Broadcasting
Ericsson, TV & Media Report Shows 71% Increase on Video watched via Smartphones

Ericsson ConsumerLab TV & Media Report 2015 shows consumers embracing video on-demand services like never before as every third viewing hour now spent watching on-demand TV and video
According to the report, there is a 71 percent increase in watching video on smartphones since 2012; nearly two thirds of teenagers’ total TV and video viewing time spent on a mobile device
Ericsson launched the latest edition of the annual Ericsson ConsumerLab TV & Media Report, which covers representative of the views and habits of 680 million consumers making it one of the largest studies of its kind.
A key finding is that Video-on-Demand (VOD) services are succeeding in meeting consumer needs, thus allowing consumers to change their viewing habits.
Consumers now spend six hours per week watching streamed on-demand TV series, programs, and movies – this has more than doubled since 2011. With recorded and downloaded content added to the equation, today 35 percent of all TV and video viewing is spent watching VOD.
Further findings highlight the considerable growth in consumers watching video on a mobile device: 61 percent watch on their smartphones today, an increase of 71 percent since 2012. When taking tablets, laptops, and smartphones into consideration, nearly two thirds of time spent by teenagers’ watching TV and video is on a mobile device.
At the same time, user-generated content (UGC) platforms account for a growing share of consumers’ TV and video viewing.
Close to 1 in 10 consumers watch YouTube for more than three hours per day, and one in three now consider it very important to be able to watch UGC on their TV at home.
In addition, the study finds that the increasing prominence of UGC-rich platforms, like YouTube, has resulted in a popularity boost for educational and instructional videos, with consumers watching an average 73 minutes of these videos per week.
Anders Erlandsson, senior advisor, Ericsson ConsumerLab, said: “The continued rise of streamed video on demand and UGC services reflects the importance of three specific factors to today’s viewers: great content, flexibility, and a high-quality overall experience. Innovative business models that support these three areas are now crucial to creating TV and video offerings that are both relevant and attractive.”
Other significant findings from the Ericsson ConsumerLab TV & Media Report 2015 include:
BINGEING IS CHANGING THE GAME: Watching multiple TV episodes in a row has rapidly become a key part of the TV and video experience.
This habit is prominent among Subscription Video-on-Demand (S-VOD) users of services such as Netflix, Amazon Prime, and HBO, of whom 87 percent binge-view at least once a week.
The difficulty of finding content: Half of consumers watching linear TV say they can’t find anything to watch on a daily basis. Consumers feel that recommendation features are simply not smart or personal enough.
DIFFERENT BUNDLES, DIFFERENT ATTITUDES: Twenty-two percent of consumers who have never had a pay-TV subscription are already paying for over-the-top (OTT) content services.
LINEAR TV REMAINS KEY: The popularity of linear TV remains high, mainly due to the access it gives to premium viewing and live content, like sports, as well as its social value. In this respect, linear TV often acts as a ‘household campfire’.
Based on interviews with over 22,500 people, findings in the Ericsson ConsumerLab TV & Media Report 2015 are representative of 680 million consumers, making it the largest study of its kind in the TV industry.
With supporting data and insight from on-device measurements and qualitative research, the report details the latest consumer behaviors, attitudes and demands in relation to TV and media, and the potential impact these trends can have on current industry business models.
Interviews were undertaken with consumers aged 16-59 and 60-69, across 20 markets: Brazil, Canada, China, Colombia, France, Germany, Greece, Ireland, Italy, Mexico, Portugal, Russia, Spain, South Korea, Sweden, Taiwan, Turkey, UK, Ukraine and the US.
All respondents have a broadband internet connection at home, and watch TV/video at least once a week. Almost all use the internet on a daily basis.
Ericsson is the driving force behind the Networked Society – a world leader in communications technology and services.
The Company is in a uniquely strong position to understand how the worlds of media and telecoms are converging.
Itsheritage in TV and media spans more than 25 years of cutting-edge innovation, enabling many of the milestone shifts.
Ericsson’s services, software and infrastructure – especially in mobility, broadband and the cloud – are enabling the telecom industry and other sectors to do better business, increase efficiency, improve the user experience and capture new opportunities.
With approximately 115,000 professionals and customers in 180 countries, we combine global scale with technology and services leadership.
And it supports networks that connect more than 2.5 billion subscribers.
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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