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Martha Ehinome’s Executive-Produced “Man of Her Dreams” Wraps Production
“Fuji: A Opera” Delivers Its Most Expansive Edition Yet With Fuji Vibrations 2025
“The Heart is a Muscle” Review: Imran Hamdulay’s Debut Feature Traces the Wounds We Inherit and the Ones We Try to Heal
Features & Essays
Stranded in Ukraine: Why Nigeria Cannot Demand Fealty From Nigerians
Tips to Overcoming Postpartum Depression
Real-life vs the Internet: Measuring Success for Young Africans
New Technology in the Arts and Entertainment Scene: What Does This Mean for Africa?
Why the Eastern Nigerian Music Industry is Falling Short
Tribalism in Africa: a Tool for Charging Political Agenda
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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
With “Ravage” EP, Rema Solidifies His 2023 Success
“Area Boyz” Review: NSG Explores Rhythms From the Streets on New Album
“Anomaly” Review: Dunnie’s Enjoyable Melodies is Marred by Subpar Songwriting
Mayorkun Plays It Safe on “Love.. For Free” EP
“Chocolate Daddy” Review: Orezi Marks an Exciting Return in His Own Terms
“Sankofa” Review: Azawi Unpacks Layers of Love and Heritage on New Album
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