MIPCOM 2026 develops today its third full day, after two journeys plenty of cocktails, conferences and events. Is this a good Mipcom? Tomorrow we’ll develop the outcome, after attending the wrap-up conference of RX FRANCE. As usual recently, attendees say there are less people traffic, and you see at the Palais many empty places that had booths in previous years. But business is up, there is good energy to surpass current crossroads. Beyond volumes, all or most of the important players are in Cannes taking decisions.

Also, at Mipcom it can be seen many fresh strategies and twists to improve the market. Sammie Hao, Reelshort (USA/China) global leading microdramas app: ‘We are with two edging strategies: to set up bundling alliances with telcos, as AIS in Thailand, to reach massive audiences with our microdramas. And we have produced six branded mini-dramas, with 8-10 episodes of one minute each. With brands as Crocs --six seasons-- Monopoly Go and Anker Solix, among others. We guarantee them 3 millions of views, but Crocs got unique 10 millions’.

Orasi (India) is providing product placement AI solutions, for instance to edit in traditional fictions, current products to generate new incomes. The new pieces are mainly used in short form content platforms and social media, as TIKTOK and YOUTUBE. OTTera (USA) is launching ‘My Station’, a special platform to automatize the creation + monetization of FAST channels. The content holders upload product and the solution provides them scheduling, promotional and distribution tools to the right audiences. On the other side, viewers subscribe directly using tokens, accessing from different apps, FAST, CTV and other digital environments.

Also, traditional content industry is defending itself. Jack Ojalvo, CEO, Copyright Capital (YOUTUBE main partner and investment fund): ‘The battle between YOUTUBE and TIKTOK for the digital future? Today the main battle is between YOUTUBE and Netflix. The main incomes of YOUTUBE are generated by very few players. Netflix is intending to identify and take them to its platforms, and has got some strategic successes these weeks. The future is open’.

What do the buyers look for at Mipcom? Berengere Terouanne, M6 France: ‘Premium series to make a difference’. Giorgio Buacelli, RAI Italy: ‘We are incrementing the European content, mainly from UK and Germany’. Min Lin, VisionPlus Malaysia: ‘We are coproducing with global platforms to generate local product, and with neighbor territories as The Philippines, that take advantage of Malaysian production rebates’. Gerardo Rosillo, Televisa Univision (USA/ Mexico): ‘We are reinforcing our SVOD VIX originals strategy with fictions from new origins: first Korea, now China’.

Disney+, international: ‘Our main trend is to include local product of the main territories we cover, with more and more alliances’. Diana Stanciu, ABC Plus TV Romania: ‘Action movies’. Breno Sousa, Globo Brazil: ‘We are targeting young adults with dating shows and realities, for streaming’. Avi Himatsinghani, Rewind Networks (Singapore): ‘We are expanding our 3 channels, and planning to launch a fourth one’. Katharina Bigos, Network 4 (Luxembourg): ‘Crime procedurals, romcoms’.

Mohamed Alliy, Azam Media, Tanzania: ‘This year we took the rights of the World Cup and we gained good market. We dub the contents we see potential, as Turkish series, crime or feel-good programming’. Facundo Bailez, Sky UK: ‘Premium series in English’. Dragan Petrovic, Visionary Thinking (Serbia): ‘Commercial contents for our revenue sharing model, that works very well in CEE’. Erika Tothova, TV Joj, Slovakia: ‘Premium series, formats and animation’.

Nicolás Smirnoff, Alberto Buitron, Juan Pablo Morales

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