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Tyla Wins Best Afrobeats at the 2025 MTV VMAs
“Kings Will Rise” Review: The Scorpion Kings Continue Stellar Run With New Album
NIFS Dispatch: 5 Key Takeaways from the 2025 Nigerian International Film Summit
Features & Essays
Should African Women Still be Ashamed of Their Stretch Marks?
With Polycystic Ovary Syndrome Largely Under-researched, African Women Are Now Raising Veils
The Importance of Literature in Nollywood, Adaptations, and the Need to Make More Artistic Movies
Recognising Outstanding Achievements in Music: A Case for Film Music Categories in African Music Awards
Are African Women Doing Away with the Conservatism Behind Pregnancy Concealing?
Dear Nigerians, It is Time to Revive the Hip-Hop Culture
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Interviews
Film & TV
“Shanty Town” Thrives More on Casting than Storytelling: Further Consideration of “Shanty Town”
“Shanty Town” Series Review: What Exactly Is this Ultraviolent and Relentlessly Grim Crime Drama Trying to Prove?
“Side Dish” Review: A Single Night’s Decision Changes Everything in Mandla Ngcongwane’s Crime Series
“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
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Music
Afrocritik Weekly Music Spotlight 2024: Week 4
The Rise of Arbantone: A New Stable Among Kenyan Music Genres?
“Once Upon A Cat” Review: Iyanya Struggles for Artistic Control on New LP
“Evil Twin” Is a Poignant Reminder of PsychoYP and Jeriq’s Insane Potential
Afrocritik Weekly Music Spotlight 2024: Week 3
Nigerian Music Luminary, Timaya, Releases New Single, “Dey Your Dey”
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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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