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In South Africa, users have numerous options for viewing entertainment content, as there are several platforms offering movies, TV shows, and live channels for free. However, it is important to remember that the free nature of a service does not guarantee its legality.

A warning arose following reports that the popular free streaming platform Plex operates in South Africa without the necessary broadcasting license. This raises an important question: how to distinguish a legitimate service?

As streaming becomes increasingly popular and subscription costs rise, many consumers seek cheaper or free alternatives. Below are recommendations for residents of South Africa before they start downloading an application or registering.

Signs to look out for

Although there is no single test to determine the legality of a streaming service, consumers should be cautious if they notice any of the following signs:

Offering premium content for free

If a platform promises the latest blockbusters, recently released series, or paid sports channels without requiring a subscription fee, this should raise suspicion. Content rights are expensive, and legitimate providers rarely offer premium programming for free.

Claiming to have all TV channels

No legal streaming platform has unlimited access to all broadcasters or sports networks. Services advertising 'all channels' or 'all sports packages' often use unauthorized streams.

Lack of company information

Legitimate streaming services usually have a professional website containing company details, terms of use, privacy policy, and customer support. A lack of transparency is a red flag.

Absence from trusted app stores

While this is not a guarantee of legitimacy, reputable services are typically available through recognized platforms such as Google Play, Apple App Store, or official smart TV app stores. Users should be wary of services that require downloading apps from unofficial websites, paying close attention to apk files, as they may be unsafe.

The price seems too good to be true

Some illegal IPTV services charge a small monthly fee while providing access to thousands of channels that would cost significantly more from legitimate sources.

Who owns the content?

Consumers can also check whether the platform identifies the studios, broadcasters, or distributors it collaborates with. Legal services generally explain the origin of their content and often promote partnerships with well-known entertainment companies.

Not all free streaming is illegal

Many legal streaming services allow users to watch content for free. These platforms usually operate on a model called Free Ad-Supported Streaming Television (FAST), where advertising pays for the content instead of subscriptions. Others offer a limited library of free content alongside paid options.

The main difference is that legitimate services possess the rights or licenses to distribute the programs they provide. Choosing legal providers helps ensure better security, more reliable streaming quality, and supports the creators and broadcasters who produce the content.

Free does not mean risk-free

However, just because something is free does not mean it is risk-free. In addition to potential copyright issues, cybersecurity experts have long warned that unofficial streaming services and applications can expose users to malware, phishing attacks, and personal information theft. Some unofficial apps request unnecessary permissions, while others may redirect users to fraudulent websites or install malicious software.

As the number of streaming services grows, consumers should remember that 'free' does not equal 'legal.' Before downloading an unfamiliar streaming application or signing up for a new service, it is worth checking who runs it, whether it has the rights to distribute the content, and if its offers seem realistic. If a platform offers unlimited premium entertainment content for a small or zero fee, caution should be exercised.

Hashem Al-Gayli, a science communicator and filmmaker, was able to bring his film ideas to life that would previously have required Hollywood-level budgets, major studios, and large production teams. This situation has changed thanks to the development of artificial intelligence (AI).

Al-Gayli believes that individual creators are no longer limited by a lack of access to expensive equipment or large crews; instead, only their imagination limits them. He noted that AI-based tools have made the production process more accessible and faster, allowing independent creators to realize projects that previously demanded enormous resources.

His works reach over 45 million subscribers across various platforms and have garnered over 100 billion views, including more than 30 billion video views. He is currently sharing his experience as a judge in the AI category at the second edition of KT+150, where he is part of a panel of 15 judges helping to determine the next generation of innovators and change-makers in the UAE.

The KT+150 list aims to recognize the 150 most active residents of the UAE aged 35 and under, with 10 laureates selected from each of the 15 categories. The public can nominate candidates themselves or on behalf of others via the specified link. Candidates will be evaluated by the KT Editorial Policy Committee and a professional judge from the relevant field.

Criteria for KT+150 Nominees

When evaluating nominees in the AI category, Al-Gayli looks not only at technical skill. Originality, quality of execution, project impact, and the underlying idea play an important role, but the strongest ideas, in his opinion, must retain a distinctly human element. He emphasized that the project must evoke an emotional response in people, rather than appearing robotic or entirely generated.

Technical skills are important, but they are not the sole deciding factor. Al-Gayli stated that skills develop over time, and having a compelling idea and vision for its realization is far more important. Furthermore, he will consider whether the project provides tangible benefit, inspires people, solves a problem, educates, or elicits genuine emotional engagement. If the work has already been published, audience reaction can provide additional insight into the depth of viewer engagement.

Al-Gayli added that the thought behind the idea is as important as the final result. He expressed enthusiasm for what he will see among the KT+150 nominees and how they use AI for storytelling and innovation.

Childhood Fascination with Science

Al-Gayli's journey began long before social media and artificial intelligence became central elements of his work. His interest in science arose in childhood when he published interesting scientific facts in children's magazines and spent hours reading about topics that fascinated him most. He recalled that science was always his favorite subject in school due to an interest in fundamental questions: the principles of how things function, the origin of humanity, and the composition of the universe.

In 2008, while pursuing a bachelor's degree in biotechnology at Peshawar University in Pakistan, he discovered the potential of Facebook as a platform for disseminating scientific knowledge to a wide audience. He began publishing educational science content on his personal profile, driven by the same curiosity that prompted him to share facts in magazines as a child.

Over time, his aspirations changed: he wanted to do more than just explain complex concepts; he wanted the audience to feel connected to them. Since he has always loved stories, films, and cinema, combining storytelling with science seemed like a natural progression. He believed that storytelling possesses an incredible ability to make complex ideas understandable, emotional, and memorable.

The Shift to Video That Changed Everything

For several years, Al-Gayli continued to publish educational science content. In 2015, he converted his Facebook profile into a public page, which allowed him to better analyze audience engagement and understand what people liked. Around the same time, he decided to transition to video content, which, according to him, 'completely changed everything.'

After this, he expanded his activities to YouTube, LinkedIn, TikTok, Snapchat, and other social media platforms. Looking back, he notes that it all started with a simple passion for sharing scientific knowledge with others. Today, his ideas can arise from almost any source: it could be a recently published scientific study, an interesting story he heard, or an old film that inspires a completely new direction.

When he finds an idea, Al-Gayli spends significant time refining it. He creates a plan, thoroughly researches the topic, and revisits it multiple times until he is satisfied with the structure and message. This iterative process, he says, is extremely important.

Although AI has become an integral part of this workflow, Al-Gayli clearly asserts that the ideas always originate from the creator. He sees AI not as a replacement for creativity, but as a creative partner that assists in brainstorming, refining and critiquing concepts, generating visual and video sequences, and realizing ambitious stories in ways that were previously unavailable.

For Al-Gayli, it is important to distinguish between using AI as a tool and perceiving it as a creative force. He concludes that ultimately, AI remains merely a tool, and the human remains the creative force that sets the direction, writes the prompts, shapes the narrative, and makes creative decisions.

Any new adaptation or series based on the Ramayana is invariably compared to classic works such as Ramanagan Saagar's 'Ramayana' or the Japanese anime 'Ramayana: The Legend of Prince Rama'. In this context, Oma Raut's film 'Adipurush' is often cited as an example of how the Ramayana should not be portrayed.

Currently, Nitesh Tiwari's film 'Ramayana' is being discussed regarding its casting choices and visual effects. However, there was another, more controversial project created in America that proved more contentious than 'Adipurush'.

In 2008, American artist Nina Paley released an animated musical titled 'Sita Sings the Blues'. This film was inspired by her personal experiences and time spent in India. Nina promoted it as 'the biggest breakup story to date.'

The film presented a light and feminist interpretation of the Ramayana, focusing particularly on Sita's pain and perspective. A 2D style, inspired by vector graphics, Indian shadow puppetry, and miniature paintings of the Rajputs and Pahari, was used for the animation. Furthermore, Nina incorporated elements of her personal life to demonstrate parallels between the goddess's experiences and those of a modern woman going through a relationship breakup. The entire film was accompanied by 1920s jazz songs.

Nina positioned this work as a call for women's justice, truth, and equality. In 2009, some copies of the film were released on DVD, and later it became available for free download on the official website.

Despite social media not being as developed as it is today, 'Sita Sings the Blues' quickly went viral online. Critics highly praised the film, noting a 100% rating on Rotten Tomatoes and 85% on Popcorn Meter. Audiences lauded both the plot and the unique animation style.

However, praise was accompanied by opposition. In 2009, the organization 'Hindu Jan Jagriti Samite' filed a petition demanding a complete ban on the film, asserting that the depiction of Lord Rama was offensive. Despite the protests, the film's popularity grew in India and other countries.

In a 2010 interview, Nina Paley responded to the dissatisfaction of Indians. She noted that for many people, Ramanagan Saagar's 'Ramayana' from the 1980s is the true story, and any other interpretation is perceived by them as incorrect. In Nina's view, people do not feel the need to watch or accept other versions.

The main feature and simultaneously the stumbling block of the film was precisely this. Part of the audience welcomed the open portrayal of suffering, struggle, and Sita's point of view, giving her a voice. Another part opposed it because Lord Rama was depicted differently from the traditional idealized image. This is what made the film a constant subject of debate.

In 2011, during a screening of the film at the San Jose Museum of Art in the USA, a protest was held by 'Hindu Jan Jagriti Samite'. Following this, screenings of the film were canceled at the StarLight Pavilion in New York and at the Art Chamber in Goa. In subsequent years, in 2017, Nina Paley also came under scrutiny due to views related to her transgender community, but her film 'Sita Sings the Blues' remains a subject of discussion. Some view it as a modern and alternative interpretation of the Ramayana, while others believe it offended religious sentiments. Currently, 'Sita Sings the Blues' is available to watch on YouTube.