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“NO DAYS OFF” Review: Kweku Smoke Reflects on Hustle and Ambition on New Album
Arole Agarawu African Poetry Prize Announces Inaugural Shortlist
“Ben’Imana”, “The Woman Who Poked The Leopard”, “Carissa”, Others Set For Screening at the 2026 NBO Film Festival
Features & Essays
Celebrity Giveaway Culture in Nigeria: Goodwill or Branding Tactic?
Uncommon Side Effects of Pregnancy That Aren’t Often Talked About
No Woman Should be Subjected to the Torture of Genital Mutilation
The Significance of the Placenta in African Cultures
Chidinma Ekile’s Transition to Gospel Music: A Case of Career Suicide?
Nnamdi Azikiwe at 117: Why Is He almost Forgotten?
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Film & TV
“The Trade” Review: Jade Osiberu Serves Thrills in this True Crime-Inspired Hidden Gem
“Strangers” Review: Does Biodun Stephen’s Mystery Drama Pass as a Good Film?
“Jolly Roger” Review: What Is Walter Banger’s True Motive in This Crime Thriller?
“Here Love Lies” Review: The Appealing Aura of Tope Oshin’s Film is Stifled by a Puzzling Storyline
“Beyond the Veil” Series Review: Five Northern Women Navigate Life in a Warm, Slow-Paced Drama
“Married to Work” Review: Philippe Bresson’s Rom-Com Falls Short of Expectations
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Music
“RU The World” Review: Ruger’s Sugary Debut Album Promises a Gratifying Experience But Nothing More
“Cheers to Life” Review: Majeeed Taps into His Core to Release a Celebratory EP
“Emotions” Review: Khaid’s Growth is Evident on Sophomore EP
“The More The Better” Review: Tekno Takes His Craft a Step Further on Sophomore LP
“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
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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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