Broadcasting
NBC Says no Going Back on New Broadcasting Code
Armstrong Idachaba, director-general of the National Broadcasting Commission (NBC), says the commission is not backing down on the controversial amendment to the country’s broadcasting code.
Idachaba said the new broadcasting code is to break the monopoly of “greedy capitalists” who “call themselves dominant players” and allow local payTV platforms to thrive.
In March 2020, the NBC released the 6th edition of its broadcasting code, which mandates sub-licensing of premium content and kills the idea of exclusivity.
Broadcasters, columnists, and Multichoice, one of the dominant players in the Nigerian payTV industry, have spoken against the code, which they say further stifles the growth of the industry.
But Idachaba disagrees; according to him, “the amendments have been made, no going back because we believe it is good for our country, they are already operational”.
Speaking with Osasu Igbinedion on The Osasu Show, Idachaba said the NBC has licenced several local payTV platforms, but they do not survive due to the presence of the likes of DStv.
When asked about the negative effect the lack of exclusivity clause may have on DStv, Idachaba said: “Let me give you a poser as background: Why is it, have you ever thought, that our local tv, cable, paid services are nonexistent? There is no Nigerian that is active on the payTV platform, no Nigerian company.
“NBC licenced several, up to 30 Nigerian firms to offer paid television services in Nigeria and none of them succeeded. Why, because they cannot compete in the international content market.
“And what happens to the international content market, the people with the big purse, the global capitalist, those that call themselves dominant players, they go to acquire those rights and keep it to themselves in the guise of exclusivity and deny all other operators an opportunity for sublicensing.
“What does that do? What it does is to create a monopolistic economy for whoever is the buyer of that content and the person is able to maximize profit unhindered. That is why you find internet penetration in Nigeria is increasing by the day. That is why you find that all those big monopolies break even and make tonnes of money.
“What we are saying is that when you go to acquire these rights, because you are acquiring them for the Nigerian market, because your intent is to exploit the Nigerian audiences and viewers, we want you also to give back by sublicensing to local Nigerian players that may be interested.”
Idachaba said DStv must now sub-licence the English Premier League to other players in the industry, who may be interested.
“If you bring EPL for instance and say I am the owner of EPL, only me can show EPL and on my platform alone, so whoever wants to watch premier league would have to buy DStv, even if you have Startimes, you cannot watch,” he added.
“If you are on open television, the open terrestrial, where low-income earner, those on the lower social ladder, where they thrive, then they are denied which is class stratification in itself on account of content acquisition.
“We are saying create these windows. If you get the rights, fine, we welcome you, invest in Nigeria, but create channels for sublicensing”
Confronted with the fact that Multichoice, the owners of DStv, don not have the rights to sub-licence the English Premier League (EPL) Idachaba said “whoever is giving them the rights has to understand” that there is a new NBC code.
“If you are going to acquire your rights, you know that in the Nigerian Broadcasting Code, we have plainly said you can’t have exclusive right. So whoever, if giving you that right has to understand that he cannot give it to only you in Nigeria.
“If any other Nigerian is interested in that right, they must also discuss at mutually agreed price. Because what has happened over time is that this exclusivity is used to shut other people who are willing to participate. You shut the window.
“How then do you develop an economy? We have thousands of young promising Nigerian entrepreneurs, you know that premium content derives advertising. If these channels are made available at lower window levels through sublicensing to local little operators, they too will be able to attract some level of advertising.
“But Capitalist are greedy, they are extremely self-centered, they don’t want to give it out. But we know it is important for our own economy and creative subsectors that this happens.”
The DG, who has worked at NBC for over 28 years called on Nigerians to “have an ideological, philosophical understanding of the motive of the policy, what does it intend to achieve”.
He said the policy is to “redynamise and redistribute wealth in a way that there would be more participation, more engagement and more opportunities”.
“What makes the capitalist think that by keeping content to themselves, they maximize all the profits? Chances are that by sublicensing, you make more. The more you share to people based on the agreed sum, you are more likely to make more money quickly. It doesn’t reduce your own large share but creates open windows.”
MultiChoice Talent Factory (MTF), a Pan-African film and television training institution, has announced the opening of applications for its 2026 intake.
MultiChoice
The fully funded programme is open to African graduates aspiring to become directors, filmmakers, scriptwriters, producers and storytellers.
According to MultiChoice, the nine-month accredited curriculum combines online learning with intensive in-person training, and is designed to balance theoretical knowledge with practical immersion.
MTF academies are located in Kenya, Nigeria and Zambia, and serve aspiring filmmakers from 14 African countries. Since its inception in 2018, the initiative has trained 296 filmmakers, with graduates producing more than 42 movies aired on DStv, GOtv and Showmax platforms.
Organisers said alumni of the programme have gone on to establish over 50 production companies, while many continue to work within the MultiChoice ecosystem.
Graduates have also won accolades at the Africa Magic Viewers’ Choice Awards, Kalasha Awards, Uganda Film Festival and Women in Film Awards.
Applications for the 2026 intake close on Feb. 27, 2026. Interested candidates can visit https://apo-opa.co/3XW53oE for programme requirements.
Broadcasting
Davido, Babajide Sanwo-Olu, Karl Toriola, Others To Be Honoured At The Most Influential People of African Descent Awards In Lagos
Most Influential People of African Descent (MIPAD) is excited to announce the Lagos Diaspora Experience 2025, a week-long celebration of African art, culture, innovation, and connection, culminating in the End of the Year Awards & Celebration on Sunday, December 21st, 2025, in Lagos, Nigeria.
The Most Influential People of African Descent Awards
This historic occasion marks the first time the world-famous Most Influential 100 Recognition & Awards Ceremony—traditionally held in New York on the sidelines of the United Nations General Assembly (UNGA)—will be hosted in Lagos, Nigeria.
The week will feature events such as Diaspora Day at the Fela Exhibition (Afrobeat Meets Diaspora), Cultural Heritage Day, and Business Leadership Luncheons, all culminating in the awards celebration.
The evening will honor the Best & Brightest of the Year, recognizing exceptional individuals and institutions whose work has advanced Global African Achievement and Black Excellence across business, government, media, culture, and technology.
Key Recognitions for 2025
– Governor of the Year & City of the Year: His Excellency Babajide Sanwo-Olu, Governor of Lagos State, honored alongside Lagos as City of the Year for its global leadership in culture, innovation, tourism, and diaspora engagement.
– Her Excellency Hannatu Musa Musawa, Minister of Art, Culture, Tourism and Creative Economy, will be honoured as Minister of the Year for her contribution to the creative economy’s role in nation branding and cultural diplomacy.
– Most Influential Woman of the Year: Olorì Atúwàtse III, Queen Consort of the Warri Kingdom
– Most Influential Man of the Year: Adewale Tinubu, Group Chief Executive, OANDO
– CEO of the Year: Karl Toriola, Chief Executive Officer of MTN Nigeria; who will deliver a keynote address, recognized for his transformative leadership and impact on Nigeria’s telecommunications and digital economy.
Others include; Karl Toriola of MTN as CEO of the year, Uche Pedro of Bella Naija as Lifestyle Personality Of The Year, Ojy Okpe of Artise News as Most Influential News Anchor Of The Year, Stephanie Busari as Media Executive of the Year, Kayode Okikiolu as Pressman of the year, Davido as Artist of the year and several others.
In celebrating this year’s honorees, Michael Ehindero, Managing Director, Pernod Ricard Nigeria, owners of Martell Cognac, who emerged as Brand Of The Year expressed deep appreciation for the brand’s continued global recognition, saying: “It’s a great reward for the team who’s delivered Martell excellently in Nigeria over the years.
“We say thank you to the teams, we say thank you to our consumers and we say thank you to MIPAD.
“Martell has a lot of promising experiences in the years to come in Nigeria and with this we invite you over to Nigeria to experience Detty December”.
The ceremony will also celebrate the achievements of the Class of 2025 Honorees, alongside past Nigerian honorees who were unable to attend their year of recognition in New York.
“For the first time, we’re bringing our world-famous recognition platform home to celebrate excellence within the Global Africa Family — right here in Lagos,” said Kamil Olufowobi, Founder & Chairman of MIPAD. “This is more than an event; it’s a movement uniting the best of us — connecting, collaborating, and working together to change the world.”
Event Details
📍 Lagos, Nigeria
– Friday, Dec 19 – #DettyDec Diaspora Day at Fela Exhibition FREE
– Sunday, Dec 21 – End of Year Recognition & Award Ceremony STRICTLY BY INVITATION
🎟️ RSVP: https://rsvp.oakenevents.com/mipad
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.
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