Nollywood’s YouTube Casting Debate: Why popular faces still matter
According to him, this “star system” risks sidelining fresh talent and undermining the future of Nigerian cinema.
His concerns are valid, especially given Nollywood’s history of sacrificing depth for commercial viability. But as urgent as his warning sounds, the conversation is far more nuanced than a simple “popular faces versus new talent” debate.
The truth is, Nollywood is not the only film industry grappling with this tension. Hollywood, the same system we often glorify, thrives on big names and familiar faces.
The Marvel Cinematic Universe, Disney franchises, Batman, Superman, Spiderman; these aren’t just films; they’re billion-dollar machines powered by the star appeal of actors audiences already know and trust.
The idea that “popular faces” somehow diminish storytelling doesn’t hold when some of the most bankable films globally balance star power with compelling narratives.
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Popularity and talent are not mutually exclusive
One of the assumptions hidden in Kanayo’s critique is that popular actors are not necessarily great actors. That isn’t always true. Many of Nollywood’s YouTube “stars” have worked tirelessly to earn their place, building loyal followings and refining their craft in the process.
Being popular doesn’t make them any less talented; in fact, it often reflects how well they’ve connected with audiences.
Let’s face it, audiences don’t flock to a film just for its technical brilliance; they show up for faces they recognise, trust, and enjoy watching.
So, should these actors suddenly be “off the market” just because they’ve become household names? Of course not. Popularity is not a crime; it is, in fact, a lifeline for the industry.
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What audiences want
Nigerian audiences, like audiences everywhere else, vote with their wallets, or in this case, their views and subscriptions. And what do they vote for? Familiarity. Comfort. Recognition.
It’s why a Genevieve Nnaji project will always attract attention, why Hollywood keeps rebooting franchises, and why YouTube channels cast actors audiences already know. It’s not because producers hate new talent; it’s because they know what sells.
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This doesn’t mean that fresh talent should be ignored. Far from it. But the hard reality of filmmaking is that it is both art and business.
Popular faces sell movies. They bring in revenue, which allows producers and directors to keep making films.
That money, in turn, is what sustains the system and makes it possible to take risks on newer, lesser-known actors. To ignore this cycle is to romanticise filmmaking in a way that disregards its economic backbone.
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The real issue is access and balance
Where Kanayo’s critique hits home is in his warning about monopolies.
If a small group of actors dominate to the point where other talents never get a shot, then yes, creativity is stifled. But the solution isn’t to discard popular actors; it’s to balance them with newcomers.
A commercially successful lead can carry a film while smaller roles and subplots showcase new performers. This way, the industry gets the best of both worlds: financial viability and talent development.
What often gets lost in these conversations is that casting unknown actors is not always driven by a deep desire to “discover new talent.” Sometimes it’s simply because they cost less.
And while there’s nothing wrong with working within a budget, let’s not confuse economics with altruism. Many producers who loudly decry the “popular faces” would jump at the chance to cast them if they could afford their fees.
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The nuanced way forward
Kanayo O. Kanayo is right: Nollywood cannot afford to repeat the mistakes of the past, where talent was buried under commercial obsession.
But to pretend that popularity and talent are mutually exclusive is misleading. Star power sells films, sustains producers, and keeps the cameras rolling. At the same time, creating deliberate pipelines for emerging actors ensures the industry doesn’t become stagnant.
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The balance lies in embracing both: harnessing the magnetism of popular actors to keep the industry profitable while creating intentional spaces for new performers to thrive. Hollywood does it. Bollywood does it. Nollywood can and must do it too.
Because at the end of the day, the goal is not to pit popular faces against emerging ones, but to build a thriving system where storytelling, performance, and sustainability go hand in hand.
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