Showbiz
Forces of Change in the Creative Industries – Going Beyond Tech
By Amine Djouahra
As we are nearing the end of the first half of 2023, we have all become more comfortable with change and disruption. Whether it is the pandemic, environmental factors, unstable global economic conditions, or tech evolution, we have learned to bounce back quickly. One industry that has had to be particularly agile during the past few years is the filmmaking industry.
Canon’s new report (written in conjunction with The Future Laboratory) – The Future of Filmmaking, reveals the industry’s efforts to be a catalyst of change that inspires the creative industry to transform its narrative and to shine its spotlight on topics that will be significant in shaping the future of our world, and that of the African continent.
Interestingly, the report sheds light on the human landscape and its power to create, cultivate, and drive change. The power of people ultimately makes things happen and pushes us toward progress and advancement in any industry. The report highlights four crucial aspects that may be driven by tech but not necessarily led by tech. In my view, these are significant factors directly proportional to the content creation and filmmaking industries and will undoubtedly shape the future of these industries.
Rise of the Creative Class
According to the UNESCO report, global cultural and creative industries (CCIs) are estimated to generate about $2.25 trillion annually, which accounts for 3% of the global GDP and employment of around 30 million people worldwide. It is fascinating to see the rise of this creator economy, which the report identifies as the “New Creative Class”. As we witnessed an unprecedented boom in digitalisation over the last 10 years, this creative class sprang into action using technologies to deliver a fresh and novel take on content creation.
If we lens in on the African continent, which is closer to home and more interesting to me, we see some remarkable trends in the creative economy. In Nigeria, as this report shows, the sector employs 4.2 million people and is expected to employ a further 2.7 million by 2025, an increase of more than 50% in the next two years.
Despite the significant contribution made by the new creative class toward societal and economic progress, there still seems to be a gap in recognition compared to other industries. The emerging community of content creators is striving to achieve fair working conditions, equitable payment models, and new standards in the industry that reflect their value and contributions. This is a positive development for the creative sector in its rightful plea to be recognised and treated fairly compared to other industries.
Stay Local
The explosion of digital technologies may have given us the power to do anything from anywhere, but like all things, too much of anything is not always good and has its consequences. An interesting trend emerged with the plethora of content choices that suddenly became available for audiences to consume worldwide. People slowly started taking their eyes off the global stage and shifted their gaze towards local and homemade content that told stories of their land and their people.
Given our natural desire as humans to find meaning, connectivity, and relatability, the narrative of authentic stories led independent storytellers, documentary-makers, content creators, and filmmakers to explore topics that local people resonate with. So, it’s no surprise that global streaming giants like Netflix and Disney are investing in Africa to tap the unexplored potential and talent. The report encapsulates the essence of the ‘Stay global, go local’ movement and asserts that media organisations and creative firms will progressively be compelled to shift sight closer to home when it comes to entertainment and content production.
Conscious Consumption
The current climate crisis affects us all, no matter which industry or walk of life we come from. The severity of climate change needs to be taken seriously globally, and genuine efforts must be made for scaled initiatives to reduce our carbon footprints. The streaming industry is no exception to this; the carbon impact of the industry drastically needs to be reduced by adopting a more sustainable approach towards this issue.
The report underpins the significance of consumer demand as a key driver toward adopting sustainable practices and better industry standards. With people gaining more awareness about the environmental impact of their consumption choices, they are likely to demand pro-environmental practices, thus compelling the industry to adopt a pro-active approach towards sustainability.
Inclusive Innovation
The Future of Filmmaking report highlights the positive development of inclusivity and diversity. It emphasises that the new creative class is at the forefront of inclusivity and is not afraid to challenge the already-established broadcasters. This new generation of creators identifies technology to harness change and propel social progress. Decentralisation will be a key trend touching every area of the industry, from financing to licensing and distribution and more, creating new opportunities for the underrepresented creators and bringing them closer to their fans.
Continuing the Legacy of Storytelling
These trends are a wake-up call to many in the industry to pay attention to the changing needs of people and to evolve with them. However, we must always return to the basics and remember the importance of telling stories. While these trends affect the industry by and large, the shifts create more freedom for storytellers to come forth and tell their stories in unique and inspiring ways, enabling them to create content that is responsive to the tastes, locations, and ethics of their audiences in a way that has never been possible before.
All in all, the report tells me that this is an exciting time to be a creator, with the industry opening its doors to new opportunities that reflect change, growth, development, and progress.
Amine Djouahra is the B2C BU Director for Canon Central & North Africa
After days of anticipation, Flora and Aikou have been confirmed as this season’s Gambits after receiving the highest number of votes from viewers. This was revealed during Sunday’s live show, where host Ebuka Obi-Uchendu announced the pair as the viewers’ choices.
Introduced as a brand-new twist for Season 11, The Gambit guarantees two selected housemates a place in the House until the final day. Although they will participate in tasks and House activities throughout the season, they will not be eligible to compete for the grand prize.
Sunday’s live show also marked the end of the Ladies-versus-Gentlemen format that defined the opening weeks of the competition. With the teams officially dissolved, the housemates will now compete as individuals.
Biggie also unveiled this week’s wager task, Game On, challenging the housemates to define the identity of Season 11. Through a creative presentation incorporating elements such as a logo, slogan, song, artwork and props, the housemates have been tasked with capturing what they believe this edition of Big Brother Naija should stand for and how they want it to be remembered.
The excitement continues today with the second Head of House Challenge at 2:00 p.m., where housemates will once again battle for power in the House. This will be followed by this week’s nomination show at 7:00 p.m., when viewers will find out who will become the first set of housemates to face possible eviction.
With Flora and Aikou’s fate in the House secured till the last day and the housemates now playing as individuals, the stakes have never been higher as the battle for the grand prize gathers momentum.
Viewers can enjoy the 24/7 BBNaija Season 11 experience on DStv and GOtv, or stream every episode live on DStv Stream and GOtv Stream.
For more updates, visit Africa Magic’s Big Brother Naija page and follow #BBNaija on X (@bbnaija), Instagram (@bigbronaija) and Facebook (Big Brother Naija).
By Adedapo Adesanya
Former P-Square manager, Mr Jude Okoye, has dismissed fresh allegations by his younger brother, Peter Okoye, professionally known as Mr P, insisting he never diverted the group’s earnings.
His response comes after Mr P claimed that the proposed sale of the defunct group’s multi-billion Naira music catalogue collapsed due to financial irregularities, including disputes over royalty payments, backend records and access to the group’s digital assets.
The music executive described the allegations as “blatant lies” and “manipulative tactics,” arguing that the issues raised by Mr P had already been investigated by the Economic and Financial Crimes Commission (EFCC) and are currently before the Federal High Court in Lagos.
“So, what is he doing, coming out again now, if not to spill emotional blackmail, manipulate, and make me look like a bad person by dragging Paul into this?” he said.
Responding to allegations that he diverted royalty payments, Mr Okoye said the disputed funds were distributed based on instructions contained in a June 1, 2016, email from Arrow Kings and IROKO.
According to him, the correspondence directed that Mr P receive $12,891, while $25,782 meant for Jude and Paul be paid into the Nosa Entertainment account.
He argued that Mr P presented only part of the transaction publicly, creating the impression that he and Paul had appropriated funds belonging to the entire group.
Jude also rejected claims that his younger brother was excluded from the group’s bank accounts.
Displaying what he said were account mandate documents from FCMB, he maintained that Peter, Paul and himself were all authorised signatories to P-Square’s accounts, disputing claims made by Peter.
He further claimed the matter was addressed during court proceedings, where Peter allegedly acknowledged being a signatory after documentary evidence was presented.
Addressing the controversy surrounding the proposed catalogue sale, Jude denied withholding backend records or streaming data from potential investors.
He said Peter requested royalty statements and catalogue documents on October 16, 2022, after which he immediately contacted Lex Records.
According to him, the financial statements were forwarded the same day, while the backend logs were received six days later and sent to Peter without delay.
He therefore dismissed claims that it took more than three months to provide the documents, describing the allegation as false.
Jude maintained that the disputed royalty payments, email correspondence and supporting documents had already been reviewed during the EFCC investigation.
He claimed Peter and his legal representatives were shown the records during the probe and raised no objections at the time.
Accusing his younger brother of attempting to retry the matter on social media while the case remains before the court, Jude said the videos were intended to manipulate public opinion and drag Paul Okoye into the dispute.
Jude said he would leave the issues to be determined by the court, adding that Peter had failed to attend some recent court sittings, resulting in the matter being adjourned until September. He also claimed his bank accounts, passport and travel documents remain restricted because of the ongoing proceedings.
“If I’m found guilty, if they prove I took even one Kobo that wasn’t mine, let them send me to jail. I’m ready for that,” he said.
As of the time of filing this report, Peter had not publicly responded to Jude’s latest claims. The criminal proceedings remain pending before the Federal High Court in Lagos, where Jude has pleaded not guilty to the charges brought against him.
There aren’t many TV shows that can make you remember characters more than a decade after you first met them.
Mention Sheila Gardia or Freddy Ade-Williams and anyone who has followed Tinsel instantly remembers the boardroom battles, unexpected betrayals, complicated romances and family feuds that made it impossible to stop at just one episode. Through every season, viewers have watched alliances shift, businesses rise and fall, and relationships survive or crumble under pressure.
Now, the story continues.
Season 19 of Tinsel premieres on Monday, August 3, taking viewers back into the world of the Ade-Williams family, where the drama is far from over. This season, the Reel Group is looking to grow bigger than ever, but that growth comes with new enemies determined to bring the company down. As business rivalries heat up and people begin plotting against each other, familiar faces will also have to deal with personal challenges and unexpected investigations that could change everything. If there’s one thing Tinsel has always proven, it’s that just when you think things are finally settling down, another twist is around the corner.
The new season welcomes back familiar faces including Ireti Doyle as Sheila Gardia, Dozie Onyiriuka as Freddy Ade-Williams, Linda Ejiofor as Bimpe, Ibrahim Suleiman as Damini, Iyke Okechukwu as Chuks and Florence Uwaleke Okechukwu as Ene, alongside the gripping storytelling that has kept audiences invested for nearly two decades.
Catch new episodes of Tinsel every weekday from Monday, August 3, at 7:30 pm WAT on Africa Magic Showcase (DStv Channel 151 and GOtv Channel 8).
And just when you think the drama is over…
Africa Magic is also introducing a brand-new story that asks one simple question: What happens when the truth you’ve been protected from is finally revealed? Premiering on the same day is Secret Lives, a brand-new drama that explores what happens when hidden truths finally come to light.
The series follows Zee, whose life takes an unexpected turn after a shocking discovery puts her relationship and future in doubt. As she begins to uncover secrets that have been hidden from her for years, she is forced to deal with heartbreak, betrayal and difficult choices while trying to protect the people she loves.
Blending romance, family drama and suspense, Secret Lives stars Oluchi Amajuoyi, Keppy Ekpeyong, Nonso Odogwu, Eyiyemi Olivia Rogbinyin, Ejiro Badare, Floyd Igbo and Favour Etim in a story where every episode promises fresh twists and emotional turns.
The series, produced by FEEMO and helmed by AMVCA-nominated showrunner James Omokwe, explores themes of love, identity and generational secrets, making it the perfect follow-up for viewers who enjoy emotionally layered dramas.
Secret Lives premieres on Monday, August 3, with new episodes airing weekdays at 8:30 pm WAT on Africa Magic Showcase (DStv Channel 151 and GOtv Channel 8), with episodes also available on DStv Stream.
Whether you’re returning to the familiar world of Tinsel or diving into the mysteries of Secret Lives, one thing is certain: August is bringing the kind of stories that will keep you counting down to the next episode.
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