Omotola Jalade: Genevieve Feud Never Existed, Fans to Blame

Omotola Jalade Refutes Long-Standing Feud Rumors with Genevieve Nnaji, Attributes Tension to Fan Speculation

Veteran Nollywood actress Omotola Jalade has publicly dismissed persistent rumours of a feud with fellow industry icon Genevieve Nnaji, stating that any perceived rift was manufactured by fans and never existed in reality. In a recent interview on Yanga FM, the acclaimed actress clarified that while she and Nnaji are not necessarily “best friends,” they have always maintained professional communication and mutual respect.

The speculation about a strained relationship between the two stars has been a recurring topic in Nigerian entertainment media for years. Omotola directly addressed this narrative, explaining that fan-driven comparisons and media framing created an artificial rivalry. “People don’t need to be best friends, but we talked. Like behind film, we dey talk normally,” she said. She drew a parallel to the early stages of rivalries seen in the Afrobeats music scene, noting, “You know all this Wizkid, Davido now that they have taken to different level, na we be the first one now. Na them start the quarrel before we know say we dey quarrel. So, we have to catch up with the quarrel. There was no quarrel.”

Omotola contextualized the dynamic within the broader pressures of the Nigerian film industry, commonly known as Nollywood. She suggested that industry insiders and fans often amplify competition between leading actresses, particularly during their early careers. “You know how the industry is. You know, them go pitch you against this person, talk say na this one be the hottest girl, na that one be the hottest girl. So, those kind tension go dey normally, but people they read am as other things,” she stated, implying that normal professional competition was misconstrued as personal animosity.

Both Omotola Jalade and Genevieve Nnaji are widely regarded as pillars of modern Nollywood, with careers spanning over two decades. Their simultaneous rise to fame in the late 1990s and early 2000s naturally invited public comparison, a common phenomenon in celebrity cultures worldwide. Omotola’s comments highlight how such external narratives can overshadow professional camaraderie and individual artistic journeys.

Her remarks serve as a significant correction to a long-standing piece of industry lore. By attributing the feud myth to fan and media behaviour rather than personal conflict, she underscores the responsibility of audiences and press in shaping celebrity narratives. The clarification may help temper future speculation and promote a more nuanced understanding of relationships within Nigeria’s competitive creative sector. The interview reinforces that professional coexistence, rather than personal friendship, is the standard for many high-profile colleagues in the industry.