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Small Change: Intimacy and Economy on the 2026 Caine Prize Shortlist
The Ordinary Affair of Being Nigerian: A Review of Jide Badmus’ “Dawn is an Open Wound”
More Than a Face: Who Controls an Artiste’s Identity After a Brand Deal Is Signed?
Features & Essays
A Survival Guide For Working During the Christmas Season
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?
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Film & TV
“A Young Time Ago” Review: Subtle but Visible Misogyny Takes Front Row in the Tolu Lordtanner-Directed Drama
“Can You See Us?” Review: This Stereotype-Defying Zambian Netflix Debut about Albinism is Elevated by Impressive Acting
“Love, Sex and 30 Candles” Review: The Feminist Undertone in Stephania Zwane-Directed Film is Its Saving Grace
“The One for Sarah” Review: The Lyndsey Efejuku-Directed Film Audaciously Traverses Romance and Domestic Violence
“Jagun Jagun” Review: The Femi Adebayo-Produced Action-packed Yoruba Epic is Impressive but Forgettable
“Big Nunu’s Little Heist” Review: Andy Krasil’s-Directed Fast-Paced Comedy is a Memorable Watch
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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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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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