{"id":76913,"date":"2025-10-15T20:07:08","date_gmt":"2025-10-15T20:07:08","guid":{"rendered":"https:\/\/www.newsbeep.com\/il\/76913\/"},"modified":"2025-10-15T20:07:08","modified_gmt":"2025-10-15T20:07:08","slug":"how-youtube-stole-the-show-at-mipcom","status":"publish","type":"post","link":"https:\/\/www.newsbeep.com\/il\/76913\/","title":{"rendered":"How YouTube Stole the Show at MIPCOM"},"content":{"rendered":"

\n\tEveryone wanted to be YouTube<\/a>\u2018s friend at MIPCOM this year. <\/p>\n

\n\tThe Cannes TV market was entirely upended by the presence of the content behemoth which, as a major presence on the Croisette for the first time in its 20 year-existence, became emblematic of creator-driven success \u2014 the future of entertainment production.<\/p>\n

\n\tThe creator economy was, of course, MIPCOM 2025<\/a>\u2018s headline focus. Influencers quite literally ran the show: the London-based After Party Studios introduced The Nella Rose Show, France\u2019s superstar content creator Inoxtag was a MIP headliner and Tubi showed off its episodic \u201cCreatorverse\u201d platform. Swathes of social media stars, including sessions with Twitch streamers, sports influencers and heads of digital media studios, speckled the lineup with talks on how to do creator content right.<\/p>\n

\n\tThe Google-owned YouTube \u2014\u00a0the U.S.\u2019s leading streamer, ahead of Netflix, per Nielsen<\/a> \u2014 demanded the spotlight from the get-go, helped by EMEA vp Pedro Pina\u2019s keynote session on Monday<\/a>. Next to BBC Studios\u2019 senior vp of digital, Jasmine Dawson, Pina touted their partnership as the most viable way forward for traditional TV players, who arrived in Cannes seemingly frantic in their bid for innovation. (\u201cTraditional\u201d became every speaker\u2019s go-to when describing broadcasters and cable TV networks.) Audiences are more online than ever, we were told. And creators are your route in.<\/p>\n

\n\tIn Q2 of this year, YouTube clocked nearly $9.8 billion in ad revenue, with analysts predicting that YouTube, in the U.S., is going to dethrone Disney as \u201cthe biggest media company without even selling a churro and a theme park,\u201d said Foundation Distribution CEO Sarah Craig at a panel titled \u201cInvesting in the Creator IP Boom.\u201d Other session titles captured perfectly the totality in which creators (and, therefore, the world\u2019s largest video-sharing platform) dominated MIP this year: \u201cBoost Your Audience by Crafting Compelling Content on YouTube\u201d; \u201cWhy Digital Media Studios Will Dominate the Future\u201d; \u201cReinventing TV Shows with Creators\u201d; \u201cReshaping Entertainment in a Creator-Led Future,\u201d to name a few.<\/p>\n

\n\t\u201cWhat we do is, if you\u2019re successful, I\u2019m successful. If you\u2019re not successful, I\u2019m not successful,\u201d said Pina at the keynote session. \u201cIt\u2019s the best combination ever. The audience will determine whether the content is good or not.\u201d <\/p>\n

\n\tHe was also clear about where others are going wrong: \u201cTypically, people look at distribution platforms from a broadcasting standpoint. [They say], \u2018I have a piece of content right now and YouTube reaches however many million people, so I\u2019m just going to push the content, and somehow magically it shows up on in front of people on the other side.\u2019 And that\u2019s just not how it works. It\u2019s not a push mechanism anymore,\u201d he continued. \u201cIt\u2019s a pull mechanism. That\u2019s why hiring YouTube creators is so important, because they understand fundamentally that this is about curating, taking care of your fandom, [and] feeding your fandom what they need in order for them to start pulling [in] their audience.\u201d<\/p>\n

\n\tDawson concurred. She told audience members that BBC Studios, the commercial arm of the British broadcaster, has done exactly that. Content creators now hold senior positions at the company. \u201cPutting our audience obsession at the heart of everything we do is what makes our business work now,\u201d she emphasized. \u201c[We\u2019re] fandom first.\u201d Pina echoed the sentiment that with fandom comes power and that makes creator input a necessity.<\/p>\n

\n\tThis word, fandom, then began popping up everywhere. And YouTube, marketing itself as the global hub of fandom cultivation, became queen bee. For good reason: Little Dot Studios\u2019 Tarif Rahman said when talking to 14 to 44-year-olds online, 85 percent describe themselves as a fan of someone or something \u2014\u00a073 percent of those fans run to YouTube first for that content.<\/p>\n

\n\tBut why? \u201cThe platform is just made for them,\u201d said Rahman. \u201cFans get lost in niches. When you watch a YouTube video, you can always see a recommended video, a suggested video, a playlist. You\u2019re just being pushed down a niche, and you continue to see more and more content that is related to your online IP.\u201d This then morphs into its own community and Little Dot \u2014\u00a0specializing in digital video production, distribution and monetization \u2014\u00a0capitalizes on the frenzy. \u201cYou can repackage fan-favorite moments in so many different ways,\u201d he said at the MIP Innovation Lab. \u201cWhether it\u2019s a short, a live stream, a marathon, a long-form compilation, there\u2019s so many different ways to be able to serve the same content and still have your fan base really engaged.\u201d<\/p>\n

\n\tTake British chef and presenter Gordon Ramsay, whose Studio Ramsay (Kitchen Nightmares, Culinary Genius America, Ramsay in 10, the works) first approached Little Dot to get their content on YouTube 10 years ago. Some might fear that putting his best TV moments on YouTube for free would cannibalize viewership on the original network, but results shows the opposite effect. \u201cIt\u2019s all very complimentary,\u201d said Rahman. \u201cIt helps you tap into a new audience that you wouldn\u2019t have been able to tap into before.\u201d Crucially, studios like Little Dot don\u2019t treat this content like linear TV would. \u201cWe really focus on how we can maximize the IP as much as possible,\u201d explained Rahman.<\/p>\n

\n\tThey prioritize virality. \u201cWe focus on his iconic moments, his viral reactions and his shareable chaos, because we know he has a deep fandom. We know he has people who love when he drops an f-bomb or he calls someone an idiot sandwich.\u201d Little Dot now own 135 YouTube channels and reach 930 million people a day. Studio Ramsay is one of the site\u2019s top creators.<\/p>\n

\n\tBut it isn\u2019t just world-renowned stars like the foul-mouthed chef who can carry an entire studio on his back. Creators are now able to diversify their revenue streams like never before, setting up their own studios through merch sales, live events, localization and more. Dhar Mann Studios, launched by YouTuber Dhar Mann \u2014 who boasts 26.2 million subscribers \u2014 had CEO Sean Atkins (formerly MTV president) on the ground in Cannes to speak to the stratospheric success of Mann and others, including the globe\u2019s most-followed creator, MrBeast. Atkins spoke on the main MIP stage about the increasingly varied pathways for monetization in the creator space (The Economic Times<\/a> reported the net worth of MrBeast, real name Jimmy Donaldson, to be around $1 billion in 2025).<\/p>\n

\n\tThis, in turn, means the quality of content is only rising. The kicker is creators are better set-up to fail and reboot like linear TV can\u2019t. \u201c[Traditional TV] can\u2019t rapidly test out new things in the same way that digital can,\u201d said Silver Berry CEO Matthew Gielen in another session about the reign of digital media studios. \u201cTraditional also has a ton of gatekeepers. [That means] they have to move slower, and their hands are tied in so many ways that a digital company\u2019s hands are not.\u201d With production levels in L.A. at their lowest in years, that kind of financial freedom becomes a superpower.<\/p>\n

\n\tWith the creator economy firmly established as the future of TV at MIPCOM, then came the deals<\/a>. Fremantle\u00a0struck a content partnership with Viral Nation to develop a slate of \u201ccreator-led social-first formats\u201d and Banijay unveiled FC Failliet\/Finesse (FCF), a professional Dutch soccer club co-founded with digital creators Ilias Vietto, Aimane Charbon and Kleine John. One of the buzzier announcements, Banijay\u2019s Creators Lab, was confirmed Monday; CEO of Banijay France Alexia Laroche-Joubert walked The Hollywood Reporter through the plan.<\/p>\n

\n\tLaroche-Joubert confessed it took a little while for Banijay to figure out a \u201cwin-win deal\u201d for both Banijay and creators. Partnering with YouTube, they found a breakthrough with the Creators Lab, launched through their new Banijay Creators Studio. The project will see five selected YouTube stars inject new life into Banijay\u2019s dormant formats with the help of \u20ac50,000 ($58,000) and complete control over the series pilot. Global game show Minute to Win It, for example, has been reimagined in a workplace environment that Laroche-Joubert said makes for fantastic viewing.<\/p>\n

\n\tYet, with this wild enthusiasm about the creator production space and all of the power seemingly in their hands, Laroche-Joubert made sure to note it\u2019s not entirely one-sided. Creators need something too, something only linear TV platforms can offer, and that\u2019s some of the best-known IP in the world. \u201cThere\u2019s a study that has been released last week that [said] all the creators have burn-out,\u201d Laroche-Joubert told THR. \u201cThey have to produce so much and they have to be in touch with the brands, find good stories, good ideas, produce them, release them, follow their community. This is why I think that [this deal] is for them, too \u2014\u00a0to see them reshape something, to have some format, a pillar to rely on.\u201d<\/p>\n

\n\tSaid Gielen about the stability and prestige of traditional TV: \u201cYou have the best IP in the world, the ability to fund the best IPs in the world. And you have clout. Everybody wants to be a fucking star,\u201d the U.S. exec added. \u201cThe closest thing to a rock star is a movie star, right? You have access to unbelievable amounts of money that digital does not have. You have massive distribution networks [\u2026] massive libraries that can truly be exploited, adapted, changed, reinvested, and then you have relationships. You have relationships with these platforms. You have relationships with distribution networks, studios. These are all things that you can leverage to hold off the incoming digital media creators.\u201d<\/p>\n

\n\tPerhaps it\u2019s not entirely accurate to say creators are in the driving seat, but if MIPCOM made anything clear, they\u2019ve certainly got a hand on the gear stick. What remains clear is the demand for a convergence in place of rivalry. \u201cCreators aren\u2019t a threat to the core ecosystem of the media,\u201d said Atkins. \u201cThis is an opportunity to work together, and we\u2019re going to see more of these hybrid relationships between traditional and creators over the next few years, [away from] the fear-based [mood] that you see now.\u201d<\/p>\n","protected":false},"excerpt":{"rendered":"Everyone wanted to be YouTube\u2018s friend at MIPCOM this year. The Cannes TV market was entirely upended by…\n","protected":false},"author":2,"featured_media":76914,"comment_status":"","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[8],"tags":[146,85,399,46,28178,50831,678],"class_list":["post-76913","post","type-post","status-publish","format-standard","has-post-thumbnail","category-entertainment","tag-entertainment","tag-il","tag-international","tag-israel","tag-mipcom","tag-mipcom-2025","tag-youtube"],"_links":{"self":[{"href":"https:\/\/www.newsbeep.com\/il\/wp-json\/wp\/v2\/posts\/76913","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.newsbeep.com\/il\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.newsbeep.com\/il\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.newsbeep.com\/il\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.newsbeep.com\/il\/wp-json\/wp\/v2\/comments?post=76913"}],"version-history":[{"count":0,"href":"https:\/\/www.newsbeep.com\/il\/wp-json\/wp\/v2\/posts\/76913\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.newsbeep.com\/il\/wp-json\/wp\/v2\/media\/76914"}],"wp:attachment":[{"href":"https:\/\/www.newsbeep.com\/il\/wp-json\/wp\/v2\/media?parent=76913"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.newsbeep.com\/il\/wp-json\/wp\/v2\/categories?post=76913"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.newsbeep.com\/il\/wp-json\/wp\/v2\/tags?post=76913"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}