Broadcast

Public broadcasting remains essential despite funding and digital pressures

Debates around South Africa’s media trajectory often circle back to two familiar assertions: that streaming will completely replace traditional broadcasting, and that audiences have largely abandoned the SABC

According to Themba Gwejela, group executive: Corporate Affairs and Marketing at the South African Broadcasting Corporation (SABC), both views miss the broader picture of how public broadcasting actually functions and why it still matters.

At its core, public broadcasting is built on a public service mandate. Unlike commercial media entities that prioritise profitability and audience metrics, public broadcasters are tasked with informing, educating and entertaining citizens while representing diverse cultures, languages and communities. This obligation fundamentally shapes their operations and long-term priorities.

Globally, public broadcasters are typically sustained through a combination of licence fees, government support and limited advertising revenue. The SABC, however, stands apart. More than 80% of its income is generated commercially, placing it among the most commercially reliant public broadcasters worldwide. As Themba Gwejela notes, this model does not just keep the broadcaster running, it underpins a much wider creative industry.

Every programme commissioned contributes to a complex value chain. From scriptwriters and directors to on-screen talent, editors, technicians and composers, a wide network of professionals depends on this ecosystem. In this way, public broadcasting continues to play a central role in supporting South Africa’s creative economy and preserving locally produced content.

However, this ecosystem is under mounting pressure. The television licence fee, currently around R265 per year, has remained largely unchanged for more than a decade. During that time, production costs have surged, technology investments have intensified and audience expectations have shifted towards multi-platform accessibility. At the same time, widespread licence fee non-compliance has further constrained available funding.

The result is a growing imbalance: increasing demands placed on a system with shrinking resources. Viewers expect high-quality drama, reliable news, children’s content, sports coverage and seamless digital access. Delivering on all these fronts requires sustained financial investment.

Sport illustrates these challenges clearly. Broadcasting major sporting events involves securing costly rights, which have escalated significantly on a global scale. These rights are also critical to funding sports organisations, leagues and development initiatives. In South Africa, events deemed nationally significant must be available on free-to-air platforms, yet acquiring those rights still draws from the same limited funding pool that supports other programming areas.

Claims that audiences have moved away from the SABC also overlook important structural realities. South Africa’s television market is divided between free-to-air services, such as the SABC and e.tv, and subscription-based platforms. Accessibility remains the defining factor. Free-to-air television reaches far more households because it does not require ongoing payments, allowing it to maintain substantial audience numbers.

As a result, some of the country’s most-watched programmes continue to be broadcast on free-to-air channels. Long-running shows like Skeem Saam, Generations and Uzalo consistently attract large viewerships, reinforcing the continued relevance of public broadcasting.

Regulatory frameworks also play a role in maintaining accessibility. Pay-TV providers are required to carry free-to-air channels, ensuring that public broadcasting content remains widely available across different platforms.

Ultimately, public broadcasting extends beyond individual channels or programmes. It represents a national media framework that enables storytelling, supports employment and reflects the identity of a diverse society. As Themba Gwejela emphasises, sustaining this ecosystem is essential, particularly as the media landscape continues to evolve in the digital age.

Studiotech selects MNC Software’s Mosaic for Chad’s ONAMA DTT project, boosting national broadcast control. (Image source: MNC Software)

MNC Software, a global leader in network management and operational support systems for the broadcast and media sector, has secured a significant monitoring and control contract from Studiotech, Belgium’s leading systems integrator

The project, known as ONAMA, involves the transition to digital terrestrial television (DTT) across Chad.

The scope of the project includes establishing a central control centre in the capital city of N’Djamena, linked to 30 remote transmission sites nationwide. Of these, 10 locations are equipped with remultiplexing (remux) capabilities to localise broadcast services. Leveraging MNC’s control platform, all transmission sites will be managed and monitored from the central facility, reducing the need for constant operator input — a vital aspect of the infrastructure.

MNC collaborated closely with Studiotech to demonstrate the advanced capabilities of its Mosaic system, which features a modular design capable of addressing the network's unique demands. Each site is equipped with an individual Mosaic instance, enabling continuous control, monitoring, and logging even in the event of connectivity issues with the central hub.

“Mosaic has a proven track record with similar systems across remote and difficult to access sites, which gave us a great degree of confidence,” said Nicolas Tardieu, general manager at Studiotech. “The system is also intuitive to implement and operate, which means we could install and integrate on site without needing to rely on the MNC Software team, although of course that support was there should we need it.

“Couple that with a flexible licensing scheme which meant we could build the functionality we required cost-effectively, and we could show a strong ROI to the end customer in Chad,” Tardieu continued. “It is clearly a strong solution for this challenging project.”

Darren Frearson, CEO of MNC Software, added, “This major ONAMA project strengthens still further MNC Software’s footprint in African broadcasting infrastructure. Mosaic’s flexibility makes it ideal for projects like these, where there are a lot of remote devices requiring complex monitoring and control, interconnectivity can be challenging, and skilled staff are in short supply.”

CANAL+ becomes the first to distribute Netflix in 24 Sub-Saharan countries under a new deal

CANAL+ and Netflix have deepened their longstanding partnership, initially established in 2019 for France and Poland, by expanding their strategic distribution agreement to include sub-Saharan Africa.

With this move, CANAL+ becomes the first operator to offer Netflix as part of its service package across 24 countries in the region, significantly expanding access to premium global and African entertainment content.

Beginning in July, CANAL+ subscribers in French-speaking African nations will be able to access Netflix’s streaming service directly through their CANAL+ subscriptions. This integration aims to offer a smoother and more convenient viewing experience for users across the continent.

Currently, CANAL+ delivers over 400 live channels, including 28 tailored specifically for African audiences, alongside digital services via the CANAL+ Application and connected set-top boxes. With this new agreement, its offering will now include Netflix's globally recognised titles such as Stranger Things, La Casa de Papel, Lupin, Emily in Paris, and Squid Game. It will also feature a strong slate of African Netflix originals including Blood & Water, Young, Famous & African, Unseen, King of Boys, Anikulapo, Blood Sisters, and Kings of Joburg.

The collaboration marks a major milestone for both companies. For Netflix, this is the first partnership of its kind in the Sub-Saharan region, enabling more flexible access to its library of content. CANAL+, with its established presence and market leadership in Africa, will play a crucial role in helping Netflix expand its reach on the continent. In turn, the agreement reinforces CANAL+’s status as a premier content aggregator worldwide.

“A few years after our distribution agreement in France and Poland, I am delighted to extend our historic partnership with Netflix to Africa. Our millions of African subscribers will benefit from a unique offer, bringing together the best of CANAL+ and Netflix content in a joint package. This new agreement demonstrates CANAL+'s ability to extend its unique super-aggregation model beyond the European continent,” said Pascale Chabert, Chief Content Acquisition Officer of CANAL+.

Emma Lloyd, vice-president partnerships EMEA at Netflix, added, “We're thrilled about this extension of our partnership with CANAL+ which will allow us to reach even more people across French speaking African countries. It's a big win for entertainment fans and part of our ongoing mission to make the member experience even better.”

This expansion signifies a broader commitment by both companies to bridge the entertainment gap and improve the digital experience for millions of viewers in Africa.

DStv named 2025's most admired African media brand, earning Brand Africa Hall of Fame recognition. (Image source: DStv)

DStv has been named the #1 Most Admired African Media Brand in the 2025 edition of the Brand Africa 100 – Africa’s Best Brands rankings

In recognition of its longstanding impact and influence, the platform has also been inducted into the Brand Africa Hall of Fame – an honour reserved for brands that have significantly elevated Africa’s presence and reputation on the global stage.

The announcement was made during a prestigious ceremony at the United Nations Economic Commission for Africa (UNECA) headquarters in Addis Ababa, attended by leaders and influencers from the African branding and media sectors.

Since its launch in 1995, DStv has grown from a digital satellite TV service into a dominant force in African entertainment. Its focus on innovation, investment in original African content, and commitment to representing authentic African narratives has reshaped how audiences across the continent experience television.

Calvo Mawela, group CEO of MultiChoice, expressed, "This honour reflects the incredible journey we’ve taken with our audiences across Africa. Being named Africa’s most admired media brand and joining the Brand Africa Hall of Fame is not just a celebration of where we’ve come from – it’s a reaffirmation of where we’re going. Our commitment to local storytelling, cultural authenticity, and innovation remains stronger than ever. We are proud to be a brand that not only entertains but uplifts and connects Africans through stories that matter."

Brand Africa 100 is the only independent, pan-African brand study of its kind. Conducted across more than 30 African countries, the survey accounts for over 85% of Africa’s population and GDP. With input from research organisations like GeoPoll, Kantar, Integrate, and Analysis, the ranking is based on over 150,000 brand mentions and nearly 6,000 unique brands, ensuring rigorous and unbiased results.

DStv’s Hall of Fame induction underscores its role not just as a broadcaster but as a cultural influencer. Through its support for African storytellers, production of local content, and emphasis on quality entertainment, DStv has become an integral player in the continent’s creative economy.

The platform also received this top honour in 2024, highlighting its ongoing relevance and deep connection with viewers across Africa. From its modest beginnings 30 years ago with 16 channels, DStv has grown into a comprehensive content leader, offering a broad portfolio of local and international programming, as well as integrated streaming services. Today, it reaches millions of African households, delivering a vibrant mix of entertainment that reflects the continent’s diversity and ambition.