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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
Bisa Kdei on “Original,” the Fragility of Life, Career Longevity, and Future Plans: In Conversation with Afrocritik
Play Network Studios’ Preference for Remakes: What is the Thought of Stakeholders?
With Rap Music, thellO is Building a Legacy of Musical Excellence
Where Are the African Nonfiction Prizes?
Why You Dress the Way You Do: Is There a Link Between Fashion and Identities?
The Story, Politics, Reactions Trailing Nigerian ‘Professor’ Onyeka Nwelue
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Film & TV
“Japa!” Review: Isioma Osaje’s Speculative Debut Feature is Convoluted Beyond Genre Expectations
Nollywood and the Evolution of the Sacred Feminine
Moussa Sène Absa’s “Xalé” Set to Tour Nairobi in March
“Blood & Water” Season 4: The Downfall of Africa’s Most Promising Netflix Series
“The Fisherman’s Diary” Review: Enah Johnscott’s Film Advocates for Gender Inclusion in Education
Filmmaker, Gelax Bolaji’s Documentary, “Silent Tumors”, Spotlights the Silence Struggles of Women with Fibroids in Nigeria
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Music
Afrocritik’s Top 30 African Songs in the First Half of 2024
“Madam Dearest Pt.1” Review: DOTTi the Deity Delivers a Captivating Love Anthem
“Stubborn” Review: Victony’s Impressive Debut LP Explores Life’s Highs and Lows
“Hexagon” Review: Love and Devotion Shine Through Anendlessocean’s New EP
“Before the Feast” Review: Falz’s EP Thrives On Carefree Escapism
Afrobeats Royalty: Tekno, On Growth, Abundance, and New Opportunities
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2025 AMVCA: How the Stars Lit up the Night With Style
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10 Celebrities Who Slayed the 2025 AMVCA Cultural Day
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What Africa Wore to the Met Gala 2025: Fashion, Symbolism, and the Limits of Black Dandyism
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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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