Beyond Sequels: Why Nollywood Needs to Build Franchises

Hollywood doesn’t just make movies. It builds intellectual property. Nollywood, by contrast, has mastered the art of making successful films but is yet to master the art of building enduring franchises.

This is the long-awaited Part 2 of “3 Things Nollywood Needs to Get Right “.

The Age of the Franchise

Walk into any cinema today and one thing becomes immediately obvious: Hollywood has fallen in love with franchises. Superheroes, wizards, spies, dinosaurs, galaxies far, far away and long-forgotten kingdoms dominate the big screen. Sequels, prequels, spin-offs, reboots and cinematic universes have become the lifeblood of the global film industry. It is easy to dismiss this as a recent trend brought about by the COVID-19 pandemic, but that would only tell part of the story.

Certainly, the pandemic accelerated Hollywood’s dependence on established intellectual property. As audiences became accustomed to streaming films from the comfort of their homes, cinemas could no longer rely on original, untested stories to lure viewers back. Studios responded in the safest way possible—by investing in familiar brands with proven audiences. Existing franchises became the closest thing Hollywood had to guaranteed box-office success.

Yet the franchise phenomenon did not begin with COVID-19.

Hollywood has been refining this strategy for decades. The boom began in earnest during the 1980s and has continued to evolve ever since. Today, franchises are no longer merely part of the industry—they are the industry.

The numbers tell the story better than any opinion ever could. Eight of the ten highest-grossing films in cinema history belong to established franchises. Likewise, a glance at the most anticipated films of 2026 reveals the same pattern. Dune, The Hunger Games and multiple entries from the Marvel Cinematic Universe continue to dominate audience expectations long before their release.

This is not coincidence. It is strategy.

A successful franchise reduces financial risk. It brings with it a loyal audience, instant brand recognition and generations of goodwill. Families who watched Star Wars in the late 1970s now introduce the same universe to their children and grandchildren. James Bond, Harry Potter, Indiana Jones, Jurassic Park, Fast & Furious and The Lord of the Rings have all transcended individual films to become enduring cultural institutions.

Hollywood understands something that many film industries, including Nollywood, are only beginning to appreciate:

Audiences can fall in love with a single film but they most often fall in love with worlds they want to revisit.

And that distinction changes everything.

Beyond the Sequel

One of the biggest misconceptions in modern filmmaking is the belief that every successful sequel automatically becomes a franchise. It doesn’t. The terms are often used interchangeably, but they describe two very different concepts.

A film series is simply a continuation of an existing story. Each instalment follows the same central characters and builds directly upon the events of the previous film. Take the ’80s “Back to the Future” trilogy as a perfect example. Three films. One continuing narrative.

A franchise, on the other hand, is something much larger. It is an entire intellectual property built around a fictional world, memorable characters or a compelling concept. The films themselves are only one expression of that intellectual property. From the same foundation emerge spin-offs, prequels, television series, books, comics, games, merchandise, theme parks and countless other forms of storytelling.

The first film is not the destination. It is merely the audience’s introduction to a much larger universe. This distinction is crucial because every franchise can include a film series, but not every film series becomes a franchise.

A sequel simply asks: “What happens next?” A franchise asks a far more ambitious question: “What other stories can this world tell?”

That single distinction separates Hollywood’s greatest intellectual properties from countless successful films that eventually faded into memory.

Has Nollywood Built a True Franchise?

Once we understand the difference between a sequel and a franchise, we can examine Nollywood more objectively. The Nigerian film industry has undoubtedly produced successful sequels. It has produced blockbuster films. It has produced beloved characters.

But has it produced a genuine franchise? That is a far more difficult question. Strictly speaking, the answer is not yet.

This is not intended as criticism of Nollywood’s creativity or commercial success. Rather, it is an observation about how the industry has traditionally approached filmmaking. Many Nigerian productions begin with a single story. If that story succeeds commercially, a sequel follows. If the sequel succeeds, another may be commissioned. The process is largely reactive rather than deliberate.

That is fundamentally different from franchise building.

Take films such as Merry Men, King of Boys or even Aníkúlápó. All have either produced or inspired continuations, and rightly so. They were successful films with audiences eager to revisit their worlds. However, they still revolve around the same central narrative and principal characters. Their sequels continue an existing story rather than expanding an intellectual property into multiple independent directions. That makes them successful film series, not yet fully developed franchises.

The distinction may appear subtle, but commercially and creatively it is enormous.

The closest Nollywood has arguably come to creating a true franchise was the Aki and Pawpaw phenomenon back in the day. Unlike conventional sequels, audiences did not return simply because they wanted to know what happened next. They returned because they had fallen in love with the characters themselves. Those comic personas could exist in entirely different stories, settings and situations while retaining their appeal.

Jenifa perhaps comes even closer. From feature films, the character evolved into a hugely successful television series, stage productions and a recognisable entertainment brand capable of generating new stories beyond the original film. If any Nigerian property has demonstrated the characteristics of franchise development, it is Jenifa. Whether it has fully crossed that line remains open to debate.

What is beyond debate, however, is that Nollywood has produced remarkably few intellectual properties capable of growing far beyond the films that introduced them. And that raises an even more important question. Why?

Great Franchises Are Never an Accident

If there is one lesson Nollywood can learn from Hollywood’s greatest successes, it is this: great franchises are rarely accidental.

They are conceived, nurtured and developed with the long game in mind. The temptation is to assume that a successful film automatically becomes a franchise if audiences demand another instalment. Hollywood’s history tells a different story. The most enduring franchises were not simply built on hit movies; they were built on carefully developed intellectual property.

The creators did not begin by asking, “How do we make a sequel?” They began by asking a much more ambitious question: “What kind of world can sustain stories for decades?”

That difference in thinking is what separates a successful film from an enduring franchise.

George Lucas Didn’t Create a Movie. He Created a Galaxy. Perhaps no filmmaker illustrates this better than George Lucas.

Lucas did not simply write Star Wars. From the very beginning, he imagined an entire mythology inspired by Joseph Campbell’s The Hero with a Thousand Faces, the films of Akira Kurosawa, Flash Gordon serials and classical mythology. He created governments. Religions. Political systems. Alien races. Thousands of years of fictional history. Entire family bloodlines. The Jedi. The Sith. A galaxy that already felt ancient before audiences ever stepped into it.

There is a reason the very first Star Wars film released to cinemas was Episode IV. Lucas understood that audiences did not need to witness the beginning of every story. By dropping them into the middle of an already living universe, he created the irresistible feeling that there was far more history waiting to be discovered.

That decision changed cinema forever.

The prequels that arrived decades later were not desperate attempts to extend a successful movie. They were explorations of a world that had always been larger than the first film itself. That is franchise thinking.

The Story Was Never the Product. The World Was.

The same philosophy can be seen in the works of George R. R. Martin with Game of Thrones, J. R. R. Tolkien (The Lord of the Rings) and Frank Herbert (Dune). Martin did not merely write the story of the Stark family. He built Westeros. He imagined centuries of political history, noble houses, ancient wars, religions, languages and rival kingdoms long before television audiences ever met Ned Stark. That is why House of the Dragon could exist without feeling like a forced sequel. It was simply another story from the same universe.

Tolkien approached storytelling in much the same way. Middle-earth existed long before The Lord of the Rings. He spent decades developing languages, maps, creation myths, genealogies and histories before readers followed Frodo on his journey to Mordor. The novel was only one story within an enormous fictional civilisation.

Even today, filmmakers continue to mine Tolkien’s work because the world itself contains countless untold stories. The lesson is obvious. These creators were not simply writing scripts. They were creating intellectual property.

Most Nigerian Films Begin with a Story. Great Franchises Begin with a Universe.

This, perhaps, is the most important distinction of all. Most Nigerian films begin with a compelling story. Great franchises begin with an expandable universe. That universe does not have to involve spaceships, dragons or magic. It simply needs to be large enough to accommodate many different stories.

Hollywood has proved repeatedly that franchises can emerge from almost any setting. James Bond is built around the world of international espionage. John Wick revolves around an elaborate criminal underworld. The Marvel Cinematic Universe thrives on interconnected superheroes. Even Mission: Impossible derives its longevity from an organisation capable of generating endless missions rather than a single plot.

In every case, the audience is returning not merely because they want to know what happens next. They return because they want to spend more time in that world. That is precisely where Nollywood has an opportunity.

For decades, the industry has told some good stories. The next stage of its evolution is to create worlds capable of producing many memorable stories.

Why Nollywood Has Struggled to Build Franchises

If franchises are as lucrative and culturally significant as Hollywood has demonstrated, why has Nollywood produced so few? The answer is certainly not a lack of creativity. Nor is it a lack of talented writers, directors or actors. The reasons are structural, economic and, perhaps most importantly, philosophical.

Historically, Nollywood developed under circumstances that rewarded speed rather than long-term planning. Budgets were relatively modest compared with Hollywood. Production schedules were extraordinarily tight. Most films were conceived as one-off projects designed to recover their investment as quickly as possible. Success was measured by immediate sales rather than the long-term value of the intellectual property.

In such an environment, there was little incentive to spend years developing an expansive fictional universe when the next production was already waiting. Franchise building requires patience.

It requires investment before the financial rewards become visible. It requires writers and producers to think not only about the film they are making today, but about the stories audiences might still be watching twenty years from now.

That has rarely been the reality of Nollywood. Another significant limitation was distribution. For many years, Nigerian films went directly to VHS, DVD or television. Cinema releases were relatively uncommon, and opportunities to build anticipation around theatrical events were limited.

The ecosystem that allowed Hollywood franchises to flourish simply did not exist. Perhaps even more important was merchandising. Hollywood discovered long ago that a great franchise earns money long after audiences leave the cinema.

Action figures. Books. Video games. Clothing. Collectibles. Licensing.Theme parks. These often generate more revenue than the films themselves.

For decades, Nollywood had no comparable ecosystem. Successful films ended when the credits rolled. There were no toys. No graphic novels. Few licensed products. Very little effort to transform beloved characters into enduring commercial brands. The result was inevitable. Nollywood produced hit movies. Hollywood produced intellectual property. There is a profound difference between the two.

The Opportunity Before Nollywood

If the first twenty-five years of Nollywood were about proving that Nigeria could make movies, the next twenty-five years should be about proving that it can create enduring intellectual property. The good news is that the conditions have never been more favourable.

Today’s Nollywood is fundamentally different from the industry that emerged in the early VHS era. Cinema audiences are growing. Streaming platforms such as Netflix, Prime Video and Showmax have introduced Nigerian stories to global audiences. Production values continue to improve. Budgets are increasing. International collaborations are becoming more common. Most importantly, audiences are no longer satisfied with simply watching a good film. They want worlds they can revisit and characters they can grow with.

For the first time in its history, Nollywood possesses the ingredients necessary to build genuine franchises. The challenge is no longer opportunity. It is mindset.

The industry must begin thinking beyond the next box-office success and start asking a different question: Can this become intellectual property that will still be relevant twenty years from now?

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A Franchise Doesn’t Need Magic

One misconception about franchises is that they must be rooted in fantasy or mythology. Nothing could be further from the truth. A franchise does not require dragons, superheroes or mystical birds. It requires an expandable premise.

That premise could revolve around a city. A profession. A family. A criminal organisation. A school. A political dynasty. A detective. An intelligence agency. Or simply a group of unforgettable characters.

Hollywood has demonstrated this repeatedly. James Bond is not a fantasy franchise. Neither is Mission: Impossible. Nor John Wick. What keeps audiences returning is not magic. It is the richness of the world and the strength of its characters.

The same principle applies to Nollywood. The word “universe” should not intimidate filmmakers into thinking only epic fantasies qualify as franchises. Sometimes the universe is simply the community in which the story unfolds. Sometimes it is the profession. Sometimes it is the family. Sometimes it is one extraordinary character whose life can generate countless stories.

The Fastest Route to Building Franchises

Ironically, Nollywood may not even need to invent entirely new intellectual property. Some of its strongest franchise opportunities already exist. Throughout entertainment history, many of the world’s greatest franchises began with audiences that already existed.

James Bond came from novels. The Marvel Cinematic Universe grew out of comic books. Jason Bourne originated in Robert Ludlum’s novels. Why can’t Nollywood use stories from Pacesetter novels, for example?

Harry Potter was already a publishing phenomenon before it reached cinemas. When filmmakers adapt existing intellectual property, they inherit something invaluable—a loyal audience.

The same opportunity exists in Nigeria. Books remain one of the richest but most underutilised sources of franchise development. A well-written novel often contains far more material than can fit into a single film. It already possesses developed characters, a functioning world and an audience emotionally invested in the story.

The same applies to successful television series. Jenifa demonstrates how a beloved character can move comfortably between film and television while retaining audience affection. Popular local television dramas could be rebooted or expanded into cinematic franchises with relative ease.

Nigeria’s history and folklore present another enormous opportunity. Our kingdoms. Our heroes. Our legends. Our political histories. Our oral traditions. Each possesses the depth necessary to sustain multiple stories if developed thoughtfully. The source material is already there. What remains is the vision to recognise its long-term potential.

Which Nollywood Films Could Become Franchises?

Several recent Nigerian productions possess genuine franchise potential—not because they deserve sequels, but because their worlds are capable of producing many more stories.

Jagun Jagun

Perhaps no recent Nollywood production demonstrates greater franchise potential than Jagun Jagun. Reports suggest that a sequel is already in development, and that is encouraging. However, a sequel alone will not determine whether Jagun Jagun becomes a franchise. Its greatest strength lies in its setting.

Rather than telling only Gbotija’s story, the film introduces an expansive pre-colonial Yoruba world populated by rival kingdoms, powerful warriors, political intrigue and rich mythology. The universe is clearly larger than its protagonist. That is the hallmark of franchise potential.

The real question is whether audiences have become sufficiently attached to its characters. World-building alone is never enough. Characters build franchises.

People return to Star Wars for Luke Skywalker, Darth Vader and Yoda—not simply because the galaxy is vast. They return to Harry Potter because of Harry, Hermione and Snape—not merely because Hogwarts is magical.

If Jagun Jagun continues investing in memorable, emotionally engaging characters while expanding its world beyond one continuous storyline, it could become one of Nollywood’s first true fantasy-action franchises.

Jenifa

If one Nigerian property has already travelled furthest along the franchise path, it is Jenifa. The character has outgrown her original film. She has successfully crossed into television and become a cultural brand recognised across generations. She could be Nollywood’s response to Tyler Perry’s Madea. A central character audiences genuinely enjoy spending time with. There is little reason her world cannot continue expanding.

Gangs of Lagos

The franchise potential of Gangs of Lagos lies not in its plot but in its location. Isale Eko is itself a compelling universe. Different generations. Different gangs. Different leaders. Different conflicts. Countless stories could emerge from the same environment without repeating the original narrative.

The Black Book

Richard Mofe-Damijo’s Paul Edima has the potential to become something Nollywood has rarely attempted—a recurring action hero (though I can’t seem to get past that lame car chase round the roundabout!). Different missions. Different adversaries. Different political conspiracies. Handled correctly, the character could evolve into Nollywood’s equivalent of Jason Bourne or Jack Ryan. Again, the possibilities extend beyond one story.

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The Difference Between Movies and Intellectual Property

Perhaps this is where the conversation should really begin. For decades, Nollywood has focused on making movies. Hollywood has focused on building intellectual property. The difference may appear semantic, but commercially it is enormous.

A movie earns money while people are watching it. Intellectual property continues earning money long after the closing credits.

It becomes books. Television. Animation. Games. Clothing. Collectibles. Licensing. Brands. Generations of storytelling. That is the true value of a franchise.

Beyond Sequels

Perhaps the real question is not whether Nollywood has franchises. Perhaps the real question is whether we have been thinking about filmmaking in the right way. The Nigerian film industry has never lacked talented storytellers.

It has never lacked compelling stories.

What it has lacked is a deliberate commitment to creating intellectual property capable of outliving a single film. Franchises are not built because audiences ask for another movie. They are built because writers and producers create worlds rich enough to sustain many movies.

Hollywood understood this decades ago. Nollywood is only beginning to discover it. Fortunately, the future has never looked brighter. The audience is larger. The platforms are global. The production quality continues to improve. The appetite for African stories has never been stronger.

The opportunity is here. The next great Nigerian franchise will not happen by accident. It will emerge because someone chooses, from the very beginning, not merely to tell a good story, but to build a world that audiences will want to revisit for generations.

And that is the challenge before Nollywood.