Entertainment

By Sabiu Abdullahi

Liverpool and Portugal international, Diogo Jota, has passed away at the age of 28 following a car crash in Spain.

The accident occurred on the A-52 motorway at kilometre 65, near Palacios de Sanabria, in the Zamora province.

Spanish sports outlet MARCA confirmed the incident on Thursday, stating that the footballer died at the scene.

“Liverpool footballer Diogo Jota dies in a traffic accident in the province of Zamora,” the publication announced in a brief statement.

Jota, who was born in 1996, played a vital role at Liverpool FC and was a key member of the Portuguese national team.

His death has left the global football community in mourning.

Well known for his sharp attacking instincts, determination, and adaptability, Jota was widely respected on and off the pitch.

His contributions helped Liverpool secure major victories, and he remained a consistent performer for Portugal.

As of the time of this report, no additional details have been made available regarding the cause of the accident or funeral arrangements.

By Dr. Muhammad Sulaiman Abdullahi

I was riding my electric bike and the engine was in an absolute silence, courtesy of China’s existence on earth, I passed some guys walking by the road side, and suddenly, I overheard one of them screamed out the word “technologia Alaji”, before I took it in, he screamed again, Tesla!

I was internally filled with joy as I was sure he was talking about my little angel, which I didn’t know it would make such an impact on anyone, though the young guy was a millennial. These set of people are fascinated by almost everything today. They find fun even in every sort of trash. The way they take trashes high is so funny and confusing. But my electric bike, though small, is something to attract their whole, I am sure of that.

After I passed, the word “technologia” keeps coming back to me and I just remembered Sarkin Mota, because the young guy mimicked him while screaming the words out.

Sarkin Mota is a Hausa term which can literally be rendered into English as King of Cars or Master of Cars or Owner of Cars or Seller of Cars or all these combined. In this case the guy who is called Sarkin Mota qualifies for all the above mentioned renditions.

I know of Sarkin Mota recently and I am sure he started trending not long ago. The guy was super talented in his unique, unprecedented and unpresidented humorous way of advertising his wares. His style was so tantalizing, timely and it coincides with the needs of the time. Added to this, the Tinubuconomics has angered most Nigerians and made them to think for simple alternatives. Boom… Sarkin Mota emerged with super cars, mostly from China but not in any way affordable by the “Civil Servants”!

The guy started by teasing civil servants whom are mostly today frustrated, angry, hungry and ridiculed from all angles, ranging from their employers, their managers, their community members and even sometimes from within their family structures. Civil servants are in trouble and Sarkin Mota teased them to sell his stuff without remorse identifying with them.

However, Sarkin Mota is sarcastically and truly right. Only some very few privileged civil servants who work in high places can afford the cheapest of his cars today. Others who can afford to purchase cars from him from among the civil servants may do so only with proceeds of corruption, looting or embezzlement. Therefore, the guy is truly right, it is only that too much of everything can be boring as well as hurting. It is not funny to keep banging and punching at one spot, it may end up becoming so fatal and brutal.

In Nigeria there are two types of civil servants today. The extremely poor civil servants and the super-rich civil servants. The extremely poor civil servants are those who work but cannot afford to buy what they need for their lives. They are of various categories. Those who can’t regularly fuel their cars and opt for two days fueling per week or even month. Some have already abandon their cars and opt for their legs. Those who cannot buy a bag of rice to feed their families. Those who are always on credit from the neighboring shop owners as a result of purchase of certain groceries, which they always collect on credit. Those who cannot pay their children school fees. Those who always hide when they see the landlord coming or ignore phone calls to avoid embarrassment. These are even regarded as tier two up, in as much as they eat, even if what they eat is not what they want. There are tier one, top tier, who cannot afford anything. They hardly eat. They barely have any form of enjoyment in Nigeria beside the air they inhale and the sky that covers them from the above. They just live and follow the time. These two categories form the majority of Nigerian civil servants today.

The extremely poor civil servants in Nigeria takes more than 95% of the civil servants’ population. Civil servants are suffering beyond any reasonable doubts. Sarkin Mota was just someone who is frowned at unnecessarily or was only targeted as a scapegoat. His sarcastic nature of dragging the civil servants in the mud was used by NOA to silence him. NOA is also another government agency, which I am pretty sure, harboring extremely poor civil servants who cannot afford to buy Salla rams for their families.

Though I reason with NOA especially if what they did is part of their mandate, I still find their misdirection of anger and warning as worthless.

Their letter should have been a dual sharp edge sword which should have called Sarkin Mota to order and drawn the attention of the government on how they reduce civil servants to being ridiculed by the business community. People look at the “branch” instead of digging deep in order to see the root of a problem! Sarkin Mota’s costly sarcastic style was as a result of what the government does, deliberately. Let us assume that Sarkin Mota was disrespectful, something that he debunked, and then would the government that forcibly pushed the civil servants into this sorry state be? Wicked and merciless, simple. There are no two way about this. He who beats you is more wicked than he who only laughs at you from afar.

What worsen Sarkin Mota’s sarcastic videos were the fact that some other Social Media copycats have already taken his style to another level. A ram, which is purportedly priced at one million naira, would be displayed, and after all the grandiose show off, a civil servant who cannot truly buy it will be dragged. Then, you would be surprised as against whom should a civil servant set his face now? This is someone deprived, wickedly and mercilessly, of all enjoyment and now little boys have made him as laughing stock on their empty social media trashes. On this, everyone must commend NOA for stopping this nonsense.

As for Sarkin Mota, I feel he has carved a niche for himself and has been recognized as one of the top dealers even when for sure, there may be many others above him, but yet unknown.

Aliyu Muhammad Sarkin Mota confirmed that his parents are civil servants and that he was not disrespectly and that he was just pulling their legs in an interview he granted to Channels TV. Also, in a new recent video where he displayed a convoy of electric cars, he didn’t mention civil servants again. He still maintained some of his major take always and insignias like technologia Alaji, but he didn’t mentioned civil servant. This is a sign that he had “repented”. Thanks to NOA’s intervention. But a question to NOA, does their intervention make civil servant to afford his cars?

Another take away from the Sarkin Mota’s style is his unique way of speaking English, especially “my buraza”, which makes him unique and original. This takes us to the resounding debate of English as a measure of intelligence. To Sarkin Mota, that isn’t even a topic of discussion, because he has a great command of the English language but he chooses not to sound like a grandchild of Kings Charles. He speaks in a very nice deep and lovely Nigerian accent which even if you don’t like, that doesn’t snatch a dime away from his celebrity status he attained.

Keep going Sarkin Mota! And may we see a day when ordinary primary school teachers can afford to buy the latest brand of cars you brag about, amen!

Muhammad writes from Kano Nigeria, and can be reached via, muhammadunfagge@yahoo.com

By Hassan Muhammad

Nigerian striker Victor Osimhen has been crowned Galatasaray’s Best Player of the Year after a sensational debut season in Turkey.

On loan from Napoli, Osimhen scored 35 goals in 39 matches, helping Galatasaray secure both the Süper Lig title and the Turkish Cup. His standout performances included a brace in the cup final and a decisive goal in the league’s final matchday.

Club legend Tanju Çolak praised the forward as “the best player of the season,” while Osimhen himself expressed gratitude for the honor, calling Galatasaray “an amazing club.”

His future remains uncertain, but fans are hopeful he will extend his stay in Istanbul.

By Prof. Abdalla Uba Adamu

They are both young boys, although one seems slightly older. From March to May 2025, they captured the attention and interests of Hausaphone social media with their radically different approaches to digital media visibility. In the process, they provided a template or script for the future of youth engagement in public culture and demonstrated the power of agency. 

Taranding in an open cesspool (Kabiru Isma’il, Kano).

The first was Kabiru Isma’il, better known as Kabeer2pac (apparently a fan of the late American rapper 2Pac Shakur).He had 1.8m followers and 15.1m likes on his TikTok account, which prominently displays his phone number (or that of his agent) for advertising purposes. His early videos clocked in millions of views. His most famous video, in which he shakes the dust off his body and jacket, has earned 51 million views. He devised two strategies to achieve this fame. 

His first videos were posted during the 2025 Ramadhan on 19 and 20th March 2025. In the videos, he was recorded immersed in a stagnant open cesspool of household wastewater (kwatami), dunking himself in it and smearing the sediments on his face. The videographer asked for his motives, and he replied he was doing so to “tarand” (trend) because he yearns for fame (ɗaukaka). He affirms he was not a lunatic. The video had 2.6 million views. He further explained that he resorted to this because his earlier attempts at trending were unsuccessful.

On 3rd April 2025, he switched from cesspool contents smearing to getting a sack of charcoal dust dumped on his head,which earned the video 14.8 million views. By then, his fame spread because the CoalDust video he posted two days later earned him 51 million views. His videos attracted Gwanki Travels and Tours International Ltd in Kaduna, who invited him and offered him a free ticket to perform the lesser Hajj, Umrah. Beaming with happiness, Kabeer2pac declared his gratitude that he had achieved the fame he had sought and had “taranded” very well. Of course, Gwanki also trended because they were riding on his coat-tail, as it were, to advertise their services.

Reactions to Kabeer2pac’s fame and fortune were varied but predictable. Most commentators were happy for him and took umbrage at any view that condemned his behaviour as unhealthy and unbecoming. Some Muslim clerics condemned him. Others were against the money spent on his Umrah, arguing that he was young and the money should be invested in either a trade or his education. His behaviour led to copycat copying. 

Quite soon after it started trending, copycats appeared in various guises, including a cesspool girl, from dousing themselves with petrol to set fire on themselves, to having cement blocks banged on their head, to immersing themselves in a stagnant pool of waste water. In one case, a young boy entered a soak away— all in their desire to “tarand” and possibly get a free Umrah ticket.

In an RFI video interview posted on 16th April 2025, Kabeer 2pac admitted that the possibility of his social media celebrity status is likely to be short-lived, as he understands that people will soon get bored with his antics and switch to something else. But for the period he was trending, he was happy with the endorsements he received and his branching out into comedies and short dancing skits in his trademark winter jacket. 

He has accurately anticipated the ephemeral nature of his antics. About two years ago, others who trended and quickly faded away were even more famous and established what I call “celebrification culture”. The first was Ale Rufa’i Bullgates, who devised his own currency, “Gangalion”. He was followed by Ale Umar Bush, whose speciality was foul-mouthing everyone around him. Each was given a social media celebrity status – private jets, fancy meals, endorsement deals by fancy local merchants. Ale Umar Bush seemed to have a Middle-Eastern “girlfriend”. People mocked their mental health and turned them into the theatre. That was probably why Kabeer2pac prefaced his first video by proclaiming that he was not mad. 

What motivates people to watch grisly events as lookie-loos, whether on screen or in physical spaces? Kabeer2pac’s audience can be called voyeuristic or spectator audiences. Odd or outlandish behaviour fascinates them because it provides novelty, entertainment, and sometimes a sense of shock or disbelief. Due to its unconventional nature, such content often triggers curiosity, amusement, or even a desire to share with others. 

Trending Young Dangote (Sadiq Usman Ahmed, Kurmin Mashi, Kaduna)

In contrast to Kabeer2pac, Sadiq was a street hawker in Kurmin Mashi, Kaduna, whom someone tagged Young Dangote. His nickname refers to the Hausa business mogul Aliko Dangote, the richest Black man in the world at the time. Anwar Textiles Ltd discovered him at a traffic stop in Kurmin Mashi, Kaduna, on 18th May 2025, when the young lad, who looks about 13 years old, was hawking car fresheners. 

Intrigued, the videographer asked how he started the business. Beaming an incredibly infectious smile (alone enough to make you buy his ware, even if you had no intention of doing so), he said he started with ₦300 with which he used to purchase cotton buds for ₦50 and sold for ₦70-₦100, before moving to products he bought for ₦350, selling at ₦500, happy with whatever profit he made. Gradually, his capital reached ₦5,000, then ₦1000, “har jari ya kai dubu hamsin cifi cif”/up to ₦50,000 neat. He said he prefers schooling to hawking, but poverty forced him into hawking. He relates this with a devastating, charming smile and enthusiasm for his current station in life, clearly with a business goal in mind. 

Touched by his resolve to improve his business, the video was posted on Anwar Textiles’ personal account and went viral. This impressed so many people (including the Pop Cola company in Kano) that they sent their widow’s mite to Anwar Textiles to improve the boy’s capital. Some asked for an account. In a very honourable way, Anwar Textiles traced the boy’s father. They recorded a video in which the father explained their happiness about the crowdsourcedfunding efforts made by Anwar Textiles. He emphasised that they were not begging for assistance as such (they were well off, but had a bad patch in life), but are grateful to those who contribute to the boy’s entrepreneurial ambitions. An account number was given. 

By 16th May 2025, Sadiq had over ₦300,000 capital and a larger basket to hold more products, which Anwar Textiles helped to purchase for him. The balance of the money was handed over to the father. He thanked Anwar Textiles for making it possible for people to know him. He displayed his new “mobile shop” and declared, “daga nan sai ƙasar waje, inshaa Allahu”/next, overseas, by God’s grace. He also stated his intention to go back to school soon. 

I find Anwar Textiles honourable. He located the boy, helped him, and supported his family. Importantly, he did not engage the boy in a gaudy marketing gimmick for his company, as done with Kabeer2pac. The boys’ marketing strategy was brilliant, as seen in a video posted a few days later in which he persuaded a motorist to buy more car fresheners than the customer actually intended to buy!

Both of these teenage boys demonstrate what personal resolve can achieve. Through social media, each person has attained something they wanted at the beginning of their lives. Kabeer2pac’s social media platform, which thrives on trends and viral content, where the unusual or unexpected can quickly gain traction through likes, shares, and comments, further amplifying its reach, worked perfectly well. He has the fame (ɗaukaka) he strives for. 

For Young Dangote, who has no social media presence (I even doubt if he has a phone, for he would probably plough the money into his business), we see what the power of crowdfunding and simple determination can do spontaneously. Comments from those who knew the family indicated that they were stable (as indeed even the father stated), but went through a bad patch. Instead of mourning their turbulent period, Sadiq dropped out of school, picked up a basket, got some money, bought car fresheners, and started hawking them at traffic stops. The rest, as they say, is a viral history. 

Social media can be a space for what Bala Muhammad (Adaidaita Sahu) at the DEEDS Book vs Screen May 2025 KHAIRUN Dialogue refers to as “digital iskanci”—or something else. Your judgment of each is, of course, personal.

By Muhammad Abubakar

In response to recent media reports suggesting a potential easing of Saudi Arabia’s longstanding alcohol prohibition, a senior Saudi official has categorically denied any plans to lift the ban.

Princess Haifa bint Mohammed Al Saud, the Assistant Minister of Tourism, addressed the issue during a panel session at the World Economic Forum in Davos. She emphasized that the Kingdom remains committed to its laws prohibiting alcohol consumption.

“The short answer is that we’re going to continue with our current laws,” she stated, highlighting that Saudi Arabia has successfully attracted tourists without altering its cultural and legal frameworks.

The clarification comes amid speculation fueled by the recent opening of a liquor store in Riyadh’s Diplomatic Quarter, exclusively serving non-Muslim diplomats. While this move marks a controlled exception, it does not indicate a broader policy shift regarding alcohol availability in the country.

Furthermore, Saudi officials have reiterated that the alcohol ban will remain during major upcoming events, including the 2034 FIFA World Cup. Prince Khalid bin Bandar Al Saud, the Saudi ambassador to the UK, confirmed that alcohol will not be available to fans during the tournament, aligning with the Kingdom’s cultural and religious values.

As Saudi Arabia continues its Vision 2030 initiative to diversify the economy and promote tourism, officials stress that modernization efforts will proceed without compromising core cultural principles.

By Muhammad Abubakar

Nigeria’s U20 national team, the Flying Eagles, secured third place at the AFCON U20 tournament after a tense victory in a penalty shootout against host nation Egypt.

The third-place playoff ended in a deadlock after regulation time, with both teams creating but failing to convert keychances. 

In the ensuing shootout, Nigeria maintained their composure and emerged victorious, silencing the home crowd and concluding their campaign on a high note.

Head coach Aliyu Zubairu praised his players for their determination and mental toughness throughout the match. “Beating the hosts in front of their fans, and doing so under the pressure of a shootout, speaks volumes about the character of this team,” he said.

South Africa went on to win the tournament, claiming the championship after an impressive performance in the finalagainst Morocco.

The AFCONU20 tournament showcased elite youth teams from across the continent, providing a platform for emerging talent and fierce competition.

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.