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.
There wasn’t a dry eye in the MasterChef Nigeria kitchen as fan favourite David bowed out in one of the most emotional episodes of the season, leaving Fads and Favy as the final two contestants standing in the race for the life-changing ₦73 million grand prize.
With the grand finale within touching distance, the Top 3 walked into the kitchen to find an elegantly laid dining table and an exquisite signature dish created by Chef Eros and Chef Stone. After savouring the meal alongside the judges, they received what would become the defining challenge of their MasterChef journey: recreating the dish with absolute precision to earn a coveted place in the finale.
There were no second chances. With Favy’s immunity pin already behind her, all three contestants stood on equal footing.
“Precision is your friend. Panic is your enemy,” Chef Stone cautioned as the clock began to tick.
For Fads, the challenge became her finest hour. Calm, focused and technically brilliant, she delivered a plate that impressed the judges with its flawless execution, balanced flavours and refined presentation. Her performance earned her Dish of the Day and secured her place as the first finalist.
Favy also rose to the occasion, presenting a dish that won praise for its taste and composure under pressure.
David, however, struggled to bring his vision to life. Despite pouring everything he had into the cook—admitting he had cooked with his “last breath”—his risotto lacked the required texture, while his duck fell short on flavour. In a competition where every detail mattered, those small imperfections had enormous consequences.
Standing beside Favy in the bottom two, David waited anxiously as the judges delivered their final decision.
His MasterChef journey had come to an end.
What followed was one of the season’s most unforgettable moments. Overcome with emotion, David broke down as he reflected on how far he had come. Across the room, Favy was so consumed by the moment that she barely realised she had secured her place in the finale.
Yet even in defeat, David’s story found a remarkable new beginning.
Moved by his passion, determination and undeniable talent, the judges described him as “a diamond in the rough” and rewarded his potential with an extraordinary opportunity: a fully sponsored six-month professional training programme at Chef Stone’s Red Dish culinary school, followed by a paid six-month internship at Chef Eros’s Ile Eros restaurant.
It was a powerful reminder that while competitions may end, dreams do not.
Now, the table is set for an unforgettable finale.
Next week, Fads and Favy will go head-to-head in one last culinary showdown for the MasterChef Nigeria title and the life-changing ₦73 million prize.
Two finalists. One kitchen. One final opportunity to create the dish that changes everything.
MasterChef Nigeria airs every Sunday at 7:00 p.m. on Africa Magic Showcase and Africa Magic Family, with repeat broadcasts on Wednesdays at 6:00 p.m. on Africa Magic Showcase and Thursdays at 12:00 p.m. on Africa Magic Family.
What happens when one tragic event forces a family to confront secrets they’ve spent years trying to bury? In The Journal, the mysterious death of a family member brings five siblings back together, but instead of finding answers, they uncover hidden truths that threaten to change everything they thought they knew about each other. To catch The Journal, tune in on Africa Magic Showcase Ch 8 on Saturday at 7:15 PM.
Stories like this are what make Nollywood impossible to ignore. Whether you’re in the mood for emotional family drama, romance, suspense or stories packed with unexpected twists, GOtv has a lineup of Nollywood movies to keep you entertained all weekend.
If you’re looking for what to watch, here are some Nollywood movies to add to your watchlist this weekend.
Iya
Some battles don’t happen outside the home. In Iya, a mother is determined to drive a wedge between her son and his wife. She goes to great lengths to frustrate her daughter-in-law, hoping to push her back into the life she once lived, making money from her beauty. It’s an emotional story about family interference, manipulation and the lengths some people will go to get what they want.
Showing on Africa Magic Yoruba Ch 2 on Saturday at 8:25 PM.
One Man
Nkechi and Amara share a close bond as sisters, but poverty tears them apart while they are still young. Years later, fate brings them back together, but their reunion doesn’t go as expected. Instead, a shocking decision threatens to change both of their lives forever. It’s a touching story about family, sacrifice and the unexpected turns life can take.
Showing on Africa Magic Epic Ch 6 on Saturday at 11:05 AM.
Unlucky
Kenny and Nora’s relationship is already far from perfect, but things become even more complicated when Mabel, a brilliant tech enthusiast, moves in next door. What starts as a simple neighbourly connection soon turns into a complicated love triangle that leaves everyone questioning where their hearts truly belong.
Showing on Africa Magic Showcase Ch 8 on Sunday at 10:14 PM.
My Madam And I
Chief Donald and Jifeofor have spent years as rivals, but life has a funny way of changing the script. While the two men continue their feud, their children unexpectedly fall in love. Now they must decide whether love is strong enough to overcome pride, family rivalry and years of bad blood.
Showing on Africa Magic Family Ch 7 on Sunday at 11:05 PM.
Whether you’re in the mood for family drama, romance, suspense or stories packed with emotional twists, GOtv’s Nollywood lineup has you covered this weekend. So settle in and let these stories take over your screen.
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.
As conversations around the “Olodo Uprising” trend continue to dominate social media, it has reopened an old debate about intelligence, education, and what it really means to learn in today’s Nigeria.
The memes and jokes surrounding the “Olodo Uprising” may be entertaining, but beneath the humour lies a more important question: where are Nigerians actually learning today?
For many people, education no longer begins and ends in classrooms or textbooks. Every day, millions of Nigerians spend hours consuming content across television, social media, streaming platforms, and digital communities. These spaces are increasingly shaping how people think about money, health, relationships, politics, and even citizenship.
This is where entertainment, advertising, and education have quietly begun to overlap.
The rise of learning through entertainment
Brands and organisations have gradually moved away from simply telling audiences what to think. Instead, they now invite people to participate.
Campaigns have become more interactive, relying on games, storytelling, influencer collaborations, audience participation, and competition to communicate ideas. Rather than presenting information in a lecture-style format, they build experiences that people can engage with and remember.
It is a response to today’s attention economy. People are far more likely to retain information when they are emotionally invested or actively involved.
Reality television has become one of the clearest examples of this shift, with Big Brother Naija standing out as perhaps the country’s biggest stage for this style of communication. But the idea of using entertainment to deliver social messages existed long before BBNaija became a cultural phenomenon.
Advocacy found its way into popular culture long before it became fashionable
Years before brands fully embraced reality TV, advocacy organisations were already experimenting with entertainment as a way to reach audiences.
ONE.org, for example, introduced advocacy-focused challenges that encouraged contestants to develop campaigns around healthcare, governance, and citizen participation. Rather than simply discussing social issues, participants were asked to propose solutions and communicate them in ways that mirrored real-world policy campaigns. Some winners later gained exposure through international advocacy platforms, including the UN General Assembly.
BBNaija explored this idea as far back as Season 2, See Gobe edition. Housemates took part in a girl-child education task in partnership with ONE Campaign, where they learnt about the challenges many girls face in accessing education and presented their ideas on how to address them. Bisola’s presentation was selected as the best, earning her the chance to represent the campaign at the United Nations General Assembly as a ONE Ambassador for girls’ education. The task showed that reality television could do more than entertain. It could help people learn about important issues, encourage meaningful conversations, and even create opportunities for real-world impact.
Looking back, these campaigns were early signs of a model that has since become common across Nigerian media.
When brand tasks became learning experiences
As BBNaija evolved, sponsored tasks became more ambitious. Instead of simply promoting products, many brands began building challenges that required contestants to learn new concepts, solve problems, work in teams, and communicate ideas under pressure.
During Season 6, Shine ya Eye edition, PiggyVest introduced a financial literacy challenge centred on saving, spending, and financial planning. Rather than delivering a traditional financial education campaign, the concepts were woven into competitive tasks that made them easier to understand and more engaging to watch.
SuperSport adopted a similar approach, designing challenges around teamwork, strategy, puzzles, and creative thinking.
Other sponsors followed suit.
Health-focused campaigns encouraged conversations around public wellbeing and civic responsibility. Airtel challenged housemates to interpret communication briefs and present marketing ideas. Cooking tasks sponsored by brands such as Munch It and Arla tested creativity, collaboration, and time management while introducing conversations around food and nutrition.
The common thread was never the prize money. It was the process. Contestants had to absorb new information quickly, apply it in real time, and explain their thinking in front of millions of viewers. That is a form of learning, even if it doesn’t resemble a classroom.
Health education moved to centre stage
Recent seasons have made the educational element even more deliberate.
In Season 10, 10/10 edition, Colgate’s oral health challenge required housemates to study information about dental hygiene before competing in games built around oral care, common myths, and healthy habits.
Carex adopted a similar approach with its hygiene challenge, combining entertainment with lessons around germs, handwashing, and infection prevention.
These tasks were designed to be memorable because audiences were watching people learn while being entertained. The products remained visible, but so did the message.
What the “Olodo Uprising” conversation reveals
The current online debate often assumes that young Nigerians are becoming less interested in learning. Yet the same people making that argument spend hours discussing content that regularly exposes audiences to financial literacy, health awareness, communication skills, teamwork, and civic issues.
Learning hasn’t disappeared. It has simply moved into places that don’t always look educational.
Reality television, brand campaigns, creator content, podcasts, and even viral social media conversations have become part of Nigeria’s informal learning ecosystem as they increasingly shape public knowledge and everyday behaviour.
The “Olodo Uprising” conversation reflects that shift. While people continue to debate who is intelligent and who isn’t, the ways Nigerians acquire knowledge have become far more diverse than they once were.
Learning has changed its address
The real lesson is not that reality television is educational by default. It is that education now travels through entertainment because that is where attention lives.
From advocacy campaigns and financial literacy challenges to health awareness initiatives and branded storytelling, Nigerian popular culture has become an unexpected classroom.
The platforms may be different, but the outcome is familiar: people encounter new ideas, engage with them, and carry parts of those lessons into everyday life.
The conversation sparked by “Olodo Uprising” will eventually fade, as most viral trends do. What is likely to remain is the growing recognition that learning today is shaped as much by culture and media as it is by classrooms.
