At the Film Lab Africa: Creative Hustle event, media executive and producer Uche Ikejimba made a compelling case for why consistency, more than talent, will define creative success in 2026 and beyond.

Speaking on the panel “Positioning Yourself in 2026: Beyond Talent — What Actually Matters,” alongside filmmaker Kayode Kasum and producer Victor Sanchez Aghahowa, Ikejimba drew attention to an often-overlooked influence on the film and television ecosystem: digital content creators.

Best known for her work across reality television hits like Big Brother Nigeria and Nigerian Idol, as well as Africa Magic series including UnMarried, Our Husband, and Stripped, Ikejimba is both an observer and participant in an evolving media landscape where traditional industry structures are increasingly intersecting with creator-led ecosystems.

“The bane of this conversation is we need to draw from the content creators and the influencers,” she said. “One thing they have done is to show us what consistency looks like.”

Ikejimba pointed to the relentless output of online creators producing multiple pieces of content daily as a model for discipline and growth. Referencing creators such as Carter Efe, Layi Wasabi, and Enioluwa Adeoluwa, she highlighted how many have scaled from low-budget, self-shot videos to professionally produced content, building loyal audiences in the process.

“You might laugh at what they do or reduce what they do,” she noted, “but these guys have chosen a skill and decided to be consistent with it.”

Her argument challenges a long-standing hierarchy within the screen industries, where digital creators are often viewed as peripheral to “mainstream” film and television. Instead, Ikejimba suggested that their methods, adaptability, frequency, and audience engagement offer practical lessons for producers, writers, and directors.

“There’s sometimes a lot of arrogance,” she said of traditional creatives. “We want to see things a certain way. But we’re living in a different time now where there’s access to everything.”

According to her, many content creators turned to platforms like TikTok, Instagram, and X (formerly Twitter) out of necessity to create opportunities for themselves when traditional entry points proved inaccessible. In doing so, they have built careers and ecosystems defined by collaboration and constant iteration.

Ikejimba emphasised that this collaborative culture is another area where film and television practitioners can evolve. “I’ve seen a lot of us in production want to do it solo,” she said. “But no movie set or TV production can be done on your own.”

She cited the frequent partnerships among creators as a model for expansion and reinvention, noting how collaborations often lead to new characters, formats, and audience reach.

Beyond visibility, she acknowledged the economic dimension of the creator economy, pointing out that sustained consistency has translated into revenue streams for many digital talents. “I know they are earning some money—that’s why they are there,” she said.

Ultimately, Ikejimba’s message was clear: the future may depend less on defending traditional boundaries and more on learning from those who have already moved beyond them.

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