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The Black Book Is Nigeria’s First Runaway Netflix Hit

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Editi Effiong’s excitement is infectious. It’s less than three weeks since his crime thriller, The Black Book, premiered on Netflix, and the movie has already been watched more than 70 million times. “I’ve been in a very happy place,” Effiong says. “You create a thing and watch it go out in the world, it would make [anyone] happy.”

The Black Book is one of the most expensive Nigerian movies ever made, with a $1 million budget raised in part from Nigeria’s tech elite, including the cofounder of fintech unicorn Flutterwave, Gbenga Abgoola, and Piggyvest’s Odun Eweniyi. The movie’s success—it claimed the most-watched spot on the platform in South Korea and has been the number-two ranked film in several countries across South America for over a week—makes it one of Nigeria’s rare breakouts on streaming platforms and is perhaps a vindication of Netflix’s decision to invest in “Nollywood,” as the local industry is known.

“Thanks to The Black Book, Nollywood filmmakers can now say, ‘Take a bet on us, support us with the right funding, and we will give you films that can compete globally on your streamer,’” says Daniel Okechukwu, a Nigerian film writer.

Effiong started his dramatic career writing and directing plays in church, which drew him into production design. At the age of 12, working on a play about the crucifixion of Jesus, he obsessed over building the right cross, spent time designing realistic Roman empire uniforms, and even developed a prop that gushed out fake blood when soldiers in the play were “stabbed” with a spear.

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This is the kind of ingenuity that’s needed to succeed in Nollywood, which has always been a low-budget endeavor. While its stories have often been overly theatrical and moralistic, they’ve always had the ability to entertain. Filmmakers work mainly with small budgets, between $25,000 and $70,000, typically finishing production within a few months. In the early days, they released their work on cassettes, but although the rise of cinemas and streaming networks has upped the game for filmmakers in terms of production quality, the industry continues to be grossly underfunded.

When Netflix formally entered the Nigerian film industry in 2020, many in the business thought it would mean more money flowing into productions. The streaming giant had previously licensed existing Nigerian films and made them available to its more than 200 million global subscribers. When it started investing in its own slate of original content, Nollywood hoped that it would spur a creative boom, as well as a financial one, giving filmmakers the opportunity to explore new ground. But Netflix’s early titles were broadly similar to what came before them, in similar genres, albeit with slightly more elevated production values. And the money wasn’t great either. Reports have shown that Nigerian filmmakers are paid a lot less compared to their counterparts in countries with significantly smaller markets. The average licensing fee for Nigerian films on Netflix is between $10,000 and $90,000 according to Techcabal, significantly less than in other parts of the world.

Although Netflix has often cited the market rate as the reason for that figure, Nigerian filmmakers have argued that if the platform intends to show Nigerian films to a global audience, it should pay global rates for it.

Netflix didn’t respond to a request for comment.

Two of Effiong’s previous films—Up North and The Set Up—were licensed by Netflix. He began making The Black Book in 2021. The film stars Nollywood veteran Richard Mofe Damijo as a former secret military agent whose child is framed and subsequently murdered by corrupt police officers. The film follows Damijo’s character as he embarks on a convoluted journey to wrestle justice from the hands of the perpetrators and dismantle a rotten institution that he helped build.

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Ade Laoye plays a supporting role as a budding journalist who is on a quest to uncover the truth behind her mother’s murder and finds her life intersecting with Damijo’s. “After reading the script, I was excited about the story, the potential cast, and his vision for the film,” Laoye says. “It was clear to me early on that this wasn’t ‘just another project.’”

With smaller budgets, Nollywood filmmakers, no matter how ambitious, have often had to compromise on their vision. To bring his dream to life, Effiong had to find unconventional routes to fundraise. He reached out to the colleagues and friends who worked in the tech industry and treated the process as though he was raising money for a tech startup, drawing up documents and making sure to provide weekly updates on the project.

“Investing in The Black Book was driven by a belief in the story and the potential impact it could have both within and outside Nigeria,” says Eweniyi, a cofounder of Piggyvest and one of the investors in the film. “The project presented an opportunity to support a movie that was rich, engaging, and culturally significant.”

Eweniyi says Effiong’s fundraising model is a template for future cooperation between the Nigerian tech and film sectors, especially with the allure of the quick returns Nollywood offers. One of the investors in The Black Book, Volition Capital, recently launched a $20 million investment fund dedicated to financing “African creative projects.”

“The tech industry in Nigeria is burgeoning, and collaborations between tech and the entertainment industry, particularly Nollywood, will open up new levels of content creation, distribution, consumption, and most importantly, quality,” Eweniyi says. “The synergy between tech and entertainment is excellent for both sides, honestly.”

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Access to a fuller budget gave Effiong and his crew more time with the script and the actors more time to prepare for their roles. It also allowed the production to use higher-quality equipment. The result is a visually slick movie, based around a story that uses contemporary political concerns—such as police brutality and administrative corruption—as the backdrop for personal narratives.

“Nollywood needs more money across the board, but the key thing is more money in the right hands,” says Okechukwu, the writer. “The Black Book is proof that we can make a globally successful film if we give an excellent producer a great budget. The global streamers now understand what they stand to gain from a million-dollar Nollywood title.”

Effiong says his ambition was always to make a movie that resonated beyond Nigeria. “Africa is seen as the last frontier, and when things are commissioned in Africa they’re like, ‘Yeah this is to grow the African market.’ But that’s not where I’m at,” he says. “From day one I always said that The Black Book is a Nigerian film meant for the entire world … I’m not just making a film for Africa. I’m making a film because I want to make a film for the world. I want to make a film that the world needs to see.”

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Entertainment

DJ Cuppy hints at career shift amid search for greater impact

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DJ Cuppy career shift

DJ Cuppy hints at a career change, reflecting on her growth and desire to make a bigger impact, sharing insights on social media.

 

 

Florence Otedola, widely known as DJ Cuppy, recently revealed she might be ready to step away from her DJ career to pursue new opportunities for greater impact.

In a candid post on her X handle, the popular Nigerian disc jockey shared that while DJing has always been her passion, this year has brought on a sense of change. She hinted at a desire to “level up” and explore paths that could allow her to make a more significant difference.

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Also read: DJ Cuppy returns to school for fourth degree

 

“DJing is my passion, but tbh this year has felt like a whole new experience, like I’m meant to level up and make a bigger impact… Only God knows what’s next,” Cuppy wrote, leaving fans intrigued about her next move.

One fan, nostalgic for her previous work, encouraged her to return to DJing, admitting he “missed her vibes” on social media.

Responding with unexpected honesty, DJ Cuppy said, “I don’t like the old me at all,” implying that she feels she has outgrown aspects of her past self and is seeking a fresh direction.

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Earlier this year, DJ Cuppy took a spiritual step by getting baptised, a journey she has embraced wholeheartedly. Following her baptism, she released a gospel mixtape, which she attributed to divine inspiration, indicating a possible shift in her music and personal focus.

For DJ Cuppy, this year seems to be one of profound reflection and exploration, with her fans eagerly watching to see where her evolving path will lead. Whether she returns to DJing or transitions into new ventures, it’s clear that Cuppy’s journey continues to captivate.

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Ayra Starr becomes most-viewed Nigerian female artist on YouTube

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Ayra Starr most-viewed Nigerian female artist on YouTube

Ayra Starr surpasses Yemi Alade as the most-viewed Nigerian female artist on YouTube, with her hit “Rush” now holding the top spot in views.

 

 

Nigerian music sensation Ayra Starr has achieved a major milestone by becoming the most-viewed female artist from Nigeria on YouTube.

The 22-year-old recently overtook Yemi Alade, amassing a total of 811 million views, compared to Alade’s 805 million.

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Also read: Revealed! Why Tiwa Savage is crazy over Ayra Starr

 

Starr’s rise on the platform has been driven largely by her viral hit *Rush*, which has gathered over 395 million views, making it not only her most popular video but also the most-viewed music video by a Nigerian female artist.

This record was previously held by Alade’s *Johnny*, which long stood as a hallmark of Nigerian music on the platform.

Although Ayra Starr now leads in total views, Yemi Alade maintains the highest subscriber count among Nigerian female artists on YouTube, with 2.41 million subscribers.

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Starr follows closely in second place with 2.26 million subscribers, reflecting her growing fanbase and influence.

Ayra Starr’s achievement highlights her rapid ascent in the Nigerian music scene and showcases the impact of her distinctive sound and style on audiences worldwide.

Fans of both artists celebrate this new era of Nigerian music, where young stars continue to break records and expand the global reach of Afrobeats.

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Tiwa Savage declares herself the “Big 1” in Nigerian music amid “Big 3” debate

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Tiwa Savage Big 1 Nigerian music

Tiwa Savage weighs in on the “Big 3” debate in Nigerian music, declaring herself the “Big 1” when it comes to pure talent and vocal prowess.

 

 

Nigerian superstar Tiwa Savage has entered the ongoing debate surrounding the “Big 3” in the Nigerian music industry, which typically includes Wizkid, Davido, and Burna Boy as the nation’s most influential artists.

However, there’s growing discussion about a possible “Big 4,” with fans and critics alike suggesting artists like Tiwa Savage, Rema, and Asake as strong contenders.

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Also read: Tiwa Savage reveals surprising truth about romantic advances

 

During a recent interview with The Beat 99.9 FM in Lagos, Tiwa Savage shared her views on being part of this elite list, boldly declaring herself as the “Big 1” in terms of talent.

When asked by the host if she felt a need to be considered in the “Big 3” or “Big 4,” Savage did not hold back. “Don’t get me started,” she replied confidently.

“If we are to go talent for talent, mic for mic, I am the Big 1. If you take off the numbers [streams], and whatever you want to judge the big whatever with, you can’t see me on the mic.”

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Savage’s remark highlights her belief in her vocal and artistic abilities, suggesting that streaming numbers or other industry metrics don’t fully capture her talent compared to her male counterparts.

“But again,” she added, “it’s not based on that [musical talent],” acknowledging that the current rankings may rely more on metrics beyond raw talent.

The “Big 3” debate has long captivated the Nigerian music scene, with Wizkid, Davido, and Burna Boy’s fans championing their respective idols.

Tiwa Savage’s confident take on the conversation not only asserts her place in the upper echelons of Nigerian music but also challenges the conventional ranking systems that may overlook artistry in favour of commercial success.

As the debate continues, Tiwa Savage’s strong statement adds fuel to the conversation, opening up discussions on what it truly means to be part of Nigeria’s music elite.

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