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Who Wrote This? The Crisis of Criticism in the AI Era
Can AI Make Loan Applications Fairer in Africa?
“Some Stars Do Not Fall” Review: Taofeek Ayeyemi’s Chapbook Meditates on the Language of Grief
Features & Essays
Hike in Food Prices is Causing a Shift in Consumer Preference in Africa, Research Now Says
Despite Africa’s Illustrious Political Past, Why Are African Countries Failing?
The Single Narrative About Africa is Exhausting
Echezonachukwu Nduka and the Music of Poetry
Securing 9 Gold Medals in the 2022 World Athletics Championship is a Good Step for Africans
Are Protests Still Effective in Causing Social Change in Today’s Society?
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Interviews
Film & TV
“Flawsome” Review: Once Again, Nollywood Women aren’t Independent of Masculine Convention
“All Na Vibes” Review: An Ambitious Film Loses its Aspiration to Flimsy Plot
“Dark October” Review: Is October Cursed?
“Shanty Town” Thrives More on Casting than Storytelling: Further Consideration of “Shanty Town”
“Shanty Town” Series Review: What Exactly Is this Ultraviolent and Relentlessly Grim Crime Drama Trying to Prove?
“Side Dish” Review: A Single Night’s Decision Changes Everything in Mandla Ngcongwane’s Crime Series
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Music
Top 50 African Songs of 2023
Afrocritik’s 2023 Top 25 African Music Projects
Afro-Pop Star, Oxlade, Releases Two-Track Pack, “Katigori/Piano”
Nairobi Rock Sensation, Lone Tree, Unveils New Single, “Holding On”
“Blue Hour Notes” Review: Faith Moyosore Agboola’s Debut Spoken Word EP Explores Vulnerability, Despair, Hope, and Love
“Masta” Review: Tim Lyre’s New EP Chronicles His Artistic Evolution
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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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