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Resilience Earns Raucous Applause at MIPCOM's Women in Global Entertainment Power Lunch

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  Published in Media and Entertainment on Monday, October 13th 2025 at 11:38 GMT by The Hollywood Reporter
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At the 2024 Mipcom trade show in Cannes, the “Resilience” initiative continued its mission of spotlighting women who are reshaping the global entertainment landscape. Organized by the Women in Global Entertainment (WGE) network, the program’s centerpiece—a Power Lunch—was designed not just as a networking event but as a micro‑forum for candid conversations about the systemic hurdles and opportunities that women face across the industry.

The lunch, held in the historic Palais des Congrès, drew more than 200 delegates from every corner of the world—content creators, distributors, streaming giants, and boutique production houses. The venue’s lofty ceilings and glass façades served as a visual metaphor for the transparency and openness WGE seeks to foster.

The “Resilience” Theme

Resilience was chosen as the theme after a consultation phase that highlighted three key concerns for women in entertainment: (1) the fragility of creative pipelines, (2) the volatility of funding streams, and (3) the uneven distribution of leadership roles. The event promised to turn these challenges into actionable insights. In the opening address, WGE Chair Dr. Lillian Patel stressed that resilience “is not a trait to be cultivated in isolation but a collective, system‑wide response to structural inequities.”

Speakers and Sessions

1. A Panel on Storytelling Diversity

The first session featured a panel of four high‑profile executives: Olivia Torres of Amazon Studios, Kofi Nkrumah of Channel 4, Mei-Lin Zhang of Tencent Video, and Priya Nair, the Head of Diversity Initiatives at Netflix. They unpacked how inclusive narratives are not only ethically sound but also commercially viable. Torres highlighted a recent Amazon series that doubled its viewership after the lead actor announced a partnership with a women‑owned charity, illustrating the “pay‑back loop” between social impact and audience engagement. Nkrumah discussed the UK’s “Creative Diversity Code,” which requires broadcasters to publish annual reports on gender representation; he argued that the code’s effectiveness hinges on transparent data sharing.

2. “From Pitch to Platform” Workshop

A hands‑on workshop led by Sofia Martinez, an independent producer and founder of Women’s Pitch Lab, walked delegates through the lifecycle of a project: idea conception, securing funding, building a team, and marketing. Martinez emphasized that women often encounter the “pitch‑gate,” a phenomenon where early-stage funding is disproportionately allocated to male‑led projects. She revealed a recent grant program in Canada that specifically earmarks 30% of its budget for female‑headed productions. Her practical exercises on building a pitch deck using data analytics sparked lively discussion among participants.

3. Keynote by a Streaming Pioneer

The keynote speaker was Ava Kim, co‑founder of the streaming platform VibeTV, known for its focus on emerging Asian content. Kim spoke about “resilience in the face of platform fatigue.” She cited VibeTV’s pivot strategy—moving from ad‑supported to subscription‑based models—to survive an increasingly saturated market. Kim’s data slide showed a 35% increase in user retention after the introduction of a “women’s content hub,” a feature that highlighted female creators and curated narratives.

Networking and Mentorship Opportunities

Beyond the structured sessions, the event’s design fostered organic networking. Tables were grouped by industry function—production, distribution, technology, and marketing—to facilitate cross‑disciplinary collaboration. A “Mentorship Match” booth paired 50 emerging female creatives with senior industry leaders, leveraging a proprietary algorithm that matched participants based on interests, skill gaps, and career goals.

The event also featured a “Resilience Showcase” where five pilot projects led by women were presented in a short‑film format. These projects ranged from a documentary about indigenous women’s rights in Peru to a virtual reality experience that allows viewers to step into the lives of women in rural Africa. Each showcased project received instant feedback from a panel of judges, who offered to connect the creators with potential investors.

Outcomes and Takeaways

• Data Transparency: The panelists agreed on the need for a global database that tracks gender representation in all stages of production—from crew lists to box‑office receipts. The WGE plans to launch an open‑source tool that aggregates these metrics, with the first beta version slated for early 2025.

• Funding Models: Several executives committed to launching “women‑first” funding streams, mirroring initiatives such as the UK’s Creative Diversity Code but with a more aggressive 50% target for the first two years.

• Industry Partnerships: Netflix and Amazon announced a joint partnership to produce a “Women’s Stories” documentary series, co‑financed by a third‑party foundation focused on gender equality. The series will highlight women in under‑represented regions, promising to broaden Netflix’s global content diversity.

• Professional Development: The event’s workshops inspired the creation of a “Resilience Academy,” a series of quarterly webinars that will dive deeper into topics such as contract negotiations, intellectual property rights, and international co‑production agreements.

Final Reflections

The 2024 Resilience Mipcom Women in Global Entertainment Power Lunch underscored a pivotal moment for the industry. By combining data‑driven insights with real‑world networking, WGE forged a tangible blueprint for systemic change. While the road to full equity is long, the event’s collective voice—anchored in the shared reality of women’s under‑representation—signaled a definitive shift toward a more inclusive, resilient entertainment ecosystem.