Broadcasting
ChatGPT’s Impacts will be Social, not Technical
The technology world was on fire about the latest artificial intelligence demonstration by OpenAI in the waning months of 2022, ChatGPT.
It is truly a remarkable achievement, an artificial intelligence (AI) that you can have a conversation with and ask it to do everything from write essays to code computer programs.
As a computer security expert I immediately did what comes natural to people like me, I tried to hack it. Could I get it to do something bad, something malicious? Could this be abused by criminals or spies to enable new types of cybercrime?
The answer of course, like most tools, is yes. Someone with ill intent can abuse these miraculous scientific achievements into doing things that could likely cause harm. The surprising part however is that the danger lies in the social arena, not the technical one.
While ChatGPT can be tricked into writing malicious computer code, that isn’t really all that scary. Computer code can be analyzed by computer security products in milliseconds and deemed to be malicious or safe with a high degree of certainty.
Technology can always counteract technology. The problems surface when what we are trying to detect isn’t computer code, but rather words and meaning that will be interpreted by humans, not machines.
There are two factors that make this dangerous. The first is that up until now it was not practical to have a computer create tempting lures for victims to be tricked into interacting with. The technology is now not only available, but so easily accessible as to be cheap or even free. The second is that the primary way users keep themselves safe today is by noticing mistakes made by attackers in their grammar and spelling to detect that an email or communication may be from an intruder.
If we take away the last remaining sign that a malicious email or chat message was crafted carelessly by someone without a strong command of the language, how will we defend ourselves?
Here is an example of an existing spam lure. It is relatively unsophisticated and has few words of explanation. I asked ChatGPT to write a more informative letter of the same type and you can see its output in the second example.
Now I didn’t format this to add an appropriate mail services logo or make the button as pretty in my example, but it is trivial to add these small improvements compared with mastering the English language. In fact, you could ask ChatGPT to generate the HTML code necessary to do so without any knowledge of email formatting or programming skills whatsoever.
In my eyes, this signals the end of most computer users’ ability to discern real mail from fake. Today these tools only work well for English language text, but that is a simple training issue. The ability to write fluently in any language in the world (including computer programming languages) is now here. We must rethink our approaches to user education and implement technical measures to prevent these messages from ever making it into their inboxes.
The good news here is that computers are quite good at detecting and potentially blocking most of this content. Ultimately a spam campaign always has some sort of call to action, they may want you to phone them, reply, click a link or open an attachment. These are impossible to remove and can aid in detection. We can also train AI models to detect when text has been generated by ChatGPT and add a warning banner or perhaps block the message.
The problematic situations are when we fail to block them and they end up in someone’s inbox. It’s a reasonably small percentage, but it is not zero and therefore we must prepare a defence. Having defensive layers is essential and with humans having reduced ability to spot a scam it is even more important that users are connecting through firewalls and web protection that can detect and block threats.
User training will need to shift away from the “watch for spelling mistakes” type of messaging and more into risk-based approaches to verification of whom you’re talking to. Being asked to do something financial, with a password, or with sensitive data? Pick up the phone and confirm before proceeding.
As machine intelligence continues to advance, the work of separating fact from fiction will continue to get more and more difficult. We will need to be sure we build systems that are flexible enough to combat these messages, but also educate our staff on their need to take additional steps when receiving sensitive requests over email.
Afro-pop star Joeboy takes centre stage this week as he features on the Easter edition of African Voices, the Globacom-sponsored magazine programme on CNN.
In this episode, the Nigeria-born singer sits down with show anchor, Larry Madowo, in Lagos, where he shares the story of his journey from a young university student with big dreams to becoming one of Afrobeats’ most recognised voices.
Long before global attention, Joeboy, born Joseph Akinwale Akinfenwa-Donus, started out experimenting with music and sharing covers online. His 2017 cover of Ed Sheeran’s “Shape of You” marked a turning point, helping him transition fully into singing and setting the stage for what was to come.
That moment soon opened new doors, including a connection with Mr. Eazi, who brought him into the emPawa Africa talent programme. This provided support and exposure for his music to reach a wider audience, laying the foundation for his professional career. The alliance also birth “Fààjí,” which featured Mr. Eazi in 2018, after which he was signed to Warner Music Africa.
Under this partnership, Joeboy released his hit single “Baby” in 2019, followed by “Beginning,” which has 23 million views on YouTube. He also released “Love & Light” the same year and featured Mayorkun in the tracks “Don’t Call Me” and “All for You”
Since then, the 29-year-old has gone on to release two albums, Somewhere Between Beauty & Magic in February 2021 and Body & Soul in 2023, while earning recognition across the continent, including awards for his contributions to African pop music. He won Best Artist in African Pop at the 2019 All Africa Music Awards and Best Pop at the 2020 Soundcity MVP Awards Festival.
The programme will air on Saturday at 7.30 a.m., with several repeat broadcasts scheduled across the weekend and into the following week. 11 a.m. on Saturday; on Sunday at 3.30 a.m. and 6 p.m. This continues on Monday at 3 a.m. and 5.45 p.m, and on Tuesday at 5.45 p.m. The schedule will be repeated next week until 3 a.m. on Monday.
The Court of Appeal sitting in Abuja has dismissed an appeal filed by the National Broadcasting Commission (NBC), seeking to overturn a Federal High Court judgement that restrained it from imposing fines on radio and television stations across the country.
NBC
Delivering the lead judgement, Justice Oyebiola Oyewumi, on behalf of a three-member panel, upheld the earlier ruling and set aside the fines imposed by the NBC on 45 broadcast stations on March 1, 2019, for alleged breaches of the Nigeria Broadcasting Code.
The panel was presided over by Justice Abba Mohammed, with Justice Donatus Okorowo as the third member.
According to a statement issued by Idowu Adewale, Communications Officer of Media Rights Agenda (MRA), the unanimous decision of the Court of Appeal stemmed from a suit filed by the non-governmental organisation in November 2021, challenging the NBC’s powers to impose fines on broadcasters.
The Federal High Court, in its judgement delivered on May 10, 2023, by Justice James Omotosho, ruled in favour of MRA after the NBC failed to defend the suit.
The court held that fines are sanctions imposed on persons found guilty of criminal offences and, under Nigerian law, only courts of law have the authority to impose such penalties.
Setting aside the fines of ₦500,000 each imposed on the affected stations, Justice Omotosho stated that the NBC “is neither a court nor a judicial tribunal to make pronouncements on the guilt of broadcast stations, notwithstanding what the NBC Code says.”
He added that the Commission’s actions violated the Constitution.
Dissatisfied with the ruling, the NBC filed a motion in July 2023, urging the same court to set aside the judgement on the grounds that it lacked jurisdiction and had reached its decision without considering relevant facts.
However, in November 2023, Justice Omotosho dismissed the application, describing it as futile and an afterthought, noting that available evidence showed the Commission had been duly served but failed to appear in court to defend the case.
The NBC subsequently approached the Court of Appeal in July 2024, seeking to overturn the judgement.
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At the hearing on February 4, 2026, Mr Victor Ogude (SAN), leading Mr Kehinde Wilkey for the NBC, adopted his brief of argument and made additional submissions.
Counsel to MRA, Ezenwa Anumnu, also adopted his brief and responded accordingly.
In its ruling, the appellate court agreed with MRA’s position that the NBC, having failed to contest the suit at the Federal High Court, could not raise fresh challenges at the appellate level.
Justice Oyewumi held that the appeal lacked merit and accordingly dismissed it.
With this decision, MRA has secured victory in the first of two appeals involving the NBC over separate Federal High Court judgements barring the Commission from imposing fines on broadcast stations.
The second appeal, filed by the NBC against a similar judgement delivered on January 17, 2024 by Justice Rita Ofili-Ajumogobia of the Federal High Court, Abuja, is still pending. The Court of Appeal heard arguments in that matter on March 25, 2026 and has reserved judgement.
In that case, the NBC is challenging a ruling arising from a suit filed by MRA after the Commission imposed fines of ₦5 million each on a television station and three pay-TV platforms in 2022 for allegedly undermining national security through the broadcast of documentaries on banditry in Nigeria.
Dr.Shaibu Husseini, the Executive Director/Chief Executive Officer of the National Film and Video Censors Board (NFVCB), has called for stronger distribution frameworks within Nigeria’s film industry to ensure that locally produced content achieves global visibility.
He urged film festivals across the country to evolve beyond networking platforms into active marketplaces where filmmakers could secure distribution deals. He stressed that festivals must attract distributors, exhibitors, streaming platforms, and marketers to create tangible opportunities for filmmakers.
Husseini made this call while delivering the keynote address at the opening ceremony of the 2026 edition of the Coal City Film Festival held in Enugu.
“Film festivals must become gateways to distribution where filmmakers leave not just with applause, but with real opportunities,” he said.
Husseini expressed personal delight at hosting the event in Enugu, his birth state, noting the city’s rich cultural heritage and longstanding contribution to Nigeria’s creative landscape.
He commended the festival organisers, particularly the Festival Director, Uche Agbo, for their resilience and commitment in sustaining the
initiative. According to him, the Coal City Film Festival has grown into a significant cultural platform and a must-attend cinematic event in South East Nigeria.
Speaking on the festival’s theme, “Local Stories, Global Screens,” Husseini emphasised the importance of authenticity in storytelling. He noted that films rooted in local realities, languages, and cultural truth often resonate more strongly with global audiences.
He cited notable Nigerian productions such as King of Boys by Kemi Adetiba, The Wedding Party by Mo Abudu, Anikulapo by Kunle Afolayan,
“Black Book” by Editi Effiong, and “Lionheart” by Genevieve Nnaji as examples of culturally grounded stories that have gained international recognition on platforms such as Netflix and at global film festivals.
While acknowledging the growth in film production across Nigeria, the NFVCB boss identified distribution as a major bottleneck in the industry. He observed that many high-quality films struggle to reach audiences both locally and internationally due to limited distribution channels.
Reaffirming the Board’s commitment to industry development, Husseini stated that the NFVCB has continued to reposition itself as a partner in progress by engaging stakeholders, improving classification processes, and promoting a balance between creative freedom and social responsibility.
However, he raised concerns over increasing non-compliance with regulatory requirements, noting that some filmmakers bypass the Board by releasing unclassified films or operating without proper licensing.
He said all films and video works must be submitted to the NFVCB for classification and registration before being released on any platform, including digital platforms such as YouTube.
“This is a legal obligation, and the Board will not hesitate to take decisive action against defaulters,” he warned, adding that regulation is essential for protecting the industry, audiences, and national values.
Looking ahead, Husseini assured stakeholders of the Board’s continued collaboration with filmmakers and festival organisers to build a structured, sustainable, and globally competitive Nigerian film industry.
He concluded by commending the organisers of the Coal City Film Festival for their vision and contribution to Nigeria’s cultural economy, urging filmmakers to continue telling authentic stories that can resonate across global screens.
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