16 (Continued from Page 14) side, we’ve ventured into TV production. At the same time, we’ve expanded our dubbed library into multiple languages to stay competitive where local accessibility is key. On the marketing side, we’ve doubled down on digital campaigns and social-driven storytelling to create buzz ahead of markets, ensuring that our titles cut through the noise and reach both buyers and audiences.” MediaHub’s Turna explained that “instead of scaling back, we are carefully growing our catalogue with titles that have both commercial appeal and creative depth.” And for Bomanbridge’s Fleck, “We are actively seeking to develop partnerships and synergies with third parties, which are mutually beneficial — particularly in the digital space. We are constantly looking to better assist financially both producers and network buyers. They are under incredible pressure right now and we know that we can help alleviate this by looking at a multi-pronged approach. There are countries, in Southeast Asia in particular, that are willing to put up funds for solid projects,” said Fleck. Do you believe that buyers are facing their own real challenges? asked VideoAge. “We believe buyers genuinely face challenges,” reported O’Shaughnessy. “Subscriber growth is slowing in many territories, while audiences are demanding fresher, more diverse stories. That creates pressure across the board.” Concurred Turna: “Buyers are definitely navigating real challenges, from tighter budgets to shifting audience habits. The market is growing more fragmented in terms of audience preferences and mediums.” Bomanbridge’s Fleck was more specific: “I impress upon our team that buyers are real people with real jobs and pressures who are just trying to make it through.” Luttenberger gave a different twist: “What concerns me even more are the significant upheavals in the fabric of our society which may ultimately also affect our industry and ultimately buyers’ room for maneuvering.” Since many large studios are going through structural and economic changes, VideoAge asked if these changes offered more opportunities to indies. “We see every disruption as a chance to stand out,” said ACI Inspire’s O’Shaughnessy. “Larger studios may be scaling back, but that opens doors for agile independents like us. That’s why we’ve leaned into original production. In today’s climate, indies who bring both creativity and flexibility are the ones buyers turn to.” To MediaHub’s Turna, “the restructuring of larger studios often creates space for independent players like us to step in with fresh content pipelines and quicker decision-making.” And for Fleck, “the chaos of the studios has led to a resurgence of strengthened localized storytelling. We see this in Europe, Asia, and Southeast Asia in particular, where in comparison to 10 years ago, today’s slots are dominated by local content.” Electric Entertainment’s Mehandjiyska was again more succinct: “We believe with changes come opportunities. However, the beginning of every such period will bring uncertainty.” ORF’s Luttenberger was more philosophical: “It’s difficult to predict to what extent new structures among the major market players will automatically guarantee success for smaller ones. After all, we are part of an ecosystem with many interconnected vessels. Time will tell which companies will be able to hold their own and take the right measures at the right time. In any case, indies have the advantage of a more structurally agile setup, and shorter decision-making processes for audience success, and thus, despite economic constraints, sometimes are at a competitive advantage.” Finally, asked VideoAge, how do you rate MIPCOM compared to your other important TV trade shows? “MIPCOM remains the flagship event of the fall calendar,” stated O’Shaughnessy. “For us, MIPCOM is as much about visibility and marketing impact as it is about transactions. Our titles benefit from the spotlight the market creates, which often accelerates deals in the months that follow.” To Turna, “MIPCOM remains a cornerstone for us. It continues to be the best stage to launch and highlight our originals. Each market has its value — LATAM-focused events like MIP Cancun or Content Americas, and APAC showcases like ATF — but MIPCOM stands out as the most global, where we can engage with partners across all territories at once. For a company like ours, balancing boutique scale with international ambition, it is essential.” And Fleck said: “We’re finding that the real players are attending [MIPCOM], whereas in previous years there were quite a few window shoppers. Perhaps smaller teams of people are going, but as a result we are meeting with the real decision-makers who are there to do business.” To Mehandjiyska of Electric Entertainment, “MIPCOM is a high-priority market for us. We are celebrating our 25th Anniversary this year at the show!” Concluded Luttenberger: “Frankly, we really missed having a major European multigenre marketplace and are very much looking forward to the upcoming MIPCOM.” No matter how you slice it, MIPCOM is not only an important industry appointment, but also a reflection of the state of the TV industry. VIDEOAGE October 2025 Market Preview
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