MIPCOM

I mean, can you expand on that? What do you mean by that?

Yeah, no, I've been having like real struggles with TV because I mean, we met at Mipcom, uh, and I didn't know what Mipcom was.

So someone called me on Saturday and said, do you want to go to Cannes? And I was like, fuck yeah.

Yeah.

And Mipcom's great.

Everyone knows everyone.

There's like champagne everywhere.

Mm-hmm.

So in 2001, we started to go to MIPCOM in France, which is the big show around the world where everybody comes with all their, um, content, including kids' content, to sell to the broadcasters.

And we started going there in 2001 predominantly because we couldn't get a license, and so we had the idea of, let's try to get a license from something that's not even sold to a, a broadcaster yet at an early stage.

We'll bet on their content.

Yeah.

Well, that's, that's super interesting because I'm, I'm trying to, like, think, um, we're in such an interesting time right now where you can just create IP and publish to YouTube, right? Um, and Spotify.

And, you know, I'm in a, I'm in a place where I work with a lot of creators and brands, and we're, we're creating these shows which are now getting picked up on Netflix and Amazon, and it's a really interesting moment in media where you've got, like, the traditional licensed MIPCOM m- model.

Um, and then you've got the, these kind of creators who are just, um, and, and TV personalities who, who have realized, like, they can just create this stuff themselves now.

I would be fascinated to find out how the development of Mole UK came off the back of this season.

Because if they were still pitching at MIPCOM the next year, that's probably when Channel 5 saw it, given the dates on how UK Mole worked.

So that would be very interesting, I think, to find out what the connection was.

Because presumably once Mole Australia had had a season, that was the one that they then showed at MIPCOM rather than the Belgium

one.

Earlier, Bindel said there was one thing missing from this season.

And so, yeah, like you said, it's exactly triple because we just do four markets.

Berlin, Cannes, MIPCOM, AFM.

And now we're doing, I'm, no, we're doing 19.

I'm personally doing 12.

And then as many, many things in life, you have a momentum, and then you have a fatigue, and we got to a place of a fatigue after about 12 years.

So we then took the format of the show to MIPCOM, which is a, a TV festival in Cannes, and it was bought as a format by a few companies.

So we ended up, you know, by this stage, we are main breadwinners.

We've got mortgages, and so we then think, "Well, we'll take what work we can get," because in England now we're not flavor of the month, so we need to go and do it somewhere else.