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Mipcom remains the biggest international TV get-together of the year, and that makes Cannes in October the place where the industry takes stock. How programming is made, bought and sold is changing, as is the array of platforms that carry content. Here are takeaways from Mipcom 2019.
No show rocked Mipcom the way that “Killing Eve” or “Years and Years” did at past MipTVs. But then, as non-English-language shows (“Money Heist”) and formats (“The Good Doctor”) break out to huge audiences, buyers can be forgiven for having a more diffuse focus. Shows with good word of mouth in the Mipcom market ranged far and wide, from “Normal People,” a love story part-directed by Oscar-nominated Lenny Abrahamson, to “La Jauría” (“The Pack”), a Fabula/Fremantle production and gender crime thriller; from animated pop history anthology “We Are Family,” from France’s TeamTo, to Japan’s “Nagi’s Long Vacation,” about a 30-something woman seeking a second chance in life.
Reed - Midem - Participants - Cannes - Mipcom
Reed Midem said that 13,500 participants were in Cannes for Mipcom, including 4,700 buyers. April’s MipTV, though, has been struggling. Market organizers walked distributors through their plans for a revamped MipTV, but the jury is definitely out. One sales chief told Variety that, with the market now about wider visibility and brand-building in addition to inking deals, the plan to put people in modular stands was a turnoff. Another said that, despite the push to be more cost-effective, they calculate the overall expense of attending will increase.
Concerns about potential labor strife in Hollywood next year are spreading across the pond. Industry sources said British and European producers were eagerly asking U.S. contacts about the state of labor relations as the writers, performers and directors unions prepare to negotiate a new master film and TV contract. At the same time, U.K. drama players voiced concerns about an exodus of...
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