Friday, October 10, 2025

MultiChoice Kenya: Shocking plunge of 84% in a year from 1.2 million to just 188 948 DStv subscribers after multiple massive price hikes


Thinus Ferreira

MultiChoice Kenya has seen a shocking DStv subscriber plunge in just a year that has almost completely wiped out MultiChoice Kenya's subscriber base, with an 84% drop in customers.

MultiChoice Kenya's Dstv subscribers fell off a cliff from 1.195 million subscribers in June 2024 to just 188 948 Dstv subscribers by June 2025. 

That is a massive drop of 84.2% in East Africa in what is MultiChoice's third largest pay-TV market after South Africa and Nigeria in West Africa.

MultiChoice Kenya's digital terrestrial television (DTT) subscribers plunged a shocking 88.7%, with GOtv subscribers falling from 2.79 million in June 2024 to just 362 543 GOtv subscribers by June 2025. 

MultiChoice Kenya's decimated subscriber numbers are contained within the latest Broadcasting Services Report for the third quarter of 2025 of the Communications Authority of Kenya (CAK).

While rival StarTimes from China had a lot fewer DTT subscribers than MultiChoice, the drastic plunge in GOtv subscribers mean that StarTimes at 492  330 subscribers now have more DTT customers in Kenya than MultiChoice.

On satellite pay-TV StarTimes now also has more subscribers in Kenya than MultiChoice with 195 948 subscribers, although it also saw a 45.9% decline from a year ago when it still had 361 953 satellite pay-TV subscribers.

MultiChoice Kenya hiked DStv prices by over 5% in the East Africa country in November 2024 - the 4th steep increase in two years, after which DStv customers became very vocal that they're cancelling DStv. 

Adding insult to injury and driving DStv cancellations have been the utter lack of any real explanations to existing and potential DStv Kenya consumers about what's behind the steep increases.

After the last round of DStv price hikes customers spoke out across social media, like Michelle Katami who called Dstv "greedy and uncontrollable": "You cannot increase pricing, whenever, wherever you feel like. What is your excuse this time? DStv subscription in Kenya is overpriced. Only sports channels matter to me. MultiChoice Kenya needs to be regulated at this point".

Ron Peter asked MultiChoice Kenya to "provide justification for the increases in your prices. Otherwise I haven't seen any improvements in content except for SuperSport channels. Over the years you have remained stagnant. We welcome other pay-TV into the Kenyan market".

eNCA 's latest anchor shuffle has Andrew Barnes and Aviwe Mtila fronting primetime


Thinus Ferreira

eMedia's eNCA (DStv 403) has once again changed its anchor line-up with Andrew Barnes and Aviwe Mtila now fronting primetime on the South African TV news channel since 6 October.

e.tv and eNCA didn't give a heads-up to media about the anchor changes or issue a press release but the latest anchor shuffle comes after John Bailey's exit as eNCA managing editor, which also went unannounced.

It's not known who the new eNCA managing editor is and it's unclear why eNCA once again moved news readers to different timeslots.

Since Monday, the SA Morning strand, which is also shown free-to-air on e.tv, on eNCA is now anchored by Masego Rahlaga and Dan Moyane between 06:00 and 09:00.

This is followed by Newslink between 9:00 and 12:00, anchored by Naledi Moleo.

All Angels between 12:00 and 14:00 has Gareth Edwards as anchor, with Jenna-Leigh Bilong as the face of Today in the afternoon block between 14:00 and 17:00.

Andrew Barnes has been moved to the evenings as the new face of eNCA primetime between 17:00 and 20:00 of SA Tonight, followed by Aviwe Mtila as the anchor of Newsnight between 20:00 and 23:00.

Thursday, October 9, 2025

Nu Metro unveils new and refurbished 9-auditorium Gateway cineplex in Durban with South Africa's first 270-degree ScreenX experience and VIP Premiere Cinemas


Thinus Ferreira

Nu Metro has opened the cinema chain's new flagship cinema complex at the Gateway Theatre of Shopping shopping mall in Durban on 3 October, with South Africa's first-ever 270-degree ScreenX auditorium as well as its new VIP Premiere Cinemas.

I only discovered this yesterday since Nu Metro didn't send any press release or any communication about it and had to reach out from my side to find out what's going on.

Nu Metro's new cineplex at Gateway now has 9 refurbished cinemas, including the ScreenX auditorium.

This ScreenX auditorium has a 270-degree "panoramic format" that surrounds cinemagoers with 3 walls to create an even more immersive in-theatre movie experience.

Besides ScreenX, Nu Metro Gateway now also offers 4DX, Scene Xtreme, as well as a Kidz Cinema option.






Also new at Nu Metro Gateway is its new VIP Premiere Cinemas - Nu Metro's latest, highest-tier and most expensive offering, with a more exclusive movie-going experience.

Nu Metro VIP Premiere Cinemas has plush leather recliners, an exclusive lounge area, as well as a gourmet curated menu with a full-service bar.

According to Nu Metro, its VIP Premiere Cinemas will be "redefining cinema hospitality".

About taking over Nu Metro Gateway, Beverley Govender, Nu Metro senior marketing manager, says "We're incredibly proud of this acquisition and renovation".

"Nu Metro Gateway is more than just a cinema — it's a showcase of our brand's evolution. From the sleek new design to the immersive formats, every detail reflects our commitment to delivering unforgettable entertainment."

"This complex sets the benchmark for what the future of cinema should feel like."

As an introductory price, ScreenX tickets will cost R100 each during October, with titles like F1, How to Train Your Dragon and Superman. Thereafter, Nu Metro's ScreenX pricing will be R200 per ticket.

BAD BRAVO IMPRESSION. NBCUniversal International Networks has launch event for DStv's E!-replacement TV channel Bravo


Thinus Ferreira

On Wednesday, NBCUniversal International Networks held a launch event for its E!-replacement channel, Bravo, in Johannesburg, for just some Johannesburg-based media and influencers.

NBCUniversal International Networks & Direct-to-Consumer replaced E! with Bravo on MultiChoice's DStv channel line-up after 21 years due to two reasons.

Firstly, E! has become a zombie channel filled with repeats and little to no new content, with even E! News getting cancelled and the schedule that was shamelessly padded the last few years with shows that actually air on Bravo in the United States.

Secondly, NBCUniversal decided to get rid of its steadily worsening set of pay-TV channels - a collection that includes E! - into a new company called Versant. So, NBCUniversal no longer runs E! or wants anything to do with it. 

Cue Bravo which remains within the NBCUniversal stable as one of its TV channels, as the new E! placeholder.

Bravo isn't suddenly on DStv because it's "better". 

Bravo simply replaces E! because of corporate changes and decisions that watered down E! (NBCUniversal decided to no longer invest in content for E! in the way it did before), after which NBCUniversal decided to get rid of E! that it no longer considers valuable. 

Indicative of the sorry state of traditional pay-TV entropy and just how far things have really fallen: Wednesday's Bravo launch event held at Four Seasons, The Westcliff in Parktown was only for Johannesburg media and influencers (and even within that, an incomplete subset with some media not even made aware something would be taking place).

In bygone years, a place like NBCUniversal International Networks - especially for the "launch" and introduction of new TV channel - would have ensured it had all relevant media there. This time - not so much.

Instead, NBCUniversal International Networks which hasn't held any upfront or even roundtable press interactions with South Africa's media in years, focused on getting "personalities" - likely social media notables who would "amplify" its Bravo launch event with tweets and Insta-posts into the ether.

What was said at Wednesday's NBCU Bravo launch with Thulane Hadebene isn't known - nothing about what happened there, was shown there, or said there, had been shared or communicated a day later by Thursday afternoon.

The media launch event included a screening of an episode of the upcoming The Real Housewives of London, as well as a question and answer session with the personalites who appear in the second season of the South African version of Dating #NoFilter South Africa.

Either Marco Giusti, senior vice president of marketing for NBCUniversal International Networks in London was physically present in person at Wednesday's Bravo Africa launch or did some pre-recorded video message, but also what he had to say was solely just for those who were physically at the channel launch event.

NBCUniversal couldn't make any of this accessible to media, or actually even worse, lacked the insight that perhaps media not physically present at Wednesday's event might have an interest, or might be instrumental in hearing what happens and is said, and reporting that out.

The last time NBCUniversal International Networks properly bothered and managed to engage the media in South Africa was exactly three years ago in October 2022 with the addition of Universal+ to DStv. 

The Universal+ launch just three years ago wasn't even a TV channel "launch" - yet compare what NBCUniversal International Networks still bothered to do then and how it communicated and involved the news media, compared to now. 

Since then NBCUniversal International Networks seems to have continued to devolve into a type of sad situation where it's about "the less, the better" when it comes to promotion and everything around its channels set in South Africa and Africa.

How many South Africans appear constantly across the different iterations of the Below Deck franchise (on E! and now on Bravo)? How many interviews with any of those people, or media roundtables, have appeared on been done with South African press over the past years?

And it's not for a lack of asking and trying on the part of the media.

The way that Bravo was "launched" as an E!-takeover with little regard to actually involve, communicate with and taking the broader and real media covering it, with it on a journey, further underscores the headshaking devolution and devaluing of NBCUniversal International Networks and what's left of its pay-TV brands.

What a bad first Bravo impression (that will be quite lasting).

Yet, given how NBCUniversal International Networks has drifted over recent years from trying to interact with South African media to a much more laissez-faire approach, it's a bad first impression that isn't actually surprising.

Thinking back to how NBCUniversal launched E! on DStv 21 years ago - and I was there and can fully compare - the start and launch of Bravo is regressive and perfunctory and looks very badly done.

How much has the world and technology changed since NBCUniversal launched E! in South Africa two decades ago and had a media launch event for the channel with the late Lebo Mathosa? 

And yet, it's still connection - and real connection and communication that's valued, and that truly gets results.

Was it too much effort, too costly, too cumbersome and too difficult for NBCUniversal International Networks to organise a simple virtual for all of South Africa's media about Bravo? 

To get any three South Africans from across the franchises and seasons of Below Deck to do a Zoom roundtable with media and a Q&A about their experiences? To introduce a NBCUniversal International Networks executive or PR - anyone! - to South Africa's journalists covering TV in a basic meet-and-greet, and to talk about NBCU's plans and content for its channels and Bravo?

That is what gets traction, that is what media require, that is what will get coverage and create a good impression and engender positivity towards a "new" TV channel called Bravo. Not champagne-sipping influencers showing up for self-interested selfies at a Fenty "beauty station" and sniffing Carolina Herrera's Good Girl, who will never truly care.

Should there suddenly be a "bravo" for Bravo conveniently showing up from NBCUniversal International Networks on DStv? How about rather a big boo for a botched fail.

INTERVIEW. The voice cast of The Wonderfully Weird World of Gumball on Cartoon Network on the revived series' wackiness and 'gentle wisdom'


Thinus Ferreira

The voice cast of The Wonderfully Weird World of Gumball sat down for an interview about the new adventures of the multi-coloured animation family on Cartoon Network and how the new stories, even more than before mirror the absurdity, challenges and wackiness of modern-day family life and help to open conversations between kids and parents.

The Wonderfully Weird World of Gumball on Cartoon Network (DStv 301) is a new continuation of the beloved animation series following the misadventures of Gumball Watterson, a blue 12-year-old cat, as well as his adopted 10-year-old brother, Darwin who is a goldfish.

There is also blue cat mom Nicole, pink rabbit dad Richard, as well as younger sister and pink rabbit Anais.

Although a revival of Gumball, The Wonderfully Weird World of Gumball is really the 7th season of Gumball with 20 (of about 40) new episodes available and released so far.

TVwithThinus sat down with Alkaio Thiele, who voices Gumball, Hero Hunter voicing Darwin, Kinza Syed Khan voicing Anais, Teresa Gallagher, who is the voice of mom Nicole, as well as Dan Russell, who is Richard. 

Episodes of the new "7th season" of The Wonderfully Weird World of Gumball are thoroughly 2025 and don't shy away at tackling and exploring issues and themes which are all extremely relatable to modern family life.

From AI to the struggle to eat healthily due to expensive and bad food availability, body shaming, traffic, deteriorating schools and a lack of proper school funding, video-sharing app addiction, drug-use, economic inequality and various difficult extended family dynamics (hello Granhy Jojo!), The Wonderfully Weird World of Gumball touches on it all with humour, sharp commentary and stories relatable to both kids and parents.

Right off the bat I wanted to know from the voice cast what they make of the new season and all of the fascinating, and interwoven contemporary issues that have been made stories, and which are so relatable to anyone watching in the crazy world of 2025.

"I feel like they balance the craziness of it all very well and put in into little lessons so well so that we can all learn from it, but also enjoy the laughs and the giggles of all the crazy things they put in," Kinza said.

'all that wackiness,
 kept relevant to today'


"I completely agree," said Teresa. "To have messages and lessons with a very heavy hammer in anything - you know, the fun disappears, whereas I think the balance is exactly the right word, Kinza. I think they've managed to bring in all that wackiness, keep it all relevant to today and the scenarios."

"We are all trying to find our way through the social media circus of some things and I think they've done a really good job of getting that balance just right."

Alkaio says that " when you're watching a series, especially like an unenjoyable series, sometimes it's because it feels like they are hitting you over the head with the moral of the story".

"The Wonderfully Weird World of Gumball put you as the viewer into such ridiculous, dramatic situations that would never happen, that you don't realise until after you finish the episode that they really did give a message. But you got that message while enjoying the episode."




Dan notes that The Wonderfully Weird World of Gumball "has an effortlessness to it that can be very hard to achieve".

"They do great things without appearing to be trying very hard. And that's a really cool and a very clever thing to do."

One of the standout things within The Wonderfull Weird World of Gumball continues to be the depiction of the emotionally involved and fully rounded parents within the story and the experiential world of Gumball and his siblings. 

The parents love their kids, are flawed characters, try their best, have their own issues and insecurities and challenges and themselves don't always make the best or the right choices.

Nicole gets them trapped in traffic on the way to an amusement park, dad Richard has a body image cheerleader past story, there is parental disapproval across generations, and parents feeling unable to live up to expectations depicted in an episode about a neighbour who has a swimming pool.

"I've played many mothers in various series through the years, and Nicole is, I can honestly say = she is flawed but my goodness, you know, the love of family - she will do anything for her children and her husband," Teresa said.

"Sometimes she has some really weird ways of going about things, and her anger issues, yeah, still need addressing."

"I can't take any credit at all for the way that the parents come across, but I think that's one of the reasons, certainly, why an awful lot of adults also still engage and continue to engage with the show - it is because of that lovely portrayal of deeply flawed characters that we can all understand and recognise."

'a lovely portrayal of
deeply flawed characters
 that we can all understand'


Dan says someone once asked him what he does to be Richard. "And I said no, that's the trick. And I've kind of been that way as a dad in real life as well".

"Richard doesn't kowtow, he doesn't order around, except within his own capacity to do so."

"Perhaps, quickly, one of the best words I can say, my kids were eight and ten when Gumball started, and they'd seen me on television and stuff before, and we were sitting there watching, and they watched Richard and Nicole, and Richard just being complete Richard - I'm eating butter for no reason, or whatever it is. And I said, so what do you think of that?"

"And they looked at me and just said, 'dad'. They couldn't tell the difference between Richard and me."

"So I consider that a bit of an accolade that I've managed to stay hands-off enough with my kids. On a serious note, you can, you know, you have such power over kids, and you've got to be very careful not to wield it. You've got to be careful to let them see you fail, for real."

"The Wonderfully Weird World of Gumball, and sorry, I don't know if it's too intellectual or not, but I like the way they just let the parents be the parents."


'they just let the parents
be the parents'

Alkaio says "as a kid who thinks he might be in touch with his parents and adults, I think Gumball does a really good job of opening conversations for kids and adults, and how they can watch it together".

"It doesn't give all the answers, and it doesn't explain everything, but it introduces younger people to topics that they wouldn't normally be introduced to, so that the parents can maybe have something to reference to, and can explain it in a very safe way."

Besides parents not always making the "right" or best choices the kids are also very prone to making wrong decisions and then having to deal with the chaos of the outcomes.

"At the end of each episode Gumball learns something," explains Alkaio.

'That's part of the beauty: Because sometimes characters can get a little redundant, and they're kind of the same every time, and I really didn't know what Gumball was gonna try and pull off this time in each of the episodes, and learn about life."




Kinza says she feels "like the characters around Gumball like to join him in his mistakes, but also try to learn from him what not to do".

"So I think it's really like trying to figure out and learn from your mistakes, but also try to have fun."

Hero says "In life we all make mistakes, but we learn from them. And I think that's cool how they do that in the show with Gumball, Darwin and Anais - I think it's cool how we'll all make mistakes".

"And in the end, at the end of the episode, we'll all learn from that mistake".


'learn from your mistakes,
but also try to have fun'


"It's really so easy to get overwhelmed by all the negativity that we're fed and I've got to have hope all the time," says Teresa.

"If The Wonderfully Weird World of Gumball can teach us anything, it's that we know that the core things will get us through life: Love and friendship. So let's be positive."




Alkaio says "I really think everything in the world is just so complicated and it takes a lot to fix something, even something really small. It takes work to fix it and make it right."

"But part of the beauty of Gumball is that things sometimes can be so simple. Like having a remote that just controls everything in the world and clicking a button and things are just magically fixed. But also in terms of storylines in Gumball, where you don't need much to make a storyline for Gumball."


'part of the beauty of Gumball is
that things sometimes
 can be just so simple'

"There's a lot to be distrustful about the world today, but that doesn't mean you have to live your life as a cynic," says Dan.

"As the great Paul McCartney once said, he thinks there are more nice people in the world than not nice people.

"I remember when I was once at a lake in New Hampshire where we went every summer and there was a very wealthy, lovely man who went up there from New York and he was in his 80s."

"And I'm not going to let you guys do any math at all, but if he was in his 80s, he was born in about 1880. That's how long ago this was."

"And he was sitting there one afternoon working on his second rum and Coke. And he creased himself laughing because somebody had given him a newspaper from when he was 18 years old. And he laughed and laughed and laughed - this wise guy from Wall Street."

"And he said, you know what? Nothing's changed. Everybody was arguing about the same stuff."

"You know, you got to ask yourself: Are there any design faults in humans? And I think we can all, we just work on our own design faults and just be good people."

"And getting back to Gumball, there is this kind of a gentleness about it and a wisdom about it that I really, really like."


The Wonderfully Weird World of Gumball is on Cartoon Network (DStv 301), on weekdays from 6 October 2025

Wednesday, October 1, 2025

Enver Groenwald the SABC's new sales boss as job title is changed to chief commercial officer


Thinus Ferreira

South Africa's public broadcaster has appointed Enver Groenewald as the new SABC boss in charge of sales and replacing Cindy Diamond who left in May, with the job title of group executive of sales also being changed to chief commercial officer.

Enver Groenewald will oversee all of the SABC's advertising and sponsorship sales, as well as SABC TV Licence collections, alternative revenue streams, partnerships and new commercial opportunities.

Nomsa Chabeli, SABC CEO, in a prepared statement about Enver Groenewald's appointment and the job title change, says "The appointment of a chief commercial officer signals a new chapter in the way we approach revenue generation".

"This is not just a title change, it is a strategic shift to ensure every commercial lever works together in delivering value for the SABC and for our stakeholders."

Enver Groenewald says "I am honoured to join the SABC at such a pivotal time in its journey".

"The new chief commercial officer mandate provides a powerful platform to reimagine how we deliver value to our audiences, our clients, and the country at large."

"I look forward to working with the team to unlock the full commercial potential of the SABC and to help secure its sustainability for the future."

Enver Groenewald has held executive roles as Africa director for media at Unilever, CEO at Ogilvy South Africa, CEO at Interbrand Southern Africa, and was general manager for revenue at Arena Holdings when it was known as Avusa, as well as CEO of Ochre Media.

Tuesday, September 30, 2025

South Africa's The Heart is a Muscle is NFVF's Oscar entry for Best International Feature Film for 2026 98th Academy Awards in March 2026


Thinus Ferreira

The Heart is a Muscle is South Africa's official Oscars entry in the Best International Feature Film category for the 98th Academy Awards that will take place in March 2026.

South Africa's National Film and Video Foundation (NFVF) selected the Cape Flats-set film that is Imran Hamdulay's feature debut as director, as the country's official submission for the Best International Feature Film category.

The Heart is a Muscle was written and directed by Imran Hamdulay, produced by The Star Film Company's Adam Thal, Khosie Dali, Brett Michael Innes and Lesley-Ann Brandt.

The Heart is a Muscle had its premiere at the 75th Berlin International Film Festival where it won the Panorama Ecumenical Jury Prize and continues to play at festivals worldwide, including the 72nd Sydney Film Festival, the kykNET Silwerskermfees film festival and the upcoming Cairo International Film Festival.

The Heart is a Muscle explores the bonds between fathers and sons through the lens of inter-generational healing and forgiveness and draws on experiences specific to South Africa's crime-riddled Cape Flats neighbourhood.

The film traces a man struggling to confront inherited memories and, through the slow work of forgiveness, learning how to become the father and husband he longs to be.

"The film is very close to my heart. It's a shared story born from the voices and experiences of the community around it, and we're just so thrilled to have it as South Africa’s entry at the Academy Awards this year," Imran Hamdulay says.

South Africa last won an Oscar in the category with Gavin Hood's 2005 Tsotsi.

The Heart is a Muscle received support from the NFVF, the Red Sea Fund and South Africa's Indigenous Film Distribution and Development, which is also distributing the film in South Africa.

The French sales agent MMM Film Sales has acquired international rights.

According to the NFVF, The Heart is a Muscle was selected after what it calls a "rigorous adjudication process conducted by the South African Academy Awards Selection Committee which is a diverse panel of 13 professionals drawn from across the filmmaking value chain, including directing, producing, distribution, academic and technical expertise",

This committee got together from 8 to 11 September 2025 at Nu Metro Cinemas to review submissions and the final decision was made on 15 September.

According to the NFVF, the process was overseen and audited by the NFVF's auditing firm, SNG Grant Thornton.

Onke Dumeko, acting NFVF CEO, says "The selection of The Heart Is A Muscle not only represents the incredible storytelling and creative excellence of South African filmmakers, but also highlights our nation’s ability to produce cinema that resonates globally".

"Despite the heartfelt story’s resonance across racial groups and geographic borders, it is depicted in a specific South African cultural setting that is not often represented which enables a great opportunity for our industry."

"The performances are fantastic and the film reminds one about the power of cinema to move the hearts and minds of audiences."

"The film’s selection by the committee and submission through this process underscores the NFVF’s ongoing commitment to nurturing and promoting South African talent internationally. The NFVF congratulates the filmmakers, cast, and crew of The Heart Is A Muscle on this milestone achievement and looks forward to seeing South Africa represented at the Oscars in 2026."

Ghana's delusional communications minister Sam George forced to back off on windmill-chasing demand that MultiChoice lowers prices 30%


Thinus Ferreira

In a humiliating defeat of his own making, Ghana's aggressive and militant communications minister Sam George on Monday was forced to capitulate and back off from his war on MultiChoice and government demand that the pay-TV operator lower prices by 30% or lose its licence.

On Monday in a hastily arranged press conference, Sam George announced that MultiChoice would not be lowering any of its prices in the inflation-riddled West African country and cccc tried to save face by saying that MultiChoice would be adding 30% "value" to its various DStv services.

Sam George's backpedalling on Monday came two months after Sam George in July suddenly publicly started making outrageous demands that MultiChoice needed to lower its prices by 30% in die economically struggling country.

Then, a month later in August Sam Georgev threatened that MultiChoice had 30 days to comply or would have its broadcasting licence in the country revoked.

Although Ghana's goverment that struggles with rampant inflation, a weakened local currency and consumers who are under severe financial pressure claims to be a free-market economy where private companies are allowed to set their own prices, Sam George suddenly slammed MultiChoice management as "arrogant".

Sam George's tirade against MultiChoice came as France's Canal+ was in the process of its corporate takeover of MultiChoice, with Sam George noting that Canal+ management was much ""more positive" than MultiChoice and that he couldn't wait for Canal+'s takeover to be completed so that he could deal with Canal+ execs rather than with MultiChoice.


On Monday in Accra, Sam George, sitting behind a bouquet of microphones, was forced to praise MultiChoice after his spectacular public failure to extract the 30% price reduction he demanded from MultiChoice.

Sam George failed to give any explanation on why he failed to get the 30% reduction in DStv prices he had promised consumers publicly, instead nothing how MultiChoice will now be adding "value" by adding TV channels to bouquets and bumping up subscribers to higher packages.

No DStv Ghana subscribers will be paying less in a dramatic loss for Sam George's windmill chase that further damaged what remains of his credibility and that of his government department.

Now with effusive praise for MultiChoice, Sam George on Monday said DStv subscribers won't be paying less money but get more TV channels from October and that "Effectively, MultiChoice has offered value over and above what we expected of them".

"The committee is of the view that these increased value offers address government concerns. It reduces pressure on Ghanaian households while ensuring the sustainability of the DStv service in Ghana."

Sam George failed to explain how Ghana households under pressure will feel less price pressure without any reduction in DStv fees.

On 7 September Sam George had a meeting with Fulu Badugela, the outgoing MultiChoice Africa boss, who in no uncertain terms told Sam George that MultiChoice will definitely not be lowering any DStv fees in Ghana.

Sam George was told that the reason why MultiChoice Ghana has to constantly increase its fees is because it's a private company and that Ghana's economy is so bad because of the government that price hikes are a function of the weak currency and inflation. 

"I acknowledge the mutual respect and candor throughout the committee's deliberation," Sam George said.

Sam George said the government in a committee with MultiChoice Ghana looked at "cost factors, the macro-economic environment of Ghana, subscription volume trends and considered various options from MultiChoice Africa and arrived at an outcome that will deliver better value to all subscribers in Ghana".

So no Ghana MultiChoice price reduction whatsoever: DStv packages will cost exactly what they have been since the last price hike in April 2025.


Tuesday, September 16, 2025

David Ellison's Paramount plan: Lights … Camera … Spend!


by Brooks Barnes, The New York Times

David Ellison’s spending spree in Hollywood is starting to make Netflix’s industry-rocking largess look Lilliputian.

It has been 37 days since David Ellison (42) took over Paramount Global as part of an $8 billion merger that combined his company, Skydance Media, with a beaten-up collection of old-media assets — MTV, the Paramount movie studio, CBS — and two streaming services.

In that short amount of time, he has certainly made two things clear: He is moving fast, and he has access to a seemingly endless supply of his father's cash.

Consider this: David Ellison outbid Netflix for a seven-year, $7.7 billion deal to claim exclusive streaming and broadcast rights in the United States for the Ultimate Fighting Championship.

He poached the Stranger Things creators from Netflix with the promise of theatrical releases for future film projects.

He shored up the rights to South Park for the next five years with a deal worth at least $1.25 billion that includes 50 new episodes of the provocative series.

He's planning a Street Fighter movie with Legendary Entertainment; a Call of Duty movie with Activision; many movies with Will Smith; and, in a deal that puts Timothée Chalamet into the salary stratosphere with a $25 million payday, an action heist movie that will reunite the actor with James Mangold, the director of the Bob Dylan movie A Complete Unknown.

Paramount will expand its slate to as many as 20 films a year, up from eight. David Ellison is also in final talks to buy The Free Press, an online media start-up that was founded as a rebuke to traditional news organisations, for a price that is expected to exceed $100 million.

And now he’s preparing a mostly cash bid for Warner Bros. Discovery, which owns HBO, CNN and the Warner Bros. movie and television studio, according to several people with knowledge of the plans.

The company is worth $41 billion and has $35 billion in debt, remnants of the 2022 merger that brought it to life. 

Should a deal come to fruition — and the challenges are colossal — it would be a transaction on a par with Disney’s $71.3 billion purchase of 21st Century Fox assets in 2019, a merger that reshaped the global entertainment business.

David Ellison primarily wants Warner Bros. Discovery for its studio, which is loaded with healthy intellectual property (unlike Paramount), and for its HBO Max streaming service, which expects to have 150 million subscribers worldwide by next year. Paramount’s flagship streaming service has about 78 million. HBO also brings considerable prestige.

Regardless of what transpires with Warner Bros., David Ellison's shopping spree already represents the biggest scene change in Hollywood since 2013, when Netflix began showering writers, actors, producers and directors with money in an attempt to dominate streaming.

A little more than a month ago, Hollywood’s creative community was in full meltdown mode. The box office is dying! Studios aren’t spending! Because of tax incentives available elsewhere, Los Angeles has become a ghost town!

And now! Those worries (and others) certainly haven't gone away, but there is a noticeable shift in mood: Finally, mercifully, someone wants to invest in us again.

"It's not just that David Ellison is spending," Lorenzo di Bonaventura, a respected producer and former studio executive, said in a phone interview.

"It's that he wants to do cool stuff. That sounds very basic, but underneath it all 'making cool stuff' is the Hollywood dream. And to have that in the head of a company — someone who is excited about movies, who believes in movies — is lacking in the Hollywood of today in a huge way."

He added, "It's an exciting moment, and it has come on fast."

Tony Tunnell, whose Safehouse Pictures produced the recent Paramount comedy Novocaine, was also upbeat, albeit a bit more cautiously.

"There has been so much news about a constricting business and cutbacks that it's been nice to have a sudden injection of energy and optimism, especially under the umbrella of a legacy studio," Tony Tunnell said.

Paramount Skydance and David Ellison declined to comment for this article.

When Netflix opened its cash spigots for deals with writer-producers like Shonda Rhimes and Ryan Murphy, vast swaths of Hollywood's creative community scrambled to partake. 

A similar scrum is forming around David Ellison and his team — notably Cindy Holland, who spent 18 years at Netflix and played a crucial role in turning it into a juggernaut. David Ellison hired her as his streaming content czarina.

Some familiar criticisms of Hollywood have started to swirl around David Ellison.

Senior executives at competing Hollywood companies use words like "reckless" in conversations about some of his early moves, in particular his potential bid for Warner Bros. 

Some people in Hollywood recoiled at the news of David Ellison's interest in Warner Bros., noting that additional consolidation would mean fewer jobs and one less stand-alone old-line studio — the sad end of an era. 

Warner Bros. in many ways epitomises the romance of Hollywood; the studio is the ancestral home of Bette Davis, Casablanca and Clint Eastwood.

As it is, David Ellison plans to tear through Paramount Global’s already decimated divisions to find more than $2 billion in "cost efficiencies and synergies".

Layoffs of around 2 000 people are expected, keeping employees on edge.

There is also snark about David Ellison's financing. A lot of the money comes from his father, Larry Ellison, a co-founder of Oracle and one of the richest men in the world, with an estimated net worth of $363 billion, according to Bloomberg.

(Larry Ellison's fortune increased more than $100 billion in a single day this week, prompted by Oracle’s earnings.) 

One senior executive at a competing studio on Thursday likened a Warner Bros. bid to a dad allowing his son to add new tires and rims to a fancy car he just bought him.

"The kid spends big to get in the picture," the chief executive of another entertainment company said with dry derision. 

The comment was a riff on The Kid Stays in the Picture, the memoir of Robert Evans, who ran Paramount in the 1960s and early ’70s.

Netflix was called reckless, which it didn’t like, and a disrupter, which it did. 

But the company’s bold strategy worked: The television shows and films it bought turned the company into an unrivalled force in the streaming business, compelling everyone else, including Disney, Warner Bros., Paramount, Amazon and Apple to invest billions to compete with it.

David Ellison appears to be following the same playbook.

"It's great seeing the energy David is bringing to Paramount," Gigi Pritzker, a producer of films like Nonnas, a recent hit on Netflix, wrote in a text message. "Thumbs up to having him invest in our business!".