Closing date 29/07/2019
Showmax & Africa Magic
10 – 13’ Episoedes x 48 mins
Empire, Power, 24, Taken
Greys Anatomy, How to Get Away with Murder
Primary: Nigerians ageed 25 – 45 age group at home and abroad
English (70% English ratio) + Pidgin/colloquial with an organic mix of local languages to highlight situational contexts
What ‘High End Drama’ means to Nigerians and the Africa Magic audience is a fast-paced, high-stakes rollercoaster ride experienced through the lives of colourful, often exaggerated characters - ‘beautiful people’ - in complex plots that have a revolving mix of ordinalry life & strife, aspirational glamour , flamboyance, cunning, ruthlessness, power, sacrifice, aggression and violence. In all this, It must be of exceptional production quality and must push the boundaries of visual and visceral story-telling
The potential audience largely consume international content and are a critical audience who want to see their stories told in an authentic and realistic way with international quality standards whilst keeping the authenticity of our African/Nigerian roots. They are demanding in terms of storytelling, expression in language, acting, sets and cinematic quality. With respect to the storyline particularly, the audience expects to be engaged almost in an low-powered intellectual manner with stories that are skillful in presenting for instance, the interplay between ambition and responsibility, spiritualism and pragmatism, the underdog and anointed, the aspirational poor and the indolent rich, the conflict of cultures and co-existence in immorality and corruption. These powerful dynamics reflect the reality of their lives and so are entirely relatable.
A recognizable leitmotif, the recurrent theme throughout the audience’s preferences in music, literature and film, is the impermanence of all things and its parallax, the potential of individual enterprise that drives aspiration regardless of circumstances of birth – ‘blowing’ (the belief that one can get rich overnight) is an ever-present and tantalising possibility. Both are expressed powerfully in colloquialisms, ‘nobody knows tomorrow’ and ‘no condition is permanent’ respectively that propel narratives through the characters and the implication of these perspectives in their lives.
Pacy debate (rather than lengthy dialogue) supports the viewing experience by moving the narrative along political machinations, betrayals, deceit, sacrifice, overnight success, gender tensions, debauchery, potent religiousity, family loyalties, business rivalry and cross-generational relationships all come into seamless play in the stories that grip this audience till triumphant climax.