Broadcasting
Telling Stories in the Era of the New TV
By Ruth Kadiri
When people ask me what the secret is to making films, my answer is simple: the trick is always in the story. But of course, it is never only that simple. A good script is a given, as are strong casts and the right team behind the camera. Those are the foundations. Yet over time, I have come to realize that filmmaking today requires us to think beyond the script and the set. We must also think about the screen, the audience, and the journey of the story once it leaves our hands.
As a filmmaker, I am often asked what I have learned along the way; what I would tell someone starting out, or even those who have been working as long as I have. Attending the YouTube TV/Film Day in Lagos gave me another opportunity to reflect on how the industry is shifting and what keeps me grounded. These are some of the lessons I now carry with me.
1. The trick is always in the story
No matter the format, length, or platform, it begins with the story. A viewer will forgive budget limitations, new talent, or even unfamiliar settings if the story connects. But if the story is weak, no amount of production polish will keep people watching. As filmmakers, our first task is to craft stories that reflect real lives and emotions. A character’s triumph, a family’s struggle, a moment of laughter. These are what audiences hold on to long after the credits roll.
2. Never compromise on quality
Quality is not about big budgets alone. It is about respect for the audience. In a world where viewers can choose from thousands of films and series with a click, they will not wait for a story to “get better later.” That means sound, lighting, editing, and acting must all meet a standard that keeps them engaged from the start. Even when working with limited resources, I push myself and my team to raise the bar.
3. Beyond the production, think about the screen
In the past, when we spoke about “the screen,” we meant cinema or television. Those were the spaces where stories lived, and where audiences gathered. Today, that definition has changed. The screen could be the phone in someone’s hand on a bus, a laptop late at night, or a connected TV in the living room. For many Nigerians — especially younger audiences — YouTube has become that new television. It is where they discover new films, revisit old favorites, and share what they love with others.
As a filmmaker, this shift has changed the way I create. I no longer think of my work as tied to one channel of distribution. Instead, I ask: how will this story feel on a mobile phone? How will it hold attention on a larger screen at home? YouTube is central to answering those questions, because it gives me the freedom to design for different screens while keeping the same story intact.
4. The audience is global, even if the story is local
One of the greatest gifts of this digital era is the ability for Nigerian stories to reach audiences in places I may never visit. Over 70 percent of watch time on Nigerian YouTube channels comes from outside the country. That means a story set in Benin City or Kaduna can resonate in London, New York, or Johannesburg. The key is to stay authentic. Our culture, our humor, our languages are not limitations. They are the very things that make our films compelling to the world. Subtitles and translations help, but at the core it is authenticity that travels.
5. Language is power
Nollywood is rich with languages and dialects, and I believe in using them boldly. Audiences everywhere are increasingly open to watching subtitled films. Korean dramas, Spanish thrillers, Indian romances — they all prove that language is no longer a barrier. For us, this is an invitation to lean into our diversity. By telling stories in Yoruba, Igbo, Hausa, or Pidgin, we are not limiting ourselves. We are showcasing the depth of Nigerian culture. And when paired with platforms like YouTube that make subtitling and translation simple, we can connect with people who do not speak our languages but still understand our emotions.
6. Power belongs to the storyteller again
Perhaps the most inspiring change for me is how much control filmmakers now have. We no longer have to wait for gatekeepers to decide which stories will be told or which audiences will see them. With digital platforms like YouTube, we can release directly to our viewers, build communities around our work, and grow our craft in real time. It is not easy. It requires consistency, strategy, and resilience; but it is empowering. For me, that is what keeps me creating.
Mr. Charles Ebuebu, director General of the National Broadcasting Commission (NBC), has called on Nigerian content creators to actively participate in the country’s Digital Switchover (DSO), describing the transition as a major opportunity for visibility, revenue growth, and industry collaboration.
Mr. Charles Ebuebu, DG, NBC
Speaking as Special Guest of Honour at the induction ceremony of the Electronic Media Content Owners Association of Nigeria (EMCOAN) in Lagos, Ebuebu stressed that the success of the DSO depends on engaging content to populate the nation’s new digital channels.
“Without content, the DSO’s success would be incomplete. We are urging content owners to collaborate with the Commission to ensure Nigeria’s digital future is rich, diverse, and sustainable,” he said.
The NBC boss highlighted that the upcoming FreeTV Direct-to-Home (DTH) platform, along with its mobile applications, would provide content creators with nationwide reach, advanced analytics, and brand partnership opportunities.
Nigeria’s DSO, which marks the shift from analogue to digital broadcasting, is being implemented by the NBC using the Nigcomsat satellite infrastructure. The programme aims to deliver over 100 nationwide channels and expand access to Nigerians in remote areas via hybrid decoders, addressing long-standing infrastructure and funding challenges. The project, which has experienced delays since 2012, now has strong government backing and is scheduled for launch in April 2026.
Ebuebu commended EMCOAN members for their contributions to strengthening Nigeria’s creative economy and encouraged them to leverage the opportunities offered by the DSO to promote local stories, culture, and creativity on both national and global stages.
During the ceremony, EMCOAN honoured its distinguished members, naming Wale Adenuga, MFR, as Grand Patron and Mr. Yinka Adebayo as Patron.
Prominent figures in the broadcasting content industry, including Wale Adenuga, Opa Williams, Agatha Amata, Jibe Ologeh, High Chief Emeka Ossai, Debbie Odetayo, Amina Mohammed, and Frank Elaboya, attended the event.
Representing the NBC at the event was Mr. Ralph Akpan, director of the Lagos Zone, while EMCOAN president, Mr. Adeniji Omirin, MD of ADNOM Media, urged members to fully engage in the digital switchover.
Canal+ is to cut jobs at MultiChoice as part of a sweeping restructuring plan aimed at stabilising the African pay-TV operator, following years of operational and financial pressure.
The move comes alongside a planned $115 million capital injection, underscoring the urgency of efforts to revive the business after the French media group took control.
The planned layoffs are expected to form a core element of a broader cost-cutting and efficiency drive, as Canal+ seeks to streamline MultiChoice’s operations and improve profitability.
The restructuring signals a shift toward leaner operations, with a focus on eliminating redundancies and optimising the company’s cost base.
MultiChoice has struggled in recent years with declining subscriber numbers across key African markets, weighed down by macroeconomic pressures, currency volatility, and changing consumer behaviour.
The rise of global streaming platforms has intensified competition, chipping away at the company’s traditional pay-TV dominance.
Canal+’s intervention marks a pivotal moment for MultiChoice, reflecting a more aggressive approach to repositioning the business.
By combining fresh capital with structural reforms, the new owners are aiming to both stabilise short-term performance and lay the groundwork for longer-term growth.
The $115 million injection is expected to provide immediate financial relief, supporting operations and potential strategic initiatives.
However, the accompanying job cuts highlight the depth of the challenges facing the company and the scale of transformation required to restore competitiveness.
Nigeria has ranked first globally in the ownership of the two largest stablecoins, Tether (USDT) and USD Coin (USDC), reflecting the country’s growing reliance on dollar-linked digital assets.
USDT, USDC
Stablecoins such as USDT and USDC are designed to maintain a fixed value against the U.S. dollar, allowing users to store money digitally while avoiding the price volatility associated with cryptocurrencies like Bitcoin.
According to the 2026 Stablecoin Utility Report released by BVNK, about 59 percent of Nigerian crypto users hold USDT, while 48 percent own USDC, giving the country the highest combined ownership rate among all nations surveyed.
The report placed Nigeria ahead of several major economies, including Australia and India, highlighting the country’s strong adoption of dollar-denominated digital assets. Australia ranked second with 34 percent USDT ownership and 29 percent USDC, while India placed third with 30 percent USDT and 27 percent USDC holdings.
The study also examined adoption levels across other regions. Countries such as Colombia and Singapore showed strong usage of both stablecoins, while adoption levels were also notable in South Africa and the United States.
Other markets included in the analysis were Philippines, Thailand and Argentina, where stablecoin ownership has also increased significantly. Among European economies, the report said France and Germany showed moderate levels of adoption, while Latin American markets such as Mexico and Brazil recorded smaller but growing usage rates.
The United Kingdom also appeared in the ranking with modest levels of stablecoin ownership. The report noted that USDT ownership exceeds USDC in many countries, including Nigeria, Australia, India, Singapore, the Philippines, Thailand, Argentina and France.
However, USDC is often viewed as a more compliance-focused stablecoin because of its stronger transparency and regulatory alignment. In some markets, including South Africa, Colombia, Germany and Brazil, the report found that USDC adoption slightly exceeds USDT.
More broadly, the data suggests that stablecoin adoption is being driven largely by emerging economies rather than advanced financial markets. According to the report, countries such as Nigeria, Argentina and the Philippines are among the biggest users of stablecoins, where people increasingly rely on dollar-pegged digital assets to protect savings from currency volatility and facilitate cross-border payments.
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