As a recapitulation of Big Cat Diary 1998, Series 2 and,
The Big Cat People Podcast, Series II: Big Cat Diary Uncut
Episode 2 – "1998: Amber the Cheetah and the Battle at Bila Shaka"
Date of Release: 8 May 2023
Photo Credit: Jonathan and Angela Scott/ https://m.facebook.com/story.php?story_fbid=300837144746753&id=100044614081365
They are among the most powerful, the fastest, most dynamic creatures on earth – the big cats are back. It's now two years since our first visit to Kenya and we've come back to catch up with some old friends, and uncover the dramatic lives of new characters in the Big Cat Diary.
ASSERTED SIMON KING at the commencement of the second series. Before delving deep into what happened to our cats, let us be acquainted with its commercial success, which would eventually lead it to be a grand referential point even in the domain of wildlife conservation:
Big Cat Diary had competed against the best of the UK soap operas, not to mention Manchester United playing in the European Cup, and still emerged with its head held high. But this time we were not in BBC1 – the commissioners playing safe, not yet convinced that Big Cat Diary was ready for the 'big time'. Instead we were given a comfortable Sunday afternoon slot on BBC2, home of dedicated natural-history viewers across UK. The series had proved a success on the other side of the ocean too and our co-producers the Discovery Channel had recommissioned it for their dedicated wildlife channel, Animal Planet (Scott, Stars 33).
Half-Tail carrying her newborn into a den
Photo Credit: F. Polke
It was always a challenge for the Big Cat Team to find out the same cat, whom they tracked down, and filmed previously. But the team was kept in touch with some of the original stars, and nothing was changed to Jonathan and when he came back in September 1998, to film its second series. Shadow, Half-Tail's daughter had proved herself to be eminently capable to settle down her own home range near her birthplace. At 2.5-year-old, Shadow was still a little bit inexperienced to get things right when it came to select prey. Despite, "the true of picture of contentment" as Jonathan narrated in the series. Sure enough, she was going to have her own cubs somewhere around Fig Tree Ridge or Leopard Gorge in near future. Finding Shadow well and contended was a real treat for the Leopard Crew. As Jonathan asserts in "Epilogue 2: Half-Tail's Legacy" in The Leopard's Tale (1985, 2013):
WE ALL realised how lucky we had been to launch Big Cat Diary with Half-Tail and Zawadi in starring roles. Not a day dawned during the first series without our finding at least one of our leopards, often both. But finding a leopard isn't enough when you're making a TV programme: you need things to happen. The key to success in this instance was Zawadi. Her presence ensured that Half-Tail was more active than ever, making her easier to find (201).
Shadow, the promising leopard star of Big Cat
Photo Credit: Uschy Fillinger
But leopards are indeed the master to give a slip all of a sudden. Since Shadow became independent and, started to explore the territory on her own, Half-Tail had shifted herself to further north of the area. Nobody was certain whether she had raised yet another litter of cubs. The recording and documenting the lives of the big cats were something that Jonathan and Angela Scott, the Big Cat People have been doing since their stay there in the Mara. It was reported that in early October 1997, Half-Tail had given birth to two cubs. That happened to be her fifth litter. Everyone was thrilled to think of the prospect of having a new litter of cubs in speculation. Watching them as a thriving generation was everyone's expectation. But the predicament turned upside-down. It happened during the filming session of a television series with Paramount TV called Wild Things "at locations around the world and knew that a leopard with cubs would make the perfect story – especially a leopard named Half-Tail (Scott, Leopard's 202). Everything turned out to be quite disturbing when a young male leopard turned up in the scene right at the place where Half-Tail had given birth to the cubs:
When we arrived at the Gorge early on our first day of filming there was no sign of Half-Tail. Instead we found a freshly killed hyrax abandoned on the ground – and a young male leopard acting very suspiciously. He slunk around the rocky outcrop where we had been told Half-Tail had hidden her cubs, who by now were four weeks old. We watched with mounting concern as the male disappeared into a cave, quickly re-emerging with the body of a cub dangling limply from his mouth, fresh blood on his throat. He entered the cave a second time and again emerged with a dead cub in his mouth. Not a sound had been uttered (Scott, Leopard's 202).
Above: The invading male in Leopard Gorge with Half-Tail's cub
Credit: BBC (Source: Big Cat Diary 2002, Series 4, Programme 8)
Below: Half-Tail bidding farewell to her daughter Taratibu
Photo Credit: F. Polke
Earlier in 1994, Half-Tail had already lost her daughter Taratibu to a lioness, highlighting the harsh fact of difficulty of the survival of the young cubs amidst the prowling presence of the big predators such as lions and hyenas. Meanwhile, in the second series, Half-Tail was proving more difficult to track down. The reason was revealed very soon. She had become a mother once again- this time a male and a female, a litter of two. The cubs were about 5-month-old at that point and unlike their elder sister Shadow and their mother, these cubs were extremely shy. Half-Tail had never raised two cubs together in a single litter. All her surviving three offspring, as already mentioned, were the lone survivors among their siblings. In fact, Shadow was born along with a male sibling, but after a few weeks of their birth, her brother had gone missing. Living amidst the lions and hyenas is a serious threat to the leopards. In those areas, where leopards are the top predators in the hierarchy, they do not even feel it necessary to stash their kills high up on the tree. But here in Mara, they are bound to do this. However, age had affected the agility of Half-Tail. During the final days of filming of the second series as seen in Programme 9, she was struggling for providing her cubs with enough meal. At one point while trying to pull up a carcass of an adult male impala, she lost her balance and one of the cubs was about to be smashed by the force of the fall.
Half-Tail in her twilight with her last litter of cubs
Photo Credit: Jonathan and Angela Scott/ Big Cat Diary Leopard (2003), p. 12
Half-Tail was living at the edge of Mara Conservancy and at one point while being courted by a male, she or her mate killed livestock. She was bowed in the upper palate of her jaw by a Maasai herdsman. "This caused an arrowhead to lodge deep in the roof of her mouth, its sharp tip lacerating her tongue each time she closed her mouth" (Scott, Leopard's 204), narrates Jonathan. The Park Conservancy called the vet and she survived. But, how on earth the future of her new cubs would get an accomplishment? That remained a question.
Branch-Balcony: Half-Tail with her daughter
Photo Credit: BBC
The cheetah Crew, however, was on the trail of a renowned legend of Mara. At the beginning of Programme 1, Simon King introduced the audience to Amber, who was often fondly called Queen by the guides and the drivers:
This is Amber, a matured female cheetah and just one of the feline stars in the Big Cat Diary. She is an experienced and accomplished hunter which is just as well because at the moment she has her work cut out for her. She is mother to three well-grown cubs. Two males, which are already bigger than she is, and a female.
In fact, she could have been well-featured in the first series but as Amber was not having any cubs to provide with a much-needed glance or action, other families were chosen then. Amber's three boisterous sub-adult cubs were highly demanding, prompting their mother to be frequently active in hunting. She was at her peak and her determination was brilliantly captured by Simon in the series:
When stalking she is the embodiment of concentration and stealth. Unlike her cubs Amber unwilling to launch an attack unless she is confident that the outcome will fall in her favour. The subtle combination of conditions including cover, prey type and mood, light, wind and terrain all play their part in her decision as to whether or not she should launch her attack.
Amber on a termite mound
Photo Credit: Jonathan and Angela Scott/ Big Cat Diary Cheetah (2005), p. 67
Though Amber happened to be a new face in the progression of Big Cat Diary, she was something of a legend in Masai Mara. The bestowal of her name Queen was a tribute to her frank habit of jumping on the bonnet of vehicles and sitting there in a regal gesture to have a glance of the horizon. For Big Cat Diary, occasionally it turned out to be impossible to delve deep into the lineage and the past story of the cats within a structured time-frame, prompting them to chronicle a series of special broadcast consisting of six episodes, namely, Big Cat Diary: Family Histories. Although the Family Histories were more of serial incorporation of the events that happened to the particular cats over the years rather than any serious commitment of digging out the necessary backgrounds of them. This could have been much appealing and, all the essential prospects were there. Jonathan Scott recalls:
[...] I had watched [Amber] as a young cub in the Rhino Ridge area during the dry season of 1987. At that time she was one of five cubs. Some months later the family moved and the mother was seen hunting around Leopard Gorge. Not long afterwards, she was mortally wounded, probably by a leopard or lion; leopards are a major cause of death of adult cheetahs in the wooded areas. The cubs were seven to eight months old at the time of their mother's death, far too young to survive on their own, so the reserve authorities took the decision to provide the cubs with 'kills' – gazelles and impalas shot by rangers – until young cheetahs were capable of surviving on their own, and ensuring that they did not end up in captivity. So Amber grew up believing that vehicles meant the possibility of a meal. That is how she became so relaxed around us – and earned her name as Queen (Stars 34).
Family Time: Amber and her three cubs
Photo Credit: Jonathan and Angela Scott/ Stars of Big Cat Diary (2009), p. 34
Tourists enjoying the speculation of having Amber and her cubs in a proximity
Photo Credit: Simon King/ https://www.mindenpictures.com/search?l=3
The Cheetah Crew was predominantly devoted to the hardships and good fortunes of Amber and her three cubs. A few weeks later, Amber was suddenly disappeared, leaving her cubs completely on their own. The cubs were not yet well acquainted with the ups and downs of real life. In spite of that, they tried their best to have meals on their own for few days but suddenly Amber made a surprising reappearance to her cubs. It was just an initial lesson to them and, turned out to be just a flicker of cheetah custom before the final split in the family. Against all the assumptions of the splitting, Amber and her cubs were still together in the final phase of the filming. With Amber's devotion and ultimate commitment as a mother, the cubs certainly had a brilliant start in their life.
Feline Affinity: Amber and her cubs around presenter Simon King's vehicle
Photo Credit: BBC (Above), Angela Scott (Below)/ https://www.mindenpictures.com/search?l=3
This year the situation was completely changed with the Marsh Pride of lions. Four adult females- Bump Nose, Old Girl, Kali and Notch were still serving the core of the pride, joined by one of their younger relative called Blondie. Scar, (erstwhile named as Brown Mane) a completely new male, had successfully taken over the pride, sharing power with Scruffy, his slightly less impressive looking coalition partner, giving the pride an ultimate shape of contentment and grace. Unlike the lack of assurance and a relatively nonchalant behaviour of the first series, the Marsh lions bounced back with all the promising layers of action. A whole new generation of eleven cubs was born, sired by Scar and Scruffy. The life of a dominant male is a tough one. Scruffy, the younger male, was almost certainly unrelated to his partner Scar. At the age of nearly six years, he never developed a thick mane —
Scar and Scruffy, the new pride males
Photo Credit: BBC
Courtesy: Jonathan Scott
The males could not have looked more different. Scar was a magnificent animal, large-bodied and resplendent in a luxuriant ginger mane that was turning black on his chest. Scruffy was so called because of a mane that would remain sparse all his life rather than thickening and darkening with age.But looks can be deceiving. Scruffy was a warrior, braver and more combative than his regal companion, even though he was younger. Perhaps the two males had joined forces as nomads or been born to different lionesses within the same pride: the majority of male coalitions in the Mara consist of just two lions and in many instances they are not related. On his own a male struggles to take over and hold pride. Together Scar and Scruffy had a future (Scott, Stars 35).
Above: Scar guarding the kill that was made by lionesses
Photo Credit: BBC
Below: Kali the lioness from the older generation and the longest standing member of the pride, featured in the show
Photo Credit: BBC
Scruffy, even at one point, proved his ultimate solitary by chasing off a few buffaloes ("The younger male charges to the rescue. He has fought hard to win this territory and these cubs are his futures" – what a brilliant narration!) that were annoying one of the pride females who had three tiny cubs in the thickets while Scar sought a refuge. They would have to go on with such a strong bonding so that their offspring would survive. The cubs were supremely thriving with the advantages of the situations. Though they are the top predators of Mara, sometimes, they too have to face the harsh realities of life and if that reality comes in form of a herd of buffalo, the situation got really grimmer. During the filming, the pride had suffered a brutal attack from a buffalo herd, explicating the fact that even the lions too are not invincible. The entire massacre was broadcast in Programme 8. Jonathan Scott summarises the situation:
It is the noise that I remember most, the lionesses' deep, rumbles of threat and fear, mixed with the grunts and throaty clicks of the buffaloes as they try to destroy the cubs. The buffaloes have smelt the lions among the croton thickets – now they can see them. They thunder forward, scattering the cats in all directions. The lionesses try to divert the onrush – they have seen all this before – attempting to draw the bulls away as the cubs panic and run into the open, terrified. From the buffaloes' point of view this is all about 'mobbing' the lions, trying to force them to move so they can eat and drink in peace. Killing lion cubs – even adult at times – helps to underline to even the most powerful of predators that buffaloes are not to be trifled with: a potent form o anti-predator behaviour (Stars 41).
Buffaloes prefer the waterholes in the Marsh, the heart of the lion territory
Photo Credit: BBC
Contrary to the magnanimity of the disruption, only one cub died in that trampling massacre. However, two other females turned up in the scene and acted the role of significant supporting casts. Gimpy and Old Red were two such lionesses, who once were supposed to be the part of the Marsh Pride but in this series, when they turned up, they were living very much as a splinter group. It was the Red females whom, Gimpy's well being was mostly depended on. She eventually had developed an injury on her right hind leg. So, hunting down something was not at all an easy task for her. One of the dramatic events was that when both of them were trying to entrap a big male warthog and consequently it proved to be too tricky to get it down. But finally, they managed to manoeuvre. At one point, one of the neighbouring pride was seen invaded in Marsh lions' territory, making the opportunity of what was on offer.
Above: Gimpy and Red, the splinter group
Photo Credit: BBC
Below: A female of adjacent pride in Marsh territory
Photo Credit: BBC
At the end of the series, the situation calmed down with pride. Simon King recapitulated and rounded out:
They have provided us with moments of beauty, drama, intimacy and joy in the most stunning of African wild places. Though our time here has come to a close, the world of big cat is timeless. There's is a story of survival, played out in a wild stage, surrounded by dynamic neighbours. Each day in their lives unfolds a fresh chapter, unexpected highlights and disappointments, successes and failures. They are a powerful force. Not just on the African plains, but in the hearts and minds of those people who had the good fortune to share their space. We have had the rare joy of watching their lives for the past two months. Their world has become our own. What we've been intrigued to over the past two months is a unique insight into the private lives of these glorious predators. Few creatures on earth can match their charm, charisma, beauty and grace. And, it has been our very great privilege to record these special moments and this candid record of a Big Cat Diary.
Above: Scruffy sitting in front of Jonathan Scott's vehicle
Photo Credit:Angela Scott (Below)/ https://www.mindenpictures.com/search?l=3
Below: The Marsh females with their cubs
Photo Credit:Angela Scott (Below)/ https://www.mindenpictures.com/search?l=3
References
Scott, Jonathan. Angela Scott. "Sunlight and Shadows". Stars of Big Cat Diary. United Kingdom: Evan Mitchell Books, 2009. 32-49. Print.
— "Epilogue 2: Half-Tail's Legacy". The Leopard's Tale. United Kingdom: Bradt Travel Guides, 2013. 200-218. Print.
Credits
Presented by
Simon King
Jonathan Scott
Photography
Martyn Colbeck
Charlie Hamilton James
Simon King
Hugh Maynard
Andrew McClenaghan
Richard North
Warren Samuels
Sound
Andy Milk
Dave Parkinson
Chris Watson
Editors
Andrew Chastney
Mark Fox
Online Editor
James Cawte
Music
David Poore
Dubbing Mixer
Jonathan Jenkins
Graphic Design
Burrel Durrant Hifle
Acknowledgement
Kenya Wildlife Service
Maasai Mara National Reserve
Field Assistants
Lisa Asch
Peter Blackwell
Charles Mohea
George Roumeguere
Production Team
Lizzie Bewick
Marguerite Smits van Oyen
Matt Thompson
Mandy Knight
Melissa Blandford
Holly Spearing
Siobhan Brook
Lisa Asch
Peter Blackwel
David Breed
Natasha Breed
Andrew Karanja
Angela Scott
Aidan Woodward
Series Producers
Ann Marie Goodwin
Stephen Mose
A BBC/ Animal Planet Co-production
For Animal Planet
Supervising Producer
Kevin Tao Mohs
Executive Producer
Garole Tomko
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