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Afrocritik’s Music Spotlight: Big Emotions
Nigerian Bodybuilder Andrew Jacked Wins 2026 Arnold Classic Men’s Open Title
The Ethics of Knowledge and the Difficult Conversation Around Book Piracy in Africa
Features & Essays
Is the Nigerian Feminist Wokeness Asleep?
How Relevant to Christmas is December the 25th?
Bullying in Schools; Why Cases Are Largely Unreported in Private Secondary Schools
Unpacking my Black African Identity: Do All Africans Fit in Africa?
Opinion: What, Truly, is the African Story?
10 Perfect Spots to Visit in Africa This Christmas
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Interviews
Film & TV
“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
“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
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Music
“Na My Shoe I Buckle” Review: Former YBNL Star, Davolee, Makes a Fine Return
“I Told Them” Review: Burna Boy Says A Lot But Reveals Very Little on This Enjoyable LP
Fridayy Explores Soulful Narratives and Musical Triumphs on Self-Titled Debut LP
“For the Kulture” Review: Kelvyn Boy’s EP is An Excellent Return For the Beloved Ghanaian Artiste
“Decagon” Review: Spiritual Depth Meets Sonic Brilliance on Anendlessocean’s Album
“Asylum” Review: Kaestyle & LeriQ Team Up to Make Magic on Collaborative EP
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VIDEOS
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Books
Culture
Fashion
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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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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