DA Political Party Slams Lack of Specialists on NFVF Council, Says SA's Arts Minister Gayton McKenzie has Hijacked Unstable Film Agency's Through Cadre Appointments

by Thinus Ferreira

South Africa's Democratic Alliance (DA) political party is slamming the lack of specialists on the unstable and struggling National Film and Video Foundation (NFVF) council, saying the NFVF council has been hijacked by arts minister Gayton McKenzie through cadre appointments, while the country's film and TV industry suffers.

The NFVF remains mired in controversy, scandal and leadership instability, where NFVF council member Nondumiso Madlala was hastily pushed into the acting CEO position last month after acting CEO Onke Dumiso was suspended.

Nondumiso Madlala is the 7th person to be in the NFVF's CEO chair over the past three years since 2023 as the scandal-riddled agency, funded by the South African government's department of sports, arts and culture, continues to lurch from crisis to scandal.

JP Smith, the DA's Cape Town Metro regional chairperson, in a statement, slams the NFVF council and department minister Gayton McKenzie, who is a member of the Patriotic Alliance (PA) political party, noting that "It is no secret that the South African film sector is in a critical condition due to historic, ANC corruption and mismanagement within the department of trade, industry and competition".

"Delays in critical film incentives and funding payments are having a detrimental effect on projects, the sector's ability to attract investment, and its ability to create jobs. It is therefore crucial that it is all hands on deck across government to ensure the sector is supported."

JP Smith says it is urgent that the government must "cut red tape, find the necessary funding, and support the sector as much as possible because there is real competition from other countries that are recognising this gap and poaching critical economic investment and opportunities".

According to JP Smith, it is "deeply unsettling to learn that, instead of recruiting specialists into the department of sport, arts and culture who can, through the National Film and Video Foundation (NFVF) council, fight this crucial battle for the industry."

JP Smith says Gayton McKenzie "has seemingly focused on continuing his political party's habit of appoonting cadres.

The DA notes that on the NFVF council currently are Simon Carl Clarke, "a former business partner of Gayton McKenzie and Kenny Kunene, as well as Gayton's former partner who featured on their e.tv reality show".

"He was also elected to the National Arts Council before it was disbanded, while simultaneously serving as the Chairperson of the Johannesburg Roads Agency."

Also on the NFVF council is "Omphemetse Mokgosi, a person linked to Patriotic Alliance head of media Bakang Lethoko and referred to as family on her social media".

"Like Simon Clarke, she also occupied a seat on the National Arts Council and previously served as a non-executive director on various City of Johannesburg boards while the Patriotic Alliance held the MMC position. These include Metrobus, the Johannesburg Roads Agency, and the Johannesburg Social Housing Company (JOSHCO)."

JP Smith notes that Siphosethu Mthamzeli "who also occupied a non-executive director position in the City of Johannesburg under Kenny Kunene's oversight and is linked to Patriotic Alliance head of media Bakang Lethoko through a company called Black Women in Slate Mining, where she was one of Bakang's employees" is also on the NFVF council.

So is Tony Ferreira "who is a co-director in a company with Patriotic Alliance legal head Eugene Botha and one of Eugene's former business partners, Yolandi Erasmus. Tony Ferreira also previously served as a non-executive director on the Metrobus board".

Then there is Andrea Gordon who is also on the NFVF council "who was seen embracing Gayton McKenzie at a spinning event in October 2024, two months before she was appointed to the NFVF council, who is alleged to be a family friend. Her husband, who is now the chairperson of the Artscape Theatre, was also present at that event."

JP Smith says he "cannot sit idly by while a council tasked with developing, funding, and promoting the South African film and television industry is hijacked".

"We  have seen where this leads in the City of Johannesburg. The evidence is clear. Now the same people who have brought the Rea Vaya bus service and the City's road infrastructure to their knees are tasked with safeguarding the film industry. This cannot be allowed to happen."

"The Democratic Alliance has already taken action by referring the alleged cadre deployment to the Public protector. We will continue to pursue accountability and demand answers on the appointment of individuals to the NFVF council."

JP Smith says Gayton McKenzie "must also take responsibility for the crisis within his portfolio. The film and television industry cannot afford political appointments, bureaucratic delays or government departments passing the buck while projects, investment and jobs are lost."

"I therefore call on Gayton McKenzie to urgently review the composition of the NFVF council, provide full transparency on the appointment process and ensure that suitably qualified industry specialists are appointed to positions responsible for the future of South Africa's film and television sector."

"At the same time, government must urgently address the delays in processing film incentives and funding applications, including those administered through the department of trade, industry and competition. The industry needs action, not another round of government departments blaming one another while South African jobs and investment disappear."

ALSO READ: NFVF council member Nondumiso Madlala appointed latest acting NFVF CEO at SA's troubled film agency

Canal+'s MultiChoice and Fame Week Africa Seek Premium Drama Series Pitches from African Producers

by Thinus Ferreira

Canal+'s MultiChoice and Fame Week Africa have launched a new drama commission opportunity for African producers.

Launching as part of Fame Week Africa, MultiChoice is taking pitches from across Africa for a premium drama series concept that has "the potential to captivate local audiences while resonating with viewers around the world".

The premium drama series commission is a dedicated commissioning opportunity developed specifically around MultiChoice's content needs.

MultiChoice wants a "contemporary, high-concept drama series that are commercially appealing, action-driven and rooted in authentic African stories".

According to the pay-TV operator, "Projects should explore universal themes, feature aspirational storytelling, and naturally connect audiences across two or more African territories. Concepts may be created in any African language, English or French, without compromising cultural authenticity."

The commissioned series will have to be between 8 to 12 episodes of 50 minutes each, although final episode counts will be determined by the creative concept. 

"Projects should demonstrate strong production ambition while remaining commercially viable, without relying on large-scale financing or complex international co-production structures."

Nicola van Niekerk, Canal+ Africa senior vice president for content, says "This is an exciting opportunity to discover bold new African drama that speaks authentically to local audiences while travelling beyond borders".

"We are looking for commercially compelling stories with ambition, strong characters and universal themes - stories that showcase the incredible creativity emerging from across the continent."

Martin Hiller, Fame Week Africa portfolio director, says "One of Fame Week Africa's greatest strengths is connecting African creators directly with decision-makers who are actively looking for content."

"This commissioning opportunity with MultiChoice provides producers with a rare opportunity to pitch directly against a clearly defined editorial brief. Even if you've already submitted your project to the MIP Africa Project Pitch Platform, we strongly encourage producers whose projects align with the brief to submit again for this dedicated opportunity."

Producers have to submit a creative treatment (PDF) and an estimated production budget, with the creative treatment that must include a series overview, logline, synopsis, "world of the story", style and tone references, as well as character overviews.

All of the submissions will be reviewed by the Fame Week Africa team before a shortlist of producers will then be invited to present their projects directly to MultiChoice, Canal+ and StudioCanal commissioning panel.

According to Fame Week Africa, this dedicated commissioning call is in addition to the Fame Week Africa Project Pitch Platform and says that producers who have already submitted to the Project Pitch Platform are encouraged to submit the same project again, if it aligns with the MultiChoice commissioning brief.

Submissions close on 18 September 2026 and can be done online here.

Fame Week Africa takes place from 28 to 30 October 2026 at the Cape Town International Convention Centre (CTICC2).

National Geographic's LION from 23 August is a 4-episode 'Real-Life' Natural History Homage to The Lion King

by Thinus Ferreira

LION, a new 4-episode natural history series coming to National Geographic (DStv 181) and Nat Geo WILD that took 4 years to film in Kenya, thematically, sound-wise and visually, looks a bit like Disney's animated film The Lion King - and very deliberately so as a kind of homage.

The 4-episode LION - with two episodes on Sunday 23 August at 18:00, and another two episodes on Sunday 30 August at 18:00 on both National Geographic and Nat Geo WILD - follows a young lion cub called Kio and his journey of becoming a lion king.

LION is executive produced by The Lion King director Jon Favreau, the BBC Studios Natural History unit's Mike Gunton, with the score composed by Hans Zimmer's Bleeding Fingers Music and additional vocals from the Nairobi Chamber Chorus/

The narrator of LION is O.J. Lynch, who was Mufasa in The Lion King stage production.

LION will also be available on Disney+.

LION was filmed over 4 years in Kenya's Maasai Mara as the first natural history production to document a lion's complete journey from cub to king. 

According to National Geographic, the crew, including local Kenyan filmmakers, logged nearly 1 400 filming days across 52 shoots, the most time ever spent in the field exclusively following a single pride.

"After tracking the lions in the field for 4 years, the pride never ceased to surprise us - what Kio endures and eventually becomes is extraordinary," says Jon Favreau in a supplied quote.

"Watching the hero's journey against the backdrop of nature was incredible to witness."

LION is produced by BBC Studios Natural History unit for National Geographic with Jon Favreau and Mike Gunton as executive producers. 

Jane Atkins is series producer, and Simon Blakeney is co-executive producer. For National Geographic, Janet Han Vissering and Tom McDonald executive produce.

eMedia: Retrenchment Looming for Over Half - 171 Out of 309 - Workers at eNCA, e.tv's News and eNuus after CEO Khalik Sherrif's Overseas Trip

Thinus Ferreira

Workers at eNCA, e.tv, and kykNET's eNuus are "vibrating with anger" after eMedia handed them retrenchment letters last week - including e.tv's main news bulletin anchor Melanie Rice - shortly after eMedia CEO Khalik Sherrif and a group of guests returned from an expensive 2026 World Cup soccer jaunt in America.

Canal+'s MultiChoice pays eMedia to make the eNCA TV news channel exclusive to DStv, but eMedia now wants to potentially get rid of more than half of the total workforce: 171 out of 309.

In addition to eNCA, journalists at e.tv, as well as eNuus, across the country are affected and they were also involved in this week's retrenchment announcements and meetings.

The Section 189 retrenchment process at eMedia comes just after Khalik Sherrif and board members, as a group of more than 20 people, went to the United States last month for the end of the 2026 FIFA Soccer World Cup with expensive tickets, flights, and accommodation to treat potential clients.

Workers are furious about what they see as a waste of money by the big bosses with big salaries, while they "at the bottom of the food pyramid" have to pay the price.

Although eMedia is paid to deliver a linear TV channel, the plan is allegedly to dismantle the "traditional newsroom structure" and replace it with a "digital-first" approach. DStv however, has no place for anything more than just a linear pay-TV channel.

It is also buzzing within eMedia that the company is allegedly "largely done" with current affairs content, and plans to either cut interview and current affairs series on e.tv and eNCA to the bone, or cancel them entirely because they are not profitable.

Norman Munzhelele, eNCA managing director, sent an 8-page retrenchment letter with 22 points in it, to affected eMedia workers on Wednesday and Thursday.

In it, Norman Munzhelele says the eMedia layoffs come due to "the decline in traditional TV viewing patterns, especially within the 24-hour news environment". 

Meanwhile, the renewal of fixed-term and freelance contracts has also been halted.

The retrenchment process comes just four months before South Africa's local elections and affects the news, technical, and broadcast departments.

Workers wonder how bosses at eNCA, e.tv, and eNuus think they will be able to cover the big election in South Africa and the run-up to it, with suddenly 55% fewer people.

Workers are also furious about the money eMedia spent to build the expensive VRtuosus virtual studio that opened in Johannesburg in March, which they say is underutilised.

Workers are also angry that they got retrenchment letters while Khalik Sherrif was the highest eMedia earner and paid a salary of R19 million last year, which includes a bonus of R10.3 million.

John Copelyn, HCI Holdings parent company chairperson and non-executive chairperson, was paid R21.7 million, including a R3.6 million bonus, while Antonio Lee, financial director, got paid R12.6 million, which included a R5.7 million bonus.

With fears that the quality of the eNuus bulletin on kykNET, where there are already too few workers, could deteriorate further due to the retrenchment process, kykNET was approached for comment, but spokesperson Herschelle Benjamin referred the media query to eNCA.

Canal+ also referred a media query to eMedia, saying "eNCA is a separate commercial entity operated independently by eMedia".

eMedia refused to answer media inquiries, with spokesperson Lynne Adams saying via email: "As a matter of principle, eMedia does not comment publicly, through the media, on its internal business operations, confidential employee matters, or internal processes."

Questions were also put to Khalik Sherrif who was asked about the expensive soccer group trip to America and what eMedia gained financially from it, whether the mass retrenchment decision was made before or after this visit, and also about workers complaining that they are now going to lose their jobs while eMedia executives with massive salaries remain untouched.

No answers to any of these questions were received from Khalik Sherrif.

"Khalik Sherrif and the others' big overseas visit, only to tell everyone weeks later that eNCA is going to be cut by half, is in extremely poor taste. Meanwhile, people who have to slave away daily to meet deadlines are seething with anger," a worker said.

Another worker shared that eNCA colleagues on Wednesday, and e.tv workers on Thursday, wept openly in Johannesburg and Cape Town. "It's very, very sad."

Another insider said: "Workers are divided. Some are glad they are not affected, did not receive letters, and are 'safe' this time. Other incredible journalists were told their time in front of and behind the camera is coming to an end."

"After years of declining viewership figures and a shrinking advertising market, it is clear that eMedia is struggling to survive, along with its share price which has dropped by 20% over the past two months. eMedia looks like it is on life support. For workers, it is an extremely depressing time."

Prof. Lizette Rabe, media expert and professor emeritus at Stellenbosch University, says: "We are experiencing a perfect media storm regarding all media, and this unfortunately in the midst of an election year that shows all the signs of becoming more difficult by the day."

"Of course, the starting point is that we live in a new era of information dissemination. This applies to all media: print-digital as well as broadcast media."

"Linear TV's time is numbered - except where, for example, live sport is concerned. The fact remains: It is a tragedy that newsrooms' budgets - journalism - are being dramatically cut."

"An informed society is an empowered society. And while political parties' own horn-blowers are going to do their thing on social media, we need professional media - meaning journalists who must adhere to a code of ethics - to present all sides of a matter. They do this professionally, independently, and without favour or fear—no matter if you get that information via your mobile phone, computer screen, TV, or radio."

Spider-Man: Brand New Day Shoots to New South African Box Office Opening Weekend Record of R44 Million

Thinus Ferreira

Last weekend Spider-Man: Brand New Day marked a new South African opening weekend box office record of over R44 million.

The Marvel and Sony Pictures Entertainment film obliterated the Southern Africa opening weekend box office record of Avengers: Endgame set in 2019, of R34 million, by surpassing it with a total weekend haul of over R10 million above the 2019 record. 

Spider-Man: Brand New Day earned R9.65 million on its opening day, and added another haul of R35.9 million in ticket sales over the course of Saturday and Sunday.

The webslinger smashed theatre records across the country, and local distributor Filmfinity and cinema chains like Ster-Kinekor and Nu Metro were dazzled by a staggering 90% nationwide screen occupancy on Saturday.

The box office achievement marks the biggest opening weekend ever for a Sony Pictures release in Southern Africa.

Since opening last weekend, more than 336 000 moviegoers have experienced Spider-Man: Brand New Day on the big screen across South Africa, with the film playing across 82 cinema locations on more than 200 screens nationwide.

The film's phenomenal local success mirrors its outstanding international performance, where Spider-Man: Brand New Day has already surpassed $1.052 billion at the global box office, becoming the second-fastest film in history to reach the milestone.

As a smart marketing exercise, in the weeks leading up to release, Filmfinity's nationwide Spider-Man costume tour helped to build excitement, with fans of all ages turning out in large numbers to meet the iconic superhero. 

According to Filmfinity, "Seeing audiences of every age and demographic return to cinemas in such significant numbers is an enormously encouraging sign for the exhibition industry, bringing renewed optimism and supporting the long-term sustainability of the local theatrical landscape".

AB Moosa, Cinecentre CEO, says "The audience response has been phenomenal, all the initiatives worked brilliantly" and that Spidey has "helped encourage existing audiences and bring new audiences into cinemas, creating momentum for continued growth in the theatrical experience".

Lynne Wylie, Ster-Kinekor Theatres chief marketing officer, says "Following a spectacular South African premiere held at Eastgate to sold-out cinemas across the country all weekend, Spider-Man: Brand New Day has captured the imagination of our audience and delivered a truly blockbuster weekend".

"The impressive Spider-Man: Brand New Day opening weekend figures are a clear demonstration that South Africans are returning to watch blockbuster films in cinema in meaningful numbers."

"Audiences are once again embracing the unique experience of watching the world's biggest titles on the big screen, and we're thrilled to see that momentum building. This trend follows closely on the record-breaking box office for the release of The Odyssey."

Nu Metro Cinemas says it's been "truly overwhelmed by the impressive opening weekend results of Spider-Man: Brand New Day. We are grateful to our loyal customers for coming out in numbers to experience this movie on our big screens".

"Nu Metro is proud to celebrate the exceptional customer support and engagement surrounding the release of Spider-Man: Brand New Day, which delivered strong audience enthusiasm and market share performance for our circuit".

Thobashan Govindarajulu, Filmfinity head of sales and marketing, tells TVwithThinus that the sweeping global success of Spider-Man: Brand New Day "cannot be attributed to a single standalone trigger but rather a perfect storm of key factors that ignited a massive wave of local anticipation in South Africa as well".

"Fuelled by overwhelmingly positive international sentiment, an exceptionally popular and likeable cast and great storytelling, the film transcended standard cinema boundaries."

"For South African audiences, it was this combination of universal charm and an unmissable, big-screen theatrical experience that converted immense pre-release hype into a historic box-office triumph."

Building to the release of Avengers: Doomsday on 18 December, momentum at the box office is set to accelerate into South Africa's spring and the summer months.

Upcoming releases include Street Fighter (16 October), The Cat in the Hat (6 November), The Hunger Games: Sunrise of the Reaping (20 November), Dune: Chapter 3 (18 December) and Jumanji: Open World (25 December).

Canal+'s MultiChoice dumps Mzansi Bioskop, Mzansi Music, M-Net Movies 1, kykNET Lekker channels from DStv on 16 September, SuperSport channels renamed yet again

by Thinus Ferreira

Canal+'s MultiChoice is dumping M-Net's Mzansi Bioskop, Mzansi Magic, M-Net Movies 1 and kykNET Lekker channels from 16 September from DStv in the latest culling to hit the South African pay-TV operator after Canal+'s takeover that led to drastic cost-cutting and restructuring.

Meanwhile, DStv's SuperSport TV channels are being renamed yet again, in the latest, ever-ongoing name-shuffle.

TVwithThinus made a media query about the abrupt removal of the channels and the axing of the 4 TV channels on DStv was confirmed by MultiChoice.

M-Net added the Mzansi Bioskop (DStv 164) to DStv in September 2013, with the channel getting dumped after 13 years. 

It served as a very good funnel and platform for content from emerging South African filmmakers, whose first short films and feature-length films - primarily from alumni from the MultiChoice Talent Factory (MTF) - were premiered on Mzansi Bioskop.

Quite bizarre is MultiChoice and M-Net's axing of M-Net Movies 1, leaving it with M-Net Movies 2. There's as yet no answer or explanation as to why DStv will sit with a "M-Net Movies 2" TV channel, but then no "1" on the DStv channel line-up.

It's also unclear whether MultiChoice is going to decrease the add-on price for the M-Net Movies package, since Dstv subscribers who have to pay more to add it, will now lose a channel, and customers who want to sign up for this package will now just buy one channel instead of two.

M-Net Movies 1 (DStv 104) originally launched as M-Net Magic in 1995, and was eventually rebranded as M-Net Movies 1 in 2005. Even this channel went through several name changes and genre changes, after which M-Net reverted it back to being called M-Net Movies 1.

Mzansi Music (DStv 321) is also being cancelled, 14 years after M-Net started the channel in 2012.

M-Net's kykNET Lekker (DStv 148) is also getting dumped on 16 September, just 6 years after it was launched in March 2026 after it was created specifically for DStv Access subscribers who will now see M-Net and kykNET rip this content away from these paying customers.

TV withThinus asked for the specific reasons for each of these channels' termination and when the decision was made to end these channels on 16 September.

"As viewing habits continue to change, MultiChoice is refining the DStv channel line-up to match," MultiChoice said.

"Rather than spreading similar content across many channels, we're concentrating on fewer, stronger channels, giving subscribers a cleaner, easier-to-navigate line-up and a better viewing experience overall."

Also once again changing, are the names of several SuperSport TV channels on DStv.

According to MultiChoice, "The SuperSport updates introduce clearer, sport-specific channels, making it even easier for fans to find their favourite sporting action".

SuperSport Variety 1 (DStv 206) is being renamed from 18 August as SuperSport Football Plus, which will now become a "dedicated home for premium football, featuring selected UEFA Champions League action and other major competitions".

SuperSport Variety 2 (DStv 207) is being renamed as SuperSport KickOff for so-called "overflow football events", while SuperSport Variety 3 (DStv 208) is being renamed SuperSport Africa "showcasing the best of South African and African sport".

MultiChoice is changing SuperSport Variety 4 (DStv 209) to SuperSport Action, while SuperSport Action (DStv 210) is getting rebranded as SuperSport Extra for "premium live sport whenever multiple major events take place simultaneously".

There's been no press release from SuperSport yet about any of these name and branding changes.

PSL 30th season-starter blackout on SABC as sub-licensing SuperSport negotiations with Canal+ Africa fail to reach a deal in time

Thinus Ferreira

There will be no PSL football on the SABC today as the 2026/2027 season kicks off with the opening round of Betway Premiership fixtures starting on Saturday, 1 August after the South African public broadcaster and SuperSport's French-owned Canal+ Africa both failed to reach a sub-licensing deal in time.

In an embarrassing admission, the SABC and Canal+ Africa, in a joint statement on Friday evening, said they have failed to reach a deal to show PSL matches from the start of the new season, from today on free-to-air television in South Africa.

While the SABC's discussions with Canal+ continue to "progress positively", there's been a massive failure in reaching any deal timeously between the public broadcaster and the French pay-TV operator that took over MultiChoice.

The SABC hopes to sign some type of deal with Canal+ Africa to start broadcasts of the Betway Premiership only from around 15 August 2026.

Nomsa Chabeli, SABC CEO, in the statement said the public broadcaster remains "optimistic" that a deal will be signed with Canal+ Africa's SuperSport "soon" to bring PSL matches to free-to-air viewers.

"We remain optimistic that these will be concluded soon, allowing us to bring even more South African football to audiences across the country."

"The SABC appreciates that football supporters were looking forward to the opening weekend of the Betway Premiership and extends its gratitude to audiences for their patience and understanding while the remaining discussions are concluded."

David Mignot, Canal+ Africa and MultiChoice Group CEO, in the statement says, "We continue to have engaging discussions about the rest of the 2026/2027 free-to-air sub-licensing agreement, which we hope to conclude soon, more so in this historic 30th season of the PSL."

Neither Nomsa Chabeli nor David Mignot explained any of the reasons why the SABC and Canal+ Africa both failed to reach a deal in time by the start of today's new season.

Oprah Winfrey shutters her South African school, will continue funding girls through scholarships

Thinus Ferreira

Oprah Winfrey is closing her girls' school in South Africa next year, 20 years after it opened in Henley-on-Klip, with the talk show-philanthropist returning to a bursary programme that she says will help more girls.

At the end of the 2027 academic year, the buildings and grounds of the Oprah Winfrey Leadership Academy for Girls (OWLAG) will be returned to the Gauteng Department of Education, in accordance with the original partnership agreement the talk show titan signed more than two decades ago with the South African government.

Every student currently enrolled at OWLAG will get to complete their education, with Winfrey promising "uninterrupted academic, financial and personal support". 

The start-up years of Winfrey's school were severely mired in controversy.

In late 2007, a female dormitory matron, Tiny Virginia Makopo, was arrested and charged with multiple counts of assault, indecent assault, and criminal injury. She was accused of physically and sexually abusing at least six students. 

In 2010, she was ultimately acquitted, with the magistrate ruling that the state failed to prove its case.

Winfrey expressed her extreme disappointment at the time and said, "We began this child molestation trial in July 2008. More than two years later, I am profoundly disappointed at the outcome of the trial. I will forever be proud of the nine girls who testified with the courage and conviction to be heard"

After that, the academy's first headmistress, Nomvuyo Mzamane, was suspended and later filed a defamation lawsuit against Winfrey for implying she had covered up the abuse. Winfrey settled the lawsuit out of court in 2010.

The early years also saw complaints from parents regarding strict visitation rules, and later in 2009, a separate scandal resulted in the expulsion of several students for bullying and sexual harassment of classmates.

Yet despite the rocky start, Winfrey remained extremely dedicated to the institution, personally and financially, and kept investing hundreds of millions of dollars to ensure its long-term success.

OWLAG overcame its scandal-start with over 1 000 girls who eventually passed matric, and Winfrey also paying for their further tertiary studies in South Africa and abroad.

Today, OWLAG alumnae are working as doctors, educators, engineers, entrepreneurs, artists, scientists and business leaders in South Africa and around the world.

Winfrey started her school after conversations with president Nelson Mandela, who implored her to open a school in South Africa after she had already been financially supporting schools and students in South Africa for a number of years.

In response to a media query, in a press statement, Winfrey says "The dream was never simply to build a school".

"It was to invest in the limitless potential of young women. That mission doesn't end with one campus. It continues in every girl whose future can be transformed through education. I'm excited that this next chapter will allow us to reach even more young women across South Africa and continue the promise that began more than 20 years ago."

Winfrey notes that OWLAG's "next chapter" is "rooted in the same belief that inspired its founding".

While Winfrey is shuttering her physical school after 20 years, she will continue to pay for the education of South African girls through an "expanded scholarship program that will provide educational opportunities for academically talented girls from communities across the country".

This scholarship programme will support young women at leading schools throughout South Africa, says Winfrey.

The Gauteng department of education says it will "ensure" OWLAG's "legacy of academic excellence, leadership development, and the creation of opportunities through education continues to benefit future generations of learners" when it takes over the property and residential campus.

Uzalo Caterer Zandile Blose Gunned Down Before Husband's Funeral

by Thinus Ferreira

The Uzalo caterer Zandile Blose was gunned down and killed this past Friday outside her house in KwaMashu in KwaZulu-Natal, preparing for her husband's funeral, according to reports. She was 44.

Zandile Blose's husband, Msizi Blose, died a week ago in a car crash in Mpumalanga.

Zandile Blose, who ran a catering and décor business, provided catering services for SABC1's Uzalo, produced by Stained Glass TV.

The couple leave behind three children, the youngest of whom is 14 and still in school.