Communiqué 74: The reinvention of Nigeria’s national TV broadcaster

Can Nigeria’s state broadcaster, NTA, take a cue from the likes of BBC, DR, and France TV to reimagine its future and regain cultural relevance?

Key Points

1. Legacy institutions can be revived with the right talent. The appointment of industry-savvy leaders, such as Tari Taylaur, at the Nigerian Television Authority (NTA), demonstrates how strategic hires can reboot legacy organizations. Creative entrepreneurs can learn from this about the importance of experienced leadership and cross-sector experience. Investors, meanwhile, should not write off old brands too quickly; with the right talent and strategy, even stagnating assets can be turned into growth engines.

2. Great content needs great tech: Despite improved programming, NTA’s lack of digital infrastructure shows that great content means little without modern distribution. Entrepreneurs should prioritize digital accessibility, streaming, mobile-first platforms, and online engagement to stay competitive. Content and tech must grow hand in hand to succeed in today’s media landscape.

3. Authentic stories are the next big opportunity: NTA’s renewed focus on authentic Nigerian storytelling highlights a powerful truth: there is enduring value in content that reflects local realities, values, and cultures. For entrepreneurs, this reinforces the opportunity in creating culturally resonant media. The next big media hits might not come from copying global formats but from intensely local, well-told stories.

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1. NTA courts Nollywood

Earlier this month, the Nigerian Television Authority (NTA) hosted a select group of Nollywood producers at its headquarters in Abuja. The occasion was a deliberate outreach by the state-owned broadcaster to court a new generation of Nigerian filmmakers who could produce content for the network. In return, NTA offered access to its sprawling network of over 100 stations across the country, still one of the most far-reaching broadcast footprints in Africa.

The meeting was an implementation of a larger, more strategic shift underway at the NTA: a renewed focus on original Nigerian programming. After years of stagnation and declining cultural relevance, the broadcaster was reintroducing itself not just as a government mouthpiece, but as a platform for authentic, locally made stories.

Some of those efforts are already on air. Temi and the Labalaba Band, a children’s musical drama licensed from Anthill Studios, now airs every Saturday morning, while Las Gidi, a co-production with X3M Ideas and Acon Media, brings a Lagos-set sitcom to NTA’s prime-time slot. Both shows reflect NTA’s evolving strategy: a blend of new originals, licensed Nigerian content, and the revival of classic titles from its storied archive.

If successful, this strategy could address one of the Nigerian film industry’s biggest challenges: profitable distribution.

2. When NTA ruled Nigerian TV

For every Nigerian born before 2000, this is a familiar sight: a family of four gathered in front of the TV to watch Super Story on Thursdays, just before the 9 pm Network News. And for Nigerians born before 1980, the gong of The Village Headmaster was a familiar sound and an unmistakable cue that it was time to sit down for one of the most beloved drama series ever produced on Nigerian television.

This deep cultural imprint is no accident. The Nigerian Television Authority (NTA), founded in May 1977 from a loose coalition of regional television stations, had a clear founding mandate: to inform, educate, and entertain the public. Backed by the federal government, it became the only authorized body for television broadcasting in Nigeria at the time.