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“Agesinkole: King of Thieves 2” Review: Femi Adebayo’s Yoruba Epic Has the Architecture of Greatness But an Overwritten Screenplay
After the Peak: What Is Next for Afrobeats?
Zaylevelten, Mavo: The Case for the Nouveau Underground
Features & Essays
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
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?
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Film & TV
“A Lagos Love Story” Review: Where’s the Love in This Inkblot’s Romance Drama?
“Recall” Review: Kunle Afolayan’s Return to the Big Screens Is Largely Forgettable
Nollywood Needs NollyTube, But Does NollyTube Need Our Brains to Be Turned Off?
“Labake Olododo” Review: Biodun Stephen’s Yoruba Epic Is a Gender-Flipped Samson-And-Delilah Narrative Starring Iyabo Ojo
The Biggest Snubs and Surprises of the 2025 AMVCA Nominations
“Finding Me” Review: Funke Akindele’s Mistitled Dramedy Struggles With an Identity Crisis
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Music
“Children of Africa” Review: Seyi Vibez’s EP Is an Unorthodox Comeback That Works
Afrocritik’s Weekly Music Spotlight: Zouk Party
“Just When You Thought It Was Over” Review: Toye Aru and Derrick UGC Combine Magnificently on Joint Album
“Colourful Generation” Review: Bruce Melodie Proves He Is Still A Top-Notch Crooner
Afrocritik’s Editorial Spotlight for Valentine’s Day 2025
“Don’t Hold Me Back” Review: Liya’s Strength Shines in New EP
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AMVCA 2026: The Best Celebrity Red Carpet Looks of the Night
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Met Gala 2026: How African Celebrities Showed Up on Fashion’s Biggest Stage
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2026 Grammy Awards: How African Celebrities Brought the Fashion Heat to the Red Carpet
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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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