Nollywood has quite an impressive history with television shows, from melodramatic soap operas to the hilarious sitcoms that captivated audiences and became an integral part of Nigerian pop culture.
By Joseph Jonathan
My earliest introduction to Nigerian sitcoms was the iconic TV show Papa Ajasco and Company, often called Papa Ajasco, which aired on the Nigerian Television Authority (NTA).
Beyond its unforgettable theme song and eccentric characters, what made the show truly special was that it was one of the rare occasions my parents allowed me to stay up late at night. Those evenings spent laughing with my family are etched in my memory, a testament to the power of sitcoms to bring people together.
A sitcom, short for situational comedy, is a genre of comedy produced for radio and television, that features a recurring cast of characters in a consistent setting, navigating humorous and often relatable scenarios. Sitcoms maintain plot continuity across episodes, allowing for character development and deeper audience engagement.
In Nigeria, sitcoms like Papa Ajasco were more than just entertainment: they were a cultural phenomenon that reflected our society, sparked conversations, and created shared experiences.
This nostalgic value of sitcoms is not unique to my personal experience alone. For many Nigerians, sitcoms evoke a sense of nostalgia and shared cultural values. For Precious, who considers herself “an avid follower from the womb”, sitcoms meant family bonding time as her family would always try to dissect the lessons learnt, and predict the characters’ next move. These represented a unique blend of humour, relatability, and social commentary that resonated with audiences across the country.
Fast forward to today, and Nollywood sitcoms have seemingly vanished from the spotlight. What happened to these once-dominant staples of Nigerian television? The answer is a complex and fascinating story that reveals the dynamic nature of Nigerian entertainment.
The Golden Era of Nollywood Sitcoms
Nollywood has quite an impressive history with television shows, from melodramatic soap operas to the hilarious sitcoms that captivated audiences and became an integral part of Nigerian pop culture.
Nigerian sitcoms have a rich history that spans decades. While younger audiences may be familiar with shows like Papa Ajasco and Fuji House of Commotion, the genre actually gained traction as far back as 1973 with the debut of Samanja.
Initially airing on NTA Kaduna and Radio Kaduna, the show starred veteran actor, Usman Baba Pategi, as Sergeant Samanja, a hilarious soldier known for his rib-cracking antics. The show’s popularity soon earned it a national television slot, with the language changed from Hausa to pidgin to accommodate its growing audience.
Hotel De Jordan was another popular sitcom that debuted in 1973, produced by NTA Benin and created by Joe Ihonde. The show, which aired on Midwest Television (MTV), later merged with NTA, highlighted the class struggle between the rich, the poor, and the opportunist clique that feeds off national resources.
By the mid-1970s, James Iroha created another comedy classic, The Masquerade, at the East Central State Broadcasting Corporation in Enugu. The radio show featured Chika Okpala in the lead role as Chief Zebrudaya Okoroigwe, alias 4:30. The show’s success led to its adaptation into a TV series with the title, New Masquerade, which remains one of Nigeria’s longest-running sitcoms to date.
The 1980s saw the continued growth of Nigerian sitcoms, with several notable shows emerging during this period. One such show was Basi and Company, written and produced by Ken Saro Wiwa, which aired on NTA in 1986. This comedy series tackled issues like corruption and African folklore, featuring a talented cast, including Albert Egbe and Zulu Adigwe.
The success of Basi and Company extended far beyond its initial run on television. The show’s popularity led to a nationwide tour featuring the original cast, allowing fans across Nigeria to experience the comedy live.
Ken Saro-Wiwa, the show’s creator, leveraged the series’ success to publish a series of books based on the characters and storylines, including novels and plays. The show’s music also gained traction, with Zulu Adigwe releasing an album as his character Mr. B, which included a new theme song for the series. The show’s impact on Nigerian popular culture was undeniable, cementing its place as one of the country’s most beloved and enduring sitcoms.
Another popular sitcom of the 1980s was Icheoku, set in the colonial era, which humorously depicted the cultural and linguistic misunderstandings between a British District Commissioner called “Nwa DC” by the locals, and Court Clerk William, his Igbo court clerk and interpreter. Initially broadcasted on radio, the show transitioned to regional television on the NTA station in Enugu, before gaining a national following.
Other notable sitcoms of the 1980s include House No. 13, a satirical comedy starring Wale Ogunyemi that poked fun at the urban lifestyle of Nigerians.
These shows helped pave the way for the success of Nigerian sitcoms in the 1990s, a period which could be said to be the peak of Nollywood sitcoms as the genre became a dominant force in Nigerian television.
Shows like Papa Ajasco (1996), produced by Wale Adenuga Productions, became household names. With its slapstick humor and exaggerated characters like Papa Ajasco, Boy Alinco, and Miss Pepeye, the show captured the absurdities of Nigerian life while delivering timeless moral lessons.
The massive success of Papa Ajasco was evident in its widespread popularity across Nigeria and beyond. The show’s appeal transcended borders, as it debuted in Ghana in 2010 and was promptly voted the “best comedy on television” in the country. This accolade was further solidified by the show’s receipt of the prestigious Kwame Nkrumah Leadership Award in Accra.
At the height of its success, Papa Ajasco was widely regarded as Nigeria’s most-watched comedy series, with a staggering weekly viewership in twelve African countries.
Another standout from this era was Fuji House of Commotion, created by the late Amaka Igwe. Set in the polygamous Fuji household, the show explored the dynamics of a large family with humour and sensitivity. Its relatable characters and witty dialogue made it a favourite among audiences, while its exploration of polygamy sparked conversations about a deeply rooted cultural practice.
During this period, sitcoms emerged as a platform for addressing social issues with sensitivity and humour. Their relatability was a key factor in their success, as they authentically portrayed Nigerian families, workplaces, and neighbourhoods. By tackling pressing social issues like corruption, gender roles, and familial dynamics with a nuanced blend of humour and cultural relevance, these sitcoms resonated deeply with audiences.
The Decline: What Changed?
Many popular 90’s sitcoms continued to air until the mid-2010s, albeit with dwindling viewership. As audiences gravitated towards newer shows, a significant shift occurred in television broadcasting. Cable TV, introduced in Nigeria in 1993, gained popularity in the early 2000s. This led to the emergence of new shows on cable TV channels.
One notable example is The Johnsons, produced by Rogers Ofime for Africa Magic in 2012. The show, which aired in English and Hausa, followed the Johnson Family as they navigate life in Lagos and ran for 13 years until its conclusion in 2024. It won the ‘Best Original Comedy Series’ award at the 2022 Africa Magic Viewers’ Choice Awards (AMVCA) and received a nomination in 2023.
Other successful sitcoms include Jenifa’s Diary, a soft reboot of Funke Akindele’s 2008 film, Jenifa, which began airing on Africa Independent Television (AIT) in 2015 and has since produced over 20 seasons. The show garnered numerous awards, including ‘Best Actress in a Comedy Role’ at the 2016 AMVCA.
Professor Johnbull was another sitcom which premiered on NTA Network, NTA on StarTimes, and NTA International in July 2016. Sponsored by GlobaCom and produced by Tchidi Chikere, the show starred Kanayo O. Kanayo and addressed moral issues in Nigerian society. It earned a nomination for ‘Best Television Series’ at the 2018 AMVCA.
Despite the success of these shows and the historical precedent of hit sitcoms paving the way for new ones, the 2020s have witnessed a notable decline in successful sitcoms that captivate and retain large audiences.
Several factors have contributed to this decline. For one, the rise of digital streaming platforms shifted the focus away from television. According to film critic, Seyi Lasisi, “the ascent of digital streaming platforms, with more people becoming non-reliant on the traditional viewing model to watch films, has led to the decline” of sitcoms on traditional television.
Platforms like Netflix, Amazon Prime, and Showmax began investing in Nigerian movies and series, offering higher production values and global reach. Audiences, especially younger ones, gravitated toward these more polished, binge-worthy offerings.
These sitcoms also began to decline as the way people consumed content changed dramatically. The proliferation of smartphones and social media platforms like Instagram, TikTok, and YouTube introduced shorter, faster-paced videos.
As a result, skits and web series, often created by independent creators, swiftly became the new go-to for humorous storytelling. These formats were more accessible and aligned with the on-the-go lifestyles of modern audiences.
This shift in audience tastes is echoed by Emmanuel Torubeli, a former fan of The Johnsons, who notes, “Perhaps, the world is moving beyond family-centric content. With everyone constantly on their phones, even when seated together, family ties seem to be dwindling”.
He further observes, “Nowadays, we rarely discuss at home (often fostered by watching sitcoms together). Instead, conversations often start when I share something I saw online with my sister, and we watch or read and analyse it together. But even then, I quickly return to my phone again”.
Audience disinterest caused by inconsistent casting and character changes has also contributed to the decline of sitcoms. When beloved characters are recast or written out of a show, it can be disorienting for viewers, leading to a loss of emotional investment in the storylines. The Johnsons fan, Eunice Sammy says, “I think the changes in the cast, particularly when main characters are replaced, can be a major turn-off. I tried to watch The Johnsons again recently, but with the cast changes, I found myself confused about who was who, and I lost interest.”
The decline of traditional newsrooms and television houses, such as NTA and AIT, has also played a significant role in the decline of Nigerian sitcoms. According to Lasisi, the decline of these institutions, marked by reduced manpower, inadequate funding, and lack of structure, has crippled the production of quality sitcoms.
With limited resources and support, producers have struggled to create and sustain engaging, high-quality content, ultimately leading to a decline in audience interest and investment.
Producing sitcoms became increasingly challenging due to the demands of consistent quality over multiple seasons. This required significant financial investment, reliable sponsorship, and a steady stream of creative ideas — resources that were often in short supply.
The influx of foreign sitcoms and reality TV shows from the West and other parts of Africa further diluted the audience’s attention. Many Nigerian sitcoms relied on sponsorships from corporate brands, who leveraged the shows’ viewership to promote their products and services.
However, these brands have recently shifted their focus to collaborating with established movie stars, skit makers, musicians, and social media influencers, resulting in dwindling sponsorship for TV sitcoms.
The decline of Nollywood sitcoms has left a noticeable gap in Nigerian pop culture. These shows were more than just comedy, they were a mirror to society. They addressed issues like unemployment, marital strife, and cultural clashes in ways that were both entertaining and thought-provoking.
They also played a significant role in fostering a sense of community and social bonding among viewers. They provided a shared experience that transcended age, and social class, allowing people from diverse backgrounds to connect and relate with one another. This shared experience created a common topic of conversation, enabling families, friends, and colleagues to discuss and share their thoughts and opinions about the latest episodes.
As Daniel Chiagoziem fondly recalls, “In a great way, I think it (The Johnsons) brought my family together. We were always checking out for its show times and also discussed each episode as a family. Sharing our fun moments and all that.” This sense of community and shared experience is a testament to the enduring impact of Nigerian sitcoms.
The Future of Nollywood Sitcoms
Despite their decline, there could be a revival of Nollywood sitcoms. Perhaps, a leaf could be borrowed from the Basketmouth-produced sitcom, My Flatmates. The show which follows the lives of four friends who share an apartment, began airing on Africa Magic in 2017 and continues to enjoy a modest following till date.
A key factor contributing to the show’s success is its strategic distribution. While new episodes debut exclusively on TV, they are later uploaded to streaming platforms like Showmax and YouTube.
As a result, the show reaches a broader audience, catering to both traditional TV viewers and the growing online demographic. This hybrid approach not only increases viewership but also provides a sustainable model for future sitcom productions.
Nollywood could leverage this model to create more sitcoms by adopting a multi-platform distribution strategy. By premiering new episodes on traditional TV and subsequently uploading them on popular streaming platforms, Nollywood producers can reach a wider audience and cater to changing viewing habits.
This approach can also help to increase revenue streams through advertising, sponsorships, and subscription-based models. Moreover, the success of My Flatmates demonstrates that Nollywood sitcoms can thrive with a mix of engaging storylines, relatable characters, and strategic marketing.
A more recent example of this multi-platform approach is Visa on Arrival, a series produced by Bovi that began airing in 2021. Notably, this series was created exclusively for Accelerate TV and is distributed through the Accelerate Plus streaming platform as well as their YouTube channel.
This template adopted by My Flatmates and Visa on Arrival also highlights the importance of collaboration and partnerships in the creation and distribution of Nollywood sitcoms. By working with streaming platforms, TV networks, and other industry stakeholders, producers can access new markets, audiences, and revenue streams.
This collaborative approach can help drive innovation, improve production quality, and ultimately, revive the Nollywood sitcom genre.
It is also worth noting that there’s a ready audience eager for more Nollywood sitcoms. Destiny, a fan who grew up watching Papa Ajasco, shares his enthusiasm, “yes, it’d be lovely to see more Nollywood sitcoms. Sitcoms provide a comforting form of entertainment. I remember watching How I Met Your Mother (an American sitcom) and feeling calm and happy”.
This sentiment is echoed by the results of an online survey conducted for this piece, in which 92 out of 100 respondents expressed their desire for more Nollywood sitcoms.
However, when asked about rebooting older sitcoms with a fresh twist, 78 respondents expressed skepticism. They felt that remakes and reboots often fail to live up to the original, lacking the same charm and authenticity that made the classics so beloved.
Nollywood sitcoms were once a cornerstone of Nigerian entertainment, offering laughter, life lessons, and a sense of community. Their decline is a reflection of broader changes in the media landscape, but it doesn’t have to be the end of the story.
With the right investment, creativity, and adaptation to new platforms, Nollywood sitcoms could make a triumphant return. After all, in a world that often feels divided, we could all use a good laugh and a reminder of our shared humanity — something Nollywood sitcoms have always done so well.
Joseph Jonathan is a historian who seeks to understand how film shapes our cultural identity as a people. He believes that history is more about the future than the past. When he’s not writing about film, you can catch him listening to music or discussing politics. He tweets @JosieJp3.