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In Conversation: Obase-Sam Ikoi Reflects on Writing “The Comedian’s Diary” and the Necessity of Hope
“Out of Sight – Out of Mind: Volume 1” Review: Ycee Expresses Stylistic Yin & Yang on New Album
Nine African Film Talents Invited to Join the Academy’s Class of 2026
Features & Essays
Drawing the Line Between Respect and Power Thirst
Podcasting for Africans, and How to Get Started
How the Igbos See “Dada” Children, and the Place of “Umu Dada” in Igbo Cosmology
Vaillante: The Cast of UNICEF’S Miniseries Want Child Marriage Survivors to Feel Seen
From Writing Corporate Briefs to Creating Soulful Melodies, Cill Soul Is on the Rise, Taking Strides, One Leap at a Time
Stranded in Ukraine: Why Nigeria Cannot Demand Fealty From Nigerians
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Film & TV
“Merry Men 3: Nemesis” Review: Netflix Strikes Again With Third January Cringe Fest
African Cinema on the Rise: 13 African Titles Gracing the 74th Berlinale
AMVCA Gears Up for Its 10th Edition, Calls for Submissions
FESPACO: An Enduring Role in Promoting African Cinema
“A Weekend to Forget” Review: Damola Ademola’s Entertaining Mystery Confounds Itself
“WAR: Wrath and Revenge” Review: A Simplistic Foray into Machiavellian Intrigue
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Music
An African Love Songs Playlist for Valentine’s Day
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
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AMVCA 2026: The Best Celebrity Red Carpet Looks of the Night
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Met Gala 2026: How African Celebrities Showed Up on Fashion’s Biggest Stage
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2026 Grammy Awards: How African Celebrities Brought the Fashion Heat to the Red Carpet
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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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