With the rise of streamers rapidly changing the television industry, it was inevitable that the biggest TV market would have to address the evolution. A year after exploring the so-called big shift…
“It was clear that this is the key topic today, and it is very important to look at that through different lenses,” says Laurine Garaude, director of Mipcom organizer Reed Midem’s television division. “Not just from the point of view of streamers, but the reaction and the response from linear channels, and the impact on production, investment and funding.”
“Mipcom has always been an international market. We have a hundred countries present, and that’s not new,” she says. “What is new is the way that international content is truly traveling. I do think it’s in part a result of the streamers and the way they have created an appetite for content that comes from around the world.”
Those services need to be populated with content, which presents opportunities for distributors and content providers, particularly smaller ones, attending the market. Youngest Media, a U.K. content studio launched in 2016, whose formats include recent NBC acquisition “Small Fortune,” still finds the market instrumental.
As the dynamics of dealmaking start to move away from one annual consolidated event, the object of the market, for some long-time attendees, is starting to evolve.
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