Tag: Nigeria

  • Kuma conquers Turkey as Goquest drama tops ratings and global charts

    Kuma conquers Turkey as Goquest drama tops ratings and global charts

    MUMBAI: Talk about a drama with bite! Kuma (The Other Wife), the breakout Turkish series from Goquest Media, has clawed its way from digital darling to television titan, topping national ratings and stirring conversations far beyond Turkey’s borders.

    Since premiering on Kanal 7, Kuma has consistently ranked among the country’s top six shows, scripted or unscripted. This year, it claimed the No. 1 spot on drama portal Dizilah’s list of 2025’s most talked-about titles. Not bad for a show that only launched on Youtube in April, where it quickly racked up more than 328 million views in five months.

    The show’s leap from online phenomenon to primetime hit is rare, but audiences across Turkey were quick to embrace its heady mix of love, betrayal and family intrigue. Calls for a second season are already growing louder.

    Kuma’s popularity is hardly confined to Turkey. Licensed in more than 19 countries including Israel, Romania, Indonesia, Mexico and Nigeria, the series has repeated its ratings triumph wherever it has aired. In Indonesia, demand was so strong that it graduated from an OTT platform to nationwide free-to-air television.

    The drama also marks a milestone for Goquest Media. Produced in collaboration with Stellar Productions and VIP 2000 TV, Kuma is the distributor’s first original title under its make-to-sell model.

    “Kuma’s extraordinary journey from YouTube sensation to Turkey’s top drama is a testament to the power of audience passion,” said Goquest Media, managing director, Vivek Lath.

    With its soaring success and cross-border appeal, Kuma has proved that a strong story travels well. In 2025’s crowded entertainment landscape, this Turkish drama has become a global talking point: one toast at a time, in every language.
     

  • Spotify Q4 strikes a chord with record-breaking 16 per cent revenue uptick

    Spotify Q4 strikes a chord with record-breaking 16 per cent revenue uptick

    MUMBAI: Spotify has cranked up the volume on success, wrapping up 2024 with a Q4 that hit all the right notes. The music streaming powerhouse saw nearly every key metric outperform expectations, proving that when it comes to growth, Spotify is playing a chart-topping hit.

    The platform’s monthly active users (MAUs) surged to 675 million, marking a 12 per cent year-on-year (YoY) increase, while premium subscribers climbed 11 per cent to 263 million. Clearly, more people than ever are hitting play on Spotify’s offerings, and the company isn’t skipping a beat.

    Revenue swelled to €4.24 billion, reflecting a 16 per cent YoY increase, with both premium and ad-supported segments driving the momentum. The premium segment alone raked in €3.7 billion, up 17 per cent, fueled by strong subscriber growth and an uptick in average revenue per user (ARPU). Meanwhile, ad-supported revenue reached €537 million, a seven per cent annual rise, even as the global ad market faced turbulence.

    Spotify’s advertising business continued its ascent, with both music and podcast ad revenue showing solid gains. However, pricing softness in some regions tempered overall ad growth. Automated sales channels played a pivotal role in pushing ad revenue higher, especially in fast-growing markets. The ad-supported gross margin rose to 15.1 per cent, an increase of 351 basis points (bps) YoY, reflecting smarter monetisation strategies and enhanced content efficiencies.

    Not to be outdone, Spotify’s gross margin soared to 32.2 per cent, a resounding 555 bps increase YoY. And for the real showstopper: the company recorded an operating income of €477 million—its highest ever—securing its first full year of operating profitability.

    In the realm of free cash flow (FCF), Spotify turned the dial all the way up. The company generated €877 million in Q4, pushing its total FCF for 2024 to a record-breaking €2.3 billion. That’s a lot of cash dancing to the beat of Spotify’s success.

    With the company in full growth mode and its financials singing a happy tune, 2025 looks like another year where Spotify will keep the hits—and the numbers—rolling.

  • GoQuest acquires China rights for Sudani from Nigeria

    GoQuest acquires China rights for Sudani from Nigeria

    MUMBAI: Independent content distributor GoQuest Media today announced acquisition of Chinese language all media rights for the multi award winning Malayalam movie “Sudani from Nigeria” written and directed by Zakariya Mohammed. The movie has won multiple accolades in film festivals nationally as well as worldwide and has been rated 8.3/10 by IMDB.  

    Having won the FIPRESCI Award for Best Malayalam Film at the International Film Festival of Kerala, Audience choice award in Hero and Time International Film Festival 2019, Zhelesnovdsk, Russia, Top honours like best director award at International Film Festival Morocco, “Sudani from Nigeria” is now part of the official line-up at the prestigious Shanghai International Film Festival 2019.

    Shanghai International Film festival is one of the biggest and most regarded film festivals in Asia. Since its beginning in 1993, Shanghai International Film Festival has grown to become an A-category international film festival and is recognized by the International Federation of Film Producers Associations as the first and only international non-specialized film festival in China. “Sudani from Nigeria” will be presented this week as a part of this prestigious international film festival which also happens to be Mainland China's largest showcase of global cinema.

    Vivek Lath, Co-founder, Go Quest Media Ventures said, “We at GoQuest Media distribution aim to showcase the best of entertainment not just from India, but from across borders to world audience. There is always an appetite for good content irrespective of language or regions. It is our endeavor to bring great content to audiences internationally and “Sudani from Nigeria”, is a classic joie de vivre story and good content knows no boundaries".

    Description: Description: https://ssl.gstatic.com/ui/v1/icons/mail/images/cleardot.gif Set in the backdrop of Malappuram Kerala (South of India), Majeed (Soubin Shahi) the manager of a local football club, hires Samuel ( Samuel Abiola Robinson) a Nigerian football player. Samuel encounters an accident and Majeed takes him to his village to recuperate. This leads to a series of events that changes the course of his life and those who take care of him. An unlikely bond develops between Samuel (nicknamed as Sudani) and the local villagers despite language barriers and differences in culture. What follows is a touching human tale of finding home and love in a far-away land.

    Besides the positive critical response and bouquet of awards and accolades, “Sudani from Nigeria” also became an instant commercial box-office success, being one of the highest-grossing Malayalam films (South of India) of 2018  and has also gone on to perform very well amongst the diaspora in Gulf countries. 

  • Onefootball bags English Premier League digital streaming rights for India

    Onefootball bags English Premier League digital streaming rights for India

    MUMBAI: Football app Onefootball has bagged the digital streaming rights package within India for the English Premier League (EPL) covering the next three seasons – 2016-17, 2017-18 and 2018-19.

     

    Additionally, sports radio station talkSPORT, which is the global audio partner of the Premier League, has also reached agreement with radio broadcasters and streaming companies in Ghana, Nigeria and Australia to carry talkSPORT’s live English Premier League audio commentary throughout the three football seasons.

     

    Citi FM in Ghana and Nigeria’s Nigeria Info are long-standing partners of talkSPORT who have each been awarded rights packages for a further three seasons.

     

    Eon Sports Radio is a new sports radio network, which plans to launch nationally in Australia in 2016 with a entertaining blend of original and licensed sports programming. As well as EPL audio rights, talkSPORT has also agreed to share other programming content with Eon Sports Radio, to include sports talk, interviews and features from talkSPORT’s award-winning UK output.

     

    As global audio partner of the Premier League, talkSPORT controls an exclusive package of international audio rights  until 2019, allowing the station to broadcast official live commentary of all 380 Barclays Premier League matches in any language to listeners around the world outside of the UK and Republic of Ireland.

     

    talkSPORT’s international tender process for the 2016-17 – 2018-19 seasons is continuing, with further licensing rounds scheduled in various key territories during December.

     

    talkSPORT director of international Jimmy Buckland said, “Today’s announcement is great news for football fans in India, Ghana, Nigeria and Australia. We’re delighted to be extending our relationships with some long-standing partners whilst welcoming a new partner in Australia. Eon Sports Radio has an ambitious plan to create Australia’s first new national sports radio network and talkSPORT looks forward to playing its part in the network’s upcoming launch.”

     

    UTV Media COO Scott Taunton added, “talkSPORT International has grown rapidly over the last three years, establishing a strong network of international broadcast and streaming partners. As global audio partner of the Premier League until 2019, talkSPORT is uniquely positioned to enable brands, broadcasters and streaming platforms tap into international audiences’ ever growing interest in the world’s most exciting football league.”

     

    talkSPORT is an official broadcaster of the Barclays Premier League, the 2016 UEFA European Football Championships, the FA Cup, England football internationals and the Capital One Cup.

  • Digital fuels growth in Africa’s entertainment & media industry: PwC

    Digital fuels growth in Africa’s entertainment & media industry: PwC

    MUMBAI: After more than a decade of digital disruption, the African entertainment and media industry has entered a new landscape – one where the media is no longer divided into distinct traditional and digital spheres, according to a report from PwC titled Entertainment and media outlook: 2015 – 2019 (South Africa – Nigeria-Kenya). 

     

    The Outlook forecasts that South Africa’s entertainment and media industry is expected to grow from R112.7 billion in 2014 to R176.3 billion in 2019, at a compound annual growth rate (CAGR) of 9.4 per cent. Digital spend is expected to fuel the overall growth. South Africa’s Internet access market will rise rapidly from R32.5 billion in 2014 to R76.2 billion in 2019, far ahead of any other consumer spend category, making it the largest contributor to South Africa’s total entertainment and media revenues.

     

    PwC Southern Africa entertainment and media leader Vicki Myburgh said, “This year’s Outlook shows consumer demand for entertainment and media experiences will continue to grow, while migrating towards video and mobile. Increasingly, though, it’s clear that consumers see no significant divide between digital and traditional media – what they want is more flexibility, freedom and convenience in when, where and how they interact with their preferred content.”

     

    “Consumers are choosing offerings that combine an outstanding and personalised user experience with an intuitive interface and easy access. This includes shared physical experiences like cinema and live concerts, which appear re-energised by digital and social media,” Myburgh added.

     

    The Outlook presents annual historical data for 2010–2014 and provides annual forecasts for 2015–2019 in 11 entertainment and media segments for South Africa, Nigeria and Kenya: the Internet, television, filmed entertainment, video games, business-to-business publishing, recorded music, newspaper publishing, magazine publishing, book publishing, out-of-home advertising and radio.

     

    Aside from the Internet, the Outlook predicts that the fastest growth will be seen in video games, business-to-business and filmed entertainment. “But it is Internet access itself that is acting as a driver of revenues in video games and film, creating new revenue streams by making over-the-top (OTT)/streaming or social/casual gaming viable to more consumers and thereby cancelling out physical falls,” added Myburgh.

     

    Music, magazines and newspapers, which will show only moderate consumer growth, are three segments that face strong competition from the Internet. The music market was worth R2.01 billion in 2014, compared to R2.08 billion in 2013. Annual revenue is forecast to grow marginally by a CAGR of 1.3 per cent over the next five years to remain relatively flat at R2.1 billion in 2019.

     

    Television remains a highly significant contributor to consumer spending, with combined revenues from TV subscriptions, advertising and licence fees projected to reach R40.9 billion by 2019. The report also shows that one consistent trend – and not just in South Africa, but globally – is the rise in overall consumer spending through to 2019 on video-based content and services, against far flatter prospects for spending on primarily text-based content and services. If consumer revenue from TV subscriptions and licence fees is aggregated with that from video games, around R4.5 billion will be added between 2014 and 2019.

     

    In contrast, consumer revenue from books, magazines and newspapers is expected to rise by just R1.3 billion over the entire forecast period.

    Alongside video providers, a further thriving source of revenue over the coming five years will be live events. Revenue from live music is expected to grow at a CAGR of 7.9 per cent in the next five years, reaching R1.5 billion in 2019, up from R1 billion in 2014. Box office revenues are also steadily increasing at a CAGR of three per cent to reach R972 million by the end of the forecast period.

     

    The appeal of live entertainment has also had a positive effect on the related advertising revenues. South African cinema advertising revenue is also rising at a CAGR of 6.7 per cent and will be worth an estimated R884 million in 2019. “It is clear that consumers value – and are willing to pay a premium for – real-life physical entertainment experiences, and these in turn are the types of consumers that advertisers wish to target,” said Myburgh.

     

    The report shows that South Africa’s total entertainment and media advertising revenue is expected to rise by 5.6 per cent from R39.7 billion in 2014 to R52.1 billion in 2019. TV advertising is by far the largest contributor to total advertising revenues, followed by newspaper advertising: however, their combined 52 per cent share of total advertising in 2014 will fall slightly to 51 per cent in 2019.

     

    Despite the strong projections for advertising, its share of the entertainment and media mix is predicted to decrease by 2019 as consumer spending takes an ever larger part of the pie; from 35 per cent in 2014, advertising will account for just 30 per cent of spending in 2019.

     

    “Affordable Internet access will continue to digitally disrupt the market in novel and innovative ways. The ongoing spread of services to mobile networks, novel devices and emerging markets will change how media and entertainment are served, consumed and monetised in multiple ways. Affordable Internet access will also inhibit the revenue growth of various sectors as consumers use it to access free, ad-funded and lower-priced subscription-based versions of new and existing media services,” said Myburgh.

     

    Nigeria

     

    Nigeria’s entertainment and media market grew by 19.3 per cent in 2014 to reach $4 billion. By 2019, the market will be more than twice as big, with an estimated total revenue of $8.1 billion. As in South Africa, the Internet will be the key driver of growth for Nigeria. Television, comprising revenue from TV advertising and subscriptions, is the other main driver.

     

    Excluding Internet access, television, filmed entertainment and video games are the areas where Nigerian consumers are expected to spend the most over the next five years.

     

    Consumer spend on video games and music is set to see the sharpest rise in forecast CAGRs at 14.3 per cent and 11.4 per cent, respectively. Piracy continues to remain a problem in Nigeria, limiting growth across several entertainment and media sectors.

     

    Kenya

     

    Kenya’s total entertainment and media industry was valued at $1.8 billion in 2014, up 13.3 per cent from 2013, when it stood at $1.6 billion. The market is expected to surpass the $3 billion mark in 2019 to reach $3.3 billion.

     

    Again, the Internet is expected to be the largest driver of growth, followed by television and radio. TV advertising will overtake radio in 2016, and Internet advertising will see the fastest growth rate at a CAGR of 16.8 per cent. Traditional mediums such as TV, radio and newspapers will continue to be the first choice for most Kenyan advertisers in the foreseeable future.

    Kenya’s total entertainment and media industry was valued at $1.8 billion in 2014, up 13.3 per cent from 2013, when it stood at $1.6 billion. The market is expected to surpass the $3 billion mark in 2019 to reach $3.3 billion.

     

    “Today’s media companies need to do three things to succeed: innovate around the product and user experience; develop seamless consumer relationships across distribution channels; and put mobile (and increasingly video) at the centre of the consumer’s experience,” concluded Myburgh.

  • Desperate Housewives gets an African flavour

    Desperate Housewives gets an African flavour

    CANNES: Looks like Disney Media Network is on a roll with its president global distribution Ben Pyne, making a slew of announcements on day two of Mipcom.

    First up, a local production of Disney’s iconic series Desperate Housewives is on the cards. Christened Desperate Housewives Africa and filmed in Nigeria, the series, co-produced by EbonyLive TV and Disney Media Distribution EMEA, is slated to hit television screens in the summer of 2014.

    Disney Media Distribution general manager emerging markets Giovanni Mastrangelo said: “Co-producing the series with EbonyLife TV offers an opportunity to engage African audiences through locally relevant and entertaining storytelling. The local version of the series, starring pan-African cast, will bring to life the universal stories and characters created by ABC Studios.”

    Said an excited EbonyLife TV CEO and executive chairman Mo Abudu: “In Desparate Housewives, we find one of the most amazing formats for TV and are extremely excited to be co-producing it with Disney. On our part, and in line with our mission which is to bring original, home-grown and premium content with an African soul, we will work to ensure parity with the original storyline and production values that have characterised the global series, without compromising on the African essence.”

    The series will feature established and emerging African talents and is being shot 
    in Lagos, Nigeria, where a local ‘Wisteria Lane’ too has been found.

    Secondly, Pyne announced the launch of Disney Movies on Demand, a Disney-branded subscription-based video-on-demand service in Hungary.

    Scheduled to air on FUSO on 25 October, Disney Movies on Demand includes classic and live action titles such as Cars, Toy Story, Wall-E, Pirates of the Caribbean, Mary Poppins and Aladdin among others. The FUSO platform is available on Sony LG, Samsung and select Android tablets and iOS devices and will soon be made available on Xbox One and Sony PS4 as well. 

     
    Speaking of its very first branded subscription-based SVOD service for Disney in Hungary and Eastern Europe, Fuso Ecosystem president Csaba Lazar said: “Fuso’s subscribers will be delighted about the content, which will be available on Fuso premium service. We are excited to be the first eastern-European country to launch such a SVOD service.” Pyne informed that the deal was mediated and negotiated by Eastwest Entertainment, the Australian movie and television distribution company and Profour Film.

    The third and last announcement was about Disney Media Distribution licensing ABC Studios and Marvel Television’s new series Marvel’s Agents if S.H.I.E.L.D to broadcasters across the globe in 155 territories including Channel 4 in the UK, Kanal 5 in Sweden, Viasat 4 in Norway, Digiturk in Turkey, OSN in the Middle East and North Africa and Star World Premiere HD in India, among others.

    Which means episodes of the series will be available to distributors who show English language programming within 24 hours of its US debut on ABC, as well as in the dubbed in local language form 14 days after the airing. Pyne informed that a number of agreements with new media platforms have been concluded to complement the show’s linear transmission. As part of this, even viewers in China can access the series 24 hours post the US transmission on Sohu LeTV, iQiyi, Tencent and Tudou.

  • CNN to invest in expanding newsgathering network

    MUMBAI: In the biggest expansion of international newsgathering resources in its 27-year history, CNN Worldwide has announced plans to significantly increase the number of correspondents worldwide, open a regional newsgathering hub in the United Arab Emirates, invest in a London-based digital-production unit, and make major investments in CNN’s International Newsource and CNN’s in-house wire operations.

    CNN International executive VP, MD Tony Maddox says, “This is all about owning more content; these new resources will have a huge impact across all of CNN’s networks and platforms. Owning the content we broadcast, publish and make available to affiliates and other platforms is the backbone of this business. This multi-million dollar investment in staff and resources bolster our world-class, award-winning journalism as well as give us the power to move swiftly into developing new business models.”

    New operations are also planned for India, Afghanistan, Belgium, Kenya, Malaysia, Nigeria, the Philippines, Poland and Vietnam. CNN will also appoint two new correspondents for the network’s Johannesburg bureau and add an additional correspondent at both its London and Istanbul bureaus.

    Investments are underway in CNN’s Asia Pacific newsgathering hub in Hong Kong to increase staffing, and the network plans to assign additional correspondents in Beijing, Jakarta and Pakistan.

    At the same time, CNN is also revitalizing its Tokyo bureau to encompass additional reporting duties in South Korea to work within the current structure.

    CNN will expand both its newsgathering and production facilities in the United Arab Emirates, bringing to bear more resources across the region in terms of programming and reporting, including more business coverage.

    CNN is also expanding its international online services with the creation of a digital production unit that will be primarily based in London, with additional staffing also in Hong Kong and Atlanta. This unit will produce and feed the rapidly growing number of new platforms that CNN services globally. This team will work alongside the television operation and will be responsible for providing content for CNN International, CNNArabic.com, CNNMobile and new CNN services on TV-to-broadband sites.

    CNN’s International Newsource operation will also expand to provide additional editorial, content and newsgathering services to CNN’s more than 1,000 affiliates worldwide. CNN’s in-house wire service is also being strengthened with additional staff to ensure swift and accurate dissemination of all of the additional material becoming available across all of CNN Worldwide services and networks.

    In Mexico, CNN en Español will strengthen its presence with the hiring of an anchor and correspondent and an additional editor working from the network’s Mexico City newsgathering bureau and production center. CNN en Español also will add to its editorial team in Atlanta to better service the increased volume of affiliate and stringer content and the development of new digital services.

  • BBC World Service’s annual review indicates trust on a high

    BBC World Service’s annual review indicates trust on a high

    MUMBAI: BBC World Service has published its annual review. It notes that it managed to enhance its reputation as the world’s leading international broadcaster throughout a “year of change, achievement and innovation.”

    Independent research evidence published in the Review indicates that BBC World Service’s reputation for trust and objectivity is higher than for any other international broadcasters in virtually all markets surveyed – including India, Nigeria, Pakistan, and USA.

    BBC World Service director Nigel Chapman says, “It was a year of major achievements and innovation: a record-breaking audience figure; a step change in our interactive services; and the biggest strategic shift in priorities in BBC World Service’s 70-year history. These welcome developments took place against a backdrop of ever more rapid technological change and the emergence of powerful and often divisive global forces.”

    “It is particularly pleasing to see how our programmes command the highest scores for reputation, trust, and objectivity in most markets when compared to our international competitors.”

    The new weekly audience figure of 163 million, compiled from independent surveys around the globe, is an increase of 14 million on last year’s figure of 149 million. This new figure breaks the previous BBC World Service record audience of 153 million in 2001. The new figure equates to around 50 per cent more listeners than any comparable international broadcaster.

    BBC World Service is now available on high quality FM sound in a record 150 capital cities out of a total of around 190 – up from 145 last year. This higher quality of audibility is vital to retain audiences.

    Online audiences to the BBC’s international facing news sites have also shown significant rises. The sites attracted around 500 million page impressions a month in March 2006 compared to 324 million page impressions in March 2005.

    This is a rise of over 50 per cent over the year. The site now attracts around 33 million unique users each month; up from around 21 million unique users a year ago. BBC World Service achieved efficiency savings of £7.1 million in 2005/06.