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“Katanga: The Dance of the Scorpions” Leads 2025 AMAA Nominations + Full List of Nominees
Afrocritik Weekly Music Spotlight: Mega Catch-Up
Oyin Olugbile Wins 2025 Nigeria Prize for Literature With “Sanya”
Features & Essays
Out with the Weird Hustle Culture, In with “Quiet Quitting”
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?
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“Merry Men 3: Nemesis” Review: Netflix Strikes Again With Third January Cringe Fest
African Cinema on the Rise: 13 African Titles Gracing the 74th Berlinale
AMVCA Gears Up for Its 10th Edition, Calls for Submissions
FESPACO: An Enduring Role in Promoting African Cinema
“A Weekend to Forget” Review: Damola Ademola’s Entertaining Mystery Confounds Itself
“WAR: Wrath and Revenge” Review: A Simplistic Foray into Machiavellian Intrigue
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Aniela Makes A Brazen Debut With “Magic”
“No Overthinking” Review: Savara’s New Album is a Well-Crafted Collection
“Bad Boy Etiquette 102” Review: Ajebo Hustlers Unpack the Human Condition on New Project
“Mombasa’s Lover Boy” Review: Caleb Awiti Delivers Another Slow Jam LP
“Soul Searching” Review: Nezsa Rediscovers Herself With Her Sophomore Project
Bnxn and Ruger Call For Truce With the Rhythm and Blues -Driven “RnB” 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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