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Afrocritik Weekly Music Spotlight: Mega Catch-Up
Oyin Olugbile Wins 2025 Nigeria Prize for Literature With “Sanya”
“They Killed Ahmet” Review: Ikenna Okeh’s Novel Is Trope-Heavy With Flickers of Promise
Features & Essays
Should African Artistes Begin To Look Beyond the Grammys?
Why South Africa is Attracting Foreign Filmmakers
What Happens When Social Media Becomes the First Resort in Emergencies?
African Feminine Identity, and the Recent Rise of the Afro Hair Culture
Ibadan: The Cultural Stalk of Literature in Nigeria
How Tightly is Africa Embracing This Era of Fashion Fluidity?
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Interviews
Film & TV
Adebayo Tijani’s “Ijakumo: the Born Again Stripper” is Only Half as Good as it Promised To Be
“How to Ruin Christmas: The Baby Shower” Series Review: Third Season Has Same Formula, More Drama, and a Tumi-Sized Hole
“U-Turn” Review: Gabriel Afolayan’s Directorial Debut Is a Road Movie Lacking in Attractions
“Love Lives Here” Review: Norman Maake’s RomCom is a Fairy Tale that Sticks to its Story
“Far from Home” Review: Netflix’s Formulaic Nigerian Young Adult Series is Bingeable but Falls Short
Eleven Movies Coming to your Screens this December and Beyond
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Music
“We Cut Keys 2” Review: Blinky Bill Returns With a Sonorous And Genre-Bending New Album
“The Chorus Leader” Review: Timi Dakolo is Bold and Bare on New Album
DUST Review: Priddy Ugly Takes an Emphatic Bow on Final Album
Afrocritik Weekly Music Spotlight 2024: Week 2
“Dem Mauru” Review: Maandy’s New EP Attest to Her Hard Work and Sensitivity
“Let’s Start A Riot” Review: La Même Gang Returns With a Decent EP
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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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