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What a Cancelled Lagos Derby Reveals About Nigeria’s Football Reform
“Son of Elvis” Review: Marcus Harvey Bares His Heart Across New Album
Ask Your Brothers. Ask Them Their Stories, the Stories of Other Boys. Ask.
Features & Essays
“Like and Follow:” Why Do Numbers Matter on Obasanjo’s Internet?
Celestine Ukwu’s Musical Philosophy: Is This the Sweet Spot of Highlife?
Has the INEC Fufilled All Its Promises?
Do Africans Need White Weddings?
Is the Igbo Apprenticeship System Alive and Well?
“My Move into Singing is Not a Transition,” Pheelz: In Conversation with Afrocritik
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Interviews
Film & TV
“Finding Me” Review: Funke Akindele’s Mistitled Dramedy Struggles With an Identity Crisis
“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
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Music
“Music In My Life” Review: Echo Deep Showcases His Expertise in Fourth Studio Album
“Agbalagbi” Review: OluwaMillar Navigates Life, Faith, and Fame on Debut EP
Top Predictions for Africa’s Music Landscape in 2025
Inside the Mercy Chinwo and EeZee Conceptz Fallout
East Africa’s Altè Movement: A New Era of Hybrid Sound
Afrocritik’s 25 Emerging African Artistes Worth Listening To in 2025
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Fashion
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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