As a new generation of African creators increasingly works to assert narratives rooted in their own cultures, the expansion strategies of global entertainment giants are raising concerns about the survival and visibility of local ecosystems.

On Tuesday, July 1, U.S. conglomerate Warner Bros Discovery launched its first free, ad-supported streaming television, or FAST, channel aimed at young audiences. The channel debuted in partnership with Etisalat’s StarzOn platform.

This initiative offers continuous, free access to Warner Bros’ classic children’s content, including iconic titles like Tom & Jerry and Scooby-Doo. It targets a global audience with a special focus on the Middle East and North Africa, or MENA, region.

According to Sean Gorman, Vice President of Kids Pay TV Networks EMEA, this launch marks a major milestone in their commitment to their youngest fans in the MENA region. He expressed excitement about partnering with Etisalat on this groundbreaking FAST channel, stating it not only brings their most iconic characters into homes but also aligns with the modern viewing habits of kids and families.

Local Creations Versus Global Franchises

While free access to these global blockbusters offers undeniable benefits for North African households, it also raises a pressing question. What is the standing of locally produced animated works when faced with global animation giants?

In North Africa, several studios are working to carve out a space for culturally rooted storytelling. In Egypt, the 3D animated series El Mahmia, produced by Hashtag Studios, reflects this effort to tell local stories using contemporary tools and showcasing the country’s cultural heritage. In Morocco, studios like Artcoustic, Lorem, and Neverseen are developing ambitious projects. Artcoustic, for instance, produced series such as Histoires marocaines and Les Marocains du ciel in 2022 for local television channels.

However, while African studios struggle to produce and distribute culturally anchored content, multinationals hold overwhelming advantages. These include iconic catalogs, massive budgets, and privileged access to major platforms. This structural imbalance significantly undermines local players. Without quotas or support mechanisms, FAST channels, far from democratizing access to content, could end up further marginalizing regional productions.

Disney's Hybrid Strategy Invests in Local Content

Other entertainment powerhouses, such as The Walt Disney Company, are adopting a different approach by investing in original local productions. The appointment of Angela Jain as Head of Content for Disney+ in the EMEA region, effective from September, underscores this strategy. Eric Schrier, President of Disney Television Studios, clearly stated that Jain’s expertise is intended to deliver more local storytelling that complements the unmatched films and series from their international studios.

This approach is already taking shape with productions like Iwaju, an animated series born from a partnership between Disney+ and pan-African studio Kugali Media.

With Africa’s animation market valued at $13.3 billion in 2023 and projected to reach $17.8 billion by 2032, according to IMARC Group, the stakes are high. Without mechanisms for protection or inclusion, Africa risks missing the opportunity to build a robust cultural industry driven by its own narratives.

Servan Ahougnon