MIPCOM Cannes flips the script, creators, brands, AI reshape the show

The upcoming October gathering in Cannes will shift its spotlight from traditional TV deals to a broader mix of creators, brands and artificial‑intelligence initiatives.

Lucy Smith, head of the market, says the event “is no longer just about buying and selling TV programs.” Smith’s comments come as the industry braces for consolidation and reduced funding from legacy sources, prompting MIPCOM to broaden its remit.

The focus now includes co‑production, fast‑moving channels, branded entertainment and the creator economy. Key new programmes include MIP BrandWorks, launched with BrandStorytelling and denstsu, and the MIP AI Entertainment Forum in partnership with Versos AI and Protégé.

## Background & Context

Lucy Smith first attended MIPCOM in 2006, a decade before she took over its leadership. She now runs the event, organised by RX France, “we evolve with the changes in the industry,” she says. The core of MIPCOM remains distribution, yet the market is no longer a pure buy‑and‑sell arena.

Industry shifts are reshaping the marketplace. Warner Bros. and Paramount are expected to maintain separate stands this year, but Smith predicts “you’re unlikely to see that in 2027.” The same is true for Banijay and All3Media, while medium‑sized distributors feel the pinch as budgets tighten.

Smith highlights the market’s heavy push into co‑production and FAST channels before turning to brands and the creator economy as part of her strategy.

## A Legacy of Innovation

MIPCOM has long been the beating heart of global television, drawing more than 10,000 delegates each year to a single venue. Its origins trace back to the early 1980s when a handful of broadcasters met in Paris to negotiate syndication deals.

Over the decades it morphed into a multi‑platform arena that welcomed streaming giants, production studios and now, content creators who operate out of coffee‑shop offices and YouTube studios. The evolution has been deliberate. In the 1990s, the market introduced “MIPTV,” a dedicated segment for emerging technologies.

By the 2010s, it had added “MIPster” for indie producers and “MIPdiscovery” for long‑form narrative series. Each expansion reflected a new wave in media consumption—be it digital downloads, on‑demand streaming or interactive experiences. Smith credits this track record of adaptation to the current pivot.

“When Netflix first walked into our halls in 2011, we had to rethink everything,” she recalls. “Today we’re doing the same with creator‑led studios and AI‑driven storytelling.”

## Reactions from Creators & Brands

“Creators are reshaping the global media landscape,” Smith says, recalling a call from a studio: “We want to meet all these creator‑led businesses.” She added that YouTube had its biggest‑ever presence at MIPCOM 2025 and will be even more visible this year.

The partnership with the Google‑owned company was described as “the right way to make a mark and to say MIPCOM would be focusing and pivoting to the creator economy.”

On the brand side, representatives from major consumer goods groups have expressed enthusiasm about the new MIP BrandWorks platform. “We’re looking for authentic storytelling that resonates with Gen Z,” said a senior marketing director at a global beverage company.

“MIP BrandWorks gives us a space to collaborate with creators who already command huge audiences.” Meanwhile, mid‑tier production houses are seeing the opportunity to pair their content with brand sponsorships, using the forum as a launchpad for joint ventures.

“The ability to combine a short‑form series with branded product placement is a game changer,” notes an independent producer who will be showcasing a travel documentary at the event.

## Industry Ripple Effects

The shift toward co‑production and FAST channels has already begun to reshape licensing economics. Studios that once relied on syndication are now negotiating deals that include cross‑platform rights, brand integrations and data‑driven audience insights.

The result is a more collaborative ecosystem where creative teams work side‑by‑side with marketing departments from day one. In the AI arena, the MIP AI Entertainment Forum is expected to accelerate dialogue between technologists and traditional media owners.

“Companies involved in AI and entertainment have a specific need to be part of the content industry conversations,” Smith explains. This is particularly relevant as AI‑generated scripts and deep‑fake technology push legal and ethical boundaries that the industry must address collectively.

## Looking Ahead: The Next Decade

The 2026 event will open with a pre‑market headline session on Sunday featuring Dhar Mann Studios. Powerhouse digital producer Mann and DMS CEO Sean Atkins will jointly keynote, emphasizing the intersection of creators, brands and branded entertainment.

Full proceedings will begin on Monday, with the MIP Innovation Lab continuing to address streaming, and the new AI forum launching its first conference. While the event still prioritises dealmaking, Smith says it now “bridges the gap in conversations between traditional media companies and newer creator‑led studios.”

Virtual meetings remain an option, but MIPCOM remains the only international TV event that brings about 10,000 people to one venue, . She believes that in‑person collaboration will spark the next wave of new business models. “When you’re face‑to‑face with a partner from another country, ideas flow faster,” she says.

The event’s expansion signals a shift in the industry’s priorities, placing creators and emerging technologies at the centre of global entertainment conversations.

As studios re‑evaluate their portfolios and brands seek authentic engagement, MIPCOM’s new focus could well set the tone for how content is created, monetised and distributed for years to come.