Tag: Netflix

  • To summon a siege

    To summon a siege

    Every civilisation has its myths of rescue. In ours, the rescuer arrives in the attire of the West, hawking human rights in one hand and carnage in the other. Empires never travel light. They arrive with doctrines and appetites, and an accounting logic that mortgages human lives against barrels of oil, shipping lanes, voting blocs, and dubious evangelism.

    Nigeria as other nations of Africa, is once again ripe for the picking in the so-called New World Order, not because we are weak in prospects or numbers, but because we are fragmented in will and allegiance. This renders us dangerously exposed in an era where might is always deemed right, international law is reduced to a ceremonial proviso, and the United Nations, a forum of toothless bulldogs.

    In such a clime, even the presumed Giant of Africa must tread with the exaggerated politeness of the vulnerable. Thus, Nigeria’s resort to frantic diplomacy while its citizenry – out of spite or despair – openly fantasise about foreign invasion as if it were a Netflix series with a happy ending.

    No doubt, terror stalks our forests as bandits and insurgents turn entire regions into cauldrons of grief. The carnage is real and fear isn’t imagined. What must be resisted is the childish leap from justified anger to suicidal longing. The idea that a global hegemon like the United States, would arrive in Nigeria as a neutral surgeon to excise evil and depart politely, intones naïveté.

    There has been much heated talk, some of it reckless, about foreign military capabilities, “coordinated efforts,” and what powerful allies could do if unleashed. Statements by American officials are quoted and misquoted, even as rumours inflate to certainties. Yet the language of “partnership and counterterrorism” must be heeded with caution, not with hysteria or worship. Coordination shouldn’t translate to colonisation by default as it is rarely charity. It is interest meeting interest, and the dominant party always writes the footnotes.

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    Alongside US “cooperation” to crush terrorists operating within Nigeria, the Nigerian military’s recent operations deserve support and scrutiny in equal measure. And sponsors of terror, whether they wear agbada, humanitarian badge or military camouflage, must be hunted with the same intensity as the foot soldiers they bankroll. Apologists must be exposed and prosecuted. This is the bare minimum of sovereignty.

    Yet, sovereignty is diminished, not strengthened, when citizens behave as though only outsiders can save them. The most dangerous sound Nigeria can experience is not the crack of a gunshot or the roar of a fighter jet, it is the applause and shrieks of approval by a people, who, weary of their own contradictions and tedious labour of self-repair, summon a siege upon themselves.

    When a nation embraces an external force as the decisive answer to its internal failures, it announces something fatal about itself: that it no longer trusts its own capacity for reform. For a former colony, this is the worst form of self-betrayal.

    The global context makes this even more perilous. We are living through a period of resurgent imperial siege. Great powers no longer bother to hide their appetites behind diplomatic or moral sermons. They pursue brazenly their “enlightened self-interest,” spheres of influence, and strategic resources. After the Americas, Africa remains one of the last great theatres where rival empires test their might.

    The United States’ historical posturing toward Latin America, shaped by doctrines that claimed to protect the hemisphere while subordinating it, is instructive. In early January 2026, U.S. forces invaded Venezuela and abducted President Nicolás Maduro and his wife to the United States to face criminal charges, after which President Donald Trump said the U.S. would “run” the country and take control of up to 50 million barrels of its oil for sale, for the benefit of Venezuelans and American interests.

    Trump has also revived his bid to seize Greenland, a strategic Danish territory in the Arctic, calling it vital to U.S. security and suggesting all options are on the table despite Danish and NATO objections to any annexation. From Chile to Guatemala, Brazil to the Caribbean, the logic was consistent: the sovereignty of smaller nations is negotiable when it conflicts with American priorities. To pretend that Nigeria is immune to similar calculations is to be delusional.

    The rise of alternative powers, particularly China, has complicated this old order. Both trade patterns and alliances have shifted. The BRICS bloc, comprising Brazil, Russia, India, China, and South Africa, represents one such counterweight. Nigeria must take this multi-polar reality seriously, not as a romantic rebellion against the West, but as a sober exercise in self-preservation. Alignment, whether with Western powers or emerging blocs, should never be devotional. It must be transactional, disciplined, and rooted in Nigeria’s long-term interests.

    What is unforgivable is the growing habit among some politically embittered Nigerians of openly calling for US invasion as a form of domestic revenge. This is especially reckless in an era when American politics, under a resurgent Donald Trump, has shown little patience for diplomatic niceties while glorifying dominance and reduction of nations to strategic assets.

    Nigeria’s resource wealth makes it an even more tempting target in a world hungry for energy and strategic advantage. Oil, gas, critical minerals, a massive consumer market, and a pivotal geographic position all make the country too important to ignore. That importance should serve as leverage, but only if Nigerians quit trading their sovereignty for spite and emboldening imperial actors who see Africa as unfinished business.

    Every offer of intelligence sharing or security cooperation, whether from Western or Middle Eastern allies, must be handled with extreme care. If poorly managed, it becomes a Trojan horse, entangling domestic security with foreign agendas that may cause instability.

    No country survives by hating itself loudly enough to attract a conqueror. Those who cheer hypothetical invasions should remember the ghosts of Libya, Iraq, and Afghanistan. Libya, once a rich and functioning state, became an impoverished slave market and weapons depot. Iraq’s invasion unleashed sectarian demons that still stalk the region while Afghanistan cycled through decades of occupation and collapse.

    Empires do not rebuild what they break. They move on. Nigeria must learn from the Afghan experience. In the wake of United States-led NATO’s sudden withdrawal from Afghanistan, Gaisu Yari, an Afghan refugee, now a grantee of the Open Society Foundation (OSF), recalled his flight from his homeland as his darkest hour. As the occupying forces commenced their hasty withdrawal, he had just four hours to pack up the life he had created in Afghanistan into one suitcase. In a pain-filled memoir, Yari revealed how he cried all through his perilous trip to the Kabul airport, reliving the agony of saying goodbye to his tearful mother on the roof of an old house.

    He eventually evacuated to Poland, landing with his family in a refugee camp with scarce food and resources. Every new dawn he spends abroad lacerates and leaves a thick welt on his psyche.

    Would Nigerians learn from the sad fate of the Yaris of the world? Despite initial patronage by dubious and bleeding-heart foreign press, Afghanistan has faded from global news headlines.

    Let us be guided by the Afghans’ experience. Nigerians must shun the lure of anarchy. We must avoid poisonous interventions from foreigners, whose major interest is to abolish our sovereignty, plunder our resources, and strip us bare to devious elements.

  • Netflix to acquire Warner Bros Discovery for $72bn

    Netflix to acquire Warner Bros Discovery for $72bn

    Netflix has agreed to acquire Warner Bros Discovery’s studios and streaming business, including HBO and HBO Max, in a cash-and-stock deal valued at approximately $82.7 billion (equity value of $72.0 billion).

    This acquisition brought together Netflix’s global streaming reach and Warner Bros.’ iconic franchises, expanding the company’s content offerings and production capacity.

    The deal included Warner Bros. film and TV studios, HBO, HBO Max, and extensive libraries, including classics like Casablanca and The Wizard of Oz.

    WBD shareholders will receive $23.25 cash and Netflix stock valued at around $4.50 per share.

    Read Also: Six must-watch Netflix releases to keep you entertained this October

    According to Netflix co-CEO Ted Sarandos, the acquisition focuses on entertaining the world better with combined libraries.

    “By combining Warner Bros.’ incredible library of shows and movies… with our culture-defining titles… We’ll be able to do that even better,” he said.

    The deal is expected to close in 12-18 months, pending regulatory approvals and WBD shareholder approval, and marks a significant consolidation in the entertainment industry, bolstering Netflix’s position against competitors like Disney+ and Prime Video.

  • Six eye-opening documentaries on Netflix

    Six eye-opening documentaries on Netflix

    There  are films you watch, and then there are stories that haunt you long after the screen fades to black. 

    These five Netflix documentaries from 2025 are your perfect watch list. From gripping true-crime tales to powerful stories of survival and redemption, these documentaries offer a mix of thrills, insight, and emotion that will keep you glued to your screen this weekend.

    1. The Perfect Neighbor

    This chilling documentary uses unfiltered police body-camera footage to reveal how a long-running dispute between neighbours in Florida turned fatal. With no dramatization, the film forces you to ask: What happens when fear, prejudice and laws collide in our own backyard?

    2. My Father, the BTK Killer

    Here is a story of betrayal, identity and trauma: the daughter of the notorious serial killer Dennis Rader confronts what she and her community lost. It’s intimate, disturbing, and a reminder that evil can hide behind the mask of normalcy.

    Read Also: Top 10 most watched African Netflix movies right now

    3. Surviving Black Hawk Down

    A gritty three-part look at the 1993 Battle of Mogadishu, told from both the U.S. soldiers’ and Somali fighters’ perspectives. It’s war stripped down: chaotic, human and deeply reflective. You’ll see how one mission spiralled and how assumptions about heroes, villains and victims blur in conflict.

    4. Beauty and the Bester

    This one flips what you expect: not your typical crime doc, but a story of power, obsession and the strange interplay between fame and deception. It asks how far people will go to be seen – and what they become in the process.

    5. Pangolin: Kulu’s Journey

    This beautiful yet urgent documentary tells how a conservationist rescues a baby pangolin trafficked in South Africa. It’s a tale of nature, redemption and our role in the world’s most silent crises.

  • Six must-watch Netflix releases to keep you entertained this October

    Six must-watch Netflix releases to keep you entertained this October

    October has arrived with its rainy days and unpredictable power supply, but Netflix is offering a stacked lineup of new releases to keep the month exciting.

    From spy thrillers and true-crime horrors to heartfelt dramas and romcoms, there’s something for everyone.

    Tom Clancy’s Splinter Cell: Deathwatch (Netflix, 14 October)

    If you’re into anime and action, this one might just be your new obsession. It’s from the artiste who wrote John Wick (so you know the fight scenes will hit hard). Splinter Cell: Deathwatch drops us into the shadowy world of espionage with Sam Fisher—a legend in the field—who gets pulled back into action to mentor a rookie. Together, they unravel a conspiracy that could change everything.

    It’s an action-packed anime with serious style, dropping just in time for those nights when all you want is to curl up in bed with your laptop.

    Nobody Wants This: Season 2 (Netflix, 23 October)

    If dark and bloody themes aren’t your thing—or if you just need a laugh and a little romance—you’ll love the energy Nobody Wants This brings. The Emmy-nominated romcom centers on an outspoken, agnostic woman who somehow falls for a very unconventional rabbi. It sounds odd on paper, but the chemistry, humour, and writing make it work.

    Season 1 was a surprise hit, and Season 2 promises to keep the charm going. If you missed it the first time around, October is your chance to binge Season 1 before the new episodes land. It’s light, funny, and perfect for unwinding after a hectic day.

    Steve (Netflix, 3 October)

    Confession: I’m extremely biased here. If Cillian Murphy is in it, I’m watching it. He’s been a gangster, a physicist, a supervillain, and now, he’s Steve.

    Adapted from the novel Shy, the story follows a headteacher struggling to keep his reform school alive while trying to guide a troubled student. It’s heavy, emotional, and a world away from Murphy’s Oppenheimer spotlight last year but that’s exactly why people love him.

    If you enjoy slow-burning dramas with performances that linger long after the credits roll, Steve is one to watch. Yes, it’s moody. Yes, it’ll probably break your heart a little. But it’s also Cillian Murphy at his best, and honestly, some of us would watch him read a phone book.

    The Ed Gein Story (Netflix, 3 October)

    Remember how Netflix had us all hooked on Dahmer last year? Well, Ryan Murphy is back this time with The Ed Gein Story, about the real-life killer whose crimes inspired countless horror movies.

    Set in 1950s Wisconsin, the series follows how Gein terrorized his town, desecrating graves and murdering women.

    Charlie Hunnam takes on the chilling lead role, and if the show sticks to Murphy’s formula, expect a disturbing deep dive that will dominate social media the moment it drops. If you’re into true-crime binges that make you double-check your doors before bed, this one’s for you.

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    Everybody Loves Me When I’m Dead (Netflix, 14 October)

    First of all 10/10 title. This Thai crime drama follows two bank employees who think they’ve struck gold by stealing from a dead woman’s account. Spoiler: they haven’t. Instead, they’re pulled deep into her criminal underworld, facing consequences they definitely weren’t ready for.

    It’s stylish, unpredictable, and proof that not all the best Netflix releases come from Hollywood. If you love discovering international gems or just need a break from the same old thrillers, this is your perfect mid-October pick.

    The Witcher: Season 4 (Netflix, 30 October)

    Alright, let’s address the elephant in the room: Henry Cavill is gone. Yes, it hurts. But Liam Hemsworth is stepping in, and maybe just maybe he won’t ruin your favorite Witcher.

    This season picks up after the chaos of Season 3, with Geralt, Yennefer, and Ciri separated by war and hunted by enemies who’d rather see them dead than reunited.

    The stakes are higher, the story is inching toward its grand finale, and it promises to feel darker and more dangerous than ever. Even if you’re watching purely out of curiosity to see how Hemsworth handles the role, there’s no denying The Witcher remains one of Netflix’s most bingeable fantasy epics.

  • Top 10 most watched African Netflix movies right now

    Top 10 most watched African Netflix movies right now

    Africa’s film industry continues to shine on the global stage, and Netflix has become one of the biggest platforms showcasing its brilliance.

    From gripping dramas and heartfelt romances to powerful true-life stories and thrilling crime sagas, African productions are captivating audiences around the world. 

    Here are the Top 10 most-watched African titles on Netflix, celebrating the films and series that have left viewers talking, streaming, and asking for more: 

    1. Tuiskoms 

    (SOUTH AFRICA):

    It’s a South African Movie produced in the South Africa. 

    45.3M HRS WATCHED. The movie is a 2024 South African drama television series created and written by Louis Pretorius and Albert Snyman for Netflix. The show was produced by Infinity Films and premiered on September 20, 2024, with seven episodes. The series stars Amalia Uys and Armand Auaamp. It charts their initial rocky working relationship at a flower shop in wilderness Actress Michelle Bote passed away during the post production of the first season .

     2. Unseen 

    (SOUTH AFRICA ) : 

    28.5M HRS WATCHED . If is a 2023 South Africa crime drama television series created by Travis Taute and Daryne Joshua . The series is a South African adaptation based on fatma a 2021 Turkish drama series.

    3. Baby Farm

    ( NIGERIA) : 

    9.6M HRS WATCHED . it is a Nigerian television series directed by Walter Taylaur and Kayode Kasum and produced by Ma Abudu . The limited series was released on Netflix on the 21st of March 2025

    4. King of Johannesburg

    (SOUTH AFRICA)  : 

    13.7M HRS WATCHED . The Masire brothers rule Johannesburg’s criminal underworld, but a supernatural family curse threatens to destroy them.The series, set in Lagos, exposes the dark reality of baby farming. It follows Adanna, a pregnant woman deceived by a seemingly charitable NGO run by Dr. Oliver Evans and his wife, Sister Barb, who exploit vulnerable women for profit. Meanwhile, actress Cherise, struggling with infertility, becomes unknowingly involved in their crimes. As journalist Joy and outsider Ifeyinwa investigate the organization, their paths collide in a tense fight for truth, justice, and survival.

    Read Also: The Party interrogates fragile family bonds, streams on Netflix

    5. Go

     ( SOUTH AFRICA ):

     8.9M HRS WATCHED . A young runner is given a second chance at life when he is offered a track scholarship, but can he chase his dreams without tripping on his lies?

    6. Salvage beauty

     (SOUTH AFRICA):

     8.9M HRS WATCHED. Seeking revenge for her tragic past, a mysterious woman embeds herself in a powerful family who possess a global beauty empire, as well as dark secrets.

    7. Fatal seduction

     (SOUTH AFRICA) :

    6.0 Hours . A married woman goes on a dangerous weekend trip away from home that sparks desire but ends tragically, making her wonder if the people close to her are telling the truth.

    8. Blood legacy

     (SOUTH AFRICA): 

    5.8M HRS WATCHED . After years of estrangement, Khanyi Adesina returns home to fight for her family’s business empire as it threatens to collapse under corruption.

    9. Blood and water 

    (SOUTH AFRICA) : 

    3.3M HRS WATCHED . After crossing paths at a party, a Cape Town teen sets out to prove whether a private-school swimming star is her sister who was abducted at birth.

    10. Blood sister

     (NIGERIA) 

    : 2.0M Hours watched. Bound by a dangerous secret, friends Sarah and Kemi are forced to go on the run after a wealthy groom disappears during his engf egg agement party. 

  • The Party interrogates fragile family bonds, streams on Netflix

    The Party interrogates fragile family bonds, streams on Netflix

    Captain of the Sea Productions has released “The Party” a thought-provoking three-part murder mystery series that dares to dissect the human experience on Netflix series.

    Beyond the glitz and intrigue of a whodunit, “The Party” is a mirror, reflecting the fragile bonds between family, marriage, friendship, ambition, and identity.

    Executively produced by Ope Ajayi, CEO OF COTS Productions, directed by celebrated filmmaker Yemi “Filmboy” Morafa and starring a powerhouse ensemble, Kunle Remi, Kehinde Bankole, Shaffy Bello, Uzor Arukwe, Ayoola Ayolola, Segun Arinze, Tope Olowoniyan, Eva Ibiam, and more, “ The Party” is as intimate as it is intense.

    Read Also: Netflix rejection almost broke me – Ugwu

    The series begins with the dazzling 40th birthday celebration of Akinbobola “Bobo” Balogun, a man whose life embodies success, admiration, and influence. But by midnight, the celebration turns to chaos: Bobo is found dead. And as each episode unfolds, the layers of his seemingly perfect life and those closest to him begin to crack.

    “The Party” is more than a mystery; it’s an emotional excavation of life’s messiest truths. Across its three parts, the series interrogates: Work: the sacrifices we make to climb, and the enemies we create along the way; marriage: Love, silence, longing and the secrets we keep from the ones we sleep beside; Family: Blood ties that can protect or destroy and Friendship: Loyalty tested by envy, opportunity, and hidden wounds.

  • I rejected N3bn Netflix offer for my girlfriend – Peller

    I rejected N3bn Netflix offer for my girlfriend – Peller

    Content creator Peller has claimed that he rejected a whopping N3 billion offer from Netflix for his girlfriend, Jarvis, to appear in a kissing scene.

    During a recent livestream with P-Square’s Peter, Peller shared this extraordinary story, asserting that he prioritises his relationship and values over lucrative opportunities.

    He allegedly has proof of the video call where the offer was made and warned the Netflix representatives never to make such an offer again.

    Peller said: “Netflix offered N3 billion my girlfriend, Jarvis to do a kissing scene, but I turned it down.”

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    Peter asked, “Do you mean N3 million or N3 billion?”

    Peller replied: “N3 billion! I know you might not believe me but I have the record of the video call. I warned them never to contemplate such ever again. I love my baby. I don’t joke with my baby. She is my life.”

  • NFVCB ED leads Nigeria’s delegation to Amsterdam to meet Netflix

    NFVCB ED leads Nigeria’s delegation to Amsterdam to meet Netflix

    The Minister of Arts, Culture, Tourism and Creative Economy, Hannatu Musawa, has sent an official delegation to Amsterdam for a meeting with streaming giant- Netflix.

    The delegation will be led by Dr. Shaibu Husseini, Executive Director/CEO of the National Film and Video Censors Board (NFVCB). Dr. Husseini will be accompanied by some esteemed stakeholders, including Charles Okpaleke of Charles of Play Network, Group Managing Director of FilmOne Kene Okwousa, filmmaker Moses Iwang and President of the Film Distributors Association of Nigeria (FDAN) Joy Odiete.

    The meeting, which is expected to be held at Netflix’s corporate headquarters in Amsterdam, aims to discuss the impact of Netflix’s recent decision to stop commissioning original content on the Nigerian motion picture industry. But notably, the meeting aims to explore possible solutions that benefit both parties.

    Read Also: Microsoft plans to invest $80b in data centres

    According to a recent statement, the meeting with the streaming giant underscores the Ministry’s commitment to promoting Nigeria’s creative economy and protecting the interests of local content creators.

    The delegation’s engagement with Netflix is expected to yield positive outcomes for the Nigerian film industry and pave the way for future collaborations.

    As the Minister responsible for driving the growth of Nigeria’s creative economy, Barrister Musawa has consistently demonstrated her dedication to empowering local talent and promoting cultural exchange.

  • Netflix, licensing Nigerian movies and last man standing

    Netflix, licensing Nigerian movies and last man standing

    • By Baderinwa Olubi

    Ace comedian, Bright Okpocha AKA Basketmouth, who recently became a filmmaker, made his name by making people laugh. But last week, some of those who had found him funny, notably within Nollywood, had their mood ruined by an interview he granted to Arise TV.  The interview followed a rumour-presented as news-that Netflix, the streaming platform, was exiting Nigeria because of the country’s stifling economic conditions. The speculation got immense traction in the digital space, provoking hot takes over what actually was a misreporting of the streaming platform’s change in business strategy.

    The rumour appeared to have had its roots in the comments of Victor Okhai, President of the Directors Guild of Nigeria, who stated at the Zuma Film Festival that Netflix is slowing down it the funding of Nigerian films in November. It gained more speed when producer, Kunle Afolayan, at another forum, explained that Netflix was making adjustments to its funding and operational structures. That was seized upon and made into an exit story, with Netflix listed as the latest in a long line of businesses forced out of the country in the last 18 months on the back of asphyxiating operating conditions.

    But Netflix rebutted the rumour, saying: “We are not exiting Nigeria. We will continue to invest in Nigerian stories to delight our members.”

    Netflix did not share why it took the decision to scale back on original productions. That gap was filled by Basketmouth who, in the interview with Arise TV, simply hurled a grenade. More than 70 per cent of Nollywood producers, he alleged, divert the lion’s share of budgets allocated for film funding by streaming platforms to opulent lifestyles.

    “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,” he said.

    More was to come, with Basketmouth also stating that producers inhibited the realization of Netflix’s objective of coaxing top-tier performances from actors by paying them directly. The producers, he said, went behind to take money off the actors, thereby affecting the quality of their output.

    “I’m not generalizing, 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…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,” added Basketmouth, who released his debut film, A Ghetto Love Story, in November.

    Read Also: Soludo wins best performing governor in PHC in Nigeria

    The allegations provoked conversations, conducted with traffic warden energy and with with public sentiments on Baskemouth’s side. The industry has not responded. Does its silence mean acquiescence? I will err on the side of incaution. However, I do not believe that it is was the only factor in Nextflix’s decision to reassess its business model.

    Ten months back, Amazon Prime Video, Netflix’s rival, downsized its Africa and Middle East operations in a move that saw the platform end licensing of originals in both markets. Nigeria and South Africa, where it had set up teams, were naturally the hardest hit on our continent.

    StarTimes, the Chinese-owned pay television platform, said industry sources, has retreated from licensing originals after Ile Alayo, Okrika, Sparadise and Hello, Mr. Right on account of the harsh economic climate. Dipping subscription figures, occasioned by economic reforms of the current administration and attendant inflation, have forced the company to shift its focus to providing alternative power through its StarTimes Solar.

    It is hard to blame StarTimes for shifting focus or Netflix and Amazon Prime for recalibrating their business strategies, given the country’s economic challenges such as high inflation and a fluctuating currency that are certain to have made subscription margins a lot less lucrative. There is also the not exactly small matter of that the the cost of producing high-quality content that are stretching resources.

    The implications of these for Nollywood could be profound. Filmmakers, who have relied on backing from many sources now seem to have only one-MultiChoice which, in spite the grim economic weather, is not shirking the challenge of investing in premium content. On its AfricaMagic platform, the coming quarter will see the launch of titles like Real Housewives (Season 3), Uriri, an epic fantasy drama; PTA, Deeper, a three-part series; as well as local language shows like Inu Jin, Obi Di Omimi and Buri Season 2. This will begin to air in the next few weeks, while Alex from Oil and Gas as well as The Good Shepherd will launch soon after.

    Last man standing? There should many men standing. To remain standing requires watermelon-size balls, given how tough the operating environment is at this time. It also takes that takes resilience and perhaps, other-worldly faith in the place of operation and the people, of which the platforms scaling back may have lost more than a little. There is no doubt that roll back by the other platforms will bring about a reduction in opportunities as well as a dip in production standards, both of which will leave Nollywood in a less than happy place.

  • Netflix’s big blow

    Netflix’s big blow

    They rushed here. Yes, they rushed to Nigeria, the giant of Africa and they were expectant. But, just a few years later, Amazon Prime and Netflix have dashed out. With full force.

    Amazon was the first to run. It closed shop because it was not getting the big money it was expecting.

    Some weeks back, Netflix joined. Its pattern of exit reminded me of how Olusegun Obasanjo as president of Nigeria visited Audu Ogbeh as Peoples Democratic Party (PDP) chairman, had a sumptuous meal with him only to hand him a resignation letter to sign.

    Netflix held a party for movie makers, actors and other industry players, a last feast, where it dawned on all that the days of it releasing big money for film production in Nigeria was over. Now, film makers have to restrategise. The likes of Kunle Afolayan, who have concentrated on making contents for the streaming platform, have to either return to the cinema, or strengthen their YouTube channel like Omoni Oboli is doing. The likes of Ruth Kadiri, who have mastered the YouTube, seem insulated. For now. Who knows what policy will come that will also impact the dollar rain from that axis.

    Netflix-dollar-backed productions like Anikulapo 2, Jagunjagun 2 and others that have been shot will still air on the platform, but others that are yet to be shot have been cancelled. The fate of ‘The Secret Lives of Baba Segi’s Wives’ optioned by Mo Abudu’s EbonyLife Studios for a Netflix Original series isn’t clear. If it hasn’t been shot, then it is impacted by this sad development.

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    While it lasted, the Amazon Prime and Netflix deals were good for the likes of Mo Abudu, Kunle Afolayan, Femi Adebayo, Lateef Adedimeji, Genevieve Nnaji and many more. But now, these guys have to work out new distribution means or return to the existing ones.

    It is a sad moment for Nollywood, a crushing blow to the beneficiaries and a laughing moment for those who were shut out of the delicious cakes that Amazon and Netflix originals represented.

    May YouTube not introduce a policy that will leave film makers at the mercy of the marketers of old.

    In the end, we need to find a local solution to our challenges. The West and its investors are out for profits and when they can’t get it, they leave and will only look back if they see another sign of return on investment.