Tuesday, November 10, 2026

MultiChoice Nigeria Welcomes Nigerian Regulator Reaffirming that Rivals Can't Steal Its TV Channels and Content Just Because They Have Access to It


by Thinus Ferreira

Canal+'s MultiChoice Nigeria has welcomed a reaffirmed directive it has long lobbied for from Nigeria's regulator, under which rivals are not allowed to pirate and infringe copyright by grabbing and retransmitting TV channels from competitors without permission and contracts.

Over the last couple of years Nigeria has been rife with channel-hijacking, where pay-TV upstarts would simply take TV channels broadcast primarily by MultiChoice Nigeria's DStv and add it for periods to their own channel line-ups with authorisation or channel carriage agreements.

Especially during major sports tournaments, operators would pirate MultiChoice Nigeria's SuperSport content and shamelessly retransmit and piggyback these channels and premium sports events without approval and without payment.

MultiChoice has now welcomed a directive by Nigeria's National Broadcasting Commission (NBC) that reaffirms the country's regulations regarding the retransmission of audiovisual content in Nigeria.

Issued on 2 November, the NBC reaffirms that simply because an operator or broadcaster has access to another broadcaster or operator's signal or TV channels, it does not automatically grant an operator the right to retransmit or to commercially redistribute that content without agreement and payment.

Operators must get the necessary rights and authorisations before retransmitting protected content, with the NBC warning that unauthorised retransmission constitutes a violation of intellectual property rights.

Kemi Omotosho, MultiChoice Nigeria CEO, says the NBC's clarification and reaffirmation of the directive is important for the protection of content creators and content rights holders and promotes a more orderly and sustainable broadcasting market in Nigeria.

"A clear and predictable regulatory framework benefits the entire creative ecosystem, supporting investment in local content and creating long-term value for creators, rights-holders, operators and audiences alike," Kemi Omotosho says.

According to Kemi Omotosho, the NBC directive gives important regulatory guidance for Nigeria's broadcasting industry, reinforces the need to respect intellectual property rights, promote fair competition and ensure a level playing field for legitimate pay-operators.

MultiChoice Nigeria says it will continue to work with regulators and industry stakeholders to promote legitimate content distribution and to strengthen the long-term sustainability of the West African country's audiovisual sector.

Angola Gives China's StarTimes Permission to Start Pay-TV Service


by Thinus Ferreira

Angola has given China's StarTimes permission to start its pay-TV in the South-Western African country.

Following a presidential decree signed by Angolan president João Lourenço, China's StarTimes will finally be able to compete with Canal+ Africa and MultiChoice's DStv, ZAP and TV Cabo as existing pay-TV operators.

The decision to allow StarTimes into the country and to provide a subscription TV distribution service is set out in Angola's Presidential Decree No 408/26 of 6 November and was published in the Angolan government's gazette, Series I, No. 211.

It gives a specific concession to StarTimes Angola, Limitada to run a pay-TV operation.

It's part of the Angolan government's 2026 strategic plan on loosening the licensing regulation for electronic communications operators in the country.

The move is intended to break up existing monopolies, expand content options and stimulate sector growth.

StarTimes is a Chinese media and pay-TV company with an extensive and ever-expanding presence across the African continent, funnelling mostly Asian telenovelas, drama series and Chinese TV channels into the continent.

Last year, StarTimes executives said the company has "great interest" in working with Angola's National Radio (RNA) and Public Television (TPA).

Submissions Open for 2027's 29th Encounters South African International Documentary Festival


by Thinus Ferreira

The 29th Encounters South African International Documentary Festival has officially opened film submissions for its 2027 edition, scheduled to run from 3 to 13 June 2027.

As Africa's premier showcase for non-fiction cinema, the festival is now once again inviting both African and international filmmakers to submit contemporary documentaries completed after 1 January 2025 for the film festival.

The upcoming 29th edition of the documentary film festival follows after this year's edition that expanded its reach across Cape Town, Johannesburg and Pretoria with a mix of theatrical screenings, its Encounters Talks", as well as various community outreach initiatives.

For 2027, filmmakers can enter their work across four distinct categories split by origin and runtime: African Features, African Shorts, International Features, and International Shorts. 

Feature films must be 50 minutes or longer, while short documentaries are classified as anything under 50 minutes.

To qualify for selection, films must not have had any prior public theatrical, television, or streaming release in South Africa, and non-English films must include English subtitles. 

All entries must be processed digitally through the official Encounters FilmFreeway portal.

As part of the festival's mandate to support local talent, South African and African film submissions are exempt from paying submission fees.

Submissions are subject to a tiered deadline schedule: The early bird deadline is 17 December 2026, the regular deadline is 25 January 2027, the late deadline is 14 February 2027 and the extended deadline is 7 March 2027.

Founded in 1999, Encounters has evolved from a local screening platform into a pan-African hub for human rights advocacy, democratic debate, and professional film development, bringing together filmmakers, industry professionals, students, and audiences.

"Documentary cinema can challenge perspectives and bring audiences closer to experiences beyond their own," says Mandisa Zitha, Encounters festival director.

"The festival aims to create space for these stories while connecting filmmakers with audiences."

Encounters' push for structural representation reached a milestone last month at the 17th Durban FilmMart where Encounters festival manager Tarha McKenzie signed The Reel Balance pledge on behalf of Encounters.

This pan-African initiative promotes gender equity across African film festivals, trying to establish a strict commitment to achieving 50/50 representation of women across film selections, festival leadership, jury panels, and industry platforms.

For general submission enquiries, filmmakers can email the Encounters festival organisers at info@encounters.co.za.

National Geographic Commissions Natural History Spin-off Series Based on Disney's Frozen Following Wildlife in Europe's Winters


by Thinus Ferreira

The Disney-owned National Geographic and Walt Disney Animation Studios have officially commissioned a brand-new natural history series under the working title The Real Frozen.

Produced by Silverback Films, known for Secrets of the Bees, Our Planet and Ocean with David Attenborough, the series is directed by Jeff Wilson and produced by Elisabeth Oakham and Katie Parsons.

Frozen franchise stars Kristen Bell (Anna), Idina Menzel (Elsa), and Jonathan Groff (Kristoff) return as narrating guides, alongside Josh Gad in special appearances as Olaf.

The Real Frozen bridges animation and reality by following wildlife through harsh winters in Iceland, Finland, Norway, and Sweden, mirroring the emotional themes of the films. 

Featuring contributions from original Disney animators, the series is timed to align with the theatrical release of Frozen 3 in late 2027. 

It joins National Geographic's The Real franchise, which includes A Real Bug's Life, live-action companion Lion, and The Real Finding Nemo and will premiere on National Geographic before streaming on Disney+.

Courteney Monroe, National Geographic content president, says "It's a wonderful opportunity to bring together Disney's beloved stories and characters with National Geographic's boundary-pushing natural history storytelling, introducing kids and families to the incredible wonders of the world and opening the door to a lifetime of discovery".

Muvhango Creator Duma Ndlovu Back in Court in R26 Million Tax Fraud Case


by Thinus Ferreira

The Muvhango creator Duma ka Ndlovu will be back in court on Wednesday 11 November in his R26 million tax fraud case.

The TV producer is set to appear in the Palm Ridge Specialised Commercial Crime Court, where he is facing 18 charges together over tax fraud with the registered tax practitioner Rodney Mutsharini and the unregistered tax practitioner Maxwell Mloyi.

All three were arrested on 30 September 2024 following an investigation by the Investigating Directorate Against Corruption (IDAC) and the South African Revenue Service (SARS).

Duma Ndlovu was granted bail of R100 000 while Rodney Mutsharini and Maxwell Mloyi were granted bail of R50 000 each.

A possible starting date for the court trial will likely be set.

Duma ka Ndlovu's Kanoboya Consulting, previously trading as Ambrobite, allegedly got payments from Bain & Company, an international consultancy firm, for work done during 2013 and 2017.

The state alleges Ndlovu and Mloyi falsely declared the company dormant, while Ndlovu and Mutsharini allegedly misrepresented Personal Income Tax filings from 2016 to 2019 and omitted 2021 entirely, leading to an estimated R26 million loss.

The investigation traces back to recommendations from the Nugent Commission of Inquiry, which probed procurement irregularities tied to Bain & Company during the State Capture era.

Ndlovu and his legal team adamantly deny the charges, dismissing the prosecution as a "baseless witch hunt" and arguing he was unlawfully arrested before investigations concluded.

The legal battle has severely impacted Ndlovu's television footprint who was the producer of South African shows like Muvhango that the South African public broadcaster dumped after decades in 2024, and Queen Modjadji on Mzansi Magic (DStv 161) that ran for a single season. 

Wednesday's court date will signal whether a formal, career-defining trial is imminent.


MultiChoice Gives Subscribers 2 Months to Buy New DStv Decoders Before End of December 2026 for 10 Models That Will Start to Lose Channels from 2027


by Thinus Ferreira

MultiChoice, in a message to affected DStv subscribers are telling them that they have to buy a new DStv decoder before the end of 2026 if they have one of 10 outdated decoder models that will start to lose signal and TV channels from 2027.

Affected DStv decoders are the DSD1110; DSD1131; DSD1132; DSD720; DSD910; DSD933; DSD990; DV1 (Dual View 1); PVR3000 (PVR1); and MCDSD.

Some of these decoder models are over 20 years old.

It's understandable that hardware like DStv decoders reaches obsolescence.

It is however bad that customers are only notified with 2 months' notice - many DStv customers are older, living off pensions or can't, in two months' time, afford to buy a new decoder.

Once a new decoder has been bought, the white satellite dish coax cable must be removed from the old decoder and put into the back of the new decoder. 

But a DStv subscriber will also have to contact MultiChoice to activate the decoder on their account and profile and deactivate the old decoder, otherwise the signal coming through the new decoder will be scrambled.

DStv customers who switch decoders won't lose their existing DStv package - whether it's one of the current ones, or a legacy package that they keep paying for. What comes through the new decoder will be the same on their existing account.

"Due to ongoing updates to the MultiChoice satellite system to improve your viewing experience, the decoder models will no longer be compatible with the upgraded broadcasting infrastructure," MultiChoice says in a message to affected DStv subscribers that was sent to them at the start of this month.

"As your current decoder model is being retired, you will begin losing access to certain DStv channels from 1 January, 2027, and no channels will be supported on your decoder from 1 September 2027."

"To avoid disruption, please upgrade to a compatible decoder as early as possible so that you can continue enjoying your favourite sports, movies, series and entertainment in High Definition (HD), while benefiting from the best available DStv viewing experience, exploring our latest packages, and accessing future platform enhancements," MultiChoice notes.

"Compatible decoders are available to order online at the DStv Store, or through MultiChoice service centres, accredited installers, and selected retail partners. Please note that a limited-time R199 decoder special will be offered from 1 November 2026."

I've confirmed that this decoder at R199 is the DStv Single View HD decoder.

In a media query, I asked MultiChoice to please explain why DStv subscribers are given so little time to buy a new decoder.

If people pay to upgrade in the form of having to buy a new decoder, will they all be able to remain on their same/existing package?

What is the R199 decoder special on offer for these people from 1 November - what decoder model is this?

Stembiso Semenya, MultiChoice spokesperson, said in a reply, "MultiChoice is continuously focused on providing customers with the best viewing experience, and as such, technological upgrades are inevitable to improve the overall viewing experience".

"As part of this process, some older decoder models will no longer be supported from 1 January 2027."

"These devices are significantly outdated, with some having been discontinued more than 20 years ago. They are no longer compatible with the latest system requirements needed to ensure reliable service, enhanced security, and access to modern features."

"To support affected customers, MultiChoice is offering a limited-time decoder special of R199 available from 1 November 2026. Affected customers are being contacted directly and will need to move to a compatible decoder by 31 December 2026 to continue viewing without interruption."

MultiChoice gave no response on why it is giving its DStv subscribers only two months' notice to buy a new decoder.

Even Before You Pay Your SABC TV Licence on Time You're Warned with 'Debt Collection' - and After Paying the Silence and Struggle Starts Just to Get Payment Confirmation


by Thinus Ferreira

Even SABC TV Licence payers who pay on time and are not in any arrears are being harassed and threatened with language in the form of off-putting wording like "your account being handed over for debt collection".

And after you've paid - good luck getting any payment confirmation or even any other kind of communication or acknowledgement or "thank you".

All the SABC communicates about in terms of SABC TV Licence fees is that it wants money from you - and nothing else, or afterwards.

Here is my own personal example. My annual SABC TV Licence is fully paid up - one of only a very small percentage of South Africans who still bother to pay. A whopping 87% of people don't pay their SABC TV Licence.

My own SABC TV Licence of R265 was due on 31 August 2026. Nothing was in arrears. That's the only annual amount I needed to pay.

Even before that date, nasty emails from the SABC started arriving. But why, if you are not in any arrears and payment is only due on 31 August 2026?

Why does the SABC include extremely off-putting language in emails to people, not in any arrears, and who still have time to pay, like: "Please pay to prevent your outstanding balance from increasing with monthly penalties as stated in the Broadcasting Act No. 4 of 1999, as amended, and your account being handed over for debt collection"?

Why is the SABC using threatening and demoralising language like already invoking "debt collection" when somebody's account isn't even in arrears? Does the SABC TV Licence division think this is so-called best practice? 

That this is going to make somebody pay their licence fee? 

And why does this kind of inappropriate messaging - and this type of language - not only start after a SABC TV Licence fee is due? 

Emails like this make the SABC look like a street beggar who accosts you on your way to a car and simply won't leave.

If a new payment is due at the end of a month, on an account not in arrears, Edgars doesn't send you "please pay" and "handed over for debt collection" messages when you are still well before your time to make a payment.

I paid my SABC TV Licence at the end of August. Nothing was late and nothing was due. 

Yet the SABC couldn't bother to send a proof of payment on email (which the broadcaster is supposed to do) and the confirmation that your SABC TV Licence has been paid for another year.

In September, I started asking the SABC for proof of payment and confirmation that I've paid my SABC TV Licence. I used the tvlic.info@sabc.co.za that the SABC says SABC TV Licence payers should use.

I asked again. And again. And again. And again. And again.

No response from the SABC. Emails went into a void, adding to the perception of absolute systemic failure of the SABC's TV Licence fee division in the eyes of the South African public. 

Ironically, besides the SABC's TV Licence division not responding to licence payers asking basic things, it only communicates with TV Licence payers when it wants money. 

Never at other times in the year is there any communication from the SABC about what it actually does with your TV Licence fee money, or what else the SABC is busy with, or anything at all to make you feel like a valued licence fee payer. 

You're only emailed once you must pay a licence fee, and once you do - it's apparently a case of "don't bother us".

I went to the SABC's media liaison division after I decided to use my own personal case, since there might be other people who are also being harassed for SABC TV Licence payment before it's due, or before it's past due - and then hear nothing from the broadcaster for a year.

On 22 October I emailed and asked the SABC in a media query what is wrong with the SABC's TV Licence division that it doesn't respond to licence payers' emails, or whether it's just with me that there is a problem?

I stated that my TV Licence wasn't in arrears, and I paid in time. Why does the SABC use such extremely threatening language like "being handed over for debt collection"? Surely people who are not behind should not be, from the outset, threatened with such language?

I also noted that the SABC seems extremely intent on trying to get money out of people, but once somebody pays, there is literally nothing in response, until money is due again. 

Why the lack of communication from the SABC's side like a thank you, or messages in between during the course of the year to explain to people how their money is used, and what is done with it, etc? 

Even after paying and specifically asking for just a notification of payment the SABC doesn't seem even able or willing to do that - why not?

I didn't get any response from the SABC's media liaison department, but then on 27 October, I got an email from a quality management consultant at the SABC TV Licence division, noting that "We received your payment on 31 August 2026, before your licence became due on 1 September 2026. Your account is up to date, and thank you for paying on time".

The email said that the payment was processed but that no statement was sent.

"This was our oversight, and we take full responsibility for it. Please accept our sincere apologies. You paid on time and asked us more than once for confirmation, which is a simple and fair request. It should have been dealt with promptly, and our aim is to respond to correspondence within 48 to 72 hours."

"Thank you for bringing this to our attention. We regard it as a serious matter, and it is being dealt with internally."

"We also take note of your concern about the wording of the renewal notice. The notice is a reminder of an upcoming renewal and does not mean an account is in arrears."

"It sets out what happens to accounts that remain unpaid, which are handed over to debt collection agencies after 60 days. TV Licences would much rather help licence holders avoid that route, and your feedback on how this comes across to people who pay on time will be considered as we improve our communication."

Monday, November 9, 2026

Hisense South Africa Celebrates 30 Years with Customer Conference, Sharing its Vision for the Next Three Decades


Partner content

Hisense South Africa marked three decades in the country on 29 October with its 30th Anniversary Customer Conference.

Themed around the company’s 30-year development journey and its RGB Mini technological innovation, the event reflected on Hisense’s roots in South Africa and its growth alongside local partners and set out a collaborative vision for the next 30 years.

The conference showcased Hisense’s full product line, with a particular focus on new high-end offerings, including RGB TVs, Laser TVs and Kitchen Fit refrigerators. 

Through product demonstrations and technical explanations, Hisense highlighted the core advantages of its RGB TV backlight technology, underlining its innovation capabilities and high-end product strategy. The showcase strengthened channel customers’ confidence in Hisense's products and future direction.

"Thirty years in South Africa is a milestone we share with our partners, because our growth has always been built alongside theirs," shared Luna Nortje, Deputy General Manager at Hisense SA.

"Bringing our customers together to experience innovations like RGB Mini technology and to talk openly about the next 30 years shows how committed we are to this market and to the people who help us serve it."


Approximately 120 clients attended, including representatives of key South African retail channels such as Massmart, Hirsch’s, Tafelberg and Atlas, as well as clients from the eight core club countries in Hisense’s export sector. The conference provided a platform to deepen channel cooperation and build consensus on future growth.

Guests at the conference included Wang Xiaodai, Deputy Consul General of the Chinese Embassy, as well as South African government officials, customs authorities, and representatives of Chinese banking institutions operating in South Africa.

Their attendance strengthened dialogue between Hisense and local government bodies, regulators, and financial institutions; and laid a solid foundation for deeper government-enterprise collaboration and a wider local partnership network.

Hisense South Africa was first established in 1996 as Hisense's very first overseas operation. 

The company manufactures televisions and refrigerators at its Atlantis facility in the Western Cape and provides a broad portfolio of consumer electronics and home appliances to the South African market. Its local operations span manufacturing, retail, distribution, after-sales service, skills development and community investment.


Images supplied by Hisense SA following their customer conference in Cape Town

Embarrassment as KwaZulu-Natal Tourism and Film Authority Forced to Dump Nominees for 13th Simon Mabhunu Sabela KZN Film and Television Awards and Entire Best TV Production Category After Judges Shortlisted a Non-TV Project


by Thinus Ferreira

There's more embarrassment for 2026's delayed 13th Simon Mabhunu Sabela KZN Film and Television Awards, with the KwaZulu-Natal Tourism and Film Authority, which was forced to dump ineligible nominees after they had been announced and had to scrap the Best Television Production category entirely.

After the KwaZulu-Natal Tourism and Film Authority was forced to postpone this year's awards, and then also belatedly announced this year's nominees, the organisation has now been forced to backtrack on the announced nominees who are ineligible, with four nominees dumped and replaced.

The Best Television Production category has been withdrawn entirely.

It's a major embarrassment and the latest inexplicable blunder in the KwaZulu-Natal Tourism and Film Authority organising of this year's 13th Simon Mabhunu Sabela KZN Film and Television Awards which seems to have stumbled from amateurish mistakes to unprofessional conduct the past few months.

The KwaZulu-Natal Tourism and Film Authority says the nominees had to be removed after they were announced because they were found to be ineligible. 

The KwaZulu-Natal Tourism and Film Authority isn't explaining why eligibility requirements were not checked and verified before received entries were judged, and final nominees were announced.

To try and explain the delay of the 13th Simon Mabhunu Sabela KZN Film and Television Awards, the KwaZulu-Natal Tourism and Film Authority a month ago said there were too many applications and entries that still needed to be judged.

But proper vetting and ensuring applications adhered to eligibility criteria before judging would have cut down on the time wasted on judging bogus entries.

About the latest problem that surfaced regarding nominees, Sibusiso Gumbi, acting CEO of the KwaZulu-Natal Tourism and Film Authority, says "We recognise that these matters should ideally have been resolved before the nominations were announced".

"Our priority is to ensure that the necessary corrections are properly verified, communicated transparently and supported by appropriate safeguards to strengthen the process going forward."

According to the KwaZulu-Natal Tourism and Film Authority, there was a review that focused on the "qualifying screening and broadcast period of 29 March 2025 to 28 March 2026" which found discrepancies.

The province's film organisation says it acknowledges that "these discrepancies should ideally have been identified during the initial screening and verification process, before the nominations were publicly announced".

In the category for Best Sound Design N3 for Solum has now been dumped and replaced by Siduduzo Vezi for Uzalo, since Solum wasn't screened during the qualifying period.

In the Best Screenplay category, Mxolisi Mbhele for Kayise has been removed and replaced by Zigizendoda Yeni for Izenzo Zami since Kayise also failed to adhere to the qualifying-period requirements.

Noxolo Mathula for Kayise has been dumped from the Best Actress in a Film category and is replaced by Thembi Mtshali Jones for Izenzo Zami for the same reason, while The Trek has been dropped from the Best Feature Film category and replaced by Amathambo, represented by Sabelo Ndlovu.

The reasons for why The Trek has been dumped are murky, with KwaZulu-Natal Tourism and Film Authority only saying it is because of  "a reassessment of the category's KwaZulu-Natal-related judging considerations" - whatever that means.

It's all hugely embarrassing for the KwaZulu-Natal Tourism and Film Authority and the nominees who were publicly announced and now got dumped.

The entire Best Television Production category got scrapped for this year, after the axing of the nominations of Sah Zungu for Isigodlo Samatshitshi and Enhle Selesho for Inkosinathi. 

According to the KwaZulu-Natal Tourism and Film Authority, "The review found that the former did not qualify as a television production, while the latter had been screened outside the qualifying period."

So a production not only got entered as Best Television Production, it was judged, shortlisted and made it to the category, got announced and was then discovered to not even qualify as a television production.

"The panel determined that the category should be withdrawn after considering that the eligible entry is recognised in other similar remaining categories," the organisation now says.

The KwaZulu-Natal Tourism and Film Authority says the "review was conducted by the awards’ senior judging panel, with the participation of the auditors".

It's unclear where the auditors were or what they were doing or not doing, after all the entries were received and before the judging process started.

Jack Esterhuyzen, chief judge of the Simon Mabhunu Sabela KZN Film and Television Awards, in a prepared statement says, "Our responsibility as judges is to ensure that every nomination meets the published requirements and that all entrants are assessed fairly".

It's unclear why the judges failed to ensure that every nomination met the published requirements before the judging process started.

Jack Esterhuyzen continues: "Following the concerns raised, we revisited the affected nominations, examined the eligibility information and reviewed the relevant judging scores. Where discrepancies were confirmed, the panel agreed on the necessary corrections."

"These decisions were taken to uphold the integrity of the awards and ensure that the same standards apply to every entrant."

Originally set for October, 2026's 13th Simon Mabhunu Sabela KZN Film and Television Awards will now take place on Saturday, 21 November at The Playhouse in Durban.