Entertainment

By Ibrahim Yunusa

Real Madrid C.F. and AFC Bournemouth have reached an agreement for the transfer of Spanish international Dean Huijsen.

The 20-year-old defender will join Los Blancos on a five-year deal, running from June 1, 2025, to June 30, 2030.

The signing comes in response to a series of injuries that have plagued Real Madrid’s backline during the 2024/2025 season.

The crisis has even forced defensive midfielder Aurélien Tchouaméni to fill in as a center-back in multiple matches.

Despite his young age, Huijsen has already built an impressive résumé.

He has featured in Italy’s Serie A with Juventus and Roma, and most recently in the English Premier League with Bournemouth.

His performances have earned him a nomination for the 2024–2025 Premier League Young Player of the Year award.

Real Madrid’s acquisition of Huijsen is seen as a strategic move to reinforce the team’s defensive depth with a promising talent poised for long-term success.

By Maryam Ahmad

Nigerian musicians earned over ₦58 billion from Spotify in 2024, more than double the amount paid in 2023. This marks a significant rise in global interest in Nigerian music, particularly Afrobeats.

According to Spotify, over 1,900 Nigerian artists were added to editorial playlists in 2024, and Nigerian music was streamed globally for more than 1.1 million hours. Listeners also created around 250 million playlists featuring Nigerian artists.

Spotify’s Sub-Saharan Africa director, Jocelyne Muhutu-Remy, said the platform remains committed to helping Nigerian artists grow and earn from their work.

By Haroon Aremu

Like a sly jester winking at the moon, I was scrolling through social media when I encountered celebrity interviews recounting how they rake in millions within months. This spectacle ignited a contagious fervour among the youth, convincing them that the entertainment industry is the sole avenue to instant riches. 

No one talks about the failures, the countless auditions, or the silent struggles behind the scenes; they only talk about the glamour, the wealth, and the “soft life.”  

Bollywood thrives on strategic government investment, making it a global economic force that boosts employment, tourism, and digital expansion. Unlike Nigeria’s self-funded entertainment sector, India injects billions into its film industry, ensuring sustained growth and international reach.  

Beyond captivating audiences, it turns filming locations into major tourist attractions, employs millions across various roles, and operates as a well-structured economic engine that drives cultural and financial influence.

Bollywood wields significant soft power, shaping international perceptions, fostering trade partnerships, and influencing policy discussions on a global scale. Now, the burning question is If India has done it, why can’t Nigeria?

President Bola Ahmed Tinubu and the Nigerian leadership stand on a promising foundation. Nollywood is already the second-largest film industry globally, built almost entirely on private effort. With champions like Kunle Afolayan, Femi Adebayo, Funke Akindele, Toyin Abraham and others reshaping narratives and cashing in on global platforms like Netflix, Prime Video and Box Office. 

It is clear that Nollywood is not just an entertainment industry—it is an untapped goldmine. The cinematic feats of Kemi Adetiba, Mo Abudu, Bolanle Austen-Peters, etc., prove that, with proper government investment, Nollywood could evolve from a privately managed giant into a fully empowered national asset.  

According to research, Nollywood generates over $590 million annually and produces around 2,500 films a year. It has managed to thrive despite a lack of properly structured federal support. 

Imagine if this industry received the same kind of backing Bollywood enjoys. Free from corruption, federal investment could elevate production quality, generate millions of jobs, and turn Nollywood into Nigeria’s foremost non-oil revenue, especially when youth yearn for employment due to unemployment being generic.

Content creation, beyond Nollywood, has emerged as a formidable economic engine in Nigeria, proving that digital storytelling is not just a fleeting trend but a viable sector capable of generating wealth, employment, and global recognition. 

The success of creators like Mr. Macaroni, Taooma, Kiekie, Sabinus, Lasisi Elenu, Cute Abiola, etc., illustrates how social media has democratised entertainment, allowing individuals to carve niches without relying on traditional gatekeepers like film studios or record labels. 

Through comedy skits, social commentary, and brand endorsements, these creators have transformed their craft into multi-million naira enterprises, employing scriptwriters, videographers, editors, and marketers while driving traffic to brands and tourism sites. 

Their work showcases Nigeria’s culture and humour on the global stage, attracting foreign partnerships and sponsorships that would have otherwise been reserved for mainstream Nollywood productions. 

When properly harnessed, digital content creation can become a major economic driver, like Bollywood’s integration of influencers and digital expansion into film, tourism, and commerce. With the right policies—such as tax breaks, structured funding, and intellectual property protection—Nigeria’s content industry could grow into a leading non-oil revenue stream, competing with global giants like India and the United States. 

Despite its promise, the content creation industry in Nigeria still grapples with fundamental challenges that could hinder its full potential. Unlike Bollywood, which benefits from government-backed investment and structured growth strategies, Nigerian content creators operate in a largely informal economy, where access to funding, infrastructure, and legal protections remains inadequate.

Some creators lack financial literacy, face inconsistent brand deals, and operate without a regulatory framework that protects their intellectual property. 

Additionally, the absence of dedicated digital innovation hubs limits their ability to scale, collaborate, or transition from short-form content to full-length productions capable of breaking into mainstream cinema as some have done. 

While some content creators have managed to bridge the gap between skit-making and brand influence, an untapped market for leveraging content creation into mainstream entertainment and tourism remains. 

The government and private investors need to recognise digital storytelling as more than just “youthful amusement” but as a serious industry that, when properly structured, could create thousands of jobs, foster digital entrepreneurship, and export Nigerian creativity worldwide. 

Suppose Nigeria is to harness the creative economy truly. In that case, it must institutionalise financial incentives, support digital film villages, and encourage content creators to transition into high-value productions that can contribute to global streaming platforms, film festivals, and international collaborations.

Only then can the country move beyond isolated success stories to a full-fledged, structured entertainment ecosystem that mirrors Bollywood’s impact on India’s economy.

States like Lagos, Kwara and others have already positioned themselves as film hubs, investing in production studios, enabling policies, and film villages to attract investors. If these state-led initiatives can yield results, what would happen if Nigeria had a full-scale federal-backed Nollywood revolution? 

With well-structured grants, tax breaks, and infrastructure development, Nollywood could rival Hollywood and Bollywood, expanding tech-based employment and transforming Nigeria into Africa’s entertainment capital.  

Yet, a crucial caution must be heeded. Nollywood, like every thriving industry, has its fair share of pitfalls. The rise of viral sensations over genuine talent, the exploitation of controversies for social media relevance, and the blurred line between creativity and chaos all pose risks to the industry’s long-term sustainability. 

Nigeria must ensure that Nollywood does not fall victim to the same cycle of corruption that crippled agriculture and the oil sector.  

The truth remains: talent differs from cruise, and entertainment is bigger than scandal-driven fame. Nollywood has the potential to be a global force, a national pride, and an economic goldmine. 

The question is: Will Nigeria seize this opportunity or let Negligence and corruption again destroy another billion-dollar industry?

Haroon Aremu Abiodun, an author and PRNigeria fellow, wrote via exponentumera@gmail.com.

By Teco Benson, MFR

One of the most intellectually dishonest and damaging narratives in recent years is the partitioning of Nollywood into “Old” and “New.” It’s a simplistic label that started as a casual argument among a few younger practitioners but has unfortunately crept into academic discourse and mainstream industry conversations. This idea is not only divisive, but deeply offensive to the legacy of the industry and to those who built it from the ground up.

There is no such thing as Old Nollywood or New Nollywood. There is only Nollywood—a continuous, evolving industry built on layers of sweat, sacrifice, creativity, and resilience. What some choose to call “New” is not a replacement of the “Old”; it is a progression made possible because of the foundational work of the pioneers.

What many fail to understand is that our storytelling essence has not changed. The values, themes, cultural textures, and emotional core of Nollywood have remained consistent through the years. What has changed—and continues to change—is technology, and that is not unique to Nollywood; it’s a global phenomenon across all creative industries.

Even during the analogue years of Nollywood’s emergence, there were constant technological shifts. The iconic 1992 film Living in Bondage, which benchmarked the Nollywood movement, was shot on Super VHS. To improve quality, filmmakers soon transitioned to U-matic cameras and their full post-production systems. After that came Betacam, which was adopted for both shooting and editing. Then came MiniDV, followed by DVCAM—a digital video format that coincided with the arrival of non-linear editing.

This shift from linear to non-linear editing was revolutionary. It allowed filmmakers to use computers to seamlessly edit and manipulate captured footage—something unthinkable during the earlier years when it was strictly garbage in, garbage out. In those days, whatever was captured in-camera was exactly what the audience would see. There was no room for error. This forced cinematographers, sound recordists, and directors to train rigorously, work with precision, and strive for excellence at every stage of production.

From DVCAM, the industry moved to HDV (High Definition Video)—the final tape-based format—before embracing tapeless high-definition systems using memory cards. That ushered in a digital revolution, and Nollywood embraced it with open arms. Suddenly, filmmakers had tools to correct errors, grade visuals, enhance sound, and polish rough footage. As a result, even inexperienced filmmakers could produce glossy-looking films. But what this also meant was that those trained in the era of analogue discipline had a stronger professional foundation—having learned to get it right at the point of capture, rather than fixing it in post.

Today, technology continues to evolve—from 2K to 4K, 6K, 8K, 12K, and beyond. Tomorrow will bring even more shifts. But through it all, filmmaking has remained constant. The values, the voice, and the cultural richness of Nollywood have endured.

Another major transformation lies in distribution and audience reach. In the early days, Nollywood was feeding the Nigerian nation alone. Films were sold as physical cassettes and distributed within the country. Ironically, it was pirates—not formal distributors—who duplicated these tapes and spread Nollywood films across Africa, the Caribbean, and among global diaspora communities. This unintended export planted the seeds of the industry’s global influence.

Today, with the internet and streaming platforms, national borders no longer exist in the virtual world. Once a film is uploaded online, it instantly becomes global content. The filmmaker’s audience is no longer a town, a state, or a country—it is the world. And with that expanded reach comes intentionality. Scripts are now written with global standards in mind, stories are told with international audiences considered, and production decisions are made to meet the expectations of a diverse, global viewer base.

These changes are natural. They are part of the organic evolution of any thriving creative ecosystem. It doesn’t make the early days “old” or “outdated.” It doesn’t elevate the present generation above those who came before. If anything, it emphasises the need for continuity, respect, and intergenerational collaboration.

To classify pioneers as “Old Nollywood” is to ignore their innovations and the fierce battles they fought to establish the industry in the first place. It is to forget that there was once a time when there was no Nollywood—only brave individuals daring to tell African stories using whatever tools they could afford. They didn’t wait for validation. They created a movement.

What exists today—the funding, the streaming platforms, the global attention—was made possible because a group of passionate dreamers picked up VHS cameras and believed their stories were worth telling.

This is why the “Old vs. New Nollywood” narrative must be retired. It is reductionist, divisive, and counterproductive. Every generation has its own tools, challenges, and breakthroughs. But the spirit of storytelling, the soul of our culture, and the purpose of our cinema remain the same.

Let’s stop building walls within the house we all call home. Nollywood is one—past, present, and future.

Teco Benson, MFR, is a veteran film director, industry pioneer and cultural commentator.

‎By Abdulhakeem Yetu Zakari

‎Despite growing awareness, sexual exploitation continues to cast a dark shadow over the entertainment industry in Nigeria and elsewhere. Behind the glitz and glamour, many aspiring talents face coercion, harassment, and abuse in their pursuit of success. Stronger policies, accountability, and systemic change are urgently needed to create a safer industry.

‎Sexual exploitation in entertainment is an open secret that has persisted for decades. It manifests in various forms, from coercion and harassment to outright trafficking. Vulnerable individuals, often young and inexperienced, are preyed upon by those in positions of power. The “sex-for-role” culture, in which opportunities are exchanged for sexual favors, remains alarmingly prevalent. Those who resist or speak out risk being blacklisted, experiencing retaliation, or even being driven out of the industry entirely.

‎The entertainment world thrives on connections, and unfortunately, this has allowed predators to operate with impunity. Victims, fearing career sabotage or public shaming, often remain silent. The imbalance of power between industry gatekeepers and struggling artists makes it even harder to challenge abusive behaviours.

‎The #MeToo movement, which gained global traction in 2017, was a watershed moment. Survivors courageously came forward, exposing influential figures like Harvey Weinstein and forcing the industry to confront its deep-seated issues. This sparked widespread discussions, policy changes, and an increased demand for accountability.‎

Despite the above strides, exploitation remains a pressing issue. While some perpetrators have been held accountable, many still evade justice. Survivors continue to face obstacles in their pursuit of legal recourse, with cases often dismissed or settlements used to silence victims.

‎Ending sexual exploitation in entertainment requires more than just conversations, it demands concrete action:

‎Stronger Legal Frameworks – Governments and industry regulators must enforce stricter policies against workplace harassment and sexual exploitation. Clear legal consequences should deter potential offenders.

‎Whistleblower Protection – Survivors and witnesses should be able to report abuse without fear of retaliation. Anonymous reporting systems and legal safeguards are crucial.

‎Industry Accountability – Entertainment companies must adopt zero-tolerance policies for misconduct, conduct thorough background checks, and establish independent oversight committees to investigate allegations.

‎Empowering Victims – Access to legal aid, mental health support, and career counselling can help survivors rebuild their lives. Platforms that amplify their voices must be encouraged.

‎Changing the Culture – Education on consent, power dynamics, and ethical professional relationships should be integrated into industry training programs. A shift in mindset is necessary to dismantle the normalisation of abuse.

‎ The fight against sexual exploitation in entertainment is far from over. Every stakeholder, from industry executives to audiences, plays a role in demanding transparency, justice, and respect for all talents. Only through sustained pressure and institutional reform can we ensure an industry where success is based on talent, not exploitation.

‎It is not just a matter of morality but of fundamental human rights. The time to act is now.

‎Abdulhakeem Yetu Zakari is an intern with PRNigeria. He can be reached via abdulhakeemzakari7@gmail.com.

By Muhammad Abubakar

French football star Kylian Mbappé has taken legal steps to recover €55 million ($62 million) he claims is owed to him by his former club, Paris Saint-Germain (PSG).

According to sources close to the striker, the sum represents unpaid wages between April and June 2024, following his agreement to join Spanish giants Real Madrid on a free transfer.

Mbappé’s lawyers have reportedly been instructed to pursue the matter, insisting that PSG withheld the payments in response to his decision to leave the club after seven years.

Paris Saint-Germain, however, has denied the allegations, maintaining that all financial obligations were met in accordance with the player’s contract.

The dispute adds a new chapter to the already dramatic departure of one of football’s most marketable talents from the Parc des Princes.

By Sani Mu’azu

Inna lillahi wa inna ilaihir rajiun.

It is with a heavy heart that I mourn the passing of my dear elder colleague, friend, and legendary actor Abdu Kano, famously known as Karkuzu.

I had the privilege of knowing Karkuzu for over 40 years, and I can confidently attest that he was an exceptional talent who left an indelible mark on the Nigerian film industry. His versatility as an actor was unmatched, effortlessly transitioning between comedic and serious roles with ease.

One of my most cherished memories of working with Karkuzu was on the hit Radio Drama, Karambana – a dawo lafiya. Paired alongside the iconic Kasimu Yero and the legendary Hausa Pop Singer Sani Dan Indo, Karkuzu, who played the role of Liba, brought his unique energy to the project, which became an instant sensation among truck drivers and freelance workers. Before then and even after, we worked together on several film projects, including the early version of the movie Amina, where he played the role of Sankira along with Pete Edochie, shot around 1998.

What struck me most about Karkuzu was his resilience and dedication to his craft. Despite facing numerous life challenges, including health issues, he continued to act well into his old age, inspiring countless young actors and actresses along the way.

As we bid farewell to this Nigerian film icon, I pray that Allah SWT grants his soul eternal rest in Jannat Firdausi. May his family, friends, and the entire Nigerian film industry find the strength and fortitude to bear this immense loss. Ameen.

Rest in peace, Mallam Karkuzu. Your legacy will live on through the countless lives you touched and the unforgettable characters you brought to life.

By Sabiu Abdullahi

Former Arsenal and Werder Bremen midfielder, Mesut Ozil, has reportedly been banned from returning to his former Bundesliga club due to a tattoo that has sparked controversy.

The 36-year-old, who played for top clubs like Arsenal, Real Madrid, Schalke, and Fenerbahce, retired from professional football in June 2023 at the age of 34.

However, his recent display of a tattoo featuring a grey wolf and a flag with three crescent moons has led to his exclusion from Werder Bremen.

The symbols associated with Ozil’s tattoo are linked to far-right groups that promote “anti-semitism, far-right extremism, and ultra-nationalism.”

As a result, the German club has distanced itself from the former player.

According to Bild, Werder Bremen recently left Ozil off the guest list for a tribute event honoring former star Diego Ribas.

The two footballers had played together at Bremen before Ozil secured a transfer to Real Madrid in 2010.

By Muhammad Sulaiman

Spanish football prodigy Lamine Yamal is set to make history as the first player in the Spain national team to observe fasting during Ramadan while on international duty.

According to reports, the 16-year-old winger has chosen to fast as a mark of respect for his family’s Muslim traditions.

Despite his young age, Yamal has already made headlines as one of the most promising talents in European football, and his commitment to both his faith and his career has drawn admiration from fans.

The Barcelona star’s decision highlights the growing diversity within Spanish football, as well as the increasing visibility of Muslim athletes who balance professional sports with religious observances.

Spain’s coaching staff is expected to accommodate Yamal’s needs during the fasting period, as has been the case with Muslim players in other top European teams.

Ramadan, the holiest month in Islam, involves fasting from dawn to sunset, posing a unique challenge for athletes. However, many Muslim footballers have successfully managed their performance during the holy month.

Yamal’s choice to fast reflects not only his personal devotion but also the broader cultural representation within Spain’s national squad.

By Hadiza Abdulkadir

The Oscar-winning documentary No Other Land, which portrays the displacement of Palestinian communities in the West Bank, is facing significant opposition in the United States, reigniting debates over censorship and freedom of expression.

Co-directed by Palestinian activist Basel Adra and Israeli journalist Yuval Abraham, the film documents the Israeli military’s demolition of Palestinian villages to establish a military training zone. 

The documentary has gained critical acclaim worldwide, winning the Academy Award for Best Documentary Feature at the 97th Oscars.

However, the film has struggled to secure mainstream U.S. distribution, with several screenings facing backlash. In Miami Beach, Mayor Steven Meiner called the documentary “one-sided propaganda” and “antisemitic,” pushing to terminate the lease and withdraw funding from O Cinema, an independent theater that screened the film. His actions have drawn criticism from civil rights groups, who argue that this amounts to censorship and an attack on free speech.

Yuval Abraham has condemned these efforts, calling them “very dangerous” and warning that accusations of antisemitism should not be used to silence criticism of occupation policies. 

Despite the controversy, O Cinema went ahead with its screenings, resulting in sold-out shows and additional dates being added.

The situation has sparked a broader conversation about the portrayal of the Israeli-Palestinian conflict in Western media and the limits of artistic expression. 

As the debate continues, No Other Land has become a focal point in discussions on censorship, free speech, and the complexities of Middle Eastern geopolitics.