By: Akoi M. Baysah, Jr.
Global internet personality Darren “Speed” Watkins Jr. is facing growing criticism across Africa’s digital media space following his decision to ignore collaboration with one of the continent’s most influential streamers, Peller, during his ongoing Africa tour,.
Wantoe Teah Wantoe has termed the omission of exposing a deeper pattern of selective engagement rather than cultural respect.
Wantoe, a Liberian Scholar, said Speed has defended the move by claiming that his Africa visit was designed to showcase culture, not to collaborate with fellow streamers.
However, Wantoe has argued that this explanation collapses under scrutiny, given Speed’s well-documented history of aggressively pursuing collaborations when they align with his personal brand growth.
He noted that Speed has repeatedly sought visibility alongside global figures such as football icon Cristiano Ronaldo, often going out of his way to engineer moments of proximity and validation.
Against that background, his sudden aversion to streamer collaborations, only when on African soil,has been widely described as inconsistent and strategic. “This is not about culture versus collaboration,” said one African digital media analyst. “It’s about control of attention.
Collaborating with Africa’s biggest creators would mean sharing influence rather than monopolizing it. Africa’s streaming ecosystem has grown rapidly over the past decade, producing creators who have built massive audiences despite limited infrastructure, minimal sponsorship access, and algorithmic disadvantages.
According to him, figures like Peller represent not just entertainment personalities, but entire industries that sustain local economies and shape global perceptions of African digital culture.
He stressed that while Speed has freely tapped into African aesthetics, street culture, and public enthusiasm to fuel content engagement, he has failed to meaningfully invest in the creators who have already done the work of building platforms on the continent.
“Loving Africa should not mean extracting culture without investing in the people already building platforms on the continent. Highlighting street talent and local communities is valuable, but it should not come at the exclusion of African digital creators who have spent years growing audiences under far tougher conditions”.
He further indicated that, “we should also be asking a fair question: what does Africa gain in return? Is this a mutual exchange, or a one way expansion of influence and market reach?“Culture is not just streets and scenery,” another commentator noted. “Culture includes the people who have documented, monetized, and defended African narratives online long before global creators showed interest.”The controversy has also sparked broader questions about value exchange. While Speed’s presence may attract attention to African locations and what tangible benefits African creators receive in return when access to his global audience remains tightly controlled.
Analysts warn that such approaches risk reinforcing extractive dynamics, where Africa serves as a content resource rather than an equal creative partner.
“Culture deserves celebration. But it also deserves equity”, Wantoe ended.
