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Sassy, provocative African-made dramas could potentially unlock one of the largest streaming markets globally, and a new show is exemplifying this potential.
In “Youngins,” set within a fictional boarding school in South Africa, a teacher bluntly instructs a newcomer, “Lights off at eight. No sex here.”
Yet, audiences quickly discover that rules are mere suggestions as the Showmax series unfolds weekly on the South African-based subscription streaming service. It’s a rollercoaster ride brimming with excitement, danger, intimacy, and intensity.
Describing the show, Kealeboga Masango, who portrays the head girl, “I would describe the show as captivating, relatable, authentic, fun, funny, and fresh – but authentically South African fresh.”
This authenticity is pivotal. The creators of “Youngins” aim to differentiate it through its African roots, forming the cornerstone of Showmax’s ambitious strategy.
Themba Mfebe, the director, elaborates, “We delve deeply into South Africa’s diverse cultures. It’s not just about seeing black bodies on screen but witnessing the diversity of South African representation. It feels like watching my neighbor’s child or my sister’s child. These characters feel familiar, and most importantly, they speak in South African languages.”
With 70% of sub-Saharan Africans under the age of 30, Showmax, which offers documentaries and Premier League football alongside its original content, is eyeing expansion in the African subscription video-on-demand landscape.
Contrary to global streaming giants like Amazon Prime, which are scaling back investments in Africa, Showmax, owned by the MultiChoice group, is intensifying its production efforts. With 21 new original African shows recently launched, Marc Jury, the CEO, envisions reaching 50 million consumers across the continent by 2028, striving to become the premier streaming platform in Africa.
Netflix, a key competitor, has been steadily increasing its presence in Africa, investing significantly in original content. Their approach includes collaborations with acclaimed African producers, such as Mo Abudu’s EbonyLife. The success of productions like the Nigerian film “The Black Book,” which garnered over 20 million views in its debut weeks, underscores the appetite for African storytelling.
Despite the promising landscape, challenges persist. Ivan Biljan from UniqCast points out issues like limited affordable broadband access, data consumption concerns, and internet piracy. However, he remains optimistic, citing Africa’s burgeoning tech-savvy youth population as a driving force for the industry’s future growth.
