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Afrocritik’s Weekly Music Spotlight: New Names
The Obscured Realities in Shegun Oseh’s Smokescreen Images
30+ Films Selected for NollywoodWeek Film Festival 2025
Features & Essays
Are Protests Still Effective in Causing Social Change in Today’s Society?
Donald Oghenechovwe Ekpeki is Charting New Courses in African Speculative Fiction
Tobi Amusan and the Journey to Becoming World Champion
Regular vs. Irregular Contestants; Do Big Brother Naija Fans Prefer the Eccentric?
How Active is Colourism in the Global Entertainment Industry?
The Man of the Moment: Will Portable’s Eccentricity Be the End of His Music Career?
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Interviews
Film & TV
“How to Ruin Christmas: The Baby Shower” Series Review: Third Season Has Same Formula, More Drama, and a Tumi-Sized Hole
“U-Turn” Review: Gabriel Afolayan’s Directorial Debut Is a Road Movie Lacking in Attractions
“Love Lives Here” Review: Norman Maake’s RomCom is a Fairy Tale that Sticks to its Story
“Far from Home” Review: Netflix’s Formulaic Nigerian Young Adult Series is Bingeable but Falls Short
Eleven Movies Coming to your Screens this December and Beyond
“Nafsi” Review: A Surrogacy Gone Wrong Jeopardises Relationships in Kenyan Feature
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Music
“7 SEAS” Review: June Freedom Demonstrates His Unique Artistry on Enjoyable LP
With “Ravage” EP, Rema Solidifies His 2023 Success
“Area Boyz” Review: NSG Explores Rhythms From the Streets on New Album
“Anomaly” Review: Dunnie’s Enjoyable Melodies is Marred by Subpar Songwriting
Mayorkun Plays It Safe on “Love.. For Free” EP
“Chocolate Daddy” Review: Orezi Marks an Exciting Return in His Own Terms
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Fashion
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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Size Bias on Our Runways: How Inclusive Are Fashion Competitions and the Industry?
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AMVCA 2024: 7 Designers Whose Outfits Graced the Red Carpet
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10 African Models Making Waves in the Global Fashion Industry
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