Entertainment
Pay TV: Why Pay-As-You-Go Not Feasible – MultiChoice CEO
The Chief Executive Officer (CEO) of MultiChoice Nigeria, Mr. John Ugbe, has said that Pay-As-You-Go (PAYG) billing model is not technically and commercially feasible in the pay television industry.
Ugbe stated this on Monday while making a presentation to the House of Representatives Ad Hoc Committee investigating the non-implementation of PAYG subscription model by satellite television service operators.
The Multichoice boss pointed out that Pay-Per-View (PPV) was often confused with PAYG, adding that the PAYG model used in the telecommunications sector was not the right fit for pay television.
According to him, PAYG in telecommunications is a metered service that ensures consumers are billed only for the service they consume and not for a fixed period.
He explained further that PAYG was possible in the telecommunications industry because it relies on a two-way communication system, which enables operators to determine when a consumer is connected, the service consumed and duration of connection.
Ugbe stressed that satellite broadcasters, unlike telecommunications firms cannot offer pay television services the same way because satellite broadcasting is a one-way system and does not enable broadcasters to determine when a subscriber is connected and/or watching or what channel is being viewed.
He stated: “It is only in instances where there is a two-way communication between the device at the subscriber’s home and the headend of the pay-tv service provider, which will enable the provider to determine when a subscriber is connected or not, that a billing system could be designed to take into cognizance the subscriber’s behaviour,” said Ugbe.
“For PAYG to be feasible, a total and global remodelling of the satellite broadcasting technical and billing architecture will have to be done. The result will be that consumers will have to much higher tariffs to access the service.
“The economies of scale model employed by broadcasters mean that subscribers pay less. We are yet to see a pay TV business anywhere in the world that does PAYG in the sense intended here. We do not believe the model is technically or commercially feasible,” Ugbe said.
Ugbe stressed that Pay-Per-View was different from PAYG and more expensive, as it entails a broadcaster transmitting a single event at the same time to its subscribers who have paid to watch the event.
“A subscriber who wants to watch an event on PPV is required to pay an additional fee besides his subscription. A typical example would be the Mayweather and Pacquiao, and Wilder and Fury II boxing bouts which were retailed on PPV in the United States for $100 and $79.99 respectively. The Mayweather/Pacquiao bout, which was shown on DStv premium bouquet, would cost N38,000, which would far exceed the cost of any of the DStv bouquets. The bouquet or bundling model is an effective and efficient means of providing a large but still manageable variety of choice to satisfy consumer demand for entertainment, at the lowest possible cost to consumers.”
Ugbe explained that contrary to the widespread believe that MultiChoice adjusted tariffs on 1 June, what it did was to implement the new rate of the Value Added Tax (VAT), as required by law.
He said the company also took into account factors like inflation, increasing costs of input costs and technical upgrades, impact on subscribers as well as exchange rate fluctuations to arrive at tariffs.
Earlier, the Chairman of the committee, Hon. Unyime Idem, said there was a clarion call by Nigerians and stakeholders within the broadcast industry for a change in the price regime of all Digital Terrestrial Transmission (DTl) and Direct-To—Home (DTH) providers from the present one bundle system to pay-as-you—go/pay-per-view/pay-per-watch, that is daily, weekly or monthly model.
He noted that it was in this vein that the House had to listen to the plight of Nigerians by living up to its constitutional responsibilities as stipulated in the 1999 constitution as amended for the full implementation of Pay-As-You-Go model across Nigeria by satellite TV operators.
He said, “We are also of the opinion that MultiChoice, the owners of DSTV is not sensitive to the plight of Nigerians at large for increasing the tariff of their various bouquet and anchoring that on VAT increment from 5% to 7.5% where in the real sense most of its bouquet price tariff is more than the 2.5% increment, unlike many other companies both local and international that are providing palliative measures to cushion the effects of the COVID — 19 pandemic.”
The Chairman reiterated that the committee was fully committed to the full implementation of the Pay-As- You-Go/Pay per View/pay per watch model in Nigeria.
Idem said that the committee was not against the increment, but it was only against the timing of the increment.
The chairman therefore ruled that Ugbe should go back to the board and think with the management and come back with a positive feedback
Entertainment
AMVCA 2026: Broadening Spotlight with New North, Central Africa Categories
For over a decade, the Africa Magic Viewers’ Choice Awards has stood as the continent’s biggest film and television awards platform. Now, it is expanding its scope in a way that brings even more of Africa into the spotlight.
This year, two new categories have been introduced: Best Indigenous Language (North Africa) and Best Indigenous Language (Central Africa). They now sit alongside existing categories for West, East and Southern Africa, creating a full five-region structure for the first time.
This change speaks to where the AMVCA is headed, not just as an entertainment event, but as a truly pan-African platform. The languages in these new categories, including Arabic dialects, Berber, Lingala and Sango, are widely spoken across their regions. They are the languages people use in their everyday lives to tell stories, express emotions and share culture. Giving them recognition on a stage like the AMVCA matters.
Across countries like Morocco, Algeria, Tunisia, Chad, Cameroon, the Central African Republic and Congo, the film and television industries have been growing steadily, even if they do not always get continental attention. For filmmakers in these regions, being included in the AMVCA is more than just a chance to win an award. It brings visibility, credibility and a sense that their work is being seen.
There is also a cultural angle to this move. Films made in indigenous languages help keep those languages alive. By recognising these works, the AMVCA is reinforcing the idea that telling authentic stories in native languages is important and valuable.
Beyond recognition, this expansion also creates room for connection. Filmmakers from North and Central Africa now have a stronger presence on the same platform as their peers from West, East, and Southern Africa. This opens the door for collaboration, shared ideas, and creative exchange across the continent.
African cinema has always been rich in diversity, but it has not always had a single platform bringing it all together. While these two new categories will not fix everything overnight, they are a meaningful step forward.
This development comes as the 12th edition shapes up to be highly competitive. There are 32 award categories in total, including 18 decided by judges and 11 open to audience votes. There will also be special recognition awards, including Lifetime Achievement and the Trailblazer Award.
Veteran actress Joke Silva will serve as Head Judge, taking over from Femi Odugbemi.
Nominees were announced on March 29, 2026, hosted by actor Chimezie Imo. As expected, Nigerian films dominate the list. Gingerrr and The Herd lead with nine nominations each, followed by To Kill A Monkey with eight and My Father’s Shadow with seven.
Actors like Sola Sobowale, Uzor Arukwe, and Lateef Adedimeji earned nominations in multiple categories, while Genoveva Umeh received her first Best Lead Actress nomination.
At first glance, adding two categories to a list of 32 may not seem like much. But in the bigger picture, it shows a shift. The AMVCA is slowly becoming what it has always set out to be a platform that reflects the full diversity of African storytelling.
Entertainment
Premium Entertainment Without the Premium Price Tag
These days, surviving in Nigeria feels like a full-time job on its own.
Before the month even properly begins, salary has already been divided into transport, fuel, food, bills, subscriptions, and every other expense that somehow keeps increasing. For many 9–5ers, the routine has become painfully familiar: wake up early, battle traffic, survive the stress of work, battle traffic again, and get home completely drained, only to realise even the simple things that help you unwind now have to be carefully budgeted for.
Because in this economy, everybody is cutting costs. People are thinking twice before ordering food. They are postponing shopping plans. They are reducing unnecessary spending. And for many, one of the first things to go has been entertainment.
The same streaming platforms and premium subscriptions people once paid for without thinking have now become part of the “maybe next month” list. Not because people suddenly stopped loving movies, series, football, or reality TV, but because when inflation keeps rising, and fuel costs continue to affect everything, entertainment starts to feel like a luxury.
But that is exactly why affordability in entertainment matters now more than ever and why GOtv continues to stand out as a brand that genuinely keeps everyday Nigerians in mind.
Rather than assuming quality entertainment should only be accessible to people willing to spend heavily, GOtv has consistently positioned itself as a platform built with everyday Nigerians in mind, creating options that allow people to still enjoy premium entertainment without having to break the bank.
Take the GOtv Smallie package, for example.
For as low as ₦1,900 a month, subscribers get access to over 35 channels, including approximately 19 to 21 local channels, sports content, and 15+ channels across news, music, movies, lifestyle, kids, and general entertainment.
And for those who prefer longer payment plans, it is also available in:
- Quarterly – ₦5,100
- Annual – ₦15,000
What makes this even better is that, despite being the most affordable package, Smallie still offers something for everyone.
It is not one of those basic plans where you pay less and get almost nothing. Whether you are the family member who loves African movies, the sports enthusiast who never wants to miss a match, the parent looking for kids’ content, or the person who just wants background TV after a stressful day, there is something to watch.
And for viewers who want even more variety, GOtv has other packages across different price points:
- GOtv Jinja – ₦3,900
- GOtv Jolli – ₦5,800
- GOtv Max – ₦8,500
- GOtv Supa – ₦11,400
- GOtv Supa Plus – ₦16,800
So whether you’re going for the most affordable option or something with a more premium feel, there’s always a GOtv package that fits comfortably into different lifestyles and budgets.
At a time when everyday decisions are increasingly shaped by cost, GOtv quietly fills an important gap by keeping quality entertainment within reach for more people, because beyond the hustle, the traffic, the deadlines, and the constant pressure of trying to keep up with life in today’s economy, there is still a need for simple moments of joy and escape. Those small pauses in the day where you can switch off, relax, and just enjoy something light without overthinking it.
And that’s really the point, entertainment shouldn’t feel like another financial burden.
Entertainment
Dividends: A Must-Watch Series on Africa Magic
A new kind of story is unfolding on Africa Magic Showcase, and it’s one that feels all too familiar.
Dividends, a gripping Nigerian dramedy, dives into the emotional and financial fallout of a failed Ponzi scheme, placing everyday realities at the centre of its storytelling.
Premiered on March 30, 2026, Dividends airs Mondays to Wednesdays at 8:30 PM WAT on Africa Magic Showcase (GOtv Channel 8), and is also available for streaming on DStv and GOtv Stream, making it easily accessible for viewers to follow every twist as it unfolds.
At the heart of the series is “The Golden Bars,” a too-good-to-be-true investment scheme that ultimately collapses, leaving devastation in its wake. What follows is a layered narrative that tracks the lives of three strangers brought together by shared loss of money, stability, and, in many ways, identity.
Through its characters, Dividends explores themes that resonate deeply within the Nigerian context: the lure of quick wealth, the pressure to succeed, and the quiet resilience required to rebuild when everything falls apart. It’s a story that doesn’t just entertain, it reflects.
Leading the story is Riyo David as Isa, alongside a dynamic cast including Ronnie Dikko, Omattuteejames, Cassiee_jae, Floydigbo, and Koko_ashley, each bringing depth to a narrative shaped by ambition, desperation, and consequence.
Blending drama, suspense, and social commentary, Dividends sparks conversation. As the series unfolds, viewers can expect to be drawn into a world where choices carry weight, and every decision has a ripple effect.
For audiences looking for something both engaging and thought-provoking, Dividends fast becoming one to watch.To upgrade, subscribe, or reconnect, download the MyGOtv App or dial *288#. For catch-up and on-the-go viewing, download the GOtv Stream App and enjoy your favourite shows anytime, anywhere.
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