Nollywood has been criticised for recycling plots, underdeveloped characters, and predictable narratives for years. Despite improvements, the perception of inconsistent writing persists.
The rise of platforms like YouTube and streaming services is reshaping the industry, though not without criticism.
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These platforms have influenced the pace, style, and distribution of Nollywood storytelling. As concerns grow about the direction of Nollywood storytelling, the question arises—could YouTube’s dominance signal a decline in quality or an opportunity for growth?
In 2024, Veteran Nollywood figures offered differing views. Kanayo O. Kanayo worries YouTube could harm Nollywood’s future, while Bimbo Akintola sees streaming as a complement to cinemas.
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Kunle Afolayan, while appreciating Netflix, urged a focus on strengthening local distribution channels.
As global audiences demand better narratives, screenwriters like Xavier Ighorodje demonstrate their adaptability to new storytelling standards shaped by these platforms, reassuring us of Nollywood’s resilience and potential for growth.
Mr Ighorodje is a Nigerian screenwriter, director, and producer best known for creating Shanty Town, one of Netflix’s most-watched shows in 2023. His portfolio also includes Ajoche, Battleground, Jemeji, Unbroken, Enakhe, and Covenant, earning him recognition in Nollywood.
In this interview with PREMIUM TIMES, he reveals more perspectives on Nollywood storytelling standards.
Streaming platforms vs storytelling
A recent controversy involving Omoni Oboli, who had to take down a film after another producer cited strong similarities, raised concerns about script originality.
The script had reportedly been sold to multiple producers by the same writer, prompting discussions on how competitive and fast-paced Nollywood storytelling has become.
When asked if the rise of YouTube and streaming services has led to a decline in storytelling quality, just as in that scenario, Mr Ighorodje disagreed, arguing that YouTube has actually raised the bar for storytelling quality, not lowered it.
The screenwriter said, “I wouldn’t say that at all. I don’t like when certain stories are labelled ‘YouTube stories’ or ‘Netflix stories’ as if those categories exist. It’s the platforms that determine the form of the stories they receive. On YouTube, you’re releasing content directly to viewers who pay with their time, while on Netflix, you may be commissioned or receive acquisition fees. The producers who run YouTube channels are taking significant risks to make their investments worthwhile.
“I have seen amazing cinematography, directing, and performances in films released for free on YouTube—sometimes even better than some performances in cinema-released films. If anything, the sheer volume of projects being released on YouTube creates more opportunities for creatives across various roles.”
Curbing Unemployment
Mr Ighorodje noted that YouTube’s fast-paced nature drives industry growth by addressing unemployment. He further offered a comparative perspective on the ongoing quantity-versus-quality debate.
“On average, at least five films are released by different YouTube channels daily. That means at least 35 new materials weekly, translating into work for scriptwriters, cinematographers, editors, and crew members. Even in a worst-case scenario, YouTube has created employment opportunities across the industry.
“The issue with YouTube is volume. If 30% of YouTube films are bad, that means 30 out of 100. If streaming platforms release 10 films and three are bad, the percentage is still 30 per cent. It’s just that YouTube releases more, so the flaws seem more apparent. Nollywood has evolved and is also evolving to date.”
Merging culture and storytelling: ‘Uriri’
‘Uriri’ is an epic fantasy drama that premiered on 30 December 2024. Created by Mr Ighorodje, the series spans 39 episodes and is set in the 15th-century Niger Delta. It follows Ogaga (Seun Ajayi), a legendary warrior battling inner demons while navigating love and destiny. His relationship with Serome (Osarehia Oronsaye) sets off events that challenge loyalty and traditions.
Incorporating the Urhobo dialect, the series is distinct for its storytelling, cultural authenticity, and strong characters. It airs on Africa Magic Showcase (DStv Channel 151) at 8:30 p.m. from Monday to Wednesday, with episodes on the DStv Stream App.
When discussing the core inspiration behind ‘Uriri,’ the screenwriter highlighted the importance of cultural representation and the brotherhood theme as a major driving force.
“Besides highlighting society, my primary responsibility as a storyteller is to tell a fantastic story. Being Urhobo, I wanted to create something that reflected my culture. For the longest time, I wanted to tell epic dramas infused with fantasy and African spirituality. But most opportunities pushed me towards crime dramas and thrillers. When Uriri came, I saw it as the perfect chance to bring my vision to life.
“Brotherhood plays a massive role in Uriri. The relationships between the King and the Okakuru, between Okaka and Ochukwu, and others reflect different dimensions of brotherhood. It’s not something many Nollywood films explore deeply, so I wanted to change that.
“Love is a universal language. When Ogaga meets Serome, their connection is immediate. But the gods shape their journey in unexpected ways. As the story unfolds, audiences will see how love and destiny intertwine.”
Casting, cultural representation
The filmmaker revealed that casting for Uriri was rigorous, with both performance and cultural representation in mind, adding that a language consultant was brought in to guide the actors.
“We had a strict casting process. The production company reviewed audition tapes, then the commissioning agency, and finally, upper management. While performance was the priority, we also ensured cultural authenticity by casting actors fluent in Urhobo.”
“To maintain authenticity, we hired a cultural consultant who doubled as a language coach. Before filming, actors could reach out for pronunciation guidance. On set, the consultant was available to fine-tune dialogue. Some pronunciations weren’t perfect, but the actors worked hard to sound as natural as possible.
“Since the show aired on Africa Magic, we structured the dialogue predominantly in English, with Urhobo infusions for cultural depth. This allowed native and non-native speakers to follow the story without subtitles, though subtitles enhanced the experience for those who used them.”
READ ALSO: ‘Osuofia’@70: Seven times Nkem Owoh delivered unforgettable Nollywood characters
Execution challenges
Mr Ighorodje reflected on the intricate planning behind Uriri and explained some of the visual motifs.
“For this project, I applied lessons from my mentors, past experiences, and previous works like Stereo Breakfast. Everything was intentional—from the script to the opening montage, music selection, and cinematography. Symbolism played a considerable role.
“The ‘conquering crocodile’ represents someone who has mastered the land, air, and sea. The crocodile signifies dominance over water, the elephant represents control over the forest, and the eagle feathers symbolise air mastery. Every element was chosen deliberately to depict power, love, and the consequences of choices.”
For the scriptwriter, Uriri is more than just a series; it is a benchmark for his future projects. “This project serves as a reference point. Instead of explaining my capabilities, I want my work to speak for itself. Uriri proves what my team and I can achieve with the right resources and vision.”
As Nollywood continues evolving, filmmakers like Mr Ighorodje navigate digital platforms’ challenges and opportunities. Whether through YouTube, Netflix, or traditional cinema, the core of great storytelling remains the same—compelling narratives that resonate with audiences.
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