Long before social media amplified every whisper in the entertainment space, Nollywood had already mastered the art of perceived rivalry. At the centre of one of the industry’s most enduring narratives were two of its biggest female stars—Omotola Jalade Ekeinde and Genevieve Nnaji. For years, fans and commentators speculated about an alleged feud between them, often framing their rise as a competition that could only produce one winner.
That long-standing assumption has once again been put to rest.
During a recent interview on Yanga FM, clips of which surfaced on Instagram on Wednesday, Omotola firmly dismissed claims that she and Genevieve were ever embroiled in a personal conflict. According to the veteran actress, the idea of a rift was largely manufactured by fans, amplified by media storytelling, and sustained by an industry culture that thrives on comparison.
Reflecting on that era, she explained that while they were not best friends, there was never any hostility between them. They spoke normally behind the scenes, interacted professionally, and went about their individual careers without incident. In her view, the so-called rivalry only became real in the public imagination because people insisted on projecting competition where none existed.
Speaking in a mix of English and Pidgin, Omotola likened the situation to the way music stars are often pitched against one another today. She noted that long before the widely discussed rivalries involving contemporary artists, Nollywood actresses had already been subjected to similar narratives.
According to her, the irony was that the supposed quarrel was defined externally before either party was even aware of it. By the time the story gained traction, it had already taken on a life of its own, forcing them to “catch up” with a disagreement that never truly happened.
She further explained that the industry’s habit of ranking and branding actresses—labeling one as the “hottest” or most popular at any given time—naturally created tension, especially among young professionals trying to establish themselves. However, she stressed that such tension was professional, not personal, and was often misunderstood by observers who read more into it than was necessary.
Omotola also made it clear that she has never been inclined toward public quarrels, questioning where such a feud would even have occurred. Both she and Genevieve, she said, are reserved individuals who are not constantly in social circles or public spaces where drama might unfold. Their personalities alone, she suggested, made the idea of a prolonged public conflict unrealistic.
Her comments on the alleged rift come at a time when she has also been vocal about broader issues affecting Nollywood, particularly the evolving expectations placed on actors in the name of film promotion.
Recently, the industry has been embroiled in a debate over marketing strategies, especially the growing trend of actors dancing or creating viral social media content to promote films. The discussion intensified after filmmaker Kunle Afolayan stated at the Lagos Business of Film Summit that he would not resort to dancing to market a movie, describing the pressure to constantly generate promotional content as unsustainable.
Actress Funke Akindele later responded, clarifying that she was not obstructing anyone’s progress and remarking that “the sky is wide enough for everyone to fly.” Afolayan subsequently addressed the matter, explaining that his comments were not directed at Akindele and that he had no personal issues with her.
While acknowledging that she enjoys dancing and has nothing against it, she drew a clear distinction between dancing for fun and dancing out of obligation. According to her, the backlash against the trend stems from the fact that actors are increasingly made to feel that such performances are mandatory if a film is to succeed.
She argued that promotion should be organic and enjoyable, not a chore imposed on actors after they have already completed their work. From her perspective, professionalism means that once an actor has delivered their performance, their role should primarily involve speaking about the project, while trained marketers and distributors handle advertising and publicity.
Comparing the situation to practices in more established film industries, Omotola pointed out that many respected international actors are either minimally active or completely absent from social media. Yet, their films still receive extensive promotion through billboards, press tours, and strategic marketing handled by professionals. For her, this division of labour represents a standard Nollywood should strive toward.
She warned that placing the bulk of promotional responsibility on actors is exhausting and demoralising, often leaving them reluctant to take on new projects because they anticipate the same draining cycle. More troubling, she revealed that some actors are now overlooked or denied roles simply because they refuse to engage in constant social media content creation.
Beyond marketing, Omotola also criticised the growing tendency to cast individuals based primarily on their social media following rather than their training, discipline, and experience. While she acknowledged that influencers have their place and can be useful for boosting visibility at certain times, she stressed that they should not be equated with career actors who have invested years honing their craft.
According to her, this issue reflects a deeper, systemic problem that extends beyond entertainment: a lack of respect for experience. She argued that when industries fail to value the time, effort, and expertise professionals bring to their work, standards inevitably decline.
She suggested that the persistence of these practices is often driven by attempts to cut costs, with filmmakers shifting additional responsibilities onto actors instead of hiring specialists. The consequence, she said, is poor acting quality, imbalance within the industry, and the elevation of fleeting fame over discipline and professionalism.
In her closing remarks, Omotola emphasised that acting goes far beyond what audiences see on screen. It requires structure, commitment, and respect for the craft—qualities that cannot be replaced by viral moments or temporary online popularity.