Showbiz
Nigeria Will Add $2.8b, Kenya $3.2b, SA $13.4b to E&M Sector by 2021—Report
By Dipo Olowookere
A report by PwC titled ‘Entertainment and Media Outlook: 2017 – 2021: An African Perspective’ has revealed that during the period under review, Nigeria will contribute about $2.8 billion to the Entertainment and Media industry.
According to the report, “In terms of total E&M revenue, Nigeria is one of the fastest-growing countries in our Outlook, but this figure must be treated with caution, as a huge proportion of that growth comes from Internet access revenue alone–specifically mobile Internet access revenue.
“Of the $2.8 billion that the Nigerian market will add between 2016 and 2021, all but $452 million will come from Internet access revenue. The combined elements of TV and video will add nearly $200 million in revenue growth to 2021.”
PwC, in the report, explained that the Outlook was a comprehensive source of analyses and five-year forecasts of consumer and advertising spending across five countries (South Africa, Nigeria, Kenya, Ghana and Tanzania) and 14 segments: Internet, data consumption, television, cinema, video games, e-sports, virtual reality, newspaper publishing, magazine publishing, book publishing, business-to-business publishing, music, out-of-home, and radio.
The report further pointed out that it observed significant shifts are underway in how Africa’s E&M companies compete and generate value, as the quality of the experience they deliver to consumers becomes their primary basis for strategic differentiation and revenue growth.
To thrive in a marketplace that is increasingly competitive and crowded, companies are focusing on implementing strategies and building capabilities to engage with consumers.
It said for Kenya, “The E&M industry was worth $2.1 billion in 2016, up 13.6 percent on 2015. Revenue is forecast to grow at an 8.5 percent CAGR over the next five years, hitting the $3 billion mark in 2020, and totalling $3.2 billion in 2021.
“Internet access is the most established industry within the Kenyan market, boasting the largest revenues and one of the highest growth rates to 2021.”
However for Ghana, its E&M industry is beginning to gear up.
“In 2012, total revenue was just at $214 million, but four consecutive years of year-on-year growth above 25 percent have led it to revenues of $685 million in 2016. This is forecast to more than double over the next five years, with revenues of $1 billion being surpassed in 2019 and a total of $1.5 billion forecast for 2021, thanks to a 16.5 percent CAGR,” the report stated.
According to PwC, “Tanzania’s total E&M revenue stood at $504 million in 2016, but is set to more than double to $1.1 billion in 2021, a 17.2 percent CAGR over the coming five years.
“The symbolic crossing of the $1 billion mark is set to occur in 2021. This is significant growth from 2012 where the industry stood at just $175 million.”
The report, in its analysis of the South African market, said by 2021, total E&M revenue in the country is expected to reach R177.9 billion (about $13.4 billion), up from R132.7 billion in 2016.
It noted that internet access remains the key growth driver and will account for R27 billion of this increase.
The fastest growing sectors will be virtual reality (VR) and e-sports compounded annually at 72.6% and 39.6%, although these segments are still new revenue lines and remain the smallest in terms of absolute revenue numbers. Although overall growth in revenue will hold up, it is expected to slow down by the end of 2021.
“Companies that wish to capture value amid shifting consumer preferences and business model disruptions must focus on an increasingly prominent source of competitive advantage: the user experience. They must harness technology and data to attract, retain and engage users–and convert them into devoted fans,” says Vicki Myburgh, Entertainment and Media Industry Leader for PwC Southern Africa. These imperatives assume a larger importance because, as we document in the Outlook, the entertainment and media industry is confronting several challenges to continued top-line growth.
Digital spend will continue to drive the overall growth. Nearly 40% of total spend will be derived from Internet access in revenue. South Africa’s mobile Internet penetration is forecast to rise to 77.8% by the end of 2021 from 52.3% in 2016. This increased Internet penetration will drive mobile Internet access revenues, which are projected to grow by a CAGR of 10.7% to nearly R62 billion.
South Africa can expect a CAGR of 7.2% for consumer revenue over the forecast period, rising from R87.4 billion in 2016 to R123.7 billion in 2021. The largest contributor will be Internet access, with a 48% share in 2016 rising to 56% in 2021.
South Africa continues to remain the largest TV market on the African continent, with total revenues of R40.9 billion in 2016. The total TV market is estimated to be worth R51.2 billion by 2021. At this time, end-user spending (Pay-TV subscriptions, physical and Internet home video and license fees) will account for 56.7% of the total TV market.
The video game market is also performing well and revenue is forecast to grow at a CAGR of 15.4% to reach R5.4 billion in 2021, up from R2.6 billion in 2016. The primary growth driver in the video games market is social/casual gaming revenue, which will be worth R3.7 billion by 2021. Furthermore, the console and PC markets are experiencing a significant shift towards digital and online/micro transaction revenue, which will exceed physical sales for the first time in 2020.
The growing interest in gaming is helping to fuel the rapid growth in the related segment of VR and e-sports. As a segment that only reached consumers in 2016, almost the entire VR market is new. According to the Outlook, the consumer VR content market will be worth R455 million by 2021. Of this, R282 million will be spending on VR video.
Alongside video, the B2B market is showing continued growth. In 2016 revenues grew by 3.8% to R9.7 billion and by 2021 this is forecast to rise to R11 billion, a CAGR of 2.6%. The slowdown in growth is largely attributable to ongoing macroeconomic challenges which are likely to weigh on B2B revenues.
The South African cinema sector currently presents a mixed picture. Overall revenue, including box office and cinema advertising, is expected to reach R2.2 billion in 2021, up from R1.9 billion in 2016. South Africa continues to be an attractive destination for international filmmakers. Although some short-term economic and political issues are impacting the film sector, it is expected in the long term to continue to expand.
South Africa’s music industry is on a growth curve with live music being a key driver. Live music revenue is expected to rise from R1.2 billion in 2016 to R1.7 billion in 2021, a CAGR of 7.4% over the forecast period.
It is notable that only one digital subcomponent is seeing a significant decline in the entire Outlook – digital music downloading revenue, which is forecast to see a -15.7% CAGR, as consumers shift from ownership to access. Digital music streaming revenue is forecast to rise at a CACR of 34.5% to 2021, reaching R518 million in that year. This growth rate is only beaten by new revenue lines from VR and e-sports.
Among the largely non-digital segments, magazines and newspaper revenue are set to continue their decline. Total newspaper revenue in the South African newspaper market has been unpredictable. The market showed growth in 2013, declined in 2014 and bounced back marginally in 2015, contracting at a slower rate. In 2016, total newspaper revenue was worth R8.9 billion, but this figure is forecast to drop to R7.4 billion in 2021. Marginal growth is expected for the book publishing industry over the next five years. The educational book market will contract by a -0.1% CAGR. On the contrary, professional titles and consumer books will exhibit some growth as e-book revenues continue to grow.
The report shows that South Africa’s total entertainment and media advertising revenue is expected to rise to R54.2 billion by 2021 from R45.3 billion in 2016, representing a 3.7% CAGR. TV advertising remains dominant, but in terms of absolute growth it is Internet advertising that is almost an equal contributor, helped by a sizeable 12.9% CAGR.
Myburgh says: “It is clear that something fundamental has changed in the entertainment and media industry. E&M companies that have become accustomed to competing and creating differentiation, based primarily on content and distribution, need to focus more intensely on the user experience. The marketplace has increasingly become more competitive, slower-growing and dependent on personal recommendations.
“Thriving in this new world of intense competition and continual disruption will be challenging. The opportunities are, however, immense. Across the industry, the resulting quest to create the most compelling, engaging and intuitive user experiences is now the primary objective for growth and investment strategies, with technology and data at the centre.
“Accordingly, companies will need to develop strategies to engage, grow and monetise their most valuable customers: their fans.”
Showbiz
UK Launches Fund to Boost Nigeria’s Creative Industries
By Adedapo Adesanya
The UK-Nigeria Technology Hub has launched its Creative Fund, a first‑phase grants initiative designed to address critical technical capacity gaps across Nigeria’s film, fashion, and music industries.
According to a statement on Tuesday, the fund will support the development of local digital production capacity, encourage the adoption of modern creative technologies, and promote the responsible use of Artificial Intelligence (AI) to strengthen Nigeria’s creative value chain.
The initiative directly supports the priorities of the UK‑Nigeria Economic Transformation and Investment Partnership (ETIP) Creatives Working Group, launched in March 2025 and delivers on commitments made during President Tinubu’s State visit to the UK in March 2026.
It is designed to ensure that high-potential creative projects can access the technical talent, tools, and resources required to produce, scale and complete their work locally.
Funded by the UK-Nigeria Tech Hub, under the UK Government’s Digital Access Programme and implemented by Tech4Dev, the Creative Fund responds directly evidence gathered through the State of the Creative Innovation Ecosystem in Nigeria, study in 2024. Drawing on over 1,700 survey responses, and fieldwork across seven states, the research showed that Nigeria’s creative economy employs approximately 4.2 million people and contributes around US$3 billion to GDP annually.
Despite this scale, the sector continues to face structural constraints – over 80 per cent of practitioners are self-taught, fewer than 10 per cent have access to formal financing, and high-value technical work is routinely outsourced outside the country. The Creative Fund is a direct response to these gaps and is central to the work of the ETIP Creative Working Group.
Speaking on this, Mrs Oyinkansola Akintola‑Bello, Director of the UK‑Nigeria Tech Hub, said, “Nigeria’s creative sector already delivers real economic value, and both governments have committed under the UK‑Nigeria Economic Transformation and Investment Partnership to supporting its growth. Through the ETIP Creatives Working Group, we are moving from ambition to action.
”The Creative Fund is a practical first‑phase intervention that addresses critical gaps in skills, infrastructure, and access to advanced tools, enabling Nigerian creatives to produce and scale high‑quality work locally.”
The fund will support high-potential creative projects covering three industries: Film, Fashion, and Music and will focus on initiatives that demonstrate strong potential for impact, scalability, and job creation.
It will subsidise projects that need to close technical gaps, including critical specialists like VFX artists, sound engineers, post-production editors, and design professionals, or the digital tools and resources that make professional-quality work possible locally, for example, digital asset management systems, content delivery tools, Digital Rights Management solutions, and AI-driven production technologies. The aim is straightforward: Nigeria’s best creative work should be made in Nigeria.
On his part, Mr Abraham Akpan, Tech4Dev’s Country Manager for Nigeria and Sub-Saharan Africa, said the Creative industries are a core part of the digital economy, bringing together technology, culture and entrepreneurship.
“This Fund is about ensuring that Nigeria’s creative success is underpinned by sustainable local talent and capacity, while deliberately expanding access to tools, skills and finance for those who have been historically excluded. By prioritising women-led enterprises, youth-led ventures, and underrepresented groups, the fund embeds inclusion into every stage of delivery.”
The Fund is open to creative companies, studios, production houses, fashion enterprises, and music labels leading projects with clear technical needs. Applications will be assessed on project quality, their potential for local and international impact, and the applicant’s level of commitment to co-investment. The initiative also encourages the responsible use of emerging technologies, including artificial intelligence, with selected projects expected to explore its application in production, storytelling, and innovation.
Applications are open now and will be accepted on a rolling basis throughout the programme period.
Showbiz
MasterChef Nigeria Arrives And Sunday Nights on GOtv Just Got Better
The world’s most prestigious culinary competition has finally landed in Nigeria, bringing with it global standards, high-stakes drama, and a powerful celebration of local flavours.
MasterChef Nigeria premiered on Africa Magic Showcase (Channel 8) and Africa Magic Family (Channel 7), introducing viewers to a new era of culinary excellence.
At stake is a life-changing grand prize of ₦73 million and the coveted title of Nigeria’s first-ever MasterChef.
Ten exceptional home cooks from across the country have stepped into the MasterChef kitchen, not as professionals, but as passionate individuals driven by ambition and talent.
From a content creator in Magboro to a lawyer in Abuja, a domestic staff member in Lagos, and a cloud kitchen manager in Lekki, each contestant brings a unique story, but shares the same hunger to win.
Leading the competition are two of Nigeria’s most respected culinary figures: Chef Stone and Chef Eros.
Known for their influence and expertise, they bring both discipline and personality to the kitchen.
“I have trained over 7,000 students. Nigeria is one of the most diverse countries in the world, and our food reflects that. We just need to tell that story on a plate,” said Chef Stone.
Chef Eros adds: “MasterChef Nigeria is set to be incredibly competitive. From demanding tasks to defining moments under pressure, viewers will witness the true depth of culinary talent in this country. As we like to say, Naija no dey carry last.”
Contestants will face a series of intense, high-pressure challenges designed to test their creativity, technical skill, and resilience.
And for some, it’s strictly business.
“I am here for business. I am here to cook. I am not here to play or make friends,” said contestant Derry.
Across 13 episodes, viewers can expect a compelling mix of tension, discovery, and unforgettable moments as the competition unfolds.
MasterChef Nigeria airs every Sunday at 7:00 PM on Africa Magic Showcase (Channel 8) and Africa Magic Family (Channel 7), with repeat broadcasts on Thursdays at 12:00 PM on Africa Magic Family.
Showbiz
Relive the Shows You Grew Up With on GOtv
There was a time in our lives when life was simple. Not perfect, not fancy, but simple in a way that just felt complete.
We weren’t thinking about bills, deadlines, or what the future would look like. Our biggest concern? Whether NEPA would take light before our favourite show came on or if someone would change the channel at the wrong time.
Back then, happiness didn’t need planning. You’d rush through homework, eat quickly, and settle in front of the TV like it was the most important part of your day. And honestly, it was.
Those shows weren’t just shows, they were moments.
Then we grew up. Life got busier, louder, and a lot more demanding. But somehow, those memories stayed.
Sometimes it hits you out of nowhere, like a theme song or seeing your niece or nephew watching something familiar. And just like that, you’re taken back.
Back to when watching SpongeBob SquarePants felt like the highlight of your day. Back to singing along to Mickey Mouse Clubhouse like you were part of the cast. Even those “I’m too grown for cartoons” days still had room for The Thundermans and Henry Danger.
It’s funny how those shows did more than just entertain us. They gave us something to look forward to. Something that made the day feel lighter, no matter what.
But every now and then, there’s something comforting about knowing that those moments still exist somewhere. The things that once made us laugh, relax, and forget everything for a while are still there, unchanged.
Channels like Disney Junior and Nickelodeon are still running those same shows, holding onto that same kind of joy we didn’t even realise we’d miss. And platforms like GOtv quietly keep that connection alive. Because after a long day of trying to figure life out, sometimes what you need isn’t something new.
Sometimes, you just want something that reminds you of who you used to be, something that lets you sit back, laugh a little, and for a moment forget all the noise. And maybe, without even realising it, you smile, because for a few minutes, life feels simple again.
To upgrade, subscribe, or reconnect, download the MyGOtv App or dial *288#. For catch-up and on-the-go viewing, download the GOtv Stream App and enjoy your favourite shows anytime, anywhere.
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