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Smart TVs Give Smartphone OS A Second Chance- IDC

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On Monday 5 January, prior to the event’s opening day, CES 2015 in Las Vegas hosted a series of press events by some of the biggest Asian consumer electronics companies, in which they set out some of their new wares.

Smart TVs featured prominently among the new products, and several vendors announced that in future they would be basing their smart TVs on operating systems (OS) that started life in smartphones.

LG will be using WebOS; Samsung will be using Tizen; Panasonic will be using Firefox OS; and Sony will be using Android TV.

To John Delaney, Associate VP, Mobility – IDC Europe, “Smartphones are one of the biggest consumer electronic product categories, and they are also the hubs of ecosystems through which an increasing amount of content and media is consumed. Nowadays, the smartphone market comprises (to a good approximation) three North American companies whose devices use their own OS, and a collection of Asian companies whose devices use another American company’s OS. (Europe, alas, is now out of the picture.)

Delaney said, “That matters, because an increasing amount of a smartphone’s value resides not in its hardware, but in the ecosystem of apps, content and advertising which is founded on the device’s OS. This puts the owner of the OS in a powerful position to shape the ecosystem’s development, and to receive a share of the money that passes through it.

According to him, TV sets also started to get smart a few years ago, but smart TVs took a while to catch on because of practical difficulties in connecting them to the internet, and because of the relative dearth of content and services to make the TVs’ smartness valuable.

But now those obstacles are largely gone, and smart TVs are set to become an increasingly important category of consumer electronic device. Like smartphones, they will become hubs of content/service/advertising ecosystems.

Delaney said, actually, there are some important differences between smart TVs and smartphones. TVs are bought for households, not individuals, so the market is smaller in terms of number of devices.

The market size is reduced further by the fact that TV sets are typically replaced less often than smartphones.

Moreover, TV sets are not as suitable or useful for some types of app, such as navigation, communication and personal productivity. Nevertheless, we expect substantial and important ecosystems to develop on smart TVs, especially in the area of entertainment services.

The screen through which smart TV apps and services are accessed will be valuable to the company that controls it, because it gathers an audience for advertising, because it gives the owner a position of power in the content/services distribution chain, and because it enables usage data to be gathered and analysed. As with smartphones, that point of entry will increasingly be tied to the OS and its associated home screen and app storefront.

Most of the big smart TV makers are Asian companies.

Those companies really need to avoid a repeat of the smartphone story, where ownership of the device’s most valuable aspect – the OS and ecosystem – ends up in America.

This is the context in which we should see the CES announcements about smart TV OS.

Though not originally built for TVs, WebOS and Tizen are owned by LG and Samsung respectively; by using these assets in their TVs, these vendors hope to avoid becoming as dependent on Google in the TV market as they have become in the smartphone market.

Panasonic’s situation is a bit different: Firefox OS is owned by an American organization.

However, the Mozilla Foundation is less unambiguously commercial than Google, and less clearly positioned to dominate an ecosystem founded on its OS.

In all three cases – WebOS, Tizen and Firefox – the re-purposed OS have the folliowing advantages: they have a mature code base; they don’t need much new investment; and they are not Android.

Sony has chosen a different path by going with Andoid TV for its smart TVs. Why? Unlike LG and Samsung, it does not own an existing OS that it can re-purpose.

It could have gone with Firefox, like Panasonic, but that is quite a risky choice.

The idea of an OS based entirely on Web technologies is unproven in the mass market, and we have yet to see one ship in large volumes in any device category.

Sony seems to have have judged that its need to reverse its recent woes in the TV market is too great to take such as risk. Sony may also be hoping that user pull for the Android brand will give a much-needed boost to its TV sales.

These are John Delaney, Associate VP, Mobility – IDC Europe views on the issue.


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MultiChoice Talent Factory Calls for Entries Into Fully Funded Film Training Programme

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MultiChoice Talent Factory (MTF), a Pan-African film and television training institution, has announced the opening of applications for its 2026 intake.

MultiChoice Talent Factory Calls for Entries Into Fully Funded Film Training Programme

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.


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Davido, Babajide Sanwo-Olu, Karl Toriola, Others To Be Honoured At The Most Influential People of African Descent Awards In Lagos

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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.

Davido, Babajide Sanwo-Olu, Karl Toriola, Others To Be Honoured At The Most Influential People of African Descent Awards In Lagos

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


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NCC Blocks Piracy Sites as Nollywood Faces Rising Digital Theft

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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.

NCC Blocks Piracy Sites as Nollywood Faces Rising Digital Theft

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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