COM3705
PORTFOLIO 2026
,TABLE OF CONTENTS
1. INTRODUCTION 2
2. THEORY FRAMEWORK 3
2.1 The three theories explained 4
2.2 Do the theories explain Netflix in Africa? 4
3. GOOD AND BAD EFFECTS 7
3.1 Why films flow and what happens because of it 8
3.2 The good and bad things Netflix does in Africa 9
4. CASE STUDY: QUEEN SONO 11
4.1 What Bradfield says about genre and African characters 12
4.2 How Queen Sono shows African culture and identity 13
5. THE DIGITAL DIVIDE AND WHO CAN WATCH 14
5.1 What the network society and digital divide mean 15
5.2 Who can really watch Netflix in Africa? 17
6. CONCLUSION 19
SOURCES CONSULTED 20
1
, 1. INTRODUCTION
Netflix came to Africa and told a nice story. The company said Africa is "one of the
major creative centres for great storytelling that resonates around the world" (COM3705
Assessment 3, 2026). Netflix made its first African show, Queen Sono, in South Africa in
2020. Then came Blood & Water. Netflix promised to spend over R920 million in South
Africa in 2022. By 2024, Netflix said it had spent more than R4 billion on South African
films and TV since 2021. In Nigeria, Netflix has spent over USD 23 million since 2016
and backed more than 250 local titles. That all sounds very good.
But the same story has another side. In November 2024, Netflix stopped ordering new
Nigerian shows. A director, Kunle Afolayan, said some projects were cancelled "due to
low Return on Investment" (COM3705 Assessment 3, 2026). Netflix also raised its
prices a lot in Nigeria (up to 40%) and in South Africa (over 35% on some plans since
2018). And even though South Africa is Netflix's biggest African market, only just over 2
million South Africans had Netflix in 2024 a tiny number next to Netflix's 238 million
subscribers worldwide.
So there is a puzzle here. Netflix talks about diversity and partnership. But its actions
show it is a business that follows profit. This portfolio asks: do old theories about rich
countries dominating poor countries still explain what Netflix is doing in Africa?
My argument is this: old theories like cultural imperialism still explain the structure who
owns the platform, who pays, who holds the rights. But they do not explain everything.
African producers now have some power, and African content now travels out to the
world. So the truth sits in the middle.
The portfolio has five parts. Part 2 explains three theories and tests them against
Netflix. Part 3 looks at the good and bad effects of Netflix in African film and TV. Part 4
uses Queen Sono as a case study. Part 5 looks at the digital divide who can actually
2
PORTFOLIO 2026
,TABLE OF CONTENTS
1. INTRODUCTION 2
2. THEORY FRAMEWORK 3
2.1 The three theories explained 4
2.2 Do the theories explain Netflix in Africa? 4
3. GOOD AND BAD EFFECTS 7
3.1 Why films flow and what happens because of it 8
3.2 The good and bad things Netflix does in Africa 9
4. CASE STUDY: QUEEN SONO 11
4.1 What Bradfield says about genre and African characters 12
4.2 How Queen Sono shows African culture and identity 13
5. THE DIGITAL DIVIDE AND WHO CAN WATCH 14
5.1 What the network society and digital divide mean 15
5.2 Who can really watch Netflix in Africa? 17
6. CONCLUSION 19
SOURCES CONSULTED 20
1
, 1. INTRODUCTION
Netflix came to Africa and told a nice story. The company said Africa is "one of the
major creative centres for great storytelling that resonates around the world" (COM3705
Assessment 3, 2026). Netflix made its first African show, Queen Sono, in South Africa in
2020. Then came Blood & Water. Netflix promised to spend over R920 million in South
Africa in 2022. By 2024, Netflix said it had spent more than R4 billion on South African
films and TV since 2021. In Nigeria, Netflix has spent over USD 23 million since 2016
and backed more than 250 local titles. That all sounds very good.
But the same story has another side. In November 2024, Netflix stopped ordering new
Nigerian shows. A director, Kunle Afolayan, said some projects were cancelled "due to
low Return on Investment" (COM3705 Assessment 3, 2026). Netflix also raised its
prices a lot in Nigeria (up to 40%) and in South Africa (over 35% on some plans since
2018). And even though South Africa is Netflix's biggest African market, only just over 2
million South Africans had Netflix in 2024 a tiny number next to Netflix's 238 million
subscribers worldwide.
So there is a puzzle here. Netflix talks about diversity and partnership. But its actions
show it is a business that follows profit. This portfolio asks: do old theories about rich
countries dominating poor countries still explain what Netflix is doing in Africa?
My argument is this: old theories like cultural imperialism still explain the structure who
owns the platform, who pays, who holds the rights. But they do not explain everything.
African producers now have some power, and African content now travels out to the
world. So the truth sits in the middle.
The portfolio has five parts. Part 2 explains three theories and tests them against
Netflix. Part 3 looks at the good and bad effects of Netflix in African film and TV. Part 4
uses Queen Sono as a case study. Part 5 looks at the digital divide who can actually
2
