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Saviour for the Condemned: A Review of Joseph Nnamdi’s Debut Novel
AFRIFF 2026: “Adanne” Is a Familiar Story of Mothers, Daughters and Inherited Expectations
Film Africa 2026: The Fragility of Faith, Innocence and Belonging In “God Sleeps On Sundays”, “Echoes Beneath the Hill”, and “Zizou”
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Film & TV
“The Rise of Igbinogun” Review: Ideh Chukwuma Innocent Brings “epic” to the Cinemas with His Latest Addition
“Young, Famous and African” Review: Reactions to South African Beauticians’ “Flop” in Reality show
“A Simple Lie” Review: One Little Lie Sets off a Series of Shocking Revelations
AMVCA 8 Nominations: 8 Shockers Flowing from the Nominees Announcements
“City Hustlers” Review: Asuelime’s Underwhelming, Starstruck Version of Mike Ezuruonye’s “Lagos Real Fake Life”
The American King Review: Hail! United States of Africa and Its American King Called Akon
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Music
Iyanya’s “The 6th Wave” EP is a Return to Form for the Afrobeats Icon
Joe Praize’s “The Assignment” Album is Covered with the Cloak of Excellence
Moliy Captures a Sour Relationship on “Honey Doom”
Ayra Starr Offers Little to Nothing on “19 & Dangerous” Deluxe LP
Mannywellz’s Voice Shines Brightly on “Unwanted” EP
Wizkid’s “Bad To Me” Music Video is a Punchy, Retro-Themed Return
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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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