MultiChoice and M-Net silent over reevaluation of podcasts on Mzansi Magic after more DStv brand damage following another derogatory podcast blow up

by Thinus Ferreira

MultiChoice and M-Net are not willing to say whether the traditional pay-TV company, soon to be taken over by France's Canal+, is reevaluating its strategy of broadcasting derogatory podcasts on its linear Mzansi Magic TV channel after another one is inflicting massive brand damage.

The shocking and degrading podcast, Open Chats Podcasts- hosted by Mthokozisi, Sonwabile, Lefa Hlalele and Busisiwe Radebe and run on Mzansi Magic (DStv 161) as one of several podcasts placed on the linear channel - sparked massive public condemnation over racist and revolting utterances, causing more brand damage for MultiChoice, DStv and Mzansi Magic.

Although the specific podcast episode in question wasn't aired by M-Net on Mzansi Magic, MultiChoice is paying Open Chats Podcasts for its content and supporting them financially, and even led to South Africa's minister of communications, Gayton McKenzie, calling MultiChoice about the obscene content.

The nasty trashcast continues to be condemned by the public, community groups, politicians and viewers after the presenters made appalling and crude comments about coloured people, falsely claiming that coloured people have incestuous sexual relationships and that it is due to mental illness.

Mthokozisi said "The coloureds apparently chow each other" after which Lefa said "siblings" and another chimed in with "I believe that's because the coloureds are crazy" and saying "I have dated a coloured guy. If you're mentally crazy of course you will sleep with your cousins".

Following the uproar Open Chats Podcasts in a statement says "The intention was never to cause harm or disrespect the coloured community. Open Chats is a platform centred on open conversations, which at times touch on sensitive topics".

"We do understand that as a platform, we should conduct conversations respectfully."

Politicians in South Africa are now calling for regulation of podcasts. The Open Chats Podcast is now also being investigated by the South African Human Rights Commission (SAHRC). The Patriotic Alliance political party has opened a criminal case with the South African police.

MultiChoice has now canned the Open Chats Podcast on Mzansi Magic.

It is just the latest podcast that was taken from the internet to be repositioned on one of M-Net's linear pay-TV channels and where it went up in flames, causing brand damage.

Earlier this year MultiChoice and M-Net suffered reputational damage when the Podcast and Chill presenter MacGyver "MacG" Mukwevho got dumped from Mzansi Magic in May after extremely vulgar and degrading gender-attacking comments he made about another the private parts of local personality, Minnie Dlamini.

The next to go in June was podcaster Lasizwe Dambuza after the Awkward Dates podcast also ended on Mzansi Magic when that deal got terminated.

These podcasts - a group of eight - have been supplied to M-Net for its Mzansi Magic channel by Leading Edge Growth since the place-podcasts-on-TV deal was announced in March, but so far the results have been completely disastrous.

While M-Net tried to save money by spending less on producing and programming its own local content for Mzansi Magic and paying for much cheaper content ripped from the internet that comes with lower production values, standards and no oversight, the results have been extremely destructive for DStv, M-Net and Mzansi Magic.

Mzansi Magic's decision led to the South African public broadcaster also starting to experiment with replacing some linear programming with cheaper and low-value podcasts. 

TVwithThinus asked MultiChoice, M-Net and Mzansi Magic whether they have been, or are busy reevaluating the cheap replay of online podcasts for linear primetime on DStv - a programming decision that was signed off by Shirley Adonisi, the M-Net director for local entertainment channels.

MultiChoice, M-Net and Mzansi Magic declined to answer the specific questions asked but in a response said "MultiChoice is aware of recent comments made on the Open Chats Podcast".

"Open Chats' contract with DStv ended on 25 July 2025, as the show was removed to make way for our August content slate. The episode in question was not aired on our platform. MultiChoice adheres to stringent quality control processes and does not promote any discriminatory content."

Meanwhile, South Africa's TV and film industry is openly wondering why traditional broadcasters are giving up valuable airtime to low-quality content and vapid microphone-filmed talk that drags down ratings, leads to brand damage, isn't supportive of local production companies and ends up as a disservice to DStv subscribers and other viewers who pay with the expectation of getting original content that has higher production values.

MultiChoice, M-Net and Mzansi Magic were also asked why they feel that it's good business to continue to air podcasts on linear television and to be associated with this type of content and these content creators, and what they make of the Open Chat Podcast and the utterances of these talkers, but they declined to answer these questions.

BBC Studios evolves Walking with Dinosaurs into a new series on BBC Earth: 'Truly the most accurate you'll have seen dinosaurs on TV so far'

by Thinus Ferreira

Celebrating 25 years since the jaw-dropping original Walking with Dinosaurs, the BBC is back with a new, updated Walking with Dinosaurs on BBC Earth (DStv 184), which takes viewers back into prehistoric times with six new-old dinos and their stories of parenting, migrating, hunting and trying to survive. 

Bertie Carvel is the narrator of the new 6-episode Walking with Dinosaurs that is both a reimagining and an updated new version of the series - advancing what scientists know about that time and the creatures from so long ago, but also showing the updated technology being employed by modern-day archaeologists.

I recently spoke with Jay Balamurugan, series assistant producer and paleoartist for Walking with Dinosaurs.

Did you use AI or just the knowledge that palaeontologists have gathered to make estimated guesses?

We work very closely with them to know what sort of material we have in the ground.

So things like bones, and sometimes if dinosaurs are really well-preserved, we have things like muscle, skin - that sort of thing. If we have that, since some dinosaurs are preserved so well, we can even tell their colours because their pigment have been cell-fossilised. That is the best. 

If we have that, that is gold. But if we don't, because a lot of dinosaurs are not super well-preserved, we can also look at modern relatives.

So birds today, modern dinosaurs today, were descended from the two-legged dinosaurs like Velociraptor and that sort of thing. 

And we can look at what birds have today that they have in common with their distant ancestors to get a type of an idea. 

It's never going to be perfect, but we do our best to work as closely with the scientists to get a really good, reasonable representation of what these animals look like. 

'They really lived rich and vibrant lives -

each one with triumphs and defeats'

How long did it take to film and make this series?

It was actually quite a long process. I think about three years total in production. It took us anywhere from like six months to over a year to build even just the one dinosaur in VFX. 

So we do a lot of things concurrently. We built multiple animals at once. The visual effects team would be building up these VFX models while we were out in the locations filming, so that everything could come together at the end.

It was really quite a long period of time and quite a challenge because, of course, we're not just doing the dinosaurs in the prehistoric world. 

We're also filming palaeontologists on location. So it's almost like running two productions side by side. It's about three years in total.

How difficult was it to get access to all of these archaeological digs and were you guys surprised?

I think at the start we must have spoken to about 200 palaeontologists.

 There are discoveries being made every day. I think there's something like 50 new dinosaur species being named every year. 

There are a lot of parts of the world that are - even if historically they haven't been explored that much - nowadays with new technology, new science, we're able to go into these places and find new animals and new materials. So it was really surprising. 

More institutions want to do work in there and more parts of the world become accessible. 

Obviously, the dinosaurs evolved until they all died off. But you mentioned we still have birds. 

Did it surprise you guys how palaeontology has evolved? It's quite astounding to see them using drones and they do 3D printing and scanning. It's no longer just sort of like on a rock.

That sort of field of study has also changed, it seems, radically. 

Definitely it's something that has really developed. Like you mentioned the 3D printing - we actually 3D print a T-Rex brain in one of the episodes.

Because of that, we can actually determine, okay, it's got a big section dedicated to smell and taste. So we know for a fact it can smell really well. And then we can use that to learn more about its behaviour.

It's all smaller pieces to a very big puzzle. And with more and more technology over time, we're just getting closer and closer to that better picture of what dinosaurs really looked like.

'One of the more terrifying places

to be in prehistory'

In the second episode, it's about the T-Rex of Africa. And there's a sentence in there that was also new to me, where it says the Sahara was actually home to more large predators than anywhere else in history.

So that's a really interesting dilemma that palaeontologists have had. 

When they dig up dinosaurs, there's maybe one or two, which is the ancient Sahara, about 100 million years ago, roughly, we find lots and lots of very big predators, really close together, which is really rare.

But what palaeontologists are slowly realising is that the reason they can all coexist is because they're all probably eating different things.

In that episode, we show Spinosaurus, which is one of the longest predatory dinosaurs, the big sailback. That's an animal that probably eats fish. And then you have this other animal, Carpodontosaurus, which looks a bit like T-Rex. 

And that's something that's probably eating other big dinosaurs. And then we have a few other species that are probably eating all sorts of different things. So they're not directly competing with each other. 

But it does make for probably one of the more terrifying places to be in prehistory.

Besides the special effects that have improved since the first series, what other things may be improved since the first Walking with Dinosaurs to help make this one look better or be more informed?

I think it really is that the show has traditional species-specific consultants and an up-to-date compendium of information on these animals.

This is truly the most accurate you'll have seen dinosaurs on TV so far, because this Walking with Dinosaurs incorporates the most amount of information. 

We used reputable publications and fossil material and it was a lot of work, working with a lot of people. But it comes together to create something that's really quite a drastic difference from the original series back in 1999.

What would you say astounds you or moves you when you look back at the time so long ago?

I find the most incredible thing about these is that they were animals. They were real animals. They lived here. They died here. 

And over such a huge period of time, they really lived rich and vibrant lives - each one with triumphs and defeats. It's just an untold number of stories that are buried in the rock, just waiting to be told.

And I think, to me, that's incredible. That's the greatest joy, is that we get to tell those stories. It's why I'm happy to be able to do this job. 

Walking with Dinosaurs is on BBC Earth (DStv 184) with episodes also available on DStv Catch Up

'Hello, Hulu': South Africans will finally get access to the Hulu streamer's content - but through the existing Disney+

by Thinus Ferreira

South Africans will finally get access to yet another streaming service - Hulu - with the Star tile on the Disney+ video streaming that carries general entertainment international content, which will be changed and rebranded to Hulu.

Besides M-Net (DStv 101) that acquired and carried some Hulu shows, some Hulu content has been available to South African subscribers of Disney+ for a few years now - it's just never been made that obvious.

Now The Walt Disney Company will be changing the Star tile within Disney+ and rebrand it globally outside of the United States on Disney+ to Hulu. 

In America, Disney+ already had a Hulu tile and not a Star tile since Hulu was incorporated as a separately streamer into Disney+ since April 2024.

The Star/Hulu-tile is similar to Paramount Global which never got as far as actually launching its Paramount+ video streaming in South Africa or elsewhere in Africa and with MultiChoice and Showmax that settled for incorporating Paramount+ as just a branded studio tile in the relaunched Showmax app.

In prepared commentary on The Walt Disney Company's latest quarterly earnings report, Disney CEO Bob Iger and CFO Hugh Johnston today said that "We are announcing a major step forward in strengthening our streaming offering by fully integrating Hulu into Disney+".

"You're going to end up with a far better consumer experience when those apps are combined by combining all of the programme assets of both current apps, and with an improved consumer experience comes the ability to lower churn, which is obviously something that we're very, very focused on and committed to doing."

"This will create an impressive package of entertainment, pairing the highest-calibre brands and franchises, great general entertainment, family programming, news and industry-leading live sports content in a single app."

"By creating a truly differentiated streaming offering, we will be providing subscribers tremendous choice, convenience, quality, and enhanced personalisation."

"This will enhance our ability to continue to grow profitability and margins in our entertainment streaming business through expected higher engagement, lower churn, and advertising revenue potential, as well as operational efficiencies that over time may result in savings that we can reinvest back into the business."

Within months, the Star tile on Disney+ will change to Hulu for all Disney+ subscribers outside of the United States, including in South Africa.

"Hulu will now become our global general entertainment brand. It will replace the Star tile on Disney+ internationally."

"Work is already underway to continue enhancing our technology, and over the coming months, we will be implementing numerous improvements within the Disney+ app - including exciting new features and a more personalised homepage - all of which will culminate with the unified Disney+ and Hulu streaming app experience that will be available to consumers next year," Bob Iger and Hugh Johnston said.

'Severe cash-flow contraints': Stained Glass TV forced to shut down production on SABC1's Uzalo over non-payment, 186 cast and crew told filming is paused 'with immediate effect'

by Thinus Ferreira

The biggest TV show on South African television has been forced to shut down production indefinitely due to non-payment by the SABC, with the Durban-based Stained Glass TV that has been forced to end production of Uzalo due to cash-flow problems impacting more than 56 cast members and 133 crew.

Stained Glass TV produces Uzalo for the South African public broadcaster, but also since earlier this year the Skeem Saam timeslot replacement since late-April on SABC1, Amalanga Awafani, which is also set and produced in KwaZulu-Natal. 

It's not yet known whether Stained Glass TV has been forced to also shutter production on Amalanga Awafani. 

"Dear team, we regret to inform you that, due to severe cash-flow constraints, we are compelled to pause production with immediate effect," co-executive producers Gugu Zuma-Ncube, Pepsi Pokane and co-owner Theo Moodley told the Uzalo cast and crew in an internal memo on Monday 4 August.

"Please know that we are actively engaging with the SABC to resolve the matter as swiftly as possible. We understand the impact this has on each of you and remain committed to keeping you informed as the situation develops."

"We are deeply grateful for your unwavering passion, professionalism, and dedication to this special production. Your contribution continues to inspire us, and we are doing everything in our power to get back on track."

Stained Glass Productions was asked for comment, when its cash-flow problems with Uzalo started and what led to it, when it last received payment from the SABC, when it was last supposed to get paid by the broadcaster, as well as how and possible when Stained Glass TV sees the money crisis and production shutdown getting resolved.

Stained Glass TV's answers will be added here once received.

The SABC was also asked in a media query about Uzalo's production shutdown due to cash-flow problems and comment will be added here when received.

Stained Glass TV responded with a statement, passed along from the SABC, saying: "There is no production break on Uzalo, and production continues as scheduled. The SABC remains committed to its partnership with the production company, Stained Glass, and values the continued contribution of the cast and crew."

"As a matter of principle, the SABC does not discuss the details of contractual agreements in the public domain."

Stained Glass TV was asked if there were no production break, why were the Uzalo cast and crew told that production is being paused, but the production company declined to provide an answer.

An insider told and confirmed to TVwithThinus that production crew didn't get paid and were told that production is stopping despite the spin that the SABC might try to put on it to keep the news from being public within the production industry.

Another source said the SABC has been making late payments to Stained Glass TV for Uzalo quite a while, although the production company them took on additional work with Amalanga Awafani.

"People are not worried that Uzalo will shut down in the sense of going off air, but it's a worry about constantly wondering if you're really going to get paid."

Uzalo is the latest in a string of SABC shows that have been forced to literally shut down production over the past while after production companies have not being paid as contractually agreed by the financially struggling South African public broadcaster.

Before Uzalo, shows like 7de Laan, The Estate, Skeem Saam and Muvhango airing across SABC1, SABC2 and SABC3 have shuttered production after the SABC failed to pay on time.

Just this year, Skeem Saam and Muvhango joined Uzalo in halting production in 2025 over non-payment. 

Meanwhile, Kew Productions took the SABC to court over its non-payment and had to sue the broadcaster this year just to get paid what it was owed for the unpaid part of a R10 million contract for seasons 12, 13 and 14 of the travelogue series Voetspore that used to be on SABC2.

The major crisis is waiting to be resolved by Maijang Mpherwane who has just returned since August to the SABC as the broadcaster's new head of video entertainment, with the Uzalo production shutdown that is his first big schedule stability headache.

Nomsa Chabeli, SABC CEO, told parliament recently that the SABC is prioritising paying the parastatal signal distributor Sentech first, which it owes more than R1 billion in outstanding debt. 

It means that some production companies are underpaid less than what they are owed, or nothing. 

"We pay Sentech first before we pay any of our service producers, meaning that producers come after the Sentech payment," Nomsa Chabeli said.

Maijang Mpherwane back at SABC as head of video entertainment division

by Thinus Ferreira

The former SABC executive Maijang Sam Mpherwane has returned to the South African public broadcaster after 8 years to head up its video entertainment division, replacing the fired Merlin Naicker.

Lala Tuku has been the SABC's acting group executive for video entertainment since Merlin Naicker was fired a year ago in July 2024.

Maijang Mpherwane quit the SABC 8 years ago and now heads up the SABC's video entertainment division from August 2025.

Lungile Binza, SABC COO, says "Maijang Mpherwane's extensive expertise in content strategy, public broadcasting, media financing, and regulatory oversight positions him to lead the video entertainment division with innovation, integrity, and strategic vision".

"The SABC board, executive management, and staff are confident that he will continue to drive the growth and success of our video entertainment portfolio."

Previously at the SABC Maijang Mpherwane was a SABC1 commissioning editor, SABC1 assistant rogrammes manager and SABC1 channel boss, as well as general manager for general entertainment channels.

During his SABC tenure SABC1 launched shows like Skeem Saam and Uzalo.

Maijang Mpherwane sat on the board of the National Film and Video Foundation (NFVF) from December 2020 to August 2024 and was a member of the Film Incentive Adjudication Panel for 3 years which oversees approval of qualifying local and international productions for the department's rebate programme.

Maijang Mpherwane has a BA degree in dramatic art from the University of the Witwatersrand, a postgraduate diploma in management practice, and a Master of Business Administration (MBA) from the University of Cape Town's Graduate School of Business.

SABC that has no master transmission agreement warns black-on-air imminent since Sentech on verge of switching off its signals over R1 billion debt

by Thinus Ferreira

South Africa's struggling public broadcaster warns that the SABC is threatened by a black-on-air disaster since the parastatal signal distributor Sentech, owed more than R1 billion by the SABC, could cut its TV signals at any time.

In another shocking revelation, Nomsa Chabeli, SABC CEO, admitted that the public broadcaster no longer has a master transmission agreement with Sentech.

This is because the SABC which is already burdened with over R1 billion in Sentech debt, has until now refused to sign a new master transmission agreement since it would cost too much.

The debt-riddled SABC now wants the government to take over the Sentech debt, which Nomsa Chabeli says the SABC will never be able to repay.

Besides this, the broadcaster wants another R1.4 billion from the government to create new content over the next three years.

The SABC also wants to spend R3.15 billion to fix, repair and upgrade rundown infrastructure, studios and buildings, as well as obsolete and outdated workflow systems and technology. 

This is R3 billion that the SABC doesn't have but urgently needs to spend to ensure its survival.

The SABC started to fall behind with its monthly Sentech payments in 2020 and for a while made no payments.

By October 2020 the broadcaster had run up R300 million in unpaid Sentech debt, which ballooned to over R1 billion over the past five years due to monthly underpayments and interest.

Nomsa Chabeli warned parliament's portfolio committee for communications and digital technologies earlier this month in a presentation that black TV screens could soon be the reality for South African viewers since Sentech threatens to cut the SABC's TV signals at any moment.

"There's a significant risk of black-on-air in terms of the legacy debt from Sentech. We are now at a point where Sentech has indicated that they will begin switching off due to unpaid debt," Nomsa Chabeli said.

She now wants the South African government's department of communications and digital technologies to take over the more than R1 billion debt to Sentech and pay that on behalf of the SABC.

"The shareholder should consider taking over the legacy debt that is owed because the SABC is not in a situation to pay off this legacy debt of more than R1 billion," Nomsa Chabeli said.

"Currently, we are actually operating without a signed master transmission agreement with Sentech because we just don't have the financial capacity for the increased costs."

The SABC's signal distribution costs is now its third largest expense after workers compensation and content costs.

The SABC was asked what the SABC plans to do if the government doesn't take over and pay its Sentech debt. Mmoni Ngubane, SABC spokesperson didn't respond to the media query.

Sentech was also asked when it will start to switch off SABC signals, what the SABC's exact outstanding debt is and how much the SABC is currently paying monthly.

Penelope Ntuli, Sentech spokesperson declined to answer any of the questions posed and said "At present we are unable to provide responses to the questions raised, as internal processes are still underway".

Solly Malatsi, minister of communications and digital technologies, also didn't want to answer questions about the SABC's Sentech crisis.

The department was asked in a media query whether the department will be taking over the SABC's R1 billion Sentech debt, what Malatsi's reaction is over the SABC's lack of a basic master transmission agreement and what he is doing about the looming threat of SABC signals getting cut by Sentech.

Spokesperson Tlangelani Manganyi didn't respond to the media query.

At the end of May, Nomsa Chabeli told the portfolio committee that the SABC started to double its monthly payment to Sentech from R20 million to R40 million in April 2024 in an attempt to reduce its signal transmission debt.

"It was just before the general elections in may and it was important for us that the services not be disrupted in any form."

Nomsa Chabeli noted that there are instances where TV producers and production companies are not paid some months, so that Sentech can be paid.

"We pay Sentech first before we pay any of our service producers, meaning that producers come after the Sentech payment. We've maintained that payment despite a very, very challenging payment period."

She said "the department is very much aware of our cash flow position and the payment we have been making for the past year".

kykNET announces nominees for 2025's Silwerskerm Awards for Film and TV

by Thinus Ferreira

kykNET has announced the nominees for the 2025 Silwerskerm Awards for Film and TV which will take place on Saturday 23 August at the Cape Town International Convention Centre (CTICC) and cap this year's 13th kykNET Silwerskermfees film festival, taking place from 20 August in Camps Bay.

The 2025 Silwerskerm Awards for Film and TV will have Armand Aucamp and Rozanne McKenzie, with performances by Early B, Janie Bay and Elandré.

The 2025 Silwerskerm Awards for Film and TV will be broadcast on Sunday, 24 August at 19:00 on kykNET (DStv 144).

Only kykNET and MultiChoice's Showmax streamer programming are eligible and Afrikaans content on channels like Media24's VIA and broadcasters like the SABC and e.tv are excluded. kykNET's eNuus is also not eligible.

The TV nominations are:

1. Best lead performer in a comedy

Jai’prakash Sewram – Banana Air (S1)

Emile Smit – Mince jou hare (S1)

Bianca Flanders – Mince jou hare (S1)

Pietie Beyers – Pronk Primêr (S1)

2. Best supporting performer in a comedy

Gershwin Mias – Mince jou hare (S1)

Lee-Ann van Rooi – Mince jou hare (S1)

Laura-Lee Mostert – Pronk Primêr (S1)

Tobie Cronjé – Pronk Primêr (S1)

3. Best actor in a drama

Frank Opperman – Nêrens, Noord-Kaap (S2)

Waldemar Schultz – Die Byl (S6)

Jacques Bessenger – Een keer om die son (S1)

Charlton George – Juffrou X (S1)

4. Best actress in a drama

Milan Murray – Die Byl (S6)

Jana Kruger – Een keer om die son (S1)

Donnalee Roberts – Een keer om die son (S1)

Trix Vivier – Juffrou X (S1)

Ilse Klink – Nêrens, Noord-Kaap (S2)

5. Best supporting actor in a drama

Albert Pretorius – Nêrens, Noord-Kaap (S2)

Geon Nel – Nêrens, Noord-Kaap (S2)

Liam Bosman – Een keer om die son (S1)

Gershwin Mias – Juffrou X (S1)

De Klerk Oelofse – Nêrens, Noord-Kaap (S2)

6. Best supporting actress in a drama

Melissa Willering – Die Byl (S6)

Alma van Heerden – Een keer om die son (S1)

Anja Taljaard – Juffrou X (S1)

Daneel van der Walt – Nêrens, Noord-Kaap (S2)

Marion Holm – Nêrens, Noord-Kaap (S2)

7. Best actor in a telenovela or soap

Germandt Geldenhuys – Binnelanders (S14)

Hykie Berg – Binnelanders (S14)

Justin Strydom – Diepe waters (S3)

Gershwin Mias – Skemergrond (S1)

Dann-Jaques Mouton – Skemergrond (S1)

Irvine van der Merwe – Suidooster (S10)

8. Best actress in a telenovela or soap

Mienke Ehlers – Wyfie (S2)

Jill Levenberg – Suidooster (S10)

Marlee van der Merwe – Binnelanders (S14)

Nadia Valvekens – Diepe waters (S3)

Sandi Schultz – Diepe waters (S3)

Minke Marais – Reënboogrant (S1)

9. Best supporting performer in a telenovela or soap

Lorraine Burger – Binnelanders (S14)

Shimmy Isaacs – Skemergrond (S1)

Gretchen Ramsden – Skemergrond (S1)

Dirk Stoltz – Skemergrond (S1)

Char Carrie – Suidooster (S10)

Therese Bam – Wyfie (S2)

10. Best newcomer in a telenovela or soap

Zandélle Meyer – Binnelanders (S14)

Julian Robinson – Binnelanders (S14)

Caleb Swanepoel – Diepe waters (S3)

Mila de Villiers – Reënboogrant (S1)

Hunter Plaatjies – Skemergrond (S1)

11. Best host of an entertainment programme

Emo Adams – Oppie noot

Rian van Heerden – Wie word ’n miljoenêr?

De Klerk Oelofse – Kyk wie praat

Aiden Thomas – Sê jou sê

Elwira Standili – Koortjies met Elwira Standili

12. Best host of a lifestyle programme (including talk and magazine shows)

Erns Grundling – Elders (S7: Ligtoringroete)

Lundi Khoisan – Fiësta

Anzél Rabie – Anzél in die Boland

Leah – Lottoland help ’n dorp

Hannon Bothma – Glam guru

Neil Sandilands – Die groot niks

Minki van der Westhuizen – Lamb champs

Ewan Strydom – Bravo!

13. Best host of a current affairs or talk show

Lee-Ann van Rooi – Waar daar ’n wil is

Hannes van Wyk – Kwêla

Bonné de Bod – Bewonder en bewaar met Bonné de Bod

Lourensa Eckard – In gesprek (S9)

Rian van Heerden – Laataand by Rian

14. Best host of a reality programme

Ewan Strydom – Plaasjapie

Marciel Hopkins – Boer soek ’n vrou

Robbie Kruse – Klein paradys

Bertus Basson & Kobus Botha – Kokkedoor: Vuur & vlam

15. Best ensemble presenter team

Breyton Paulse, Hamilton Wessels, Rika Nieuwoudt, Rikus de Beer, Janina Oberholzer, Jean de Villiers, Jonathan Mokuena, Jannie du Plessis, Tommy Dickson (Chef Vaatjie) – Toks & Tjops

Dawie Roodt, Charlene Lackay, Leon Gropp, Corli Prinsloo, Anneke de Beer – Ontbytsake

Pierre Breytenbach, Jennifer Myburgh, Su-an Müller-Marais – Die Groot Ontbyt

Legends for lifetime achievement awards in television will be announced in August.

On the Saturday morning, non-televised awards will be handed out in these categories during a morning awards event at The Bay Hotel:

Best script for a feature film

Best original soundtrack for a feature film

Best sound design for a feature film

Best cinematography for a feature film

Best hair and make-up for a feature film

Best wardrobe for a feature film

Best directing for a feature film

Best script for a short film by an upcoming filmmaker

Best directing for a short film by an upcoming filmmaker

Best short film by an upcoming filmmaker

Best cinematography for a short film

Best editing for a short film

Best actress in a short film

Best actor in a short film

Best short film by an established filmmaker

Best short documentary

Best directing in a short documentary

Best editing in a short documentary

Festival favourite

Lifetime contribution

Four special mentions

"While South Africa's finest actors could excel on any global stage, international actors would not be able to achieve what South African talent delivers on a daily basis," says Waldimar Pelser, director of M-Net's premium channels, in a nominees statement.

"Our people have a remarkable ability to capture on screen what it means to live here and now. It's incredible how dynamic this small industry is, and it's a real pleasure to see this year's nominees in the spotlight before they return to the hard work of making film and television."

"These nominees know better than anyone how much blood, sweat and tears the craft demands. We honour them, because they enrich the lives of viewers in countless ways."

NBCUniversal cancels E! News - again

by Thinus Ferreira

NBCUniversal has cancelled E! News on E! (DStv 124) again with the last episode that will be shown on 25 September.

E! News was cancelled after 29 years in 2020 just 8 months after the show's production and studio was moved from Los Angeles to New York.

NBCUniversal then revived E! News in November 2022 and moved production back to Los Angeles and has now cancelled it again. 

E! News is currently co-hosted by Keltie Knight and Justin Sylvester.

There's been no statement about the E! News cancellation from NBCUniversal, which is getting rid of E! as well as other of its traditional pay-TV channels, into a new company that it initially named SpinCo and which is now Versant.

NBCUniversal International Networks distributes a version of E! to MultiChoice's DStv in South Africa and the rest of Africa.

Very little original programming remains on E! as the channel has been steadily dismantled over the past years with E! now close to being another of the numerous pay-TV zombie channels filled with old repeats and repurposed shows from other channels.

Content like E! Live from the Red Carpet that used to be shown live on E! is now also stale with NBCUniversal International Networks that keeps using the name to give the fake appearance that it's "live" but instead shows it late as recorded content for DStv viewers in South Africa and across the continent.

With E! News gone from October there will be even less reason for DStv subscribers to watch E!.

According to American reports the E! News staff were told on Thursday that the show is over. Thursday's episode of E! News was also scrapped and replaced by a repeat. The first new E! News episode will be next week.

Court overturns cardiologist's gagging order of M-Net's Carte Blanche

by Tania Broughton, GroundUp

A gagging order preventing Carte Blanche on M-Net (DStv 101) from broadcasting a programme about a Durban-based cardiologist accused of malpractice has been set aside.

Pietermaritzburg High Court Judge Siphokazi Jikela has ruled that the finalisation of the interdict, granted in early June by another judge, would “amount to an unjustified prior restraint and would undermine the essential role of the media in a democratic society".

The matter came before Judge Jikela for determination on whether or not the interim order should be made final. She has now dismissed the application and ordered cardiologist Dr Ntando Peaceman Duze to pay the costs.

Duze was accused by some of his patients of inserting stents unnecessarily, which resulted in them lodging complaints with the Health Professions Council of South Africa (HPCSA). Carte Blanche interviewed them and got independent experts to corroborate their claims.

While Carte Blanche gave him multiple opportunities over two weeks to respond to questions, Duze turned to the courts, claiming "defamation" and preventing the airing of the segment. He wanted the interdict to be made final until the HPCSA had ruled on the complaints against him.

The matter was argued before Judge Jikela the following week. She handed down her ruling on Monday. Duze, in his initial application, also cited two other cardiologists as respondents but did not persist with his claims against them.

However, he said the complaints against him were instigated by them because of "professional jealousy", a "conspiracy" and a "smear campaign", because of the success of his practice at Westville Life Hospital.

He said he had elected not to respond to Carte Blanche because the questions were "defamatory" and sub judice as the issues were under consideration by the HPCSA. Carte Blanche opposed the application.

Advocate Warren Shapiro argued that both the Constitutional Court and the Supreme Court of appeal had determined that a "prior restraint" was a drastic interference with freedom of expression, which was only granted in narrow circumstances.

Judge Jikela said that while Duze claimed the broadcast would infringe on his right to dignity and may cause reputational harm, she was mindful that "any restriction on media reporting warrants careful and cautious consideration".

"Several defences may be raised in response to an allegation of defamation. In this matter, Carte Blanche sets out the defences that directly address the core grounds on which Duze has based his case."

"Notably they contend that the broadcast in question centres on the personal accounts of his former patients, which are supported by medical records and independent expert opinion. Duze himself states that he consults, on average, 50 patients a day and he treats nearly every heart patient at Westville Life Hospital."

"In these circumstances, there is a compelling public interest in the dissemination of information concerning the conduct of a medical professional whose actions may pose a risk to the health and safety of current and future patients," Judge Jikela said.

Carte Blanche had also said the intended broadcast included comments made honestly and in good faith which fell within the ambit of protected fair comment.

"It is trite that media publications on matters of public interest enjoy protection, provided they are made reasonably, without malice, and after taking reasonable steps to verify the information prior to publication," the judge said.

Judge Jikela said Duze's right to protect his reputation and professional standing was not absolute and it did not trump Carte Blanche's constitutionally protected right to freedom of expression which includes the freedom of the press.

"Importantly, the public also has a legitimate interest in being informed about matters that concern public health and potential risks to patient safety."

She said Duze had only made "vague references" to pending hearings and investigations. Duze had to show a real and demonstrable risk of substantial prejudice “as opposed to a remote possibility".

"The HPCSA is not a court of law. The sub judice rule does not apply automatically to its processes."

"I do not believe that the broadcast will improperly influence the panel of medical professionals tasked with adjudicating the complaints against him, particularly where those complaints are supported by scientific and clinical evidence."

Turning to the issue of the balance of competing rights, Judge Jikela said Carte Blanche had sought external objective opinions and had given Duze the right to reply.

"Media reports are vital in ensuring transparency, accountability and the protection of the public, particularly in sectors as essential as health care," she said.

"Medical practitioners had a duty to act in the best interests of patients. Where there were breaches of these obligations, the public had a constitutionally protected right to be informed."

"While the right to dignity and reputation must be respected, it cannot be invoked to shield conduct that may endanger lives or compromise patient care," Judge Jikela said. She said prior restraint had a "chilling effect" on the right to freedom of expression.

If the broadcast was indeed unlawful or defamatory, Duze could claim damages from Carte Blanche.

"The inconvenience of pursuing a damages claim does not outweigh the importance of safeguarding freedom of expression, particularly where the applicant [Duze] has not demonstrated irreparable harm or the falsity of the statements," she said.

This article was first published by GroundUp