Miptv in Four Trends

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by @todotvnews the 12/04/2019
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As the market came to an end, the organization hosted its traditional Trending Topics session to analyze the event’s main trends, which this year span across diversity, OTT, studio productions, and the importance of writers and creators.

Another edition of Miptv came and went, and to wrap up, Reed Midem hosted its traditional Trending Topics session to highlight the main trends and issues that took over the market.
 
Reed Midem’s Head of Social Media, James Martin, began the session by listing the top hashtags of the event, with 5 of the top 10 being about Turkish drama.
 
“Whether there are Turkish shows or stars here or not, Turkish content is always massively represented in terms of social conversation,” Martin observed.
 
Other standout hashtags were the Kids International Emmys, #CANNESERIES and #InDevelopment.
 
Up next, the four main trends that categorized this year’s Miptv:
 
Diversity and Empowerment
 
“Everywhere I looked, whether it was the event, mentoring breakfast, trends around the awards, down to the programming… it was great to see women and diversity being represented everywhere,” said Donnetta Campbell, CEO and Co-Founder of TheSocialArchitects
 
She pointed out several initiatives from this year that were a clear step forward in the right direction.
 
For instance, the #CANNESERIES pink carpet and overall theme of pink that permeated the Palais, or Lucy Smith’s appointment as deputy director of MIP Markets.
 
She also highlighted The L Word creator Ilene Chaiken‘s presence and platform, and Mo Abudu becoming the first-ever African woman to win a Cannes Médaille d’Honneur, of which three of the four winners were women this year.
 
Writers
 
Another standout trend at this year’s Miptv was the importance of writers and the role of the showrunner behind productions.
 
“You can’t fool people. They know the difference between a good show and bad show,” said Fondivina CEO Marc Guidoni, and the model is changing as platforms disrupt.
 
“Traditionally, at the top of the food chain you had a national broadcaster. That was the aim of an author; you wanted to convince the producer, who needed to convince the national broadcaster.” That’s over. “Now authors can easily talk directly to broadcasters or platforms.”
 
“If you write something good, you have all the cards in hand to be there, to be an active person in the industry,” he said.
 
In relation to this, Bisson pointed out that book and comic book adaptations are huge right now. “We’re picking up 40, 50 book and comics deals a month. The feeding frenzy around existing written content is absolutely huge at the moment.”
 
The Studio Is Dead. Long Live The Studio
 
“I’m not saying Hollywood majors are dead; far from it,” said Ampere Analysis Managing Editor Guy Bisson. “They’ve reengineered their business.” 
 
“The first thing they did is move toward big budget and franchise movies. That opened the door for high-end drama. Secondly, they all plan to go direct, which threatens licensing of content to third parties, their traditional business partners. The third thing that happened is Netflix; their demand is global rights.”
 
This was a turning point. “The most valuable currency in the industry today has become global access to content rights. It is of interest to everyone, whether you’re a channel, platform, a producer and increasingly a distributor.”
 
He also reiterated a theme that came up frequently during keynotes over the course of the week: Scale. “You need scale to be able to control your rights, finance the content, and move heavily into production,” Bisson said, pointing to the ITV and BBC adding “Studios” to their brands, or the fact that Viacom International Media Networks announced at Miptv its objective to make $1bn in revenue from its studio activity.
 
He concluded with something he heard from the Banijay keynote, which he felt was “the quote of the market”: “What scale allows you to do is deficit your own shows.”
 
Non-Scripted on OTT
 
The final trend of the market was the power of non-scripted content. “There’s a need for niche content,” said Alchimie‘s Chief Content Officer, Frédéric Rossignol, who mused, “I think it’s also about being local and adapting to local needs, a challenge even Netflix, Amazon and Disney face.
 
“The audience is looking for specific content and it’s a great opportunity. For new players like us, the opportunity is to address the right content to the right audience. We’re not competing with giants, so the idea is to go on specific topics. Documentaries are a part of it.”
 
Bisson concurred: “Non-scripted on SVOD is something we’ve been tracking,” he said. On Netflix, and over the course of somewhere around 2 years, non-scripted “went from 5% to 17%. The idea of peak content or too much content is a red herring; we think nothing of having 800 channels in our country. And SVODs are starting to curate content streams to diversify.”
 
Currently, and based on data that points to people in his target being interested in the military, Rossignol is launching an army stories offering. “People love entertainment ,but also want to understand the world,” he said. “The world is changing also, and it’s getting a bit crazy.”
 
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