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Olaolu Slawn Opens Landmark Homecoming Exhibition, BOBO, in Lagos
Afrocritik’s 50 Remarkable African Short Stories of 2025
Afrocritik’s 20 Remarkable African Short Films of 2025
Features & Essays
Why The Music Of Johnny Drille Resonates With Nigeria’s Hopeless Romantics
Has Filmmaking In Nollywood Gone To The Dogs?
Nollywood And The Need To Pay More Attention To Short Films
Nollywood Needs Its Low-Budget Movies. Here Is Why.
How To Use A Friday Night
The Evolution, Trajectory And Appreciation Of Rock Music In Nigeria
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Film & TV
“Oga Bolaji” Review: Kayode Kasum’s Slow But Rewarding Social Commentary
Izu Ojukwu’s “Amina” is an Underwhelming Portrayal Of The Legendary Queen Amina of Zazzau
Emem Isong’s “Special Jollof” Fails As a Romantic Drama
AMAA 2021 NOMINATIONS: A GUIDE TO THE NOMINATED FEATURE FILMS FROM NOLLYWOOD
Emotions, Depth, and a Stellar Cast Take Front Row in Daniel Ademinokan’s “Gone”
Hide ‘N’ Seek and its Decent but Inadequate Effort to be Different
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Music
On “THE4MULA,” Blxckie Gets Lost in a Sea of Thematic Monotony
Wendy Shay Meanders on Mediocre “Enigma” EP
“The Kadosh” Album Seals Joe Mettle’s Rousing Prowess in Gospel Music
Wizkid Coasts around His Comfort Zone on “More Love, Less Ego” Album
Sarkodie Spreads His Sonic Tentacles on “JAMZ” Album
Lady Zamar Delivers a Delightful Taste of House on “Royal Flush” EP
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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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10 African Fashion Events to Watch Out for in 2025
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