Nigerians would need to pay more for Netflix despite diminishing purchasing power

The Basic is set to go for ₦4,000, up from ₦3,500, and the Mobile plan is now ₦2,500, up from ₦2,200, as seen in the Punch.

This new adjustment comes after previous increases in July 2024, further pinching customers in a country dealing with economic contraction and rising inflation.

In July 2024, the Premium plan increased by 40% to ₦7,000 ($4.40), the Standard plan by 37.5% to ₦5,500 ($3.46), the Basic plan by 21% to ₦3,500 ($2.20), and the Mobile plan from ₦1,600 ($1.01) to ₦2,200 ($1.38).

Earlier in April of the same year, the streaming service announced a price increase for its Premium Plan, raising it from N4,400 to N5,000.

At the same time, the Standard Plan increased from N3,600 to N4,000, while the Basic Plan stayed at N2,900.


Nigeria's economy vs Netflix

The Nigerian economy has suffered significantly in recent years, with the country's currency, the naira, depreciating and consumer purchasing power plummeting.

With the country’s inflation continuing to increase, the cost of basic goods and services has risen, making discretionary spending, such as video streaming, more difficult to justify for many Nigerians.

Streaming subscriptions are more expensive in industrialized countries such as the United States and the United Kingdom, but customers often earn much more, making such services reasonably affordable.

For example, although Americans pay $15.49 (approximately ₦24,000 at current exchange rates) for Netflix's Standard plan, the average U.S. worker makes more than $60,000 per year.

Nigeria's minimum monthly wage is currently ₦70,000, with many earning significantly less in the informal economy.

This is more complex when you consider that Nigeria’s current minimum wage of ₦70,000 is merely $43, compared to its minimum wage of ₦30,000 as of 2022, which was $70 when exchanged at the average rate of ₦423.7 at the end of the year.

This dip highlights Nigeria’s declining purchasing power in the face of one of its worst economic periods.

This disparity in purchasing power parity (PPP) also demonstrates the increasing difficulties of developing global subscription models in poor nations.

As streaming platforms pursue profitability, they risk losing customers in price-sensitive areas such as Nigeria.

Unless updated price structures or regional considerations are applied, subscription-based services may see decreased popularity in places where economic hardship makes digital entertainment increasingly costly.

However, the increase in internet and mobile penetration currently sweeping the nation could work against the above argument.

Additionally, Africa as whole led by countries like Nigeria and South Africa has been a market of interest for the streaming giants.

In 2023, reports indicated that Netflix planned to expand its operations on the continent, following the success of its local content production ventures in the region.

From 2016 to 2023 Netflix had invested the equivalent of €160 million in film content production in Africa, creating over 12,000 jobs in Nigeria, Kenya, and South Africa.

However, as of the end of 2024, Netflix reportedly pulled out of the Nigerian market.

In a statement to TechCabal, Netflix denied the reports of its exit.

According to TechCabal, a Netflix spokesperson reaffirmed the company’s commitment to Nigeria, saying, “We are not exiting Nigeria. We will continue to invest in Nigerian stories to delight our audience.”

Over USD 23 million has been invested in Nigeria by the streaming service since 2016 in over 250 local licensed titles, co-produced and commissioned film content.

Netflix' investments has contributed $39 million towards GDP, $34 million towards household income, and $2.6 million towards tax revenue.

By Chinedu Okafor, Business Insider Africa

Related story: Netflix cuts original Nigeria productions

LIGHTSPEED unveils Nigeria’s first immersive water projection mapping experience

 

A new era of storytelling on water surfaces is here following LIGHTSPEED’s successful launch of Nigeria’s first large-scale Water Projection Mapping installation at Lagos State Waterways Authority (LASWA) in Falomo, Lagos State.

Founded by Adedotun Olateru Olagbegi, LIGHTSPEED is a Lagos-based creative-tech studio specialising in large-scale immersive installations.

“This launch marked a new frontier in experiential storytelling,” said Olagbegi, founder of LIGHTSPEED. “We’ve shown what’s possible when imagination meets innovation—right here in Nigeria,” he added.

Read also: Wike visits China over water project for FCT satellite towns

By fusing light, water and narrative, this landmark showcase transformed a towering water screen into a dynamic canvas, bringing motion graphics and audio-visual storytelling to life.

Hosted at the Lagos State Waterways Authority venue in Falomo, the unveiling event drew members of top agencies alongside industry leaders and creative innovators. Guests were immersed in sweeping projections that danced across a 12-metre-high water curtain, demonstrating LIGHTSPEED’s vision for the future of outdoor entertainment.

The event highlights included: A 12-metre-high water curtain serving as the projection surface; custom-composed soundscapes perfectly synchronised with each visual sequence; and live demonstrations of real-time mapping adjustments, showcasing unmatched versatility.

Read also: How World Bank’s $250m Rivers, Ekiti, Bauchi’s water projects failed – Report

Combining projection mapping, interactive media and experiential design, LIGHTSPEED crafts unforgettable experiences that blend cutting-edge technology with imaginative storytelling.

With this successful debut, LIGHTSPEED’s water projection mapping technology is poised to revolutionise visual entertainment across West Africa, offering bespoke solutions for cultural festivals, brand activations, concerts and corporate events.

By Iheanyi Nwachukwu, Business Day

Nigeria's first film in Cannes lineup explores masculinity, family dynamics

CANNES, France, May 19 (Reuters) - With "My Father's Shadow," Nigeria's first film in the Cannes Film Festival's official selection, director Akinola Davies Jr. wanted to create something deeply personal, he told Reuters.

The film had to mean "something to me, to him (my brother), to my family, to our community, I guess to masculinity in general," said Davies about the film competing in the second-tier Un Certain Regard category that he wrote with his brother, Wale.

Davies' first feature takes place over one day in 1993, when two brothers' absent father, played by "Gangs of London" star Sope Dirisu, shows up unannounced and takes them to Lagos.

Their father is there to try to recoup some money owed from his employer as the country is on edge after the outcome of the first elections in a decade under military rule is annulled.

Newcomers and real-life brothers Godwin Egbo, 11 at the time of filming, and Chibuike Marvellous Egbo, then 8, play the young siblings in the semi-autobiographical film that's been picked up for distribution by streamer Mubi.

"Nigeria was going through a time where there was a lot of enthusiasm for this idea of a statesman who was going to lead us to potential," similar to the boys' relationship with their father, said Davies, who was raised between London and Lagos.

"Both things being so sort of strong and dominant, but equally super vulnerable and super fragile - I think the tension sort of played off each other really well," said Davies.

Dirisu, a British actor born to Nigerian parents, said that the film made him take a deeper look at what it means to be a father as well as how Nigeria fits into his personal identity.

"There were a lot of things I had to interrogate for the role, but it was exciting," the actor told Reuters.

MORE AFRICAN STORIES

Davies' film is one of several strong contenders competing in Un Certain Regard this year, with actors Harrison Dickinson, Kristen Stewart and Scarlett Johansson also in the race with their directorial debuts.

The Guardian gave "My Father's Shadow" four out of five stars, calling it a "subtle and intelligent coming-of-age tale" while industry publication IndieWire gave the "beautifully remembered drama" the grade of B+.

Davies hopes the movie's inclusion at Cannes will pave the way for more African films at the festival.
"African stories are out there," he told Reuters, but they need to be able to get to festivals like Cannes to be seen.

When there's willingness from other areas of the world, and points of access, however, those films can come through, he said.

Hanna Rantala and Miranda Murray, Reuters

Nigerian film to screen at 2025 Cannes Film Market

 

A Nigerian historical fantasy film, Osamede, will screen at the 2025 Cannes Film Market on May 17 at the prestigious Pavillon Afriques.

A statement made available to PUNCH Online on Thursday noted that the screening marks a pivotal step in showcasing African mythology on the global stage and positions Nigeria as a major contributor to the international fantasy genre.

Directed by Africa Magic Viewers’ Choice Awards winner, James Omokwe (Chetam, Ajoche, Riona, Itura) and executive produced by finance and investment expert Lilian Olubi, Osamede tells the story of an orphaned girl in the 1897 colonial Benin Kingdom who discovers superhuman powers. With the mystical Aruosa stone in her grasp, she sets out to liberate her people from British colonial forces.

Olubi, who is scheduled to speak on the Cannes panel, said, “Nigeria has exported music and films globally, but with Osamede, we’re revolutionising how African historical narratives are presented by bringing the legendary Benin Empire’s mythology to life with production values and storytelling that mirror Hollywood fantasy epics. Beyond Budgets: Innovative Funding for Filmmakers.”

Omokwe, known for his compelling fusion of tradition and innovation, describes the film as a reclamation of African history through fantasy.

“Osamede goes beyond a fantasy film set in Africa. With this film, we’re reclaiming our historical narrative through the fantasy genre. What Black Panther did for Afrofuturism, we’re doing for African historical fantasy rooted in actual Benin Kingdom mythology. Our approach combines authentic cultural elements with cinematic spectacle in ways audiences haven’t seen before,” he said.

What sets Osamede apart is its evolution from a successful stage production to the big screen. Originally produced and performed by Olubi’s Gold Lilies Productions, the story was staged 12 times to sold-out audiences. This tested narrative structure gives the film a strong foundation, echoing the success of Broadway-to-screen transitions.

“Osamede arrives at a time when global audiences are increasingly seeking authentic cultural storytelling with universal appeal,” Omokwe added. “The film presents a rare opportunity to capitalise on the commercial potential of historical fantasy while introducing audiences to the untapped cinematic wealth of Benin Kingdom lore.”

The film’s international debut also aligns with the growing momentum behind Nigeria’s Screen Nigeria initiative, which aims to amplify the nation’s cinematic presence on the global stage. Osamede’s Cannes screening comes at a historic moment, alongside My Father’s Shadow, the first Nigerian film to be selected for Cannes’ Official Selection.

The film stars Ivie Okujaye Egboh, Lexan Aisosa Peters, William Benson, Tosin Adeyemi, Lancelot Imasuen, and Alexander Bud. Drawing comparisons to global hits like The Woman King, Osamede taps into the emerging genre of African historical fantasy, spotlighting the rich cultural and mythological heritage of the continent.

By Rotimi Agbana, Punch

Video - Nigeria taps creative industry to boost economic growth

Nigeria is turning to its creative industry to drive economic growth and job creation. The sector already contributes $5.6 billion to the country's GDP.

CGTN

Nigerian cinema in the spotlight as ‘My Father’s Shadow’ to premiere in Cannes Film Festival first

Nigeria is going to Cannes. In what is understood to be a first in the film festival’s near-80 year history, a movie from Africa’s most populous nation has been chosen as part of the Cannes Film Festival’s Official Selection.

“My Father’s Shadow,” directed by Akinola Davies Jr. and co-written with his brother, writer Wale Davies, stars Ṣọpẹ́ Dìrísù (“Slow Horses,” “Gangs of London”). The film is set in Lagos in the aftermath of the 1993 presidential election and follows Dìrísù’s father and two sons Remi and Akin, as they attempt an odyssey across the city amid the election’s turbulent fallout.

Davies Jr.’s semi-autobiographical debut feature, produced by Element Pictures in association with Fatherland Productions and Crybaby, already has strong support in the form of distributor MUBI, which snatched up the rights to the film in North America and other territories long before the news of its Cannes debut was announced – lending additional hype to an already buzzy title.

The movie will screen in the Un Certain Regard strand – a competition for debut and ascendant filmmakers. Fatherland says it will be the first Nigerian film to do so.

Reacting to the announcement, Davies Jr.’ told CNN in a statement, “This is a testament to everyone dedicated to telling authentic Nigerian stories: from crews, to the countless technicians who power our film industry.

“It honors all those – past, present, and future – who laid the foundation for Nigerian cinema. I’m excited to be an ambassador for arthouse film in Nigeria, and even more excited for our cast and crew, whose talent and hard work truly deserve this spotlight.”

Co-producer and founder of Fatherland Productions CEO Funmbi Ogunbanwo told CNN, “It’s an incredible feeling to see our fully Nigerian story – rooted in Wale and Akin’s experience of losing their father at a young age – come to life on a world stage.

“We wove in Yoruba, Pidgin, familiar street names from Lagos and Ibadan, capturing the essence of our home. I feel both excitement and a weight of responsibility, representing independent Nigerian filmmakers who create against the odds. We hope people who watch this film will discover who we are as a people, understand where we come from, and see that this is only the start of how far our stories can go.”

Africa at Cannes 2025

The Cannes Film Festival announced it had screened 2,909 feature films to curate its 2025 lineup. Of those selected, “My Father’s Shadow” won’t be the sole representative from Africa this year.

Also in Un Certain Regard is “Aisha Can’t Fly Away” by Egyptian filmmaker Morad Mostafa, about a Somali woman working in Cairo, and “Promised Sky” by French Tunisian Erige Sehiri. Meanwhile, Swedish director Tarik Saleh, who has Egyptian heritage, is in competition for the Palme d’Or with “Eagles of the Republic” telling the story of an adored Egyptian actor who falls into disgrace.

The US-set “The History of Sound,” starring Paul Mescal and Josh O’Connor, is directed by South African Oliver Hermanus.

African cinema, particularly from Francophone nations, has a long history at Cannes, the world’s most prestigious film festival. Directing giants including the late Djibril Diop Mambéty of Senegal, the late Souleymane Cissé of Mali and Chadian Mahamat-Saleh Haroun all made the festival a home from home.

Recently, a new guard of young filmmakers has emerged – notably, with more women – including Welsh Zambian Rungano Nyoni, French Senegalese Mati Diop (niece of Djibril), Senegalese director Ramata-Toulaye Sy and Tunisian Kaouther Ben Hania.

But despite having the continent’s largest and most prolific filmmaking industry, Nigeria has had little representation at the festival.

Nigerian productions have appeared in festival sidebars like the International Critics Week (where “Ezra” by Newton I. Aduaka screened in 2007). But a search of the festival’s online archives shows no evidence a Nigerian movie has ever been a part of Cannes’ Official Selection – comprising the competition for the Palme d’Or, Un Certain Regard, Cannes Premieres, Special Screenings, Midnight Screenings and Cannes Classics.

Thierry Frémaux, general delegate of the festival, said at the press conference announcing the 2025 lineup on April 10 that the festival would be checking to confirm if indeed “My Father’s Shadow” marks a historic first Nigerian feature.

Nigeria’s big moves

Nigeria will have a big presence at Cannes this year. At the festival’s international village, Nigeria is back with its own national pavilion. There, the Ministry of Arts, Culture, Tourism and the Creative Economy will launch Screen Nigeria as part of the “Destination 2030; Nigeria Everywhere” campaign – a broad plan to create 2 million jobs in creative and tourism industries, and contribute $100 billion to Nigeria’s GDP by 2030.

The goal is to showcase the nation’s talent and promote international collaboration and attract foreign investment.

With the likes of “My Father’s Shadow” and other recent festival titles like “Mami Wata,” the first Nigerian film to premiere at the Sundance Film Festival in 2023, there are signs that Nigeria’s film industry is diversifying.

The 78th Cannes Film Festival runs from May 13-24. The premiere date for “My Father’s Shadow,” and its theatrical release date, are yet to be announced.

By Thomas Page, CNN

Cash-strapped Nigerians turn to YouTube for entertainment

It points to a shifting pattern as Nigerians grapple with one of the toughest economic crises in decades after President Bola Tinubu halted petrol subsidies that kept prices all round low and stopped support for the local currency.

Streaming platforms, cable TV and internet service providers are meanwhile on a price-hiking spree that has put off many clients.

Netflix increased monthly subscription fees twice last year to 7,000 naira ($4.50) from 4,400 naira for its premium package -- a substantial amount in a country where, according to the World Bank, over half of the 230 million people live in poverty.

Many people are slashing their entertainment budget, including cable and streaming subscriptions, according to Lagos-based think tank SBM Intelligence.

Nollywood, Nigeria's massive film industry, releases an average of 50 movies weekly, the second most prolific film industry in the world after India's Bollywood.

Health worker Adeleke Adesola, 31, from the southwestern city of Ibadan, has switched to watching movies on YouTube, driven not just by costs, but for its interactive nature.

"I feel good when I read a comment that speaks my thoughts about a scene or the movie. Also, because I don't have to pay monthly subscription to have access to YouTube movies," she told AFP.

Africa's pay TV giant MultiChoice reported losing nearly a quarter of a million subscribers between April and September 2024.

Production cuts

Despite an uptick in subscriptions last year, streaming juggernaut Netflix has cut back on commissioning new productions in Nigeria.

Prime Video has also adopted the same approach.

With movie tickets now considered a luxury by millions in the west African economic powerhouse, consumers and filmmakers are veering to YouTube and other cheaper alternatives.

Filmmaker and co-founder of iBAKATV YouTube Channel, Kazeem Adeoti, said the number of full-length movies on YouTube had grown tremendously.

Several top actors own YouTube channels to directly distribute their movies to consumers, he said.

YouTube movies 'cheaper'

Income from YouTube depends on factors such as watch time, audience engagement, copyright ownership and viewers' location.

"We see consistently high watch time... indicating strong audience interest in Nollywood content," Taiwo Kola-Ogunlade, spokesman for Google West Africa, told AFP.

"This increased watch time not only benefits the creators but also results in higher ad revenue for YouTube."

Seun Oloketuyi, film producer and founder of the Best of Nollywood (BON) awards, said YouTube had become more appealing to filmmakers as there were no specifications on the types of cameras to be used, the quality of costumes or the language mixes.

"Movies shot for YouTube are significantly cheaper than those to be screened at cinemas or on the digital streaming platforms," Oloketuyi said.

"It seems like a win-win for filmmakers who can spend significantly less on production, maintain ownership rights of the movies and still make good money."

Netflix and Prime say they don't plan on exiting Nigeria, but the contract terms for Nigerian filmmakers have now changed.

Nigerian films to which Netflix has screen rights are restricted to African viewers, leaving YouTube as the major alternative for the diaspora.

AFP

Nigeria Launches SDGs Short Film Challenge To Inspire Change Through Storytelling

Nigeria has officially launched the 2025 Sustainable Development Goals (SDGs) Short Film Challenge, marking the third edition of this initiative to leverage storytelling to promote sustainable development.

The Office of the Senior Special Assistant to the President on Sustainable Development Goals inaugurated the event in partnership with the United Nations Information Centre. The challenge is designed to engage filmmakers and encourage them to create impactful short films of up to 15 minutes, addressing critical issues such as poverty, gender inequality, climate change, and social justice.

Senior Special Assistant Adejoke Orelope-Adefulire emphasised the importance of storytelling in raising awareness, fostering dialogue, and inspiring action towards achieving the SDGs. Highlighting the success of previous editions, with increasing participation—from 73 submissions in 2022 to 2,250 entries from 119 countries last year—Orelope-Adefulire announced enhancements for the upcoming challenge. These include training sessions for emerging filmmakers to develop the skills necessary to craft meaningful narratives related to the SDGs. This year’s grand finale will take place over three days from August 21 to 23, 2025, featuring exhibitions and high-level discussions.

UN Resident Coordinator in Nigeria, Mohamed Fall, hailed the initiative as a celebration of creativity and a rallying call for sustainable development. He noted Nigeria’s potential as a storytelling powerhouse and emphasised the importance of empowering young Nigerians to address pressing issues through film. The 2025 SDGs Short Film Challenge aims to raise awareness and drive tangible action towards a more sustainable future, solidifying Nigeria’s role in utilising storytelling as a catalyst for change.

Broadcast Media Africa

Nigerian Watchdog Sues MultiChoice Nigeria Over Price Hike

The Federal Competition and Consumer Protection Commission (FCCPC) of Nigeria has initiated legal proceedings against MultiChoice Nigeria Limited and its CEO, John Ugbe, for breaching regulatory guidelines. According to a statement released on Wednesday, the action comes after MultiChoice Nigeria ignored a directive issued by the FCCPC regarding a proposed price increase for its pay-TV services.

Last month, the FCCPC instructed MultiChoice Nigeria to maintain its current pricing for its pay-TV services, including DSTV and GOtv, until a review of the proposed price hike was completed. Despite this directive, the company proceeded with the planned price adjustment on March 1, 2025, an act the commission describes as a clear violation of its oversight.

In response to this defiance, the FCCPC filed charges against MultiChoice Nigeria and John Ugbe at the Federal High Court in Lagos. The lawsuit includes three counts of offenses, with the agency accusing the company of deliberately obstructing its inquiry by going ahead with the price hike despite the explicit order to refrain from doing so.

A post on the social media platform X (formerly Twitter) by the FCCPC emphasized the agency’s stance, stating, “Following this blatant disregard for regulatory oversight, the FCCPC has filed charges against MultiChoice Nigeria and John Ugbe at the Federal High Court, Lagos Judicial Division, on three counts of offenses for willfully obstructing the commission’s inquiry by implementing a price hike contrary to directives.”

At the time of reporting, MultiChoice Nigeria had not provided any immediate response to the charges.

This legal action is the latest in a series of regulatory challenges the company has faced. In 2024, MultiChoice reached a settlement with Nigerian tax authorities, agreeing to pay approximately $37.3 million in taxes for its local subsidiary.

Reuters

Video - Chinese short web dramas gain popularity in Nigeria

Chinese short web dramas are steadily gaining popularity in Nigeria. Many Nigerians are willing to pay for access to platforms like DramaBox and ReelShort, as the trend is changing viewing habits.

CGTN

Video - Nigeria's Afrobeats music dominates global scene

Afrobeats music continues to make waves globally, with Nigerian artists taking center stage at the 2025 Grammys. Nigerian singer Tems won the newly created Best African Music Performance category with her song "Love Me Jeje." Tems was also featured at a Formula 1 event in the lead-up to the season opener in March.

CGTN

Video - Experts appeal for more supports for Nigeria's Afrobeats

Despite Afrobeats’ global rise, experts say Nigerian artists still face major challenges that require government support. At the 2025 Grammys, Nigerians took a lead in the Best African Music Performance category, with Tems winning for Love Me Jeje.

CGTN

Nigeria's Grammy-winning Tems cancels Kigali concert amid Rwanda-DRC tensions

Nigeria's Grammy-winning singer Tems announced on Thursday she was cancelling an upcoming concert in Kigali over Rwanda's support of the M23 armed group waging an offensive in eastern DR Congo.

The announcement came amid international condemnation of Rwanda's backing of the M23 group, which seized control of the city of Goma this week in the Democratic Republic of Congo's mineral-rich east.

Tems, whose real name is Temilade Openiyi, revealed in a post on X that she was cancelling a concert at BK Arena in the Rwandan capital on 22 March.

"So I recently promoted my show in Rwanda without realising that there is ongoing conflict between Rwanda and Congo," she wrote.

"I never ever intend to be insensitive to real-world issues, and I sincerely apologise if this came across that way," said Tems, who became the first Nigerian singer to win a Grammy in 2023.

"I simply had no idea this was going on. My heart goes out to those affected."

So I recently promoted my show in Rwanda without realising that there is ongoing conflict between Rwanda and Congo. I never ever intend to be insensitive to real-world issues, and I sincerely apologize if this came across that way. I simply had no idea this was going on. My heart…

— TEMS (@temsbaby) January 30, 2025

The post came hours after M23 leaders vowed to "continue the march of liberation all the way" to the DR Congo capital Kinshasa.

The UK government said on Thursday it was considering reviewing British aid to Rwanda over its involvement in the crisis.

DR Congo has accused Rwanda of waging an offensive to profit from the region's mineral wealth. A report by UN experts in July supported these claims, finding that Rwanda has thousands of troops in eastern DR Congo - and holds "de facto control" over the M23.

Rwanda has denied the accusations.

President Paul Kagame has never admitted military involvement but has maintained the fighting cannot end until a DRC-based armed group, the FDLR, created by former Hutu leaders who massacred Tutsis during the 1994 Rwandan genocide, is eliminated.

Tems will perform in Johannesburg on 20 March 2025 at The Dome, Nasrec, which opens in January 2025, this will be her first South African concert.

AFP

Nigerian star 2Baba announces separation from wife

Popular Nigerian musician and performer Innocent Idibia, widely known as 2Baba or Tuface, has announced his separation from his wife, Annie Idibia.

One of Nigeria's biggest celebrity couples, Annie and Tuface got married in 2012 and had two daughters together.

In a post on Instagram, the African Queen singer said they had been separated for some time and had taken steps toward a divorce.

The post was later deleted but 2Baba then released a video to confirm that its contents were accurate.

The singer is seen as being one of the pioneers of the Nigerian music scene that is now popular around the world, paving the way for musicians like Wizkid, Davido and Burna Boy.

The couple had a star-studded wedding ceremony in 2013, an event which was widely followed in Nigeria even though it took place in Dubai.

The star is still widely known as Tuface even though he announced in 2014 that he had changed his name to 2Baba.

News of the separation has shocked fans and admirers across the continent as the couple had overcome previous problems and are one of Nigeria's longest-lasting celebrity couples.

The former Plantashun Boyz member says he plans to hold a press conference to provide more details, adding that he is committed to sharing his perspective directly with his supporters and music lovers around the globe.

"I and Annie Macauley have been separated for a while now, and currently filed for divorce," he said in the Instagram post.

In a bizarre twist, the post was deleted minutes later, followed by another saying the account had been hacked.

But 2Baba then went live on his Instagram account to confirm his initial post about the separation.

"No-one hacked my account, I said what I said, I come in peace," he said in the video.

The couple have also cut ties on social media, unfollowing each other on their respective platforms, backing the performer's statement about their split.

In the video of his most popular song, African Queen, Annie played his love interest and it is believed that their relationship blossomed from there.

Annie, an actor, recently trended on social media after she shared personal details about her marriage, including a miscarriage and struggles with her husband's other relationships, on the reality show Young, Famous & African.

By Mansur Abubakar, BBC

The Booming Creator Economy in Nigeria

Young talent managers are stepping up to professionalize the fast-growing content creator market that is coming to millions of mobile phone screens across Nigeria and the rest of Africa.

Some of the top talent already earn six-figure dollar sums with everything from comedy skits to travelogues and cooking shows. Most of that is earned through partnerships with brands trying to reach consumers who are glued to clips on Instagram, YouTube, and TikTok.

Olufemi Oguntamu, CEO of Penzaarville Africa, a Lagos-based talent management agency, said good creators such as his clients can bring in more than 8 million naira ($5,000) per video on average. But with higher production values they can easily bring in more than twice that. Penzaarville manages talent including travel vlogger Tayo Aina, who has 1 million YouTube subscribers, and comedian Broda Shaggi, who has over 12 million on Instagram.

Now content creators are leveraging their social media stardom to transition into Nollywood and television under the guidance of their managers. Taiwo Adeyemi, Founder of Boxx Culture, a talent management agency, said that film producers often approach his clients, not just because of their talent but also their ready-made audiences which run into the millions in some cases. “Nollywood producers are constantly trying to cast people who are content creators to boost the reach of their films,” said Adeyemi, whose clients include Ariyike Dimples and Koye.

While there’s plenty of glitz and excitement around being a creator in Lagos and the mini-fame that comes with having tens of thousands of followers and fans, not everyone is guaranteed to make a living. That’s where the talent managers come in.

In a fledgling creator market, where even Nollywood movie stars have not always been professionally represented, talent managers for online creators are playing a vital role in laying the groundwork for opportunities with major brands and other partners. Unlike in more developed entertainment markets, talent management here encompasses not just career guidance but also agency representation, as well as media affairs, and much more.

The potential is significant in a market which is overwhelmingly young and locked in to their mobile phones. The Africa creator economy is projected to hit a value of nearly $18 billion by 2030, according to Coherent Market Insights, though that total estimate includes other third party enablers, such as fintech companies.

Behind every great video lies a major investment of time, effort, and money spent on hiring recording gear and technical assistance, from editors and production managers to makeup artists. So managers are increasingly important to help the creators manage their costs as they gamble with higher production figures to attract more viewers. But their primary role is bringing in more lucrative brand partnerships.

Oladapo Adewunmi, founder of Lagos-based content and talent agency Apollo Endeavor, says managing partnerships with distribution platforms like Instagram and YouTube is relentless work given the 24-7 nature of social media and the internet. “We are constantly looking out and pushing for more opportunities for the creators and their content to be optimized to generate revenue,” says Adewunmi, whose clients include Josh2Funny and Brainjotter,

The money might be good but it’s important to note that not all brands will work with every creator, and that goes both ways. Oguntamu says he looks out for credibility and alignment of values between the brand and his client. “The brands have to be credible. Regardless of whatever amount you want to pay, I need to be sure that it’s not a brand that will create problems for my clients,”he said.

That confidence is driven by a certainty that the move to self-made creators is just beginning to take hold in the market. “The creator economy is just starting, creators are becoming the new thought leaders and shaping the minds of people,” stated Adewunmi.

By Torinmo Salau, SEMAFOR

Netflix cuts original Nigeria productions

Netflix has denied reports it is pulling out of Nigeria but local film producers and industry insiders told Semafor Africa the streaming giant has been cutting back on original productions.

“We are not exiting Nigeria,” wrote a Netflix spokesperson in an email.”We will continue to invest in Nigerian stories to delight our members.”

However two filmmakers who have worked with Netflix on Nigerian productions said some local filmmakers were told last month that their Netflix original projects were either being put on hold or shelved. The conversations with filmmakers were said to have come days after Netflix threw a glamorous “Lights, Camera… Naija!” party on Nov. 2 with a raft of Nollywood actors and celebrities at a venue in Lagos.

The devaluation of the local currency and runaway inflation are said to have made production costs unsustainable in the near term.

Filmmakers said they believe Netflix will continue to license Nigerian films, but likely only ones which already had some traction at local cinemas or elsewhere rather than investing in production.

Nigerian filmmaker Kunle Afolayan, whose comments are believed to have sparked the speculation, said he never suggested Netflix was exiting the country: “I clearly said they are cutting down on their exposure.”

Netflix signalled its Nigeria ambitions with the acquisition of Lionheart, a film produced in 2018 by industry veteran Genevieve Nnaji, as its first original in the country. The streamer has since commissioned and co-produced multiple original series and films in the years since, opening up a new medium for Nollywood’s deep bench of screenwriters and producers to complement theatrical releases.

The King’s Horsemen, a Yoruba language epic that premiered on the platform in 2022, became the first cinematic adaptation of a novel by Nobel Laureate Wole Soyinka. Last year’s hit crime thriller The Black Book had the kind of global reach that appeared to signal to audiences that the world was ready for African storytelling and that it would be a big part of Netflix’s content future. 

Yinka Adegoke and Alexander Onukwue, SEMAFOR

Related story: How Nigerian filmmakers mismanaged Netflix funds, splurged on luxury cars – Basketmouth

 

How Nigerian filmmakers mismanaged Netflix funds, splurged on luxury cars – Basketmouth

Nigerian comedian-cum-filmmaker Bright Okpocha, popularly known as Basketmouth, has sparked controversy by alleging that Nollywood producers mismanaged funds provided by global streaming platforms like Netflix.

Basketmouth’s remarks come on the heels of Netflix’s decision to halt the acquiring of movies and funding movies in the country effective November 2024 as revealed by Victor Ohai, president of the Directors Guild of Nigeria at the just concluded Zuma Film Festival in Abuja.

Netflix’s latest decision comes almost two years after its biggest rival in Nigeria, Amazon Prime Video, made a similar move.

Netflix has, however, debunked the reports, saying it remains committed to investing in Nigeria.

In a recent interview on Arise TV, the 46-year-old comedian made some damning allegations, which according to him, were some of the challenges the streaming giant contended within its dealings with Nigerian filmmakers in the past years.

Since it entered into Nigeria in 2020, Netflix has helped Nollywood gain further global recognition.

By 2022, Netflix, in its ‘Socio-Economic Impact in South Africa, Kenya and Nigeria’ report, revealed it invested $23 million in Nigeria, funding over 250 titles and creating jobs.

However, this was much less than the $125 million it invested in South Africa due to better infrastructure and higher returns.
 

Diversion of funds

Basketmouth alleged that most Nigerian producers divert substantial portions of the budgets allocated for streaming platform-funded films to personal luxury.

The comedian-turned-filmmaker said, “When the streaming platforms came in, they provided significant funding to producers. But these producers would take the $1.5 million or whatever they’re given and use about 10 per cent to make the movie. The rest? Houses, cars, and personal expenses. I can’t call names, but they know themselves.”
 

Averted transparency

Basketmouth expressed frustration over producers undermining Netflix’s initiative to pay actors directly and criticised the ripple effects of such practices on the quality of Nigerian films.

The stand-up comedian said, “I’m not generalising, but most of them—70 per cent or more—misuse these funds. When the platforms noticed, they started paying actors directly to ensure transparency. But even then, these producers would go behind the scenes and demand that actors return half of their pay.

“When you do that and expect your movie to be 100 per cent, it can’t. That’s why some of our epic movies look like stage plays. The horses? They’re lean and coughing!

“If you’re given $1.5 million to make a movie, use it all for the production. That’s how you get quality, but cutting corners for luxury and lifestyle shows in the final film product.”

Despite its vibrant creativity, Nollywood faces systemic challenges such as piracy, limited infrastructure, economic challenges and inadequate internet access, making it difficult for streaming platforms to achieve high returns on investment.

In November, Basketmouth released his debut feature film, ‘A Ghetto Love Story,’ starring Akah Nnani, Beverly Osu, Patience Ozokwor, Efe Irele, and Chioma Chukwuka. FilmOne Entertainment revealed that the movie grossed ₦51 million in Nigeria and Ghana, with ₦22.3 million from its opening weekend.

By Nosakhale Akhimien, Premium Times

Related stories: 3 Nigerians selected for Netflix Development Lab to engender more local African content

Netflix involvement in Nollywood

Netflix's new Nigerian movie Hijack '93 out today

Video - Nigeria pushes to replace foreign cartoons with local ones

Nigerian officials say foreign cartoons are contributing to cultural dilution among the youth. To address this, the country's National Orientation Agency plans to support the production of more local content, a move experts believe could also create jobs and grow the film industry.

CGTN

Nigeria’s Chidimma Adetshina emerges second at Miss Universe 2024

Nigeria’s representative, Chidimma Adetshina, finished as the first runner-up at the 73rd Miss Universe Competition held in Mexico.

The final moments of the prestigious event at the Arena CDMX in Mexico City, Mexico announced early Sunday morning saw an electrifying face-off between Nigeria and Denmark, as the two women stood poised to claim the crown.

The competition, described as one of the most thrilling in recent years, celebrated the talents, intelligence, and elegance of women from around the globe.

In a post via Instagram, the organisers said, “The final two! Nigeria and Denmark, two incredible women, one unforgettable moment.”

Miss Denmark, Victoria Kjaer Theilvig, ultimately won the crown taking over from Miss Universe 2023, Sheynnis Palacios of Nicaragua.

Meanwhile, Adetshina’s exceptional performance and grace earned her widespread admiration from judges and audiences alike.

Earlier, Adetshina’s official withdrawal from the Miss South Africa 2024 contest, which she had advanced to the final stage of, caused controversy a few months ago.

She made the decision in response to worries expressed by some South Africans who questioned her nationality.

Nevertheless, Adetshina went on to represent Taraba State and win the title of Miss Universe Nigeria.

This is not the first time a Nigerian has achieved this feat.

On November 16, 2001, Nigeria’s Agbani Darego became the first Black African to win the coveted Miss World title at the age of 18.

As a result of her success, “Agbani” became a phrase linked to slender beauty in Nigeria, where many women looked up to her appearance.

As the first Most Beautiful Girl in Nigeria winner to win Miss World, Agbani’s triumph rippled throughout Nigeria and was a great moment for the continent.

By Makua Ubanagu,Punch

Netflix's new Nigerian movie Hijack '93 out today

On 25 October 1993, four teenage boys boarded a Nigeria Airways flight from Lagos to Abuja with a clear agenda: hijack the aircraft, take all 193 passengers hostage and force the government to bend to their demands.

The moment the pilot told passengers they could unfasten their seatbelts, the young men - aged between 16 and 18 - sprung into action.

After entering the cockpit with a fake gun, the second step of their plan was to declare that the commercial aircraft - which had several leading politicians on board - was now being controlled by the Movement for the Advancement of Democracy (MAD).

'Remain calm, we will not harm you,' they reportedly told the terrified travellers. 'You will be told where the plane will land you.'

But despite their claims that there would be no casualties, the teenagers' carefully constructed plan quickly descended into chaos - culminating in the death of a crew member following four days of tense negotiations.

31 years on from the incident, Netflix has dramatised the case in their film Hijack '93, which lands on the streaming platform tomorrow.

Here FEMAIL delves into hijacking that had Nigeria on tenterhooks in October 1993 - and why the men have since been celebrated as heroes.
 

Political unrest in run-up

The 1980s and 1990s were a particularly turbulent time for politics in the West African country.

In 1983, the Nigerian military staged a coup to overthrow President Shehu Shagri's elected government.

Over the next 10 years, power only passed through the hands of the military, which resulted in internal uprising and power struggles among leaders.

In 1990, Major Gideon Orkar attempted to overthrow the government through a failed military coup - after General Ibrahim Babangida took power via the same means five years before.

Three years later, the country went to the polls for the first time in over a decade - with Chief Moshood Kashimawo Olawale Abiola, who was the leader of the Social Democratic Party, winning over the National Republican Convention's Alhaji Bashir Tofa.

Although MKO Abiola won in a landslide and secured eight million votes, the military government proceeded to annul the election - citing security threats.

At the time, military leader General Ibrahim Babangida said in a statement that 'these steps were taken to save our judiciary from being ridiculed and politicized locally and internationally'.

However, the decision led to unrest among the population amid growing fears there would be indefinite military rule.

A Western diplomat in West Africa told the New York Times in 1993: 'The military has only themselves to blame for this mess.'
 

Hijacking plane with a toy gun

After three months of protests, teenagers Richard Ogunderu, Kabir Adenuga, Benneth Oluwadaisi and Kenny Rasaq-Lawal decided to send a message to the Nigerian government.

When they boarded the Nigeria Airways plane, the foursome had already prepared statements demanding MKO Abiola be instated as the country's rightful leader, which they handed out to passengers.

They also demanded the military return embezzled money to the state and reopen a series of closed newspaper companies and universities.

Before the incident, Ogunderu - who grew up in a middle class neighbourhood and was one of five children - told Sahara Reporters that some of them had not even been on a plane before.

Speaking to Neusroom in 2022, Richard Ogunderu's father Yemi described him as 'strong-willed and obstinate'.

He added: '[Richard] would tell me, "you old men just sat there bemoaning your fate, won’t you do something about this country?"

'The relationship between us was beyond father and son. We relate like brothers. I didn’t even know when he became a member of MAD. He had never discussed activism with me even though he knew I’m highly opinionated about socio-political issues.'

Speaking to The Punch, one of the hijackers said they targeted this specific aircraft because it 'flew the calibre of people we wanted to deal with'.

As well as China's vice president Rong Yiren, there were also top Nigerian government officials on board.

Speaking to the Sahara Reporters in 2009, Richard Ogunderu - who was the group's leader - explained: 'We were on a mission.

'We wanted to show the evil [military] regime that young people were prepared to go the extra length to free Nigerians from the yoke of military dictatorship.'

He then revealed how he was the one to enter the cockpit, where he pointed a fake gun at the pilot and told him to redirect the plane. A fellow hijacker later claimed that Ogunderu pretended to be a student who wanted to look at the plane's controls.

Although reports stated that Ogunderu wanted to land in Germany, the plane didn't have enough fuel - as their planned journey should have only taken just over an hour.

As such, the hijacker settled on Niamey in Niger instead - where they were met with armed forces.

While the aircraft was still in the air, the hijackers doused themselves in the six litres of fuel they had smuggled onto the plane and threatened to set themselves on fire if passengers didn't follow orders.
 

Threatening to blow up plane

After the plane landed, the hijackers began negotiations with the police - with the foursome initially demanding they get more fuel so they could fly to Frankfurt.

When this was denied, they teenagers urged the government to recognise the results of the June Nigerian Presidential election.

If MKO Abiola was not sworn in as President in 78 hours, the teenagers claimed they would set the plane on fire.

In an interview with The Nollywood Reporter in July 2023, Richard explained how he was connected to a BBC journalist to 'tell the world their message'.

He added: 'I said we were going to burn the plane within 78 hours if our requests were not met.

'Of course, that was just a scare tactic. We've decided to let the pleading passengers go the next day.'

In the first two hours, the hijackers released women and children - before releasing a further 129 the following day, including the Chinese vice president.

However, they refused to give up the crew or Nigerian government workers.

At first, the authorities offered not to arrest the hijackers - as long as they released the remaining hostages.

Ogunderu added: 'We were not afraid, at that moment, death meant nothing to us.'


Rescue operation leaves one dead

For four days, authorities held off on entering the aircraft - fearing the hijackers may detonate a bomb.

But on 28 October, police stormed the plane in the middle of the night.

'They thought we were asleep, so they came under the cover of the night and fired several shots,' Ogunderu said. 'They bombarded the plane.'

The rescue operation claimed the life of crew member Ethel Igwe while Richard was also injured. One of the hijackers later said over 300 shots were fired during the mission.

Richard told the Nollywood Reporter: 'I am deeply sorry about [Ethel's] death, and that in itself was one of the reasons we were clamouring for democracy.

The military government was notorious for wanton killing and abuse of human rights. That should never have happened.'

Following this, the hijackers were arrested and were sentenced to over nine months in prison in Niger. They claim to have served their sentence in one small cell, which also served as a toilet.
 

Remembered as 'heroes'

Despite the teenagers' efforts, the interim military government was replaced by General Sani Abacha's dictatorship.

The late dictator was in power from 1993 to 1998 and was the last successful military coup in the country's history.

Although they were unsuccessful in achieving their goal, Richard Ogunderu, Kabir Adenuga, Benneth Oluwadaisi and Kenny Rasaq-Lawal are seen by some as modern-day 'heroes'.

Speaking to The Punch in 2023, Benneth Oluwadaisi said he wanted to 'fight for the stability of democracy in Nigeria'.

In response to the report, one X user wrote: 'These guys are heroes, honestly. The way they went about it, though, wasn't plausible, but they have earned my respect for their courage and brevity.'

Another added: 'In as much as this is a wrong thing to do, I'm proud of them. They fought for freedom, democracy and what they believed in.'

By Lydia Hawken, Daily Mail
 

Related story: 3 Nigerians selected for Netflix Development Lab to engender more local African content