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On Afrobeats to the World: Where Is the Line Between Evolution and Identity Crisis?
Book O’Clock Opens Submissions for “Nyamiri-Bàsakkwacḕ: Stories from Another Home” Anthology
The North Is Retelling Its Story: A Review of Flame Tree’s “Someone Should Hold Farida”
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
“Savage Beauty” Review: A Dysfunctional Wealthy Family in a Tale of Revenge
“The Man for the Job” Review: More Is Less in Niyi Akinmolayan’s Tech-World Crime Thriller
Four Nollywood Crime Thrillers to Stream After “Blood Sisters” (And Four Coming Soon)
“Blood Sisters” Review: Netflix’s First Nigerian Original Series is EbonyLife’s Dramatic Comeback
“Silverton Siege” Review: Is this Film about the Silverton Trio? Not Really
Now That “The Real Housewives of Lagos” Has Brought You to Showmax, Here Are Other African Shows on It to See
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Music
DJ Tunez’ “The Amexin EP” is a Promising and Sleek Introduction to Amexin
“Mass Country” is AKA’s Sublime Parting Gift
Kel-P Displays Potential and Promise on “Bully Season Vol.1” EP
Ice Prince’s “To Be Continued” EP is a Vibrant, Genre-Bending Return
With “Continental Playlist,” King Perryy Takes a Bold Step forward
With “Pheelz Good,” Pheelz Solidifies Himself as a Music Connoisseur
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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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10 Celebrities Who Slayed the 2025 AMVCA Cultural Day
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