Arts minister Gayton McKenzie promises fixes, admits South Africa's government failed artists: ‘They can't even open an Ellerines account’

by Thinus Ferreira

South Africa's arts and culture minister Gayton McKenzie has slammed the country's government for its failure to reform the entertainment industry and the system to prevent artists from suffering and perpetually dying in poverty.

Gayton McKenzie spoke at the funeral of singer Winnie Khumalo (51) and said the government is serious about fixing South Africa's broken entertainment biz system this year.

Winnie Khumalo died 7 January after a short illness and without a medical aid, followed by the death two days later of Victor "Doc Shebeleza" Bogopane after a long illness.

Gayton McKenzie branded The Cultural and Creative Industries Federation of South Africa (CCIFSA) – a representative body funded by the department of sports, arts and culture – as a "criminal organisation" that he said got millions of rands from the government with little to show for it.

"Artists in this country, you have been failed by us – your government," Gayton McKenzie said at the funeral service.

"I'm not pointing fingers at others – I’m part of government. We have failed you. We have failed artists in this country as a government."

"Let me tell you how have we have failed you: How come artists in this country can't even open an Ellerines account? They don't have a three months' bank statements. Artists in this country are not being seen as workers. How can that be? We have failed you."

"I came here for two reasons. I came to apologise because I am part of the people who have failed you. But I'm also going to be part of the people that bring the solution and fix what we have done wrong," he said.

"I send my sincerest apology because artists are being treated like nothing."

"Artists die.They are represented CCIFSA. Why can't CCIFSA pay for the funerals of artists? They're getting millions. Millions and millions and millions. They steal from artists."

Gayton McKenzie said "CCIFSA is a criminal organisation. I have the bank statements of how many millions they've got but the artists are still poor. Why did you get all these millions?"

"I will bring out the bank statements of how much you have been paid over all these years. You got millions and millions and millions. Where's that money? What have you done with that money?" 

At the funeral the veteran musician and producer Chicco Twala also spoke and revealed Winnie Khumalo suffered and had no medical aid.

"What we have are burial aids. Not medical aids. They only put money aside for us when we are dead. Winnie did not deserve to die the way she did. She suffered. Rethabile suffered alone. I saw Winnie two days before she passed on; what I saw was not okay. Winnie needed a medical aid.

"The likes of Winnie and many of our late musicians who were instrumentally generating millions into our sector deserve better. I want our government to do something about that."

Chicco Twala said "There are three companies: Universal Music, Warner Brothers, as well as Sony. They have collected more than R1 billion. Money that belongs to musicians like Winnie, producers like Sizwe Zakwe, the late Hugh Masekela. That money, they shared it among themselves and did not pay a cent to producers".

Earlier this month The South African Guild of Actors (SAGA) slammed the government and the minister for the inaction to protect the rights of workers in South Africa's TV and film industry where the casts and crews of several TV shows have gone unpaid for months.

After many months struggling to just get paid and losing homes and rental accommodation and forced to sell cars and equipment, the workers on Paramount Africa and Bakwena Productions' Pound 4 Pound series shown on the BET Africa (DStv 129) channel on MultiChoice's pay-TV service, finally got paid in December.

The cast and crew of Clive Morris Productions' Queendom series, also shown on Paramount Africa's BET, are however again and still waiting to be paid after production had shut down once more – the latest shut down for the troubled show due to people simply not being paid for their work.

The cast and crew of The Executives, produced by Sawita Productions and shown on the South African public broadcaster's SABC1 are also still waiting to be paid, while the cast and crew of Nikiwe, produced for eMedia's e.tv by Thomas Gumede and Lungelo Radu's Parental Advisory Productions are also waiting for payment for over a year. 

Jack Devnarain, SAGA chairperson, said "Nobody wants to step up and admit they failed to protect the rights of performers, crew and background actors".

"The problem is we have normalised silence. If you step back and look at the damage inflicted on the industry through non-payments, there should be all kinds of alarms, sirens, and media statements by the government, ministers wagging their fingers. There should be interventions by industry organisations, but no, none of that is happening – just silence."

ALSO READ: South African Guild of Actors criticises silence from industry and minister Gayton McKenzie over multiple issues like non-payment of casts and crews, asks for urgent intervention

South African Guild of Actors criticises silence from industry and minister Gayton McKenzie over multiple issues like non-payment of casts and crews, asks for urgent intervention

by Thinus Ferreira

The South African Guild of Actors (SAGA) chairperson Jack Devnarain has slammed the silence from South Africa's film and TV industry, as well as minister of arts and culture Gayton McKenzie, over the failure to protect the rights of crews and casts.

SAGA has also written to two national government departments - the department of arts and culture, as well as the department of employment and labour - asking for urgent intervention over the non-payment of freelance actors and crew working in the industry.

In response, on social media, Gayton McKenzie attacked Jack Devnarain saying he is "creating the impression that I am silent or found wanting".

The cast and crew of SABC1's The Executives, produced by Sawita Productions are waiting to be paid. 

The cast of Paramount Africa's Queendom on MultiChoice's BET Africa (DStv 129) channel and produced by Clive Morris Productions (CMP) are waiting to be paid with production of the show that has again shut down after crew and cast were not paid at the end of December.

The cast and crew of Paramount Africa's Pound 4 Pound, produced by Bakwena Productions and shown on BET Africa finally got paid after having to fight for several months to get the money they were owed.

In a public video that went viral, Jack Devnarain criticised South Africa's film and TV industry over its silence to address the ongoing issue of non-payment of casts and crews, and he noted that producers, the government and industry organisations refuse to speak out publicly which damages the suffering industry.

"Silence from producers, broadcasters, government, and industry organisations is the sound of failure - and nobody wants to step up and admit they failed to protect the rights of performers, crew and background actors," Jack Devnarain said.

"The problem is we have normalised silence. If you step back and look at the damage inflicted on the industry through non-payments, there should be all kinds of alarms, sirens, and media statements by the government, ministers wagging their fingers. There should be interventions by industry organisations, but no, none of that is happening - just silence."

In a nasty retort on X, formerly Twitter, Gayton McKenzie lashes out, saying "Many celebrities use social media to bully government officials, they want us to jump when they speak. I'm different, your time of exclusive access is over, you might be famous but you are not more important than other artists."

In SAGA's letters to the two departments, the organisation explains that actors in South Africa are offered contracts that favour the commercial interests of broadcasters and producers who are exploiting performers' lack of bargaining power.

Since the sector is unregulated, it "renders freelancers - particularly previously disadvantaged persons - vulnerable to unethical and abusive labour practices”.

Becky Casting owner admits she lured hundreds to kiddie tent camps with fake promises to star as Shaka iLembe extras.

photos: The Devi Show/e.tv

by Thinus Ferreira

Casting agent Becky Dube who plunged production of MultiChoice and South Africa's most expensive TV show into scandal admits that she lured hundreds of people from across the country to horrific kiddie tent camps with fake promises of getting roles as Shaka iLembe extras.

Devi Sankaree Govender of The Devi Show on e.tv tracked down the notorious Becky Dube (watch the episode here) who claims that the exploited extras - lured from three provinces hoping for Shaka iLembe walk-on roles only to live in squalor in tents - "consented to that".

The background actors casting scandal led to change, prompting MultiChoice, M-Net and Bomb Productions to implement a code of conduct document it demanded that casting agents working for Shaka iLembe now sign and that it hopes will be adopted through the wider local industry.

Shaka iLembe, produced by Bomb Productions for M-Net's Mzansi Magic (DStv 161) channel, is busy with production on its second season, with a third season that will be filmed in 2025.

Earlier this year before principal photography of the second season started, Becky Dube exploited and demanded that hundreds of people pay her R2000 each - only for them to be set up in tents surrounding Bomb Productions' base camp where filming of scenes in Muldersdrift took place.

Becky Casting demanded that prospective extras pay must pay a R350 "membership fee". 

Becky Casting then also demanded that they pay for two so-called "workshops" at R150 each, supposedly to "orientate extras on how things would be" when they get roles on Shaka iLembe. 

Over 300 people from Mpumalanga, KwaZulu-Natal and the Eastern Cape then had to cough up an additional R1250 each, only to discover they're getting flimsy kiddie tent accommodation surrounding the Bomb Productions show, without clean water, no food, no electricity or proper ablution facilities. 

This was after they had to pay for their own transport to get to Johannesburg.

It means that Becky Dube made over R500 000 from all of the people who paid her - although people who get roles as extras are not supposed to pay a cent and are supposed to get paid for their work.

Thabisile Xulu who wanted to be a Shaka iLembe extra said Becky "was rude and didn't respect us. She treated us as if she had picked us up off the streets. It was as if she had dumped us because she didn't check on us". 

After Bomb Productions intervened and told Becky Casting to fix the situation, the hopeful extras were moved to a dilapidated church in Melvern where people slept 13 to a room and eat off the floor.

Extras were then threatened by Becky Casting and told they would not get any work if they spoke out about the conditions and their circumstances.

"She said we were wasting our time speaking to the media because we would be fired," Thabisile Xulu said.

Jack Devnarain, chairman of the South African Guild of Actors (SAGA) told The Devi Show that "having to pay your agent a commission, on top of a rental - it's not just a violation of industry rules - it's just crazy. Ultimately Bomb Productions is responsible for every single person who is going to be on that set".

"It would be right to look at this in the context of human trafficking. The conditions in which they were kept is a misrepresentation. It wasn't what people were told and they certainly didn't get work every day which is what they were promised."

Jack Devnarain said South Africa's TV and film industry "is still playing catch up, trying to establish basic rights for performers and for creatives. It means we are not protected under any basic conditions of employment". 

"We should be ashamed as South Africa and we should take full responsibility for the fact that the creative sector is not regulated. We are an anomaly. So we have created a system that punished the most vulnerable people within this sector."

Bomb Productions which is busy filming Shaka iLembe as the biggest and most expensive TV production ever made in South Africa, said it didn't make any promises to Becky Casting for extras to get work. 

Together with MultiChoice and M-Net, Bomb Productions has now implemented a strict new code of conduct for casting agents to sign, following the scandal, to prevent any similar occurrences and to prevent being blindsided again.

Thabo Boom, a Bomb Productions producer, told The Devi Show "We hope that the wider industry will take this code of conduct and utilise it so that we try, while we argue for more regulations, that we make sure that we protect extras". He said Bomb Productions will never work with Becky Casting again.

ALSO READ: Shaka iLembe: Bomb Productions extras threatened as Sasfed calls for full investigation over exploitation.

TV show 'lunch': Background actors on Durban-filmed production fed a shock box of corn and carrots, Stained Glass Pictures denies it's Uzalo.

by Thinus Ferreira

A lump of cold rice, a few centimetres of corn on the cob and a few carrot pieces - thrown into a foamalite box - is what background actors allege they've been served on Tuesday last week as craft lunch in Durban on the set of a South Africa TV show.

While a newspaper report said it's on the set of SABC1 and South Africa's biggest TV show, Uzalo, Stained Glass Pictures denies that this food, in this way, was served by this production which is also filmed in Durban.

A shocking image, taken by a background actor of the food they were served as part of a TV show's craft service, came to light last week - with the barely-there "lunch" looking like the scandalous lunch box that festival-goers received at the disastrous Fyre Festival in April 2017 in the Bahamas.

Background actors have now come forward to share and show what they got to eat, claiming that the "meals" they have been served for lunch differed from those given to the show's main actors and crew. 

It's standard in South African craft and catering services that all cast and crew eat together and are served the same food on a production, without any delineation between main and other on-call or guest actors, and crew.

While even on big-production, big-budget shows the craft service is never five-star food since cast and crew are not on-set to eat, it is an included production budget expense line-item with decent portions, bulk-prepared but properly made and served, and often with the option for a second helping.

After the image was shared on social media last week, Jack Devnarain, chairperson of the South African Guild of Actors (SAGA) shared another image of "breakfast" given to background actors in Durban. 

It's unclear what Durban-based production this "breakfast" - also in a foamalite box comprising a hard-boiled egg, a vienna, and a piece of bacon on top of a few baked beans - is from.

Jack Devnarain noted "It's an absolute disgrace and an insult to both the background actors and to the industry itself. The worst part is that its now become the new normal. This pic [is] from background actors in Durban - this is breakfast apparently".

The Sunday World newspaper quoted Uzalo production insiders and background actors who claim they were ordered not to even ask for water or juice since that "is reserved for the main crew of actors, video editors and lightning guys". 

Background actors say Uzalo main cast members get to eat "better food" like salads, beef and chicken.

"The shabby treatment started last week," a background actor said. "I thought it was a temporary thing but it has gone on until this week. I was expecting a better service since Uzalo is one of the big productions in the country".

"At Stained Glass TV, we take such matters seriously and are committed to ensuring the well-being and satisfaction of all individuals involved in our productions," King David Mukwevho, Uzalo series producer told TVwithThinus in response to a media query.

"We also consulted with the catering team to conduct thorough investigations, and we are certain that the referenced image does not belong to our production."

"Whenever we are serving food, there is always enough for everyone. This could be another production that shoots here in Durban. Our priority is to provide a comfortable and nourishing environment for everyone on set."

OPINION. If Netflix claims an open-door policy why doesn't it want to talk to South Africa's actors?

by Jack Devnarain

The arrival on our shores of Netflix and Amazon Prime has certainly revolutionised the way we consume entertainment. As two of the world's leading streaming services, they offer a vast library of films, series, and documentaries; it’s clear why they have captivated audiences worldwide. 

South African consumers in particular were hungry for more entertainment options and were thrilled to welcome them. But have they led us to the land of milk and honey, or are we lambs to the slaughter?

Did streaming services approach the South African market and invest in local production for our benefit, or solely for their own profit?

Netflix certainly said all the right things to charm local talent and content creators. They highlighted their commitment to fair remuneration for authors and performers and made encouraging noises about uplifting and growing our entertainment industry while stimulating the local economy.

They assured us of their open-door policy; they were eager to learn more about what made local producers and creators happy. In short, the newcomers were keen to foster an environment of success that would be beneficial to all parties. That was until proposed reforms to our copyright legislation ruffled their feathers and the backlash began.

Now, thanks to the current SAG-AFTRA and WGA strike action in the United States, the flaws in the streamers’ subscription-based business model have bubbled to the surface. Big name stars are pointing out that the current system makes a fortune for the streaming companies and studio-heads, but that this does not trickle down to the talent in the trenches.

South Africa’s outdated Copyright Act from 1978, and its companion Performers’ Protection Act from 1967 are overdue for revision. The proposed changes would be positively transformative for the local film industry. 

But Netflix is disturbed by any changes to local copyright laws. They have raised particular concern over statutory royalty payments, stating that this is simply “not compatible” with the Netflix business model.

They claim that they have no way to track exactly which content leads to new subscriptions or what keeps existing subscribers hooked. This is extremely hard to believe, given their own quoted numbers: since 2016 they boast over 170 South African movies, series, and documentaries on their platform, including such originals as Blood and Water, My Octopus Teacher, and Queen Sono.

 
Their own Socio-Economic Impact Assessment report for South Africa shows that, between 2016 and 2022, they spent R1.8 billion on local content, estimating that this investment resulted in an R2.5-billion contribution to South Africa’s GDP. 

They further claim that over 7 000 jobs were created by Netflix productions in South Africa over the past seven years. How then is it not possible for them to know why viewers have subscribed? 

Surely such a substantial investment – an amount deemed worthy as proof of their local impact – must have been backed up by extensive market research?
 
But let’s return to their concerns about statutory royalty payments. It seems Netflix has not understood the proposed updates to legislation, nor are they familiar with the contents of the bills. 

They claim the draft provisions would prevent producers, authors, and performers from choosing between different forms of remuneration — such as an up-front lump-sum payment in lieu of royalties. Disingenuous as it is to suggest that local performers have ever had a choice in their manner of remuneration, Netflix has missed the point altogether. 

In fact, "equitable remuneration" – as laid out by the Performers’ Protection Amendment Bill – is the upfront buy out option. So, what exactly is Netflix protesting?
 
Not only has Netflix already claimed a rather large investment into the local market, the figures they share also demonstrate that they are, indeed, able to track the viewership of local content on a global scale. 

They clarify that while local viewership for a South African title might only be a million views, thanks to Netflix and their global reach it might stream up to thirty times that viewership across the world. 

In addition, local productions are being dubbed into foreign languages, further extending their reach into new markets. Local producers should benefit from those increased earnings, but with the way Netflix insists on licensing content, the producers’ share is nil. 

Netflix’s reaction to the very legislation designed to ensure fair compensation for local creators, is really telling. If the streamer is genuinely concerned about the growth and stability of the production sector in South Africa, why are they so vehemently against an equitable sharing of revenue?
 
If they are truly open to working with local industry to ensure that everyone is happy, why are they not willing to come to the table to discuss these issues with all parties involved? SAGA has been trying to arrange a meeting with Netflix executives for around two years now, with little success. In fact, at our last request for a meeting we received a curt “thanks but we decline”.  
 
The proposed copyright reforms will not only transform the South African film industry, but will align our industry with international standards, helping us to address problems that need more up-to-date solutions. 

The updated legislation will also enable us to anticipate what changes we could expect to see over the next few years as technology continues to advance, both in the production and consumption of content. By refusing to engage local role-players and adapting to the real needs of the industry, Netflix is effectively blocking transformation of the sector.
 
Striking an equitable balance is crucial to protecting both creators' rights and consumers' interests. 

Only through transparency and cooperation can we create an environment where everyone benefits, from creators and audiences, to streaming platforms like Netflix. But to do that, everyone needs to be on the same page. Right now, we’re not even in the same library.

Jack Devnarain is the chairperson of the South African Guild of Actors (SAGA) and this is an opinion piece.

South African actors on the US strike: 'We're absolutely in this fight with our American counterparts'.

by Thinus Ferreira

Filming of at least one series of a video streaming service, done in Cape Town, has shut down following the SAG-AFTRA actors' strike in the United States with more overseas productions done in South Africa which will follow, while the South African Guild of Actors (SAGA) says they stand united in the fight behind their American counterparts demanding better contracts and working conditions. 

American actors have joined writers, who have been striking for 80 days and counting, with three of Hollywood's big three labour unions that are now on strike.

It comes after SAG-AFTRA asked its 160 000 members to strike after the drawn-out negotiation period with the Alliance of Motion Picture and Television Producers (AMPTP) which represents Hollywood's biggest studios and video streaming services like Netflix, expired.

SAG-AFTRA demands structural changes and improvements to the residuals paid to actors by video streaming services - the money actors earn when their work is shown on streamers. SAG-AFTRA also wants regulations to be put in place around the utilisation of generative artificial intelligence (AI) when creating TV shows and films.

"SAGA stands in solidarity with SAG-AFTRA and the Writers Guild of America (WGA)," Jack Devnarain SAGA chairperson told TVwithThinus.

"We are very aware of the issues that they have raised during their negotiations with the streamers. We think that these are critical issues which are of global importance because even in South Africa we are confronted with the same issues."

"American actors are looking for better residual payments for their work on the streaming platforms and very importantly, they are also looking for protection from AI so that their work can't be replicated or co-opted by software programmes. These are some of the big issues that we are facing in South Africa as well," Jack Devnarain said.

"The big difference is that while in the United States those actors have the right to unionise and to engage in industrial action, in South Africa freelancers are not protected by the Labour Relations Act - in fact, we are specifically excluded. It means we may not form a union, or engage in union activities, or to engage in industrial action like going on strike".

"This is an important opportunity in terms of establishing an industry standard around the world," Jack Devnarain said.

"Because the US is such an important engine for creative industry growth and productivity, it means that the issues they are confronted with were always going to reach boiling point much faster than anywhere else in the world. Now we are there."

"The unions in the US have taken a bold and absolutely necessary stance to stop the abuse of performers and writers and to stand for some kind of protection and to guarantee the residuals that need to be paid to performers."

"Of course in South Africa, not only are we denied royalty payments, but we also have the streaming platforms that have come into South Africa and are shamelessly exploiting South African talent while claiming that their business model does not allow for any residual payments."

"We absolutely are in this fight with our American counterparts," Jack Devnarain said.

SA: There will be show suspensions

SAGA said it's knowledgeable of at least one show for a global streaming service that suspended production in South Africa last Friday which is one of the Cape Town-based shows.

Jack Devnarain said that "We are likely to see more of those, and those are necessary suspensions because they are using US talent. Yes, there will be suspensions, and as a result there may be work being diverted towards South African writers, possibly even South African actors."

"There is however no chance that any member of the South African Guild of Actors or the Writers Guild of South Africa would exploit any such opportunity to their benefit."

Netflix South Africa which has the most shows in production in the country of the global streamers on Friday didn't respond to a media query seeking comment about the shuttering of its local shows utilising American talent. 

Amazon Prime Video SA which has also started to commission and produce shows in South Africa like LOL: Last One Laughing South Africa which has comedian Trevor Noah as host, also didn't respond to a media query.  

SA: Battle for residuals continuing

According to Jack Devnarain the discussion around actor royalties in South Africa "is still very much on the table and following the parliamentary process".

"What we are looking at is the procedural delays that happen when you are engaged in that parliamentary process. Right now the bills are sitting with the National Council of Provinces and we are expecting that in July the provinces themselves will be making their representations on the changes that they have approved on the bills. We expect a final vote from the National Council of Provinces by September."

"With that timeline - in the course of that delay - we are very aware of a very strong lobbying effort that is being conducted by such organisations as the Commercial Producers Organisation of South Africa (CPA), the Independent Producers Organisation (IPO), Netflix and MultiChoice. These are some of the organisations lobbying very strongly against the bills."

South Africa's TV and film industry's 'darkest secret': Why the beloved actress icon Shaleen Surtie-Richards died poor - when she didn't have to.

by Thinus Ferreira

Despite the accolades over decades and portraying iconic, only-a-first-name-needed characters like Fiela and Nenna, Shaleen Surtie-Richards (66) died poor on Monday because she didn't have the money to go to hospital.

That makes the legendary Shaleen Surtie-Richards - hugely praised in death after her passing - yet another big South African star who didn't get the money while she lived that she deserved for her success due to long-stalled legislation that would ensure that South African artists get paid the residuals owed to them from the constant rebroadcasts of their work.

The ongoing failure of the South African government to enact legislation to ensure the payment of residuals to artists for the broadcast of repeats of their work is the "industry's darkest secret" says Jack Devnarain, actor and chairperson of the South African Guild of Actors (SAGA).

Actress Lizz Meiring, a management member of the Theatre Benevolent Fund that helps to support struggling industry workers, on Tuesday said that Shaleen Surtie-Richards "saw a doctor in Cape Town because she was so ill".

"He wanted to book her into a hospital immediately. She simply had no money. That's the horrible truth. If she had been paid her meagre royalties for all the rebroadcasts of her incredible body of work, she would have been able to".

Shaleen Surtie-Richards - who unexpectedly died in her sleep on Monday in a guest house in Edgemead, Cape Town whilst filming a role in the Penguin Films-produced Arendsvlei telenovela for kykNET - openly spoke the past few years about her financial struggles and how she went through a period where she wasn't even able to pay for electricity and couldn't even buy food.

In 2019 in a profile interview, Shaleen Surtie-Richards told the TV magazine show Kwêla on kykNET that "I've been sitting here without a cent to my name. My house was almost sold out from under me.  I've had nothing. I've thought I need to talk about this. Last year I had no work.  There just wasn't any work," she said.

"You get paid according to the productions you do.  I'm sitting here now with millions of prizes behind my name - things that now mean absolute nothing," she said.

Why SA artists die poor

"This is why our showbiz industry's people die poor, Lizz Meiring on Tuesday told TVwithThinus.

"In the rest of the world performers and industry workers are paid what is called residuals - royalties - in the way that a musician is paid royalties when their music is played. In the rest of the world the on-screen talent and crew, the writer and the producers - when a series is broadcast for the third time - they receive a third of their original fee."

"The bill - the Performers Protection Amendment Bill (PPAB) to amend current legislation to enable residual remuneration for artists has been passed by parliament - 4 years ago already, after 10 years of fighting for it. It was accepted, it's now 4 years later and our president refuses to sign it," says Lizz Meiring.

"Think of the massive amount of work that Shaleen Surtie-Richards had done in her lifetime? If someone's work - their films, series they've starred in - is rebroadcast for a third time, they get a third of the original fee that they've earned," she explains.

"The bill is through parliament - it just needs to be signed. It doesn't just affect someone like Shaleen Surtie-Richards. It affects hundreds of thousands of people."

"Everybody knows that someone like Elize Cawood who had cancer, despite having had a medical aid, had massive medical expenses. Think of how much work Elize Cawood did in her career? Can you imagine if she had just received a third of the original fees of all of the shows she's been in? Series and films are constantly being rebroadcast."

'All we're asking for is what is fair'

"We're not the only industry struggling - a lot of people are going through extremely difficult times, for instance the hospitality sector and many others. I would like people to understand that our career is a professionally qualified, respected industry," says Lizz Meiring.

"When tickets are being sold and it's something that you want to watch, please go buy a ticket and go and see it. We're not beggars - we're not asking money for nothing. We're giving something in return. Read South African writers' books. Go watch South African films. Follow South African TV series. Go to theatre performances and understand that it's wrong to pirate content," she says.

"It would be a great thing when viewers start to ask and to tell TV channels, 'Hey, wait a minute - are you paying residuals to these people?' It's not that artists are a useless bunch of people who can't look after themselves. All we're asking is what is fair. That's all."

About Shaleen Surtie-Richards, Lizz Meiring says "she called me 'sussie' (sister). I've known her for 37 years."

"Shaleen didn't just have the talent and the heart and the honesty and such compassion for colleagues in this industry - Shaleen had that X-factor - that star quality."

ALSO READ: Shaleen Surtie-Richards’ funeral: 'An icon beloved by the people but abandoned by the system,' says friend Rif'at Browers; implores arts minister Nathi Mthethwa to launch a fund to support South Africa's suffering artists.

ALSO READ: Shaleen Surtie-Richards on her money struggles in last TV interview: 'I just pray very hard that I won't get ill'.

ALSO READ: kykNET’s Saturday edition of Ontbytsake will be a special tribute to Shaleen Surtie-Richards: 'We tried not to cry,' says presenter Eloise Cupido.

ALSO READ: Shaleen Surtie-Richards as Arendsvlei’s Muriel: Return-story got fully filmed and wrapped last week with character that will be on screen again on kykNET & Kie from September.

ALSO READ: Producer Diana Lucas on Shaleen Surtie-Richards’ final time on film in new bio doc: 'An intimate talk with a woman who was an amazing person.' 

ALSO READ: Shaleen Surtie Richards: I Am Who I Am documentary scheduled for Wednesday night on M-Net as MultiChoice's TV tribute collection of content expands after iconic actress' death - latest programming listing across channels.

ALSO READ: Fiela se Kind film director Katina Heyns on Shaleen Surtie-Richards: 'She had all of us laughing the one moment, and weeping the next.' 

ALSO READ: Shaleen Surtie-Richards' family on her death and legacy of love: She not only lived in our hearts but in the hearts of this great nation.

ALSO READ: Actress Shaleen-Surtie Richards found dead in a Cape Town guest house. She was 66.

Coronavirus: South Africa's decimated film and TV industry allowed back to work amidst Covid-19 pandemic – but without extras or studio audiences.

by Thinus Ferreira

South Africa's decimated film and TV industry got the greenlight to reopen from today but as cameras, lights and action flicker back on inside studio lots across the country it will be without actors and presenters wearing masks on-screen, extras in the background or studio audiences.

After the country's already-struggling film and TV biz was abruptly encased in carbonite over the Covid-19 pandemic, frozen to a standstill for over 5 weeks except for the ongoing production and broadcast of TV news and current affairs programming, there's a new hope.

On Sunday night 3 May the South African government gazetted regulation amendments under the Covid-19 Level 4 shutdown situation, paving the way for the reopening of the local TV and film which has been hammered by the national lockdown period to try and curb the spread of the novel coronavirus.

Filming on-set is scheduled to resume today at the Sasani Studios lot in Johannesburg at SABC2's 7de Laan produced by Danie Odendaal Productions, SABC1's Skeem Saam, kykNET's Binnelanders at Stark Studios and several others, with more shows across the country including Cape Town and Durban that will gear up during the week.

Marlon Davids, e.tv managing director, told TVwithThinus in response to a media enquiry that e.tv's two weekday soaps Rhythm City and Scandal! will resume production during the week of 4 to 11 May 2020. 

The restart will however be mostly centred around the flurry of locally-produced soaps and drama series seen in primetime across SABC1, SABC2 and e.tv, as well as M-Net's Mzansi Magic, 1Magic and kykNET channels.

Some of them have already run out of their stockpiled episodes over the last two weeks, while the available episodes left for playout in the video stack cupboard of the rest are dwindling fast.

Other shows that will flicker back to life in a limited fashion with new episodes include local studio-based magazine shows across the SABC, SuperSport and the M-Net channels such as Kwêla on kykNET, produced from Cape Town, that was already out with a newly recorded episode on Sunday night.

While shooting of scenes in feature films and on-location filming can technically happen it's highly unlikely due the expensive overall production cost to start up for only certain scenes. Cinemas from Ster-Kinekor to Nu Metro, including independent film theatres countrywide, will all remain shuttered.


Extremely strict rules
The restart will however come with extremely strict rules. Film and TV crews working on shows already attached to a broadcaster and making use of local casts and crews are allowed to return to work and to the studio.

This includes crew working on post-production, for instance editors, and anyone working on sound and special effects, animators, or anyone finishing material in specialised studios. 

The South African government is placing the responsibility for the reopening of studio doors on broadcasters - the SABC, the MultiChoice Group including divisions like M-Net and Supersport, and eMedia Investments.

They may "elect to resume content production based on risk assessment" and are cautioned to only restart shows "that can be produced with minimal risk", for instance soaps and telenovelas shot in a studio environment that are easier to handle than location shoots.

"Broadcasters must identify solutions to ensure the protection of performers and production crews" according to the Government Gazette, and should "retain, to the extent possible, a work from home approach".

"Each broadcaster must work closely with the respective production companies and the relevant industry bodies to determine the most appropriate return-to-production strategy and feasible implementation dates."


Studios gearing up for germ spreading prevention
Although studio crews will wear them, the local casts of TV soaps won't immediately appear on-screen wearing face-coverings - if ever. Gone are extras and studio audiences for shows like game shows, reality talent competition shows and talk shows.

There are three reasons for soap stars who won't immediately be seen wearing masks and plastic shields on-screen: Soaps and telenovelas will continue filming the locked scripts and story arcs already written and in the production pipeline before the Covid-19 lockdown began - stories that don't include Covid-19 or a public pandemic.

Secondly, newly filmed episodes will take some weeks to be shown.

Lastly, while most soaps might incorporate elements like health advice and work in Covid-19 messaging into dialogue since they collectively reach a viewing audience of millions and do to a degree reflect real-world issues, their purpose is escapism.

Viewers primarily tune in to get a dramatic entertainment reprieve from the day's problems and issues dominating the news headlines.

Soaps and telenovelas will start to look different however with more close-up shots and bare backgrounds. They will be cutting down on using extras - walk-on, non-speaking roles in the background.

Studio audiences where they have been used are also for now a thing of the past, for instance the upcoming studio-based finale of the second season of The Bachelor SA on M-Net.

Sasani Studios in Highland North in Johannesburg - where 7de Laan, e.tv's soaps like Rhythm City produced by Quizzical Pictures, Scandal! produced by Ochre Moving Pictures, The Venda soap Muvhango on SABC2 and Skeem Saam on SABC1 are all filmed - is a good example of what will be happening at TV productions and studios across the country including Cape Town and Durban.

The Sasani Studios facilities management team together with TV series produced there are now doing temperature and screening at the gate before entry onto the studio premises is permitted, with face masks and shields that are provided to cast members and crew.

Nobody is allowed to enter on-site or roam on the studio lot without it. Alcohol-based hand-sanitisers have been set up at various points and a register is being kept of all cast and crew, including recording daily temperates and possible symptoms. The cleaning and sanitising process has also been intensified.

At 7de Laan specifically only one-third of the cast and crew are now permitted on-site, as staff rotate and others continue to work from home. Staffers now do meetings and conference calls over Skype and Zoom, while extras will only be used if it's "absolutely necessary".

Only essential crew will be on-set during filming, wearing their face masks and shields. There will no longer be any intimate or close contact scenes between actors.

Make-up crews will wear plastic face shields at all times, and while every actor has always had their own makeup brushes, that will now be disinfected after every application. All jewellery will now be sanitised before it's handed to an actor.

Objects that are handled by more than one person - with special attention to props handled by crew and actors - will be sanitised between team activities.

Nathi Mthehtwa, South Africa's minister of sport, arts and culture, said on Monday that on-set meals and craft services "must be packed in boxes, per person, with sealed cutlery - alternatively, the crew and cast must be allowed to bring their own meals. There must be no shared craft and catering areas".

"Crew and cast must be supplied with their own water bottles," he said. "The number of cast and crew must be kept at the maximum of not more than 50 people on-set, inclusive of cast members".


Thousands of freelancers left without income
The abrupt shutdown has already seen an as yet unquantifiable number of job losses clearly numbering in the thousands within the embattled South African film and TV industry.

The National Film and Video Foundation (NFVF) told TVwithThinus over the weekend that it's impossible at this stage to give a number on job losses or how many people within the fragile industry will be impacted.

The NFVF will be working with several industry organisations to start a process of quantifying how many people have lost work and is impacted by the shutdown.

Although impacted, broadcasters like the SABC, e.tv and MultiChoice are best positioned to weather the Covid-19 storm but the lockdown has been wreaking devastation on independent production companies and producers as well as freelancers or so-called "independent contractors".

It's these people - from cameramen to make-up artists, video editors to lighting technicians, location scouts, craft services and many more in specialised jobs within the industry - who have suddenly been left not just without jobs and the cancellation of upcoming projects but also no lifeline or any financial support from the South African government for which they don't qualify.

"Freelancers in our sector are left not only without an income due to the lockdown, but without any income relief," Jack Devnaraian, chairman of the South African Guild of Actors (SAGA) told eNCA in an interview over the weekend.

"It's a blatant and unforgivable oversight by the government to have an entire sector of tax-paying people who work within the industry - who are simply left to their own devices - hoping that something will drop from the heavens above".

Parliament's portfolio committee on arts and culture calls for improvement of safety conditions on South African film sets; SA Guild of Actors calls for comprehensive enquiry after death of aspiring actor Odwa Shweni.

Parliament's portfolio committee on arts and culture on Wednesday in Cape Town said safety and working conditions on film sets must be improved as a matter of urgency.

It follows after the plunge-death of the aspiring actor Odwa Shweni (39) on Thursday last week when he fell 40 metres over a waterfall during a rehearsal for a fight scene for the film Outside at the Sterkspruit Waterfall in the Drakensberg.

His body was recovered on Friday morning at the Sterkspruit waterfall close to Monk's Cowl where he slipped and fell.

Sipho Singiswa, director of Outside, producer Gillian Schutte who didn't want to comment, as well as cast and crew members are apparently extremely traumatised about the death, after the production allegedly only paid the the R40 entrance fee as visitors and entered the park to rehearse scenes.

South Africa lacks and has no official, regulated national safety protocol for local film production, unlike the case for overseas productions.

Most film productions and production companies however have insurance that requires safety protocols and adherence to this.

"The untimely death of Odwa Shweni raises many questions about the safety procedures during filming and rehearsals, and this is a matter that should be looked in to with all urgency," Xoliswa Tom, committee chairperson said in a statement.

"The committee extends its heartfelt condolences to the family, friends and colleagues of Odwa Shweni and wishes them strength during this difficult time."

Jack Devnarain, South African Guild of Actors (SAGA) chairperson told Radio 702 that several cast members of Outside were unhappy about how the film production was managed and that the production and the circumstances around Odwa Shweni's death must be investigated.

"This must be investigated. It has to be the subject of a comprehensive enquiry. Did producers take the time, put in the effort to follow basic industry guidelines? What steps did they take to mitigate them to protect the crew?" said Jack Devnarain.

BREAKING. First look - wedding pictures of Isidingo's Rajesh and Priya

You're seeing the wedding pics here first. Eastern Mosaic on SABC2 just had an insert on the upcoming soapie wedding between Rajesh Kumar (Jack Devnarain) and Priyanka Naicker (Leeanda Reddy) of Isidingo on SABC3 - and here's the goss and the first pictures from screengrabs I just made!

A popular honeydew garden was chosen as the location for the traditional Hindu wedding. The ceremony is Hindi itself, and a combination between a South Indian and a North Indian wedding. The wedding is Hindi, since Rajesh is Hindu and it's his family arranging and paying for it. Priya in her beautiful red sari is dressed as Tamil because she is Tamil.

Leaanda actually wrote the wedding story and scripted the wedding scenes. She and Julie from Isidingo's wardrobe department went shopping for the red wedding dress. ''I love red, she loves red, and red is so Indian bridal,'' she says. ''So we found this and our breath was taken away.''

In the pictures you can see the happy couple together in their bridal outfits (although, are they really happy?). The pictures show everything from the wedding platform, the wedding procession, even the table arrangements of the beautiful spring garden wedding.

''We've told the stories of different cultures. We've had white wedings, we've had a traditional wedding with Letti and Vusi and not it was time to do another version,'' says Pumla Hopa, executive director of Isidingo. ''So we decided to hook these two up.''

''We've always had very strong stories,'' says Isidingo director Johnny Barbuzano who directed the wedding day episode in which Rajesh finally gets married after seven years on the show.

''The wedding is important in terms of the character finally being married,'' says Jack.

''Typically Rajesh sees his cue when a woman needs help and here is Priya who is looking for someone to take care of her and take charge.'' But he warns: ''Soap marriages don't last too long in soapie land. . .''

You can catch the Isidingo wedding on Monday 21 September on SABC3 at 18:30 and Tuesday 22 September on SABC3 at 17:45.

BREAKING. MAJOR ISIDINGO WEDDING CRISIS LOOMING! And I'm not talking about Rajesh and Priyanka in front of the screens

You're reading it here first. A MAJOR MAJOR ISIDINGO WEDDING DISASTER IS LOOMING that could have viewers fuming at SABC3 and only I can tell you ALL ABOUT IT. The bride Priyanka might make it to the church on time but VIEWERS WONT AND WILL MISS THE WEDDING!

First up: As you may or might not know (loyal Isidingo fans will surely know) and I wrote about it first months ago after the SABC3 quarterly preview, there is the WEDDING between Rajesh Kumar (Jack Devnarain) and Priyanka Naicker (Leeanda Reddy).

Programming note: Don't forget to watch Eastern Mosaic this SUNDAY at 11:00 on SABC2 that will detail everything behind the scenes of the wedding.

''The Isidingo celebrity wedding of the year between Rajesh and Priyanka gets an exclusive treatment in an idyllic garden setting,'' the producers tell me.

I will post screengrabs from all of it here IMMEDIATELY after the show on Sunday.

Secondly: A MAJOR SCHEDULING DISASTER REGARDING THE WEDDING EPISODE is looming that NOBODY REALIZES OR KNOWS ABOUT.

The wedding episode will be going out on SABC3 on Tuesday 22 September BUT NOT AT THE NORMAL TIME OF 18:30.

Potentially thousands of viewers are going to TUNE IN TOO LATE, not see the wedding and SABC3 can potentially have Survivor: China OUTRAGE DEJA VU!!

On Monday 21 September Rajesh arrives for the wedding but Priyanka is missing. (SABC3, 18:30).

On Tuesday 22 September according to the Isidingo teasers, the wedding takes place, but the EPISODE STARTS at 17:45 already. MAJOR PROBLEM! ON THE WEDDING DAY!

On Tuesday 22 September SABC3 has scheduled a LIVE cricket broadcast, the ICC Champions Trophy match - SA vs. Sri Lanka. It continues until 17:45 after which Isidingo starts. Isidingo ends at 18:15 ALREADY. Then it's News, then the cricket resumes at 18:30 - Isidingo's normal starting time.

Also, because it's South Africa, if the game is HOT, the channel will NOT CUT AWAY to Isidingo and the episode might not even air at all.

IMAGINE THE FURY, ANGER, SCORN AND COMPLETE OUTRAGE when viewers and fans miss the Isidingo wedding of the year. . .

No word on SABC3 yet about this MAJOR SCHEDULING BLUNDER. When I get word (yes, I've told them), I'll update it here.

(FYI - Also heard from SABC3 sources that there's a major major wedding pic battle ranging behind the scenes because of incompetence and publicity people and a major cat fight about exclusives, but then again, what's new. You can check out ALL THE PICS here anyway on Sunday.)