A wave of public indignation has erupted across Nigerian social media platforms following the sudden removal of acclaimed filmmaker Omoni Oboli’s latest YouTube sensation, “Love In Every Word.” The romantic drama, which had amassed an impressive 7 million views within just 72 hours of its release, was abruptly taken down due to copyright claims filed by a Canadian-based network engineer named Chinonso Obiora Skyberry.
The takedown represents a significant setback for Oboli, who was experiencing a remarkable viewership milestone with her latest creative endeavor. Visitors attempting to access the film are now greeted with a stark notification: “This video is no longer available due to copyright claims by Chinonso Obiora Skyberry.”
This contentious development marks the second time within a year that Oboli has faced copyright-related challenges forcing the removal of her content from YouTube’s platform. The repetitive nature of these incidents has raised eyebrows among her supporters and industry observers alike, with many questioning the timing and legitimacy of the claims against the renowned filmmaker.
According to publicly available information, Skyberry operates an Abuja-based photography and aerial videography business called Skyberry Studios, where he serves as Lead drone pilot and editor. The connection between his professional work and Oboli’s romantic drama remains unclear, fueling speculation about the motivations behind the copyright claim.
“Love In Every Word,” described as a heartfelt romantic drama exploring themes of love, emotional resilience, and the power of communication in relationships, was produced by Oboli and written by Mfon Abasi Michael Inyang. The film had been performing exceptionally well by YouTube metrics before its unexpected removal.
The incident has triggered passionate responses across social media platforms, with many users expressing disbelief and anger at what they perceive as an attack on Oboli’s creative success. Twitter user Mazi Olisaemeka voiced the sentiment of many when posting: “Why exactly did YouTube take down that Omoni Oboli’s movie that has already crossed the 6m mark. That’s really unfair.”
Another supporter, Irebami Olakanm1, noted the troubling pattern: “Why are they always doing this to Omni Oboli? This is the second time. Not when the movie ranked many views. I pity her, sha.”
The legitimacy of the copyright claim has been called into question by numerous commentators, including Enoch Owolabi, who wrote: “How can people be this wicked? How do you claim rights to something that isn’t yours? What kind of evil-mindedness is this? A movie with over 7 million views is gone. I find it hard to believe that Omoni Oboli would be so careless as not to copyright her work.”
Some observers have suggested more sinister motives, pointing to potential industry rivalry as a possible explanation. One Twitter user speculated: “Possibly they’ve been secretly Reporting the movie, Most of them on that YouTube space were obviously not happy with the hype Omoni Oboli TV / Love in Every word was getting; The heart of human is truly wicked; Let’s just hope it’s a Glitch.
The timing of this setback is particularly poignant for Oboli, who had only recently made a triumphant return to cinema exhibition after a five-year hiatus. Her comeback film, “The Uprising,” had performed remarkably well at the box office, reportedly grossing over N93 million within its first week of release and claiming the top position as the number-one Nollywood film during its opening weekend.
That successful return to the big screen had been further highlighted by an emotional moment during her film premiere when Oboli received a brand new car from her partners. The actress and filmmaker later shared that the gift represented more than material success, describing it as “a symbol of her growth, passion, and impact on shaping Nollywood.”
The current YouTube controversy casts a shadow over what had been shaping up as a career renaissance for Oboli, who has established herself as one of Nollywood’s most accomplished multi-hyphenate talents. Throughout her career, she has successfully navigated the challenging transition from acting to directing and producing, creating content that resonates with Nigerian audiences while addressing meaningful social themes.
YouTube’s copyright strike system, which led to the film’s removal, has previously faced criticism for its susceptibility to abuse. The platform’s policy typically involves removing content first upon receiving a complaint and requiring the parties to resolve the dispute afterward—a process that critics argue creates opportunities for bad-faith actors to temporarily disrupt legitimate content.
Under standard YouTube procedures, Oboli would have the opportunity to contest the copyright claim through a counter-notification process. However, even if successful, such challenges can take considerable time to resolve, during which the momentum and economic potential of viral content can be irreparably damaged.
The Nigerian film industry, colloquially known as Nollywood, has increasingly embraced digital distribution channels like YouTube as crucial components of their release strategies. These platforms offer filmmakers direct access to global audiences without the traditional gatekeeping mechanisms of theatrical distribution, while also providing revenue streams through the platform’s monetization features.
For creators like Oboli, the sudden removal of content that had achieved viral status represents not only a loss of potential revenue but also diminished visibility at a crucial moment when algorithms would typically be promoting the content to even wider audiences based on its demonstrable popularity.
As the situation continues to unfold, supporters are rallying behind Oboli across social media platforms, with many calling for YouTube to investigate the legitimacy of the copyright claim more thoroughly before enforcing such consequential actions against content creators. The incident highlights the vulnerabilities creative professionals face in the digital marketplace, where intellectual property disputes can abruptly disrupt careers and creative momentum.
Neither Oboli nor Skyberry had issued official statements addressing the specific nature of the copyright claim at the time of reporting. The filmmaker’s substantial following eagerly awaits her response to this latest professional challenge, with many expressing confidence in her resilience given her track record of overcoming industry obstacles throughout her distinguished career.
