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In Conversation: Obase-Sam Ikoi Reflects on Writing “The Comedian’s Diary” and the Necessity of Hope
“Out of Sight – Out of Mind: Volume 1” Review: Ycee Expresses Stylistic Yin & Yang on New Album
Nine African Film Talents Invited to Join the Academy’s Class of 2026
Features & Essays
Afrocritik Top 25 African Novels of 2022
Stream Farms: Should Ratings be the Only Relevant Metric Used in the Music Industry?
Is Africa Commemorating Its Heroes Enough?
Is Artistic Cross-Carpeting Beneficial in the Long Run for Black Artistes?
How Misinformation is Becoming Prevalent in African Media Spaces
Ishiagu Fabric: How the Wrong Totem Became the Symbol of the Igbo People
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Film & TV
Technical Excellence Saves “Farmer’s Bride” From an Uneven Script
“Lisabi: The Uprising” Review: Niyi Akinmolayan’s Dramatised Biopic Is a Deeply Contained Story
“Tejiri” Is a Timely Commentary on Justice and Governance in Africa
Highlights From the Third Edition of the Ibadan International Film Festival
IDFA 2024: Spotlight on Selected African Documentaries
Nigeria Cinema Day and the Marketing Hurdles Holding Back Nollywood
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Music
“Starter” Review: Ali Kiba’s EP Is a Nod to Bongo Flava’s Foundational Soundscapes
“Love/Hate Pt 2” Review: Xenia Manasseh’s Sophomore Album Is Proof of an Artistic Refinement
20 Iconic African Albums That Defined the 2000s
“The Younger Me” Review: Dr Soul Makes a Grand Sonic Statement With New EP
“Kaution” Review: Kold AF Delivers a Fierce Performance on Her Latest Project
Bongo Flava: The Evolution of East Africa’s Soundtrack
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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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