Nollywood’s Chief Daddy 2 debacle
- Chief Daddy 2, a costly mistake
- Nigeria unites against poor content
- Nollywood given a warning
- The power of the audience, they are not passive
- Streamer wars – coming soon
How Nigeria united against a Nollywood Netflix film
Nigerians came together to express their disdain for Chief Daddy 2 in such a way last month that it provoked one of the biggest cultural conversations in Africa. Yes, you will always have critics, but to unite an entire country and provoke such outrage that it galvanised a collective interrogation of the future of Nigerian film is something else altogether.
The numbers look good, lets make a sequel to “Chief Daddy”,
In 2018 Chief Daddy, a dramedy featuring the well-off household of Chief Beecroft (whose death triggers members of his family scrambling over his wealth) was no means an artistic opus. It did however generate N385.7 million at the Nigerian box office. A sound robust number for NETFLIX to invest in a sequel. On paper this sounded great, but what was released on the streaming platform in January has left a sour taste in an audience hungry for their own stories. Never mind the fall out that has caused a behemoth of a film industry to reconsider many projects in production.
Nuclear cultural fall out.
To say reviews of Chief Daddy 2: Going for Broke, slanted towards the negative would be kind. Social media was swift and savage. Twitter joined in and the voices were harsh: “crap editing, acting, and a crap superficial plot too.” The outrage fired up a national conversation and frank assessment that pulled no punches and Nigerians en masse demanded better from the industry as a whole.
What does this mean for Nollywood?
As technology advances and access to it increases, the cultural effect cannot be ignored. Africa remains an unconquered new horizon for streaming platforms. And Africans, raised on story-telling as a collective heritage, have a proven appetite for content (specifically stories that reflect their identity). So this viral moment in collective criticism is an indicator that the audience of today (and by and large tomorrow) is not a passive one. Beyond the analogue model of the past, often sanctioned and controlled by governments, the new digital option promises so much more. You have control of your content, to curate as you wish, to entertain at any time. The audience is now in a powerful position and has demonstrated that poor, contrived and lazy content will not do. As the streaming platforms begin their battle for digital real estate and dominance in Africa, this is a wakeup call to them too. You are not going to get away dumping empty calorie content on our shores. Nigeria wouldn’t have it.
A warning to South Africa.
South Africa like Nigeria also has a well-developed film industry and the market is primed for streaming platforms, glittery with options and cheaper than satellite television with its repetitive menu. South Africa’s audience too is hungry for prime local content, rich in narratives with faces we can relate to. Shows like Blood and Water, Kings of Joburg and Jiva have proven to be compelling, quality shows that have garnered rave reviews and followings. Now is not the time to lower one’s production standards and narratives in view of a quick buck.
Coming soon – Streaming Wars near you
The power of the “Mouse” will soon make its presence felt here in Africa as Disney + intends to get in on the streaming action. Amazon Prime is already making strides in its Africa strategy. While Netflix is way ahead of the rest, from this recent Chief Daddydebacle, the message from Nigeria is loud and clear: be 100% sure of the culture you want to portray in the projects you produce.
C.S.A.’s monthly cultural portal, The WIRE connects the dots of culture. With concise stories, many with video content, take a premium dive into the world of African entertainment & cultural fluidity. It’s one thing to be hip to what’s happening but it is another to know why.
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