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“While She Slept” Review: Kumashe Yaakugh’s Novella Explores Ghosts, Memory, and Masculinity
“The Masked King” Review: Uduak-Obong Patrick’s Historical Drama Is Dampened by Its Wobbly Political Consciousness
Rema, Tems, Odumodublvck, Others Win Big at the 17th Headies Awards + Full Winners’ List
Features & Essays
Ethnic Diversity in the British Parliament: 10 Black Africans Who Have Served as Members of Parliament
International Day of the Girl Child 2022: 8 Young African Women Amplifying the Voice of the Girl Child
15 Emerging and Gifted Voices Amplifying African Literature Today
Do Women Have a Role to Play in the Popularity of Patriarchal Ideals?
Ten Socio-political Songs about Nigeria
Seven Talented Nollywood Actors on the Cusp of Stardom
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Film & TV
“Republic of South Ah SH**t” Review: Once Again, Kagiso Lediga-Directed Film Reiterates His Artistic Depth
“Fatal Seduction” Review: Netflix’s New Series Offers Steamy Temptations But Little Thrill
“Sista” Review: Kehinde Bankole’s Acting in Biodun Stephen-Directed Flick is a Cinematic Representation of Motherhood
“Queen Cleopatra” Review: Jada Pinkett Smith’s Docu-series is a Flawed Romance of a Pre colonial African Monarch
“Subjects of Desire” Review: Are We Ever Going To Get over the Idea of Cultural Appropriation?
“Safari” Review: Bill Afwani-Directed Film Is a Successful Casting of Child Actors
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Music
“We Cut Keys 2” Review: Blinky Bill Returns With a Sonorous And Genre-Bending New Album
“The Chorus Leader” Review: Timi Dakolo is Bold and Bare on New Album
DUST Review: Priddy Ugly Takes an Emphatic Bow on Final Album
Afrocritik Weekly Music Spotlight 2024: Week 2
“Dem Mauru” Review: Maandy’s New EP Attest to Her Hard Work and Sensitivity
“Let’s Start A Riot” Review: La Même Gang Returns With a Decent EP
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Bold, Regal, and Stylish: African Artistes at the 2025 Grammys
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Size Bias on Our Runways: How Inclusive Are Fashion Competitions and the Industry?
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