Showbiz
Nigeria’s Showbiz/Media Sector Will Generate $9.9b Revenue by 2022—PwC
By Modupe Gbadeyanka
A new report by PwC has disclosed that the entertainment and media (E&M) industry in Nigeria will generate a revenue of $9.9 billion by 2022 from the $3.8 billion raked in 2017.
In its ‘Entertainment and Media Outlook: 2018 – 2022: An African Perspective’ released today and obtained by Business Post, PwC said last year, Nigeria saw a huge 25.5 percent rise in E&M revenue, although $605 million of this $764 million rise was attributable to Internet access.
“A 21.5 percent CAGR rate is anticipated to 2022, with revenue reaching $9.9 billion in that year. Again, Internet access revenue will account for 89.6 percent of this absolute growth,” the report said.
PwC noted that in report that Africa’s entertainment and media industry has entered a dynamic new phase, a third wave of convergence.
It said the borders that once separated E&M, technology and telecommunications industries are blurring in the battle for the attention of the consumer in a world that is rapidly digitising.
As the mobile device cements itself as the pre-eminent source of the E&M experience, the most disruptive, forward-thinking companies are striving to create an integrated ecosystem suited to this consumer-driven dynamic, it said further.
According to PwC, by 2022, total E&M revenue in South Africa is expected to reach R177.2 billion, up from R129.2 billion in 2017. Internet (access and advertising) is expected to grow at a compound annual growth rate (CAGR) of 11.3 percent over the forecast period to reach R91.2 billion, up from R53.4 billion in 2017.
Overall E&M growth will be less reliant on Internet access revenue as organic growth opportunities in Internet connections start fading towards the end of the forecast period. Internet advertising will greatly exceed TV advertising in terms of growth, leading the way with a 13 percent CAGR over the forecast period to reach R9.4 billion and overtake TV advertising spend in 2022.
The Outlook is 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 (b2b), music, out-of-home (OOH) and radio.
Vicki Myburgh, Entertainment and Media Leader for PwC Southern Africa, says: “It’s clear we’re in a rapidly evolving media ecosystem that’s experiencing Convergence 3.0. In Convergence 3.0, the dynamics of competition are evolving while a cohort of ever-expanding super competitors and more focussed players strive to build relevance at the right scale. And business models are being reinvented so all players can tap into new revenue streams, by, for example, targeting fans and connecting more effectively with customers to develop a membership mind-set.
“The pace of change isn’t going to let up anytime soon. New and emerging technologies such as artificial intelligence and augmented reality will continue to redefine the battleground. In an era when faith in many industries is at a historically low ebb and regulators are targeting media businesses’ use of data, the ability to build and sustain consumer trust is becoming a vital differentiator.”
South Africa’s E&M industry faced a challenging year in 2017 amidst economic and socio-political uncertainty. Total E&M revenue rose at a comparatively low rate of 6.8% year-on-year to R129.2 billion. A bounce-back in 2018 sees an anticipated 7.6% year-on-year growth, while the CAGR to 2022 is forecast at 6.5 percent.
South Africa will see a strong CAGR of 7.6 percent for consumer revenue to 2022, moving from R93.9 billion in 2017 to R135.7 billion in 2022. Beyond revenue from the Internet segment (buoyed by apps revenue) there are many success stories, most notably that of video games, which will surpass books, magazines and B2B to become the third-highest contributing consumer segment.
There is a striking difference in growth between digital and non-digital revenue, which have CAGRs of 11.4 percent and 1.8 percent respectively. Put another way, digital revenue will add R41.3 billion and non-digital revenue R6.7 billion in absolute terms to 2022. The non-digital elements of five different segments – books, magazines, newspapers, OOH and video games – will all decline to 2022.
Within this overall increase, the fastest revenue growth will be in the digitally driven segments. Virtual reality will lead the way, albeit from a low base, at a five-year CAGR of 55 percent to reach R671 billion in 2022, from R75 billion in 2017.
“The exceptional growth in VR reflects the excitement in this space. VR devices and experiences are in the early stages of being accepted by the mainstream, as VR now emerges as a viable long-term platform for unique, immersive experiences, attracting major investment from media and technology companies eager to seize a share of this fast-growing market,” Myburgh adds.
After a breakthrough year, South Africa’s total e-sports revenue is forecast to rise from R29 million in 2017 to R104 million in 2022, a CAGR of 29 percent. A host of high profile events in 2017 helped to propel e-sport further towards the mainstream, and a number of similar events have been and are being held this year.
A booming social/casual sector is driving strong growth in the video games segment. Total revenue is forecast to rise from R3.1 billion in 2017 to R6.2 billion in 2022, a CAGR of 15 percent. TV and video will continue to be a major driver of consumer spend. Following growth at 4.8 percent CAGR over the forecast period, the total TV market will be worth R40.8 billion by 2022.
The shift from physical to digital media has been one of the core drivers of the global and local E&M market for many years. But different media segments have experienced strongly contrasting patterns of digitisation. In some cases, consumers have been quick to drop physical formats and embrace digital alternatives at the first opportunity.
Although the growth rate for physical books is moderate, it is notable that books are performing far better than any other non-digital sector.
“Permanency and collectability may be the reason for this. Books are seen as collectibles often owned and displayed for many years, making the loss of their physical presence more significant,” explains Myburgh. Although books currently seem to have the best prospects of any physical media format, they are, like every other media segment, just one disruptive digital competitor away from major upheaval.
Newspapers and magazines will see revenues decline over the next five years. In 2017, total newspaper revenue fell by – 2.9 percent to R8.6 billion. The forecast for the years ahead is for decline at -4 percent CAGR. By 2022, South African total newspaper revenue is expected to drop to R7 billion.
Despite 24/7 access to media and entertainment, the appeal of shared, live experiences still attracts audiences. Music events still draw large crowds, with ticket sales set to see an 8.0 percent CAGR to 2022, helped by major tours from popular crowd-pulling acts in 2018.
Recovering admissions and rising ticket prices together with improved offerings will see box office revenue deliver modest growth at a 3.5 percent CAGR through 2022. South African audiences are prepared to pay a premium to watch big-budget films with surround sound, vibrating seats, temperature change, strobe lights and so on. Radio continues to have a solid listener base in South Africa, and a weekly reach of 91 percent. Radio revenue is projected to rise 3.9 percent CAGR over the forecast period to surpass the R5 billion mark in 2022.
Chat apps and social platforms have become an increasingly important part of day-to-day life for consumers, both in South Africa and worldwide. As usage and entertainment rise, key players from across the E&M industry have teamed up with these platforms, growing them into ‘one-stop shops’ for consumer needs.
The report shows that advertising in the E&M industry was mostly affected by South Africa’s economic environment, with cautious growth of just 1.9 percent year on year. An improvement is expected to 2022, with a 3.3 percent CAGR bringing total advertising revenue to R41.5 billion, from R35.3 billion in 2017. New technologies and devices like artificial intelligence (AI), virtual and augmented reality, voice-based smart home devices and virtual assistants look set to drive innovation in online advertising on a global scale in the coming years.
The report also said Kenya’s E&M industry saw 17 percent year-on-year growth in 2017, again propelled by growth in the Internet sector. An 11.6 percent CAGR will take the country to $2.9 billion in 2022, from $1.7 billion in 2017. Outside of the Internet space, TV and video revenue dwarfs the other segments.
In addition, Ghana’s E&M industry has more than tripled in value since 2013. Total revenue reached $752 million in 2017. It is forecast to surpass $1 billion in 2019 and to total $1.5 billion in 2022, increasing at a 14.2 percent CAGR. As with Nigeria and Kenya, Internet access spend accounts for much of this revenue and growth. Ghana is in a strong position for further E&M growth as revenue gains critical mass over the next five years.
It further said total E&M revenue in Tanzania stood at $496 million in 2017, having risen 28.2 percent year on year. Continued momentum at an 18.3 percent CAGR will see revenue reach $1.2 billion in 2022, 2.3 times the size of the market in 2017. Tanzania’s E&M revenue make-up is ostensibly similar to that of Ghana, although here Internet revenue takes a slightly less dominant position.
Between them, the five countries considered in the Outlook will, driven by Nigeria, add $12.4 billion in revenue from 2017 to 2022, at a combined CAGR of 11.9 percent. Although much of this will fall into the hands of telcos, there are significant opportunities for content providers too. The engine of growth here will be organic, with increased populations and gradually increasing disposable income swelling the ranks of potential E&M consumers – and ever-increasing Internet access greatly expanding the range of E&M opportunities available.
“To succeed in the future that’s taking shape, companies must re-envision every aspect of what they do and how they do it. It’s about having, or having access to, the right technology and excellent content, which is delivered in a cost-effective manner to an engaged audience that trusts the brand. For those able to execute successfully, the opportunities are legion,” Myburgh concludes.
As anticipation builds for the 12th edition of the Africa Magic Viewers’ Choice Awards(AMVCA), the conversation has officially shifted from speculation to action. With nominees unveiled and voting now open, this year’s awards are shaping up to be one of the most competitive and expansive yet, featuring a record number of films and talent from across the continent. From established stars to emerging voices in African cinema, the AMVCA continues to celebrate excellence in storytelling, technical craft, and cultural impact, reinforcing its position as one of the most influential platforms for African creativity.
Host & Jury:
While the official host for the main awards night is yet to be confirmed, the nominations announcement was led by Chimezie Imo, offering a first glimpse into the tone of this year’s event. On the adjudication side, veteran actress Joke Silva leads as Head of Jury. Her role underscores the awards’ continued emphasis on credibility, with a panel tasked with evaluating technical excellence, storytelling depth, and overall craft across non-voting categories.
Voting: How It Works
One of the defining features of the AMVCAs is its hybrid voting system, and 2026 is no exception. Out of the total 32 categories, 11 are open to public voting, giving audiences a direct role in deciding key outcomes, while 18 categories are determined by the jury alongside special recognition honours. Voting is conducted through the official Africa Magic platform, where registered users can select their preferred nominees and cast up to 100 votes per platform.
Voting for this year officially opened on March 29, 2026, giving audiences enough time to vote for their favourites. The window will close on April 26, 2026, after which attention shifts to the main awards night, scheduled for May 9, 2026.
Leading Names & Notable First‑Timers
This year’s nominations reveal clear frontrunners. Films like The Herd, Gingerrr, and My Father’s Shadow lead the nominations, highlighting a rising preference for ambitious, high-concept storytelling. Actor Lateef Adedimeji stands out with three nominations, making him the most nominated actor for the year, highlighting his range across both lead and supporting roles.
The 2026 list also includes notable first‑time nominees. Popular Content Creator and actress Kidaby earned her first nomination for her performance in Oversabi Aunty, and Ariyike Owolagba received her first nod for her role in Something About the Briggs, signalling the emergence of new talent within the industry.
In addition to competitive categories, the awards will present special recognition honours, such as the Lifetime Achievement Award and the Trailblazer Award, acknowledging industry veterans and breakthrough achievements.
What Feels Different This Year
Beyond the usual red carpet glamour and viral moments, AMVCA 2026 reflects a broader shift in focus. There is more intentional representation across the continent, with categories such as Best Indigenous Language (North Africa and Central Africa) highlighting a wider African storytelling ecosystem, rather than the usual strongholds. This signals a deliberate push to capture the continent’s linguistic and cultural diversity.
This edition represents a significant milestone for the industry, with Diageo featuring brands like Guinness serving as the full portfolio sponsor, while premium tequila brand Don Julio headlines as the main sponsor. Their involvement highlights AMVCA’s expanding role as a premier celebration of African creativity.
AMVCA 2026 is more than just another awards season; it shows the current pulse of African cinema. From how voting is structured, to the jury making the calls, to the wide range of nominated films and emerging talent, it’s clear the industry is evolving: more inclusive, more participatory, and shaped as much by audiences as by creators.
With voting now open, the results won’t just reflect the opinions of industry experts; they will also carry the voice of viewers from across the continent, making this year’s awards truly a celebration of African storytelling.
Easter is here, and whether you are spending the long weekend with family, friends or simply enjoying some well-deserved solo downtime, there is no shortage of great shows to keep you entertained. From gripping African drama to timeless animated classics, this holiday weekend has something for every mood and every member of the family.
The best part? We have done the work for you. Here are five shows worth watching this Easter, from binge-worthy Nigerian television and epic historical documentaries to beloved family favourites, all available to stream on DStv Stream.
- Wura S4 — Africa Magic Showcase & Africa Magic Family
After three seasons of betrayal, manipulation, and bloodshed, Wura is back, and Season 4 may be its most dangerous chapter yet. The critically acclaimed telenovela returns with Scarlet Gomez as Wura Amoo Adeleke, a ruthless matriarch now haunted by guilt and surrounded by enemies on all sides.
Directed by Rogers Ofime, the new season finds Wura’s carefully built empire cracking under the weight of secrets and relentless pressure, as alliances shift, loyalties crumble, and the Adeleke dynasty teeters on the brink of collapse. Family-friendly and thoroughly addictive.
Catch the new episodes every weeknight at 8 pm on Africa Magic Showcase (DStv Channel 151, GOtv Channel 8) and at 8:30 pm on Africa Magic Family (DStv Channel 154, GOtv Channel 7). Episodes 1 – 3 are currently available to stream on DStv Stream.
- Dividends — Africa Magic Showcase
What happens when the promise of “double your money” collides with the brutal realities of everyday survival? Africa Magic’s newest dramedy, Dividends, answers that question with sharp wit and painful relatability.
The show that premiered on March 30, 2026, dives into the chaotic aftermath of a collapsed Ponzi scheme, following three strangers whose lives unexpectedly collide in the wreckage.
Dividends airs on Africa Magic Showcase (DStv Channel 151) from Mondays to Wednesdays at 8:30 PM WAT, with episodes also available via DStv Stream and GOtv platforms.
- Gladiators: Warriors of the Ancient World — National Geographic
This six-part National Geographic documentary series wraps up with a finale worthy of the arena. Gladiators: Warriors of the Ancient World chronicles the lives of Rome’s greatest fighters, from Spartacus’s defiant rebellion to Flamma’s ultimate sacrifice, exposing how bloodsport shaped Roman power, culture, and identity.
Packed with vivid dramatisations and sharp historical depth, Episode 6 brings this brutal, fascinating world full circle, revealing how the rise and fall of gladiatorial combat left a permanent mark on an empire built on violence and glory. The episodes are available for streaming on DStv Stream.
- Twist of Fate: New Era — Zee World (DStv 166)
Fans of high-stakes romance and family drama will find plenty to love in Twist of Fate: New Era. Acting as a continuation of the beloved Kumkum Bhagya story, this Indian telenovela now follows Purvi Kohli, daughter of Prachi and Ranbir, as she navigates a turbulent marriage to the complicated Rajvansh “RV” Malhotra.
With a scheming rival in Monisha and a family determined to tear them apart, Purvi’s journey is one of love tested at every turn. Emotional, dramatic, and thoroughly binge-worthy. Watch all episodes of Twist of Fate on DStv Stream.
- The Prince of Egypt
No Easter watchlist is complete without The Prince of Egypt. This animated musical masterpiece retells the story of Moses, from his privileged life as Egyptian royalty to his extraordinary calling as the liberator of an enslaved people.
When Moses discovers his true identity as a Hebrew, he must confront his adoptive brother Pharaoh Rameses, setting in motion a story of faith, sacrifice, plagues, and the iconic parting of the Red Sea. With stunning animation and themes that align perfectly with the Easter season, it is the ultimate family watch for the holiday weekend.
This Easter, skip the scroll and go straight to the good stuff. From nail-biting Nigerian dramas to family-friendly classics, there is something for everyone on DStv Stream.
The nominee announcement on Sunday has officially kicked off the countdown to the 12th AMVCAs, and as expected, the conversation is split between celebration and the inevitable debate over who didn’t make the cut. While previous years were often dominated by a few blockbusters with double-digit nominations, the 2026 field is defined by how spread out the talent is. With Gingerrr and The Herd leading with nine nominations each, and To Kill A Monkey following with eight, the race to May 9th is wide open. This year’s list shows a clear shift in how African cinema is being viewed. While the AMVCAs have always stood for excellence, this 12th edition has moved toward a much stricter evaluation of craft that looks past how popular a project is on social media.
Under the leadership of veteran actress Joke Silva as Head Judge, the message from the organisers is clear: the bar for entry has become more specialised. In an era where trending on social media is often mistaken for technical brilliance, the AMVCAs is looking deeper into the structural integrity of the work. This explains the takes currently fueling debates online. While a project might dominate the cultural conversation for months or break box office records, the jury’s mandate, backed by the auditing rigour of Deloitte, is to look past the viral numbers and focus on the technical blueprints. A film can be a massive audience success and still find its lighting, sound design, or screenplay structure measured against a new, more rigorous professional rubric.
Out of the 32 categories this year, 18 are now strictly decided by the jury, including the major Best Lead Actor and Best Lead Actress awards. This change moves the recognition of acting talent away from the emotional pull of public voting and puts it into the hands of industry experts. For the stars and directors who didn’t find their names on the list, it isn’t a comment on their talent, but a reflection of a very tight field where there is almost no room for error. The fact that acting awards now sit alongside technical categories like cinematography and editing proves that the Academy is rewarding the quality of the work just as much as the fame of the person.
As voting opens for the remaining 11 public-choice categories ahead of the May 9th ceremony, the tension surrounding the list is actually a sign of industry health. It proves that the volume of high-quality African storytelling has reached a point where being a fan favourite is no longer a guarantee of a trophy.
By prioritising technical precision over social media sentiment, the AMVCAs are forcing a necessary evolution. On May 9, the statues will be handed out, but the real takeaway from Sunday is that Nollywood has moved into an era where the craft must finally match the hype.
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