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Berlinale 2026: In Conversation with Olive Nwosu, Writer-Director of “Lady”
“Love and New Notes” Review: Kayode Kasum’s So-Called Romantic Period Drama Confuses Ambition for Vision
The Akwete Renaissance and the Politics of Nigerian Fast Fashion
Features & Essays
Is the Seeming Wrongness of African Accents a Form of Neo Colonialism?
How To Properly Woo African Women
Christianity in Nigeria and the Doctrines of Modesty
To Boycott or Not to Boycott: Miss South Africa 2021 Takes on Her Nation, and Wins?
Do Religious Contexts of “Submission and Obedience” Breed Problems Within Marriage?
The Unfair Politics of the Southeastern Nigerian Catholic Church
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Film & TV
“Ẹlẹṣin Ọba” Review: Netflix’s “Death and the King’s Horseman” Adaptation Is a Play, Not Really a Film
“Becoming Abi” Review: Bolu Essien’s Office Space Dramedy is a Relatable Dreamy Story Where Love Meets Ambition
“Eyimofe” Review: An Ever-Relevant Interrogation of the Pressing Reasons to “Japa”
“Valley of a Thousand Hills” Review: An Unclear Solicitation for the Queer Community
“Soólè” Review: Kayode Kasum Might Need a Break for Artistic Introspection
“Brotherhood” Review: Jade Osiberu Delivers Quality Fun in Trope-Filled Action Flick
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Music
“Solace” Review: Uncle Waffles Shows Off Her Brilliancy on Her Amapiano-Pivoted EP
“The African Serenades” Review: Echezonachukwu Nduka Sets the Pace For African Art Music
“THREEE” Review: KLY’s Album Reflects on Love, Lust, and Internal Conflicts
“Rush” Review: Hamzaa Explores Vulnerability in Her New EP
“Africa Unite” Review: Reggae Meets Afrobeats on Bob Marley’s Reimagined LP
The Sarz Academy Garners an “A” for Effort on “Memories That Last Forever 2”
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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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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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