Netflix is increasing its investment in South African television and film production as competition for audiences evolves, regional streaming businesses confront financial pressures and regulators reconsider how internet-based services should operate.
The streaming company is now producing between 15 and 20 South African shows and films annually, up from a previous range of eight to 12 projects, according to Kaye Ann Williams, who oversees scripted content in sub-Saharan Africa. The figure covers scripted and non-fiction productions but excludes third-party titles licensed for distribution.
The expansion comes as the economics of African streaming face renewed scrutiny. MultiChoice, now part of Canal+, announced in March 2026 that it would discontinue Showmax following what it described as unsustainable annual losses. Meanwhile, South Africa’s broadcasting and telecommunications regulator is preparing to revisit an inquiry into the impact of over-the-top (OTT) services, including streaming platforms, on existing market participants.
These developments present opportunities and challenges for Netflix, but they do not establish that the company’s production strategy will necessarily translate into greater market share or improved profitability.
Netflix entered South Africa in 2016, initially competing with established broadcasters and subscription television operators. Its subsequent investment has helped expand the range of locally produced content available to audiences, while creating work for actors, writers, directors, technicians and businesses supplying the production industry.
In September, Netflix marked its tenth anniversary in the country, reporting that its partnerships with more than 30 local production companies had supported over 8,000 jobs. The company also said its catalogue had included more than 300 South African titles, with productions filmed across 20 cities in eight provinces. These figures are company-reported measures of its industry footprint rather than an independent assessment of permanent employment or the net economic impact of its activities.
The scale of investment is also significant. Netflix reported spending more than R4 billion on South African productions between 2021 and 2024, equivalent to an average of approximately R1 billion annually over that period. However, this historical figure does not establish the company’s expenditure in 2026 or the amount allocated to individual production categories.
The commercial rationale extends beyond South Africa’s domestic audience. Productions rooted in local experiences can potentially attract viewers elsewhere, allowing the company to distribute African stories through its international platform. One example is The Polygamist, adapted from a novel by Zimbabwean author Sue Nyathi.
Netflix reported in August that the 22-episode drama had accumulated 27.6 million views, reached the platform’s global top 10 in 62 countries and spent seven consecutive weeks on its global ranking for non-English-language series. These are figures published by Netflix and should be understood within the company’s own audience-measurement framework.
The series illustrates how stories developed within Southern African social settings can find audiences beyond their original market. Its source material also highlights the regional nature of the creative economy: a Zimbabwean author’s work adapted into a South African production and distributed internationally.
Such cross-border circulation can create opportunities for writers, performers and production companies. Its wider economic value, however, depends on factors including remuneration, intellectual property arrangements, repeat commissioning, skills development and the proportion of production expenditure retained by local businesses.
The discontinuation of Showmax adds another dimension to the market. Canal+ said on 5 March that the decision followed a review of the platform’s financial performance and substantial annual losses. It stated that the closure would not involve retrenchments, while employees would be supported through transition arrangements.
Showmax’s exit does not guarantee a corresponding increase in Netflix subscriptions. Former customers could migrate to other services, return to traditional television, select lower-cost entertainment options or reduce their spending. Their decisions will depend on pricing, content availability, payment systems and household purchasing power.
The development also raises questions about the sustainability of African-owned and regionally developed streaming businesses. Local content can differentiate a platform, but commissioning costs, technology, marketing, distribution and subscriber retention all influence whether that investment produces a viable business. Netflix’s international reach offers advantages, although the financial performance of individual services cannot be assessed solely by the popularity of their programmes.
Regulation remains another variable. On 1 October, the Independent Communications Authority of South Africa (ICASA) confirmed that it had withdrawn notices concerning proposed inquiries into OTT services and telecommunications affordability to address administrative and procedural matters. It said the OTT notice would be republished with clearer guidance for public participation.
The debate includes calls from telecommunications interests for major digital platforms to contribute towards network infrastructure costs. Supporters argue that growing internet traffic creates investment demands for network operators. Streaming companies and other digital-service providers may question whether separate contributions are justified where consumers already pay for connectivity.
As of 13 October 2026, the withdrawal and planned republication of the inquiry notices do not establish that Netflix or other streaming platforms are subject to a new network contribution requirement. Any future obligations would depend on the regulatory process and subsequent decisions.
The implications extend beyond Netflix and South Africa. Across African markets, policymakers face the challenge of balancing investment in telecommunications infrastructure, affordable consumer access, competition and the development of domestic creative industries. The precise balance will vary between countries according to their regulatory frameworks, network economics and media markets.
Netflix’s expanded production slate signals continued demand for South African stories, but its long-term significance will depend on more than the number of titles commissioned. Sustainable opportunities for African creators require commercially viable production businesses, fair contractual arrangements, skills transfer and access to audiences across the continent and beyond.
For South Africa, the immediate question is whether increased commissioning can support a resilient creative industry while the streaming market adjusts to changing ownership, competitive pressures and regulatory uncertainty. The answer will depend on audience demand, the distribution of economic value and the decisions made by companies and policymakers in the years ahead.
