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Why Are East Africa’s Best Athletes Competing for Other Countries?
Can African Proptech Startups Build Trust in a Skeptical Market?
Nollywood at Cannes 2025: Filmhouse Group Joins NIFS to Discuss Nollywood’s Global Future
Features & Essays
“Iyanu: Child of Wonder” HBO Adaptation: Nigeria’s Animation Industry, and the Nigerian Factor
Will the Virtual Culture be the Future Working Environment of Africa?
How Technology is Redefining the Work Culture in Africa
How Artists Are Promoting African Culture and Heritage through Digital Media
The Nigerian Comedy Industry is in Need of Structure and International Exposure
Abortion Ban, and the Fate of African Women in the US
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Film & TV
“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
“Far from Home” Review: Netflix’s Formulaic Nigerian Young Adult Series is Bingeable but Falls Short
Eleven Movies Coming to your Screens this December and Beyond
“Nafsi” Review: A Surrogacy Gone Wrong Jeopardises Relationships in Kenyan Feature
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Music
“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
“Area Boyz” Review: NSG Explores Rhythms From the Streets on New Album
“Anomaly” Review: Dunnie’s Enjoyable Melodies is Marred by Subpar Songwriting
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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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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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