The can-can is a festive, high-energy tune that became a popular music-hall dance in the 1840s, and continues to be popular in French cabaret circles to this day. Years ago, the late legendary Mexican TV executive Pedro Font brought a Mariachi band to MIP in Cannes to celebrate both French and Mexican culture. Some 10 years ago, the French returned the favor by moving the whole Cannes TV market to Cancun, the Costa Azul of the Atlantic.

It’s a good story and all the facts are correct, but we’re unsure if the puzzle was actually assembled that way. What is known for sure is that the MIP Cancun TV market has now found its own high-energy place in the LatAm TV calendar year, and its own tune to march to.

The various TV trade publications that will be found in the Moon Palace Arena will attest to the market’s success. In fact, VideoAge‘s November Issue has oodles of stories focusing on MIP Cancun and its relationship to the MIP markets in Cannes, as well the two markets in Miami in January.

The Issue also reviews the AFM, now settled by default into a new venue in Santa Monica, California, and NAB in New York City, which, for once, did not coincide with MIPCOM in Cannes.

The topic du jour (AVoD and FAST channels) is covered extensively with an editorial twist that will make even a traditional Mariachi band swing to rock-and-roll tunes. Such are the twists and turns that these new streaming channels are imposing on traditional players.

Other stories featured in VideoAge’s November Issue include “The New Trend: Migrating from Social Media to OTT” and “Markets at a Crossroads in Miami: NATPE or Content Americas.” Plus, there’s “Talent Agencies Looking for New Roles,” “How Much is Hulu Worth?” and “AI: What, How, and Why to Regulate.”

Naturally, there is also a book review, titled “A Biography [That] Explores How Warner Brothers Shaped American Cinema,” some travel news that warns readers to  “Brace for More Chaos at U.S. Airports,” and the My2¢ editorial about C-suite execs who were caught by surprise by the challenges posed by streaming platforms. Conversely, people with common sense and those in the E-suites (trade Editorial) knew otherwise, and had been pointing out streaming’s pitfalls for years.

The Issue is available here.

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