In the dynamic city of Lagos, where ambition, innovation and social media rewrites the rules of success, three remarkable women have joined forces to tell a distinct Nigerian story through Showmax’s breakout series “Under the Influence.”
Nengi Diri, recognized for her exceptional screenwriting talent at the Africa International Film Festival, has built an impressive portfolio spanning film, television, and digital media. Nicole Chikwe, known as one of Nigeria’s leading “mum-fluencers” and founder of The Mummy Summit, has recently added screenwriting to her diverse accomplishments. Completing this formidable team is Isoken Ogiemwonyi, an entrepreneur and producer whose transition from fashion to media has already yielded award-nominated work like “The Smart Money Woman.”
Together, these Queens have crafted the story of Dami, a fresh university graduate whose viral social media rant catapults him into unexpected fame as he navigates the complexities of Lagos life, family dynamics, and sudden celebrity. Their collaboration has produced a distinctively Nigerian narrative that resonates with audiences across the continent and beyond.
Join us in conversation with Isoken, Nicole, and Nengi as we delve into the creative process behind showmax’s “Under the Influence” where they share what drives them to tell stories that both entertain and are thought-provoking.
Isoken Ogiemwonyi is a Nigerian entrepreneur, producer, and fashion designer renowned for her significant contributions to the fashion and entertainment industries. She holds a Bachelor of Laws degree from the University of Nottingham, a Postgraduate Diploma in Luxury Management from the Glion Institute of Higher Education in Switzerland, and an MSc in Management from BPP University in London.
In 2009, Isoken launched the women’s wear and accessories brand “Obsidian,” followed by the co-founding of Le Petit Marché (LPM), a pioneering fashion discovery platform in Nigeria, and L’Espace, a Lagos-based department store, in 2011. She also established the fashion label “Obsidian” and the retail store “ZAZAII,” further cementing her influence in the Nigerian fashion scene.
Transitioning into the media sector, Isoken produced “The Smart Money Woman” TV show, which premiered on Netflix in September 2020 and received multiple Africa Magic Viewers Choice Awards nominations in 2022. She is also known for her work on the project “Spiraling.” Her expertise extends to roles as an editor at BellaNaija Style and as an independent consultant for esteemed brands like Clinique, Estée Lauder, and Bobbi Brown in Sub-Saharan Africa.
Isoken’s achievements have been widely recognised; she was named the 2012 MTN Lagos Fashion & Design Week/British Council Young Creative Entrepreneur of the Year, and in 2013, The Guardian listed her among the 25 most influential women in Africa. She is an alumna of Canada’s Reelworld Screen Institute’s Emerging 20 program and a graduate of the 2023 Canadian Film Centre’s Norman Jewison Producer’s Lab, where she developed her slate as part of Canada’s leading film accelerator program.
Through her multifaceted career, Isoken Ogiemwonyi has played a pivotal role in shaping Nigeria’s fashion and entertainment landscapes, continually pushing boundaries and setting new standards of excellence.
Isoken, your creative journey has evolved from fashion and communications to filmmaking and screenwriting. How did your background and these different creative expressions influence your storytelling approach in “Under the Influence”?
I’ve always been a visual thinker, which naturally lends itself to storytelling, whether through fashion, branding, or now, filmmaking. In my early career, I was telling stories with fashion. Figuring out what a brand represents, how a person expresses themselves through fashion, and what that says about their identity. That naturally bled into my work in TV and film, where I became even more interested in how identity is shaped by external forces—society, culture, and, in this case, social media. I realized that filmmaking and screenwriting offered a broader canvas to share complex human experiences.
With Under the Influence, I leaned into those observations and used them to ground the stories in reality. Fashion and branding taught me about image-making—how people construct personas to be consumed by others. In the digital age, that process has intensified, with people essentially branding themselves as products. That perspective shaped how we approached the characters and their motivations in the show. In the initial writers’ room, we dug deep into what they did, why they felt the need to be perceived a certain way, what they were running from, and what they were willing to risk to maintain the illusion.
In crafting the narrative around fame and social media influence, what were some key realities you wanted to highlight based on your experience?
I wanted to explore the tension between authenticity and performance. Social media can be both a stage and a mask, where ‘perfection’ often hides chaos, debt, or loneliness. You very often see people slowly morph into caricatures of themselves, there are extreme examples of this, but on an everyday basis, we have all become guilty of playing a role, even if that role is ‘I’m so authentic’. The dichotomy fascinates me, honestly.
I aimed to highlight how the pursuit of validation can distort reality—not just for influencers but for their audiences, too. It’s incredible to see how invested fandoms can be in their ‘faves’ – and the pressure cooker environment this creates for the ‘beneficiary’ of these intense parasocial relationships.
Social media has fundamentally reshaped power dynamics, where the rise and fall of influencers can happen in an instant. It amplifies human nature’s most ruthless instincts—public opinion swings fast, and there’s rarely room for redemption. As Chimamanda Ngozi Adichie put it, we are all “saints or sinners,” yet the internet demands rigid moral absolutism. If you really break it down, the microdynamics of social capital and survival in the digital age can feel cutthroat, transactional, and, at times, a little psychotic.
You’ve actively developed successful TV shows across Africa’s creative landscape. What challenges did you encounter along your journey, and how has working on “Under the Influence” influenced your vision for future storytelling?
One of the biggest challenges is that the African content ecosystem is still fighting for its place in the global industry. We know our stories are compelling, but international platforms don’t always understand how to market or distribute them properly. It’s a high-stakes fight at every stage, overcoming infrastructural deficits to get the project made, selling the project, creating value for your investors and/or brands, and then ensuring it gets seen by the right audiences.
Another challenge is financing. Unlike in Europe & North America, where there’s a robust film and TV development system, we often have to be our own financiers, marketers, and distributors. That’s why I admire creators like Issa Rae and Reese Witherspoon, who built their own ecosystems rather than waiting for gatekeepers.
Working on Under the Influence has reinforced my desire to tell modern, dynamic stories about African and diaspora life—stories that don’t always center on trauma but instead highlight ambition, relationships, and the complexity of success. I want to expand the perception of what it means to be African, both for ourselves and the world. Film and TV foster empathy, and the more we see ourselves reflected, the richer our collective storytelling becomes.
What was your favorite scene to write and why?
There’s a sequence where the second lead ends up going through the wringer – and mostly because he really, really wants to be a good friend. It’s one of my favourite sequences because it humanises this character and gives him more dimension. You can feel his yearning and determination to not let his friend down. I also like that it’s a kind of atypical portrayal of male friendships. I also got to write some of it in pidgin, which I don’t speak at all, so that was hysterical.
My other favourite was a scene where one character didn’t speak at all. It’s a simple scene, but it captures the emotional core of the story. It was nice to communicate with no dialogue, just visuals and gestures on the page.
What would you advise a writer entering a writers’ room for the first time to keep in mind?
Listen. Writers’ rooms can be intimidating, but absorbing the room’s rhythm before jumping in helps you understand how to contribute meaningfully.
Be flexible. Your best idea might not make it into the script, and that’s okay. Writing for TV is a collaboration, not a solo act.
Don’t be scared to make a bad pitch. Sometimes your brain works faster when you ditch the bad ideas first.
Know the characters inside out. If you understand the motivations of the characters deeply, you’ll always have something valuable to add to the discussion.
Your unique perspective is your greatest strength. Trust that your voice matters.
All writers have different routines that help them churn out great work. Do you have any particular writing ritual(s)?
I work best in two-hour sprints—long enough to get immersed and into my ‘flow’ state but short enough to avoid feeling overstimulated. Music really sets the mood for me, but depending on what I’m writing, I may have a podcast playing in the background. I also try to outline everything first—I write much better when I have the skeleton of the story before diving into the details. I’m naturally a ‘pantser’, so it has taken a lot of discipline to get here, but it is far more productive.
I also believe in taking breaks and living life. The best dialogue comes from real conversations, and the best plot twists come from observing human behavior.
What does ‘Accelerate Action’ mean to you? How are you leveraging the power of your pen to accelerate action toward gender equity and equality?
For me, “Accelerate Action” means moving beyond representation into ownership. We’ve seen the rise of Black and African stories, but the next step is ensuring that creators have real equity in their work—owning IP, negotiating better deals, and building sustainable careers.
Through my writing, I aim to create complex, ambitious female characters who own their power without apology. I want to tell stories where women aren’t just reacting to the world but are actively shaping it.
As Mara Brock Akil once said, “It’s not enough to be in the room; you have to change the room.” That’s what I hope my work does—create space for more African and diaspora stories that challenge, inspire, and redefine what’s possible.
Nicole Chikwe is a dynamic Media Personality, Writer, Entrepreneur, and the Founder of The Mummy Summit, a thriving community and conference dedicated to serving, connecting, and empowering African millennial mothers.
Recognized as one of Nigeria’s leading “Mum-fluencers,” Nicole has collaborated with top national and global brands, captivating audiences with her authentic, relatable content and sharp, humorous insights. Her engaging digital presence has earned her features on CNN’s Inside Africa, The Independent UK, and numerous prominent Nigerian media outlets.
In 2020 and 2021, Nicole hosted Mummy Summit Digital, the largest virtual conference for mothers in Sub-Saharan Africa, offering valuable resources, inspiration, and support to thousands of women.
A true multi-hyphenate, Nicole Chikwe’s talents extend beyond motherhood and entrepreneurship. She is passionate about inspiring women to pursue their dreams and recently added Screenwriter to her list of accomplishments, earning her first writing credit for Showmax’s hit series ‘Under The Influence.’ Nicole holds a BSc in Economics from the University of Birmingham and an MSc in Finance from the European School of Economics. She resides in Lagos with her husband and three children.
Nicole, tell us what inspired this creative leap and how you became one of the writers for “Under the Influence”.
I’ve always wanted to be a screenwriter. I’m a huge cinephile, I love watching TV shows, and my work is centred around storytelling in general. So, having the opportunity to combine a few of my passions by writing for TV has been a dream of mine for a few years.
I was given the opportunity to be a part of the Writer’s Room by Isoken Ogiemwonyi, my long-term friend and collaborator, who is also a writer on the project- as she knew this was a project I would be interested in. Wande Thomas, the director and head writer, took a chance on me as a result, and the rest is history.
What has been your most empowering moment as a first-time female writer in the industry so far?
I would say being able to watch my script come to life on screen. It is such an incredible experience seeing how the actors interpret your thoughts and words and make them their own.
What creative muscles did you discover during this writing process that you didn’t know you had?
I’m pretty used to writing prose, but writing for the screen is actually pretty technical, and writing chapters to be read is entirely different from writing scenes and lines to be spoken- so I wouldn’t say I discovered creative muscles per se, but I learnt and grew a LOT through the writing process.
Looking at the Lagos lifestyle and social media landscape, what story felt essential for you to tell through this show?
As someone who creates content myself, I thought it was important to show how difficult it can be. People are often under the impression that Influencers are lazy or that content creation is easy. I was so happy to be a part of the show in order to share true insights into what both the content creation and the business end can look like.
Do you have any particular writing ritual that helps your creative flow?
I don’t have a ritual per se, but I have to write in absolute silence- which means I typically write when my kids are at school or late at night when everyone is asleep. No music, no candles, maybe a snack, but silence is an absolute must for me.
Has this experience changed your career trajectory? What’s next for you in the writing space?
It definitely has! It has expanded my mind and unlocked something for me for sure, and now I’m working on a few other exciting projects, which I will be sharing shortly.
What does ‘Accelerate Action’ mean to you (drawn from your professional journey)?
‘Accelerate Action’ is a powerful call to continue to push forward with even greater urgency and purpose. By embracing new roles, such as screenwriting, I hope to show women that it is never too late to pivot, pursue passions, and break barriers.
How are you leveraging the power of your pen to accelerate action towards gender equity and equality? As a screenwriter, the power of my pen lies in my ability to bring diverse, authentic female experiences to the screen- showing their strength, vulnerability, and ambition.
Nengi Diri is a Nigerian screenwriter, content producer, and content director with a knack for crafting powerful narratives that entertain, educate, and inspire. A standout talent, she was recognized as one of the best screenwriting students at the 2019 Africa International Film Festival (AFRIFF), setting the stage for her career in the industry.
Her impressive body of work spans film, television, and digital media, with credits including Once Upon a Honeymoon (Prime US), Rise Network’s Makemation, De9jaspirit Talent Hunt, two seasons of Channels TV Fund It Forward, ‘Off the Top’ with VJ Adams, and Showmax’s Under the Influence. She also played a pivotal role in National Geographic’s Team Sayari and contributed to TEDx Rivers State University, reinforcing her commitment to impactful storytelling.
In 2022, Nengi took a bold leap, moving to Lagos to immerse herself in Nigeria’s bustling entertainment industry. Now, with over five years of experience in screenwriting, content direction, and production, she continues to shape the media landscape—bringing stories to life that captivate audiences and spark meaningful conversations. Passionate about cinema, African literature, and cultural narratives,
Nengi Diri remains dedicated to using storytelling for change.
Tell us how your writing role in “Under the Influence” came to be.
Okay, so, picture this: December 2023, I’m chilling in Abuja on holiday. and my friend Mannie hits me up and says there’s this script workshop, but they’re missing a female Gen Z writer. Like, hello, that’s me! He passed my details to Isoken, the producer, and she reached out. Honestly, the title ‘Under the Influence’ alone had me hooked. At first, I was thinking, ‘Okay, this is gonna be like a Nigerian Euphoria, drugs and alcohol, wild stuff.’ But then I read the premise, and it was about a young influencer, and it just clicked. It made so much more sense! Because let’s be for real.
Right now, the biggest influences on our lives are the people we see online – the influencers. They asked if I was interested, and I was like, ‘Are you kidding me? Of course!’ The workshop was in January, and I had planned to stay in Abuja longer, but I was so excited that I moved my flight back to Lagos. And boom, the rest is history. Honestly, it felt so serendipitous. And get this, it’s not just ‘Under the Influence.’ I’ve landed multiple screenwriting gigs specifically because I’m Gen Z. It’s becoming a bit of a ‘thing’ for me – bringing my unique experience as a young lady living in these times and seasons to the screen.
What unique challenges did you face as one of the youngest voices in the writers’ room, and how did you turn these into strengths?
Unique challenges…Even though I had been working as a professional screenwriter for years already, prior to the UTI workshop. I had only been in a handful of writers’ workshops, and those were with my sister and friends – people I was comfortable with. But this was different. Apart from Mannie, I didn’t know anyone else in the room. I felt like a fish out of water. Like…These people are taking a chance on me, and Mannie is sticking his neck out for me. The producers (Wande & Isoken) hadn’t seen anything I’d written or worked on but had decided to bring me on board. So, naturally, a lot was going through my mind…What if I flop? What if I’m not what they expected? What do they even expect of me? What if I don’t have any great ideas? What if I can’t add anything to the story? What if all my ideas are silly? Yess…Impostor Syndrome was the major challenge. It hit me hard. But here’s the thing: I realized being the ‘newbie’ was actually my superpower. I went to the bathroom, had a little pep talk with my reflection, and was like, ‘Girl, you got this! Just be you.’ And it worked! I realized I was bringing a fresh perspective, like a younger lens that they needed.
Plus, everyone was so cool! Seriously, they were super warm and welcoming. The more I hung out with them, the more comfortable I got, and I started throwing out all my ideas, even the ‘weird’ and ‘silly’ ones. Honestly, after that initial freakout, I didn’t feel like my age was a challenge at all. Everyone in that room was young in their own way. Some were young at heart, and some were new to screenwriting, but we were all just a bunch of creative weirdos vibing together. We listened to each other, took everyone’s ideas seriously, learned from each other, and created something amazing. It was honestly one of the most fun experiences ever!
As a young female writer, what stereotypes were you keen to challenge or explore differently with the narrative of the show?
Look, being the youngest female writer, I knew I had a chance to really shake things up, especially with how people see women in their 20s. You know, the whole Gen Z thing, everyone’s got an opinion. At first, I just wanted to show we’re not all ‘badly behaved.’ ‘Differently behaved,’ but not ‘badly behaved,’ but then I realized there were more stereotypes to challenge. Let’s talk about Amaka. She’s young and has been in the spotlight all her life. I wanted her to feel real, like any girl watching could see themselves in her. So, we went beyond the surface. We showed her struggling with her body image, dealing with impostor syndrome, navigating messy relationships, the pressure from her parents, trying to figure out her life, and not knowing what next to do or if she’s even on the right path.
That’s the stuff so many young women in their 20s go through. I wanted to push back against the idea that influencers are empty-headed or shallow. We showed her intelligence, and her potential to make a difference. And then there’s Ivie. This is where it gets really interesting. Ivie is a bold character. She went against the grain, got an engineering degree, and then said, ‘Nah, art is my passion.’ She chose her own path, right? So, the whole ‘woman has to choose between career and love’ thing? It’s tired. Especially for someone like Ivie. The truth is that every woman is different, and so, we have different priorities, goals, dreams, paths, and aspirations. Women should be allowed to be exactly who they are and choose exactly the life that would be most fulfilling to them. They should be free to choose what makes them happy. With Ivie, we put that choice right in front of her. In the writers’ room, we decided to let her be her own person, to choose her own path. And that’s powerful. It’s about showing that women get to decide. And that’s what matters.
What was your favorite scene to write and why?
Okay, so, honestly, I had way too much fun writing ‘Under the Influence.’ I wrote four episodes, and every scene was a banger, if I do say so myself. But if I had to pick a favourite? It’s gotta be an entire sequence. The gallery sequence in episode five. Ivie, Ayo’s bestie, hosts this exhibition, right? It’s a love letter to all the cities she’s lived in. The whole build-up and aftermath? Goosebumps, seriously! Just thinking about it gives me chills. I loved writing that sequence because it was a challenge but in the best way. It was a defining moment in the story arc. It marked this huge turning point for Ayo and Ivie.
You finally see their relationship for what it is – they just click. They make sense. They complete each other. It’s like, they’re realizing they want more than friendship. That whole ‘will they, won’t they’ tension? Chef’s kiss! And then there’s Dami, finally shooting his shot with Amaka, his influencer crush, only to find out that she’s already heard of him. As a certified lover girl, I was living for it! That scene was the start of two totally different, but equally amazing, love stories. In that same sequence, Ayo is hit with the hard truth that he doesn’t really know his brother and hasn’t even tried to get to know him. Oh, and Ivie’s monologue? I might have gotten a little too into that one. If you’ve seen the episode, you know exactly what I’m talking about. Pure fire! But yeah, that sequence challenged me, but it was also rewarding at the end of the day.
What was the collaborative dynamic like between the three of you while writing “Under the Influence”?The collaborative dynamic for ‘Under the Influence’ was honestly one of the best I’ve experienced. We had this amazing mix of experience levels and perspectives, and everyone was genuinely open to each other’s ideas. What really stood out was the specific expertise each person brought to the table.
Nicole, for example, came with a wealth of firsthand experience as a real-life influencer. That brought an incredible level of authenticity and depth to our characters, especially Dami and Amaka. She understood the nuances of that world in a way that none of us could have replicated. Isoken, brought her extensive experience producing other successful TV shows.
Her insights into storytelling and character development were invaluable, and she knew how to keep the narrative focused and engaging—and, most importantly, on budget! Let’s just say she had a knack for making sure our wildest ideas didn’t break the bank.
And then there was me; just happy to be there. Kiddng! I came in guns blazing as the Gen Z poster kid, with my unique perspective, creative mind, and five years of professional screenwriting experience, which allowed me to contribute in a meaningful way.
We had a lot of fun, which I think translated onto the screen. We were all invested in these characters and their journeys. It felt like we were building something special together, and we did build something special. I believe that’s why the show resonates so well.
There was no ego in the room, which was so refreshing. Everyone was focused on making the story the best it could be.
Looking back at your journey into screenwriting so far, what would you tell other young creatives about pursuing their dreams in this industry?
Pursuing a film career anywhere in the world takes courage. But pursuing a career in Nollywood takes a double dose of courage. I’ll need them to understand that this is an industry that will constantly seek to make them choose between their art, creativity, what they know to be good, and what is popular. It will be up to them to make that difficult decision every other day.
So, if you truly love film, and this is your calling, you’ve got to have the courage to say no to anything that feels subpar. And you’ve got to be patient enough to wait for your authentic voice to be heard. Look, that ‘big break’ might not happen tomorrow, or even next year. There are so many talented creatives still waiting for their moment. That’s why you need to ask yourself: is this something I’m willing to stick with, no matter what?
Charles Bukowski has this quote I think about a lot: ‘Find what you love and let it kill you.’ And yeah, it sounds intense, but it’s true. It’s true in the sense that film has to be that important to you. Your passion for it must be burning because it’ll demand so much from you. It’ll demand everything you’ve got. I know this from experience.
But here’s the thing: no matter how tough it gets, don’t lose yourself. Don’t let the joy of creating get buried under deadlines and sleepless nights. Hold onto that spark, that passion that made you want to do this in the first place. Because at the end of the day, that’s what will keep you going.
What does ‘Accelerate Action’ mean to you (drawn from your professional journey)?
For me, Accelerate Action isn’t just a phrase—it’s the story of my career. It’s the women who saw me, believed in me, and pulled me forward when I was still figuring things out.
It’s Priye Diri teaching me screenwriting and all things filmmaking.
It’s Dorothy Njemanze giving a teenage writer with nothing but dreams and raw talent a platform to hone my skills, learn, and grow.
It’s Uyouyo Adia putting in a good word for me when I had zero experience—fresh out of school, with nothing but passion.
It’s Nora Awolowo taking a chance on me, bringing me on board her Nat Geo Africa Kids project.
It’s Fidelia Anuifoh believing in me enough to recommend me for a writing job—all because she saw me working as a chaperone on a project.
It’s Mandy Donett openly teaching me everything she knows about production, no gatekeeping, no holding back.
It’s Toyosi Ogunsiji-Akerele, the Executive Producer who saw something in a mid-twenties girl and trusted her to write Makemation, Nigeria’s first feature film on AI.
It’s Isoken Ogiemwonyi handing me the opportunity to write Under The Influence and trusting me to deliver.
My entire career has been built on the generosity of women—women who believed, who uplifted, who gave me a chance when I had nothing but potential. And because of them, I know what I must do.
I follow in their footsteps, committed to being that woman for others – To mentor young writers, push them forward, and open doors the way these incredible women have done for me. The truth is, the more women who do this—who actively uplift and create space for others—the faster we can achieve true equity and equality.
That is what Accelerate Action means to me. Paying it forward. Lifting as I rise.
How are you leveraging the power of your pen to accelerate action towards gender equity and equality?
I grew up in a house full of strong women—four sisters, a teacher for a mother, and me, the last girl. So, naturally, I’ve always been a girl’s girl. But more than that, I’ve always been known to stand with and for women. Even as a child, I questioned the idea of equality—why things were the way they were and how they could be different.
My journey as a writer with purpose started before I even knew what advocacy was. Thanks to my big sister, Priye Diri, I found myself working with the Dorothy Njemanze Foundation (DNF) in Abuja—an NGO dedicated to supporting children and female survivors of SGBV. I was still a teenager, not even in university yet, when I joined as a researcher and content writer. As I grew to become a screenwriter at DNF, those three years shaped me in ways I didn’t realize at the time. They taught me that storytelling isn’t just about entertainment—it’s about impact. I learned to write with intention, with empathy, and with the understanding that words can shift perspectives and spark change.
Since then, I have carried that awareness into every story I tell. The way I write women is deliberate—I don’t just want to reflect reality; I want to challenge it. I want to show not just the struggles but the victories. Not just what is, but what should be.
Beyond writing, I believe in action. That’s why I created Write(Hers), a community where I mentor young and upcoming female screenwriters. I know there’s space for more women in this industry, and with the right guidance, they can navigate it faster and with more confidence than they would alone. At the heart of Write(Hers) is the belief that knowledge shouldn’t be hoarded. When we share what we know, we create a ripple effect—one that pushes more women forward, faster. Because real change doesn’t just come from telling better stories—it comes from helping others tell theirs.
