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“Colour Me True” Review: Toluwani Obayan Osibe’s Debut Reaches for Truth but Settles for Surface
The Life and Works of Meja Mwangi, Kenya’s Great Chronicler
ADIFF 2025: Sana Na N’Hada Examines the Cost of Freedom and the Weight of Memory in “Nome”
Features & Essays
Do Religious Contexts of “Submission and Obedience” Breed Problems Within Marriage?
The Unfair Politics of the Southeastern Nigerian Catholic Church
2022 Grammys: Who Will Win Best Global Music Album?
Babatunde Omidina “Baba Suwe”: A Great Entertainer Takes His Final Bow
Red Flags To Identify a Man That Might Break Your Heart
The P-Square Reunion: Is It Five Years Too Late?
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Film & TV
“Rise” Review: Akin Omotoso Directs a Family-Friendly Sports Biopic for Disney
“Ile Owo” Review: Dare Olaitan’s Horror Film Is Heavy on Suspense and Light on Terror
“Glamour Girls” Review: Play Network Ruins Yet Another Nollywood Classic
Netflix’s “Trees of Peace” Review: Saved by the Will to Survive
“Collision” Review: Half-Hearted Political Statements, and a Struggling Plot Collide in South African Netflix Crime Thriller
“The Order of Things” Review: Dr Sid Serves a Hollywood-esque Romantic Comedy in Nollywood Directorial Debut
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Music
“Rhythm and Tunes” Review: Lil Kesh Delivers Average Afrobeats Fare with a Few Bright Spots
“Blessed” Review: With Sophomore Extended Play, Mohbad Marks Triumphant Comeback
“Thy Kingdom Come” Review: Seyi Vibez Displays Peak Form and Hints at Even More
“That Uzere Boy” Review: Savage Unleashes a Sensory Feast with Sophomore Effort
“Love Letters” Review: Ka$hCPT Lays Emotions Bare through Effective Storytelling
“Music Has Failed Us” Review: Abu Ibrahim’s Debut Poetry Album Heralds a New Protest Chant
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2025 AMVCA: How the Stars Lit up the Night With Style
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What Africa Wore to the Met Gala 2025: Fashion, Symbolism, and the Limits of Black Dandyism
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