Veteran actress and filmmaker Omotola Jalade-Ekeinde has criticised the growing trend of actors dancing on social media to promote films, saying she will not take part in such campaigns.

Speaking on TVC Entertainment, the award-winning star said while she enjoys dancing, she draws a clear line between personal expression and forced publicity.

“I’m sorry, I would not be doing the dancing. I dance. I love to dance, but there’s a difference between dancing because you want to and dancing because you have to. The problem arises when it becomes a chore,” she said.

Her comments come amid increasing use of TikTok-style dance challenges to market Nollywood productions.

Why it matters

Social media has become a powerful promotional tool in Nollywood, with producers often relying on viral content to drive cinema attendance.

However, Omotola’s stance highlights growing concern about creative pressure on actors and the blurring line between performance and marketing.

‘Marketing should be done by professionals’

Omotola stressed that an actor’s primary responsibility is storytelling, not publicity stunts.

“Once I complete a project, my job is to talk about it and let those trained in promotion handle its distribution and advertising,” she said.

She added that backlash against dance-based promotions often stems from coercion, not from dancing itself.

According to her, forcing actors into viral campaigns risks undermining artistic integrity.

Industry reactions

Her remarks echo recent comments by filmmaker Kunle Afolayan, who also questioned the logic behind the trend.

He had said he would not dance to promote a movie, arguing that producers should reassess marketing strategies, especially when blockbuster films still generate relatively low earnings.

Some filmmakers and actors agree that while social media engagement is important, it should not replace structured marketing plans.

Others argue that digital trends reflect changing audience behaviour and must be embraced strategically.

What’s next for Nollywood marketing?

Experts say the debate may push producers to invest more in professional marketing teams, audience research, and distribution networks.

As Nollywood expands globally, the industry faces pressure to balance virality with sustainability, creativity with commerce.

For now, Omotola’s position signals that not all stars are willing to dance to the algorithm.

Nollywood actress and filmmaker Bimbo Ademoye says monetisation has been fully restored on her film Where Love Lives, following public concern over its alleged demonetisation on YouTube.

The film has now crossed 19 million views, marking a major recovery for the project after the issue sparked widespread discussion among fans and industry watchers.

“Monetization has been fully restored on our film! And we’re now on 19 million views,” Ademoye said in a social media update.

Background: what happened to Where Love Lives

Earlier this week, Ademoye had alerted fans that Where Love Lives appeared to have lost its monetisation status on YouTube, a move she suggested could affect the film’s earnings.

The development triggered reactions across social media, with supporters questioning how content moderation decisions on global platforms affect African creators.

Although YouTube has not publicly commented on the specific case, demonetisation reviews are typically linked to platform policies on content suitability.

Why it matters

For many Nollywood filmmakers, YouTube has become a critical revenue stream as cinema distribution remains limited and production costs rise.

Ademoye’s experience has renewed calls for clearer communication and transparency between global platforms and African content creators.

Gratitude amid relief

Following the restoration, the actress shared an emotional message thanking her mother for emotional support during the period of uncertainty.

“Whenever I text ‘mommy see o’ she leaves whatever she’s doing to ensure I’m ok,” she wrote.

“She said, ‘I’d always be here no matter what’.”

She described her industry mother as her constant source of strength, adding that success has not replaced the comfort of home.

Fans and public reaction

Ademoye also thanked her online supporters, describing them as her “cyber family” for standing by her during the controversy.

“I’m not perfect, but you love me regardless. Eniyan laso mi,” she said.

Fans have since flooded social media with congratulatory messages, celebrating both the restored monetisation and the film’s growing viewership.

What’s next

Ademoye has announced that she will not release another movie until March, signalling a short production break following the intense period around Where Love Lives.

Nigerian filmmaker Toyin Abraham has made history after her film Oversabi Aunty grossed ₦1,017,201,953 across cinemas in West Africa.

The achievement makes the comedy-drama the first Nollywood directorial debut to cross the ₦1bn box office threshold, according to figures shared by the film’s promoters.

It also ranks as the fourth highest-grossing Nollywood film of all time, reinforcing the growing commercial power of locally produced cinema.

A personal milestone for Toyin Abraham

Reacting to the success, Abraham described the moment as deeply emotional in a message shared on Instagram.

“Thank you GOD

Thank you Toyintitans

Thank you Nigerians

Thanks to my cast

Thanks to my crew

Thank you filmone

Thank you everyone

I’m short of words🥹🙏

Oversabi Aunty to the world and still showing in cinemas near you

My first directorial debut on big screen🥹 Thank you thank you thank you thank you thank you”

The film marks Abraham’s first time directing a feature for cinema release, after years of success as an actor and producer.

Why this matters

Crossing the ₦1bn mark is widely seen as a benchmark for commercial success in Nollywood, where rising production and marketing costs continue to challenge filmmakers.

For fans, the film’s continued run in cinemas means more access to locally made stories with high production value.

What’s next

Oversabi Aunty is still showing in cinemas nationwide, with promoters encouraging audiences who have not seen it to catch the film on the big screen.

Industry watchers will now be looking to see whether the film climbs higher on the all-time box office rankings in the coming weeks.