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“Readers Will Bring All Kinds of Meaning to Your Work”: Uche Okonkwo, In Conversation with Afrocritik
“Lagos Lover Boy” Review: Ric Hassani Crafts a Cohesive Portrait of Urban Romance
“Ms. Kanyin” Review: Jerry Ossaiʼs Wannabe Horror Flick is Forgettable
Features & Essays
How the Traditional Publishing Industry in Africa Is Shaping the Emergence of New Voices in African Literature
A Brief Commentary on the 15th Headies Awards
Healthcare Influencers Are Shaping the Face of Digital Health Practice in Africa
Bnxn Vs Ruger, Who Takes the Lead So Far?
What Exactly is the Consequence of Internet Cancel Culture?
Onyeka Nwelue is Providing a New Way of Seeing and Extending Legacies
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“Big Nunu’s Little Heist” Review: Andy Krasil’s-Directed Fast-Paced Comedy is a Memorable Watch
“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?
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Music
Afrocritik Weekly Music Spotlight 2024: Week 6
Grammy-nominated Artiste, Matt B, Releases New Music Video for “Shining”
The Continuing Rise and Influence of East African Drill Music and Culture
“Drop 7” Is Little Simz’s Experimental Self-Coronation
Afrocritik Weekly Music Spotlight 2024: Week 5
“This Is Me (Live)” Review: Frida Amani Presents a Resounding Bongo Rap EP
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2025 AMVCA: How the Stars Lit up the Night With Style
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What Africa Wore to the Met Gala 2025: Fashion, Symbolism, and the Limits of Black Dandyism
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