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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
With Rap Music, thellO is Building a Legacy of Musical Excellence
Where Are the African Nonfiction Prizes?
Why You Dress the Way You Do: Is There a Link Between Fashion and Identities?
The Story, Politics, Reactions Trailing Nigerian ‘Professor’ Onyeka Nwelue
What is Humanity’s Fuss about Strongmen?
These 5 Nigerian Skit Makers are Blurring the Lines between Comedy & Music
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Interviews
Film & TV
“Suky” Review: Ola Cardoso’s Prison-Set, Revenge-Themed Sports Drama Is Tepid
Omoni Oboli and Nollywood’s Dilemma With Copyright Infringement
The Annual AMVCA’s Category Problem: Should TV Productions Be Competing with Films?
“Fine Girl” Review: Fatimah Gimsay’s Film Is a Subversive Take On Modern Harassment and Female Empowerment
“Love, Olaitan” Review: Moyosore Akinsete’s Short Film Is a Mesmerising Portrait of Love and Loss
“This Is Love” Review: Njoku and Nonso’s Documentary Is a Tender Exploration of Queer Nigerian Love and Identity
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Music
BoyPee, Hyce & Brown Joel Find Their Rhythm on “Synergy”
In Conversation: OluwaMillar Talks “Agbalagbi”, Creativity, and Breaking Barriers
“Black and White” Review: Terry Apala’s New Project Stretches Apala’s Sonic Possibilities
Afrocritik’s Monthly Music Spotlight: January 2025
“I am the Blueprint” Review: Qing Madi’s Debut Album Explores R&B With Room to Grow
“Pawon Boy Vol 1 Deluxe” Review: Tml Vibez and DJ 4kerty Craft a Refreshing Take On Street-Pop
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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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