For decades, Papa Ajasco & Company stood as one of Nigeria’s most beloved television comedies, bringing laughter into homes while subtly reflecting everyday societal realities. Created by veteran producer Wale Adenuga in the mid-1990s, the sitcom grew into a cultural staple, airing across multiple African countries and becoming a defining part of family entertainment.
But beyond the humour, exaggerated characters, and unforgettable catchphrases, a different narrative is now emerging. It is one that sharply contrasts with the joy the show once represented.
In recent days, some of the very actors who brought Papa Ajasco to life have begun to speak out, opening up about personal struggles and raising pressing questions about welfare, compensation, and long-term support within Nigeria’s entertainment industry.
The Moment That Sparked Reactions
In March 2026, veteran actor Abiodun Ayoyinka, widely known for his role as Papa Ajasco, drew national attention following an emotional interview with media personality Lucky Udu.
In the now-viral conversation, Ayoyinka spoke candidly about the realities of life decades after becoming one of Nigeria’s most recognisable television figures. He revealed that the fame associated with the character has not translated into financial security.
At 65, the actor disclosed that he does not own a house or a car and is struggling to make ends meet, despite public assumptions that stars of popular shows are financially comfortable.
“Things have not been okay for me. I am 65 years old. People think I am a millionaire but I am not. I need help and connection,” he said.
Ayoyinka explained that even at the height of Papa Ajasco & Company’s popularity in the late 1990s, his earnings were modest. According to him, he earned about ₦22,500 per episode at the time. Nearly three decades later, that figure has only increased to between ₦45,000 and ₦60,000 per episode.
However, beyond the pay itself, the irregular nature of the work has made financial stability even more difficult. The actor revealed that production for the show happens infrequently and sometimes only once a year or even every two years. During such periods, about 13 episodes may be recorded at once, after which there may be no further work for months.
“As I am now, they only call me for Papa Ajasco work once a year and sometimes two years. They pay me ₦45,000 per episode. We will record like 13 episodes and they will not call me again until the following year,” he said.
He also pointed to another major limitation. He shared that the character Papa Ajasco itself is a trademarked intellectual property owned by Wale Adenuga. As a result, Ayoyinka cannot independently use the character’s image, costume, or name for endorsements or commercial opportunities without permission. This has restricted his ability to benefit from the popularity he helped build.
Appealing directly to the public, brands, and industry stakeholders, the veteran actor used the interview as a call for support and opportunity.
“Right now, I don’t have a car or a house… I need companies and social media to start calling me for work.”
His revelations quickly sparked widespread reactions, opening up a broader conversation about actor welfare, compensation, and the long-term realities of fame in Nigeria’s entertainment industry.
Miss Pepeiye Speaks: “Na we dey inside”
As the conversation gained momentum, Bolatito Sowunmi, popularly known as Miss Pepeiye, stepped in with a strongly worded response on March 22. She urged the public to show empathy rather than criticism.
In a lengthy Instagram post, the actress defended Abiodun Ayoyinka for speaking up, stressing that those within the industry understand the struggles better than outsiders.
“Those castigating Papa Ajasco for opening up should take a chill pill. Na we dey inside, na we know where the shoe pinches,” she wrote.
Sowunmi pushed back against claims that she was downplaying the veteran actor’s concerns, making it clear that her personal journey should not be used as a benchmark for others.
“I’m way younger than him… I’m facing my life, don’t use me as a yardstick.”
She also revealed that she is no longer part of the Papa Ajasco & Company cast, noting that another actress has since taken over the Miss Pepeiye role. She also emphasised that the character itself remains a copyrighted property under Wale Adenuga’s production company.
Beyond clarifications, her message struck a deeply emotional tone as she reflected on her personal experiences and her interactions with both Papa Ajasco and Pa James.
“If the elderly man say he is struggling, he is. Do you want him to keep quiet and die in penury?.”
“I have worked with these men ( papaAjasco and Pajames) and sometimes we just spend time talking. I know what they are going through even if they can’t really open up deeply, i have had my fair share too..”
She described the actors as hardworking individuals who have remained committed to their craft despite difficult realities, adding that if she had the means, she would support them financially without hesitation.
“These are men who diligently hustle with integrity, passion and commitment… If I have money, I will buy a car and house for them.”
While defending the actors, Sowunmi was also careful not to assign blame, stating that Wale Adenuga Productions had played a significant role in creating opportunities for creatives over the years.
Instead, she framed the situation as part of a broader struggle within Nigeria’s entertainment industry. She added:
“This is not the time for blame games… Everyone is pushing and doing their bit to survive, especially in a country like Nigeria where everything seems hard.”
Pa James Weighs In: “You Must Have a Side Hustle”
Adding another layer to the conversation, veteran actor Kayode Olasehinde ‘Ajirebi’ popularly known as Pa James, also shared his perspective, offering both appreciation and realism about life after Papa Ajasco & Company.
Unlike the emotional tone of Abiodun Ayoyinka’s appeal, Olasehinde’s response struck a more measured note, as he acknowledged the role of Wale Adenuga in shaping his career.
“I still work with Wale Adenuga. He has been good to me. Working with him gave me popularity even more than when I was in Yoruba movies,” he said.
He revealed that his time on the show brought significant personal milestones, including purchasing his first car. He shared:
“On money aspect, he really tried for me. I bought my first car when I started working with him.”
However, despite the recognition and past benefits, Pa James admitted that sustaining a livelihood solely from the show has become increasingly difficult in recent years. According to him, production is no longer consistent, with long gaps between shoots. He said:
“Before, we used to work back to back but now, once we shoot some episodes, they might not call us again until two years.”
This irregularity, he explained, has made it necessary for actors to seek alternative sources of income. He concluded:
“To work with him now, you must have a side hustle so that you can pay your bills.”
Like former Miss Pepeiye, he also pointed to the limitations imposed by character ownership. While he remains active as an actor, he cannot commercially use the name “Pa James” outside the show because it is trademarked.
“I can work in other movies but I must not bear Pa James because the name has been trademarked.”
On earnings, Olasehinde provided a rare glimpse into how compensation has evolved over time. He disclosed that he was initially paid ₦2,500 per episode when he first joined the production, a figure that has since increased to about ₦45,000 per episode, though with significantly fewer opportunities to work.
“Right now, it is ₦45,000 per episode and it’s about 10 episodes a year.”
His remarks, while appreciative, ultimately reinforce the same underlying concern that popularity does not always translate into long-term financial stability.
A Pattern in Nollywood? Fame Without Security
The experiences shared by Abiodun ‘Papa Ajasco’ Ayoyinka, Bolatito ‘Miss Pepeiye’ Sowunmi, and Kayode ‘Pa James’ Olasehinde are not isolated. They reflect a broader, long-standing pattern within Nigeria’s film industry.
For years, veteran actors have spoken about financial instability after their time in the spotlight, revealing an industry where fame does not always guarantee security. At the heart of this issue is the structure of Nollywood itself.
Unlike more established film industries, Nigerian actors are typically paid a one-time fee per project, with little to no residual income from reruns, syndication, or streaming success.
Even more telling is the absence of a standardised system for residual payments, something industry veterans like Omotola Jalade-Ekeinde have publicly criticised. She has pointed out that Nollywood lacks the structural framework that ensures actors continue to earn from their work after its initial release.
This means that even when a show like Papa Ajasco & Company achieves massive popularity and long-term cultural relevance, the actors at its centre may not benefit financially beyond their initial pay.
Additionally, inconsistent production cycles and informal pay structures mean that many actors depend on irregular work, often going months or even years without being on set.
In this context, the concerns raised by the Papa Ajasco & Co actors begin to look less like individual struggles and more like symptoms of a deeper structural gap within the industry.
