The annual MIPCOM TV market has just closed for another year. The organisers billed this year’s event as “the mother of all entertainment content markets”.
The numbers this year back up that statement. Attending across the four days in Cannes last week were 11,000 delegates and 3,500 TV buyers from 100 countries. In the various meeting rooms and at the 350 exhibitors stands those TV buyers and sellers compete for new series, source international production partners, and set development agendas for the coming year and beyond.
As the market likes to put it – “deals get done”.
ABC Commercial at MIPCOM
Australian TV execs in Cannes
There is always a strong local contingent working on deals at MIPCOM. This year exhibitors were ABC Commercial, ACTF, Escapade Media, Fred Media, Inverleigh, Melodie Music and Screen Australia.
Buyers from Australia swarmed over Cannes too. This year people were exploring deals for Fetch TV, Foxtel (4 buyers), Fred Media, LGI, Madman, Nine (4), Paramount ANZ, Samsung TV Plus, SBS (5), Seven (5), Stan (3), and Switch (3).
‘We need to be more discerning than ever’
Amongst the buyers from the ABC was Roberta Allan, ABC’s head of programming, acquisitions and streaming.
Mediaweek spoke with Allan about the MIPCOM marketplace in 2025.
As to an overall impression this year, Allan commented: “Every major distributor continues to have a strong slate. There’s a considerable volume of quality content being produced. It is always good to meet with programming peers and compare notes on trends and audiences.
“There was an abundance of choice, through both the volume produced and the windowing available. Which means we need to be more discerning than ever and smart with the deals.”
As to what the ABC was looking for, Allan explained: “Delivering a consistent and strong schedule is a complicated jigsaw. We are always looking to make the ABC’s offering work across a number of levels. We acquire content across a wide slate – drama, comedy, factual, documentary, lifestyle, entertainment, arts, music, science, children’s, family and movies.” Quite the shopping list!
Sharing learnings with the BBC, Allan noted that that BBC’s iPlayer and ABC iview perform in a similar way.
“We have a number of similar programming strategies, such as meeting audience demand by making more programs available to binge.”
Audience around the globe are choosing to binge on ABC programming. Allan reminded us of the impressive list.
Ludo Studio’s Bluey
“Bluey, an ABC commission, is the biggest show in the world, and just got bigger after launching in Japan in October. Our award-winning series The Newsreader is on the BBC in the UK. Also coming to the BBC will be our comedy Austin, starring Michael Theo, Ben Miller and Sally Phillips, as well as our new series, Return to Paradise.
“Fisk is streaming globally on Netflix. In children’s programming, Ginger and the Vegesaurs is one of the biggest shows on CBeebies, BBC’s preschool children’s channel.
Fisk
“There are also opportunities to co-produce, with programs such as Stuff the British Stole being made by ABC and PBS, allowing the scale of the storytelling to expand.”
As to stars from Australia on the global stage, Allan pointed to one in particular.
“Look at Maggie Beer being named Best Host of a TV Format at the C21 International Format Awards at the market. She won for Maggie Beer’s Big Mission, produced by Artemis Media for the ABC, beating industry legends like Jimmy Kimmel and Stephen Fry in the category. What a brilliant win, to achieve global recognition.”
Maggie Beer
Art of the deal
Allan: “It’s a complicated business, with the competition and technology constantly changing and audience expectations evolving. It means constantly adjusting and staying agile. But the quality of the content and the impact on audiences makes it rewarding. Whether it’s scripted or non-scripted, there are amazing stories being told. We can see it in how much people talk about TV.”
Part of the challenge at the market is finding the hottest properties. “Anything with scale, known talent and gripping stories leads to high competition,” said Allan. “Premium dramas are always competitive and true crime has been a growing genre. The ABC acquires content to complement the commissioned slate. An example from earlier this year was the NZ drama After the Party, which received rave reviews and generated significant audiences on ABC iview.”
After the Party
Balancing the different options can be tricky.
“It’s about looking at how titles tie into the overall offering, building out genres and ensuring consistency. We ask ourselves -– will audiences enjoy it? Will the audience find it? Are the mechanics correct: price, date, rights? We are looking for projects where the story, topics and talent will cut through.”
Getting deals done can take time, explained Allan. “Every timeline is different. Some deals take days and others take months, depending on the complexity. As for how soon they appear on screen, it depends on if it’s a presale (buying ahead of the program being completed), when there will be a finished tape and when the commissioning broadcaster is putting the show to air.”
See also: Roberta Allan – ABC strategy behind the launch of ABC Family & ABC Entertains