MTV Shuga Season 1: Best young adult drama Africa has produced yet

It has been eight weeks of following a story that we’ve waited over a decade for, and now, finally, season one is complete.

I’ve been excited about the show ever since the announcement of the talent working behind the scenes, specifically the directors and producers. I could start with the usual thoughtful intro, but let’s get into it, because I’ve been dying to talk about what I consider to be the best young adult African drama/thriller today.

MTV Shuga Mashariki

This show is the latest instalment in the MTV Shuga franchise, marking a return to Kenya, where it all began. Set at Enkare University in Nairobi, the show follows a group of students navigating love, identity, sexuality, mental health, and relationships in a hyper-connected world.

It deals with real issues Kenyan youth face today: sexual health, gender dynamics, financial independence, and media influence. Produced by the MTV Staying Alive Foundation, the team behind the show is strong.

Njue Kevin (Second Family, Jiji) takes the lead as producer, with Reuben Odanga and Multan Productions (Mo Faya, Selina) executing on the ground. Direction comes from storytellers: Likarion Wainaina (Supa Modo), Mkaiwawi Mwakaba (Makosa Ni Yangu), and June Ndinya (Prefects). Cinematographer Enos Olik (Crime and Justice) brings it to life visually.

The cast is a mix of young and mature refined talent, Serah Wanjiru, Basil Mungai, Matthew Ngotho, Wilson Muchemi, Fatuma Gichuru, Juliebrenda Nyambura, Fridah Mumbe, Mariam Bishar, Makena Kahuha are the main talent in front of the screen. All eight episodes are available on YouTube.

What works

First, the title card. The pink neon lines sweeping through the Nairobi skyline and expressway give the show a sense of style, and the lines are used smartly across episodes to frame overlays, a touch that subtly give the show a simple but effective visual identity.

Visually, the show is a very beautiful show. The cinematography, wardrobe, and set design work in sync to give it a slick, polished feel that without a doubt will grab Gen Z audiences attention. Dynamic colourful lighting is used to sculpt the actors, but the frame compositions are much more layered and atmospheric with foreground, midground, background, that make a scene feel like a space often with constant background movement to create spatial depth.

Aerial shots emphasise Nairobi’s greenery with a focus on Uhuru park and Mombasa, well you can never go wrong with Mombasa in the hands of a seasoned cinematographer.Sets and locations help homes feel lived-in, institutions feel and look like institutions. But most importantly, they nailed the diverse skin tones they had to deal with in this show.

Characters are distinct in writing, costume, motivations and styling. Dada, Wendo, Nyakobi, Wenda, Asha, you could pick them out just based on their silhouette. Hanifa’s aesthetic alone tells you her cultural background before she even speaks. Minor characters like Zena are dressed to march their personality.

Transitions between casual and party looks are seamless, grounding the show in trends that we recognise. Hanifa’s grandmother looks and feels authentic thanks to strong performance and costume.

The series feels self-assured, grounded in a contained world centered around campus life. The direction and writing give characters space to breathe even when things get tight. Their motivations are clear. Even when some arcs feel predictable, the storytelling remains fresh.

I love the editing, it’s tight. Scenes cut when they should, linger when necessary. Dialogue is natural, with a rhythm that flows. The language switching between English, Swahili, Sheng, and mother tongue makes it feel lived-in.

They even got the little things right: the phone snatching by a boda boda rider is something all Kenyans recognise.

Character-wise, Eric, Salaton, and Nyakobi are given so much depth. Sarah Wanjiru’s Nyakobi has a very predictable arc that couldn't have worked with this kind of direction, she slips in and out of innocence, sexy, manipulative and vulnerable effortlessly.

Wilson Muchemi’s Odek is another surprise. Initially I thought he was there because he is an influencer but he is very good in this, he delivers the charm and cockiness of a true campus guy. Julie Brenda breathes life into what is a one dimensional character, I was really impressed by what she was able to do with what she had. Same for Hanifa.

Then there are the side characters: Hanifa’s grandmother, Salaton's sister, uncle and aunt, Eric and Nyakobi’s parents, especially the father who is also the Dean. They get little screen time but leave a strong impression.

Dada’s arc threads through the whole series, they could have taken her, earlier on on a predictable path but let me just say her fate blindsides you. And Eric? The story and directors really pushed Matthew Ngotho to some interesting places, his arc was more complex than I expected.

What I really respected is how the show subverted some plots around HIV, porn, and sex work. Yes, it checks the boxes, let's not pretend this is not coming from a foundation, but the handling is cheeky, very bold, and, more importantly, authentic.

Wendo’s story arc around her "checklist" is daring but well-executed and it's the kind of thing that will make parents uncomfortable, though it happens. Speaking of which, this is the kind of show that opens the door for uncomfortable but necessary conversations, especially for parents clueless about modern youth culture.

Music-wise, it's fine. The vibe stays youthful, the story stays tight, except for one poor edit in episode 5, specifically the last 10 minutes that clearly have important chunks of story cut out.

Everything comes together beautifully, with satisfying payoffs in episode 8, even with something as simple as the last frame with Nyakobi. I was literally grinning like an idiot watching things click into place. It breaks your heart, but it's just so well put together.

What doesn’t work

The story itself isn’t new. Campus drama, sex, consequences. Bold, well-done, but familiar bordering generic.

Asha’s character, again, not the actress, who does a lot with what she’s given, feels like a mouthpiece. She pushes the message more than living in the world. Her arc lacks complexity. Unlike Salaton or Nyakobi, she doesn’t wrestle with internal conflict. Same for Hanifa and Omar. Hanifa looks great, but what else is there? Her relationship with Omar feels synthetic. I wanted more scenes with her grandmother, more of her story. Omar on the hand never challenges Hanifa which makes their relationships inauthentic.

And episode 5? The last 10 minutes are rough. Things jump with no buildup. One second someone is getting punched in the face, the next we’re in a protest that just pops up. It's obvious something was cut. It loses the cohesion that the show has up to that point . A director's cut might be needed for that particular episode.

The sound design, or lack thereof. Music’s serviceable. Dialogue and ADR is clean, punchy, and warm sometimes. But where’s the atmosphere? No ambient market noise, no background murmurs, no indoor sound texture. It just sounds too noticeably clean.

Also, why don't we have episode titles? Naming episodes helps create identity and aids in discussions later on. It signals care and a sense of confidence from the creators.

Do I still think Edu Gee (Edwin Nyongesa) should’ve been included in this? Well, yes, while the writers and directors did a great job with the podcast and show it still feels inauthentic. Based on his work on “On Air” he could’ve elevated those scenes.

The rugby games could be better, they are okay but I would have really liked to see Jennifer Gatero’s take on those players.

Finally and am going to be very petty, we have no Kenyan executive producers. Which I think in this day and age shouldn't be happening. A Kenyan story, told by Kenyan artists, in Kenya with no Kenyan ownership at the top. Something we've seen before with other productions like Nawi, Crime and Justice. And somehow, the Kenya Film Commission doesn’t seem bothered.

Final thoughts

MTV Shuga Mashariki is fantastic. Episode 8 is dark, tense, and even as someone who hates cliffhangers, I enjoyed it. We have complex characters. Real stakes. Beautiful visuals. Sharp descent writing. And yes, it’s entertaining.

Improvements? Well sure: richer arcs for Asha and Hanifa, better sound design, less overt messaging. But even with that said, this is easily the best young adult drama-thriller to come out of the continent in recent years. And honestly? I’m ready for the next season.

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