Uche Montana's film "Monica 2" has earned an estimated N171,200,000 ($107,000) within 14 days of its release on May 2, 2026. The movie amassed 18.2 million views by May 11, 2026, with over 5–6 million views recorded in the first 24 hours. It crossed 10 million views within two days, marking one of the fastest digital launches for a Nollywood film on YouTube.

The Uche Montana TV channel, launched on February 13, 2024, gained 190,000 subscribers and over 26.6 million views in that two-week period. On May 2 alone, the channel added 40,000 subscribers. Daily views peaked at 5.22 million on May 3 and remained above 3.6 million in the following days.

Social Blade data shows the channel's estimated earnings over the 14 days ranged from $6,700 (N10,720,000) to $107,000 (N171,200,000). Daily revenue during peak performance reached as high as $21,000 (N33,600,000). For Nigerian-focused YouTube content, CPM rates typically range from $2 (N3,200) to over $10 (N16,000) per 1,000 views.

Actress Blessing Onwukwe, who played Mama Monica, confirmed she was paid over N1 million for her role in "Monica 2," the highest fee she has received for a film. She noted the sequel was shot in seven days, compared to five days for the original.

The film outperformed Omoni Oboli's "Love in Every Word" in early viewership and earnings. Oboli's channel, launched in December 2023, has 1.92 million subscribers and 494 million total views across 973 videos. In the same 14-day window, it gained about 20,000 subscribers and 9.9 million views, with estimated earnings between $2,500 and $40,000. Bimbo Ademoye's channel, started in July 2022, has 1.57 million subscribers and 205 million total views, with more modest daily gains.

💡 NaijaBuzz Take

Uche Montana achieved N171.2 million in 14 days while Blessing Onwukwe earned over N1 million for a seven-day shoot, yet most Nollywood actors still wait months for such pay. This scale of return is visible only on digital platforms, bypassing traditional cinema and distribution delays. The numbers suggest a shift in power from production houses to creators who control their channels and audiences directly. Nigerian actors not leveraging direct YouTube releases are missing income streams now proven viable by peers.

Editorial note: AI-assisted opinion, not established fact. Full disclaimer →