Broadcasting
Big Brother Returns with ‘Stargame’

Africa’s largest reality show, Big Brother Africa by M-Net, is in its seventh season. The seventh edition to be known as ‘Stargame’ starts on Sunday, May 6 when M-Net opens the doors of Big Brother House to selected housemates from the different parts of the continent. This year, BBA will be live on DStv exclusively for 91 days and it will be 24/7. That is actually no news to ardent followers who have kept faith with the series for six seasons beginning from 2003, the edition won by Zambian Cherise Makubale. “One of the main reasons for the success of Big Brother, in Africa and beyond the continent, is that it creates its own stars from the minute housemates step into the spotlight,” says M-Net Africa Managing Director, Biola Alabi. “The show is built on the idea that, given the chance, anyone can be a star, anyone can find themselves shot to stardom. So this year, we’re honouring this essential element of the show directly in the title, putting the concept of rising stars and dreams of stardom right at the front of what is a challenging, fun, dramatic game.” Three major surprises await BBA followers this season. The first: each contestant must enter with a partner – your best friend, boyfriend, girlfriend, mom, dad, brother, sister, boss, husband, wife, neighbour, hairdresser, anybody! Whao! That, according to M-Net, is called “Double Up”. Mrs Alabi said: “The really big news this season is that entrants must enter as pairs. In the past we’ve seen a natural and continuous cross-over between individuals and their families, their friends. So this year, we decided to include that as part of the game. It will definitely make a dramatic addition to the series so we urge people to enter and experience what will be a uniquely different Big Brother Africa!” The second surprise: an addition of two new participating countries, which are Liberia and Sierra-Leone. M-Net announced that two previous participating countries, Ethiopia and Mozambique will play new part in this year’s edition. Ethiopia, M-Net said, opted out of the show. The reason is not stated. But it can be inferred from the performances of the two housemates – Yacob and Hanni – who represented the country in the previous three editions that Ethiopia featured in. Many analysts of the show felt these two didn’t put up strong performances to clinch the ultimate prize. For Mozambique, M-Net said, there will be a new role. What role this is, M-Net didn’t state yet. Big Brother is full of twists and turns, so viewers can only keep guessing at what awaits them. The third and the biggest surprise: M-Net has increased the prize money from $200,000 to $300,000. In Nigeria, if converted to Naira, this literally equals N50 million. And it is a winner-takes-all! M-Net auditions for BBA7 housemates have kicked off across the continent. Nigeria’s audition held in Lagos on Monday March 5, Tuesday March 6 and Wednesday March 7 at the Protea Leadway Hotel, Maryland. From across the federation, thousands of hopefuls gathered at the audition venue to try their luck. Then the drama this season portends started to play out. In the first instance, one would have concluded that the fact that Nigerian housemates, three times in a row, won the fourth, fifth and sixth editions, and therefore no contestant stands a chance in subsequent editions. But no; Nigerians, of course, older than 21 years, trooped to the venue in their thousands jostling for the slot to represent the country when the show starts in May. Beginning with Kevin Chuwang Pam in 2009; second-time lucky Uti Nwachukwu in 2010, and Karen Igho, a joint-winner in 2011, the show is gradually becoming a Nigeria affair. That was not the drama. The drama played out in the line-up of the people that showed up as partners to compete. Grandmothers came with their nephews, some ladies came with their mothers, boyfriends partnered girlfriends, and a popular act, Trybson (played Dagrin in Ghetto Dreams) came with his manager. There were cases of boyfriends or girlfriends who waited in vain for their partners to show up at the venue and while it was becoming clear their partners were not going to show up, hooked up with other jilted but available partners. One began to wonder how all these elements will play out when the show eventually starts. It was stated in M-Net’s advert for interested participants that entrants for this season, as with previous seasons, must be fun-loving, vocal, creative, original and articulate. In addition to those characteristics, entrants must demonstrate the social flexibility to live in close proximity with others and must be tolerant of views and lifestyle choices other than their own. The piece of information supplied above is vital in the view of previous episodes and encounters with housemates who showed strong objections to the views and behaviour of other housemates leading to altercations and violence, resulting in such housemates’ consequent disqualification; Ugandan Hannington and Tanzanian Lotus in Big Brother All Stars and Big Brother Amplified, respectively. BBA is one show that consciously puts to test housemates’ emotions, attitudes and actions. In playing the game as fairly as they could be, housemates set themselves up for series of intrigues, drama, controversies, conspiracy and the likes, having it at the back of their minds that it’s just a game. It is only when the show is taken seriously beyond the realm of a game that tension is created and clashes occur. In the new edition, viewers must look forward to how the different characters being assembled by M-Net across the continent will accept, tolerate, and cooperate with one another to create an exciting show to last the duration of 91 days. He claimed that skeletal services had “eventually led to the avoidable access of armed robbers to the banking premises through bank staff private entrance. “No bank in Ijebu land should render skeletal services to customers henceforth until the forum’s demands on security are fully met by the state government.” “Staff should move away from banks’ premises till further notice. No loading of ATM should be carried out by any bank. Any robbery attack arising as a result of culpability of any bank shall be viewed as connivance and collaboration with the robbers,” he warned. Olusoga warned that the forum would “not defend or issue any statement to absolve any bank official who out of his carelessness allows his bank to be robbed through skeletal services rendered.” On the assurances by the state government that five APCs would arrive the state by Friday, he said the bankers would call off the action once the armoured vehicles were physically on ground. Corroborating, Tunde Onadeko, chairman, Bankers’ Forum in Sagamu said all banks in the axis have also been directed to shut operations. “We are together in this agitation. Whatever you hear from the Ijebu Bankers’ Forum is our position,” Onadeko said. Meanwhile, Bola Onifade, state chairman of the forum said banks in Abeokuta would open for normal business and denied insinuations that the state government pressured him to back out of the action.
Broadcasting
NCC Blocks Piracy Sites as Nollywood Faces Rising Digital Theft

Nigerian Copyright Commission (NCC) has called for urgent adoption of advanced digital protections after blocking seven piracy sites amid escalating online threats to Nollywood content.

The call was made during a webinar hosted by Greychapel Legal titled “Clicks, Streams, and Copyright: Who Owns Nollywood’s Digital Future?”, which brought together filmmakers, regulators, entertainment lawyers and media strategists to examine how content ownership and copyright enforcement are being reshaped by the digital age.
Lynda Alphaeus, director and head of the NCC Lagos Office, said the Commission has intensified its efforts to combat piracy across digital channels and is upgrading its operations to meet emerging threats.
According to her, Nigeria’s new Copyright Act was deliberately updated to strengthen creators’ rights amid the explosion of online distribution.
“NCC has worked, and is still working tirelessly to adapt Nigeria’s legal framework to cope with digital distribution challenges. We now have the power to block networks publishing illegal content, and we have already blocked seven websites distributing pirated Nigerian works,” Alphaeus said.
She revealed that the Commission has established a special taskforce known as the STOP Unit to coordinate anti-piracy operations online, alongside new awareness campaigns targeting local markets and schools to educate content creators and the public on copyright obligations.
Alphaeus urged filmmakers and producers to take ownership of their digital safety by deploying available technological protections to safeguard their intellectual property.
She explained that tools such as encryption help prevent unauthorised copying, blockchain technology offers immutable proof of ownership, digital watermarking allows creators to trace illegal uploads, while cloud security and regular offline backups protect creative files before they reach the market.
While noting that copyright in Nigeria does not legally require registration, she stressed that registering one’s work strengthens protection and provides legal presumptions that can be vital in enforcement.
“Whatever you register is presumed to be yours until proven otherwise,” she said, urging creators to invest in copyright knowledge as part of their business strategy.
Other speakers at the webinar reinforced the urgency of protecting Nollywood’s digital assets.
James Omokwe, film director, noted that while streaming platforms have created unprecedented opportunities for visibility and monetisation, they have also opened new vectors for intellectual property theft and unauthorised redistribution.
Solafunmi Laelle, media strategist, added that audience data, which streaming platforms rely heavily on, will increasingly determine leverage and value in film licensing negotiations.
According to her, creators who lose control of their intellectual property, whether through piracy or unfavourable contracts, also lose access to valuable data that could shape their long-term earnings.
Nky Ofeimun, entertainment lawyer, emphasised the need for creators to understand the contractual implications of ownership, platform exclusivity, and reversion rights.
She noted that many filmmakers still underestimate how quickly digital copies can be illegally duplicated or uploaded once control is lost.
The panelists agreed that as Nollywood deepens its digital footprint, piracy will continue to evolve and become more sophisticated.
They stressed that the industry must respond with equally sophisticated tools, stronger contract negotiation, and improved education around copyright.
Broadcasting
Four Must-Watch African Films Debut Free on Glo TV

Globacom, just introduced four brand new movies on its premium entertainment platform, Glo TV, and they are completely free for all subscribers. The company says the release marks another major step in its mission to enrich digital entertainment for millions of viewers across the country.

In a statement from Lagos on Wednesday, Globacom explained that the new titles feature some of Africa’s most celebrated actors and filmmakers, offering a colorful mix of romance, comedy, drama, culture, and emotional storytelling. The lineup includes Johnny Just Come (JJC), Eko Vibes, Bound, and Shifting Desire.
“Each of these movies was chosen to spotlight diverse African stories while delivering world class entertainment unavailable in cinemas, on YouTube, or on any other streaming service. Viewers do not need any subscription or extra payment. Access is completely free,” the company said.
Leading the pack is Shifting Desire, featuring Lilian Afegbai and veteran actor Majid Michel. The film is a gripping romantic drama that dives into marriage, intimacy, betrayal, healing, and the emotional journey of a couple using therapy to rebuild trust. Shifting Desire premiered on Glo TV on December 2 and is already streaming for free.
Johnny Just Come (JJC), starring Patience Ozokwor and Nancy Isime, delivers a hilarious cultural crossover story about an American man trying to navigate love and marriage in an African household. The movie explores themes of identity, family, culture, and coexistence in a warm and relatable way.
The third title, Bound, starring Rita Dominic and Eyinna Nwigwe, is a thought-provoking family drama that follows a successful career woman confronting long hidden personal struggles and the impact on her relationship. The film showcases powerful performances from some of Nollywood’s finest.
Rounding out the collection is Eko Vibes, featuring Broda Shaggi, Josh2Funny, and Nkechi Blessing. The movie captures the energy and hustle of Lagos youth culture, spotlighting ambition, humor, and the vibrant spirit of young people chasing success in the city.
Globacom noted that the new releases reinforce its commitment to delivering original African content at the highest quality. “With these exclusive titles, Glo TV is redefining digital entertainment in Nigeria by offering fresh, premium movies not available anywhere else. We remain committed to growing our catalog with rich African stories that celebrate creativity at its best,” the company added.
Broadcasting
Young Africans Hit Hardest by Online Gender Violence, Paradigm Initiative Reports

A new study, conducted by pan-African organisation, Paradigm Initiative (PIN), warns of an alarming surge in the prevalence of Technology-Facilitated Gender-Based violence, with 67 percent of respondents being victims of at least one or multiple forms of digital violence.

Online
Released on International Human Rights Day, the research exposes deep systemic failures, weak accountability, and unsafe online spaces driving a rapidly escalating epidemic across Cameroon, Kenya, Nigeria, Senegal, Zambia, and Zimbabwe.
PIN recognises that this gap limits both the understanding of TFGBV and the development of effective solutions. In response, this study adopts a survivor-centred approach that reframes how TFGBV is researched, discussed, and addressed. By prioritising survivors’ perspectives, the research uncovers the emotional, social, and systemic dimensions of digital violence that formal reports and statistics often obscure. It also interrogates how survivors navigate reporting systems, access justice, and play an informed role in digital spaces that are frequently hostile or unsafe.
A key finding of the study is that young people are disproportionately affected, with those aged 18–34 constituting the vast majority of survivors. Most incidents of TFGBV occurred on Facebook, WhatsApp, and X (formerly Twitter), underscoring how mainstream social media platforms continue to function as structurally unsafe spaces for many users—particularly women, activists, and advocates.
“Victims’ experiences range from sexual harassment, threats, and misogynistic attacks to severe violations such as stalking, non-consensual image sharing, hacking, sextortion, and identity-based harassment,” the report notes. “Personal testimonies reveal profound emotional, psychological, and reputational harm.”
The study also highlights that formal systems such as the police, employers, and public institutions, remain underutilised, largely due to fear, mistrust, or an expectation of inaction. While the findings expose wide-ranging gaps across platforms, institutions, and legal frameworks, they also highlight survivors’ resilience and their continued efforts to seek safer digital environments.
In light of these findings, PIN calls for urgent action to make online spaces safer for everyone, in line with this year’s Human Rights Day theme, “Human Rights, our everyday essentials.” Addressing these systemic gaps is critical to advancing democratic engagement, promoting media pluralism, fostering digital inclusion, and achieving gender equality across Africa.
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