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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
Despite Strict International Laws, Challenges Abroad, Young Africans are Still Crossing Borders
Tems’ BET Win is a Glimpse into the Future of African Music, and African Women in Music
Is the New Wave of the Corset Changing the Way Women View Their Bodies?
Reconciling the Loss of the Mother Tongue, and Learning to Speak It Again
TikTok Is Bringing Down Obstacles to Music Promotion; But It Is Also Creating New Ones
Why Nigerian Parents Hate Headphones
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Film & TV
Adeoluwa Owu’s “The Griot” is Simple and Soothing but Fails to Reach its Potential as an Epic
“The Woman King” Review: Revisionist History in an Otherwise Excellent Hollywood African Historical Epic
Ryan Coogler Shows Masterly Filmmaking in Marvel’s Newest Creation, “Black Panther: Wakanda Forever”
“Country Hard” Review: In Paul Utomi’s Crime Drama, Paths Cross, Lives Intertwine, and One Meeting can Change Everything
“Ẹlẹṣin Ọba” Review: Netflix’s “Death and the King’s Horseman” Adaptation Is a Play, Not Really a Film
“Becoming Abi” Review: Bolu Essien’s Office Space Dramedy is a Relatable Dreamy Story Where Love Meets Ambition
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Music
Mayorkun Plays It Safe on “Love.. For Free” EP
“Chocolate Daddy” Review: Orezi Marks an Exciting Return in His Own Terms
“Sankofa” Review: Azawi Unpacks Layers of Love and Heritage on New Album
“Love and Chaos” Is a Beautiful, Heart-Swelling, Sonic Time Out with Kuami Eugene
“Unboxed” Review: Nissi’s Sophomore EP is a Fantastic Experimental Project
“Eziokwu” Review: Odumodublvck’s Enjoyable Project Is Marred By Repetitive Narratives
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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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