Zubby Michael Igbo talents comments spark debate as the actor claims some executives fear mentoring future competitors who may quickly surpass them
Zubby Michael, Nigerian actor and Nollywood filmmaker, said on Sunday, August 30, 2026, that some industry executives are reluctant to mentor Igbo talents because they fear the emerging professionals could rapidly surpass their mentors and become competitors.
Michael made the claim during an interview with Broadway TV that began attracting attention online over the weekend.
The actor argued that the speed with which some Igbo professionals learn new skills can create an unusual challenge for established figures who are expected to provide mentorship and opportunities.
“Igbo people are fast learners and they are capable of making it big with just a little,” Michael said.
He illustrated his argument by comparing the time a mentor might spend mastering a craft with the speed at which a mentee could acquire the same knowledge.
“You might decide to mentor an Igbo person and what took you 10 years to learn, he will learn it in one year and six months,” he said.
Michael suggested that the possibility of creating a future rival can make some executives cautious about sharing knowledge, opportunities and industry connections.
“And if you don’t treat him well, he will leave you and start doing the same business you taught him and become your competition. So, people are scared of that,” he said.
The actor extended the claim to executives from within the Igbo community, arguing that concerns about being overtaken by talented mentees were not confined to other ethnic groups.
“Industry executives, including some Igbos, don’t like supporting Igbos because they feel like they will get betrayed by their mentee outshining them,” Michael said.
His comments have added to an ongoing conversation about mentorship, representation and the place of cultural identity within Nigeria’s entertainment industry.
The remarks also come shortly after veteran actor Francis Duru raised concerns about the visibility of Igbo culture and stories in contemporary Nigerian cinema.
Duru argued that Igbo filmmakers and investors could learn from the Yoruba film industry’s deliberate efforts to preserve cultural narratives while developing commercially successful productions.
“When they say charity begins at home, that’s what has happened to the Yorubas. We need to learn from them,” Duru said.
Duru’s observation centred largely on the ability of filmmakers to turn cultural heritage into commercially viable stories capable of reaching audiences beyond their immediate communities.
The wider debate highlights a delicate issue within Nollywood. Nigeria’s film industry has grown into a powerful cultural and commercial force, but questions remain over how different ethnic communities preserve their identities while competing within an increasingly national and international marketplace.
Michael’s argument places mentorship at the heart of that conversation. His position is that experienced industry figures should be willing to develop younger talent despite the possibility that successful mentees could eventually establish independent careers.
At the same time, his comments reflect his personal interpretation of a broader industry dynamic rather than an established explanation for why some executives may be reluctant to support particular talents.
For emerging actors and filmmakers, access to experienced mentors, funding, professional networks and opportunities can be crucial to building sustainable careers.
A healthy mentorship culture can also help transfer knowledge between generations while allowing the industry to benefit from fresh ideas.
The Zubby Michael Igbo talents debate therefore extends beyond ethnicity, touching on the more universal tension between mentorship and competition in creative industries.
As Nollywood continues to expand, the challenge may be finding ways for established professionals to nurture new talent without viewing the success of younger creatives as a threat to their own positions.
Michael’s comments have opened another chapter in that conversation, while Duru’s recent intervention has placed the preservation and commercial development of Igbo stories firmly within the same broader discussion about the future of Nigerian cinema.
