CANNES, FRANCE — The esteemed Mipcom 2025 unfolded under bright sunny skies, yet it revealed a more sobering reality for the industry. Since the decline of Netflix subscriptions in 2022-23 and subsequent Hollywood strikes, fear has become the dominant sentiment: it seems the shrinking sales-production landscape isn’t a temporary setback but a new reality. Though attendance numbers slightly increased compared to 2024, Mipcom 2025 highlighted the ongoing response of the television industry, particularly its curiosity about collaborations with YouTube and the evolving creative economy. Here are the key insights from this year’s Mipcom, which took place from October 13-17.
The Current Landscape
While attendance at this year’s Mipcom rose slightly when compared to 2024, the celebratory atmosphere appears diminished. “Even after nearly 18 months of acknowledging the issue, we remain at 75% of Peak TV capacity,” observed Guy Bisson from Ampere Analysis during the event. This suggests a contraction of the market to 75% of its former size. In the first half of 2024, North America experienced a 6% increase in first-run scripted TV orders, whereas declines were reported in Central and South America (-7%), Western Europe (-10%), Asia Pacific (-11%), and Central and Eastern Europe (-15%). Some markets, like Spain, France, and Italy, have held steady in terms of commissions, but these are exceptions. Much of the downturn stems from a more than 100% decrease in streaming services since early 2024, according to Bisson. This new status quo appears to be long-lasting, he emphasized.
Positive Developments
A major highlight of this Mipcom was the strong presence of creator economy participants. YouTube, celebrating its 20th anniversary, marked its inaugural participation at the conference with a well-attended session featuring BBC Studios’ digital SVP Jasmine Dawson and YouTube’s EMEA head Pedro Pina, who discussed their mutually beneficial partnership. This was just one of numerous examples illustrating positive collaborations between traditional media outlets and the creator economy shared at Mipcom. Notably, Banijay unveiled its Entertainment Creators Lab in France, supported by YouTube, and announced the acquisition of Dutch label Werktitel. A decade after launching the Mip Digital Upfront, this year’s event also reintroduced the fully-fledged Digital Upfronts, bringing forth talents and executives from creator-driven companies such as After Party Studios and Dhar Mann Studios, alongside the AVOD platform Tubi.
Exploring New Business Models
The pressing question remains: What is the appropriate business model? Traditional broadcasters struggle to compensate for reduced advertising revenue and smaller audiences in a digital landscape where costs per mille (CPMs) are significantly diminished, according to Ampere’s Bisson. The financial equation seems unfeasible. However, broadcasters can collaborate with YouTube and other low-CPM entities in innovative ways. Banijay, for instance, is currently collaborating on the animated series “Ava & Digger,” produced by Banijay Kids & Family and TheSoul Publishing, which boasts 3 billion followers. The series is set to launch on YouTube later this year, aiming to cultivate and expand the intellectual property. Armed with data on reach, demographics, and gender distributions, the partners plan to present their findings to streaming services.
Microdramas Shine Brightly
In Colombia, the most viewed television format isn’t found in either linear TV driven by telenovelas or popular global streaming platforms like Netflix. Surprisingly, microdramas have taken the lead, as revealed by Spanish analyst Geca at the recent Iberseries & Platino Industria. Highlighted by Virginia Mouseler, microdramas are currently among the most-watched shows, exemplified by the 90-part, 90-second U.S. romantic series “Breaking the Ice,” which opened The Wit’s Fresh TV Fiction at Cannes on October 15, racking up 340 million views in the U.S.
…And Expand Internationally
Microdramas are rapidly gaining traction, anticipated to generate $11 billion in global revenues by 2025, effectively doubling the size of FAST channels, according to Maria Rua Aguete from Omdia. Combining the immediacy of social media with the emotional appeal of television dramas, these short, engaging narratives are proving incredibly addictive. The financial prospects are promising: available on subscription or through transactional models, average user revenues can reach $80 per month. “This isn’t merely a trend; it signifies the forthcoming wave of content evolution,” Rua Aguete asserted. Microdramas are not just flourishing everywhere; at Mipcom, Lebanon’s Scene and major Arabic broadcaster Rotana Media announced they would co-produce microdramas aimed at introducing this genre to the Arab world.
Notable Titles Ahead
Leading the conversation is Richard Gadd’s “Half Man,” the latest effort from the creator of the acclaimed “Baby Reindeer.” This series is generating significant buzz at Mipcom, with Banijay having sold it to Canadian (Crave) and Australian (Stan) television networks. As Mipcom progressed, the English-language “Hotel Costiera,” featuring Jesse Williams and set in a luxurious hotel on Italy’s stunning Positano coast, surged to No. 1 on Prime Video U.S., demonstrating a robust sales performance. “The demand for such bold, visually arresting drama is evident,” remarked Fremantle’s Jens Richter to Variety. Globo’s “Perfect Days” made it to Variety‘s Must-See TV list as well as The Wit’s Fresh TV Fiction showcase, while Sally Wainright’s “Riot Women,” sold by Mediawan Rights, emerged as one of the event’s standout titles.
Innovative Approaches to Toy Brand Content
Toy brands including Hasbro, Lego, and Mattel are continuing to expand their intellectual properties into audiovisual formats, though the films and series must resonate independently with audiences. Robbie Brenner, president of Mattel Studios and chief content officer, outlined her vision for on-screen adaptations of titles like Masters of the Universe and Matchbox. The goal is to craft narratives that are authentic, maintain brand integrity, and offer imaginative angles that surprise viewers.
A Key Principle: Adaptability in Rights Agreements
Rather than prioritizing exclusivity, there is a growing openness to collaboration regarding rights. “Our aim is to find audiences wherever they may be,” stated Ben Samek, CEO of Banijay Americas. “The more flexibility exists within the market, the more value all participants will derive.” This sentiment was echoed by Kate Phillips, BBC’s chief content officer, highlighting the advantages of partnerships like that with Amazon on “The Night Manager.” “Collaborations increase ambition and impact. In an increasingly competitive global market, it’s becoming ever more challenging to ensure drama stands out, so fostering partnerships enhances our opportunities,” she added.
Emerging Territories of Interest
All eyes are on Brazil, specifically the powerhouse TV network Globo. Ahead of Mipcom, Globo showcased their latest production collaborations with the BBC (an Amazon two-part documentary), Fox (a Christmas feature), and Ron Leshem’s Crossing Oceans and Janeiro Studios for a new series targeting the X-Gen demographic in Rio de Janeiro. As discussed by Globoplay’s Alex Medeiros, Globo is now striking deals with illustrious names such as Disney (four films), Turkey’s Ay Yapim (Turkish remakes of Globo telenovelas, including “Leyla,” sold to over 20 territories), Gaumont (“Deluxe”), Beta Film, Fremantle (“Crime Inc.”), and Telemundo (with an initial title forthcoming). Globo is establishing its presence on the global stage.
And, Certainly, Flanders
The northern region of Belgium, where Dutch is spoken, recently made waves with Malin-Malin-Sarah Gozin’s darkly comedic and eco-sensitive series “Dead End,” which features a sleuth who must taste a part of a corpse to accurately determine its cause of death. This work was hailed as one of the standout dramas at April’s Canneseries. At The Wit’s Fresh TV Fiction showcase, Flanders had an impressive five shows selected: the comedic crime series “The Big Fuck Up,” the sister’s revenge road movie “How To Kill Your Sister,” the interior design-themed drama “Eyecatchers,” the daily soap “Florentina,” and the microdrama “Red Flag.” This substantial representation surpassed that of any other region worldwide, including streaming giants U.K. and Spain, which had four submissions each.
Recent Transactions
A handful of significant deals emerged from Mipcom:
* The most notable announcement of the event was the strategic partnership between Warner Bros. Discovery and CJ ENM. WBD seeks to capitalize on CJ’s potentially vast viewer base, while CJ benefits from WBD’s extensive distribution network.
* Sony Pictures Television sold the relationship comedy-drama “The Miniature Wife,” starring Elizabeth Banks and Matthew Macfadyen, during Mipcom’s exclusive opening night preview. Additionally, SPT is featuring “Trainer Games” in its Mipcom slate.
* Mia Wasikowska will direct the legal drama “The Great White” for See-Saw Films, a producer of “Slow Horses,” owned by Mediawan.
* Banijay Entertainment secured the buzzworthy strategic reality format “Werewolves,” based on a popular cult board game, for various territories from Studiocanal and Dreamspark.
* Banijay achieved sales for a revamped “Maigret” in Australia (ABC) and Japan (Wowow) among other key markets.
* Fremantle confirmed their acquisition of worldwide distribution rights to the feature documentary “Luca: Seeing Red,” which chronicles the vibrant life of businessman and ex-chairman of Ferrari, Luca Cordero di Montezemolo. During Mipcom, Montezemolo shared insights with Variety.
* Globo inked landmark co-production agreements with the BBC (for an Amazon documentary), Fox (for an English-language Christmas feature), and Janeiro Studios and Crossing Oceans for a new project by Ron Leshem, the mind behind the original Euphoria, produced in Portuguese and set in Rio, focusing on the new Gen Z.
* In a major collaborative venture, Banijay Kids & Family, part of Banijay Entertainment, partnered with social media giant TheSoul Publishing to launch their first self-funded digital-first original series “Ava & Digger.”
* BAFTA nominee John Hannah (from “The Last of Us”) will headline “Death in Benidorm,” a new detective series debuting on Channel 5 in the U.K. and ZDF Studios in Germany.
* Beta Film announced new projects including the marital caper “A Lovely Mess – Rob the Rich,” two projects starring William Levy, and a refreshed franchise featuring “Rex – Vienna Calling,” which centers on a witty canine law enforcer.
* Conan O’Brien’s Emmy-winning TBS late-night talk show has been acquired by Radial Entertainment for U.S. distribution.
* Warner Bros. Discovery added the medical reality series “Dr. Pimple Popper: Breaking Out” and “The 6000lb Diaries” for its European linear networks.
* Studiocanal introduced ‘Spinners 2,’ the second installment of the extreme motor sports thriller set in South Africa, co-produced with Canal+ and Showmax.
* Mediawan Rights joined forces on the Icelandic crime series “Elma,” in collaboration with Glassriver and Belgium’s Lunanime.
* ITV Studios acquired production rights to “Solitary,” the controversial reality game show initially popular on Fox, and secured an overarching deal with esteemed reality creators Lincoln Hiatt and Andrew Golder.
* “La Favorita 1922,” from Spain’s Mediterráneo and Bambú Producciones, has been sold to HBO Max Latin America and is set to reach 70 licensed territories worldwide.
* Furthermore, Fremantle launched a Greek myth-based entertainment format titled “Pandora’s Box” at Mipcom.
* Australian actress Abbie Cornish (“Limitless”) and Scottish star Dougray Scott (“Enigma”) will headline the Southern African action thriller series “The Invisible,” produced by M-Net, ITV Studios, Scene23, and Berkeley Media Group.
* Atresmedia Sales secured a deal with AXN Japan for the crime series “Una Vida Menos en Canarias,” alongside the well-rated daily soap “Sueños de Libertad,” which is set to premiere on HBO Max Latin America, while Angela has hit Netflix’s global Top 10 for non-English language shows.
* Wedotv and ZDF Studios are gearing up to launch a “Legacy” FAST Channel, facilitating access to the acclaimed South African series.
* Titan OS and Tubi announced a groundbreaking partnership to unlock exclusive AVOD advertising opportunities in the U.K.
* Cineflix successfully closed several new deals for the BBC One primetime crime thriller “Virdee,” with SVT (Sweden), Filmin (Spain), Britbox across Norway, Finland, and Denmark, and BBC Studios for Asia. Further international licensing agreements were also revealed during the Mipcom market for projects including “Vanished History,” “Commando Missions,” and “Cape Carnage: Killer Catch.”
* Finally, L.A. and Stockholm-based Dynamic Television has secured global distribution rights for the premium Swedish drama thriller “Till Death Do Us Part,” written by Veronica Zacco (“Top Dog,” “Quicksand”) and directed by Julia Lindström (“Young Royals”).
* Banijay Mexico & U.S. Hispanic, part of Banijay Americas, is preparing for the 2026 FIFA World Cup with a new travel docuseries titled “Tres hinchapelotas,” featuring three prominent Latino figures: Jaime Camil (“Jane the Virgin”), Marcelo Tinelli (“Videomatch”), and Jorge Enrique Abello (“Ugly Betty”).
