Money Heist to end with fifth and final season, adds 2 to cast

The heist is coming to an end.

Netflix’s international juggernaut Money Heist is returning for one last season. The upcoming fifth season will be its last, and production will begin Monday in Denmark before filming in Spain and Portugal.

When we last saw them, The Professor’s (Álvaro Morte) team was declaring war on the authorities during their job at the Bank of Spain as he was discovered by Alicia Sierra (Najwa Nimri), the inspector who’s been chasing him.

A heist began to save Rio (Miguel Herrán), but it cost them beloved team member Nairobi (Alba Flores). The show will be entering uncharted territory when it returns, going beyond the heist to avenge her death.

“We are moving from a chess game – a mere intellectual strategy – to a war strategy: attack and contention,” series creator Alex Pina tells EW of the gang avenging their fallen comrade. This new goal raises the stakes while keeping the story fresh and maintaining the adrenaline that has always run through Money Heist. The war they’ve been pushed to start results in “the most epic part of all the parts we’ve shot,” according to Pina.

Money Heist
TAMARA ARRANZ/NETFLIX

The Professor and his team’s world will have some new faces in it next season. Actors Miguel Ángel Silvestre (above), known for playing Sense8’s Lito, and Patrick Criado (below) are joining the ensemble cast. While Pina didn’t reveal full details about the new faces and how they’ll fit into the story, he did tease what they’ll bring to the final season. “We always try that our opponents be charismatic, intelligent, shiny,” he explains. “In this case, in pure war film genre, we also look for characters whose intelligence can measure up against The Professor’s.”

Money Heist
NIETE/NETFLIX

Pina also says audiences will get to know Denver’s childhood friend Manila (Belén Cuesta) much better over the final 10 episodes, and teases a standoff between Sierra and The Professor.

“Adrenaline is within Money Heist’s DNA. Every thirty seconds things take place and disrupt the characters, a turn of the screw to the action. The adrenaline mixed with feelings arising from absolutely complex, magnetic, unforeseeable characters will continue until the end of the heist to the Bank of Spain,” Pina says. “However, the gang will now be pushed into irreversible situations, into a wild war: it is the most epic part of all the parts we’ve shot.”

Watching The Professor’s intricate plan come to life has grabbed the attention of tens of millions of Netflix subscribers. Not only is Money Heist one of Netflix’s most popular shows of all time, but it is also the most popular non-English series from the streamer; part 4 of the crime drama, which premiered in April 2020, was watched by 65 million accounts in the first four weeks of release — that’s a million more than Tiger King, which premiered a month earlier, and just two million less than Stranger Things 3, which debuted in summer 2019.

Pina points to the show’s constant movement between action and emotion, as well as its underlying messages, to its global appeal. From heists to standoffs, the series has always centered the gang and their stories. “It is action and feeling, it is black comedy and drama, romance and pathos,” he shares. As for the themes of the show, Pina says viewers relate to the political and socioeconomic stance of The Professor’s team. What makes the citizens on the show rally behind the gang has also worked in getting audiences on their side.

Money Heist
NETFLIX

Money Heist Parts 1-4 are available to stream on Netflix.

New Nollywood movies on Netflix

Nollywod lovers! You are in for a special Netflix-binge for the month of June/July.

More Nollywood movies are making it to Netflix, one of the global movie streaming platforms, and we’ve got a list of movies that are sure to keep you and your loved ones entertained while staying at home, this month.


June

Kasanova

The star-studded movie stars Wale Ojo, Ireti Doyle, Toyin Abraham, Odunlade Adekola, AY Makun, Ruby Akubueze, Abayomi Alvin, Helen Paul, Ayo Mogaji among others.


Last Flight to Abuja

Last Flight to Abuja” is a 2012 Nigerian thriller disaster film written by Tunde Babalola, directed and produced by Obi Emelonye. The movie stars Omotola Jalade Ekeinde, Hakeem Kae-Kazim, Jim Iyke, Jide Kosoko, Uru Eke, Anthony Monjaro and others.

Merry Men

For the sequel, AY, Falz, Ramsey Nouah, and Jim Iyke return as the Merry Men, and Williams Uchemba joins them as the fifth Merry Man. BBNaija’s 2018 housemate, Alex Asogwa makes her Nollywood debut in the “Merry Men 2,” alongside Nancy IsimeLinda Osifo, Damilola Adegbite, Regina Daniels and ace actress Iretiola Doyle.

“Merry Men” tells the story of four of Abuja’s most eligible and notorious bachelors: Remi Martins (Falz), Amaju Abioritsegbemi (Ayo Makun), Ayo Alesinloye (Ramsey Nouah) and Naz Okigbo (Jim Iyke). The group, dubbed ‘The Yoruba Demons,’ are known for their thriving businesses, palatial homes, fast cars and penchant for beautiful women.

Elevator Baby

Elevator Baby” is a dramatic-thriller written and directed by Akhigbe Ilozobhie, and produced by Niyi Akinmolayan. The movie centres around Dare William (Timini Egbuson), a privileged young man with a temper and his encounter with Abigail Kuforiji (Toyin Abraham), a pregnant woman with a secret. When both characters get stuck in a faulty elevator, Abigail is forced into emergency labour, leaving Dare with no choice but to deliver the baby himself.

Skin

Skin” a documentary produced by Beverly Naya and directed by Daniel Etim Effiong is coming to Netflix. The documentary features interviews with Eku Edewor, Hilda Dokubo, BobriskyPhyno, as well as school children, traders, artists, beauty entrepreneurs and sex workers.

4th Republic

Ishaya Bako’s political thriller ‘4th Republic’, stars Kate Henshaw as a ‘Confluence state’ governorship candidate Mabel King, the film follows a hotly contested gubernatorial election and one woman’s quest to take back the seat she believes she rightfully won against all odds.

She Is

The movie is about “Frances” (Somkele Idhalama) an unmarried successful woman. What happens when she decides she wants to be a mother? “She Is” also features Linda Ejiofor, Chigul, Waje Iruobe, OmawLami Phillips, Chiwetalu Agu, Desmond Elliott, Frank Donga, Bishop Ime and others.

Hire a Woman

Hire a Woman” follows Jide, a tech nerd who has been stuck on his ex for years. He is meeting with old friends at a reunion party and hires girlfriend to prove he is over his ex. However, things spiral out of control and buried feeling are brought to the surface. Hire a Woman”, produced by Chinney Eze, stars Nancy Isime, Alexx Ekubo, Ifu Ennada, Bambam, Ray Emodi and Uzor Arukwe.

The Mirror Boy

The Mirror Boy” is a 2011 fantasy adventure drama film directed by Obi Emelonye and produced by Patrick Campbell. The film which was shot in England and the Gambia. The movie stars Trew SiderGenevieve NnajiOsita IhemeEdward KagutuziFatima JabbeEmma Fletcher, Peter Halpin.

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July

Cold Feet

Cold Feet is a drama-based story, which promises to be very educative and informative. It preaches against infidelity in marriage and also encourages love, affection over perfection. The movie stars Jim Iyke as a retired colonel and Joselyn Dumas as his wife. Their marriage is put to the ultimate test.

Locked

Locked is addressed the issue of mental health in our society.

Produced by Charles Granville, and directed by Simon Peacemaker, the movie features Nollywood stars Hilda Dokubo, Belinda Effah, Charles Granville, Sunny Nneji and Abayomi Alvin.

The movie tells a story about a woman who kills her husband and holds her daughter and fiancé hostage.

Survival of Jelili

The movie, titled “Survival of Jelili”, stars Femi Adebayo as Jelili, who takes us through a rib-cracking journey as a soldier, a cleaner and even a boxer. “Survival of Jelili” stars Nollywood and Comedy big-wigs such as Seyi Law, Woli Agba (Ayo Ajewole), Woli Arole, Desmond Elliot, Dele Odule, Toyin Abraham, Ninalowo Bolanle, Gbenga Adeyinka, Rachael Okonkwo, Oshiko Twins, amongst others.

The Perfect Picture – Ten Years Later

Shirley Frimpong-Manso‘s star-studded romantic comedy “The Perfect Picture – Ten Years Later“ is coming to Netflix in July. This movie is a sequel “The Perfect Picture” turned into a classic. In “The Perfect Picture -Ten Years Later” the girls are back, pushing their forties and their lives haven’t lost one spark of the drama they had 10 years ago. In fact, these girls are older, wiser and saddled with more issues in their not so fairy-tale relationships. It’s the roller coaster ride of imperfect husbands, repentant ex-boyfriends, financial woes and sexual liberation with a touch of a miracle that drives the spirit of their stories.

The movie stars Jackie Appiah, Lydia Forson, Naa Ashorkor Mensah-Doku, Adjetey Anang, Chris Attoh, Joselyn Dumas, John Dumelo, Kwaku Sintim-Misa, Richard Mofe-Damijo (RMD), Gideon Okeke, Beverly Naya, Anita Erskine, and Gloria Sarfo.

Ranked: top 10 Nigerian movies on Netflix

While staying at home due to the coronavirus pandemic isn’t something we’d ordinarily want to do, a lot of us have found creative ways to curb the boredom by creating routines and finding joys in the little things that ordinarily brought us joy before now. So whether it’s trying out new recipes on that YouTube channel or baking banana bread, all of these are valid reasons to stay busy until we’re expected to go out.

For us, one of the things that have kept us sane over time is streaming giant – Netflix. Over the past couple of months, we’ve spent time watching shows and catching up on exciting films on the platform. Before the coronavirus, Netflix had made a move to launch officially in Nigeria. According to most pundits, this move is expected to translate to the onboarding of more Nigerian content on the platform. All of this is strategic, seeing as Netflix recently rolled out two African original series – Queen Sono and Blood and Water, both set in South Africa.

Since 2015 when Kunle Afolayan’s October 1st was onboarded to Netflix, more and more Nigerian films have made their way to the platform after cinema runs, and this has become more frequent in recent months.

So we binge-watched all of the Nollywood films on Netflix and ranked the top ten:

10. The Figurine (2009)

In Kunle Afolayan’s film, two friends find a mystical sculpture that bestows good luck for seven years but has dark consequences in the years that follow. This film is refreshing and offers a breath-taking feel of a very traditional story from a more modern lens. It features the likes of Ramsey Noauh, Omoni Oboli and Funlola Aofiyebi.

9. October 1st (2014)

Again, Kunle Afolayan’s October 1st has been called many things, including a “masterstroke for Nollywood” by Pulse Nigeria and indeed, there’s an element of truth in it. The film, set in 1960, tells the story of a Nigerian police detective dispatched to investigate the murders of women in a small community. It stars veteran actor Sadiq Daba alongside Kehinde Bankole and a host of other stars.

8. Lionheart (2018)

Lionheart crossed off a few firsts in the Nollywood industry – it was the first original Nigerian film by Netflix, the first film to ever be submitted for an Academy Award and the first time that the ‘Julia Roberts of Nollywood’, Genevieve Nnaji, was behind the scenes as a director. Like Genevieve, Adaeze, the film’s lead, is looking to prove her worth and steps up to the task when met with not-so-pleasant scenarios.

7. The Wedding Party (2016)

It is not a reach to say that the Wedding Party ushered a new audience of Nigerian cinemagoers. Till today, the film holds the record for the highest-grossing film of all-time. Directed by Kemi Adetiba, this film gives you a look into everything that is the typical Nigerian wedding, offering you humour and colourful scenes to go.

6. Phone Swap (2012)

Kunle Afolayan’s 2012 film that was originally meant to be an advertising concept is definitely on this list. This film tells the tale of two people from different walks of life who accidentally switch phones and tread in each other’s shoes. Phone Swap is fresh and exciting.

5. King of Boys (2018)

Eniola Salami, a businesswoman and philanthropist with a checkered past is drawn into a power struggle that threatens everything she holds dear. She has to fight and prove herself to be the king of boys in a Kemi Adetiba classic that lasts for about three hours. King of Boys features Sola Sobowale and Adesua-Etomi Wellington, reuniting off their Wedding Party chemistry, as well as stars like Toni Tones, Jide Kosoko and Reminisce.

4. 93 Days (2016)

When the deadliest infectious disease, Ebola, known to man arrives in Lagos, 21 million people are put on the edge. 93 Days chronicles the events surrounding the importation and defeat of the virus, and, in a way, pays tribute to Dr Stella Adadevoh. The film was directed by Steve Gukas and features Bimbo Akintola, Somkele Iyamah and Bimbo Manuel.

3. Isoken (2017)

Isoken | Image: screenshot

Jadesola Osiberu’s debut is a typical story of most Nigerian women – has a good life but her family is worried because she is unmarried. For this project, Jadesola enlists some of the finest actors to bring her concept to life. There is Dakore Egbuson, Joseph Benjamin, Funke Akindele and Damilola Adegbite all making this film a favourite any day.

2. Kasala (2018)

In Kasala, four young men try to find a solution to a problem within 5 hours by exploring every avenue known to them. The best thing about this film is the progression of the storytelling and dare I say, it should be what a host of Nigerian films aim to be.

1. Living In Bondage: Breaking Free (2019)

After about twenty-five years, Living In Bondage: Breaking Free is the perfect sequel to the 90s blockbuster of the same name. It is bigger, and even more flamboyant and Ramsey Nouah’s first time directing.

Other Worthy Mentions
Mokalik
The Delivery Boy
Moms At War
Fifty
The Set-Up
The Arbitration

Cook Off, the no-budget romcom that became the first Zimbabwean film on Netflix

Tendaiishe Chitima, star of Cook Off, the first Zimbabwean film picked up by Netflix Photograph: Wikus de Wet/AFP/Getty Images

A Zimbabwean film about a woman who enters a TV cooking show and which cost only $8,000 to make has become the first feature from the country to make it onto Netflix.

“Seeing myself on Netflix, I have to punch myself every day. Like, is that really me?” asked actress Tendaiishe Chitima, star of Cook Off, which has now been acquired by the streaming giant.

Cook Off was shot in 2017, just months before the fall of Zimbabwe’s despotic ex-president Robert Mugabe, whose iron-fisted rule brought the economy to its knees. The romantic comedy had a meagre starting budget of just $8,000.

Cook Off official trailer

“It was not like a luxury shoot where you have your own trailer and you are big on wine,” said 29-year-old Chitima, sparkly eyed as she recalled the experience from her parent’s house in Johannesburg, South Africa.

“Everything was very minimalistic. We had to get things right the first time or the second time.”

Chitima plays main character Anesu, a single mother too busy making ends meet to pursue her passion for food … until her son and grandmother sign her up for a reality cooking contest.

For the Zimbabwean debutante, making it onto Netflix was a “miracle” given the filming conditions.

Most of Cook Off was shot on the set of Zimbabwe’s version of Top Chef, which airs on public broadcaster ZBC.

“We used the costumes, the set, the cooking pots of Battle of the Chefs,” said director Tomas Brickhill, referring to a programme now no longer airing. “Without that there would not have been any movie.”

Chitima admitted that none of the cast or crew had yet been paid for their work. Their budget barely covered food for the crew while on set.

“At the time there was restriction on (cash) withdrawals,” Brickhill recalled.

“Every day we had to source cash,” he said in an interview with AFP, adding that hard to get hold of notes were selling for more than their value on the black market.

The daily limit was $20 – not even enough for bottled water in a country crippled by hyperinflation.

“Other people think we are completely crazy,” he chuckled. “But we have been dealing with it for so long, that is normal for us.”

With no running water on set and little cash to spare, the Cook Off crew resorted to drinking boiled water from a garden tap.

The first days of shooting were also constantly disrupted by power cuts – a regular occurrence – forcing the team to stretch their paltry budget and hire a generator.

One day, one of the actresses found herself choked up in a cloud of tear gas fired to disperse an anti-government protest.

“She called and said: ‘I can still come but I am crying and I don’t know if I am going to be able to act because I don’t have a crying scene’,” said Brickhill.

Despite the challenges, Cook Off did not lose its sparkle and “feel good” effect.

“Previously I was acting in a lot of TV shows in which my role as a Zimbabwean was either a maid, a prostitute, or I was being trafficked,” said Chitima, who had previously featured only in shorter productions.

“A role in which I could play an empowered character pursing what she wanted was for me a great opportunity. The movie shows the other side of our story. That we are resilient and have dreams.”

Chitima hoped to eventually star in big budget productions.

Meanwhile, the crew and the cast are still awaiting their cheques, after agreeing to deferred payments.

What’s on Netflix this month – May 2020

By Hannah J Davies and Ammar Kalia

The Eddy, Schitt’s Creek, The Last Dance

The Last DanceAvailable now

13 years after his sensational debut, we find Michael Jordan on track to win his sixth NBA title in eight years with the revamped Chicago Bulls, making him perhaps the best basketball player of all time. Yet, club politics mean that this season could see a premature ending to a glittering career. Stacked with archive footage, interviews with all the key players – including a typically nonchalant Dennis Rodman – and a continual stream of the choicest 90s fashion, this fascinating docuseries is a must-watch for sports fans of all stripes.

1 May: Hollywood

Ryan Murphy follows up The Politician with an altogether different cast and setting for the latest production in his multi-million dollar Netflix deal. Set during the post-war Hollywood Golden Age, we join a group of wannabe writers, directors and actors trying to make it in the rapidly-modernising entertainment industry. First, though, they have to navigate a lascivious gas station owner, and the town’s deeply ingrained prejudices. A moving and often hilarious look at a much-mythologised era.

5 May – Jerry Seinfeld: 23 Hours to Kill

Jerry Seinfeld continues his Netflix production slate with his first original comedy special in 23 years. Shot at New York’s Beacon Theatre, 23 Hours features misanthropic musings on everything from the architecture of toilet stalls to the hapless nature of supervillains, and proves a welcome return for the king of observational comedy.

8 May – The Eddy

Following his big screen hits Whiplash and La La Land, jazz fanatic Damien Chazelle continues his fascination with the esoteric genre. For his TV debut, he offers a moody, amorphous tale of pianist Elliot (André Holland) who, in self-imposed exile from New York, finds himself running a struggling Parisien jazz club called The Eddy. With his daughter arriving to stay and his business partner Farid (Tahar Rahim) keeping some nefarious company, his precarious existence soon starts to unravel.

14 May – Schitt’s Creek

The final series of the hysterical, Arrested Development-esque comedy about a formerly wealthy, now decidedly down on their luck brood arrives on UK screens this month. As it kicks off, David and Patrick plan their nuptials, and Alexis gets to say “David” in her inimitable way once again as she tries to convince her brother of her benevolence. As sharp and witty as ever, the Rose family’s messy antics are sure to live on long after the final episode airs.

15 May – White Lines

The seedy underbelly of the party isle comes at the fore in this new drama from Money Heist creator Álex Pina, which delves into the mysterious death of a DJ some 20 years, and his sister’s quest to find out exactly what became of him. From sex parties to some very shady characters, this is pure escapism, with Daniel Mays – recently seen in Sky’s Code 404 – on form as a drug dealer with a murky past.

18 May – The Big Flower Fight

If Bake Off, Sewing Bee and The Great Pottery Throwdown have all had you glued to your screens with their twee competitiveness, this floral-based reality show is sure to be right up your street. Presented by comics Vic Reeves and Natasia Demetriou, ten teams must create increasingly extravagant floral displays in the hope of winning the grand prize: their own floral sculpture in London’s Kew Gardens.

22 May – The Lovebirds

Issa Rae and Kumail Nanjiani’s comedy was originally destined for a cinematic release, but with coronavirus shutting theatres indefinitely, Netflix have snapped it up instead. When they’re accused of a murder, Leilani (Rae) and Jibran (Nanjiani) go on the run, but will they be able to solve the crime or will they end up being banged up for it?

29 May – Space Force

Hot on the heels of Armando Iannucci’s space-set Avenue 5, Greg Daniels and Steve Carrell, writer and star respectively of the US version of the Office, team up once again for an otherworldly adventure about a new armed force who must “defend satellites from attack and perform other space-related tasks … or something”. Liable to be more Trumpian than the man himself.

Back row (From L-R): Banky W, Ted Sarandos (Netflix Chief Content Officer), Kate Henshaw, Richard Mofe-Damijo, Felipe Tewes (Netflix Italian & African Originals Director), Omoni Oboli, Ben Amadasun (Netflix Africa Licensing Director) and Akin Omotoso Front Row (L-R) Mo Abudu, Adesua Etomi, Dorothy Ghettuba (Netflix African Originals lead) , Kunle Afolayan, Kemi Adetiba and Ramsey Noah.

Netflix Naija: creative freedom in Nigeria’s emerging digital space?

Back row (From L-R): Banky W, Ted Sarandos (Netflix Chief Content Officer), Kate Henshaw, Richard Mofe-Damijo, Felipe Tewes (Netflix Italian & African Originals Director), Omoni Oboli, Ben Amadasun (Netflix Africa Licensing Director) and Akin Omotoso
Front Row (L-R) Mo Abudu, Adesua Etomi, Dorothy Ghettuba (Netflix African Originals lead) , Kunle Afolayan, Kemi Adetiba and Ramsey Noah.

By Samuel Andrews, University of Gondar

Netflix has increased its investment in Nigeria’s film industry, Nollywood. The dominant streaming company announced its presence via its newly created Twitter handle, NetflixNaija, while also detailing plans to commission original content by partnering with local creatives and investing in the space. The streamer has ordered an as-yet-untitled six-part series that will be directed by local directors Akin Omotoso, Daniel Oriahi and CJ Obasi.

This is a welcome development for the industry. Apart from the visibility and increased viewership, Netflix also gives Nigerian filmmakers a strategy to combat the adverse impact of piracy in Nigeria. It’s not the first attempt at this. An indigenous streaming platform, IrokoTV, established in 2011, has been using streaming to distribute Nollywood content while staying out of the reach of pirates.

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Nollywood is the second largest employer after agriculture in Nigeria. In 2014, Nollywood was worth $5.1 billion and made up 5% of Nigeria’s GDP. Although the first Nigerian films were made in the 1960s it wasn’t until the 1990s and 2000s that the industry blossomed as filmmakers took advantage of digital technology and internet distribution. Nollywood filmmakers have largely run an independent model for over three decades, producing about 50 movies a week.

Lax copyright laws and enforcement allow piracy to continue, though. For years, pirates have stolen Nigerian filmmakers’ profits at the end of the distribution chain by replicating and distributing films within days of VCD/DVD release. These losses lock up the industry’s full potential, as filmmakers experience difficulty in attracting funding for ambitious projects.

Creative freedom? Not yet

Netflix investment is great, but maximising the new resources depends on certain legal fundamentals. Are Nollywood filmmakers and stakeholders conversant with the ownership rights regime in the evolving digital copyright era? Will Nollywood get value for its rich creative resources when negotiating across licensing and other transactional platforms? How well would the Nigerian intellectual property laws – particularly its copyright laws – protect Nollywood creators in dealings with Netflix and other sophisticated partners?

Nollywood is disadvantaged at present, but there is hope.

A customer looks at some Nollywood movies in a shop at Idumota market in Lagos.
Cristina Aldehuela/AFP/Getty Images

Licensing is defined as the process of obtaining permission from the owner of a TV show or movie for various purposes, and online streaming is no different. A licensing agreement is established under the terms of a legally binding contract between the content owners and Netflix, and each agreement varies. Some licences will last into perpetuity, while others are limited for a time. This is why Netflix is constantly updating consumers on what will be available, and also what will soon disappear.

Netflix licenses out content that does not belong to it from the entity that owns that content. This vastly oversimplifies the process, but Netflix gets written permission from rights holders to show their movies. That permission comes in the form of a licence (a contract) that allows the use of copyrighted creations, contingent upon various limitations and fees.

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For original content, the company gets into specialised agreements with production houses. These agreements are made within the copyright regimes of the United States. Sound knowledge of these licence contracts and how they are structured is crucial for Nollywood’s growth.

Nigeria lags behind on copyright

Nigeria’s copyright law was first governed by the English Copyright Act 1911, which was made applicable to Nigeria by the colonial powers of Great Britain. Nigeria applied the 1911 Act until it was replaced with the Copyright Act of 1970. This act was considered inadequate because it failed to combat and punish the increasing rate of piracy and other copyright infringements. Hence the birth of the 1988 Act, later amended and recodified.

In 2012, the Nigerian Copyright Commission led the drafting of a new copyright bill, published in 2015. But the country’s National Assembly hasn’t passed it into law.

From the late 1990s, the global intellectual property regime encountered disruptive changes because of the influence of digital technology. The World Intellectual Property Organisation led the charge to change intellectual property laws to respond to digital creations and protect creativity. The outcome is the current global digitalised intellectual property regimes.


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Nigeria, with its archaic copyright regime, still lags behind. The country’s copyright laws and others which may complement copyright – including torts, contract and e-commerce laws – have not been updated since 1999. How can Nigerian creatives thrive globally if the minimum threshold for protecting their content isn’t modernised?

Nollywood’s creative handicap

Being the most successful video streaming platform, Netflix possesses the resources to protect its legal and business interest. Some commentators believe that it might become a monopoly in the streaming industry. This scenario will adversely affect Nollywood by limiting the bargaining space for alternatives. Local player IrokoTV needs to devise new strategies to compete.

In my earlier research between 2016 and 2018, I had discussions and interviews with some Nollywood stakeholders who raised their concerns about the inadequacy of digital copyright regimes in Nigeria to protect their creative interest.

A street clothing seller passes by two movie vendor stands at Idumota market in Lagos.
Cristina Aldehuela/AFP/Getty Images

If these concerns aren’t properly addressed, Nollywood creators may be operating in an unequal legal and economic environment which favours the video-on-demand partners. Nigeria’s copyright laws are outdated and in need of reform to adapt to current digitalised intellectual property regimes and productive methods.

How Nigeria can fix it

For Nollywood to fully compete at the global level, it should adopt a smart, proactive approach. Nigerian creators and policymakers need collaboration to achieve progress. Most importantly, it is time for the proposed amended Nigerian Copyright Act to become law. The amended law will help protect Nollywood in the digital market place.

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Nigerian copyright management organisations and performer rights organisations have to educate themselves and plan programmes to enforce the rights of their members. With digital platforms, the formation of contracts entails different legal regimes. Nigerian creatives need a reformed and recognised idea submission agency based on a deliberate policy and legal framework.

Nollywood should also focus on the economics of creativity. The industry needs metrics to track and measure skills and output of performances. A collaborative partnership with experts in economics, analytics, statistics and adjacent fields will help. Nigerian universities should revamp their curricula to train existing and emerging lawyers to master the intricacies of digital licensing so they can advise Nollywood’s creative industry.

Samuel Andrews, Professor of Intellectual Property Law, University of Gondar

This article is republished from The Conversation under a Creative Commons license. Read the original article.

100 Humans review – Netflix have your sperm, and they’re not afraid to use it

Each episode seems to stretch out time … 100 Humans. Photograph: Netflix

Amazing news! I’ve found something that makes the current situation – you know, the pandemic one, the US presidential one, the world on fire one – even worse! Just fractionally, but still worse. It’s called 100 Humans and is on Netflix. While its eight episodes are each 30 to 40 minutes long, they seem to stretch time out like a wire disappearing over the horizon into an infinite beyond.

It’s boring, is what I’m saying. We’re going to be holed up in our homes for the next 10 to 14 weeks while, God willing, the coronavirus peaks and passes, and Netflix has given us what may be the longest, dumbest and – in a crowded field – most worthless reality-experiment-pseudoscience show in history.

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The setup is that 100 people who represent a cross-section of American society are put through a selection of nonsensical tests to see if nonsensical theories are validated, or not. If I tell you that the first episode is devoted to determining the secrets of human attraction and that the first experiment is designed to test whether a man being a good dancer is indicative of a high sperm count (which is not and never has been a thing, not even – one suspects – to the host who suggested the test, when his producers shoved the script at him four seconds before they turned on the cameras) then you’ll have some idea of where we’re at. Which is at the bottom of the barrel, scraping furiously with broken-nailed hands and weeping.

‘Asinine and tedious’ … 100 Humans. Photograph: Netflix

While we wait for the dancers’ sperm test results to come back from the lab – and, not that it matters in the slightest, but it’s not a blanket test of all the men in the 100 but a self-selecting sample, so everything is even more utterly pointless than it would otherwise have been – we turn to the pressing question of whether people are more attracted to those in uniform. The answer is yes, no, sorta, maybe, meh.

Is being funny sexy? Does familiarity make you more attractive? Will good looks keep you out of jail? Where did they find the occasional members of the professional scientific community they drag in to mumble about Darwinpeacock’s tails and the halo effect, as they drag each section out far beyond its limit?


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The first episode ends with the dance competition among the 10 spunk-producers. It turns out – brace yourselves – that there is no correlation between dancing prowess and the number of gametes your testicles are sheltering at any given moment. Two concepts joined momentarily by a programme-maker on a deadline prove to have no greater connection beyond being an excuse for a dance-off that might hook an audience’s interest long enough for the ratings to register. Astonishing.

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Other episodes deal with questions in a manner so asinine and tedious as to add nothing to the sum of human knowledge or entertainment. Whatever point of self-isolation or Covid-19 induced anxiety you’re at, I would advise you not to watch. It will only bore you further and/or fail to distract you sufficiently from your troubles to be in any way worth your while. Regrout the bathroom, rewatch Brooklyn Nine-Nine, colour in the Os in the Bible and live-tweet your progress. Play Cluedo against yourself, memorise pi or have a nap. Because 100 Humans is no good. No good at all.

Pearl Thusi appeared at the Netflix “Queen Sono” Premiere looking hot

This is a moment. This is history. This is Netflix’s first African Original.

That’s how Netflix described the premiere of its first African original series “Queen Sono.”

The show stars the beautiful Pearl Thusi as a South African spy taking on dangerous missions while tackling issues in her personal life.

And, for the premiere, Pearl looked the part of a leading lady!

She arrived styled by Swanky Jerry in a dazzling Dona Matoshi dress. Simply: she looked gorgeous.

Check out photos of her from the premiere:

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