When Canal+, the new parent company of MultiChoice, announced the discontinuation of Showmax streaming services across its African business regions in March, the news was met with a mixture of nostalgia and deep reflection. For the Nigerian film and television industry, the platform was more than a Subscription Video on Demand provider; it was a catalyst. Over its seven-year tenure, it transformed from a newcomer in 2019 into a powerhouse that put real money behind local narratives, proving that indigenous content was a global commodity.
Entry into Nigeria
When Showmax entered Nigeria in 2019, it stepped into one of Africa's most vibrant and competitive media markets. The streaming wars were still theoretical; Netflix had arrived, Amazon was circling, and YouTube was ubiquitous. Showmax's entry signaled a shift in strategy. While global competitors focused on licensed content, the platform leaned into radical localisation. The mission was clear: establish a dominant presence by becoming the primary custodian of Nigerian original stories.
The formal launch occurred in October 2021 with the premiere of Ghana Jollof, a lighthearted comedy about four friends navigating love and career. It was proof of concept: a streamer willing to commission, not just license. As the first Showmax Original commissioned for the market, it served notice that the platform was a production house in its own right.
Impact on Filmmakers
James Omokwe, a Nigerian filmmaker who co-created Diiche and directed Wura, said: "That green light changed my life. For a long time, we were making magic with nothing. But Showmax brought real money to the table. They brought technical standards that forced us to level up." He added that before Showmax, most were developing for TV slots or waiting for cinema. "Showmax came in and said, 'Pitch us a six-episode limited series.' They validated our ambition by providing resources to match it."
Following Ghana Jollof, Showmax commissioned at a pace and scale never seen before. They moved into psychological thrillers with Diiche, the first limited drama series that proved Nigerian audiences had an appetite for dark, high-concept narratives. Flawsome explored contemporary female friendships, while Crime & Justice Lagos blended crime drama with socio-political commentary. The platform also conquered lifestyle genres with The Real Housewives of Lagos and The Real Housewives of Abuja, dominating national conversations.
The Crown Jewel: Wura
The crown jewel was Wura, a gold-mining telenovela spanning 260 episodes. Rogers Ofime, the producer, said: "To have a platform say, 'We believe in this world enough to let you build it over 200-plus episodes' is a game-changer. It allowed us to employ hundreds of crew members, build massive sets, and develop character arcs with room to breathe. Showmax didn't just buy a show; they built an ecosystem."
The ripple effects were felt across the value chain. Writers' rooms became more structured, production timelines more disciplined, and technical standards improved. Before, one or two people wrote 26 episodes in a rush. On Wura, a room of eight writers, story editors, and script coordinators broke season arcs, did table reads, and rewrote. That process leveled up an entire generation.
Cinematographer John Demps, who shot Diiche, said: "The development allowed us to block-shoot, and Showmax paid for rehearsals. We could light for mood, not just visibility. For Diiche, we shot with anamorphic lenses, which was unheard of for TV in Nigeria. They wanted it to look like a premium drama because they believed it was a premium drama."
Casting director Kemi Lala Akindoju noted a shift: "Actors could finally say no to five jobs at once. If you were a series lead on Showmax, that was your year. That meant deeper performances. Costume designers, set designers, and post-production houses could build teams and buy gear, knowing another project was coming."
Producer Dimbo Atiya said risk was tolerated: "Showmax didn't want to be safe; they wanted to be distinctly Nigerian. They asked, 'What can only happen here?' That's how you get Crime & Justice Lagos feeling like Ikeja, not a copy of CSI."
Numbers and Evolution
From Ghana Jollof in 2021 to the 260th episode of Wura in 2026, Showmax commissioned dozens of titles and thousands of hours of Nigerian content. Writers graduated to showrunners, directors moved to lead roles, and crews built lasting teams. In March 2023, Showmax partnered with NBC Universal and Sky under Comcast, leading to a major relaunch in February 2024 with a redesigned app powered by Peacock's technology. It also introduced a mobile-only Premier League package, expanding access to live sports.
Financial Pressures and Closure
Despite creative successes, Showmax faced mounting financial pressures. Streaming is capital-intensive, and sustaining large-scale investments proved challenging. In September 2025, Canal+ completed its acquisition of MultiChoice in a deal valued at roughly $3 billion, one of the largest media transactions in Africa. The acquisition triggered a strategic reassessment, leading to the discontinuation of Showmax. Canal+ expanded its footprint to over 40 million subscribers across nearly 70 countries.
The legacy of Showmax is not just in awards but in the people behind the scenes. By insisting on high production values, the platform upskilled a generation of Nigerian gaffers, sound engineers, script editors, and digital marketers. Showmax redefined the DNA of Nigerian storytelling, leaving an indelible mark on the industry.
