Entertainment
Investing in Nollywood? Lessons from ‘A Tribe Called Judah’ and ‘Malaika’ on Combating Piracy
The recent crackdown by the Force Criminal Investigations Department (FCID) in Lagos on a piracy syndicate marks a significant step in Nigeria’s ongoing battle against copyright infringement, particularly in the creative industry.
The apprehension of individuals involved in the illegal distribution of two popular Nigerian movies, “A Tribe Called Judah” and “Malaika,” illustrates a critical turn in the enforcement of the Nigerian Copyright Act 2022, particularly those related to online content.
Piracy, the unauthorized copying and distribution of copyrighted works, has a profoundly negative impact on the creative industry and investments therein. First and foremost, piracy directly reduces the revenue that creators and producers can generate from their works.
When movies, music, books, or other creative works are illegally distributed, the potential earnings from these works are significantly undercut. This reduction in revenue not only affects the immediate financial viability of creative projects but also diminishes the incentive for artists and producers to invest time, effort, and resources into future projects.
The ripple effect of this reduced revenue stream is far-reaching. Lower profits from creative works mean less capital is available for reinvestment into new projects, leading to a decrease in the overall production of creative content. This decline can stifle the growth of the creative industry, reducing its potential as a source of employment and economic development.
In a country like Nigeria, with its rich cultural heritage and growing creative sector, the impact of piracy can be particularly damaging, hindering the industry’s ability to contribute to national economic growth and cultural expression.
Furthermore, piracy creates a hostile environment for both local and foreign investors. Investors are typically attracted to markets that offer a high return on investment and where their investments are protected by law. The rampant piracy in the creative industry poses a significant risk, making investors hesitant to fund projects.
This lack of investment not only affects the scale and quality of creative productions but also limits the industry’s contribution to the broader economy. The creative industry is a potential powerhouse for job creation, skill development, and tourism, all of which can significantly boost a nation’s economic profile.
The actions of the FCID in Lagos, therefore, have implications beyond the immediate legal consequences for those involved in piracy. By demonstrating a commitment to enforcing copyright laws, these actions signal to creators and investors alike that the Nigerian government is serious about protecting intellectual property.
This assurance can help to restore confidence in the creative industry, encouraging both domestic and international investment. Increased investment will, in turn, lead to more robust and diverse creative productions, generating employment, fostering innovation, and contributing to economic growth.
In conclusion, the fight against piracy, as exemplified by the recent police actions in Nigeria, is not just about protecting the rights of individual creators; it is also about safeguarding the future of the creative industry and its potential contributions to the economy. By addressing piracy, Nigeria can foster a more vibrant, innovative, and economically significant creative sector, which is essential for the nation’s cultural and economic prosperity.
Nollywood actress Lizzy Anjorin has questioned the authenticity of an interim order issued by the Lagos State High Court on 2 September 2026, restraining her from publishing photographs of Priscilla Ojo’s one-year-old son, Rakeem Mkambala, and from posting editorials concerning the family on specified social media platforms.
Anjorin raised the issue during an Instagram Live session on Friday, 4 September, after Priscilla shared a copy of the court order online.
The actress argued that publicising court documents before formally serving the respondent undermines the case.
“Your case na dead on arrival. If you post court letter on any platform before serving person wey you wan go serve, that court case na fake court case,” Anjorin said during the live session.
Her comments came shortly after the High Court of Lagos State granted an ex parte application brought by Priscilla, her husband, Tanzanian singer Juma Mussa Mkambala, and their son, Rakeem.
Justice Yetunde Adesanya issued the interim order in Suit No. LD/ADR/6646/2026.
The order restrains Anjorin, as well as people acting under her authority, from publishing, posting, circulating, uploading or broadcasting photographs of Rakeem on specified social media platforms, including Instagram, Facebook, WhatsApp and TikTok.
The court also directed Anjorin to cease publishing or broadcasting editorials concerning the applicants on the platforms covered by the order.
An ex parte order is made at an interim stage without the respondent being heard. The order is therefore not a final determination of the dispute and remains subject to further proceedings.
Priscilla shared the certified copy of the order on her Instagram Story on Friday, bringing the legal development into public view.
Anjorin’s reaction centres on the timing and manner in which the court documents were publicised. Her assertion that such publication makes a case “fake” is her own claim and is not a finding contained in the court order.
The development marks another chapter in the prolonged public dispute between Anjorin and Priscilla’s family, particularly Priscilla’s mother, actress Iyabo Ojo.
The disagreement has played out largely on social media and has previously resulted in legal action, including a ₦1 billion defamation suit filed by Iyabo Ojo against Anjorin.
In recent weeks, the dispute has also drawn Priscilla and her young son into the controversy, following public comments by Anjorin concerning the family.
Kesiena Tony Adjekpovu, popularly known as Kess, has said that participating in Big Brother Naija can make life harder, offering a candid reflection on the challenges that may come with the reality television experience.
The former Big Brother Naija housemate made the comment in a statement shared on social media, where he suggested that winning or simply taking part in the reality show does not necessarily make life easier after leaving the house.
“Big Brother makes your life harder,” Kess said.
The remark has drawn attention because life after reality television can bring a different set of expectations, particularly as former housemates adjust to increased public attention and the pressure that can accompany visibility.
Kess was a housemate on the seventh season of Big Brother Naija, which aired in 2022. He entered the show as a businessman and was among the contestants who competed for the season’s grand prize.
His time on the programme also placed him in the public eye, giving viewers an opportunity to follow his personality and relationships inside the house.
Kess’s latest comment offers a more reflective view of the reality TV platform, suggesting that the experience does not end when a contestant leaves the house.
However, he did not provide further details in the available post explaining which specific aspects of life after Big Brother he was referring to.
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