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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
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?
“Iyanu: Child of Wonder” HBO Adaptation: Nigeria’s Animation Industry, and the Nigerian Factor
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Film & TV
“4-4-44” Review: Izu Ojukwu’s Period Film about Love and Mental Health Can’t Find Its Spark
“Battle on Buka Street” Review: Nollywood Returns Home in Funke Akindele’s Polygamy Comedy
Adebayo Tijani’s “Ijakumo: the Born Again Stripper” is Only Half as Good as it Promised To Be
“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
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Music
“Body, Soul, & Spirit” Review: Joeboy Expands on Past Work With New EP
“Don’t Get Used To This” Review: WurlD Operates at the Peak of His Powers on New EP
“Family Time” Review: Erigga’s Storytelling Finesse is Marred by Subpar Production
“The Evil Genius” Review: Mr Eazi Gets Up Close and Personal On Debut LP
“7 SEAS” Review: June Freedom Demonstrates His Unique Artistry on Enjoyable LP
With “Ravage” EP, Rema Solidifies His 2023 Success
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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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