, return on investment could be huge.

He also said that online and social platforms offered the opportunity for local content to go global very quickly.

“It’s the right time to be in the prank business,” Poirier said. “It’s a format that young people engage with and relate to, and is perfect for social media, or for longer form for TV. It’s adaptable. And there’s no language barrier.”

Novocomedy owns and manages a major library of existing content, totalling 120,000 clips, or 450 hours

of HD content. The company has entered into a collaboration with Brazilian network SBT, which has produced street-prank and hidden-camera shows for 40 years.

Speaking in Cannes, SBT content acquisitions and sales manager Goyo Garcia said that producers

and distributors of this genre need to take a modern approach and “start thinking out of the box” in order to maximise the leverage potential they can offer.

“We need to start adapting our content to have a global view. Local content like this can go global.”

Brands are ‘more open to storytelling and less to interruptive advertising’

THE SECOND day of BrandStorytelling at MIPCOM CANNES kicked off with a market overview by K7 Media non-executive director Clare Thompson.

Speaking to the MIPCOM CANNES Daily News ahead of the event, she said various factors “from more measurable digital media to AI tools and further pressure on advertising are making it imperative for producers and brands alike to explore brand-funded content models more assiduously”.

She added: “As international producer/distributors ramp up their efforts and more agencies and producers spring up in the intersection between TV, digital, social and advertising, the case for branded entertainment is becoming stronger.”

During her session, Thompson said the measurement of branded entertainment is still very raw. But she put the total value of the sector at around $150bn (€130bn) (2023 figure), with experiential marketing accounting for around $82bn of that total. “The sector breaks down

Clare Thompson, K7 Media

into lots of areas, but experiential marketing activities around sport and music events have grown rapidly, particularly in the US.”

Other key areas highlighted by Thompson included native and content advertising, driven by branded articles, videos and infeed content. Also significant are influencer marketing, product placement and AFP/co-created programming. One key strand she highlighted is the growth in the use of podcasts for branded content. While measurement is not always easy, Thompson said: “The main message to take away is that brands are more open to storytelling and less to interruptive advertising. That is particularly evident in emerging markets like Latin America and Asia.”

Supporting this argument, she cited Dentsu’s report, From Share Of Voice To Share Of Culture (2024), in which 78% of chief marketing officers said the creation of entertainment properties is hugely important to their marketing strategy.

We need more ‘stories that matter’, not more content

SERIAL media entrepreneur Doug Scott, who last week launched a new agency called Unxnown, delivered a thought-provoking BrandStorytelling keynote, during which he challenged delegates to “forget the past. Everything you think you know, throw it out.”

Scott expects AI to massively disrupt the content business, although he told his audience: “I don’t like the term AI because there’s nothing artificial about intelligence. I prefer to think of it as data-led intelligence, because it’s data that is enabling us to make decisions and deliver content to the target audience at the right time.”

He is comfortable with the notion of AI becoming embedded in the creative process, suggesting that how it is “prompted” will become a crucial differentiator. “If you

give two directors the same budget and the same script, you’ll get two different end results. So how you prompt AI will ultimately determine your final product.”

Scott, who has worked at the intersection of brands and entertainment for many years, said there is nothing new about brands borrowing culture to drive sales, pointing to the use of Marilyn Monroe and The Flintstones to drive brand messaging. He said the current market is driven by a combination of “creators, fans and brands”.

Scott’s biggest concern about the creator economy is the volume of output: “Over 91% of creators are planning to scale their businesses. This is dangerous. Why? Because we don’t need more content. We need good story… stories that matter.”

The Walking Dead:

‘It’s human

connection. It always has been’

WHAT is the secret behind The Walking Dead’s success? Turns out it’s the humans, not the zombies.

“The whole franchise has always approached these characters with such humanity,” said Melissa McBride, who plays Carol Peletier, during a MIPCOM CANNES session to mark the franchise’s 15th anniversary. “The actors approach their characters with such realness and reverence.”

Webedia: where technology meets content and influence

“It’s always been about the human connection,” added fellow star Norman Reedus, who plays Daryl Dixon.

“That is the core of the show. It’s human connection. It always has been since day one for me.”

Dan McDermott, president of entertainment and AMC Studios at AMC Networks, promised that this will continue. “There are so many more stories to tell in this universe,” he said. “There are many more continents to visit. It’s really exciting to see how far we can take this.”

“We want to go to other places,” added Scott M Gimple, AMC’s chief content officer of The Walking Dead universe. “And I will say that we want to have super-cool zombies as well!”

In her introduction to the session, AMC Networks CEO Kristin Dolan also stressed the human heart of The Walking Dead — albeit with a nod to the dangers facing the characters. “The secret to the success of The Walking Dead was never the zombies,” she said. “It was the very human characters at the heart of the stories, and watching them adapt, struggle and survive. Or not.”

Anime draws viewers and boosts Japan’s economy

CREATOR-led content will come under the spotlight today as industry protagonists discuss the future of entertainment. The panelists include Christian Bombrun, CEO of Webedia, an online media specialist “at the intersection of audiovisual, digital and influence”. In the influence sector, Webedia is the largest player in its key markets of France, Spain, Germany and Brazil. It also seeks to “team up with nearly

ANIME was once for kids. Now it’s a booming global genre. Top executives at the forefront of a sector known for long-running hits and monster merchandise franchises, from Dragon Ball to Demon Slayer, shared their thoughts on one of Japan’s premiere exports. Japan’s Ministry of International Affairs and Communications’ Reiko Kondo said the anime industry is worth some €17bn: “It now

all actors in the media ecosystem, which contributes to our distinct market position”, Bombrun added.

To date, Webedia’s growth has been driven by content and technology, particularly through the rapid evolution of distribution platforms including SVOD, AVOD, FAST channels and connected TV, which are making the TV screen an important area. “Our strategy involves creating powerful IP stars, like Popcorn or Kaizen, to be distributed across all platforms,” Bombrun said. “Technology is an accelerator, with AI enabling both increased creativity and new content opportunities.”

In terms of further expansion, the group is focusing on consolidating its presence in the 10 countries where it is already established. “The immediate priority is to replicate and validate our new convergent production model within the countries where we are already operational” Bombrun added. Today’s panel will also feature insights from Inoxtag, content creator at Inoxtagcorp; and Nil Ojeda Morales, content creator and Milfshakes CEO, Webedia España.

stands as one of Japan’s leading industries, second only to the automotive industry.”

Mio Kaneko from Bandai Namco Entertainment — best known globally for Pac-Man and Dragon Ball — addressed both the audience and panelists to make a call out for talent.

Other speakers included Toei Animation Europe’s Ryuji Kochi; Nippon Animation’s Hitomi Hiratsuka; and TV Tokyo’s Hiroaki Saiki.

Secuoya wins MIP SDG Award for ‘driving lasting change’

SPANISH production company Secuoya Studios is being recognised at MIPCOM CANNES for the impact of its sustainability practices. The Madrid-headquartered business has won this year’s MIP SDG Award, created in association with the United Nations.

Secuoya has developed a new set of filming rules called Greenbook in concert with Mrs Greenfilm, an eco-focused consultancy. It also appoints an eco-manager to each production to help track and implement best practices.

Secuoya Studios’ CEO Brendan Fitzgerald said his company’s commitment to sustainability is “based on belief in innovation,

technology and strategic alliances that drive lasting change”. He added: “Beyond the honour itself, having this stage at MIPCOM CANNES allows us to demonstrate how universally adoptable many of these practices can be.”

The MIP SDG Award was created in 2020 by an alliance of media companies to highlight sustainable development goals as part of a broader global UN SDG effort. Previous recipients have included A+E Networks, Junk Kouture, Open Planet, Sky, Studio Silverback and African education platform Ubongo.

Secuoya, which has operations in Miami, Colombia, Mexico, Chile

Diversify TV marks decade of linking ‘visibility with value’

THE FOUNDERS of Diversify TV are celebrating the global group’s 10th anniversary today at MIPCOM CANNES.

Diversify TV was conceived in 2015 in Cannes by David Cornwall, managing director of Scorpion TV; Bunmi Akintonwa, CEO of the little black book company; Nick Smith, executive vice-president of formats at All3Media International; and Liliane da Cruz, founder of Indicium Consulting.

Reflecting on the past 10 years, Akintonwa and Cornwall said they could say with confidence that they have fulfilled what they set out to do in terms of championing diversity, equity and inclusion — not as a passing initiative, but as a core industry value. “We have helped the global television community widen its gaze and recognise outstanding content that might otherwise have

been overlooked simply because it came from voices or communities that were historically underrepre-

sented,” Akintonwa said. Crucially, by shining a light on excellence, “we’ve shown that diversity is not

and Peru, impressed the judges with its commitment to filming shows including Montecristo and Zorro entirely in Spain.

The award will be presented at 12.00 today by Caroline Petit, deputy director for the UN Regional Information Center for Europe, at the MIP Creative Hub.

Petit said: “Through its certified sustainable productions, the studio has achieved a 30% reduction in carbon emissions and eliminated hundreds of kilograms of plastic waste, producing hit content and setting a strong example for the industry.”

She added: “My message to MIPCOM CANNES delegates is simple: use your voice — it is the most powerful tool we have. When stories are told with purpose, they spark debate, shift perceptions and influence decisions — even at the highest levels.”

only creatively essential but also commercially viable,” she added.

Diversify TV has had a continuous presence at MIPCOM CANNES through its participation on the MIP Markets Advisory Board, as well as with the MIPCOM CANNES Diversify TV Awards,

“We are repeatedly thanked by distributors, platforms and creators alike for giving them a reason to include diverse content in their slates, and for making them feel visible, valued and viable in the marketplace,” Cornwall said. “That, I believe, is the legacy Diversify TV has created: a proven model that links representation with relevance, inclusion with innovation, and visibility with value.”

Building on that foundation, the next phase will be about responding thoughtfully to the times. “While we recognise that DEI initiatives have become more politicised in certain markets, audiences everywhere have evolved — and they continue to expect authenticity, inclusion and stories that reflect their world,” Akintonwa said.

DELIVERING THE BEST IN ENTERTAINMENT TO AUDIENCES EVERYWHERE

BBC on a mission to back bold British stories that can travel

ACCORDING to Kate Phillips, chief content officer at the BBC, “if you can make an impact in the UK market, you have a great product to sell around the world”.

Speaking on a panel covering the BBC’s commissioning process and distribution successes, Phillips said that the BBC’s “guiding principles are distinctiveness, originality and British storytelling”, adding: “We see these kinds of stories travelling really well across the world.” She said production companies looking to approach the BBC should bring all their ambition with “sky is the limit” ideas. “Please don’t think that the BBC wouldn’t go for ‘that’, or couldn’t afford it,” she said. Phillips showcased a clip of Half Man, a new vehicle starring Richard Gadd of Baby Reindeer fame, a powerful and at times violent tale of two

brothers in Glasgow featuring some shocking tropes. She added: “We are a broad church and there is no need to sanitise your ideas for us.”

Janet Brown, president, content distribution, BBC Studios added: “We are so proud to work with indies — we go above and beyond to finance

Breakfast club fosters female talent

MÉDIACLUB’ELLES and MIPCOM CANNES are hosting today’s 13th edition of the International Mentoring Breakfast For Women In Entertainment. A much-loved feature of the market, it has helped successive generations of female talent navigate their way to successful careers in the media business.

MédiaClub’Elles co-founder Laura Lemens Boy has been enjoying coffee, croissants and good company since the first edition in 2012. Speaking to the MIPCOM CANNES Daily News, she said: “At that time, our ambition was to create a genuine space for women to meet, share experiences and build meaningful professional relationships. The goal from the beginning was to foster empowerment through exchange.”

Explaining why MIPCOM CANNES is the right place for the event, she said: “It is the perfect setting to bring together women from across the industry, not just to network, but to have honest, supportive and inspiring conversations.”

In terms of the structure of the event, Lemens Boy said: “We invite a group of mentors, accomplished leaders, producers or creatives to join participants from all over the world around tables. What makes it unique is that it’s an open discussion.”

Over the years, the format has evolved, she said: “The conversations have become more fluid and collaborative, less about top-down advice and more about exchange. Today, we’re welcoming more creators, digital innovators and entrepreneurs.”

and bring to life their vision.”

“As a studio and distributor we are very intentional,” she said. “In order to be bold about funding, we have to be very selective — but once we choose a project, we go all the way in. Budgets have to be bigger to take a win.”

Phillips added that iPlayer would be key for the BBC going forward. While starting out as the BBC’s catch-up service, she said that it had become a powerful platform in its own right. “In the UK, more people still watch iPlayer than Disney+, Amazon Prime, Apple and Netflix combined”.

She added: “Some streamers may have bigger pockets, but we are able to build teams that really work.”

A stated focus for the BBC is to encourage strategic collaboration across the BBC Group — typically BBC Public Service will commission content and BBC Studios will partner to make that vision a reality, taking the show to buyers around the world.

As for the tone of the event, she said it is “a special and intimate event. The atmosphere is warm, respectful, and full of energy. Many attendees describe it as a safe, positive space where women share, support and uplift each other.”

Lemens Boy has no doubt that is has helped women forge successful careers — often as a direct result of networking over the breakfast table: “Some participants have gone on to take on leadership roles or launch new ventures after connections made that morning. Others have developed partnerships that were sparked at the event”.

This year the key theme is “mentoring across generations and borders”, she said. “We also want to recognise how new technologies are transforming the industry. Our hope is to inspire women to step confidently into these evolving spaces.”

AI: empowering a new generation of storytellers

A HOST of speakers working on the cutting edge of the ultra-fast world of AI convened to talk about their work at MIPCOM CANNES’ MIP Innovation Lab.

Visual AI creator Billy Boman, who specialises in cinematic AI photography and video, revealed that he is working on Netflix shows, creating additional background scenes, as well as a music video for the Lewis Capaldi song Something In The Heavens.

Speaking at the Hollywood, Hacked session, he told moderator Verena Puhm, head of Dream Lab LA, that his mantra for keeping on top of the rapid development of AI in video was to “ABT — always be testing”. He also mentioned that AI tools have been used by History Channel to recreate battles and that AI allows producers to blow things up virtually.

Filipa Kinomoto, a creative producer and visual artist from Portugal with a background in advertising, showed AI-produced work for a prospective music video for Fatboy Slim and department store Harvey Nichols to illustrate elegance in fashion.

AI can help video companies capitalise on what they already own, according to Mantis-AI executives, Ferran Brichs, global strategy and expansion director, and Rafael Ferreira, solutions strategist director.

The Brazil-based venture offers a way of searching video archives to mine for key themes, brands, people and emotions.

The speakers offered practical advice about how AI can mine existing content to create new au-

diences and offered ways in which companies can boost earnings by speeding up the creation of sports highlights and creating more sports clips. Brichs suggested reaching out to LLMs to license content, pointing to the deals that OpenAI has recently been striking, such as its recent collaboration with Booking.com that will deliver personalised travel at scale.

Finally, Beijing-based Kling AI showcased its AI work with top Chinese film directors. The sizzle reel revealed highly refined emotional expressions in a soldier and an AI stunt man leaping between buildings. The company also shared examples of its advertising work, including an AI Mona Lisa reaching out of a painting to grab a product.

Kling AI is working with 45 million

‘ABT — always be testing’

Billy Boman

creators, creating more than 400 million images, putting it on track to be one of the biggest players in the future. “That’s helped us get to $100m (€86m) in annual recurring revenue run rate,” said Zheru Liu, Kling AI’s manager of marketing and strategic partnerships.

FUELLING THE FUTURE OF CONTENT ONE STORY AT

A TIME.

‘Spicy’ ice-hockey romance is a game changer for Accent Aigu

THE MAKERS of a “spicy” new romance set in the world of ice hockey are in Cannes to introduce the series to the international market.

Based on a novel series with a huge online fanbase, Heated Rivalry tells the story of an initially unacknowledged passion between two Major League Hockey players.

It is the first major release by Canada’s Accent Aigu Entertainment, founded by actor, producer and director Jacob Tierney and producer and director Brendan Brady, both exec producers on the project.

The show has been produced in association with Bell Media for Canadian broadcaster and streaming service Crave. Distribution is by Sphere Abacus, the worldwide sales arm of Sphere Media.

Over six one-hour episodes, Heated Rivalry follows the playing careers of, and latent sexual attraction between, two rival players over a number of years. The key roles of

Shane and Ilya are played by Hudson Williams (Tracker) and Connor Storrie (Joker: Folie Á Deux).

Heated Rivalry is based on the Game Changers novels, written by Rachel Reid, part of a sub-genre of erotic romance known as MM, meaning ‘male-male’. Tierney and Brady worked closely with Reid, who is a consulting producer on the series. Tierney said that the huge online fan-following of the books — of which he counts himself — has played a key role in the develop-

ment. “The fans feel like it’s theirs,” he added. “They are passionately invested in it.”

The hundreds of thousands of fans of the novels, spread around the world but united on online forums, are awaiting the release with anticipation. “We’ve worked really hard to ensure that the fans come along for the ride,” Brady said. Many fans have even taken to the web to contact broadcasters, urging them to bring the show to their own domestic markets.

Escaping back to the chateau

THE NINTH season of Dick and Angel Strawbridge’s renovation/ design/heartwarming family series

Escape To The Chateau ended in 2022. Three years later, they’re in Cannes to promote the 10th season, which is currently being filmed.

“We’re loving it!” Angel said of their decision to dive back into unscripted TV, explaining that the break had been an important time for their kids, who needed a break from life on TV. “It’s all about family. It always has been,” she added.

There’s a lot to catch up on at the Château de la Motte-Husson, which they bought in 2015 and transformed on camera into a wedding and events venue, and family home.

Angel and Dick have moved into the honeymoon suite — which has meant

AL-MANSOUR VISITS CANNES WITH STYLE

designing and fitting out a new one. Meanwhile, they now own pigs and some of their 10-year-old renovations are showing their age. “It’s change, change, change,” she said.

“As much as updating people on what’s been going on, we’re interested in capturing more of the story — because, remember, we’ve got a 10-year-long family video!” Dick said. The “simple show” (in Angel’s words) has become an industry, taking them on tours around the UK, the US, Canada and Australia to meet fans. “We’ve invited them into our home, but they’ve invited us into theirs as well,” he added. The couple are, as always, exec-producing the four new hour-long episodes.

MUCH-loved Kuwaiti actor Mohammed Al-Mansour, known to audiences across the Arabspeaking world, has been at MIPCOM CANNES on behalf of his family-owned production company Seven Style. He said it was pure chance he got into the business — 60 years ago. “I was more interested in playing football. But I went along to an audition with my brother and got a lead role. From there I have never stopped working across film, television and theatre.” His willingness to take on diverse roles is well-known and has resulted in numerous awards. Film credits include Al-Thiab la takal Al-Laham (Wolves Do Not Eat Meat) and Talah Al-Samat (Shadows of Silence), while he also featured in 2023 Netflix original series The Exchange. Al-Mansour takes great pride in his relationship with Arabic audiences. “As an actor you take on many roles and deal with social issues and the audience will always have their opinions.”

Al-Mansour came to MIPCOM CANNES with a Seven Style delegation that includes his nephew Abdullah Al-Mansour, the company’s general manager, who said they have spent the week making contacts and deals. As a result, there are plans to make a series involving Kuwaiti and Iranian talent.

Luca di Montezemolo: a driving ambition

WITH a career spanning rally driving, Ferrari F1 and highspeed trains, it’s surprising that Luca di Montezemolo hasn’t been the subject of a film before now. It’s less surprising that Manish Pandey (writer/producer of Senna and the director of Lucky, about Bernie Ecclestone) has been the man to bring his life story to the screen in Luca – Seeing Red, a feature distributed by Fremantle.

In 1973, di Montezemolo became an assistant to Enzo Ferrari and was tasked with turning around the manufacturer’s failing Formula 1 team. It took only two years for him to win both the constructors’ and drivers’ championships with a young superstar, Niki Lauda. “It was a big friendship, I have to say a little bit romantic,” di Montezemolo said. “We started together: I was a young team manager, he was a young unknown, and we enjoyed the success together.” He was also in charge during the Schumacher years in the 2000s.

But there’s more … much more. Including but not limited to being CEO of Cinzano, managing the Azzurra, the first Italian America’s Cup yacht team, organising the 1990 World Cup and bringing together Luciano Pavarotti, Plácido Domingo and José Carreras for the Three Tenors concert.

“Even for me it was a surprise looking into the details of all the things I’d done!” di Montezemolo said.

Rich in archive and atmosphere, the film is a love letter to Italy and some of its lesser-known regions and cities, including Bologna, where di Montezemolo has spent his life. “It’s about two things in my opinion: family and loyalty. And Italy is in both of those,” Pandey said.

Luca – Seeing Red also features former Top Gear journalist Chris Harris, who di Montezemolo once banned from testing Ferraris. Pandey called them a “classic odd couple” and said the screen chemistry drew out di Montezemolo’s story. Latterly, di Montezemolo has created Europe’s first private high-speed railway company from scratch. He said he wanted the film to show young people that “if you push, if you believe, if you take risks, if you work day and night, you can succeed”.

As for Pandey, he has been ticking off his childhood heroes as film subjects. “This was such a joy to make, because there are people who are very successful and there are people who are loved, but the intersection between the two is tiny. And Luca is genuinely loved,” he said.

Nippon TV’s new creative studio powers global game-show push

NIPPON TV has unveiled new game-show formats, as it prioritises growing its international unscripted format business. To this end, it launched an in-house creative studio in June. Named after Japan’s finest green tea, Gyokuro Studio will embody refinement and excellence, according to Ken Akiyama, its head. He is bringing his experience as producer of the global hit format Block Out, among others, and of branded content for luxury houses including Cartier and Fendi to the role. “I will spearhead the development of innovative formats that combine premium production values with creator-led storytelling,” he said. “We are restructuring our production framework from a domestic-focused model to one designed for global roll-out, accelerating the development of a robust foundation for creating content that resonates with audiences wor-

ldwide. We will actively engage in truly global co-creation with our production partners both in Japan and abroad.”

Akiyama highlighted Gyokuro Studio’s two new unscripted formats,

Mega Catch and Secret Little Assistant. The premise of Mega Catch is simple: contestants must catch or face elimination. With each round, the challenges grow bigger, faster, and more dangerous — think massive balls plummeting from the sky, giant pendulums swinging sandbags and a pitching machine firing 200 km/h fast balls. Secret Little Assistant, meanwhile, is a heartwarming reality format in the spirit of Nippon TV’s hit series Old Enough! In the show, kids go undercover at their parents’ workplace to secretly lend a helping hand.

Nippon TV is also introducing a new reality game-show format: Big Bad Bluff sees contestants bluff and outwit each other on sets inspired by classic fairy tales. It has also announced that the Italian adaptation of its Red Carpet Survival format is returning for a second season on Amazon Prime.

Silver Mountain backs bold voices

CORK-based distributor Silver Mountain Productions works across documentary and fiction, seeking out films that champion under-represented groups and marginalised perspectives but which are nevertheless commercially minded and of broad appeal. It’s a family company, led by mother-and-daughter team Carey Fitzgerald and Dominique Murphy-de Neef, with Murphy-de Neef being an award-winning short-film maker herself.

Top of the slate at MIPCOM CANNES is the female-led Danish supernatural thriller Lost Angels, a feature now available to the international market after a successful theatrical run in its home territory. Derek & Orla Do… Tales Of The Fairy Queendom, meanwhile, is described as “Hans Christian An-

dersen meets RuPaul’s Drag Race”, and is a vibrant, short-form LGBTQ+ comedy series that reimagines fairytales with a fabu -

STRONG PRESALES FOR RAI COM SAGA

A MAJOR new series from Italy’s Rai Com, Before Us (Prima di Noi), has secured an impressive round of presales at MIPCOM CANNES, according to Margherita Zocaro, head of international sales.

“The book-based series is a heartfelt family saga, following successive generations from the First World War until the 1980s,” Zocaro said. “It’s unusual to secure so many presales prior to transmission, but Before Us has been snapped up by the US, Canada, UK, France, Finland and select Eastern European markets right here at MIPCOM CANNES.”

lously queer twist.

It also has documentaries including Tight: The World Of Indian Bodybuilding, a striking look at culture, the bodybuilding scene and masculinity in India, which Murphy-de Neef described as “important”, showing a different India to the ‘poverty porn’ that often predominates.

The company strategy incorporates event screenings, to boost its films’ visibility in the fragmented and crowded media landscape, and also participates in the major international festivals — vital for building international networks for their content. “We have our client base of buyers in each country,” Fitzgerald said. “Networking is a really important aspect of markets. Because once you’re in front of people, they don’t forget you.”

While the series (10 x 50 mins) will be broadcast in Italy in the second quarter 2026, Rai Com is ready to premiere its first episodes next week at the Rome Film Fest. “We will be presenting the first and the seventh episodes at the gala screening, so that viewers will get a glimpse of the different generations,” she added, noting that the stories range from the vistas of rural Friuli to the factories of Turin. Before Us is directed by Daniele Luchetti (My Brilliant Friend) and Valia Santella (Te lo Leggo Negli Occhi) and co-produced and distributed globally by Rai Com.

ITV’s murder most enduring celebrates 25th anniversary

STARS from the much-loved UK detective series Midsomer Murders are at MIPCOM CANNES as the show celebrates its 25th anniversary. And the story will not be ending there as it has just been announced that a 26th season has been commissioned by ITV and distributor All3Media International, which will start filming next year. One of British TV’s most enduring global exports, Midsomer Murders — also known as Inspector Barnaby — is seen in around 200 countries and territories worldwide, and has its own single IP FAST channel in the UK and North America.

Neil Dudgeon, who plays Chief Inspector Barnaby, told MIPCOM CANNES Daily News: “It’s a very brilliant formula in its way, and there’s hardly any formula at all. It’s usually that something occurs in a rural location, and two

policemen turn up to see what’s going on,” he said. “And then, in every episode, you’re being taken to a new location with a new cast of characters, wonderful guest actors — and new writers, new

directors — so there constant new energy coming to the show.”

Nick Hendrix who plays trusted sidekick Detective Sergeant Jamie Winter said that the reason for the show’s enormous success is not just “the British countryside, the visuals that everyone loves”, but also “there’s always some sort of community at the centre of it, or a family, and those things are universal. And that’s why I think you can sell it in any country in the world, because everyone can understand warring siblings or affairs, those kind of dynamics.”

Annette Badland who plays pathologist Dr Fleur Perkins added that the show keeps moving all the time. “And my character coming in, I think that was a terrific idea. Someone that isn’t just the pathologist, but shakes up the boys as well.”

Green light for Crossroads Springs

THE PARTNERS involved in Crossroad Springs (10 x 60 mins), a heartwarming family drama, gathered at the Nicely Entertainment stand to celebrate the successful first season and the official greenlighting of season two. They were

joined by actor Jonathan Stoddard who plays the show’s main character, Pastor James. The show follows adult siblings James and Janet (played by Emily Alatalo) as they return home to help their family manage Hamilton Ranch, balancing

PARTNERS SIGN FOR SECRET MISSION

small-town struggles with themes of faith, resilience and community. The series also stars Shaun Johnston of Heartland fame.

The uplifting drama is a co-production between Nicely Entertainment and Brain Power Studios, with Vanessa Shapiro of Nicely and Beth Stevenson of Brain Power both serving as executive producers. Season one premiered in June on Great American Family in the US and is available to international buyers. As well as bringing around 25 new movies each year to the global market, Nicely has, in addition to Crossroad Springs, co-produced three TV series: the YA Netflix Original Dive Club (12 x 22 mins); Gymnastics Academy: A Second Chance! (10 x 22 mins); and The Christmas Checklist (4 x 60 mins) for CBC Canada.

LA-BASED producer and distributor Electric Entertainment, The CoProduction Company and Ananey Studios, have partnered to bring the g young-adult book series Secret Mission — written by Dana Elazar-Halevi — to television and streaming audiences. The emotionally driven live-action thriller blends espionage and coming-of-age drama set against the backdrops of major world cities. The first season of 60-minute episodes will film in Paris. Dean Devlin, CEO of Electric Entertainment, said: “This marks our first international coproduction. The book series feels like a teen version of our franchise Leverage — full of clever twists, team dynamics and high-stakes missions.”

In a separate deal, Electric Entertainment has secured $20m (€17m) of growth capital from Content Partners Capital (CPC). Launched in 2024, CPC is the capital division of entertainment investment firm Content Partners. “This investment will allow us to continue our rapid growth,” Devlin said.

Cineflix Rights reels in deals for drama and factual titles

DISTRIBUTOR Cineflix Rights has secured a raft of deals for two drama series and a range of factual programming.

The police thriller series Virdee has sold to the Netherlands, Spain, Sweden, Norway, Finland and Denmark, having previously gone to Australia and Poland. The deals will also see Virdee — based on the novels of A A Dhand — broadcast in Asia through the BBC First and BBC Player platforms, thanks to a signing with BBC Studios.

A further deal concerns darkly comedic drama Sunny Nights, originally produced by Jungle Entertainment and Echo Lake Entertainment for Australian subscription video streaming Stan. Having first been picked up by ITV in the UK, Sunny Nights now goes to Bell Media for its Englishand French-language services in Canada, Pro-Sieben in Germany, Canal+ in the Netherlands, TVNZ in New Zealand, TG4 in Ireland and Yes in Israel.

In the factual genre Cineflix Rights has closed multiple deals for three blue-chip history series from French producer Pernel Media: Alexander

The Great: Legendary Conqueror has been acquired by Viasat World for Viasat History across CEE and Scandinavia, RTL (Germany), ZDF (Germany), SBS (Australia), and Hearst Networks (Turkey and Middle East): Vikings: The Empire Of The North Sea also goes to Viasat World for Viasat History across CEE and Scandinavia, ZDF (Germany), Disney (Benelux), YLE (Finland) and SBS (Australia); and Ramses

The Great: King Of Ancient Egypt goes to ZDF (Germany), DRTV (Denmark) and Discovery (Iberia).

Other completed deals for factual programming include: Vanished History to Foxtel (Australia), RTL (Germany), Mediaset (Italy), Discovery (Iberia) and Hearst Networks for Benelux and Africa; Commando Missions to SBS (Aus-

tralia), Société Radio-Canada (SRC, French Canada), Foxtel (Australia) and Creo South Korea; and Cape Carnage: Killer Catch to National Geographic Channel (US) and Viasat World for Scandinavia and Central and Eastern Europe.

Vienna calls detective Rex home

THE WORLD’s most famous dog detective began his crime-fighting career in Vienna in 1994 with TV drama Rex – A Cop’s Best Friend. Now, Rex is returning to his roots, with production under way on Rex – Vienna Calling.

Beta Film, MR Film, Seven.One and ORF are behind the new series of six feature-length episodes. It sees Rex and his human partner Detective Max Steiner (played by Maximilian Brückner) roaming Vienna to solve murders, a bomb threat and a diamond robbery, among other cases.

MR Film is co-producing the series with Seven.One and ORF, with Beta

WOODCUT AND GENNIE PLUNGE INTO DEEP BLUE CSI

Film handling international sales. It will air in 2026 on ORF in Austria and SAT.1 in Germany, as well as on digital channel Joyn.

“Rex is one of the most celebrated and successful television franchises in the world — truly a much-loved classic. And now Rex – Vienna Calling will keep bringing people of all ages together in front of their screens,” said Beta Film chief distribution officer Oliver Bachert.

The Rex character has featured in more than 750 episodes over the years, with past series dubbed into dozens of languages and sold around the world.

UK INDIE Woodcut Media and Los Angeles-based tech specialist Gennie are in Cannes with a “groundbreaking” series that uses AI to investigate historic shipwrecks. Woodcut and Gennie have signed a coproduction deal to make Deep Blue CSI, which is launching internationally this week. Gennie’s GenAI tech will be used to investigate mysterious wrecks and recreate their final moments. Gennie co-founder and chief creative officer Chelsea Durgin said the studio’s scrupulous approach to AI research ensures that all source materials are verified and that no unlicensed or copyright-infringing materials are used. Durgin added: “It starts with deep research. We only take data that has been peer-reviewed and comes from historical archives, to make sure that we are not spreading misinformation.” Woodcut senior development producer Aidan Dunford said that Gennie’s AI represented a “whole new way to look at maritime history”. Praising Gennie’s “forensic approach” to research, Dunford added: “It’s super important to be able to trust co-production partners.”

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Japan’s Kansai TV outlines animation investment plan

JAPANESE broadcaster Kansai TV is at MIPCOM CANNES with ambitious plans to supercharge its presence on the global stage. At home, Osaka-based Kansai TV is best known for its high-profile drama programming, but executives in Cannes are looking to forge a host of fresh initiatives including seeking animation companies for potential investment.

Yukiko Komai, executive director of the content business department, is on the Croisette for the first time, with three missions. “We are seriously thinking of investing in animation businesses,” she said. The two other main goals for spearheading growth are finding ways to mine the broadcaster’s 60-year-old archive, and forging alliances to develop character IP.

Kansai isn’t forgetting its roots, though. It picked up a slew of awards from Japan’s Broadcasting Federation over the past three years. Among those award-winners are newsroom

drama Elpis, which follows a TV news producer trying to uncover a wrongful conviction. The show debuted at MIPCOM in 2022.

Kansai is also in Cannes with a new medical drama, Unmet: A Neurosurgeon’s Diary, about a talented neurosurgeon who loses her memory and is struggling to rebuild her life.

The broadcaster is also bringing back a classic 1970s drama with a new working title Doterai Otoko or The Gritty Man.

“We made a fantastic discovery. The show disappeared from the archives. For some mysterious reason they found it,” said Komai, though not all episodes were recovered. The company plans to break some news about what’s happened with the missing episodes soon.

Thrilling sales for ITV’s big dramas

NEW ITV Studios dramas The Guest and Coldwater are off to a flyer for MIPCOM CANNES, with the announcement of wide global distribution for both shows.

The Guest is a fast-paced thriller about two unlikely friends’ lives unravelling, with plenty of shocking twists. It stars Eve Myles (The Crow Girl,

Broadchurch) and Gabrielle Creevy (Black Doves, Three Women).

It has been acquired to air in 50 countries including by Showtime for the US, BritBox for Australia and OSN Group for 25 countries across the Middle East.

Coldwater sees The Walking Dead star Andrew Lincoln return to British TV alongside Ewan Bremner (Trains-

FREMANTLE BRINGS MORE DADDY ISSUES TO MIPCOM CANNES

potting, Our Flag Means Death).

It is another thriller, about a man who finds his normal life upturned when he falls under the influence of a dangerous neighbour.

Coldwater has been sold to broadcasters in more than 40 countries. Showtime has also picked up this show for the US, with OSN Group also acquiring it for 28 countries in the Middle East. Both Showtime deals were announced earlier this month ahead of MIPCOM CANNES.

“On top of the recently announced Showtime acquisition of these gripping thrillers, we’re delighted to announce swathes of new international sales for The Guest and Coldwater,” said Tom Clark, executive vice-president, global sales & commercial strategy, global partnerships at ITV Studios.

“As these attention-grabbing dramas continue their global expansion, we can’t wait to see their widespread success with audiences worldwide.”

FREMANTLE is here with the second series of BBC comedy Daddy Issues (6 x 30 mins), which sees the stars of season one, Aimee Lou Wood and David Morrissey, reprise their roles as daughter and father flatmates Gemma and Malcolm. The RTL-owned studio said the series is a key scripted priority this week. Season two will air in the UK on BBC iPlayer, BBC One and BBC Three later this year. Set in Stockport the new series will see Gemma coming to terms with life as a mum while Malcolm is just thrilled to be a grandad, but wherever Malcolm is, grumpy landlord Derek (David Fynn) is never far behind.

From dating disasters and failed romances through to toxic friendships and messy family dynamics, the show is a big-hearted story about a father and daughter, and the reality of parenthood — at any stage of life. The saving grace for Gemma is that she can turn to the key women in her life for advice: best friend Cherry (Taj Atwal), sister Catherine (Sharon Rooney), and boss Rita (Sarah Hadland). Daddy Issues is a Fudge Park production.

MARKET OPEN FROM 8:30 TO 19:00 - CLOSES AT 16:00 ON THURSDAY - Palais des Festivals, Cannes

08:30 - 10:30 Verrière Grand Auditorium International Mentoring & Networking Breakfast for Women in Entertainment In Partnership with médiaClub’Elles

11:15 - 11:45 MIP Headliner

Reshaping Entertainment in a Creator-Led Future

Christian Bombrun (WEBEDIA), Nil Ojeda Morales (Webedia Espana), Ines Benazzouz (Inoxtagcorp)

09:30 - 10:00

Sport & Live Events: Creators Changing the Game

10:10 - 10:35

Audience-First: Crafting Originals with Cultural Impact

10:35 - 11:00

From UGC to IP: Turning Creators into Scalable Content

11:10 - 11:50

Down Under on Top: The New Wave of Australian Storytelling

13:15 - 14:00 Fresh TV Fiction Presented by The WIT

12:00 - 12:30 MIP Headliner MIPCOM SDG Awards In Partnership with the United Nations

09:30 - 10:00

The Global Viewer Journey: From SVOD to YouTube & Back Again

10:15 - 10:45

The New Frontiers of TV Attention Hosted by TVREV

Pre-registration Required

14:30 - 15:00 Being Bold in Doc & Factual

15:15 - 16:00

Inside Micro Drama: Next Gen Storytelling

16:15 - 16:45

The Media Odyssey Podcast #2

Hosted by Marion Ranchet & Evan Shapiro Presented by The Lighthouse, Whalar Group

17:00 - 17:45

Facing the new content reality: the future of TV, streaming and social distribution

Presented by Ampere Analysis

12:00 - 12:30

The Media Odyssey Podcast #1 Hosted by Marion Ranchet & Evan Shapiro Presented by FilmHub

12:00 - 13:00

Matchmaking Area

Speed Matchmaking

Session: Scripted

Pre-registration Required

14:00 - 15:00

Broadcasting to Next Generation Audiences via YouTube Workshop hosted by Evan Shapiro

15:15 - 15:45

Reimagining Storytelling and Distribution Presented by Vimeo

12:45 - 14:00 Ambassador Lounge, Palais 4

Diversify TV 10th Anniversary Cocktail By Invitation only

14:00 - 15:00

Auditorium K Nurturing Future Creative Leaders with AI Presented by Korea Arts & Culture Education Service

MARKET OPEN FROM 8:30 TO 19:00 - CLOSES AT 16:00 ON THURSDAY - Palais des Festivals, Cannes

- 12:00 Workshop: Capitalizing on the Creator Economy 10:00 - 10:30 Best of Fresh TV Presented by The WIT

MIPCOM CANNES Programme Partners

War, peace and AI-generated content on offer from Huace

CHINA’s Huace Media Group, one of the country’s leading producers and distributors of quality drama, is at MIPCOM CANNES with a full slate and news of initiatives in the field of AI-generated content (AIGC).

Top of the bill is Swords Into Plowshares, a 40-episode historical epic set around 960 AD, a time known as the ‘five dynasties and 10 kingdoms’, as China unified and became peaceful under the Song dynasty. Zhao Yifang, Huace Group’s president and founder, said the series “spoke the global language of war and peace, so we believe it can be really interesting to international audiences, adding that it would deliver around the start of 2026.

Another priority for MIPCOM CANNES was The Heir, a lavishly produced historical romance.

The group highlighted its work with AIGC, which it is now using on aspects of production ranging from

idea generation and screenwriting through to storyboarding, titling and translation, and promotional work on sizzle reels and posters.

“We believe it can usher in a new era of faster and more efficient production in the Chinese film and TV industry,” Zhao said.

She also spoke about the Zhejiang Huace Film and Television College, which the company has opened to upskill young people in the industry. “We’re adding new technology to traditional writing and production, to make sure people don’t get left behind,” she said.

Lessons in animation from Japan

A JAPANESE animation company is set to help India develop its animation production expertise, after a meeting at last year’s MIPCOM CANNES.

Japan-based Maho Film, known for its hit show Blue Mirburo, signed

a pact with India’s Sutra Digital which is keen to develop its animation know-how. Sutra’s chief operating officer Mahendra Saravanan is a fan of Japanese anime along with his kids and always wanted to bring that expertise to India, according to his colleague, Dipak Jadhav, a business development executive at the Hyderabad venture who was at MIPCOM CANNES to seal the deal. “They’re teaching us the process at each stage,” he said. “It’s a big learning curve and they are feeding us slowly so we learn properly and we’re able to help them.”

Maho Film chief executive Junji Murata said the new partnership will also help his company with production processes. “The basic production is done in Japan, but we need people to paint. Every month 15,000 papers [are produced]. We can’t do that alone, so we deliver certain parts for Indian production.”

Murata noted that his company name means ‘magic’ in Japanese and that his focus in running the company is employee happiness.

DISTRIBUTION DEAL INKED BY ODMEDIA AND SKOOP MEDIA

DIGITAL media services company ODMedia and Skoop Media, a distributor and co-financer of highend European drama series and feature films, have entered into a strategic partnership to strengthen the international distribution of Skoop Media’s catalogue. Both companies are headquartered in the Netherlands.

Under the agreement, ODMedia will provide content delivery, localisation and media processing services to ensure Skoop Media’s titles are prepared and delivered to a broad range of global platforms. The partnership is designed to maximise reach and efficiency. Skoop Media’s catalogue includes Mocro Maffia, Floor Rules! and Holy Sh!t, which have been distributed to leading broadcasters and platforms worldwide.

“This partnership allows us to streamline our on-demand distribution and focus on what we do best: bringing highquality European stories to audiences across the world,” said Pim van Collem, CEO, Skoop Media. Sjef Pijnenburg, CEO of ODMedia, added: “By managing the complexities of global distribution, we empower partners like Skoop Media to maximise the commercial potential.”

KICKING OFF LONDON’S BIGGEST CONTENT WEEK.