Nigerian content creator Nasiru Lawal, widely known as Nasboi, has publicly disagreed with former skitmaker-turned-streamer Carterefe over the latter’s assertion that the skit-making industry is “dead.” The exchange highlights an ongoing debate within Nigeria’s digital entertainment sector regarding the relevance of traditional short-form comedy.
The controversy stems from Carterefe’s recent appearance on The Honest Bunch Podcast, where he stated that skit-making is defunct. He disclosed that his own shift to streaming was motivated by a period of depression, which he attributed to his perception that the skit-making craft was declining.
Responding during an interview on Naija FM Lagos, Nasboi rejected Carterefe’s characterization. He argued that while evolving one’s craft is acceptable, disparaging the format that provided initial success is unacceptable. “Evolving is not a bad idea but talking down on the industry that made you is a crime in my books,” Nasboi stated. He added that Carterefe, whom he described as a friend, is “a loose talker.” Nasboi emphasized that new creators continue to gain prominence through skits, underscoring the format’s ongoing vitality. “You can’t say skit making is dead. People are blowing up everyday with skit making,” he said. “The fact that people evolved doesn’t mean that the industries they are leaving are dead.”
Nasboi and Carterefe are both prominent figures in Nigeria’s online content space. Nasboi built a massive following through humorous skits on platforms like TikTok and Instagram, while Carterefe initially rose to fame via similar short-form comedy before transitioning primarily to live streaming on platforms such as Twitch.
Despite individual career shifts, the Nigerian skit-making ecosystem remains highly active. Thousands of creators consistently produce short comedic videos, with many securing brand partnerships and mainstream media opportunities directly from their skits. The format continues to serve as a primary launchpad for emerging digital entertainers.
This public disagreement reflects a broader industry dynamic where creators diversify into streaming, acting, or music. Nasboi’s rebuttal suggests a perspective that such evolution should not come at the expense of diminishing the foundational role of skit-making. His comments reinforce the view that the industry’s adaptability is a strength, not a sign of demise.
The debate underscores the rapid evolution of digital content creation in Nigeria, where lines between skits, streaming, and other formats are increasingly blurred. While individual creators may pivot, the core practice of short-form video comedy persists as a significant cultural and economic force.
