As Showmax shut down its app after years of championing African originals, its legacy lives on in the stories, stars, and cultural moments it helped shape across Nigeria’s creative industry, writes Vanessa Obioha
On April 30, 2026, the light dimmed on Showmax, the streaming platform positioned to place African storytelling on the global stage. The day had been dreaded by many dedicated fans who saw the platform, first launched on the continent in 2015 by MultiChoice, as one that celebrated and promoted local content. Its strategy was centred on local content commissions, giving creatives an avenue to tell authentic African stories. It expanded into the Nigerian market in 2019.
News that the platform would shut down had broken earlier in March, when Canal+, the new owners of MultiChoice, cited sustained financial losses in announcing the decision. The actual shutdown a month later only confirmed what many had hoped might be reconsidered.
This came just two years after Showmax relaunched with a new look, a new app, and an entirely new product suite powered by Peacock’s globally scaled technology, following its 2023 partnership with Comcast’s NBCUniversal and Sky. The revamped platform also introduced a first-in-Africa standalone, mobile-only Premier League package.
The reaction to the news was one of instant shock, as fans wondered what would happen to their favourite titles on the streamer, such as ‘The Real Housewives of Lagos’ and ‘Wura.’
It was that question—what becomes of these stories?—that stirred a sense of nostalgia as I looked back at Showmax’s era in Nigeria.
I remembered when it launched ‘Ghana Jollof,’ its first Nigerian original series. Produced by comedian and filmmaker Bright Okpocha, better known as Basketmouth, the production featured a mix of Nigerian and Ghanaian stars, including Basketmouth himself, Funnybone, Akah Nnani, James Gardiner, and Mawuli Gavor. The series had an impressive run, spending 13 weeks on the chart and ranking among the platform’s most-watched titles in 2021. It was preceded by the reality TV series ‘I Am Laycon,’ based on the rise to stardom of Big Brother Naija 2020 winner, Laycon.
By 2022, the streamer had commissioned more projects, including the award-winning ‘Real Housewives of Lagos (RHOLagos).’ Before its debut, Nigeria had yet to fully embrace the reality TV show fever. RHOLagos changed that, driven by its intriguing characters and layered drama. It was not surprising that each season recorded strong first-day streaming numbers. The Abuja franchise would later follow in 2023.
That same year saw the commissioning of its first original docu-series, ‘Journey of the Beats.’ The release was timely, coming just a year after Burna Boy’s Grammy win, at a time when conversations around Nigeria’s sound were gaining global attention. Produced by music executive and Director-General of the National Council for Arts and Culture, Obi Asika, the documentary traces the origins of Afro-music, including highlife, Fela Anikulapo-Kuti–inspired Afrobeat, and the modern stylised genre of Afrobeats. The 10-episode series explored themes of identity, heritage, and resilience and was well-received within the music industry.
2022 may have been the year Showmax commissioned the most projects, as other titles such as the drama series ‘Flawsome,’ the limited series ‘Diiche,’ and the crime thriller ‘Crime and Justice Lagos’ were also released.
That momentum carried into 2023 with the release of its first original telenovela, ‘Wura.’ The following was immediate and widespread. From homes to campuses, offices to social media, conversations around the show were constant. Starring Scarlet Gomez in the lead role, ‘Wura’ is an adaptation of the South African drama ‘The River.’ It brought high drama to the screen while also spotlighting locations rarely seen on television.
The pioneering executive producer Rogers Ofime in an interview revealed that he was intentional about reenacting the setting of the original and was fortunate to find Iperindo, a mining community nestled in Osun with a gold mining company that fits the story perfectly. This authentic form of storytelling was in line with Showmax’s mission to tell stories that resonate with the people while leaving a lasting impact.
More importantly, it was the talents that Showmax Originals introduced that lingered the most. From Gomez to Miriam Timmer, Enaho Odigie to Baaj Adebule, the platform created space for both new and emerging voices. Through their performances, audiences saw reflections of their own society. The same can be said of storytellers like James Omokwe, who worked behind the scenes to bring these stories to life.
The strength of Showmax’s Originals slate was its range. Whether reality TV, drama, documentaries, fashion, or telenovelas, the platform offered something for a wide audience.
But fans need not despair. Even though the app is no longer available, Showmax content has moved to a new home: DStv Stream.
Eligible Showmax subscribers in Nigeria will receive trial access to DStv Stream Compact for a limited period starting this May. After the trial expires, qualifying customers can continue at a discounted rate, provided their subscriptions remain active.
The offer gives former Showmax users access to a broader content experience, including live TV, international series and movies, children’s programming, and live sports via SuperSport, available on mobile devices and smart TVs.
Showmax may no longer exist in its original form, but the stories it helped tell, and the talents it helped shape, remain part of Nigeria’s evolving screen culture. For many viewers, it was more than just a streaming service; it was a window into familiar lives, accents, and experiences rarely given this level of visibility. It was indeed a platform that made African stories feel central, not peripheral.
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