Wednesday, May 4, 2011
BREAKING. SABC3 secures the broadcasting rights to the family drama The Good Wife starting on Tuesday 24 May at 20:30.
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SABC3 has acquired the broadcasting rights to the family drama The Good Wife, currently in its second season on M-Net, the first season of which is set to start on SABC3 on Tuesday, 24 May in the primetime slot of 20:30. There will be 24 episodes.
The Good Wife revolves around Julianna Margulies as Alicia, the wife of politician Peter Florrick (Chris North). Alicia's forced to return to work as a lawyer (whilst being a mom) at a prestigious law firm to provide for her family after her husband's sex scandal which lands him in prison.
History renews several shows for further seasons, including Ax Men, Ice Road Truckers, Deadliest Roads, Swamp People and Pawn Stars.
History (DStv 254) has renewed several shows for further seasons.
Shows that will continue for another season on the channel include American Pickers, Ancient Aliens, the popular Ax Men and Brad Meltzer's Decoded.
Also getting renewed by History is the popular Ice Road Truckers and IRT: Deadliest Roads. Modern Marvels, Only in America, as well as the popular Pawn Stars and Stan Lee's Superhumans gets further seasons, as well as Swamp People, The Universe and Top Shot.
Shows that will continue for another season on the channel include American Pickers, Ancient Aliens, the popular Ax Men and Brad Meltzer's Decoded.
Also getting renewed by History is the popular Ice Road Truckers and IRT: Deadliest Roads. Modern Marvels, Only in America, as well as the popular Pawn Stars and Stan Lee's Superhumans gets further seasons, as well as Swamp People, The Universe and Top Shot.
Tuesday, May 3, 2011
The SABC's new 24 news channel will cost the public broadcaster R80 million per year to operate.
The SABC's new 24 hour channel that the public broadcaster's top brass seems adamant to push into reality (and was supposed to start in April on MultiChoice's DStv) will cost the SABC R80 million per year to operate.
The SABC board has told parliament that key to the broadcaster's prioritisation of programming is the new 24 hour news channel tht will replace the canned SABC News International channel.
ALSO READ: SABC sees its new 24 news channel as a key driver of the broadcaster's turnaround strategy.
ALSO READ: SABC on its planned new 24 news channel.
The SABC board has told parliament that key to the broadcaster's prioritisation of programming is the new 24 hour news channel tht will replace the canned SABC News International channel.
ALSO READ: SABC sees its new 24 news channel as a key driver of the broadcaster's turnaround strategy.
ALSO READ: SABC on its planned new 24 news channel.
Independent TV producers slam the SABC about its continued lack of local content: ''A bakery does not stop producing bread to save money.''
The South African TV production industry is slamming the SABC about its continued lack of local content on television, its repeated false promises, and its dismal failure to issue new commissioning briefs for local shows.
The SABC which made repeated promises and kept pushing the deadline out, last promised that a new set of locally commissioned briefs for shows would happen by December 2011. It's now 6 months later and the SABC is still not making any local shows besides heinously advertiser-funded productions (AFP's).
''A baker does not stop producing bread to save money; the broadcaster has to consider how to continue how to produce excellent programming,'' says the South African Screen Federation (Sasfed) and the Independent Producers' Organisation (IPO) in a joint statement, saying that the independent production sector in South Africa that employs 300 000 people - many of whom are dependent on a vibrant public broadcaster - are ''deeply concerned'' about the SABC's turnaround strategy and the place of local TV content and local TV content production within that plan.
''Sasfed and the IPO are concerned that the SABC's turnaround strategy appears to be going ahead without meaningful consultation with the production industry,'' the organisations say. ''The meaningful and sustained turnaround of the SABC cannot be mechanically based on its bottom line, driven by cost-cutting measures - which historically has seen production budgets, already stagnant for at least five years, as a foremost casualty.''
Sasfed and the IPO says the SABC is showing a ''lack of appreciation for the role of independent TV producers. ''The independent production sector is the custodian of decades of substantive insight into the operations and mechanics of the public broadcaster - but it is merely being paid lip service to. The central interest that it represents - that of content and the conditions required for its sustained and optimum production - is not being meaningfully accounted for in the turnaround plan for the SABC.''
The SABC which made repeated promises and kept pushing the deadline out, last promised that a new set of locally commissioned briefs for shows would happen by December 2011. It's now 6 months later and the SABC is still not making any local shows besides heinously advertiser-funded productions (AFP's).
''A baker does not stop producing bread to save money; the broadcaster has to consider how to continue how to produce excellent programming,'' says the South African Screen Federation (Sasfed) and the Independent Producers' Organisation (IPO) in a joint statement, saying that the independent production sector in South Africa that employs 300 000 people - many of whom are dependent on a vibrant public broadcaster - are ''deeply concerned'' about the SABC's turnaround strategy and the place of local TV content and local TV content production within that plan.
''Sasfed and the IPO are concerned that the SABC's turnaround strategy appears to be going ahead without meaningful consultation with the production industry,'' the organisations say. ''The meaningful and sustained turnaround of the SABC cannot be mechanically based on its bottom line, driven by cost-cutting measures - which historically has seen production budgets, already stagnant for at least five years, as a foremost casualty.''
Sasfed and the IPO says the SABC is showing a ''lack of appreciation for the role of independent TV producers. ''The independent production sector is the custodian of decades of substantive insight into the operations and mechanics of the public broadcaster - but it is merely being paid lip service to. The central interest that it represents - that of content and the conditions required for its sustained and optimum production - is not being meaningfully accounted for in the turnaround plan for the SABC.''
Programming note: The 10th season of Smallville back on Vuzu from this Sunday 8 May at 17:00 as Clark returns to a different Kent farm.
It's not Lex. Or even Darkseid. It's a force even more evil than that ... programming executives. The 10th season of Smallville that abruptly ended on Vuzu (DStv 123) will be back this Sunday 8 May at 17:00 on the TV channel with episode 17.
Vuzu says that because the broadcasting schedule of Smallville was suddenly interrupted in America - and with Vuzu following very closely behind America - Tom Welling and company had to take a brief hiatus. ''When the distributor put Smallville on hiatus, Vuzu was affected and had to have an unplanned break from the show,'' I'm told. ''We apologize for the inconvenience this may have cause our viewers.''
Episode 17 entitled ''Kent'' in which Clark Kent find himself in a, uhm, parallel reality (and you won't believe who he finds there!) will go out this Sunday 8 May at 17:00.
I have asked but Vuzu is yet to tell me whether the magnificent upcoming Smallville finale that sees the return of Michael Rosenbaum as Lex Luthor in the epic season and series finale of Smallville, will also be a double bill of two episodes similar to America where episodes 21 and 22 will be broadcast together as a two hour series finale special.
Programming note: Discovery Channel has MegaQuake: Hour That Shook Japan and Nuclear Nightmare: Japan in Crisis set for Sunday 15 May.
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Discovery Channel (DStv 121) now has a broadcasting dat for that Japan earthquake and tsunami TV special that was announced in March and which will now be two hour long special TV shows with MegaQuake: Hour That Shook Japan and Nuclear Nightmare: Japan in Crisis with Paula Zahn both being broadcast on the Discovery Channel on Sunday 15 May at 20:55 right after each other.
''As a network we were taken aback by the gravity of the effects of the earthquake and tsunami,'' says Lee Hobbs, the channel director for emerging business for Discovery Networks International for the Central Eastern Europe, Middle East and Africa (CEEMEA) region. ''We believe that these two TV specials will give our viewers a scientific analysis of the events.''
''Viewers will get never-before-seen footage of the moments when the first wave hit Japanese shores and relive the tragic event through the testimony of those who lived through it,'' says Lee Hobbs.
The fascinating MegaQuake: Hour That Shook Japan will look at the planet's tectonic plates and the incredible Pacific Ring of Fire and the regions and land masses that's impacted by these tectonic shifts with the help of experts. Nuclear Nightmare: Japan in Crisis has Paula Zahn as the narrator and follows right after MegaQuake: Hour That Shook Japan. Nuclear Nightmare: Japan in Crisis looks at the events as they unfolded at the Fukushima nuclear power plant in Japan from right after the tsunami hit, with a step by step reconstruction of the disaster.
''We want to explain how and why these tragic events happened,'' says Lee Hobbs. ''By scrutinizing the effects of this natural occurence, we hope to put the pieces of the puzzle together and provide factual answers for our viewers.''
Monday, May 2, 2011
Programming note: On Tuesday Oprah Winfrey and Whoopi Goldberg talk about friendship and how friends can drift apart.
The Oprah Winfrey Show tomorrow, Tuesday 3 May at 17:30 on SABC3 is not only a TV reunion with the cast of the movie The Color Purple that Oprah Winfrey starred in, but gives viewers a very powerful TV moment about friendships that can drift apart because of misunderstandings and miscommunication. See the emotional moment tomorrow when Oprah Winfrey describes and talks with Whoopi Goldberg about the ''fued'' and silent rift between then that had them not talking to each other for years.
Today (Monday) on The Oprah Winfrey Show at 17:30 on SABC3 viewers can catch part two of the ''200 men who were molested come forward'' after part one that was broadcast last week.
Tuesday 3 May is The Color Purple reunion 25 years later and Oprah and Whoopi Goldberg's revealing heart to heart talk about how friendships break down sometimes based on wrong perceptions.
Wednesday 4 May The Oprah Winfrey Show investigates a Brazilian doctor who claims that he can perform medical miracles.
Thursday 5 May Carson Kressley is making over America's worst-dressed couples.
Friday 6 May is the last ever ''Oprah's Favorite Things'' show - but there's a surprise (which will be revealed next Monday - it will actually run over two episodes since there's another ''Favorite Things'' show for a second audience.)
Sunday, May 1, 2011
ONE YEAR LATER. TopTV turns one: The successes and challenges of the South African pay TV operator at its first birthday.
By one they walk, and as TopTV as South Africa's newest entrant to the pay TV market celebrates the first anniversary of the start of its commercial subscription television service and gives further tentative steps towards the terrible two's and hopefully greater maturity, the pay TV platform has achieved remarkable successes, whilst however also facing particular challenges.
ALSO READ: 6 ways in which TopTV is changing South African television.
ALSO READ: TopTV as a Model T: How TopTV's existence is turning into a game-changer in the South African pay TV market.
Since launching its commercial subscription television service on 1 May last year with just over 50 channels and adding 3 new TV channels as well as an Indian bouquet during the past year, the last officially stated subscriber mark is 200 000 for On Digital Media's TopTV. As a new entrant initially – and in some ways still – struggling to cope with subscriber enquiries and demand and underperformance in customer service levels, TopTV has already left a lasting imprint on the pay TV industry in South Africa. Besides doing an erroneous double debit order run on subscriber accounts and after a year still remaining in limbo to start a monthly subscriber magazine, TopTV's mere presence has created two momentous and seismic shifts within the local TV industry.
Firstly TopTV's incentivised and heavily subsidised model to attract new subscribers is pure genius and absolutely serves the consumer. With incredibly subsidised TopTV decoder prices (now going as low as R199 per decoder in some cases), coupled with free (completely subsidised) installation, TopTV has been altering the South African landscape in 3 ways. Firstly the South African consumer will never again be willing to accept sky-high monopolised pay TV decoder and installation prices. Secondly, its spurring increased competition with MultiChoice's DStv not just lowering decoder prices but also increasing installation subsidies. Thirdly TopTV is inadvertently spearheading the switch-over to digital terrestrial television (DTT) with digital migration happening under some of the lower LSM market segments who are actually getting digital television because they're getting TopTV.
Secondly TopTV is proving that competition, even in its smallest germinating form is good with the end-benefit going to the consumer when it comes to TV content. Besides new TV channels exposing South African TV viewers to new content from a consumer programming point of view, TopTV (through the existence of its clutch of Fox channels) managed to clinch two hot and hit TV series The Walking Dead and (coming soon) Falling Skies. Its acquisitions any pay TV operator can justly be very proud of. No longer is M-Net the only premiere television content game in town.
Where TopTV would get failing grades however is the false promises – twice – of new channel additions to the platform which created false expectations, worsened by the lack of managing these expectations by the CEO Vino Govender who seems afraid to be seen and heard although he's the public face of the man in charge of running the company.
ALSO READ: How TopTV is spoiling its first birthday by not being willing to talk about it.
TopTV also didn't commission local programming as it promised and so far failed to secure an actual sports channel, or to self-compile one in the form of its envisioned Top Sport channel. TopTV's lack of communication with subscribers in the more traditional form of newsletters, a subscriber magazine and email – as well as the lack of engagement with the press (one press conference at launch, and nothing since) and ad agencies about channels that will eventually be ad supported, are also a concern. Within the space of a year major restructuring is also already taking place at ODM.
Before TopTV turns two, the first independent indicators of viewership on a number of TopTV's TV channels will be known. It's already clear that TopTV's addition – although aiding and hastening channel fragmentation in South Africa and spurring the process of ''ad buying per 100 000 viewers'' – is overall growing not only the exposure of viewers to more channels but also growing overall viewership. More South African households in total are watching television because they're now subscribed to TopTV; they're also watching more than just the SABC's 3 channels.
Challenges remain for TopTV and these challenges are in some respects growing and changing. How do TopTV battle churn and subscribers who flee due to bad service, a lack of attention and no new channel acquisitions? Is the goodwill the company (had) as the new entrant and underdog sustainable? Is a sport channel, new channels, local content and improved service levels possible and coming (soon)? Is the sign-up growth curve of new subscribers continuing that will eventually, hopefully bring TopTV to operational profitability? And where is TopTV in hardware development and the roll-out of new services like high definition (HD) television and a digital personal video recorder (PVR) which will both fuel and sustain subscriber growth and help to combat churn?
It's undeniable that at one year old TopTV has brought major change to the South African TV landscape. And it's been good and positive. Unquestionably the hope is – from a consumer point of view – that TopTV can not only sustain its existence, but also improve the few things that somewhat tarnishes its rainbow logo. The better TopTV does as a pay TV operator in South Africa, the better it is for the pay TV market as a whole in the country.
If TopTV can manage to survive and flourish it will benefit the entire TV industry and in essence – and most importantly – the ordinary TV viewer. It's the ordinary TV viewer who - irrespective of what they watch, through what platform or service provider or where - who deserves to benefit from the competition that arise and yield dividends when it comes to price, a profusion of programming choices, better customer service and advances and innovation in TV technology.
ONE YEAR LATER. TopTV isn't talking: How TopTV is spoiling its first birthday and denting its image by not being willing to talk about it.
What is happening in the world of television today? There's the new crop of contestants in the videosphere-overexposure of the umpteenth incantation of Big Brother Africa starting, Royal Wedding specials still permeate the air like those bitter-ender wedding guests who refuse to realize that the time has finally come to leave the party while the caterers are already packing up, and oh … TopTV is turning one year old today.
Don't feel bad about it if you didn't know. The South African pay TV operator that started its commercial service exactly a year ago on 1 May 2010 isn't making a song and dance about it – in fact, TopTV isn't making any song and dance about it, and deliberately chose not to talk to the press about turning one year old today at all.
TopTV's refusal – despite multiple requests for interviews first made weeks ago and enquiries about what On Digital Media (ODM) plans to do about the first birthday of TopTV – was oddly/bizarrely/strikingly met with deafening silence for a media company operating and competing in a hyper media age. That same silence held lease today on the actual birthday one year later with TopTV not issuing as much as a press release or a one-liner statement to the press. TopTV's CEO Vino Govender meanwhile is lounging on long leave for Easter and not willing or seemingly able to talk to and engage the press. The elusive (and now revealed to be an extremely press reclusive) CEO in charge of running TopTV isn't willing to talk to journalists or do interviews. Neither are any other executives in charge of operational management at the pay TV operator made available or trotted out to talk. There's been no press conference; no first birthday party.
''Maybe business is crap?'' muses the top editor of a South African trade publication that also covers television, in the past week to me regarding TopTV. The person's thought highlights exactly why TopTV's silence is so sickening to the one year old company: in the absence of TopTV talking, it creates a bubble where speculation starts, builds and which then leads to the kind of (negative) buzz within the industry and the press that no company wants or needs.
With TopTV not talking on its first birthday, the pay TV platform is giving rise to new questions not pondered before: Why is TopTV scared to talk? Is something wrong with TopTV's future prospects? Why does TopTV feel it has nothing to say about what it's done and achieved the past year – is service levels too bad? And why the silent treatment?
The remaining goodwill (and there was a lot, and to be fair, there is still left) that the media, press and ad buyers – even subscribers – had towards TopTV is dissipating fast. Several factors are contributing. Sadly, one of them that TopTV actually has control about – to be engaging and open, talking freely and getting free press and exposure (of the kind that builds the television entity as a desirable service) by reacting to and stoking the embers of an interested press – isn't happening.
One year in it's not possible to know what exactly TopTV's top brass is really thinking. One thing however can't be any clearer about the TV company and its muted management. On its first birthday we do know now – as if emphasized by its succinct silence: TopTV isn't in the mood for talking.
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