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Nigeria’s Super Falcons Crowned WAFCON 2024 Champions After Historic Comeback
“Catalog” Review: The Egyptian Netflix Series Is Quiet But Speaks Volumes
“To Kill a Monkey” Review: Kemi Adetiba’s Exciting Crime Thriller Series Is a Lesson in How Not to Tell a Story
Features & Essays
Could AI Music Be the New Normal?
Has the “Great Nigerian Novel” Been Written?
From Amaka Igwe to Jade Osiberu, Nollywood Female Filmmakers Are the New King of Boys
Ranking Davido’s Albums through the Course of his Career
Forbes 30 under-30: True Cases of Young Achievers, or Simply “Brother Bernards?”
Jewelry and Ornaments: What is their Significance in African Culture?
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Interviews
Film & TV
“The Winning Ticket” Review: In Kganki Star Mphahlele’s Film, Familial Bond is the Winning Formula
In Conversation: Obi Maduegbuna on Voice Acting, “Iwájú”, and Future Plans in Filmmaking
“Bank Alert” Review: Akay Mason’s 2023 Comedy Offers Weary Smiles and Warm Hugs
“Musangwe” Review: Lufuno Nekhabambe’s Debut Film Futilely Fondles with South African Culture
“Casa de Novia” Review: Uyoyou Adia’s Comedy Ghost Story is Nollywood Retro Dressed Up in Fancy Lights
“Heart of the Hunter” Review: Another Action Thriller That Flatters to Deceive
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Music
Bongo Flava: The Evolution of East Africa’s Soundtrack
“Adedamola” Review: Fireboy DML Reinvents Himself With New Project
“Bandito” Is an Unusual Offering From Dre Foryoursoul
Meet Xblaze, the Nigerian Producer Revolutionising the European EDM Scene
The Art Behind the Music: Why Album Covers Matter
“King” Review: Jeriq Declares His Supremacy With New Album
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2025 AMVCA: How the Stars Lit up the Night With Style
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Bold, Regal, and Stylish: African Artistes at the 2025 Grammys
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10 African Fashion Events to Watch Out for in 2025
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