Give us your elevator pitch: Who is Heidi? I am kind, generous and highly energetic. I love meeting new people. I enjoy Pilates and am a foodie – that’s me in a nutshell! What series are you currently bingeing? The last series I binged was Yellowstone and I am eagerly awaiting its return.  You're based in Durbs. In three words, how would you describe the media scene? Warm, full of potential and laid-back…a lot like Durban! What is the best thing about working for Reach Africa? We have an amazing team and leadership. I adore Reach Africa's culture and team spirit; we have phenomenal guidance and support.   What is the most used app on your phone, aside from email or WhatsApp? Definitely Instagram - Facebook is only for checking birthdays these days!

From series to sports and smash hits, we round up the best content you can stream – for free. There is little better than curling up with something hot to watch when it’s cold outside.   But with Showmax having just announced a price increase and Netflix warning that another price hike is imminent, viewers after their content fix will face increased financial pressure, as big-name streamers continue to up their subscription fees to cover shrinking revenue bases.   But there is fantastic, free content out there, you just need to know where to look.   South Africans now have access to more than 30 streaming services. While some are starting to introduce ad-funded tiers, many of these streamers have been there from the get-go, with hybrid or advertising video on demand (AVOD) models, which sees viewers enjoying free content subject to a few ad interruptions.   These are great options for those watching their rands and cents, or even those who just want to add to their viewing options, with no additional cost attached.”   Here are our picks from across the world of entertainment that you can stream – all without hurting your wallet.   Missing your 7de Laan fix? Indulge in Nordic Noir on Viu Nordic Noir is an exciting genre of crime fiction set in Scandinavia that has seen a sharp rise in popularity over the past few years, thanks to its dark, morally complex and riveting storylines. Viu South Africa has recently added four Nordic Noir hits to its library – Trom, Snow Angels, the Dark Heart and Max Anger –  With One Eye Open – with each show dubbed in Afrikaans. For viewers missing the drama and scandal of 7de Laan, these filled-with-intrigue shows are sure to satiate your appetite, and best of all, viewers can watch on Viu for free.   For football fanatics, re-live your favourite football moments on Fifa+. Football fans can stream all-world, top quality football content for free on Fifa+. Go behind the scenes of the world’s most riveting games, relive football’s best moments and watch full match replays from previous FIFA World Cups.   Need some entertainment for the little ones? Check out YouTube Kids. You don’t need a pricey streaming subscription to entertain your kiddies: YouTube’s dedicated children’s channel has a great selection of free, ad-less shows for little ones, with tight parental controls that allow you to keep tabs on exactly what your little ones are watching – and for how long.   Looking for good LGBTQ+ movies and shows? Stream on eVOD. eVOD serves up a great variety of LGBTQ+ movies and shows, which viewers can stream at no charge.

Listen up. “The way young audiences consume content is less determined by broadcast schedules and more driven by curated choice.”

Tell us something we didn't know about you. I’m probably the only South African who doesn’t like a braai. However, this doesn’t detract from my overwhelming sense of patriotism!   What series are you currently bingeing? Viu’s new Nordic Noir content, with Afrikaans dubbing:  Trom ,  Snow Angels ,  The Dark Heart ,  Max Anger - With One Eye Open . They are brilliant!   What is the best part of your job? Matching content to our audiences and being able to live track the performance of that content. You know very quickly if you’re on the right track (or not)!   If you were a fruit, what would you be and why? Probably a blueberry since it’s delicious; rich in antioxidants and nutrients with lots of health benefits, which is why it’s considered a superfood. I’d like to believe I’m a good human, bringing positivity, enthusiasm and knowledge to the spaces where I operate.   What is the one thing you want advertisers to know about Viu? We are a fantastic OTT streamer that services a core South African audience via a free platform, offering opportunities for access and engagement. An advertiser’s dream!

The data is in, and it’s official: things are not looking  good for South African television. Especially when it comes to younger viewers.   The latest MAPS data overview from the Market Research Foundation shows a massive decline in television viewership over the past two years: In Q1 2021, 72% of respondents claimed to have tuned into a TV channel in the past week, while in Q3 2023, only 54% said they had. And this is only expected to grow, with loadshedding anticipated to make its comeback as the country enters its post-election era and settles into winter. In parallel to this, streaming is growing – and FAST. According to the Broadcast Research Council of SA,  almost a third of TV viewing now happens online. An estimated eight million South Africans now have access to a plethora of streaming services .   According to the MAPS data, Gen Z is driving the shift to streaming (42%), followed by Millennials (41%), with Boomers only making up around 4%. And, as expected, Gen Z’s viewing happens mainly on mobile.   This evolution away from traditional TV makes sense, when you consider that more so than any previous generation, Gen Z's life is lived on demand. If they want something to eat, they can order a takeaway via Uber Eats with a simple tap. If they want to listen to music, Spotify will not only find them the exact song they're after but will also curate playlists for them based on their demonstrated preferences.   And when they want to watch something, there are now over 30 streaming services available  locally, which they can toggle between to their heart’s content on any device of their choosing, earning them the title of ‘ Netfickle .’   To understand the mindset of Gen Zs and younger Millennials, you need to consider the context. This generation grew up during the most optimistic time in SA's history; they were born after apartheid, the much-loved Nelson Mandela was president, and SA had just won the Rugby World Cup. It was SA’s golden years; a time of joy, consolidation and celebration.   But then they discovered hardship. They saw a recession, State Capture, a pandemic, several wars, the cost of living crisis, and a host of other challenges. They know real depression. They've seen how easy it is to lose everything you've worked hard for.   And so they prioritise happiness and experiences over stability. They might not prioritise owning property; they may prefer renting and rather spending their money on something that brings them status and joy now . They want experiences over luxury items; fulfilment over stability; they believe there are multiple ways – not only one way.   It is this growing up with life on demand that has steered them firmly away from the ‘appointment viewing’ offered by linear TV. Gone are the times when the household would plan the day around watching a show that airs at a certain time – Gen Z has never really known this reality, having grown up in a world powered by the internet.   They won’t wait till 7pm to watch the news or catch the morning papers – they will scan a news site immediately when they want to know something. And those that are doing well understand this – most of Disney’s new releases now happen on its Disney + app at the same time that they appear on cinema, for example.   Free will play a key role here. With the rise of AVOD and hybrid streaming services such as Viu – which has a huge youth viewing contingent and features SA’s biggest shows such as Skeem Saam and Uzalo – paid TV has naturally become the biggest victim of streaming. Free TV is still doing well,  with SABC 1 being the country’s most-watched channel, followed by E-tv, SABC 2 and SABC 3. However, what we’re now seeing more and more – especially among younger SA viewers – is ‘platform stacking’. They might glance at the TV when it is on in the household and be pulled into a show, but their viewing is mainly happening online via streaming platforms such as Viu, at their convenience. And don’t believe the myth that expensive data is a barrier to entry; Gen Z has found a way around this, and best believe they are getting their content. There is no doubt that the streaming landscape is the space to watch right now, and it will be interesting to see how it evolves over the coming months.

You’ve been planning your new advertising campaign for months. Marketing budgets have been blown on a television commercial (TVC), media has been booked, and finally – after spending what felt like weeks in post-production (but which, in reality, was really only a few days) your new ad is ready. And it’s the perfect blend of need-to-know product info and humour, packaged into a punchy 30-second format that has Loerie written all over it. You cannot wait for your audience to see it and for those product sales to roll in.   Except… when the TVC flights, the sales aren’t rolling in quite as you expected. Perhaps your half-a-minute masterpiece missed the mark? Or, could it be that the number of people who actually watched your ad was a whole lot lower than you thought? It’s very likely the latter, as an estimated 80% of TV commercials are found to have no effect at all. There are a couple of possible reasons for this.   Viewers are now consuming their broadcast content in a number of ways and across multiple channels – not just linear TV. Streaming audiences are growing, and while many streamers are now starting to introduce advertising-funded subscription tiers (while others, such as Viu, have been there from the get-go with a hybrid subscription and advertising-funded model), a great deal of streaming content is still without ads. In fact, Nielsen’s Gauge study recently revealed that almost half of the total streaming market is ad-free. As a result, you could be missing audiences entirely.   And if your ad is online, you’ll need to contend with the growing use of ad-blockers. According to the report , Ad blockers and advocacy: Why Gen Z is blocking paid ads in favour of real voices, almost 100% of Gen Zers will skip a commercial if given the option, and 63% use ad blockers to side-step online ads.   Yet another factor is the so-called ‘attention economy’, with one study from Microsoft Corp finding that the average human attention span has shrunk from 12 to eight seconds. But, as Adams points out, if our goldfish attention spans are solely the problem, how are we spending hours binge-watching series or doggedly scrolling through Instagram?   The issue is more likely to be a lower tolerance for that which interrupts us from doing what we want to do. Now, there is much more noise and far more brands vying for our attention – and we have a lot less time. If an ad can be embedded into content in a way that seamlessly holds the consumer’s attention, then that brand has a fighting chance.   According to research from Lumen, an increase in ad view time is directly correlated with an increase in sales, finding that a commercial watched for three seconds meant a sales conversion on 50% of occasions.   Picture this. You’re watching an episode of Generations, and your show is interrupted by a Steers advert, right at a cliff-hanger scene. Frustrated, you use the opportunity to check your emails on your phone. For the brand, this disruption was a missed opportunity to connect.   Now, imagine if that cliff-hanger scene was built around the brand. There’s Karabo and Tau tucking into a juicy-looking burger while plotting the demise of their rivals. You’re no longer annoyed – and when dinner time rolls around, a subconscious craving has been ignited, so you open Mr. Delivery and order a Steers burger.   This is the power of brand integration, which refers to the incorporation of brands or products into content. It provides a powerful opportunity for brands, as it allows them to reach consumers in a receptive space, and in a way that is unskippable and unblockable. Brands can be integrated into influencer content, the script of a TV show, and even in-game advertising.   Here's three things for marketers who are keen on exploring brand integrations to consider.   Know your audience Rule number one of advertising applies here too: know your audience. Are they watching Skeem Saam or The Crown And is this show an organic fit for your brand? Does your consumer spend the bulk of their time on TikTok or playing Candy Crush? Do they catch their favourite shows on their TV, laptop or mobile phone – or perhaps all three?    You need to know what your target audience looks like; the content they’re consuming, and how they consume that content. Then, tap into these insights and find a way of delivering your message in a way that resonates with them.   Understand platform and context TikTok has taken every social media lesson and cultural moment and rolled this out at scale and speed, making certain brands or products fly before the advertising world even truly comprehends how to tap into this.   Understand the platform opportunities that exist, identify the ones that make the most sense for your brand and then figure out how to leverage these. For example, gaming – which sees a captive audience – offers an opportunity to insert your brand into this virtual world, such as an outdoor billboard on a football field or next to a racetrack  – but, it needs to make sense for your brand.   Work with the right partner As this is a relatively new world – and with platforms and audience preferences evolving at rapid rates  –  it is important to work with a partner that specialises in integrations, with the necessary network, knowledge and expertise.   That’s where Reach Africa comes in. The right brand integration partner will help you identify the best platforms and approach to connect with your audience, helping you get real return on your investment.

Give us your personal elevator pitch. I am passionate about creating opportunities and empowering others. To me, the hallmark of great leadership is walking into an environment where everything is running smoothly, and nobody even knows who the leader is. In the future, how do you see the world of brand integration evolving? Brand integration will evolve to the point where the audience seamlessly engages with the brand without even realising it. The fit between the brand, content, and audience will be so natural that the brand presence feels intrinsic. Following this integration with a direct call to action and opportunities for brand engagement will define the future of successful brand integration. What series are you currently bingeing? The Bear on Disney +, Owning Manhattan on Netflix, and The Outing on Viu. How do you take your coffee? Black, no milk, no sugar. What is one thing you want your advertisers to know about Reach Africa?  We prioritise working closely with our customers to truly understand the challenges they face. By doing so, we can better assist and serve them, breaking through perceived barriers to help them achieve their goals.   The one thing they should know is that they can always challenge us.

Viu South Africa is adding thrilling new Nordic crime dramas to its diverse library of local, Korean, Turkish and international content. But there’s a lekker twist: the hit Scandinavian shows, which include the acclaimed Trom (25 June), Snow Angels (2 July), Max Anger - With One Eye Open (9 July) and The Dark Heart (16 July) have all been dubbed in Afrikaans, adding to their local appeal.   Thanks to the success of blockbusters such as The Killing and Girl with a Dragon Tattoo , Nordic Noir – a genre of crime fiction set in Scandinavia – has seen a sharp rise in popularity over the past few years. The combination of stunning yet stark icy landscapes and complex, dark storylines that so beautifully juxtapose a calm and stoic setting with a morally bankrupt and dangerous underbelly, has resonated with viewers across the globe, and now Viu is bringing these twisting tales back home for South African audiences to enjoy.   With viewers demonstrating a growing appetite for diverse and authentic international content made accessible through dubbing – as evidenced by the popularity of shows such as Squid Game – the addition of Afrikaans to the four shows is anticipated to further entice South African viewers. Crime drama and mystery Trom , set in the isolated island community of Faroes, follows journalist Hannis Martinsson, as he sets out on the trail of a compelling story after the body of a missing animal rights activist is discovered in the midst of a local whale hunt. Was the activist really who she said she was? And will his digging for the truth make him collateral damage? Snow Angels tells the story of a five-week-old baby who disappears from home a couple of days before Christmas, while Sweden is paralyzed by a debilitating snowstorm. But as police officer Alice soon discovers during her investigations, the family may be hiding something. Max Anger - With One Eye Open is a thriller about ex-Swedish military member Max Anger, who finds love with a Russian colleague. When she disappears in St Petersburg after discovering something dangerous, Max goes after her, determined to track her down – but soon his quest turns deadly. In The Dark Heart , an investigation is launched when a wealthy landowner goes missing after giving her daughter an ultimatum: end her relationship with the son of a rival farmer or lose her inheritance. The story follows Tanja, an investigator with Missing People Sweden, who soon For advertisers, this new content offering presents exciting inventory options. Contact your Reach Africa sales representative for more details.

By Leslie Adams, Sales Director at Reach Africa As first published in the Media Annual. The other day, my three-year-old came across a landline telephone for the first time while at the paediatrician. This non-functional telephone was part of a “busy board” set-up equipped with locks, dials and other things to fidget with, intended to keep hyperactive toddlers entertained (and distracted) while awaiting their turn to see the doctor. He asked me what it was, and I told him that it was a phone. “No, he said, quite certainly. “that’s not a phone. That’s a phone,” he explained, pointing instead to my mobile. It occurred to me that he had never before, in his three short years on earth, seen a telephone up close; my wife and I – like most millennials – only have cell phones. No landline to speak of at home, despite it being such an important fixture in our childhood. We’ve come a long way in a few short decades. In the early days of telecoms, the battle was between the landline and the mobile phone. The incumbent was cheaper, already-scaled and government-funded, meaning almost every home had a landline and even rural villages shared a centralised line. So when mobile was introduced at a higher cost –  for both the device and call/SMS charges –  telecoms needed to find a way to drive mass usage, as cellular phones, at that time, belonged predominantly to the business elite. How did they do it? Pay as you go. Slowly, landlines started to become redundant and today are seldom seen, barring office blocks. Cut to 2024, and not only are we seeing parallels between the landline vs cellphone scenario with linear TV vs streaming, we’re also seeing it in the way we’re tuning in to our streaming services. Consumers now want over the top (OTT) providers that allow for the incremental consumption of content through more flexible payment offerings and hybrid subscription models. We don't want contracts or commitments, we want the “pay as you go” content option in streaming. Telco banks, always one step ahead, have seen this, and are feeding our consumption. You can also forget your password-sharing crackdown, we're finding new ways to side-step and watch as a community. But let’s take a step back and take a look at where we’ve been, where we are now, and where we’re heading. Yesterday, today and tomorrow. Yesterday. In the beginning, there was live TV, with the news, sports and all your favourite shows that you planned your weeknight dinners around. Then streaming arrived, with a whole lot more content, and grew at a steady pace. Then in 2020, the Covid-19 pandemic hit. Not only did digital transformation speed up, but so did our consumption patterns change. The work day shifted with people no longer slaves to the 8 am – 5 pm, and with this, so did “appointment viewing” start to fall away. People wanted to be able to watch what they wanted when they wanted. Live TV viewership declined in direct proportion to the increased eyeballs on streaming services. Then loadshedding ramped up, and things escalated even further. All of a sudden, people were charging up their devices in power hours, downloading their favourite series from Netflix or Viu, and beginning their binge-athons when the lights went off. Enter the acronyms: OTT/VOD/FAST/SVOD/AVOD/BOD/TVOD…all of these speak to the new chapter in how our broadcast content is consumed. In international markets, the last few years have seen live television replaced with streaming as the primary content delivery mechanism. And locally, we’re not far behind. Today. Globally, streaming is now well-established, while in South Africa alone, viewers have around 30 streaming services currently at their disposal. With proliferation resulting in more options than ever, the industry is faced with huge amounts of churn, with viewers toggling between subscriptions in search of the content they want to see at any given moment.  In the Age of Curation, platform-switching is the new channel surfing. Moreover, with South Africans facing continued financial strain, we’re extremely cost-conscious and want those platforms that will give us most bang for buck – or rather, most content for cash. It’s an environment that is highly competitive, which has forced streaming providers to explore new ways to monetise their businesses. The streaming landscape, originally known for its walled-off gardens, is now becoming a welcome home for advertisers as platforms look to move their business models to a more ad-friendly environment and unlock new revenue streams. With evolving business models, we have seen subscriber month-to-month models – similar to Pay TV – introduce ad-funded tiers, much like free-to-air TV. Seen through an African lens, you can expect more of these hybrid subscription video on demand (SVOD) and advertising video on demand (AVOD) models, flexible payment options (subscribe for a day or a week!) and offerings built around community-centric based viewing. We’re not quite there yet, but we’re headed that way. Tomorrow. As a result of this current status quo, we can expect the streaming industry to soon enter its Consolidation Era. The impending acquisition of MultiChoice; the merger of Discovery and HBO to launch “Max”; the evolution of Disney and ESPN – all of these point to a growing desire for a more centralised, less fractured streaming environment. Smaller players have run out of funds while boards are under growing pressure from shareholders to increase profitability. But for consumers who’ve been struggling with the rising cost of living for some time, these moves may already be too late. We’ve realised that free ad-supported options are not so bad, and are more than happy to watch our favourite shows in exchange for a few ads – in fact, we’ve been doing this with YouTube for years already! Then there’s the murkier side of the coin; dubious third-party sites and many, not-altogether-legal options to get all the content we want without paying for multiple subscriptions. Now enter artificial intelligence. How it will transform streaming remains to be seen, but there’s no doubt it will. The full realm of possibilities sit well beyond my imagination, but I expect that AI will introduce a whole new level of personalised content, evocative of Black Mirror’s Bandersnatch, where viewers can interact with their content and play a role in the outcome. This will allow users to explore many storylines previously unexplored, purely based on the shortage of manpower and budget. From a content perspective, it could lead to people being able to watch each and every show according to how they would like the story to unfold. And for advertisers? It would bring the incredible opportunity to target audiences with highly relevant contextual ads tailored to them as individuals, rather than over-generalised demographical groupings. Streaming is the ultimate merger between digital and traditional advertising. While we see loadshedding eating away at linear TV's reach, the streaming industry, much like the rise of the mobile phone a few decades ago, is now growing at a rapid pace. Ten years later, it is deeply entrenched and a fundamental part of our daily lives. So brands and marketers: you’d be wise to make that call.

By Leslie Adams, Sales Director at Reach Africa Tell us one thing no one knows about you. I am extremely competitive and live my life with a 1% better everyday mantra. What does a day in the life of Leslie look like? Every day is a blessing (even as a Manchester United and Kaizer Chiefs supporter). What series are you currently bingeing? My son and I have way too much screen time - our current favourites include Bluey, while my Mrs and I have just started the new FX show, The Veil. How do you unwind? The simple answer is I don’t, no parent of a toddler does, but my wife and I occasionally indulge in "if we won the lotto" talk - right before we get back to work. How will the elections impact the media landscape? The South African media landscape mirrors how we as South Africans live, so although the landscape remains unpredictable it will also remain resilient.

While whether Showmax will deliver on its promise to “change the game of streaming in Africa” remains to be seen, so far the new version of the streamer, which launched in February this year, has been embraced by South Africans. For those wanting to make it in Africa, there are lessons we can learn from its about-turn, but first, we need to back up a bit. Consider that when Showmax first launched in South Africa in 2015, its model was a copy-and-paste of Netflix, with similar pricing and a content library dominated by Hollywood. This was a model that had been proven to work – at least, in first world countries or for a small percentage of South Africa’s total population – a country notorious for having the biggest gap between the haves and the have-nots in the world. Soon, however, its subscriber growth began to stagnate and it was forced to question whether its current iteration was really the best path to growth. A realisation must have dawned: if we want to be successful in Africa, we need to operate in an African way. Everything it has since done – from its bundled offering and its affordable pricing model; to its curated approach when it comes to sport, and its focus on local content – all point to the fact that the streamer has looked at its market carefully, de-Americanised its offering, and created a new value proposition tailored to the African consumer. This pivot marks a broader shift, which extends beyond the streaming sector to just about every facet of commerce. We cannot replicate business models that work in other markets and expect them to work here – we need to do things the African way. The global deadlock In the early golden era of streaming, the thinking was that by leaning on massive budgets and delivering content hits, success was guaranteed. The traditional streaming model typically saw the acquisition of a classic content library, driving access through low-cost trial plans and locking in loyalty through investment into originals. Shows were dropped at a steady rate while the subscription fee was gradually raised so the user hardly felt it, kind of like the frog being boiled alive. But eventually, the boiling point was felt. We’ve arrived at a global deadlock: subscriber bases are saturated, revenue growth has slowed, and the entry of new players means that the landscape is cluttered, with churn being the result. Now more than ever, affordability is a priority and the array of content options is almost unlimited. Africans will always find a way to get their content fix and this insatiable hunger will come at the expense of subscriptions. The African half-truth There are a couple of misperceptions about Africa, or at least, long-accepted half-truths that need a more nuanced view. These include the belief that data costs are prohibitive, video content doesn’t work here, smart device access is limited, and piracy is rife (true – but this is certainly not a uniquely African problem). Yes, data is more expensive here than in many other markets, but prices are dropping by 30% on average every three years, as government and telcos make massive strides to improve internet access. And if streaming doesn’t work here, explain the 25,8 million South Africans that tune into YouTube every month? Or the fact that Viu, eVOD and DSTV Stream account for over 300 million minutes of streamed content every month? Or that we have more than 30 premium streaming services in SA today – and counting? Making it in Africa – what matters Showmax is not the first to this party, as it has simply realised what certain emerging markets players, like Viu – which entered SA in 2018 and today has a large audience of monthly active users – have known for years, and that is that innovation doesn’t only come from the first world. So for those who want to make it in Africa, it’s critical to think context and understand what makes our market unique – and then design our offering through this lens. Consider that… Africans are community-centric. Forget password crackdowns. Africans consume content as a community. Face it, and then embrace it so that it becomes part of the very fabric of your business. Access is everything. Make it easy, make it affordable. Better yet, make it free.  Offer a payment mechanism that works for Africa (hint: debit orders and steep monthly subscription fees ain’t it.) Think incremental payment bundles, mobile-data access built-in to purchase options, and ad-funded tiers. Local wins. We all want stories that resonate with us, and local content is the pathway to viewers’ hearts. If you want to operate in Africa, you need a locally-led strategy. Full stop.

We’ve rounded up our top picks of the most binge-worthy shows from your favourite streamers. You’re welcome. Skeem Saam It’s Viu’s most-watched show for a reason. This SA drama shines a light on the plight of today’s African boys, and the challenges they face transitioning into manhood. Kick back with the Kunutus and friends while you stream the first three episodes for free. Available on Viu (first three episodes free) and SABC 1 Our rating: ⭐️⭐️⭐️⭐️⭐️ The Story of Park’s Marriage Contract If you’re still riding the K-wave hard after Squid Game, this K-drama is for you. The show follows the story of Park Yeon Woo, a lady from an influential family in the 19th century, who suffers a tragic fate when she loses her husband. In a fantastical twist of events, she travels through space to present-day Seoul, only to be saved by a man who looks eerily familiar… Available on Viu (first three episodes free) Our rating: ⭐️⭐️⭐️⭐️⭐️ The Gentlemen We’re loving the criminal antics of British high society in this posh and perilous new show by Guy Ritchie. When aristocratic Eddie inherits the family estate, he discovers that it's home to an enormous weed empire — and its proprietors aren't going anywhere. Available on Netflix  (R199 per month) Our rating: ⭐️⭐️⭐️⭐️⭐️ Tracking Thabo Bester Racking up the most-day first views of any documentary on Showmax ever, Tracking Thabo Bester is a true-crime look at the convicted murderer and rapist who was the most-Googled person in South Africa in 2023, earning him the title of Daily Maverick’s “SA Villain of the Year.” Available on Showmax  (R89 per month) Our rating: ⭐️⭐️⭐️⭐️⭐️