Broadcasting
What does the future of working in advertising look like?

By Stanislaus Martins, Aleph’s Managing Director for West Africa
If you work in advertising or are considering a career in the field, there’s a good chance you’ve wondered what the industry’s future will look like. And with the advancement of artificial intelligence (AI) and other technologies, that speculation is more relevant than ever.

Stanislaus Martins, Aleph’s Managing Director for West Africa
Will tools like ChatGPT and Microsoft Copilot eventually become so sophisticated that they replace copywriters, designers, and illustrators as some have predicted? And even if they don’t, how will they change the skills required for those positions? Outside of those specific roles what skills will be most useful in the future, particularly as digital and physical world advertising become increasingly integrated?
While it would be foolish to make hard and fast predictions, especially for an industry that moves as fast as advertising does, there are a few emergent trends that give us a good idea of where it’s going. Those already working in the sector, or aiming to do so, would do well to look at these trends and understand how they might impact their career trajectories.
Even in an AI world, authenticity still matters
At the start of 2023, numerous headlines were describing how AI tools could easily replace creatives, especially as they become increasingly sophisticated. As the year has progressed, it’s become clear that the picture’s nowhere near that simple. A research paper released in July, for instance, showed that the quality of answers from ChatGPT was nowhere near perfect, and its creators explicitly highlighted the probability of “AI hallucinations” e.g the generation of incorrect or misleading results.It’s also notable that “authentic” was the US dictionary Merriam-Webster’s word of the year for 2023.
This not only suggests that AI tools may take more time to reach maturity than many thought but also that, even as the technology advances, people still crave authentic experiences. That includes the adverts they’re exposed to daily.
None of this, of course, is to say that AI tools can’t be helpful to creatives. They can be. But making full use of them requires people to build up new skills. You have to know what prompts will give you the output you want, for instance.
Creatives won’t be the only ones who need to develop AI-based skills either. With AI also playing an increasingly important role in things like audience segmentation, ad placement optimisation, and performance analytics, anyone working in those areas will also have to build up their AI skills.
The ongoing integration of physical and digital worlds
A true metaverse, whereby the virtual and physical worlds integrate seamlessly, is still being worked on by tech giants, and the integration of AI will take a huge load off the shoulders of human developers.
There are few areas where that integration is more visible and more relevant than in advertising. Whether it’s a point-of-sale activation that requires people to scan a QR code for a discount or a full-blown augmented reality (AR) campaign, advertising is increasingly at the forefront of showing what’s possible when it comes to the unification of the physical and digital worlds.
That doesn’t only mean in-house marketing teams need to break down the silos between different specialties, it also means that even the out-of-home (OOH) agencies responsible for things like billboards will have to up their digital skills. Digital-first agencies, meanwhile, will have to look at how they can broaden their physical advertising capabilities.
In the face of this kind of unification, those with the skill sets needed to bring these two worlds together will be in high demand. With that in mind, advertising professionals on either side of the divide would do well to grow their physical or digital skills.
Adaptability is everything
What the above two trends show is how important adaptability is in advertising. It’s a fast-moving field where things change all the time. The skills that you have in the industry might not be the ones that keep you growing within it. As such, workers don’t only need to be aware of industry trends but how they might affect them in the future.
Those workers also need to be able to access resources that can help them build up the skills necessary to ride those shifts. It’s something that we’re profoundly aware of at Aleph and is one of the reasons why we launched our Digital Ad Expert platform.
Make no mistake, these shifts won’t be any slower in African markets either. In fact, as the continent continues to experience rapid jumps in connectivity, the continent could leapfrog the rest of the world and set the tone for the future of advertising.
Anyone in the industry or looking to get it into it needs to be ready.
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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