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“My Mother Is a Witch” Review: Niyi Akinmolayan Explores Intergenerational Trauma in Provocative Drama
The Legend of Area Scatter: Enigmatic Musician or Misunderstood Individual?
Afolabi Olalekan’s AMVCA-Winning Thriller, “Freedom Way” Set for July Theatrical Release
Features & Essays
Ibadan: The Cultural Stalk of Literature in Nigeria
How Tightly is Africa Embracing This Era of Fashion Fluidity?
Billboard’s US Afrobeats Chart: Is There Anything to Be Thankful For?
Five West African Women Folk Musicians That Might Just be Worth Knowing
The Hyena Men of Nigeria: A Threat to Nature and Human Life?
Nollywood’s Sexist Tropes and the Stereotypical Portrayal of Women in Contemporary Nigerian Movies
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Film & TV
8 Nigerian Movies and TV Shows Coming Soon to Your Screens
“Country Queen” Review: Kenya’s First Netflix Original Series Is Potent but Drab
“The Blood Covenant” Review: A Familiar but Interesting Anti-Money Ritual Film
“Prophetess” Review: Niyi Akinmolayan Dares to Merge Religion and Farce
“Jewel” Review: A Quiet Reminder of the Continuing Impacts of South Africa’s Sharpeville Massacre
“Introducing the Kujus” Review: Biodun Stephen Creates a Dramatic and Incredibly Relatable Family
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Music
“For the Kulture” Review: Kelvyn Boy’s EP is An Excellent Return For the Beloved Ghanaian Artiste
“Decagon” Review: Spiritual Depth Meets Sonic Brilliance on Anendlessocean’s Album
“Asylum” Review: Kaestyle & LeriQ Team Up to Make Magic on Collaborative EP
“Yes Indeed” Review: Yaadman Shines Bright on His Return EP
“Chequemate” Review: Cheque Takes Stock of His Trajectory on New EP
“Unruly” Review: Olamide’s Latest Album is a Celebration of His Evolution
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