Developing Story: Udne Ki Aasha Debuts On Star Life As Soulmates In The Coming Weeks, You Have My Heart Changes Timeslots

Earlier in the month, it was reported that a former soap opera Saraswatichandra would be rolling out on Star Life this wad due to some details pertaining to the show. In new developments, it turns out that Udne Ki Aasha will actually be the series entering the channel under the title, Soulmates. 

Not only that but one of the channel's existing shows You Have My Heart seems to changing timeslots as well with the show now slated for 22:30. It will be replacing Titli another series which was also seen in its timeslot before getting brushed off to a much later timeslot for some reason.

Soulmates showcase the story of violent taxi driver Sachin who is good at heart but is uneducated. On the other side destiny gets him married to florist Sailee who belongs to poor middle class family. Sachin’s father Paresh likes Sailee as lot and hence wanted her to marry Tejas. 

It starred Pari Bhatti as Juhi, Mamta as Negative Friend, Manish Verma as Creative Director, Rohit Gill as

Police Inspector, Tanya Lal as Young mother, Neha Harsora as Sailee, Kanwar Dhillon as Sachin and Bharat Jethwani as Mangesh.

Soulmates airs daily at 21:30 on Star Life from August 20 replacing You Have My Heart when it's airs an hour later at 22:30 with Titli that would have concluded. Other Indian dramas set to rollout in the month include Betrayal on Zee World and The Pain Of Loving You on Zee One. 

Could Canal+ Acquisition Of MultiChoice Signal The End Of M-Net As We Know It?

In an era where the competition among media giants continues to intensify, the recent acquisition of MultiChoice by Canal+ has sparked significant debate about the future of M-Net, one of South Africa's most iconic entertainment channels. As Canal+ seeks to expand its footprint across Africa, this strategic move raises critical questions about the potential shifts in programming, audience engagement, and market dynamics that could follow. M-Net has long been a staple in South African households, known for its diverse offerings and local content that resonate with viewers. However, with the influence of Canal+ and its distinct vision for content delivery, many are left wondering: will M-Net be able to maintain its identity, or are we witnessing the dawn of a new era that could redefine the landscape of television in the region? In this post, we will explore the implications of this acquisition, the challenges that lie ahead for M-Net, and what it all means for the future of television in South Africa.

1. Overview of the Canal+ Acquisition of MultiChoice

The recent acquisition of MultiChoice by Canal+ has sent ripples through the media and entertainment landscape in Africa, prompting discussions about the future of major players like M-Net. Canal+, the French multinational media company, is strategically expanding its footprint in the African market with this significant investment in MultiChoice, a leading provider of pay television services across the continent. This acquisition not only represents a shift in ownership but also signals Canal+'s ambition to leverage MultiChoice’s vast subscriber base and content library to enhance its competitive edge in the region.

MultiChoice, known for its flagship DStv platform, has long dominated the African broadcasting space, providing a diverse range of content that caters to a variety of audiences. The acquisition is poised to usher in new opportunities for content creation, distribution, and innovation, as Canal+ looks to integrate its own expertise in content production and global partnerships into MultiChoice's existing operations. This merger comes at a crucial time, as the media landscape is rapidly evolving, with streaming services gaining ground and audience preferences shifting dramatically.

As Canal+ takes the reins, industry stakeholders are left pondering how this acquisition will impact M-Net, a subsidiary of MultiChoice that has played a pivotal role in shaping the African entertainment industry since its inception. Will the new leadership bring about a transformation in M-Net’s programming and strategic direction, or will it maintain the status quo? The acquisition raises critical questions about the future of local content production, the potential rebranding of established channels, and how M-Net will adapt to the growing competition posed by international streaming giants. As Canal+ embarks on this journey with MultiChoice, the implications for M-Net and the broader media landscape in Africa are yet to unfold.

2. The Historical Role of M-Net in South African Television

M-Net has played a pivotal role in shaping the landscape of South African television since its inception in 1986. As the first privately owned subscription television service in the country, M-Net broke new ground by providing viewers with a diverse array of content that was previously unavailable. It introduced a revolutionary model that combined local and international programming, showcasing everything from blockbuster films and popular series to groundbreaking local productions.

At a time when the South African television industry was predominantly dominated by state-run entities, M-Net offered a refreshing alternative that catered to the tastes and preferences of a burgeoning middle class eager for more varied entertainment options. The channel was instrumental in nurturing local talent, commissioning innovative shows that resonated with South African audiences, and even giving rise to iconic series such as "Egoli: Place of Gold" and "The Wild," which became cultural touchstones.

Moreover, M-Net has consistently been at the forefront of technological advancements in broadcasting. The launch of M-Net's digital satellite platform, DStv, in the late 1990s revolutionized how South Africans consumed media, paving the way for a new era of television viewing characterized by greater choice and convenience. This transition not only expanded M-Net's reach but also established it as a formidable player in the competitive pay-TV market across the continent.

As the dynamics of the media landscape continue to evolve, the historical significance of M-Net cannot be overstated. It has been a beacon of innovation and creativity, fostering the growth of the local entertainment industry and influencing viewing habits across generations. However, with the recent acquisition of MultiChoice by Canal+, questions arise about the future trajectory of M-Net. Will it retain its unique identity and commitment to local content, or will the pressures of corporate consolidation lead to a dilution of its original mission? The answers may very well determine whether M-Net can continue to thrive in the rapidly changing world of television.

3. Potential Changes in Programming and Content Strategy

The acquisition of MultiChoice by Canal+ holds significant implications for programming and content strategy, which could transform the landscape of South Africa’s broadcasting industry. With Canal+ known for its diverse and high-quality offerings, viewers can anticipate a shift toward a more varied and enriched content library. This could mean an infusion of international programming that reflects Canal+’s commitment to delivering premium content, including exclusive films, documentaries, and series that may not have previously been accessible to South African audiences.

Moreover, the acquisition could catalyze a reevaluation of M-Net’s existing programming lineup. As Canal+ takes the helm, we may witness a strategic overhaul that prioritizes content that resonates with a broader demographic—potentially integrating more local productions alongside international hits. This could enrich the viewing experience by not only providing globally recognized content but also fostering homegrown talent through bespoke local productions.

Additionally, the marriage of Canal+’s innovative content strategy with MultiChoice’s established distribution network may lead to the creation of new channels or the revamping of existing ones. Imagine specialized channels that cater to niche audiences or genre-based programming blocks that deliver curated content tailored to viewers’ preferences. This evolution could also usher in more interactive viewing experiences, leveraging technology to engage audiences in new ways, such as through on-demand options or interactive storytelling.

However, these changes could also come with uncertainties. Longtime viewers of M-Net may find themselves adjusting to a different programming philosophy, which might not always align with the legacy content they have come to love. The fate of beloved shows or formats could hang in the balance as Canal+ seeks to establish its voice within the MultiChoice framework, raising questions about which aspects of M-Net’s programming will be preserved and which will be phased out.

In essence, while the Canal+ acquisition of MultiChoice heralds the potential for exciting new programming and content strategies, it also invites speculation about the future direction of M-Net. As the industry watches this unfolding narrative, viewers will undoubtedly be eager to see how their viewing habits might evolve in response to this transformative partnership.

4. Impact on Audience Engagement and Viewer Loyalty

The potential acquisition of MultiChoice by Canal+ could lead to significant changes in audience engagement and viewer loyalty, reshaping the landscape of entertainment in the region. With Canal+’s extensive experience in content creation and distribution, viewers might anticipate a more diverse offering of high-quality programming. This shift could foster greater audience engagement as the new ownership could introduce innovative content strategies, such as localized programming and exclusive series that resonate with specific demographics across Africa.

Moreover, the integration of Canal+’s resources could bolster MultiChoice’s ability to invest in emerging talents and original productions, creating content that speaks directly to the cultural nuances of its audience. As a result, this could lead to enhanced viewer loyalty, as audiences often gravitate towards networks that reflect their stories and experiences.

However, the transition might also pose risks. Existing viewers accustomed to the current M-Net programming might feel alienated if the new content direction strays too far from what they know and love. A delicate balance will need to be struck to maintain the loyalty of long-time subscribers while simultaneously attracting new viewers with fresh, innovative offerings.

In this evolving landscape, it will be crucial for the newly formed entity to prioritize audience feedback and adapt its strategies accordingly. Engaging with viewers through social media platforms, surveys, and community events can help the network stay attuned to its audience's preferences and maintain a loyal viewership. Ultimately, the fate of viewer engagement and loyalty will hinge on how well Canal+ can navigate these changes and deliver on the promise of an enriched viewing experience.

How Openview Is Edging Out DStv Compact?

DStv is a pay-tv platform operated by MultiChoice that offers movies, series, sports, documentaries and kids shows. It is currently Africa's biggest entertainment provider operating in 50 countries which is currently in the process of being acquired by French broadcaster, Canal+.

Earlier in the year, MultiChoice had shuttered both M-Net's Me and 1Magic in an attempt to boost their streamlining endeavors which led to the inclusion of 1Max. Similar to 1Magic, this channel was only applicable to Compact+ and boasted a selection of local content. 

The channel embraces and explores dynamic, authentic African stories with an edge, kicking off with titles such as Tracking Thabo Bester and Red Ink. It also features content from other parts of Africa and the world such as The Real Housewives Of Lagos, Ted and The Good Doctor. 

This was also the channel set up to replace Me but MultiChoice has been reluctant to answer consumers with questions of such regard. Consumers have been moving like headless chickens wondering how they'll able to view The Block and America's Got Talent with the SABC struggling to stay afloat.

Outside of Showmax there's eReality which offers these series alongside other shows already viewed on DStv like Impractical Jokers, Catfish: The TV Show and MasterChef. With dramas like The Walking Dead and Blue Bloods and even sitcoms like The Goldbergs viewable on eSeries.

Although DStv already offers a competitive offering for eSeries with Universal TV and Comedy Central there's no Blue Bloods or The Goldbergs all of which were viewable on Me. While eReality shows some ounce of energy with DStv its mainly reruns to Judge Judy and Keeping Up With Kardashians. 

With DStv consumers actually paying for their content you'd expect MultiChoice to make some effort but that's not the case here. Although MultiChoice can speak highly about this content on Showmax end result is that consumers on Openview are paying a once off fee.

Warner Bros. Discovery Exploring Potential Sale Of Assets To Avoid Breakup

Warner Bros Discovery’s senior management is looking to avoid a break-up of the company as executives race to reverse the Hollywood group’s plunging share price, according to people familiar with the matter. 

Following a fall of almost 70 per cent in its stock price since WBD was formed in 2022, chief executive David Zaslav and chief financial officer Gunnar Wiedenfels have recently evaluated “all options” to arrest the decline, said two people familiar with the matter. 

However, senior executives who carried out a detailed analysis of the consequences of a split have determined that fencing off the group’s declining television channels from its streaming and studio business was not the best option at this time, according to people familiar with the discussions. 

The Financial Times reported last month that WBD — which owns HBO, the Warner Bros studio and CNN — was drafting a break-up plan. 

But while such a split initially looked “compelling on paper, it would create very significant operational challenges: doing sports rights deals, determining what goes on linear [television] or what goes on [direct to consumer streaming] and when”, said a person who was involved in the deliberations.

“In the best-case scenario, you’d be dealing with years of legal challenges”, the person added. 

A company spokesperson declined to comment.

Breaking up the storied Hollywood group would be likely to trigger lawsuits from debt investors, while also complicating the use of Warner’s content across various platforms and networks, said the people familiar with management’s thinking. 

A corporate break-up was viewed as the “nuclear option”, said another person close to WBD’s management, but they cautioned that the situation was fluid and circumstances could change. 

Zaslav and Wiedenfels are instead looking to offload smaller assets. They are considering offers to sell Polish broadcaster TVN or a stake in Warner’s video games business, which holds valuable intellectual property to Harry Potter games, said people familiar with the matter.

WBD’s management hopes investors will remain patient as they work to turn around the company, they said, believing its true market capitalisation should be about $60bn, or $25 a share, well above the $7.88 at which it closed on Monday. WBD’s stock was down another 5 per cent in late-morning trading on Tuesday.

The group was formed in April 2022 out of a merger that was meant to help two legacy media companies, Discovery and WarnerMedia, compete in a brutal streaming battle with Netflix and Disney. 

However, it has struggled to convince Wall Street, which has sliced its valuation and put pressure on WBD’s management, to take action. The company is set to report its quarterly earnings on Wednesday. 

Since the merger, the group has focused on cutting costs and paying off debt, introducing several rounds of lay-offs and selling assets such as All3Media, the UK production company behind Fleabag. 

Its news channel, CNN, last month laid off about 100 employees, or 3 per cent of its staff, as part of a digital turnaround strategy. While WBD’s management has been keen to sell assets, the bar for divesting CNN would be “very, very high” because of its strategic importance as well as the tax implications of a deal, said one person familiar with the matter. 

This person added that WBD considered it unlikely that there would be an offer compelling enough to offset these concerns.

“[Zaslav] has also been very clear that he views CNN as a strategic and reputational asset. It is one of the flagship networks that helps us on the affiliate side,” they said, referring to the payments cable companies make to television networks to run their programming. 

Overall, WBD “should be worth significantly more. It shouldn’t take another two to three years to get there,” the person said. “But the market is tough right now and a lot of things have to go well”. 

This story was originally published by The Financial Times

Channel Closure: PBS Kids Will Stop Airing On DStv And GOtv Across Africa By 31 August 2024

PBS KIDS is an educational brand for children aged 2 to 8 years offering shows like Arthur, Wild Kratts, Cyberchase and Dinosaur Train. Operated by the Public Broadcasting System (PBS), Africa was the only international market to offer the brand following its closure in Australia in 2023.

Through the electronic programme guide (EPG), it was revealed that the last international feed will stop airing on DStv by the end of August. This would be the 12th TV channel to go dark on the platform in the year alongside People's Weather, Africa Magic Urban and Ginx TV.

We are told that MultiChoice would be extending the reach of existing TV channel likely for their Easyview consumers.

In 2022, PBS KIDS unveiled a new on air look which was designed to build on the equity and strength of the brand for today's digitally focused viewers. The blue was incorporated to acknowledge the main PBS brand with the green from its previous logo targeting younger audiences.

Two years have passed since its introduction, the feed currently seen on MultiChoice's DStv still retained the former PBS KIDS logo and also content received little marketing from PBS Distribution and MultiChoice which led to speculation of its possible demise as seen in Australia. 

Similar to WildEarth, it's likely that PBS Distribution opted to remove their channel from DStv as part of some corporate restructure.

Brand & Rights 360 took over distribution of PBS KIDS with the aim of introducing its shows to broadcasters in new territories, ensuring more children and families worldwide can enjoy enriched content. This partnership comes amid growing demand for premium children’s content across global markets.

In short, PBS KIDS which had very little presence in other countries needed a partner to help it get more exposure in these regions. That's the same story we got with Paramount+ that at some point planned to rollout a standalone service in Africa before bundling with Showmax. 

Corporate at Paramount had mentioned that getting Paramount+ in all regions wasn't that much a priority as long as they had Mission Impossible and NCIS content that generates income. In PBS KIDS case that was very much lacking outside of Arthur hence the demise of the 24 hour feed in Africa.