South Africa's actors guild says country's president chooses American studios and streamers and neglects local artists, unpaid crews and ignores copyright reforms

by Thinus Ferreira

The South African Guild of Actors (SAGA) on Thursday slammed South African president Cyril Ramaphosa and said the country's president has chosen to be on the side of American studios, streamers and broadcasters while neglecting the plight of local South African artists, the alarming rise in unpaid crews, and ignored copyright reforms.

President Cyril Ramaphosa delivered his 2025 State of the Nation Address in South Africa on Thursday evening in parliament.

SAGA called out president Cyril Ramaphosa for what the organisation calls the neglect of South Africa's cultural and creative industries, unpaid crews and ignored copyright reforms, saying that the sector demands action.

"President Cyril Ramaphosa has never acknowledged the grievances of South Africa's cultural and creative industries," said SAGA.

"We have witnessed an alarming increase in incidents of non-payment of cast and technical crew, numerous reports of health and safety violations, criminal complaints of human trafficking, and deteriorating work conditions in an increasingly hostile production environment. But not a word from the president," the organisation noted.

"President Cyril Ramaphosa's stubborn defiance of the Constitutional Court order of September 2022 to amend parts of the Copyright Act of 1978 that violates the human rights of people with disabilities, is very revealing."

"In fact, South African creatives generally suspect that president Ramaphosa chose not to sign the Copyright Amendment Bill specifically to give assurance to American studios, streamers, and broadcasters that their commercial interests in South African film and TV productions remain subject to their monopolies."

SAGA said "The president has worked hard at ignoring our sector, and now that the final decision on the Copyright Amendment Bill sits with the Constitutional Court, actors who are desperate for the statutory right to earn royalties, are only too pleased that our fate lies with a competent authority and not with a bewildered, indifferent, and indecisive president."

Actor Nicky Rebelo noted that "American, British, French, Italian actors all receive residuals or royalties when the work that they have done is repeated or sold to other channels".

"But I never receive any residuals or royalties. I don't think that's right. I think it's time that we in South Africa were treated like other actors around the world."

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

by Thinus Ferreira

As extras and potential extras have now had threats made against their lives if they dare to speak out about their horrifying experiences, the South African Screen Federation (Sasfed) says it demands a full investigation of MultiChoice and M-Net's second season of Shaka iLembe after allegations of background performers who were treated like slave labour by casting agencies for the Bomb Productions show.

Extras and potential extras say they've now been threatened if they speak out about the horrible living arrangements and treatment they've been subjected to since the beginning of May.

Bomb Productions employed over 8 000 people for the first season of the show - a number that is set to increase for the second season which will feature big battle scenes as a young Shaka amass a massive Zulu army.

The second season of Shaka iLembe, currently in principal photography in Johannesburg, is mired in scandal after revelations that the base camp has allegedly been surrounded for weeks by tent camps filled with people living in squalor here as well as a house in Kempton Park, hoping to get "roles" as background performers.

Bussed in at their own cost from KwaZulu-Natal and Mpumalanga and paying "rent", while some managed to appear in filmed scenes, many have been hoping in vain to snag a role as an extra in Shaka while they've been struggling to find food to eat or accessing basic ablution facilities.

Lerato Taba, national coordinator of Sasfed - an umbrella body that represents production companies and South Africa's independent film and television industry - says extras on MultiChoice's prestige series for its Mzansi Magic (DStv 161) channel "may have been exposed to discriminatory conduct by certain casting agencies".

"Sasfed is opposed to all forms of mistreatment. It is for this reason that we call for a full investigation by relevant authorities into the matter. We also call on anyone with information to come forward and assist with the investigation."

MultiChoice and M-Net's Mzansi Magic channel only issued a terse statement earlier this week, nothing that "MultiChoice has been made aware of unauthorised camps established by casting agencies near the shooting locations for Shaka iLembe season 2" and that "these camps, housing hundreds of extras in unsafe and closed quarters, are not sanctioned by MultiChoice or any official partners associated with the series".

MultiChoice said "The unauthorised camps identified are in direct violation of these standards and pose serious risks to participants. We strongly advise all extras and potential participants to only engage with verified and legitimate casting agencies affiliated with our production."

MultiChoice and Mzansi Magic didn't respond to specific questions posed in a media query made on Tuesday. 

The Randburg-based pay-TV operator was asked whether it and Bomb Productions are now changing casting agents.

MultiChoice was also asked whether Bomb Productions and M-Net did due diligence in terms of extras casting for this season, and if so what it was; whether there are safety officers on set and if they were aware of what was happening and at these camps, and what MultiChoice makes of people who have now been threatened with their lives if they speak out about their experiences.

Bomb Productions in a statement said "We are extremely concerned by this and have launched an urgent investigation into the alleged agencies, as well as informed all who supply extras to our productions that any found to be contravening the code of conduct will not be engaged with".

According to the production company, while its legal and fact-finding investigation remain ongoing "Bomb received reports of a makeshift campsite housing many people claiming to work for Shaka iLembe and launched an immediate investigation discovering people had been invited by Becky Casting with a promise to work on Shaka Ilembe".

"Bomb has never requested or authorised this. Our investigation found people had paid Becky Casting for accommodation but were living in what we deemed an unsafe and undignified makeshift campsite. Bomb management acted swiftly, demanding Becky Casting address the worrying situation and disband, we also informed the local authorities."

"Bomb has a 20 year professional track record of commitment to creating as many employment opportunities as possible, paying people decent industry-accepted rates and paying on time. Anyone jeopardising this is reckless."

"We are thus deeply aggrieved by the scurrilous behaviour of casting agents for tarnishing the reputation of Bomb and this important historical project, which creates employment for so many."

The South African Guild of Actors (SAGA) says it continues to get calls and messages from people who say they were exploited and received "several verified reports that hundreds of background extras brought to Johannesburg from KwaZulu-Natal and Mpumalanga to work on Shaka iLembe are being forced to pay their agent rent and have only had a few days' work in three weeks".

"Needless to say, the agent will still take their commission from the actors' earnings. The actors are not being fed, have no per diem, and they feel that the agent has abandoned them."

"SAGA is in communication with the Directorate for Priority Crime Investigation (Hawks) and we have submitted an affidavit that will help them determine the way forward. We won't stop fighting for a safer and fair industry where exploitation no longer exists".

A veteran producer not connected with the show told me "it looks as if there won't be any repercussions as the victims are frightened of being blacklisted if they officially speak up. For once there needs to be real repercussions for all concerned - including the producers who did not do due diligence".

"These poor extras are now sent back to KwaZulu-Natal with no money and more out of pocket than they were before. This shouldn't be. There are safety officers that should be on set but they are mostly not used as broadcasters and streamers are cutting budgets and have no line item for safety officers. Where does the bucks stop?"

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 Guild of Actors (SAGA) weighs in on the latest actor-producer-broadcaster TV biz row highlighted by Vatiswa Ndara: 'The exploitation will continue'.

The South African Guild of Actors (SAGA) is weighing in on the latest actor-producer-broadcaster row in the country TV industry, highlighted by the actress Vatiswa Ndara speaking out about allegedly deplorable production and pay issues, with SAGA saying that the exploitation of actors will continue unless actors are given a voice.

It comes after actress Vatiswa Ndara's scathing 6-page open letter to South Africa's minister of sports, arts and culture in which she alleges exploitation by the Ferguson Films production company, of being underpaid and undervalued, and not getting residuals for rebroadcasts.

She quit the iGazi drama series on MultiChoice's Mzansi Magic (DStv 161) channel, after two seasons over the paltry pay impossible conditions.

Connie and Shona Ferguson, the actor-producer couple who owns and runs Ferguson Films and have produced several series like iGazi and The Throne for M-Net's general entertainment channels, on Wednesday in a statement said that the company "is pretty much in the same boat as the artist".

Ferguson Films said that the production company that is commissioned to make a show for a channel like Mzansi Magic, doesn't own the rights to the show and "does not reap the financial benefits through repeat broadcasts, licensing deals and repackaging of the show".

It's not the first time that actors have come forward to publicly complain about on-set production issues, payment disparity and the lack of residual payments.

The latest public flare-up about an ongoing - and unresolved - South African TV industry issue about adequate actor representation and remuneration has seen previous, similar scandals engulf shows and broadcasters ranging from the SABC to M-Net and e.tv when actors have vented their frustrations about being unable to secure better deals after they've appeared in successful shows.

"Unfortunately Vatiswa Ndara speaks to a portion of something that is systemic - it is everywhere. It is in audio-visual, it is in threatre, is affects performers no matter where they are, in whatever productions they are in," said Carlynn De Waal-Smith from the South African Guild of Actors (SAGA).

In an interview on eNCA she said that "there is exploitation that happens, there are working conditions that are not satisfactory, there is this power-struggle between the producers, the broadcasters, the financiers and the actors are at the very end of the food chains."

"Everything trickles down to the actor. And the weird thing is the actors are on screen - they're the ones who make your programme. They're the ones who get the ratings. So ultimately it doesn't make sense to me that there isn't that kind of mutual respect that says 'You are valid to this production. And we understand that we are valid in producing it or broadcasting it."

"People are not sitting at the same table and to a large extent the exploitation will continue until people realise that we are all part of a very important value-chain but that ultimately actors need to have a voice. The South African Guild of Actors is the only organisation for actors that can speak on behalf of actors."

"Producers are at the whim of either financiers or the broadcasters. So they are also sitting within a box. The problem is you have to put content on screen and broadcasters and producers will do it at whatever cost."

"It was a number of years ago that I realised that the TV productions that were happening were X-amount per minute, and 10 years later, they were half of that. They're trying to produce the same quality programming, but for half the price. The problem is that actors are being paid less now than what they were paid then."

"Also, there is no kind of standard. There is no regulation in the industry," she said.

Carlynn De Waal-Smith said that "if you go to the SABC they don't have any archive of anybody's contracts. If you go and try to claim for repeat fees you have to basically give them the contract. Surely they should have it because they're responsible for paying repeat fees. They don't have any of that documentation."

"There is nobody in the value-chain that is taking responsibility."


A systemic issue
Unathi Malunga, an entertainment lawyer, said on eNCA that "it is a power-play because if you don't have leverage to negotiate a better deal then you are at the mercy of the other party"..

"I do think it's a systemic issue. I also think that the whole value-chain of this industry needs to be looked at because there are kinks at every point along the value-chain."

She said that "from the producer's point of view it is a budgetary issue because now they have to make the same content for less money. Any time that we ask that something be done, for example having safety officers on set, it becomes a budget issue, so nothing then gets addressed".

"If the other party has no power, the production company knows that you are not going to challenge. They know that you're not going to go to a lawyer, you're not going to take it to court, so it is the wild, wild west."

"Overseas what guilds like SAG do is they set minimum floors. They say this is what you can earn on a commercial, earn on a soap. Then producers cannot use non-union members - and that's the crux. 

"When you as an actor, something happens to you on set, who do you go to report to? That also needs to be sort out in terms of sexual harassment."


'You think it's going to get better and keep allowing it to happen'
Vatiswa Ndara said when she starred in the Home Affairs drama series, produced by Penguin Films for SABC1, "I walked away with R9 000 for the entire series".

"You think it's going to get better and you keep on allowing it to happen. I'm so upset with myself because I knew back then that there's something wrong with this but I just carried on because I did not want to rock the boat".

"Broadcasters all claim that we look out for the interest of everybody on set. What is it that they do, actually, to prove that?"

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.

Aspiring actor Odwa Shweni dead during rehearsal of scene for the film Outside, after he plunged over the Sterkspruit waterfall.

The aspiring actor Odwa Shweni (39), an IT specialist living in Centurion, died on Thursday last week after he plunged more than 40 metres to his death over a waterfall in the Drakenberg during rehearsals for the film Outside, with Winterton detectives who have opened an inquest.

Odwa Shweni, who was married with two small children, was with a film crew doing a rehearsal for a fight scene for a movie shoot when he fell over the waterfall and died. 

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

The waterfall that has a small pool with several rocks, was at full strength due to recent rains.

According to KwaZulu-Natal police spokesperson Thulani Zwane the actor fell and died around 17:15 and the police's search and rescue unit was unable to look for him since it was too dark and dangerous. 

His body was removed from the water on Friday morning at around 10:00 with members from Search and Rescue from Pietermaritzburg and Empangeni who were at the scene.

According to the police an investigation will be started after allegations of a lack safety standards from the Outside film production crew who allegedly entered the park as day visitors, paying R40.

The South African Guild of Actors (SAGA) says it will also be asking questions about the alleged lack of safety on set at Outside during the film rehearsal.

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.

TV biz aghast over SABC's dumping of local drama series High Rollers, sharply criticises SABC for 'bizarre' cancellation decision.

South Africas TV industry is reacting with shock over the SABC's abrupt decision to suddenly cancel local drama series High Rollers before its contract ends with insiders now saying the SABC is readying a pay-off pay-out for the production – ironically wasting millions of rand not to air a local show.

Shock and outrage is growing within South Africa's TV industry over the way the SABC plans to suddenly axe High Rollers on SABC3 within a month. 

Ironically the SABC renewed the casino-set local drama in May for a third season and increased the episode order of 156 episodes from three to five episodes per week.

According to production sources not directly connected to the show but dealing with the SABC, the South African public broadcaster is now allegedly planning to pay out Rous House Productions fully for the remainder of their contract, "so four months' salary for cast and crew".

If true, it means that the SABC will essentially be spending a vast amount of money for nothing in return just to not broadcast a local show it commissioned and had renewed twice.

Rouse House Productions didn't respond to a media enquiry asking about the cancellation and the newly surfaced pay-out rumours swirling, and the SABC told TVwithThinus earlier that "the SABC is not in a position to discuss its contractual obligations with production houses and content providers with third parties including the media".

Following viewers' outrage and an online petition against the SABC's shock High Rollers’ cancellation where signatures and support keeps growing, as well as scorn from South African actors hammering the public broadcaster over its decision, representative TV industry bodies are also slamming the SABC over the "bizarre" cancellation decision.

"This unilateral decision made by the broadcaster has to be challenged, there is simply too much at stake not only for the countless crew members and the company in question, but also the wider industry, this establishes a very dangerous precedent," the South African Screen Federation (Sasfed) told TVwithThinus in a statement.

"Any going business concern has to have a degree of predictability to be able to plan and survive, with our major broadcaster not willing to honour legally binding contracts, such contracts become meaningless adversely affecting our emerging industry".

SABC’s bizarre decision criticised

The South African Guild of Actors (SAGA) told TVwithThinus High Rollers’ cancellation "will have a profoundly negative impact on the production company and the 103 members of cast and crew".

"Many actors on the show, including SAGA members, have given up other possible earning opportunities in order to commit their time to High Rollers. Having the rug pulled out from under their feet like this means they will face the prospect of a very bleak Christmas."

"SAGA is deeply concerned that if the SABC is willing to cancel production contracts before their scheduled prescription, then nothing prevents the broadcaster cancelling other existing production contracts at an even greater expense to the taxpayer."

"The impact of this cancellation will therefore be felt throughout the industry and will add to speculation that responsible and competent leadership at the state broadcaster has been compromised at its highest levels."

SAGA says "the decision to cancel High Rollers which has earned a loyal following on SABC3, seems quite bizarre.  In announcing their intention to cancel the show, the SABC has demonstrated a reversal of its own much-publicised commitment to developing local content."

'Money thrown out the window'

A longtime producer working on shows for the SABC and other broadcasters, told TVwithThinus that "while in America contracts specifically feature the right to cancellation at specific stages if the ARs (audience ratings) of a show are not adequate, I have never seen such a clause in a SABC contract".

"As such, unless the producers are specifically in breach of elements of their contract, the SABC has no right to terminate the production. And even if there is a ratings clause which permits cancellation, one wonders why the same is not happening to Hlaudi Motsoeneng's crap commissions."

"If High Rollers is cancelled now, the SABC will have to pay for all work done and contracted until the final day of the notice period, which will be more money thrown out of the window as the SABC will never be able to use or air any of that work," said the veteran producer.

While the ratings for High Rollers has fallen since May when Hlaudi Motsoeneng abruptly ordered a quota of 80% local content for the channel – a plan that flopped – the viewership decrease for the show is in line with the entire SABC3 viewership that keeps spiralling down month after month since the introduction of the new crop of local shows that all failed to attract viewers.

South African artists - actors, crew, producers - blast the SABC for 'unprecedented' decision wanting to cancel local drama High Rollers on SABC3.

The SABC has been put on full blast by South African artists working in the TV biz, slamming the public broadcaster for wanting to cancel the SABC3 prime time drama High Rollers after boss Hlaudi Motsoeneng constantly said the SABC is supporting local productions and artists.

The South African TV industry is reeling with shock after SABC3 told Rous Hous Productions it wants the casino-set, local prime time soap currently in its 3rd season, off the air within 30 days – even though the production has a much longer contract for more episodes.

A longtime and respected veteran TV producer not working on High Rollers and speaking on condition of anonymity so as to not damage existing and future business relations with the SABC, called the SABC's shock decision "unprecedented" and "unheard of".

The producer told TVwithThinus that "cancelling a contract for a long format production without valid reason and without due notice and the chance to correct what is wrong is unheard of in the industry, and reeks of a purge of local English programming by Hlaudi".

"A sudden cancellation with 30 days' notice is also unheard of, especially as long format series usually script and shoot 2 to 3 months ahead of broadcast."

'Absolutely devastating'

"I would advise all agents, writers, actors and crew along with the producers to do a class action suit or individually sue SABC for breach of contract, as the creatives and crew have been contracted by the production house for a full term of work, which the production house is now forced to break because SABC has breached the terms of its contract with the production house," said the producer.

"An unexpected cancellation like this is absolutely devastating for writers, actors, crew and their agents," said the producer.

"Once a contract is signed, that money becomes absolute and is used to keep a roof over the head, food on the table and children in school. Take it away two thirds of the way through the contract, and you leave some 150 workers and their families destitute. And there is a real chance that it could ruin the production house and force it to close its doors."

The SABC's shocking move to abruptly dump High Rollers comes after it actually increased the number of High Rollers episodes screened per week and moved the show's timeslot from 20:30 to 19:30.

In May High Rollers was renewed for a full third season of 156 episodes on SABC3 and extended from three to five episodes per week.

Hundreds of South African viewers have since signed an online petition signed an online petition that was started here to try and save High Rollers from cancellation – already setting a South African TV record for the most people signing to keep a canned local programme on the air in the SABC’s 40-year TV history.

While the ratings for High Rollers has fallen since May when Hlaudi Motsoeneng abruptly ordered a quota of 80% local content for the channel – a plan that flopped – the viewership decrease for the show is in line with the entire SABC3 viewership that keeps spiraling down month after month since the introduction of the new crop of local shows that all failed to attract viewers.

Ironically it’s highly unlikely that replacement new programming stripped in the 19:30 timeslot will yield SABC3 higher ratings than High Rollers that has an ongoing daily narrative it's replacing; and new shows – often having to build from scratch instead of having a dedicated audience – also often cost broadcasters more than existing shows.

The SABC was asked why it wants High Rollers cancelled before the end of its contract that will leave hundreds of cast and crew out of jobs just before Christmas, why the SABC wants out of a show only two thirds through its latest contract, and if the SABC is concerned about the message it's sending when it cancels a local show while saying it wants more local content for SABC3.

SABC spokesperson Kaizer Kganyago told TVwithThinus in response "the SABC is not in a position to discuss its contractual obligations with production houses and content providers with third parties including the media. If there is anything to be communicated to the production house or the public, the SABC shall do so accordingly".

'SABC has no regard for our industry'

Industry representative bodies like the South African Screen Federation (Sasfed), the South African Guild of Actors (SAGA) and The Independent Producers Organisation (IPO) are aware of the SABC's intent to yank High Rollers before it’s existing contract has expired but have not yet commented publicly.

Meanwhile South African artists – actors, crew and people working on, and who have worked on the show – are slamming the SABC and publicly voicing their support for the show.

"The SABC needs all the quality stuff it can get," said actor Craig Urbani while Des Lindberg said "the public broadcaster should serve the South African public. It is not doing this".

Actress Mbali Hlatshwayo said the "SABC is taking people for granted, it can't cancel High Rollers".

Cast members Justin Strydom said the SABC has acted in bad faith and Vilje Maritz said "it's wrong an unethical".

Former crew member Mandisa Moffat says "the very abrupt cancellation of this show will leave many good people suddenly jobless, and so many fans hanging mid-story". 

Former cast member Motlatji Ditodi said "the cancellation is very confusing and criminal in nature, as people's livelihoods will be stolen from them".

Nico Panagio said "the cast, crew and producers of High Rollers are brilliant pioneers" and that "their work should be celebrated, revered and visciously protected".

"The SABC has no regard for our industry,” said Ilse Klink. "Contracts were signed, this is an illegal move by the SABC. Stop taking the arts for granted. People’s livelihoods are at stake".

"I'm an actor myself and justice needs to be done," said Hykie Berg, while artist Sive Matiwane said "it is high time this country respect our profession".

Actress Anel Alexander said "the actions of the SABC is hindering any possible growth. This is one of the very few local, high quality programmes on their channel. We should be fighting to keep this home-grown content on the air".

"I got my big directing break on High Rollers," said Tebogo Mkhabela. "It's a great show".

"My fellow filmmakers don't deserve to lose their jobs like this," said Toby Harris.

Greg Melvill-Smith, actor and founding member of the South African Guild of Actors (SAGA), has died from liver cancer, age 55.

The South African actor Greg Melvill-Smith has died. He was 55.

Greg Melvill-Smith, who was a founding member of the South African Guild of Actors (SAGA), died at home in Johannesburg on Tuesday night surrounded by family and friends after he was diagnosed with liver and kidney cancer in October 2015.

He leaves behind his wife Kenda and two daughters, Kaila and Natasha.

A Memorial service for Greg Melvill-Smith will be held on Saturday in Johannesburg.

SAGA in a statement says Greg Melvill-Smith "a SAGA stalwart and true gentleman of the profession, left us in the late hours of 31 May 2016, succumbing to an illness borne with great dignity. At this difficult time our thoughts go out to Greg's family as they face the loss of a loving husband and father".

The actor appeared on television in soaps like 7de Laan, Isidingo and Binnelanders as well as drama series like Die Vierde Kabinet and One Way.and was the writer and director of the science TV show Walking Tall about paleontology.

He was also on stage in numerous productions locally and overseas over the years.

Greg Melvill-Smith received his diploma in drama from the Pretoria Technicon in 1984 and moved to Johannesburg in 1988.

REACTION OVER FIRED GENERATION CAST: 'We stand in solidarity with colleagues who have valid grievances,' says SA Guild of Actors.

The South African Guild of Actors (SAGA) responded on Tuesday following the wholesale firing of the Generations cast on SABC1 on Monday by the SABC and MMSV Productions, saying the guild "stands in solidarity with colleagues who have valid grievances and offers its support in pursuing appropriate channels for redress".

The Generations cast was fired on Monday following a second strike the united actors embarked on since last Monday.

It was the Generations cast's second strike in 10 months at the SABC1 soap over exactly the same issues of wanting three year contracts from the SABC as it was promised in 2013, better paying contracts, as well as back payment for rebroadcasts and international sales of the show  - all issues that the SABC promised to give attention but failed to do.

"The South African Guild of Actors profoundly regrets recent developments in the dispute between the cast of Generations, the producer and the SABC," says SAGA.

"Some of the issues raised publicly by members of the Generations cast are the subject of current negotiations between SAGA, the SABC and the Independent Producers' Organisation (IPO)."

"These include a transparent process for calculating actors' compensation where programmes are sold to other territories, to which the broadcaster has agreed, and a standardised schedule of minimum rates which, it is proposed, will be renegotiated every three years".

"It is important to note that as independent contractors, actors cannot claim protection under labour law and should not be misled by advice to the contrary," says SAGA.

"It must be stressed that there are substantive benefits to be had as independent contractors and actors need to be better informed in order to make the most of these".

"The South African Guild of Actors is dedicated to improving working conditions for actors together with adequate compensation and the necessary benefits. The Guild continues to strive to create a unified and powerful voice for all actors in South Africa," says SAGA.


ALSO READ: South African Guild of Actors (SAGA) on the striking Generations cast: "The Generations actors are going about it the wrong way."

South African Guild of Actors (SAGA) on the SABC's striking Generations' cast: 'The Generations actors are going about it the wrong way'.

The South African Guild of Actors (SAGA) tells TV with Thinus that the SABC's striking Generations actors are going about it the wrong way.

"They're approaching it as a labour matter, as employees, which they are not. The moment they realise and approach it from the right way, from the correct position, given their status as independent contractors and actors, then things will fall in place," says the SAGA spokesperson.

The Generations production was shut down again last week - the the second time in 10 months - after the soap's cast went on strike. The cast demands better and longer contracts and that the SABC pay them for "royalties" or past rebroadcasts of the shows and overseas sales of the show.

The lucrative Generations is the biggest TV soap in South Africa and also the most watched programme in the country, pulling an average audience of 7.5 million viewers on weeknights and eclipsing anything else in terms of ratings in the local TV industry for the past 20 years and counting.

The SABC plans to fire all of the striking Generations actors today, after having given them a second ultimatum to show up for filming today or be fired en masse.

Actors working on soaps like the SABC's Generations, 7de Laan, Isidingo and others are freelance independent contractors, a SAGA spokesperson told TV with Thinus over the weekend.

"This is the correct legal status of the actor. At Generations there's a group who think they have the right to strike and the SABC can't dismiss them. But they're under a contract like when you hire an electrician to fix your geyser. You pay him and he leaves".

"Generations actors are not protected under these labour laws - it's a contractual agreement to come and do a certain service on a specific day, or for three months. If there's a dispute, then you go for arbitration, and that's the way they should go".

"The wrong approach is that actors 'work' for the SABC or M-Net - the term employees. The correct approach is, and it stand clearly in the SABC's standard contract given to all soap actors, that the SABC pays the production company who in turn pays the actors who also receive this contract".

"In that contract is specifies clearly in clause 36.4 that the performer is contracted exclusively on a freelance basis for the purpose of fulfilling the specific function set out above. On termination of this agreement the performer shall have no right to claim employment by the producer in any capacity".

"The actor is a freelancer - he is not employed by the SABC. And when the contract has run out there is no promise of a continuation of this contract at all. He is an independent contractor.And actors like it because it means you're working for yourself."

"You're self-employed. You can work for the SABC and when you're done with your scenes you at Generations or 7de Laan you can go and do other work - voice work, adverts - because you're working for yourself". That is the correct legal status of the actor".

"There's an incorrect school of thought that soap actors are employed by the SABC or M-Net. M-Net contracts also clearly states: you're independent; you're on your own. Unfortunately there's a group of South African actors who don't yet understand fully what these contracts really mean".

Generations actors are also unhappy about possible back payments and future payments for rebroadcasts as well as international sales of the show to other countries and broadcasters which they say they have not received.

"Clause 7 of the SABC contract makes provision for commercial exploitation and a percentage that should be divided among the actors. And the SABC did start paying, saying here is your cut for exploitation and sales of this property into Africa".

"The Generations actors are going about it the wrong way. They're approaching it as a labour matter, as employees, which they are not".

"The moment they realise and approach it from the right way, from the correct position given their status as independent contractors and actors, then things will fall in place," says the SAGA spokesperson.

"The SABC must pay them for commercial exploitation. It's just a difficult calculation to do, but you need to pay the actors, since you have to bear in mind what were they paid at the time".

"It takes time and the SABC needs to be helped to solve the problem. Striking is the wrong way to go," says a SAGA spokesperson.

"Nobody really bothered in the past with the money from international sales and repeat fees, but actors are becoming more and more aware of their rights. But it is in the contracts, you must only demand in terms of the contract, where is my cut? The SABC did start paying the Isidingo and Generations actors".

"At the moment SAGA still questions it and says give us the full explanation of how did you calculate this. So, we're going about it the right way, saying we want more information, before we can say yes the process is fair or not. But the money is forthcoming".

"Actors in South Africa are not paid badly. Generations actors, in lieu of the show having been on for so long, are some of the best paid soap actors in our country," says the SAGA spokesperson.

"As actors we don't have a bad deal. Our fees are adjusted annually in line with inflation. Fees are adjusted."