MultiChoice Restructuring Could Slow Growth of African Screen Content

By Jennete Ugo Anya

MultiChoice Group is pursuing a cost-reduction strategy targeting approximately $479 million in savings by 2030 as part of operational restructuring following its acquisition by French broadcaster Canal+.

The plan comes amid declining subscriber numbers, currency pressures across African markets and intensifying competition from global streaming platforms.

MultiChoice’s subscriber base declined by about 1.2 million in its most recent financial year, bringing total subscriptions across services such as DStv and GOtv to roughly 14.5 million.

During the same period, revenue fell by about nine percent to approximately $3 billion. The company also reported a headline loss of about $49 million, reversing profits recorded in previous years.

Cost discipline is already affecting content investment. MultiChoice produced 5,340 hours of local content in 2025, representing an 18 percent decline from the 6,502 hours recorded in the previous financial year.

The company has also reportedly requested a 20 percent discount on supplier invoices across its service providers and production partners.

The restructuring coincides with the decision to sunset the Showmax platform originally launched in 2015 to compete with international streaming services.

DECISION HIGHLIGHT

MultiChoice Group is implementing a cost-reduction strategy targeting $479 million by 2030, with implications for its investment in African television and film production.

DECISION MEMO

MultiChoice Group has long functioned as one of the most influential financiers of African screen content. Through its broadcast platforms and commissioning structures, the company has funded thousands of hours of television programming across the continent.

The company’s decision to pursue significant cost reductions therefore carries implications beyond its corporate balance sheet.

At the core of the restructuring is a shift in the economics of the global media industry. Traditional pay-television operators face increasing pressure from streaming platforms that invest heavily in original programming while competing aggressively for audience attention.

Global streaming companies have expanded content spending at levels difficult for regional broadcasters to match.

Netflix is expected to spend about $18 billion on content while Amazon Prime Video reportedly invested about $22 billion in programming during 2025 alone.

Against this backdrop, MultiChoice faces a more constrained operating environment.

Declining subscriber numbers across African markets reflect both economic pressures and changing consumption habits. Rising data access and mobile streaming have altered viewing behaviour, reducing the dominance of traditional satellite television services.

Currency volatility across several African economies has further complicated revenue performance for multinational broadcasters operating across multiple jurisdictions.

These structural pressures have accelerated the push for financial discipline following the acquisition of MultiChoice by Canal+.

The French broadcaster has emphasised operational efficiency within the combined organisation, targeting nearly half a billion dollars in cost savings over the coming years.

However, the implications of these adjustments extend into Africa’s creative economy.

MultiChoice has historically been a central commissioning hub for African storytelling.

Through platforms such as Africa Magic, the company has funded dramas, films, reality shows and talk shows across dozens of markets. The broadcaster has stated that it typically produces about 6,000 hours of local content annually across its channels.

In West Africa alone, the company has invested more than $85 million in regional productions, much of it linked to Nigeria’s Nollywood industry.

The company has also contributed to industry capacity building through the MultiChoice Talent Factory initiative, which has trained more than 360 filmmakers since 2018 through fully funded training programmes.

If content commissioning becomes more conservative under the new cost discipline strategy, the effects could extend across the broader production ecosystem.

Large, commercially successful productions are likely to remain central to the company’s programming strategy.

Flagship shows such as Big Brother Naija and Shaka iLembe generate significant viewership and advertising revenue, making them commercially defensible investments.

Industry reports indicate that Big Brother Naija alone generates more than ₦10 billion in revenue, while production costs for a season range between ₦2.5 billion and ₦5.5 billion.

However, tighter commissioning budgets may reduce opportunities for smaller studios, experimental formats and emerging creators.

Broadcasters often serve as initial financiers for projects that may later expand into global distribution channels. When commissioning budgets tighten, riskier creative projects are often the first to be affected.

Compounding the challenge is the changing role of international streaming platforms in Africa.

While companies such as Netflix and Amazon Prime Video initially expanded aggressively into African content production, both have recently slowed commissioning activities on the continent.

Consequently, if MultiChoice reduces its commissioning scale, Africa’s film and television industry may face a structural financing gap.

The immediate effect may not be a collapse in production but rather a shift in the types of projects receiving support.

Commercially proven formats with predictable audience appeal are likely to receive continued backing, while niche storytelling and experimental content may encounter greater financing obstacles.

For Africa’s creative economy, the question becomes less about whether content production will continue and more about who will finance its next phase of expansion.

DATA BOX

Cost reduction target: $479 million by 2030
Subscriber decline: 1.2 million
Total subscribers: Approximately 14.5 million
Annual revenue: About $3 billion
Headline loss reported: $49 million
Local content produced in 2025: 5,340 hours
Local content produced in FY2024: 6,502 hours
Local content investment in West Africa: Over $85 million
Filmmakers trained through MultiChoice Talent Factory: Over 360
Estimated revenue from Big Brother Naija: Over ₦10 billion
Estimated production cost per season: ₦2.5 billion to ₦5.5 billion

WHO WINS / WHO LOSES

Winners

Large production houses capable of delivering commercially successful programming may continue to secure commissions as broadcasters prioritise projects with predictable audience appeal.

Major entertainment franchises with established viewership bases may also benefit from increased investment concentration.

Potential Losers

Independent studios, emerging filmmakers and experimental storytellers may face reduced opportunities if broadcasters tighten commissioning budgets.

Smaller production companies reliant on broadcaster-funded projects could also experience declining revenue.

POLICY SIGNALS

The restructuring highlights the vulnerability of Africa’s creative economy to shifts in media financing structures.

Governments and cultural institutions may face increasing pressure to explore alternative financing mechanisms for film and television production, including creative industry funds, tax incentives and co-production agreements.

The development also underscores the importance of intellectual property frameworks capable of supporting independent production financing.

INVESTOR SIGNAL

The restructuring signals potential investment opportunities in alternative financing models for African screen content.

Private equity, venture capital and co-production partnerships may increasingly play roles in financing film and television projects as traditional broadcaster funding becomes more selective.

Digital distribution platforms and independent streaming services may also emerge as alternative channels for African content distribution.

RISK RADAR

The most immediate risk is a contraction in commissioning budgets that could slow production activity across Africa’s television and film industries.

Industry concentration represents another risk. If fewer broadcasters finance content, creative ecosystems may become increasingly dependent on a small number of commercial platforms.

Another structural risk lies in the volatility of global media economics. As streaming competition intensifies and advertising revenues fluctuate, broadcasters may continue tightening spending on original programming.

Finally, if alternative financing channels fail to develop quickly, Africa’s creative industries could experience a funding gap that limits the scale and diversity of future productions.