NECLive, the marketplace of ideas, products and services for the African entertainment industry, will release The State of Nigeria’s Creative Economy Report on Monday, 29th of June 2026. The data-backed report is produced in partnership with Frontyard Group, an innovation and investment engine powering Africa’s creative frontier. 

The State of Nigeria’s Creative Economy 2026 report is a first-of-its-kind diagnostic of the business and infrastructure realities facing the people who power Nigeria’s cultural output. Drawing on the lived experience of 377 creative professionals across film and music, fashion, gaming, and other sectors of the creative economy, the report asks what stands in their way rather than what inspires them. It then moves the national conversation about the creative economy from dialogue to evidence, and from evidence to policy. 

“Nigeria has never had a problem telling the world a great story about its culture. What we’ve lacked is honest evidence about the machinery beneath it,” Tomiwo Ojo, Head of Content at ID Africa, says “This report is that evidence. It shows, in the words of creatives themselves, that the talent has already done its part and the systems have to catch up. I hope that everyone with the power to resource this sector reads it and acts.”

Nigeria’s creative sector is not constrained by a shortage of talent but by the systems surrounding it: unreliable power and connectivity, which respondents rank as the single biggest daily obstacle; the administrative burden that costs more than eight in ten professionals over a tenth of every working week; and the financing and payment barriers that block creators from reaching global markets. The report closes with a set of action-ready recommendations for government, investors, and the private sector.

The State of Nigeria’s Creative Economy 2026 will be available on Monday, 29 June 2026 via nec.ng 

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The Federal High Court in Abuja has scheduled September 29, 2026, for judgment in a case seeking to compel the Inspector-General of Police (IGP) to reopen investigations into the death of late Nigerian singer Ilerioluwa Aloba, popularly known as Mohbad.

Justice James Omotosho fixed the date on Thursday after hearing arguments in the suit filed by the non-governmental organisation, Break the Silence Foundation.

The case, marked FHC/ABJ/CS/363/2026, lists the Inspector-General of Police, the Nigeria Police Force, and the Commissioner of Police, Lagos State Command, as respondents. Notably, none of the respondents was represented in court when the matter came up for hearing.

Counsel to the foundation, Tunde Falola, adopted all processes filed on behalf of the plaintiff and urged the court to grant the reliefs sought, including an order compelling police authorities to conduct a fresh investigation into the circumstances surrounding Mohbad’s death.

The court also considered an application by Samson Obaboye, who sought to be joined in the suit as an interested party. Obaboye told the court that he supported calls for truth, transparency, accountability, and justice regarding the singer’s death and wished to present relevant facts.

However, Justice Omotosho dismissed the application, ruling that the applicant failed to establish sufficient legal interest in the matter to justify his inclusion in the proceedings.

The foundation had earlier secured the court’s permission to initiate the action through an ex parte application seeking judicial review and an order of mandamus directing the police to reopen the investigation.

Speaking with journalists after the hearing, Falola said the organisation approached the court because it was dissatisfied with the outcome of the previous police investigation. According to him, several critical aspects of the case and possible leads were not thoroughly explored.

“The circumstances surrounding his death remain mysterious and deserve public attention,” Falola said. “As a human rights organisation seeking justice, we believe the police should reopen the investigation.”

He added that the suit is specifically aimed at compelling law enforcement authorities to revisit the investigation into the cause of Mohbad’s death.

Commenting on the failed joinder application, Falola argued that the applicant did not demonstrate any direct connection to the case.

“You must show the court your interest in the matter. The applicant did not establish that he is a police officer, a party to the suit, or someone directly connected with the proceedings,” he said. “If every Nigerian were allowed to join the matter without demonstrating a legal interest, it would amount to an abuse of court process.”

Mohbad died on September 12, 2023, at the age of 27, triggering widespread public outrage and intense scrutiny across the country. His body was exhumed nine days later for an autopsy, but questions surrounding the circumstances of his death have continued to generate public interest.

The prolonged search for definitive answers has also delayed the singer’s final burial, with his remains still in the custody of authorities.

In February 2025, a Lagos Magistrate Court sitting in Sabo, Yaba, discharged and acquitted singer Naira Marley, music promoter Sam Larry, and others of any involvement in Mohbad’s death after legal advice from the Lagos State Directorate of Public Prosecutions found no evidence linking them to the incident.

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The growing influence of data and analytics in the music industry was the focus of a recent X Space hosted by Neclive on June 24, where industry professionals gathered to discuss the intriguing topic: “Is Data the New A&R? Can Analytics Predict the Next Superstar?” The conversation featured creative consultant Yemi Nuel, who shared insights on the role of data in talent discovery, artist development, and whether emerging artists can realistically replicate the success of established stars such as Asake.

Responding to the question, Yemi Nuel explained that while imitation may work for some artists, there is no guaranteed formula for success in the music industry.

“It can work for some people because there is no fixed formula in the music industry right now,” he said. “There are basic things every artist needs to understand about the business, but what works for one person may not necessarily work for another.”

According to him, replicating the success of a superstar is often more difficult than it appears, particularly when an artist attempts to copy another person’s sound or career trajectory.

Using Asake as an example, Nuel pointed to the remarkable run that propelled the singer to prominence.

“Asake came out and had a run of about six or seven records where virtually every song he released became a major hit and was backed by strong numbers,” he noted. “That kind of success is very rare to replicate.”

He observed that several artists have attempted to follow similar paths in the past, but many struggled to achieve lasting success because they focused on recreating another artist’s formula rather than developing their own identity.

“We have seen artists take the same route and it did not end well for them, largely because they were not making the music that truly represented them,” he said.

Nuel stressed the importance of originality, arguing that artists must discover their own niche and develop a unique sound that sets them apart in a crowded marketplace.

“They need to find a niche for themselves and discover their own sound. That is where branding becomes very important,” he explained.

He further warned that artists who build their careers around replicating the achievements of established stars may gain temporary visibility but struggle to sustain long-term growth.

“If an artist is trying to replicate what a mega superstar has done in the past, I think it ultimately affects the artist,” he said. “It may generate attention on social media, increase engagement, and even bring more followers, but that does not necessarily translate into a sustainable career.”

Nuel concluded by emphasizing that online popularity alone is not a reliable measure of commercial success.

“Followers do not determine how much revenue an artist earns when they release a product,” he said. “In the long run, authenticity, branding, and creating music that genuinely connects with audiences are far more valuable than simply trying to recreate someone else’s success.”

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The role of data and analytics in the music industry took center stage during a recent X Space hosted by Neclive, where industry professionals gathered to discuss the thought-provoking topic: “Is Data the New A&R? Can Analytics Predict the Next Superstar?”

The conversation featured creative consultant Yemi Nuel as a guest speaker, who offered a nuanced perspective on the growing influence of analytics in talent discovery and artist development.

Addressing the question, Nuel described it as both “dicey” and highly critical, emphasizing that while data has become an indispensable tool in the modern music business, it has limitations when it comes to identifying future superstars.

According to him, analytics are exceptionally effective at predicting momentum rather than artistry.

“Analytics can predict momentum, but you cannot automatically say that because of data you are able to find out who the next superstar is going to be,” Nuel explained.

He noted that data provides valuable insights into audience behavior and engagement patterns. Metrics such as streaming growth, monthly listeners, audience demographics, and geographical expansion can help industry stakeholders understand how an artist is performing and where their music is gaining traction.

“Data is definitely going to show you streaming growth, an artist’s monthly listeners, audience demographics, and geographic expansion,” he said.

However, Nuel pointed out that analytics struggle to capture some of the most important elements that contribute to stardom. While numbers can reveal trends and patterns, they cannot fully measure timing, cultural relevance, storytelling, identity, or the emotional connection artists build with audiences.

“What data struggles to capture is timing, narrative, and the identity of the artist,” he said. “It’s not certain that data can give you the insight that a particular artist is going to become the next superstar.”

The discussion also touched on the increasing reliance on data within the music industry, particularly among record labels and talent scouts. In an era where streaming platforms provide detailed performance metrics, analytics have become a key factor in talent acquisition and investment decisions.

“Data is what the industry is looking at now when signing talents,” Nuel observed.

Yet he cautioned against over-reliance on numbers alone. While analytics can identify artists experiencing rapid growth and audience engagement, they cannot accurately determine the creative qualities that transform promising talent into global stars.

“Analytics can predict momentum far better than they can predict the artistry of an artist,” he noted.

Nuel argued that future superstars often leave early signals in the data, but those signals only tell part of the story. The real driving force behind an artist’s breakthrough often lies within culture itself.

“Data alone rarely explains why millions of people suddenly decide to embrace an artist,” he said. “Data pretty much predicts behavior or gives you access to the backend of what’s happening, but culture predicts the artistry of the artist.”

The conversation highlighted an ongoing debate within the music industry: whether technology and analytics can replace the traditional instincts of A&R professionals. While data has undoubtedly transformed how talent is discovered and evaluated, speakers agreed that human intuition, cultural understanding, and artistic vision remain essential ingredients in identifying the next generation of music stars.

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MultiChoice, a CANAL+ company, has announced the launch of two new Novelas+ channels in English and Portuguese. Rolling out on 1 July, the channels will be dedicated entirely to telenovelas, bringing one of television’s most popular and successful genres to a wider audience

The iconic Novelas TV, also becoming NOVELAS+, is already the number one channel in French-speaking Africa in terms of audience size. With this collaboration and launch starting July 1st, DStv and GOtv viewers in Nigeria will enjoy telenovelas from Latin America, the United States, Portugal and Turkey.

“Nigerian audiences have long had a strong affinity for emotionally rich telenovelas,” says Atinuke Ngozi Babatunde, Executive Head, Content and West Africa Channels, MultiChoice Nigeria. “We are delighted to bring all the compelling flavours of these global series to viewers, carefully curated and localized for our Nigerian audiences.”

Combining exclusive and iconic telenovelas, four series are broadcast daily from Monday to Friday, with a new episode per TV Series each day. With the promise of “Feel the beat of love”, DStv and GOtv viewers in Nigeria will be immersed in stories about love, passion, rivalry and revenge, featuring international big stars!

On Novelas+ in English, get ready for the Latin America sensation Avenida Brasil, starring Débora Falabella as a woman abandoned as a child, now out for revenge, and Adriana Esteves as one of the most iconic on-screen villains of our time. Turkish rom-com Be My Sunshine is a feel-good summer romance starring break-out talents Ayça Ayşin Turan (The Protector) and a smouldering Alp Navruz. Mexico’s queen of melodrama, Angelique Boyer, is mesmerising as the titular character in the 2025 remake of the beloved Doménica Montero, and fans of Turkish dramas will soon be obsessed with Sin and Roses, about a businessman (Murat Yıldırım) whose life collapses after his wife’s (Cemre Baysel) secret comes to light.

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A Federal High Court in Abuja has adjourned the assault and battery lawsuit against rapper Tochukwu Ojogwu, popularly known as Odumodublvck, until October 13 and 14, 2026, after the defence requested additional time to prepare its case.

Allegations from public event incident

The suit was filed by musician Levi Ogbogiri, popularly known as Kraziecent, who alleges that the rapper assaulted him without provocation during a public event on December 16, 2024. He claims he was peacefully taking photos and videos when the incident occurred, resulting in alleged physical assault, emotional distress, and damage to his iPhone 15 Pro Max.

Defence requests more time as claimant opposes delay

At Tuesday’s resumed hearing, claimant’s counsel, Uchenna Ojembe, informed the court that his client—the sole witness—was present and ready to proceed. However, defence counsel Damilare Adeojo sought an adjournment, citing the need for additional time to prepare the defence.

Ojembe opposed the request, arguing that multiple adjournments had already been granted, and urged the court to impose a N500,000 cost penalty on the defence. The defence rejected the sanction, and presiding Judge Adeyemi Ajayi eventually granted the adjournment, fixing October dates for continuation.

Previous delays in proceedings

The case has experienced earlier setbacks, including a previous adjournment in May due to the absence of the defendant’s legal representative, which stalled proceedings and necessitated a new hearing date.

Other legal mentions and ongoing proceedings

The lawsuit is one of several legal matters involving the rapper that have attracted public attention, though none have resulted in a final judicial determination. Each case remains separate and ongoing within the legal system.

Next steps in the case

The claimant is seeking damages, reimbursement for medical expenses, compensation for the damaged phone, and a public apology. The court is expected to begin substantive hearing when the matter resumes in October.

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The first part of this article by Efe Omorogbe mirrors the process and perspective of a creative saddled with the self-imposed burden of pushing the envelope and delivering a world-class product.

Playing it safe may be prudent and profitable in the short term, but building the spectacular is an altogether different proposition—especially in environments lacking infrastructure and institutional support.

Great artistic or entertainment products require heavy investment of talent, time, effort, funds and ancillary know-how. To deliver the spectacle that is the multi-billion pound English Premier League, the smartest and most efficient people with a diverse and complementary range of expertise must converge to design, construct and nurture the systems around the basic idea that is the beautiful game of football.

This is the kind of structure and synergy that we need to build big and sustainable revenue streams around our music and culture.

I love Timi Dakolo. If he names his top-ten GOAT fans and I don’t make the list, I’d be heartbroken, but I won’t trash my autographed physical copies of his debut single and album – “Let It Shine” and “Beautiful Noise”. I love the music much too much, and it’s always twice the joy when there are physical copies you can touch. Grown folks can relate.

Yes, I was executive producer on that project, and Now Muzik provided management and label support along with Lone Records for both releases, but I’m first and foremost, a fan. Scratch that, I’m a superfan.

Timi Dakolo is world-class in many ramifications. The vocals, the songs, the branding are all on point and I would pay to watch Timi Dakolo give a one-hour acapella performance in a pair of blue jeans, a t-shirt and barefoot. I suspect the likes of Yemi Adamolekun, Love Idoko-Uloko, Kingsley James, Adebola Williams, Kelechi Amadi-Obi, Yibo Koko, Nwanne Okafor, Kate Henshaw, Alibaba, RMD, ATG, and a couple more superfans would gladly join in too.

For this, a cosy lounge and bare-essentials technicals would suffice, and I’m sure we would have a good time, but there’s a place for a Tiny Desk-style experience and another for a showstopping, jaw-dropping, brand-redefining spectacle. For the spectacle, it’s always down to the layers.

Performances are about layers.

Great performances are built on the brilliance with which myriad elements interact to deliver heightened sensory stimulation and deep emotional impact.

Monetisation is essentially about product quality and the establishment of the infrastructure and systems to efficiently standardise, market, sell and scale.

So, back to the hypothetical “Timi Dakolo : Live At the Wole Soyinka Centre” scenario. With the vocal ability, music catalogue and the branding boxes all checked, the next step would be to install other critical layers – a solid script woven around a powerful love story and brought to life through pristine sound, lighting design, multimedia backdrops and a deft use of props and special effects.

Weave on additional layers – a Cobhams Asuquo as music director and guest act, a 14-piece band, Loud Urban Choir-level collective for background vocals, a top-tier troupe for dance and choreography and a fantastic designer for wardrobe and styling support.

Bring all of the aforementioned pieces of excellence together under the majestic backdrop of the Wole Soyinka Centre for Culture and Creative Arts, and with top-level production personnel, allow cast and crew ample rehearsal time to perfect every note, chord, move, cue, transition and stunt.

What is created would easily be a 100-minute spectacle that rivals the best residency concert experience anywhere from Las Vegas to Dubai.

A product of such quality, live and exclusive, at the Wole Soyinka Centre can conveniently do 16 shows over an 8-week annual run, an attraction capable of drawing audiences from across Nigeria, Africa and the Diaspora. Well-marketed, a production like this can sell out all 16 dates months in advance. It has the potential to drive the sale of special packages to a defined target audience.

A city like Lagos could leverage such productions alongside its other attractions to position itself as a destination for weddings, anniversaries and milestone celebrations.

If this level of commercial value can be extracted from a somewhat niche asset like Timi Dakolo, picture what’s possible with Nigeria’s global mainstream superstars like Asake, Arya Starr, Tems, Rema, Davido, Wizkid and Burna Boy?

And that is where a project like the Lagos Arena, currently under construction, becomes an important piece of the jigsaw.

The magnificent 12,000-capacity facility will provide for the city that is already the cultural epicentre, the much-needed infrastructure to monetise its music and talents at scale hitherto unattainable.

The local circuit generated an estimated $395 million from concerts, festivals and tours across 2024-2025, according to the Basslines to Billions: Nigeria’s Music Market Intelligence Report. Facilities like the Wole Soyinka Centre for Culture and Creative Arts, and Lagos Arena, with the right content curation strategy, can galvanise exponential growth in the sector in line with global attendance trends.

Live Nation reported global revenue of $25.20 billion in 2025, an 8.8% increase over the previous year’s $23.16 billion. The key growth drivers are strong international stadium tours and sustained global arena and festival demand. While North America generated 70% of the total revenue ($17.64 billion), expanding international markets generated the remaining 30% ($7.56 billion).

Interestingly, Live Nation recorded a major milestone in 2025. For the first time in its history, international fan counts exceeded attendance in North America. This growth has been steady since 2021.

Now let’s go back to where this conversation started.

Why did Buckwyld ‘n’ Breathless happen? Collaboration. Why did it succeed? Collaboration.

Now Muzik/Buckwyld Media, Efe Omorogbe, 2face Idibia, Cecil Hammond and Flytime worked together to enable the initiative. Without that collaboration, no single unit of this collective would have dared to attempt it.

Edi Lawani, Mai Atafo, BHM, DNMT, Banky W, MI Abaga, the late Sound Sultan, DJ Jimmy Jatt, Gecko, all the performers, celebrity cameos, cast and crew members, sponsors, media partners and contributors too numerous to count, keyed into the dream and worked with us to make Buckwyld ‘n’ Breathless a resounding success.

Nine editions and counting, the success of BnB has been built on passion-fueled collaboration.

There will always be a place for passion in the equation, of course, but this is also the season for profit-fueled collaborations. Today’s collaboration should be with the best minds in finance, marketing, sales, technical, media and other related fields.
Passion alone built the industry. Profit-oriented collaboration is necessary to scale it.

We must commend the investors and executives who have mustered the courage to deploy the required funding to deliver a facility of the quality of the Wole Soyinka Centre for Culture and Creative Arts. It will be virtually impossible to grow the local monetisation of Naija pop culture without the infrastructure of the scale and quality of the National Theatre. The well-established touring infrastructure in the West is a key factor in why monetising Afrobeats has been far more efficient in the West than back home in Africa.

Pragmatic pricing of the facility for profitability is imperative, or else, deterioration will be the inevitable outcome. For optimum profitability, however, the business model must be strategically nuanced to allow key players in the ecosystem to develop and deliver content experiences that are capable of drawing to the facility a steady traffic of guests from within and outside Nigeria.

Strategic collaboration amongst creative, technical, media and marketing luminaries holds the key to profitability in these types of ventures. The right products and marketing machinery is necessary to attract the right audiences and unlock the revenue that rewards every stakeholder within the value chain.

A collaboration that enables us to deliver world-class productions showcasing a handful of the most in-demand and iconic Nigerian talents creates residency opportunities that keep the facility doors open for far more nights than one-off venue hire opportunities ever could.

There’s a reason why the Live Nation/Ticketmasters’ business model has delivered sustained profitability for the music industry and impressive culture-sector growth in nations like the US, UK, Canada and others.

They have been able to create a well-oiled ecosystem which thrives on the synergy amongst individual units handling key aspects of the business of touring and live experiences.

There’s the network of partner venues ranging from clubs, theatres and arenas to stadiums, from 100 to 80,000 capacity, catering to all categories of talents – emerging, fast-rising, established, red-hot and veterans. They have the booking, production, ticketing, marketing and promoter partnership play that identifies in-demand performers and puts them in front of paying fans essentially via a door-deal model that spreads responsibility and risk and maximises opportunity and revenue at scale.

There are reasons why the bulk of revenue generated by the culture doesn’t make it to Nigerian banks or the local economy. The Bankers’ Committee, I’m sure, has more reliable data on this than those of us in the creative industry do. There are smart ways to tip these scales and position the local economy to assess a larger share of the revenues generated by our music and culture.

These are the strategic conversations we ought to be having and the collaborative work we should be doing to develop a model that has the potential to deliver more value and profit to all stakeholders in the short, medium and long terms.

Nigeria’s music and culture have already conquered the world. The challenge before us now is not one of talent, but of systems.

Great cultures are not monetised by chance. They are monetised through infrastructure, collaboration and deliberate ecosystem design. The time is now. The critical stakeholders are primed.

Let’s get cracking. There are huge opportunities to unlock and big money to be made.

This article was written by Efe Omorogbe, Chief Executive Officer of Buckwyld Media Network. Views expressed in this article are strictly the writer’s and do not represent The Netng’s

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Clive Davis, the legendary American music executive who helped shape the careers of some of the most influential artists in modern music history, has died at the age of 94.

Clive Davis passed away on Monday at his home in New York City. While an official cause of death has not yet been confirmed, reports indicate he had recently been hospitalised in New York due to an upper respiratory infection. He was discharged on June 4 and returned home shortly before his passing.

In a statement, his family paid tribute to both his towering professional legacy and his role within the family.

“To the world, our father was the iconic music legend whose vision, instincts, and relentless pursuit of excellence shaped the soundtrack of countless lives,” the statement read. “He discovered, mentored, and championed the greatest artists in modern music history, leaving an indelible mark on culture that will endure for generations.”

They added that beyond his achievements, he remained a devoted father and grandfather whose “wisdom, strength, encouragement, and unconditional love” defined his life at home.

“Through every chapter of his remarkable life, family remained Clive’s greatest pride and deepest joy,” the family said. “We will miss him greatly, cherish him always, and carry his love with us for the rest of our lives.”

Davis’s career spanned more than six decades, during which he became one of the most powerful and influential figures in the global music industry. He served as president of Columbia Records from 1967 to 1973, a period widely regarded as a golden era for the label.

In 1974, he founded Arista Records, which he led until 2000, before going on to establish J Records and later holding senior roles at RCA Music Group and BMG North America. Even in his later years, he remained active in shaping the direction of the industry.

Known for his extraordinary ear for talent, Davis was credited with discovering and nurturing some of the biggest names in music, including Bruce Springsteen, Janis Joplin, Santana, Whitney Houston, Billy Joel, Aretha Franklin, Kelly Clarkson, and Aerosmith.

He also became a fixture of the industry’s social calendar through his annual pre-Grammy gala, a star-studded event that grew into one of music’s most anticipated gatherings.

Despite health challenges in recent years, including a diagnosis of Bell’s palsy in 2021, Davis continued to remain engaged in music well into his nineties. In 2018, he served as chief creative officer of Sony Music Entertainment, underscoring his enduring influence.

In 2000, his contributions to music were formally recognised with induction into the Rock & Roll Hall of Fame as a non-performer.

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CANAL+ and Samsung Electronics, the world’s leading Smart TV manufacturer, are extending their strategic collaboration across English and Portuguese-speaking African markets served by MultiChoice Group. This partnership marks the first-ever pre-installation rollout of a MultiChoice Group streaming application, DStv Stream app, on Samsung Smart TVs across these markets. It also supports the continued expansion of MultiChoice Group’s streaming and OTT ecosystem across key African markets.

This new milestone builds on the strategic partnership already deployed between CANAL+ and Samsung across 40 markets in Europe, French-speaking Africa and Asia.

From 1 June 2026, the DStv Stream app will be pre-installed on all new Samsung Smart TVs across 18 African countries, including South Africa, Nigeria, Kenya, Angola, Tanzania, Uganda, Zambia, and Zimbabwe.

Through this integration, Samsung users will benefit from simplified access to the full breadth of content available on DStv Stream, including the entire FIFA World Cup 2026, the English Premier League, and domestic and international rugby competitions, alongside a rich offering of local and international entertainment content. The DStv Stream app will be directly accessible from the home screen of new Samsung Smart TVs, providing users with the simplest and most seamless way to access MultiChoice Group’s content and offerings.

This partnership is a strong example of the opportunities created by the combination of CANAL+ and MultiChoice Group, accelerating the distribution of digital services and enhancing accessibility, discoverability and user experience for English- and Portuguese-speaking audiences across Africa.

David Mignot, CEO of CANAL+ Africa and CEO of MultiChoice Group: “We are delighted to extend our longstanding partnership with Samsung across new English and Portuguese-speaking African countries. It marks a significant milestone in the synergies created by the combination of CANAL+ and MultiChoice Group. As viewing habits continue to evolve rapidly across the continent, strengthening the accessibility and discoverability of our content offer on connected devices is key. By expanding the availability of our applications on Samsung Smart TVs across key African markets, we are making it even easier for millions of MultiChoice Group’s subscribers to seamlessly access the content that define the uniqueness of CANAL+ and MultiChoice Group experience”.

ABOUT CANAL+

CANAL+ is a global media and entertainment company with leading positions in Europe and Africa. Over 40 million subscribers enjoy the CANAL+ entertainment platform, which brings together the best local and global films, live sport, TV series and much more. CANAL+ operates in over 70 countries and has approximately 15,000 employees.

CANAL+ operates across the entire audio-visual value chain, including production, broadcast, distribution and aggregation. In addition to its Pay-TV and streaming operations in Europe, Africa and Asia, the combined group includes: MultiChoice Group, Africa’s leading entertainment platform; STUDIOCANAL, Europe’s leading film and television studio, with worldwide production and distribution capabilities; Dailymotion, a major international video platform powered by cutting-edge proprietary technology for video delivery, advertising, and monetisation; CANAL+ Distribution, a production and distribution company specialising in creating and distributing diverse content and channels; telecommunication services, through GVA in Africa and CANAL+ Telecom in the French overseas jurisdictions and territories.

CANAL+ also has minority stakes in Viaplay (Scandinavia’s leading entertainment provider), Viu (a leading OTT provider in Southeast Asia), and UGC, a leading French cinema group.

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Nigerian filmmaker Debola ‘Santa‘ Ogunshina has released a teaser for his upcoming film Boys Don’t Sing, which explores loneliness and ageing in men.

Ogunshina says the project was inspired by The Kominsky Method and grew out of questions his own life had begun to raise. “Turning 40 makes me think differently about ageing, friendship, and time,” he said.

“You begin to notice how life quietly rearranges relationships. Friends relocate, people get busy with family and careers, and the circle slowly becomes smaller,” he said.

That reflection led him to examine what loneliness looks like in men, particularly those who have spent their lives being strong for others. “What happens when they grow old? Who do they talk to? Who sits with them?” he told The Nollywood Reporter.

Ogunshina shared the teaser across his social media pages on Father’s Day, and it has since drawn interest from several Nollywood stalwarts and stirred strong reactions in the comments. The clip, which depicts one of the challenges men face in old age, struck an emotional chord with viewers.

Speaking with NETNG, Ogunshina said the response had been both encouraging and a little surprising. “I know what I wrote and what I shot, but seeing these comments has been quite emotional,” he said.

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