A reality TV show that began as a cheeky local adaptation of the US dating show The Bachelor has become a national obsession in Ethiopia. Blending dating drama with unflinching explorations of female agency, Latey: Looking for Love quickly morphed into a Trojan horse for feminist discourse and pan-African storytelling in the Horn of Africa. Now, producers are prepping Swahili and Pidgin dubs to smuggle its gender revolt across borders.The afternoon sun slants through the floor-to-ceiling windows of Metasebia Yoseph’s office, casting a harsh glow on potted plants and vibrant abstract paintings that line the walls. The co-founder of D!NK Multimedia leans forward, her voice animated, as she recounts the journey of Latey: Looking for Love – a reality TV show that has upended Ethiopia’s cultural scene.
Filmed in sleek Addis Ababa lounges, bowling alleys and ice-skating rinks – a far cry from Western clichés of Ehtiopia’s coffee ceremonies – the show’s 10 female contestants navigate love, ambition, and societal expectations, all while racking up millions of YouTube views.
Latey was primed to be a straightforward dating show, an Ethiopian spin on a global reality format. Instead, when it premiered last December, it became a cultural flashpoint, drawing tens of thousands of viewers into a conversation they never expected to have.
Early episodes drew backlash, with commenters lambasting the women for “chasing men” in a culture where arranged marriages remain common.
“People asked, ‘Aren’t there enough men in Ethiopia?’” Metasebia recalled. “But by Episode 3, something shifted.”
“There was definitely an uproar in the first few episodes. People were confronted with something that didn’t align with their traditional understanding of relationships. The reaction was intense, especially in the comment sections.”
At first, viewers balked at the premise where a single man choosing among 10 women, a setup familiar with the US dating show The Bachelor. Online discussions spiralled into debates about whether such a format fit Ethiopian norms. Some questioned the contestants’ choices, others challenged the idea of women openly pursuing love. But something shifted after the initial shock.
“People stopped judging the women and started connecting with them,” the D!NK co-founder said.
“That’s when we had a breakthrough moment viewers realised they weren’t just watching a show, they were watching real people with real emotions.”
Metasebia, who co-founded D!NK Multimedia, Ethiopia’s trailblazing digital-first media company, never set out to challenge societal norms so directly. But as ratings surged, from under 10,000 views to hundreds of thousands, it became clear that Latey was touching a nerve. Suddenly, what began as an entertainment spectacle transformed into a meaningful cultural dialogue.
“We wanted something that reflected modern Ethiopian youth, their struggles, their independence, and their evolving views on love,” she explained, adding that women suddenly began to assert themselves.
“I mean, honestly, it’s not like we push them to speak more, do more or be assertive and aggressive. We really just wanted people to be authentically themselves. So it’s not scripted. I think the agency just came about naturally, just from women kind of asserting themselves and who they are to the camera and to this gentleman.”
The company’s previous attempt – a blind date cooking show – had hinted at a demand for the content, exploring relationships. When Latey launched, it confirmed what the team had suspected: Ethiopian audiences wanted a more open discussion about romance.
Beyond the emotional narratives, the show’s high production quality set it apart.
“We confidently say we are the first reality TV show produced and aired in Ethiopia that meets international standards,” the media strategist asserted.
“We didn’t want to create something that felt second-rate if it was ever picked up by a streaming platform.”
From its inception, D!NK embraced a digital-first model, avoiding traditional satellite broadcasting in favour of mobile accessibility.
“Media lives in our pockets now. Why chain it to TVs?” she argued, noting that 40% of Latey’s viewers are in the diaspora.
That engagement has paid off. With 60% of viewers tuning in locally and 40% in the diaspora, the show has become a multigenerational experience. Latey has also transcended generations with more families gathering to watch, discuss, and debate the unfolding drama.
“It’s surreal seeing people send screenshots of themselves watching Latey with their parents and grandparents,” the entrepreneur noted.
This accessibility has fuelled expansion plans with episodes subtitled in English, a deliberate choice to court broader African audiences.
As part of their further foray into Africa, Metasebia revealed they are considering dubbing content in Swahili, Pidgin, and other regional languages. Scaling, she explained, is about making Ethiopian stories truly pan-African.
Yet, for all its success, Latey has faced hurdles. Funding remains one of the biggest challenges.
“We don’t have the kind of backing big international productions do,” she admitted.
“But that hasn’t stopped us. We’re ramping up production across various formats – drama series, films, documentaries, and even more reality shows.”
Expansion efforts have already taken the team beyond Ethiopia. The producer recently returned from Nairobi, scouting collaboration opportunities in a media landscape more developed than Ethiopia’s.
“The OGs are Nigeria and South Africa,” she said. “But East Africa has untapped potential, and we’re looking at ways to pilot pan-African growth.”
As the second season looms, Latey’s influence continues to ripple outward. Contestants who once faced harsh scrutiny are now brand ambassadors, their lives transformed by fame. Yet, notoriety comes with its challenges.
“One thing my business partner Bobby [Abeselom Yehdego] and I made sure to do was check in on the women’s mental health because we’re exploring territory we haven’t explored before,” she said.
Beyond individual stories, Latey has played an unexpected role in reshaping narratives about Ethiopia.
“People try to tell me what Ethiopian culture is, but the truth is, it’s a mosaic – there isn’t one version of being Ethiopian,” she insisted. The show has intentionally showcased diverse experiences, from women navigating self-doubt to couples enjoying unconventional dates like bowling, basketball or boxing.
Even on a larger scale, it shifts perceptions of Africa itself.
“These people are well-dressed, well-spoken, charismatic. They go on dates in fancy places, not just cafés,” Metasebia pointed out. “We were intentional about showing the variety be it art, adventure, sophistication.” Latey, is ergo, by extension a showcase of modern African lifestyles.
As plans for a second season solidify, the stakes are higher. The producer is confident that Latey will continue pushing boundaries, but the real challenge lies beyond this one show. The big challenge lies in building an ecosystem for African digital storytelling.
“We need platforms that allow us to tell more stories, with more control over the back end,” the media innovator explained.
Whether it’s Latey or the next generation of Ethiopian content, one thing is clear – D!NK Multimedia isn’t stopping. “Expect more. Expect new formats, expect new voices. This is just the beginning,” Metasebia added.
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