MIPJunior continues its 2024 edition until today, October 20th. Yesterday marked by the strong presence of finalized content and numerous projects in development, signaling that the post-COVID-19 production slowdown appears to have been overcome.

There is no doubt that this year’s difference lies in the acceptance of new tools and generative technologies, such as AI, but also the increased importance (perhaps more than ever) of public broadcasters as drivers of new content, marking one of the trends of the event.

One of the first conferences by Ampere Analysis addressed the rise in licensing and the launch of new children's shows during the first half of the year. ‘Streaming platforms responded to this demand by significantly investing in children’s programming, which became a key focus for many commissioners. In fact, the children’s and family content ranked as the third most acquired genre on streaming platforms, with 18,000 titles’, said Olivia Deane, Research Manager.

Candice Alessandra, Director of Studies and Client Relations at Glance, led the second trends conference, where she also highlighted the rise of original series on public TV: ‘As children's television continues to evolve, we are seeing a strong interest in original and meaningful content that stimulates and revitalizes the audience for children's channels. The first half of 2024 saw successful launches of new programs, many of which were original creations, while trends in environmental awareness, identity exploration, and the reinterpretation of classics are reshaping the landscape of kids’ programming’, she said.

Meanwhile, the market continues to emphasize the role of public broadcasters as essential players in producing new content. A session featuring BBC Kids, GoldBee, and distributor Watch Next Media touched on this topic. ‘Successful partnerships are not only about financial investment but also about working with people who bring different creative ideas and perspectives. This diversity of input can help make content more universal and accessible to global audiences’, commented Sarah Muller, Commissioning Editor for children's content at BBC.

RX is also hosting several sessions this year focused on AI and how it is redefining the business. Evan Baily, consultant, specialist, and president of Consolidated Baily, commented on the matter: ‘2024 and 2025 will be about analyzing the true impact of this technology. Will AI unleash a tidal wave of new creativity, or will it disrupt (and maybe destroy) everything we know and love about making TV and movies?’

Among the comments gathered by Prensario, Andrea Basilio, Head of Children and Youth Content at RTE (Portugal), remarked: ‘There is noticeably less participation from delegates at MIPJunior this year. I believe this is due to the fewer attendees from streaming platforms. However, public broadcasters remain resilient and continue to invest in innovative and current content for the youth segment’.

Lastly, one representative from the Indian delegation also commented on how technology has enhanced animation production units. Manish Rajoria, Director of Aadarsh Technosoft, who is at the market presenting the IP Purple Turtle, shared: ‘Everyone is talking about AI; in our case, it makes production and co-production more efficient, although many in the industry still fear it’.

Alberto Buitron and Francisco Ferreyra
from Cannes, France

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