Art meets ego and audience in the Aníkúlápó’ debate

Aníkúlápó: The Ghoul Awakens is currently Nigeria’s most-watched series, but its success is being overshadowed by a clash of philosophies. From Kunle Afolayan’s dismissal of “non-intellectual” critics to a social media revolt against his “elitist” marketing, the series has become the ultimate case study in the tension between a filmmaker’s artistic intent and the demands of the modern audience.

This conflict was directly fueled by filmmaker Kunle Afolayan, who publicly defended his work against critics by stating that the series targets “intellectuals” and “people who can think,” rather than general audiences seeking simple entertainment. In a video response to critics, Afolayan said he creates films for scholars, professors, and deep thinkers, and does not expect everyone to like or understand them. He urged patience, noting that some viewers judge the series prematurely after watching only part of it.

This position drew sharp disagreement from content creator Hannah (@RealBrihannah), who posted a detailed critique on X. She argued there is “nothing intellectual” about the series, describing it as lacking a deep plot, unexpected twists, layered meanings, strong writing, memorable dialogue, standout cinematography, or exceptional acting. Hannah compared it unfavourably to films like ‘Shutter Island’, ‘Interstellar’, ‘Inception’, ‘Fight Club’, and ‘Inglourious Basterds’, and series like ‘Game of Thrones’. She called the claim an insult to Nigerian audiences familiar with classics such as ‘Titanic’, ‘The Godfather’ trilogy, and ‘The Phantom of the Opera’.

The exchange highlights ongoing debate in Nollywood about artistic intent versus audience expectations. Some users supported Hannah’s view. For example, @thejidetaiwo stated there is nothing intellectual about ‘Aníkúlápó’, accusing Afolayan of using the term to cope with criticism rather than accept feedback. @olajideobe described the series as subpar and an insult to viewers’ intelligence, criticising Afolayan’s response as disrespectful.

Others praised the series. @SodiqTade called it brilliant storytelling and recommended it. @bibzyCarter said after viewing, “You guys lied. Anikulapo is a good series.” @Debs_opet reported genuinely enjoying season 2. @blockofbuilder highlighted its deep storytelling and cultural significance, comparing it to ‘Roots’ for addressing historical horrors from an African perspective.

The controversy reflects broader tensions in Nigerian cinema between ambitious, culturally rooted projects and demands for accessible, high-production entertainment. Afolayan’s comments have fueled discussions on who Nollywood films should serve.

The series has risen to the number one spot on Netflix Nigeria, confirming that audiences, despite the debate online, are still captivated by the universe which was first introduced in the 2022 original film.

The first film earned global attention for its mix of Yoruba mythology, stunning visuals, and compelling storytelling, making it one of the most-watched Nigerian films on Netflix.

Season 2, subtitled The Ghoul Awakens, builds on that universe with a darker and more complex narrative. It explores the consequences of past actions, introduces new political tensions in the Oyo Empire, and follows Saro and other characters as they confront both human and supernatural threats. The season also expands the cast to include new faces, while retaining fan favourites such as Sola Sobowale, Bimbo Ademoye, Taiwo Hassan, Lateef Adedimeji, and Gabriel Afolayan, among others.

The controversy has also reignited an ideological rift within Nollywood regarding film promotion. Following remarks at the Lagos Business of Film Summit, Afolayan described the modern “dance-heavy” marketing culture as “unsustainable” and “draining.”

“I want to make a film if you guarantee that I do not have to dance to sell it,” Afolayan stated, a comment widely interpreted as a jab at box-office powerhouse Funke Akindele.

Akindele, whose viral marketing strategies helped her 2025 release Behind The Scenes gross over N2.4 billion, hit back on social media, advising colleagues not to let “jealousy” burn them and to “create your own path.” While Afolayan later clarified on Arise News that his remarks were a matter of personal energy rather than a condemnation of others, the exchange highlights a fundamental industry question: Should Nollywood rely on the “promo grind” of social media virality, or the intrinsic cultural value of the craft?

Ultimately, Afolayan responded to the backlash by asserting that his series was intended for viewers who appreciate layered storytelling and deep cultural narratives, urging audiences to approach the project with patience.
From the original film’s global success in 2022 to the current season’s record-breaking viewership, Aníkúlápó has become more than just entertainment; it has evolved into a cultural phenomenon that continues to captivate Nigerians and international audiences alike, highlighting the power of African storytelling on a global platform.