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The controversy began after a video surfaced online showing Ayoyinka lamenting his situation. In the viral clip, the actor expressed frustration over his financial struggles despite his long-standing role in the widely known television series Papa Ajasco and Company. He claimed that he has been struggling for years, adding that he does not own a house or a car. Ayoyinka also stated that he has been unable to independently create content using the “Papa Ajasco” character because the brand is officially registered under Adenuga’s production company.
The video sparked widespread reactions on social media, with many Nigerians expressing sympathy for the actor and questioning the welfare of performers in long-running productions. However, in a statement released on Wednesday, March 18, Adenuga strongly refuted the claims, describing the narrative as “false and misleading.”
Reacting to the viral video, Adenuga said his initial impression was that Ayoyinka had taken the Papa Ajasco character into the public space as part of a personal content strategy. He noted that he bore no ill will toward the actor and was, in fact, pleased that he appeared to be leveraging social media to generate income.
“My first impression when I watched the Papa Ajasco video now trending on the internet and local TV channels was: ‘Okay, so this guy has taken Papa Ajasco comedy into the public space!’ It is all well and good. I am happy for him, as his money-making strategy using social media has apparently worked,” Adenuga stated.
The filmmaker went on to describe Ayoyinka as a versatile and talented actor who closely resembles the original Papa Ajasco character, which he created in 1976 during his early publishing days. He emphasized that their relationship has remained cordial over the years, noting that there have been no serious disagreements between them.
Adenuga also provided background on Ayoyinka’s career outside the entertainment industry. According to him, the actor worked as a civil servant with the Lagos State Government for over three decades and was once a prominent figure in the state’s cultural troupe. He added that Ayoyinka’s public service career brought him into contact with notable political figures, including Bola Ahmed Tinubu during his tenure as governor of Lagos State. Adenuga further noted that the actor only recently retired from government service.
Addressing the allegation of neglect, Adenuga insisted that his company has consistently supported Ayoyinka over the years. He revealed that the actor had been given a car at some point, similar to another cast member, Pa James, and had also used several vehicles—including a Mercedes-Benz—throughout his time with the production. He further stated that, to his knowledge, Ayoyinka owns a house in Ogun State.
On the issue of brand restrictions, Adenuga clarified that the “Papa Ajasco” name is legally protected and cannot be used for personal ventures without official approval. He explained that this measure is standard practice in the entertainment industry and is necessary to preserve the integrity and identity of the brand. However, he stressed that actors are not restricted from pursuing other opportunities, including advertisements and roles in different productions, as long as proper authorization is obtained when required.
He questioned the basis of Ayoyinka’s claims of financial hardship, pointing to his long career in public service. “Now, the question is: why is Abiodun Ayoyinka claiming to be broke? Where are the investments from his over 30 years of meritorious service with the Lagos State Government? What happened to his gratuities?” Adenuga asked.
In addition, Adenuga highlighted that other actors from the Papa Ajasco and Company series—such as Pa James, Mama Ajasco, Boy Alinco, Miss Pepeiye, Akpan, and Oduma—have continued to feature in various productions outside the show. This, he said, demonstrates that the company does not prevent its artistes from seeking external engagements.
He also noted that production schedules for the series typically require only about six weeks of filming each year, leaving cast members ample time to pursue other personal or professional ventures.
Adenuga concluded by reaffirming that his organization adheres to industry standards in terms of remuneration and fulfills all financial obligations to its actors as they become due. He dismissed any suggestions of exploitation or abandonment, maintaining that such claims are inaccurate and misleading.
The filmmaker also expressed appreciation to members of the public for their concern, while reiterating his commitment to maintaining transparency, professionalism, and strong working relationships within the company.
The situation continues to generate discussion online, raising broader questions about the welfare of actors in long-running productions and the management of intellectual property within Nigeria’s entertainment industry.
