Veteran filmmaker and television mogul Wale Adenuga has delivered a scathing critique of Netflix’s approach to content acquisition in Nigeria, attributing the streaming giant’s reported market challenges to fundamentally flawed selection processes and industry favoritism. The founder of Wale Adenuga Production Television (wapTV) shared these insights in a detailed statement titled “A Critique of Netflix’s Approach in Nigeria.”
Speaking with the authority of decades in Nigeria’s entertainment industry, Adenuga, known for creating iconic shows like Super Story, Papa Ajasco, and Nnenna and Friends, pointed to deeper systemic issues beyond surface-level economic challenges. He dismissed suggestions that Nigeria’s economic climate or producer misconduct were responsible for Netflix’s struggles, instead highlighting what he describes as a corrupted content selection process.
According to Adenuga, Netflix’s primary mistake lay in prioritizing industry connections over content quality when acquiring Nigerian films. He painted a picture of an oligarchic system where mediocre content from well-connected producers received preferential treatment, while talented filmmakers from less privileged backgrounds were systematically excluded from opportunities.
Drawing comparisons to Nigeria’s golden era of filmmaking, Adenuga referenced the works of renowned directors like Tunde Kelani and Zeb Ejiro, suggesting that their decade-old productions surpassed the quality of current Netflix offerings. He argued that many films selected through what he termed “backdoor dealings” would struggle to achieve even modest box office success.
The media veteran provided colorful insight into the alleged practices surrounding content acquisition, describing scenarios where wealthy producers would monopolize relationships with international representatives through lavish entertainment and social connections. This approach, he argued, resulted in concentrated opportunities among a select few, often at the expense of more talented creators.
Adenuga’s critique extended beyond mere observation, offering constructive suggestions for improvement. He advocated for a more democratic and transparent selection process, proposing that streaming platforms should open their doors to all Nigerian producers regardless of their social or economic status. His recommended approach includes evaluating submissions based on synopses and sample productions, prioritizing merit over connections.
The industry veteran emphasized the crucial importance of storytelling in the Nigerian market, noting that technical excellence cannot compensate for weak narratives. He suggested that productions scoring higher on storyline quality, even with moderate technical capabilities, would resonate more strongly with Nigerian audiences than technically polished films with weaker narratives.
This assessment comes at a critical time for streaming services in Nigeria’s entertainment landscape, as international platforms continue to navigate the complexities of local content acquisition and audience preferences. Adenuga’s insights, drawn from his extensive experience in Nigerian media, highlight the potential consequences of overlooking local industry dynamics and creative merit in favor of established networks and connections.
The critique also raises broader questions about the sustainability of current content acquisition models in African markets, suggesting that success in these regions may require more nuanced approaches that prioritize authentic storytelling and diverse creative voices over industry politics and technical specifications.
As streaming platforms continue to evolve their strategies in African markets, Adenuga’s observations and recommendations could serve as valuable guidance for building more inclusive and effective content acquisition processes that better serve both creators and audiences in Nigeria’s vibrant entertainment sector.
