At the core of the public reaction, Adenuga explains, is a fundamental misunderstanding of how productions like Papa Ajasco operate. Contrary to the assumption that actors are full-time staff earning annual salaries, he clarifies that the production follows a “block shooting” format. Cast members typically work once a year for about three to four weeks, during which more than 40 episodes are recorded for broadcast across the year.
This distinction, he notes, is critical. Much of the outrage has stemmed from claims that actors are paid as little as ₦45,000 annually—an interpretation he describes as inaccurate. According to him, payments are made per episode, not per year, and even the cited figures do not reflect the actual amounts, which he says are higher but remain undisclosed due to professional confidentiality.
The Cost Behind Each Episode
Adenuga provides a breakdown of the financial realities behind producing a single 30-minute episode. Actor payments, he explains, are only one part of a much larger cost structure. Crew members—including directors, production managers, editors, and writers—also receive compensation, with writers reportedly earning more than double the amount speculated for actors per episode.
Beyond personnel, production expenses include location fees, accommodation, feeding, diesel, transportation, and logistics. Perhaps most significant is the cost of airtime. Securing a 30-minute slot on major Nigerian television stations such as AIT or NTA can cost between ₦1 million and ₦3 million per episode.
When these expenses are combined, profitability becomes uncertain. Adenuga emphasizes that advertising revenue remains the primary source of income, facilitated through marketers who secure sponsorship deals. Even then, he admits that productions often struggle to break even.
This financial strain, he says, has led to a sharp decline in the number of TV drama producers in Nigeria—from over 25 in the past to just a handful today. What has sustained Wale Adenuga Productions, he adds, is the continued popularity of its programmes, including Super Story and Akpan and Oduma, alongside Papa Ajasco. It is this combination—not a single show—that keeps the company afloat.
Compensation and Industry Benchmarks
On the issue of actor remuneration, Adenuga maintains that payments are competitive within the industry. While he declines to disclose exact figures, he insists that rates are standardized, periodically reviewed upward, and aligned with what other producers offer.
He also confirms that Ayoyinka participated in the most recent production, where he not only appeared but played a lead role referred to as “Gen Z Papi.” This, he suggests, reflects the company’s continued professional relationship with the actor despite public tensions.
Who Builds a Brand?
Responding to arguments that long-serving actors deserve greater financial security because of their role in building the brand, Adenuga pushes back against what he sees as an oversimplification. A successful production, he argues, is the result of collective effort—writers create the story, directors shape performances, and producers oversee the vision.
He also highlights the structured nature of the characters themselves. Many roles in Papa Ajasco are defined by age and personality traits, making recasting inevitable. The character of Ajasco, for instance, is designed as a young boy and is replaced once the actor outgrows the role. Similarly, the titular Papa Ajasco is intended for actors within a specific age range, typically between 55 and 70.
These characters, he notes, date back to 1976, long before the television series began in 1997. Over the decades, multiple actors have played the same roles, reinforcing the idea that no single performer owns a character.
A Structural Gap in Nollywood
Beyond individual disputes, Adenuga identifies a broader institutional weakness: the absence of strong professional guilds in Nigeria’s film and television industry. Unlike sectors such as law or medicine, which have established bodies like the Nigerian Bar Association or Nigerian Medical Association, Nollywood lacks cohesive organizations to regulate practice and provide welfare support.
Such structures, he argues, could introduce insurance schemes, pensions, and financial assistance for members in need. In their absence, many actors are left without a safety net, often turning to public appeals during difficult times.
The Reality of Acting as a Profession
Adenuga stresses that acting—particularly in Nigeria—is rarely a consistent source of income. With productions shot in short bursts and roles not always readily available, actors must seek alternative income streams.
He points to the imbalance between the number of actors and available roles, noting that an oversupply of talent naturally drives down earnings. This, he says, is not unique to Nigeria but reflects a global reality in the entertainment industry.
While a few high-profile figures—such as Richard Mofe-Damijo (RMD) and Sola Sobowale—have achieved sustained financial success, the majority of actors remain within the middle class. Even among top-tier performers, additional income streams such as endorsements and business ventures are essential.
Leveraging Fame Beyond the Screen
Rather than viewing acting roles as the sole source of income, Adenuga encourages performers to capitalize on the visibility they gain. He shares examples of actors who have successfully built businesses, secured endorsements, or developed independent content platforms based on their popularity.
He also references the Papa Ajasco brand itself as a source of value, noting that public recognition often translates into opportunities, gifts, and financial support for actors. However, he argues that relying exclusively on a single role is unsustainable.
“You cannot work for a few weeks in a year and expect that to cover your entire livelihood,” he says, adding that financial planning and diversification are essential.
Lifestyle choices, he adds, also play a role. Some actors, he observes, struggle financially because they attempt to mirror the lifestyles of their on-screen characters, rather than living within their means.
Ownership and Intellectual Property
A key aspect of the dispute involves the ownership of the Papa Ajasco identity. Adenuga is unequivocal in his stance that the characters are intellectual property owned by the production company.
Allowing former actors to use these identities independently, he argues, would create confusion and potentially damage the brand. He cites past instances where requests to continue using character names were declined for this reason.
Maintaining the brand, he explains, requires careful oversight—from script approval to audience sensitivity. Over the years, adjustments have even been made to avoid offending specific groups, underscoring the level of responsibility involved.
A Complicated Relationship
Addressing Ayoyinka’s history with the production, Adenuga reveals that the actor was previously removed due to serious breaches. These included organizing an unauthorized tour using the Papa Ajasco name and attempting to register the brand independently, despite its prior registration by the company.
Despite these incidents, Adenuga later reinstated him, citing both his talent and the realities of working with creative individuals. “The most talented people can also be the most difficult,” he notes, emphasizing the balance producers must strike.
He also reiterates that, in over 50 years of operation, his company has maintained a reputation for paying actors in full before they leave production locations.
Royalties, Regulation, and the Future
On the question of royalties, Adenuga acknowledges that actors could benefit more under a structured system. He supports calls for the establishment of the Motion Picture Practitioners Council of Nigeria, which could regulate the industry, standardize contracts, and introduce royalty frameworks.
However, he maintains that long-term welfare cannot rest solely on individual producers, especially in an industry where profitability is uncertain.
Adapting to a Changing Landscape
The media landscape, he notes, is evolving. Productions are increasingly distributed عبر digital platforms, including YouTube and proprietary channels like WAPTV, expanding both reach and revenue opportunities.
Interestingly, the controversy itself has boosted public interest in Papa Ajasco, drawing renewed attention to the show.
Responsibility and Reality
In closing, Adenuga rejects claims of exploitation, emphasizing that participation in productions is voluntary and governed by agreed terms. While acknowledging the need for stronger contracts and clearer legal frameworks, he insists that compensation is tied to what productions can realistically earn.
Ultimately, he frames the issue as one of shared responsibility—between producers navigating financial constraints and actors managing their careers, finances, and opportunities beyond the screen.
The debate, however, continues to highlight a critical question: how can Nigeria’s entertainment industry evolve to better balance creativity, commerce, and the long-term welfare of its talents?