Broadcasting
African Marketers Simply Cannot Afford to Ignore Snapchat: Here’s Why

By Alistair Errington, Snap Partner Director at Ad Dynamo by Aleph
Over the years, Snapchat has consistently defied its most ardent critics. The platform has grown from strength to strength rather than fading away as existing social networks mimic its features, and new ones, such as TikTok, target the same audience. This illustrates how people want more options and choices when it comes to social media (something that its critical advertisers understand).

As recorded by Statista, Snapchat boasts 347 million daily active users in Q2 2022, up more than 50 million from the same quarter in 2021. Data Reportal also sheds light on Snapchat’s presence with a total advertising reach of more than 617 million people. This puts it in the top 10 social networks globally. It is, in other words, a platform that advertisers simply cannot afford to ignore. This is as true on the African continent as it is anywhere else
In Nigeria, for example, Snapchat has more than 9 million users in addressable reach for advertising. This puts it on par with Instagram, and well ahead of platforms such as LinkedIn.
With this in mind, it is worth looking at what makes Snapchat so popular, why it’ll continue to be a good marketing option, and how advertisers can best take advantage of it.
Embracing technological evolution
Key to Snapchat’s success in recent years has been its willingness to continue evolving and embracing new technologies as they emerge. In particular, it utilises augmented reality (AR) in ways that appeal to its user base. Snapchat is a camera-first app, encouraging its audience to create personal authentic content featuring themselves.
For instance, some 250 million users make use of AR tools that allow them to add 3D experiences in the real world and overlay graphics on images every day. But the platform’s AR ambitions go far beyond augmenting the world only for entertainment. Earlier this year, Snapchat announced updates to its AR shopping features which make it easier for users to try out AR versions of a retailer’s product and to buy directly from the AR experience on Snapchat.
As a result, Snapchat isn’t just a place where brands can advertise to their customers. In fact, it’s more like a virtual showroom that allows people to see what products would look like on them or in their homes. ‘Product trial’ has a whole new meaning.
But even its more prosaic offerings give advertisers a lot to work with. Take Spotlight, its short-form video offering, for example. Spotlight offers a place where an infinite stream of full screen videos can be engaged with, tailored to the user’s interests. It saw instant success, growing 60% in activity year on year since mid-2021. Based on this growth, Snapchat announced earlier this year that they were testing ads on Spotlight, having successfully rolled them out in a revenue-sharing model with Snap Star creators.
Hyper-connected digital natives
It’s also important to highlight that Snapchat has been developing its technology for 10 years, and its followers have remained loyal through that evolution. Retaining a community that has grown with the app, Snapchat capitalises on the millennial generation and is constantly accruing a younger generation of users due to the cutting edge experiences it offers.
Zooming into Africa, these younger generations are becoming the centre of attention for Africa. The majority of purchasing power will reside in this audience, not to mention how connectivity in these countries becomes ubiquitous. Nigeria serves as a prime example of a market that is well positioned for digital growth – both in digital users and an audience to be capitalised on. With the combination of internet penetration currently sitting around 51%, and over 70% of the users on Snapchat being 21+ in Nigeria, the opportunity for advertisers is there in the short term to bring returns and prepped for the long term to invest in. Bundle this with a median age of 18 and the expected addition of 35 million more internet users by 2026 in Nigeria, and Snapchat anchors itself in the helm of a booming economy.
There is also a very exciting convergence taking place in the digital sphere with this spike in internet users: by 2025, nearly 75% of the global population and all social/communication apps will be frequent AR users. Right now, Snapchatters spend over 3 minutes a day engaging with AR experiences alone and more than 30 minutes on the app everyday – nevermind the fact that they open the camera over 30 times a day resulting in 2.4M snaps every minute around the world.
And one of the most interesting nuggets to these behaviours is that it’s done by an audience barely found anywhere else. On any given day, 95% of Snapchat users aren’t on TikTok, 84% of Snapchat users aren’t on Twitter and 47% of Snapchat users aren’t on Facebook. Snapchat hosts a unique audience.
The right messaging with the right partnerships
Of course, advertisers can’t simply hope to slap their existing messaging onto Snapchat templates and expect great results. They have to ensure that the messaging matches the platform and that they’re reaching the people they want with it.
Here, the right partner can help. Brands should look to work with a media sales partner that not only understands platforms such as Snapchat inside out but also has extensive experience working in growth markets like Nigeria.
In doing so, they can reap the full benefits of being on a rapidly growing platform that’s becoming increasingly significant on the African continent.
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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