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“Captain” Review: BNXN’s Sophomore Album Is a Steady Voyage Through a Familiar Soundscape
The Misogyny of “Wife vs. Mom” Hypotheticals and Why We Must Retire Them
Museum of West African Art (MOWAA) to Open to the Public in November 2025
Features & Essays
5 Festivals for African Filmmakers to Look out For
What is Bongo’s True Identity?
We Don’t Need New Names
Lafalaise Dion Is “Cowrying” through Fashion and Spirituality
Storyteller and Gentleman: What is the Measure of Mike Ejeagha’s Influence on Highlife Music in Nigeria?
Why We Can’t Get over the Allure of Nostalgia in Pop Culture
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Interviews
Film & TV
“Dead of Night” Review: Chiemeka Osuagwu’s Horror Feature Serves Little Impactful Scares
“Grown” Review: Ola Jegede and Empress Allen’s Young-Adult Drama is Bereft of Introspective Moments
In Conversation: “I Want People to Know that Africa Has Real Filmmaking Talents”, Claire Diao, Film Critic and Founder of Sudu Connexion
Is This the Age of Nollywood at Domestic Box Office?
“Inkabi” Review: Michelle Tiren’s Performance is the Only Spark in Norman Maake’s Crime Thriller
In Conversation: Nollywood Film Editor, Martini Akande, Dissects the Anatomy of Editing a Memorable Scene
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Music
“HEIS” Review: Rema’s Sophomore Album is a Radiant Emblem on Afro-Rave
“Lost and Found” Review: Simi Reaffirms Her Spot as a Modern African Ballads’ Connoisseur
“Pheelz Good II” Review: Pheelz Basks in Creativity With His Latest Project
In Conversation: How Kaycee Brown Is Embracing His Identity Through Music
“Mbuzi” Review: Young Lunya’s Debut Album is a Reiteration of His Storytelling Prowess
“Ikigai” Review: Olamide’s New EP Expands His Cultural Cachet
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2025 AMVCA: How the Stars Lit up the Night With Style
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What Africa Wore to the Met Gala 2025: Fashion, Symbolism, and the Limits of Black Dandyism
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