Global streamer Netflix has added EbonyLife’s legal drama Castle & Castle to its line-up of Nollywood content.
Directed by Tope Oshin, Niyi Akinmolayan and Kenneth Gyang, the series follows a happy couple, Remi (Dakore Egbuson-Akande) and Tega (Richard Mofe-Damijo), who run a successful legal firm in Lagos.
Business and marriage often clash when the couple are on opposite sides of the law. Remi prefers to work with affluent clients while Tega is zealous about pro bono cases that impact society.
The show stars Dakore Egbuson-Akande, Richard Mofe-Damijo, Blossom Chukwujekwu, Eku Edewor, Deyemi Okanlawon, Etim Effiong, Dorcas Shola Fapson and media personality Denola Grey.
The show is one of EbonyLife films’ TV Afropolitan projects which reflect African issues, contemporary African life and African drama generally. It will be available on Netflix from Friday February 14.
The news comes after Netflix licensed EbonyLife female-led drama Fifty, about four women who are approaching 50 years of age, as well as previous acquisitions of Crazy, Lovely, Cool and Sons of the Caliphate.
Netflix has added a Nollywood political drama series and a comedy movie, both of which will be available on the global streaming platform from next week.
Set in Northern Nigeria, drama series Sons of the Caliphate was created, written and produced by Dimbo and Karachi Atiya. It tells the story of three rich young men who struggle for power while dealing with family loyalty, love and revenge. Nollywood actors including Rahama Sadau, Paul Sambo and Yakubu Mohammed are among the cast.
The comedy movie is 2018’s Kasala (Nigerian pidgin for ‘trouble’), which focuses on a day in the life of four young men who borrow a car without the owner’s permission. It features Nollywood actors such as Jide Kosoko, Mike Afolarin and Chimezie Imo.
Global streaming platform Netflix has added Nigerian series Crazy, Lovely, Cool to its expanding catalogue of Nollywood content.
Directed by Obi Emelonye (Last Flight to Abuja), the hour-long series is a coproduction between broadcaster Trace TV and prodco The Nollywood Factory. It features Nollywood stars including Adesua Etomi-Wellington, Uru Eke and Enyinna Nwigwe.
The series, which was filmed in 2017 on the main campus of the University of Nigeria in Enugu, focuses on the activities of university undergraduates and their lecturers.
Emelonye’s other credits include Badamasi: Portrait of a General, which tells the life story of General Ibrahim Babangida.
Africa’s largest pay TV operator MultiChoice has called for regulations to be imposed on Netflix as it blames the US-based streaming service for the subscriber losses it has suffered since 2017.
As a result of Netflix’s popularity among African viewers, pay TV companies MultiChoice and StarTimes are experiencing serious challenges to their business models and revenue streams.
In a recent report by Quartz Africa, Calvo Mawela, CEO of MultiChoice, said his company had lost over 140,000 subscribers to Netflix, including 100,000 in the past financial year. The streaming service, he said, is also free from any affirmative action regulations, which gives the US firm a major advantage.
Even though pay TV companies are already competing with local streaming platforms like Iroko, Netflix’s plan to focus more on Nollywood and African content is set to create another area of competition for these companies in 2019.
Netflix’s VP of international originals Erik Barmack told C21Media’s Content London conference in November that the streamer’s European team is “in the process of looking at opportunities in Africa. It’s definitely the case that we’ll commission some series there in 2019.”
In an article by Business Insider magazine, Netflix said: “The company is following Nollywood closely and focusing more on content. There are no plans to have a physical office in Nigeria. We are following the local industry closely and focusing more on content rather than physical presence.”
While pay TV companies work on having better streaming services and pricey data plans, Netflix has deployed a dedicated server in Nigeria in partnership with Spectranet in order to have a secure connection for its Nigerian audiences and also provide customers in Nigeria with a better video-streaming performance.
Despite the fact Nigerian movies such as Genevieve Nnaji’s Lionheart, Kunle Afolayan’s October 1st and Biyi Bandele’s Fifty are available on Netflix, thus creating competition in the Nigerian market, all hope is not lost for MultiChoice. The South African company still has three of its indigenous African Magic stations on DSTV, namely Africa Magic Yoruba, Africa Magic Hausa and Africa Magic Igbo.
Although the competition would impact viewers across Nigeria, perhaps leading to possible lower subscription fees for streaming and TV content packages, it will now be a fight between four major contenders: MultiChoice, StarTimes, Iroko and Netflix.
US-based international streaming company Netflix has confirmed plans to invest more in African programming next year as its local content strategy rolls out further.
Original African series will be commissioned by the company in 2019 and Netflix is already on the look-out for original scripts with local casts. The company will reportedly have spent US$12bn on content by the end of this year.
Netflix VP of international originals Erik Barmack said: “Netflix’s Europe team is in the process of looking at opportunities in Africa. It’s definitely the case that we’ll commission some series there in 2019.”
Speaking at C21’s Content London conference last week, Barmack said the move was part of Netflix’s global ambitions and that international content would soon eclipse that from the US as the most watched in the world.
“There’s going to come a time when half of the top 10 most watched shows in a given year are going to come from outside of the US. I don’t think that’s actually far away. That’s going to come in years, not decades. Shows with multinational casts will become the norm,” he said.
“It can’t be the case that America or Hollywood is somehow 10, 15, 20 times better at telling stories, nor is it the case that audiences in one or two countries are the full audience for a scripted series.
“What we’re going to see, what we’re seeing now, is this is all going to get pulled apart and replaced with a concept of TV coming from anywhere and going to anywhere, in the same way you can put on a music playlist and go from country to country without thinking about it.”
Barmack also unveiled two new European commissions in his keynote at the event: Young Wallander, based on the popular detective character created by novelist Henning Mankell, and an as-yet-untitled French project set in 18th century Paris.
In a speeech to the Creative Nigeria Summit, EbonyLife TV CEO Mo Abudu, the ‘Oprah of Africa,’ revealed her company’s strategy and ambitions.
Mo Abudu is referred to as the Oprah of Africa, or as Africa’s most successful woman, according to Forbes Magazine.
These epithets are unsurprising as she constantly proves her prowess and dedication to her role as CEO of EbonyLife TV, the first pan-African TV channel owned by an African woman.
In her speech at the second edition of the Creative Nigeria Summit this week, she took us through her journey of the past five years as CEO of EbonyLife TV and gave hints about what to expect from future projects, also giving a detailed account of the drama deal between EbonyLife and Sony Pictures Television.
This is her speech in full:
First and foremost, I would like to thank the organisers of the Creative Nigeria Summit for creating this platform for our sector – the media and entertainment sector, the creative sector, the sector of show business. Congratulations on hosting your second summit.
The creative sector is wide and vast and includes so many sectors and sub-sectors, but I will simply focus on what I’ve been asked to speak about today, The Creative Vision and Process Behind Global Drama Hits.
We cannot speak about the creative vision and process behind global drama hits without making reference to global leaders in this space. I would therefore like to share with you a short summary of the most watched shows by some of the largest streaming platforms.
To start with, let’s talk about Netflix.
American Vandal is a comedy drama that takes a look at the aftermath of a high school prank that left 27 faculty members’ cars vandalised. Second, 13 Reasons Why is a drama series that revolves around a teenage girl’s suicide and the mystery around her tragic death. Third, Riverdale is a teen drama series that features a star-studded cast navigating the troubled waters of sex, romance, school and family in the small town of Riverdale
Now, let’s move on to Amazon. The Man in the High Castle is a history series that offers a scary glimpse at an alternate history in which Hitler won World War Two. Second, One Mississippi is a comedy series about a radio host who returns to Mississippi after receiving news that her mother will be taken off life support. Third, The Tick is a series based on a superhero in a blue tick costume who arrives in the city to help combat crime and uncover the mysterious figure behind the city’s underworld.
Another major streaming giant is HBO, which we’re all familiar with. Game of Thrones is an epic TV series about the tale of royal feuds, dynastic conflict and the struggle for ultimate control in the Seven Kingdoms of Westeros.
Second, Big Little Lies, a series about ex-husbands and second wives, schoolyard scandals, and the dangerous little lies we tell ourselves just to survive. Third, Westworld is a series that centres on a futuristic theme park with some dirty secrets and a Western motif, where the wealthy can pay to experience adventure that real life could never provide
What is important to note is that I have taken the liberty to include EbonyLife ON as a future global giant. Because we believe in global best practices.
Two weeks ago, we launched EbonyLife ON across the continent, a video-on-demand service that allows subscribers all over the world to watch our treasure trove of content for a nominal fee. Since then, we have witnessed nearly 10,000 downloads from our Apple and Google app stores, and our web portal numbers are well over 10,000.
The most watched shows on EbonyLife ON are:
Castle & Castle, a legal drama series set in a successful Lagos law firm run by Remi and Tega Castle. Will the marriage survive the business or will the business survive the marriage?
The Sons of the Caliphate, a drama series about the lives of three rich, entitled, passionate and ambitious young men. It is a journey into the rich cultural and flamboyant aristocratic Northern Nigerian lifestyle.
Fifty: The Series, which follows the lives of four women who are forced to take mid-life inventories as ambition and betrayal threaten their relationships.
Globally, it’s all about the ratings and not sentiment.
From what we can see, it’s all about science-fiction, like Game of Thrones; Murder Mysteries, like 13 Reasons Why and Romance, like our very own Castle & Castle.
So, who decides on setting the creative vision and process? The showrunner.
The showrunner is the 21st century term for the leading executive producer of a Hollywood television series in the US. The concept has since been adopted in the Canadian and British TV industries.
A showrunner typically has creative control of a TV series production, through combining the responsibilities of the head writer, executive producer and script editor.
In order for this vision to become a reality, the showrunner sets up the writers’ room. The writers’ room is the room in which the showrunner and the writers of a television series collaborate on the plot and develop the script.
All writers are expected to participate in the pitching process, speaking up and offering their ideas or listening to everyone else’s pitches. This is where episodes are sliced up for individual writers to develop.
I personally believe the ‘beat sheet’ is one of the most important elements in this process. This is what we as Nigerians and writers across the continent need to spend more time on.
A beat equates to about a minute of show time and there is roughly one page of script per beat.
I would suggest further research in this area. Looking at the work of Blake Synder, an American writer who has developed what is known as a BeatSheet Calculator. According to Snyder, every good script should have a certain structure. There is a lot information online about this process and it’s one that we need to adhere to if we want our stories to be stronger, captivating, entertaining and leave your audience wanting more.
Talking about leaving your audience captivated, entertained and wanting more – even if I say so myself – we achieved this with The Wedding Party. Using global best practices was key to our process. I’d like to share a few key lessons on The Wedding Party franchise with you.
The audience should be able to relate to the story and characters. What we found with The Wedding Party is that it didn’t matter where you were from, how old you were, or your religious background. We’re all able to relate to this story. As we all know, The Wedding Party is an everyday story about a couple’s big wedding plans that turn into a nightmare that includes exes, fighting parents and uninvited guests – most, if not all of us can relate to this.
To ensure our audience can relate to the characters in our script, we spent a great deal of time casting. We looked at the current relevance and social media following of all the actors. The use of A-list actors for The Wedding Party played a huge role in ensuring its success.
The next step was to bring a director on board with a clear vision to guide the cast and crew. Experienced crew for photography, sound, lighting and music were all critical.
I cannot over-emphasise the importance of marketing. With enough time for marketing, you can create anticipation for a film. The Wedding Party began publicity six months before its cinema release, hence the various records broken by The Wedding Party 1 and 2.
In fact, we started marketing the film from the first day on set. Every day during production, we shared the process with our audience with posts on social media and clips from the most interesting behind the scenes moments.
Screenings at festivals around the world position the film in the world market and attracts buyers. The world premiere of The Wedding Party took place at the Toronto International Film Festival. Getting into an international film festival is in itself another process. We were excited that we had a sold-out premiere with over 1,400 people from all over the world. This event really helped with publicity in social media, blogs and print.
And as you know, we have the largest movie premieres in Nigeria that could have been held anywhere across the globe. From our red carpets, to our dress code, to our themed events, to VVIP list as long as my arm. From the ‘save the dates’ to the invites to the entertainment and dinner, to the after-party.
Generally, all the razzmatazz and paparazzi. This makes for the most glamourous event, we know, as Nigerians we love glamour. This adds to building anticipation of the cinema release.
The Wedding Party was released in the run-up to Christmas, allowing for mid-week afternoon shows to be sold out. We hosted media screenings to help to get mentions of the film out in advance. Once we were in the cinema, we hosted meet and greet events with the cast. We kept our audience excited about our numbers in the box office from week to week.
Last, but not least, I’d like to talk about our partnership with Sony. Just five months ago, we finalised a three-project production deal with Sony Pictures Television and became the first African production company to partner with a major Hollywood studio. Years of development was put into this particular project that Sony chose – major lesson for us – we must also put in the work and be ready.
Finally, I’d like to talk to you about EbonyLife TV. We recently celebrated our fifth anniversary on July 1. We restructured our business to focus on four key areas. We were able to do this because of the lay of the land and the opportunities that we have found in Nigeria over the last six years.
I say six years, because we spent an entire year creating programmes before we launched the channel on July 1, 2013. Prior to that an additional four years on conceptualising the brand you now see. So, a 10-year journey.
EbonyLife TV, our linear channel, broadcasts on DStv 165 and StarTimes 107 and 191 in Africa, and on Flow in 10 Caribbean countries. With the creation of EbonyLIfe TV, we realised that African audiences want to see themselves in their own stories, on television and at the cinema.
They want to see an African narrative that reflects their own struggles and triumphs, the closeness of their relationships and the progress being made in their emerging societies. We were tired of being portrayed in perpetual crisis: war, famine and corruption. We decided to change that narrative.
We know how important it is to continue to change the narrative. We started with TV and within a year of launching EbonyLife TV, we launched EbonyLife Films.
We have produced the biggest films in Nollywood to date. They include Fifty, The Wedding Party movies, Royal Hibiscus Hotel and our new December film, Chief Daddy.
We recently acquired the rights to Professor Wole Soyinka’s play Death & the King’s Horseman. We see this as a global feature film release and we are hard at work on bringing this to the world of global cinema.
EbonyLife Studios is a film production service for in-house projects and third-party clients. We have seen this need grow over the years – a need to service our own productions and that of other commercial organisations requiring the production of events, infomercials, commercials and other video generated content.
EbonyLife ON is our global video-on-demand (VoD) digital service for viewers who want to enjoy high-quality series and movies at their convenience. This expands our reach dramatically, beyond satellite TV platforms. Now, anyone with an internet-connected mobile device can watch our content, no longer constrained by TV schedules or expensive monthly subscriptions.
We are pleased with the numbers we have seen so far – we have nearly 10,000 downloads. This is with little or no advertising, and just shows the potential of the market and the potential within the market.
Research tells us that by 2023 that there will be 10 million SVoD subscribers across the continent of Africa, with the most growth coming from Nigeria and South Africa. The opportunities within our SVoD and digital market are still early stage with no winners at the moment.
We believe the companies with the best content will ultimately win – keeping the consumer in mind and his or her preferences for programming. This is the most exciting part of our business as we believe everything we do is tied to growing into a media tech company.
EbonyLife ON Mobile is a partnership with MTN, Airtel and 9 Mobile. Mobile communications technology has allowed Nigeria to leapfrog into the future with the widespread use of smartphones. Rapidly increasing bandwidth is creating a brand-new landscape for video content producers like us. We work with these telcos on specific special offers – data packaged along with an agreed piece of EbonyLife branded content.
What does the future hold for us?
Our dream is to continue to create premium content and ensure that we are able to distribute this content to the world using the best of technology, giving everyone the opportunity for a limited amount an opportunity to join our world and share our story with audiences across the globe.
My personal philosophy is: “If you can think it, you can do it.” So, when others look at Nigeria or Africa and see challenges, I see opportunity – lots of it. If you can help to solve the problems, the rewards are great.
In a brief Q&A with Africa MediaWorks CEO Lindsey Oliver, Abudu later opened up about how it all started, stating: “I’m a very spiritual person and I believe everything happens through the guidance of God.
“We started at Cross River State. I remember being invited to Calabar by a good friend of mine, meanwhile, as that was happening, one of my sponsors was demanding that I get on social media and threatening to drop Moments with Mo if I don’t. So, I got on social media, sent a tweet saying how much I enjoyed being at Calabar and got to meet the governor. These things didn’t happen all at once but I felt it was preordained.
“At times, you’re never quite sure how it would go, if anybody had told me that joining social media and meeting the governor would lead to where we are today, I may not have believed them. I think the secret is, keep putting your story out there – if I hadn’t shared my vision with the then Cross River State governor and him his, EbonyLife may not have begun operations in Calabar, truly, the plan was actually to launch here in Lagos. So, one key thing to note is, if you don’t share your vision it will never be reality!”
When asked about her views on the regulatory and censorship environment in Nigeria, Mo said: “I think censorship is important but I would like it to be relaxed a bit more because it squashes creativity and if it continues like this, we would lose our audiences to content not created by us. They would begin to consume what’s not local – in fact, that’s already happening. We need to be realistic about what’s happening, we need to be able to share our stories.”
Nigeria’s minister of information and culture Alhaji Lai Mohammed kicked off the second edition of the Creative Nigeria Summit (CNS) this week, calling on the creative industry to focus on what consumers want.
The CNS is a two-day conference held annually to bring together international and indigenous experts, thought leaders, industry players and renowned professionals within the Nigerian film and television industries to discuss issues affecting the business.
His speech in full:
Good morning gentlemen, and welcome to the 2018 Creative Industry Summit, with the theme Content – The Future of Nigerian Film and Television in a Digital Era.
This is the second edition of the summit, which started last year. The summit has thus become an annual event designed to bring together international and indigenous experts, thought leaders, key players and renowned professionals from the entertainment and media industry, to examine and exchange ideas and innovations, to create sustainable solutions to challenges and harness the full potential of the Nigerian film and television industry.
The two-day summit, put together by Think Tank Media and Advertising Ltd, in conjunction with the Federal Ministry of Information and Culture, was born and executed out of a desire to urgently transform the film, television and music sectors into a well-structured industry.
The first edition last year achieved several milestones:
i) Following the summit, a delegation of the Nigerian Film and Music Industry, led by my humble self, held a piracy stakeholders’ meeting with the inspector-general of police, resulting in the establishment of police anti-piracy units in all the 36 states. The subsequent extensive piracy raids have led to the confiscation of pirated products worth hundreds of millions of naira.
ii) Granting of pioneer status for the creative industry by the federal government to reduce financial burdens on new investments and encourage both foreign and local investments within the industry.
iii) A meeting with the governor of the Central bank of Nigeria requesting the provision of stimulus capital for the creative industry to be invested through long-tenured single-digit debt to private investors to build 100 community cinemas, six music arenas across the geopolitical zones and state-of-the-art pre- and post-production facilities across the country.
iv) Granting of special priority status to international and national investors to access foreign exchange.
v) A sovereign guarantee to back up international loans to achieve any of the stated infrastructure projects.
vi) Co-ordination of an arrangement to establish a world-class media services production company that will produce Premier League [football], music videos for artists, films for Nollywood and TV shows and soaps for television.
vii) Setting up of an audience rating and measurement body for TV and radio, on the back of the ongoing rollout of the digital switch-over (DSO).
During the intervening period between the inaugural edition and the year’s summit, our personal research has been focused on an understanding of what, in particular, the customers in the 24 million TV households in Nigeria really want. We have arrived at the findings that the digitisation of television required a much deeper understanding of customers, content and the quality of delivery of ‘video.’ Yes, I did not use [the word] television and that is because that is not what people all want to watch. They want to watch videos, however they are delivered, including – but definitely not limited to – television.
The landscape has changed. The accelerating shift towards mobile delivery continues unabated and a content rekindling has left consumers feeling lost in a sea of available programming. I believe the time to act is now. Media and entertainment companies that want to stay in the game may need to embark upon a holistic, coordinated and integrated programme of digital innovation to focus their resources, investments and capabilities on the things that truly matter.
With respect to content consumers in Nigeria, a well-researched survey of what the customers want, where they are, what they watch, want to watch, when and how they want it delivered, does not exist. The stakeholders within the ecosystem of the DSO project are unfortunately focused on their immediate economic returns and convenient modules of implementation. But technological growth does not flow along those lines and, in the near future, smart media entities will outstrip all plans, institutions and government power and reach the customer, leaving non-informed players with empty castles.
On the issue of content, Nigeria is the clear leader in raw content in Africa. Nollywood, hip-hop, Afrobeat and our comedians testify to this. But we are hardly monetising them either through production, distribution or royalty collection. In fact, with about 20 billion naira currently expended on the DSO, less than N500m has gone into content. It is apparent Nigeria has forgotten that video, not television, is about content.
And everywhere in the world, Video has exploded via on-demand and live streaming. Online TV or subscription services are now the norm – YouTube, Netflix, Iroko etc. Video is now delivered via social feeds like Facebook, WeChat, LINE etc. Indeed, video is the future of media on the web and is competing with scheduled linear TV content for consumer attention. I implore the key players in the DSO project to focus on any of the above.
A recent survey done in over 42 countries revealed that expected video consumption on devices over the next three years will grow 45% on mobile, 45% on internet-enabled TVs, 40% on tablets and 36% on laptop computers. Traditional TV grew by 0%. This led the researchers to come to the conclusion that video is not only increasingly consumed from the internet, it is clearly going mobile.
TV companies have used their advantage of being first in the homes to introduce data to the homes, thereby not only improving their revenues significantly but securing their roles in the future of video watching. Some 70% of homes in the UK get their data from Sky, Virgin or YouView. In fact, BT, the main telecom operator, rushed to set up their own TV entity, acquiring Champions League football rights and offering it for free, if you buy data from them. Who is doing this in Nigeria? This is where we have to play.
Very soon the race for content will begin. With a significant increase in the number of distribution channels and a variety of content to choose from, the clear winner will be the media company that invests in high-quality original content that has taken into consideration the preferences of the customer. Ultimately, the goal will be to match content with audience expectation and enjoy maximum compensation.
Ladies and gentlemen, permit me to use this opportunity to salute all the players in our creative industry. They have all made Nigeria proud. Between the 2017 summit and this year’s edition, we have seen a harvest of global recognitions for our industry players. Mo Abudu and Omotola Jalade-Ekeinde were named among the top 50 women doing extraordinary things on the worldwide stage by Variety magazine, and prolific author Chimamanda Adichie’s novel Americanah was listed in the New York Times’ list of 15 remarkable books by women that are ”shaping the way we read and write fiction in the 21st century.”
Also, Wizkid has made history by becoming the first African artiste to sell out the Royal Albert Hall in London, while Davido emerged winner of the 2018 BET Award International Act. Congratulations to all these stars who are making our country proud, and indeed to all of you in the rapidly flourishing creative industry
Finally, let me assure you that this administration remains dogged in its determination to grow the creative industry and turn it into a creative economy. I wish you all fruitful deliberations and I thank you for your kind attention.
For more information about the conference, click here. The Twitter hashtag for the event is #CNS2018 and the Instagram account can be found here.
The number of SVoD customers in sub-Saharan Africa (SSA) will increase from 1.56 million at the end of 2017 to nearly 10 million in 2023, according to a report from UK-based Digital TV Research.
Titled Sub-Saharan Africa OTT TV & Video Forecasts, the report estimates that across the 35 countries in SSA, there will be 9.99 million SVoD customers five years from now.
South Africa will account for 3.37 million of these and Nigeria will have 2.61 million, the report claims. The two countries are tipped to account for 60% of SSA’s SVoD customers by 2023 – down from 74% in 2017, suggesting the rest of the region is growing faster than the two main countries.
However, the report also predicts SVoD revenues will not increase massively due to the fact some of the new platforms driving subscriber growth are very cheap. SVoD revenue across SSA in 2023 is estimated to be at US$775m.
The recently launched Kwesé Play is tipped to hit 333,000 subscribers in 2023. Meanwhile, iRoko TV is expected to see its customer count rise from 308,000 to 1.54 million over the same period, while iflix is predicted to grow from 17,000 to 741,000 subscribers. DStv Showmax numbers will increase from 334,000 to 1.73 million, the report claims.
SSA’s six most popular platforms – Showmax, iRoko, Kwesé Play, iflix, Amazon and Netflix – accounted for 90% of the region’s SVoD subscribers by the end of 2017, with this proportion predicted to be retained across the next five. Despite being relatively expensive, Netflix is still expected to account for 40% of the 2023 total, with an estimated 4.03 million subscribers.
Simon Murray, principal analyst at Digital TV Research, said: “Market dynamics have shifted over the last year. There have been fewer platform launches, especially on a country level. We believe iRoko will concentrate mostly on West Africa.
“A significant stake in iflix was sold to Econet, which we believe will mean more focus on Eastern and Southern Africa. MultiChoice announced that Showmax will be given free to premium DStv subscribers across Africa, with Compact subscribers offered Showmax for half price.”
Digital TV Research is a London-based research and analytical company. It publishes more than 20 reports, covering over 130 countries, annually.
Nigerian blogger and web video producer Linda Ikeji is set to debut her eponymous online TV channel Linda Ikeji TV (LITV) next month.
Ikeji, the 37-year-old CEO of LITV, announced that the online version of the Linda Ikeji TV network is set to launch on May 22. The channel will also debut on pay TV platform DStv later this year.
According to Ikeji, LITV aims to be the ‘Netflix of Africa,’ which is why the network will arrive online before its debut on pay TV.
“Despite the fact we are going to have a DSTV channel, having an online version of our platform was very important to me, mostly for our potential costumers who don’t live in Nigeria and have no access to cable in Nigeria,” she said.
“Bringing our amazing content to consumers all over the world, instead of being restricted only to Nigeria, was important to me. We are starting with our Nigerian content but plan to expand to other African countries. We are hoping to be to Africa what Netflix is to the world.”
Ikeji added that over the past 18 months she had spent “at least half-a-billion Naira of my own money,” or around US$1.4m, to create the channel. LITV will be offering subscribers original content such as reality shows, drama series, sitcoms, movies and talkshows.
Titles will include Oyinbo Wives of Lagos, Gidi Girls, Ajegunle with Love, Double Trouble, How Well Do You Know Me, Igwe Must Hear This, Report Card and The Paranormal House on Brown Road.
Nigerian-British actor Hakeem Kae-Kazim has been cast in the reboot of classic drama Dynasty, which airs on US linear network The CW and SVoD platform Netflix.
Kae-Kazim is slated to join the series in its ninth episode as patriarch Cecil Colby, the father of Sam Adegoke’s Jeff Colby. This differs from the original version of Dynasty, in which Kae-Kazim’s character was Jeff’s uncle.
The new Dynasty, which premiered in October, is a remake of the classic show that ran from 1989 to 1989. It retains the storyline of feuding wealthy families, the Carringtons and the Colbys, but brings things up to date with a sexier and sassier modern-day vibe.
LA-based Kae-Kazim has starred in successful movies and TV series such as Hotel Rwanda, X-Men Origins: Wolverine, Pirates of the Caribbean: At World’s End, Half of a Yellow Sun, Criminal Minds, Gotham, Last Flight to Abuja and Black Sails.