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Condescending Benevolence: The Colonial Paradox of “Mister Johnson”
AT THE ALTAR | Poem By Rutendo Chichaya
Afrocritik’s Most Anticipated Books of 2026
Features & Essays
Why Do Women Bear the Major Burden of Infertility?
The S16 Collective: Who are These Nollywood Indie Filmmakers?
Attractive People are Having it Easier: Hello to Aesthetic Medicine?
“A Japa Tale” is Dika Ofoma’s Intriguing Exploration of Migration, Relationships, and Ambition
Are Creative Writing MFAs the New Reality for Contemporary African Writing?
How Africa is Turning Against People with Albinism
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Film & TV
“A Song from the Dark” Review: Ogo Okpue’s Horror Feature Debut Feels Exactly Like a Debut, and Not a Good One
“The Lions of Buganda” Review: Jerry Sesanga’s Historical Picture Glides at a Glacial Pace Towards Nowhere
Navigating Heartbreak and Closure: Inside MTV Base’s Nigerian Adaptation of the “Ghosted” Reality Show
“Savage Beauty Season 2” Review: Lebogang Mogashoa’s Series Fails to Honour its Important Plots
Nadine Ibrahim Clamps Down the Liberal Voice in “Beyond the Veil” Season 2 for a More Conservative Charge
Mapping Queer African Cinema: How Censorship Still Hinders Queer Representation in the African Mainstream Media
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Music
“No Love in Lagos” Review: Show Dem Camp, The Cavemen & Nsikak David Deliver a Masterful Blend of Highlife and Hip-Hop
“Purple Doesn’t Exist” Review: A-Q’s Experience Serves As The Backdrop For A Poetic Prowess
“Lungu Boy” Review: Asake’s Sonic Leap Stumbles on Thematic Cohesion
The Creative Pulse of Chike: An Artiste’s Narrative
The Power and Essence of Album Rollouts
“DVNTE” Review: Rhatti’s Ingenious Fusion Project Is a Nostalgic Journey Through the 90s
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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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