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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
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
Why Do People Still Fall Prey to Ponzi Schemes Amidst Warning Signs?
Have we Reached the Long-awaited Meeting Point of Politics and Religion?
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Interviews
Film & TV
“Nafsi” Review: A Surrogacy Gone Wrong Jeopardises Relationships in Kenyan Feature
Adeoluwa Owu’s “The Griot” is Simple and Soothing but Fails to Reach its Potential as an Epic
“The Woman King” Review: Revisionist History in an Otherwise Excellent Hollywood African Historical Epic
Ryan Coogler Shows Masterly Filmmaking in Marvel’s Newest Creation, “Black Panther: Wakanda Forever”
“Country Hard” Review: In Paul Utomi’s Crime Drama, Paths Cross, Lives Intertwine, and One Meeting can Change Everything
“Ẹlẹṣin Ọba” Review: Netflix’s “Death and the King’s Horseman” Adaptation Is a Play, Not Really a Film
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Music
Afrocritik Weekly Music Spotlight 2024: Week 1
“Bboy Settingz” Review: Burukyln Boyz Reiterate the Kenyan Drill Rap Aesthetic
Ghanaian R&B Singer, Darkua, Releases New Single, “Say My Name”
What Will Shape Africa’s Music Landscape in 2024?
Omah Lay, Yemi Alade, Stonebwoy Announced As Performers for the All Africa Festival 2024
Libianca Legitimises Meteoric Rise With New “Walk Away” 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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