You name the platform – they're all gatekeepers. The gatekeepers are the commissioners that commission work around the world. One of the major barriers is the gatekeepers around the world. PR Supplied/ Ty Bello What do you think has been the barrier to people from Nollywood breaking into the global market? We are working with those that have invested hugely in that infrastructure, and we have partnered with them on finding global African stories that we think would be of interest to the world. So what we've done is invest hugely in the development of – and then pitch them to these global studios. Some very, very exciting and very inspiring and encouraging deals with the likes of Sony Pictures Television and AMC and Starz and Lionsgate. Ebony Life has signed some pretty cool deals around the world. Literally, we don't even exist in the world of content creation in terms of being heard. I've said it time and time again, but as content makers, Africa has been very quiet. There's no point telling stories that aren't being seen. The most important thing for us has always been telling the stories. Was it important to have a streaming service like Netflix to expand your reach? But it's good to see that we're breaking down those barriers, and making stuff that can compete. But you have to remember: there's still more of an acceptance of Korean content than there is for Black content around the world. And embracing them.Įverybody uses Squid Game as the yardstick. It's so it's nice to see the world waking up to wanting to watch our stories. Then Blood Sisters has blown everybody's mind. It was in that era of comedy, and we're doing less and less comedy now. And then, of course, there was Chief Daddy, but people didn't seem to like Chief Daddy too much. That, again, is on Netflix, and is actually back in the top 10 in Nigeria this week, although we did the project last year. We've done Castle & Castle, which is a legal procedural. I signed a multiple deal with Netflix in June or July 2020, and it's a slate of projects, of which the first was a film called Òlòtūré, on human trafficking and going undercover. Was this your first collaboration with Netflix? Play icon The triangle icon that indicates to play Blood Sisters was so gripping. Challenges that include a long history of being held back and those who have blocked its progress. Abudu has signed a deal with the streaming giant Netflix that allows her to globalise popular films and TV from the African diaspora, including the human-trafficking film Òlòtūré.įollowing this latest success, Abudu spoke exclusively to Digital Spy about the challenges of expanding the reach of African film and TV. Of course Blood Sisters isn't the company's first success. Places Abudu had previously doubted would have been receptive to Black or more specifically African content. The TV series was top 10 in over 21 countries and number one in seven.īlood Sisters has truly gone worldwide, hitting countries such as Germany, Poland and Romania. The four-part limited series enjoyed an impressive debut with 11 million hours being streamed within the first week. Her goal? To share truly representative, captivating African stories on a global scale. The Nigerian businesswoman turned Ebony Life – a once linear TV network on cable TV on DSTV – into a successful international Black TV network. To refer to Abudu as a mogul in the entertainment industry is no overstatement. If you've never heard the name before, consider this an official introduction. One of the creators behind this gripping drama is executive producer Mo Abudu. It doesn't get more nail-biting than watching a bride and her best friend on the run for the murder and decapitation of the abusive groom. Netflix's latest African TV thriller Blood Sisters is, well, bloody intense (pun intended).
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