The release of the official teaser for Season 2 of Blood Sisters has ignited heated conversations online, with social media users divided over whether Nollywood filmmakers should prioritise realism or creative interpretation when portraying Nigerian institutions.
Released by on May 22, the 67-second teaser immediately generated excitement among fans eager for the return of the hit crime thriller series, which first premiered four years ago. The upcoming season reunites a star-studded cast including Kate Henshaw, Ini Dima-Okojie and Nancy Isime.
But while anticipation for the June 5 premiere grew rapidly, attention quickly shifted from the storyline to the costumes featured in the teaser — particularly the prison uniforms worn by some characters.
Many users on X criticised the outfits, arguing that they looked nothing like actual Nigerian prison uniforms. Critics pointed to the colour, design and inclusion of sweatshirts beneath the uniforms, insisting such styling felt unrealistic considering Nigeria’s weather conditions and prison environment.
The backlash intensified after users began comparing the costumes to those seen in the American prison drama Orange Is the New Black, the globally popular Netflix series starring Uzo Aduba.
“Nigerian prisons don’t even use this uniform, when will this new Nollywood ever be genuine. Feels like I’m no longer watching a Nigerian movie,” he wrote.
The comment attracted more than 14,000 likes and quickly became central to the growing debate.
Actress and casting director Kemi Lala Akindoju responded directly to the criticism, defending the creative decision behind the costumes.
“This is the uniform as created by the team that worked on the film,” she replied.
Her response opened a wider conversation about artistic freedom in Nollywood and whether filmmakers should be expected to strictly mirror reality in fictional productions.
Veteran filmmaker Mildred Okwo strongly supported the use of creative licence, arguing that filmmakers are not obligated to recreate reality exactly as it exists.
“I do not have to portray reality every time. Sometimes I want to aspire. That is why I make films, not Reality TV or Documentaries… It is my world, and I will create it as I see fit,” she stated.
However, not everyone agreed with that perspective.
Book critic and cultural commentator Ms Ojo argued that even fictional worlds require internal consistency and believable context.
“Creative liberty still has to function within the world your film has established. Your make-believe must remain believable beyond merely insisting on it,” she wrote.
Writer Abasi Maeyinn echoed similar concerns, insisting that fiction should not completely detach itself from social realities.
“You can’t keep telling stories about your society’s institutions and industries without some fidelity to reality,” he argued.
Beyond debates about storytelling, several industry insiders suggested that the issue may also stem from regulatory challenges filmmakers face when portraying Nigerian institutions onscreen.
Nollywood producer Eddy Young expressed frustration over what he described as limited creative flexibility due to concerns from regulatory agencies.
“You can’t even say NPF or Nigeria in some films. You think you are in America, where there is total creative freedom?” he said.
Entertainment executive and lawyer Onyinkasola Fawehinmi also noted that filmmakers often avoid direct representations of government agencies to prevent complications with approvals, compliance or possible blacklisting.
The controversy has since evolved into a broader conversation about authenticity in modern Nollywood, with audiences questioning whether the industry is sacrificing cultural accuracy for global appeal and stylised storytelling.
As Blood Sisters Season 2 prepares for its June 5 debut, the discussion continues to expose deeper tensions within Nigeria’s film industry — balancing creativity, audience expectations, regulatory limitations and the growing influence of international streaming platforms.