A few years back, streaming media platforms such as Netflix, Showmax, Amazon Prime Video, and others were tagged as the future of television in Nigeria. They suggested high-quality on-demand content, an escape from losing control of the cable, and a touch of international entertainment.

But the ground has run. Their most formidable rivalry at present is not a slick subscription service; it is YouTube. 

A pricing gap Nigerians cannot ignore

Streaming subscriptions are climbing beyond the reach of many households. Netflix, for example, has increased its Nigerian prices three times in under a year. Its premium plan now costs ₦8,500 per month, while the most basic option is ₦2,500. Showmax and Prime Video may come cheaper, but they are still not exactly affordable in a country where the minimum wage is ₦70,000 and data alone can swallow over half that amount.

For many Nigerians, the numbers do not add up. Streaming is a luxury, not an everyday habit. The World Bank estimates that over half of the population lives below the poverty line. Against that reality, YouTube, free to access, with no paywall to get started, is winning.

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Built for Nigeria’s internet reality

YouTube is also more compatible with the Nigerian data environment. Unlike other services, which invariably use the default of HD or 4K, eating into data cap unnoticed, YouTube allows users to choose at which resolution they want to watch a video, turn off autoplay, and even download videos to view offline.

Most Nigerians know the midnight routine: download videos using cheaper overnight bundles, then enjoy them during the day without stressing about data. YouTube supports that behaviour. The major streamers do not.

The platform also matches Nigeria’s mobile-first culture. With more than 107 million active internet users in 2025, according to Statista, most of them accessing content through mobile phones, YouTube’s flexibility makes it feel native in ways subscription services cannot quite replicate.

Relatable content, faster turnaround

A second factor is a question of relevancy that YouTube is leaving ahead of others: Whereas glamorous originals offered by Netflix and Prime Video are globalized to appeal to a mass audience, YouTube is crowded with content that can easily be related to the viewers, Nollywood films, comedies and skits, music videos, and personal stories. 

Filmmakers and creators also find it easier to publish. There are no lengthy approvals, no executive sign-offs, no budgetary hoops. They can shoot, edit, and upload on their own terms. The result: a constant stream of fresh content that resonates with viewers.

For creators, it is business, not a gamble

Streaming platforms often buy out Nollywood projects with lump-sum deals that offer little long-term return. YouTube, on the other hand, is a pipeline for recurring income. Its monetisation ecosystem, AdSense, brand partnerships, Super Chat, Shorts Fund, and more give creators multiple revenue streams tied directly to viewership.

This model is working. The number of Nigerian YouTube channels earning significant income has doubled in recent years. Production houses now use YouTube not only to distribute content but also as a marketing funnel, driving fans to cinemas, merchandise, and premium offerings.

As filmmaker Olatunbosun Amao told ThisDay: “On YouTube, literally anyone can make a film. If it’s good and people like it, you can make way more than you spent.”

Kazeem Adeoti, co-founder of iBAKATV, notes that the number of full-length films on YouTube has exploded, with even top Nollywood actors setting up their own channels. Seun Oloketuyi, founder of the Best of Nollywood awards, echoes the point: there are no restrictions on language, costume quality, or camera type.

A global shift in progress

This is not just a Nigerian story. Globally, YouTube is overtaking its rivals on the biggest screen of all: television.

Neal Mohan, YouTube’s CEO, recently declared: “YouTube is the new television.” He is not exaggerating. Users now stream more than one billion hours of content per day on TV sets. Nielsen data shows YouTube commanding 12 per cent of U.S. television viewing, well ahead of Disney’s 10.7 per cent and Netflix’s 7.5 per cent.

Advertising money is following the audience. Google’s Q1 2025 results revealed YouTube earned $8.93 billion from ads, up 10 per cent year on year. With YouTube Shorts, live sports deals, and YouTube TV subscriptions all expanding, the platform is not just chasing Netflix and Disney; it is redefining what television means.

YouTube is already the most popular streaming service among millions of Nigerians. It is not only concern money savings, it is also about an experience that includes their routines: downloads, mobile first, and a continuous flow of relatable content.

Streaming platforms will not go away, but unless they address the issue of affordability, reconsiderations towards the way people use data, and consider regional approaches to their strategies, they are doomed to become a luxury item.

YouTube is their silent game changer to both the local and global streaming.

Anita Chinedu