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Hon. Hannatu Musawa Says Planning for 2026 Detty December Will Begin in March, Expand Beyond Lagos

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Hannatu Musawa, minister of art, culture and the creative economy, has announced that preparations for the 2026 edition of Detty December will commence as early as March. According to the minister, early planning is intended to strengthen coordination, address past challenges, and broaden the economic and cultural impact of the festivities beyond Lagos.

Musawa made the disclosure during an interview on MIC ON, hosted by Seun Okinbaloye. She explained that the 2025 Detty December season delivered more gains than drawbacks, citing increased tourism inflow, heightened global visibility, and strong economic activity across entertainment, hospitality, transport, and retail sectors.

While acknowledging existing pressure points such as congestion, infrastructure strain, and security concerns, the minister described the overall impact as largely positive. She noted that these challenges have informed government planning, prompting a more structured and decentralised approach for future editions.

Detty December refers to Nigeria’s end-of-year cultural season marked by music concerts, festivals, nightlife events, and social gatherings, with Lagos traditionally serving as its epicentre. In recent years, the period has attracted a growing number of international visitors, positioning Nigeria as a major cultural tourism destination during the festive season.

Musawa revealed that the federal government is working to expand Detty December activities to other cities and regions, allowing more states to benefit from tourism revenue and cultural exposure. The strategy is aimed at reducing pressure on Lagos while unlocking opportunities for local economies nationwide.

By starting preparations in March, the ministry intends to engage stakeholders earlier, improve logistics, and align infrastructure, security, and cultural programming. According to Musawa, the long-term objective is to transform Detty December into a nationally distributed cultural and economic asset, rather than a Lagos-centric phenomenon.

Six Times Wizkid Drew Directly From Fela Kuti

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Six Times Wizkid Drew Directly From Fela Kuti

In recent weeks, a familiar cultural argument resurfaced after Wizkid publicly described himself as greater than Fela Kuti. The remark followed criticism from Seun Kuti, who had earlier challenged what he viewed as disrespectful comparisons made by Wizkid’s fans. The exchange reignited long-running debates around influence, legacy, and authorship in Nigerian music.

What is often overlooked in these debates is how deeply Wizkid’s music draws from Fela’s Afrobeat foundation. Across multiple projects, Wizkid has sampled, interpolated, or structurally referenced Fela’s work, not as imitation, but as adaptation. Below are six notable examples where that lineage is most evident.

First, Jaiye Jaiye. Built on a slowed Afrobeat groove, the track prominently borrows melodic and rhythmic elements from Lady. The horn patterns and call-and-response structure echo Fela’s original composition, reworked for a contemporary audience.

Second, Mood. This record draws from the spiritual calm and melodic phrasing of Water No Get Enemy. While subtler than a direct sample, the harmonic flow and pacing clearly trace back to Fela’s composition.

Third, Ginger. The track leans heavily on Afrobeat percussion and horn arrangements reminiscent of Fela’s late-1970s catalog, particularly the rhythmic style popularised in songs like Zombie. The influence is structural rather than lyrical.

Fourth, Anoti. This song channels the upbeat cadence and melodic bounce associated with Fela’s Shakara era. The groove-driven arrangement reflects classic Afrobeat dance-floor construction.

Fifth, Caro. While positioned as a pop record, its rhythmic backbone and horn phrasing show clear Afrobeat ancestry, drawing from Fela’s approach to layering rhythm, brass, and vocal repetition.

Sixth, Ojuelegba. Though not a direct sample, the song’s extended structure, reflective tone, and reliance on groove over hooks mirror Fela’s storytelling style, adapted to a minimalist, modern format.

Taken together, these examples underline an uncomfortable irony in the recent debate. Wizkid’s global success sits firmly on a musical architecture Fela pioneered. Sampling and reinterpretation are not acts of theft, but acknowledgements of lineage. However, they make clear that influence flows in one direction.

The question, then, is not whether Wizkid is successful. That is settled. The real issue is whether contemporary acclaim should be mistaken for foundational impact. Fela did not merely make songs. He created a language. Much of Nigerian pop music, including Wizkid’s catalogue, continues to speak it.

EbonyLife Returns With a High-Stakes Alliance for the Big Screen

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Mo Abudu’s EbonyLife is staging a deliberate return to the centre of Nigeria’s film conversation. This time, the company is assembling a heavyweight production and distribution alliance to adapt the acclaimed novel The Secret Lives of Baba Segi’s Wives into a feature film.

The project brings together EbonyLife and leading cinema and exhibition brands, including Genesis, Nile, and Silverbird. The collaboration immediately recalls an earlier moment in the industry when a similar strategic partnership disrupted expectations and reset box office benchmarks. At the time, the move was widely described as a turning point, proving that coordinated production, marketing, and exhibition could unlock unprecedented commercial results.

The context today, however, is markedly different. Nollywood has evolved into a billion-naira box office ecosystem. Audience habits have shifted, ticket prices have risen, and competition for attention is more intense. Success is no longer measured by breaking records alone, but by the ability to stand out in a crowded, high-performing market.

Against this backdrop, the renewed alliance raises a central question. Can this group replicate the impact of their earlier success, not just by matching past numbers, but by pushing Nigerian cinema into a new tier of scale and cultural reach? The choice of material suggests ambition. The Secret Lives of Baba Segi’s Wives is a widely read, culturally resonant work, rich in character, social commentary, and emotional complexity. Translating it effectively to the screen will require both creative precision and production discipline.

For EbonyLife, the project signals confidence in collaborative power and institutional strength rather than solo execution. It reflects a belief that the next phase of Nollywood growth will be driven by structured partnerships, recognisable intellectual property, and distribution muscle working in alignment.

As anticipation builds, attention is already shifting to 2026. Industry observers are watching closely to see whether this carefully assembled team can deliver a film that dominates conversation, captures audiences, and sets a new benchmark for commercial and cultural impact. If successful, it will not only mark a strong return for EbonyLife, but also reaffirm the value of strategic alliances in shaping the future of Nigerian cinema.

Red Circle Arrives on Streaming After a Landmark Box Office Run

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Audiences who missed the theatrical intensity of Red Circle during its historic cinema run now have a clear date to look forward to. Following a successful run across Nigerian and United Kingdom cinemas, the film is set to make its exclusive streaming debut on Kava on Thursday, January 29.

Produced by Rixel Studios, Red Circle marked a defining moment in contemporary Nollywood. The film not only dominated conversations during its theatrical release, it also cemented Nora Awolowo as the youngest filmmaker to cross the ₦100 million box office milestone in the industry. That achievement placed the project firmly within Nollywood’s growing era of commercially ambitious, technically polished cinema.

At its core, Red Circle is a high-stakes investigative thriller anchored in character and consequence. The story follows Fikayo Holloway, a journalist raised within Lagos’ elite social circles, whose professional curiosity draws her into the violent underworld of a ruthless crime syndicate. What begins as an attempt to expose corruption soon becomes personal, as the scale of the atrocities forces her to confront truths that threaten both her safety and her identity. The film explores power, justice, and moral compromise, peeling back the layers behind wealth, influence, and public respectability.

The narrative is matched by a formidable ensemble cast drawn from different generations of Nollywood talent. Veteran actors Bukky Wright and Femi Branch bring depth and authority to the story, while performances from Ibrahim Suleiman, Omowunmi Dada, Tobi Bakre, Lateef Adedimeji, Folu Storms, and Timini Egbuson deliver intensity and emotional range. Together, the cast reinforces the film’s tension and credibility, carrying the audience through its layered plot.

With its move to streaming, Red Circle enters a new phase of its lifecycle. The exclusive release on Kava opens the film to a wider audience and extends its cultural footprint beyond cinemas. As Nollywood continues to balance theatrical ambition with digital reach, Red Circle stands as a clear example of a film that succeeded in both arenas, first as a box office force and now as a major streaming event.

Nigeria Commissions Its First Floating Solar Power Project at UNILAG

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Nigeria has taken a notable step in its energy transition with the launch of its first floating solar power project, a 7-megawatt facility awarded to China Civil Engineering Construction Corporation. The project represents a shift toward alternative energy solutions that combine innovation with infrastructure efficiency.

The floating solar installation is designed to supply clean and reliable electricity to the University of Lagos. Once fully operational, it is expected to significantly reduce the institution’s dependence on diesel-powered generators and the national grid, both of which have become increasingly expensive and unreliable. For a university of UNILAG’s scale, consistent power supply is critical to academic activities, research facilities, and campus operations.

Floating solar technology deploys photovoltaic panels on water bodies rather than land. This approach offers multiple advantages. It preserves valuable land for other uses, reduces evaporation on water surfaces, and improves panel efficiency due to the natural cooling effect of water. These benefits make floating solar particularly attractive in densely populated or land-constrained environments.

The project comes at a time when UNILAG’s energy costs have risen sharply, driven by fuel price volatility and broader pressures on the national power system. By transitioning part of its energy needs to solar power, the university is positioned to cut long-term operating expenses while improving electricity stability. The shift also aligns with sustainability goals and reduces the institution’s carbon footprint.

Beyond its immediate impact on UNILAG, the project carries wider significance for Nigeria’s energy sector. It serves as a pilot for floating solar adoption and demonstrates how public institutions can integrate renewable energy into large-scale operations. If successful, the model could be replicated across other universities, industrial facilities, and public infrastructure located near suitable water bodies.

The commissioning of this 7-megawatt floating solar facility signals a practical move toward diversifying Nigeria’s energy mix. It reflects growing recognition that reliable power, cost control, and environmental responsibility must advance together, particularly for institutions that sit at the centre of national development.

Nollywood’s Box Office Visionaries: The Top 10 Film Directors of 2025

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Nollywood’s commercial landscape in 2025 was shaped decisively by directors whose creative vision translated into strong audience turnout and sustained box office performance. According to data from the Nigeria Box Office Year Book compiled by FilmOne Entertainment, the following directors emerged as the industry’s top performers based on theatrical releases that each grossed over ₦120 million as of December 31, 2025.

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Jointly occupying the top position are Funke Akindele and Tunde Olaoye, whose collaboration on Behind The Scenes delivered an extraordinary ₦1.32 billion in box office revenue. The film’s success underscored the power of mainstream storytelling backed by disciplined production and mass appeal, cementing both directors’ status at the summit of Nollywood’s commercial hierarchy.

In second place is Adebayo Tijani, who recorded a combined ₦1.59 billion from a slate that included Ori: Rebirth, Iyálode, Abanise: The Ancestor, Warlord: Olori Ogun, and Her Excellency. His output in 2025 reflected both scale and consistency, with culturally rooted narratives that resonated strongly with cinema audiences.

Third on the list is Tope Adebayo, whose work across Ori: Rebirth, Abanise: The Ancestor, Warlord: Olori Ogun, and Her Excellency generated ₦852 million. His placement highlights the commercial strength of directors capable of sustaining audience interest across multiple titles within a single year.

At number four, Yemi Morafa, popularly known as Film Boy, earned ₦522 million with Gingerrr. The film’s performance reinforced his growing influence among younger cinema audiences and his command of contemporary visual storytelling.

Fifth position belongs to Toyin Abraham Ajeyemi, whose directorial effort on Oversabi Aunty closed the year with ₦480 million. Her success further demonstrated her ability to move seamlessly between acting and directing while maintaining strong commercial appeal.

In sixth place is Kayode Kasum, whose work on Reel Love and Serpent Gift delivered ₦422 million. Known for polished storytelling and audience-friendly narratives, his films continued to perform reliably at the box office.

Seventh on the ranking is Muyiwa Ademola, whose culturally grounded epic Ori: The Rebirth generated ₦419 million. His inclusion reflects the enduring strength of tradition-based storytelling when paired with modern cinematic execution.

At number eight, Biodun Stephen recorded ₦341 million from Labake Olododo and Asoebi Diaries. Her work stood out for its emotional clarity and strong connection with urban audiences.

Ninth place is held by Adeoluwa Owu, whose films Owambe Thieves and The Benefactor earned a combined ₦248 million, reflecting steady commercial performance within ensemble-driven storytelling.

Rounding out the top ten is Daniel Etim, whose film The Herd closed the year with ₦193 million, securing his position among Nollywood’s most commercially impactful directors of 2025.

Collectively, these directors defined Nollywood’s box office momentum in 2025. Their success points to an industry increasingly driven by measurable performance, audience trust, and directors who can consistently convert creative vision into commercial results.

Nollywood’s Visual Architects: Top 10 Cinematographers of 2025 by Box Office Performance

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Cinematography played a defining role in Nollywood’s commercial and creative success in 2025, with visual storytelling emerging as a key driver of audience engagement and box office performance. Data from the Nigeria Box Office Year Book, compiled by FilmOne Entertainment, highlights the cinematographers whose work shaped the year’s highest-grossing theatrical releases, with each qualifying film earning over ₦120 million as of December 31, 2025.

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Leading the ranking is Peter Moloto, whose work on Behind The Scenes delivered an exceptional ₦1.32 billion in box office revenue. His visual approach combined scale, polish, and emotional clarity, contributing significantly to the film’s historic commercial run and placing him firmly at the top of the 2025 cinematography rankings.

In second position is Idowu Adedapo, widely known as Mr Views. His cinematography across Ori: Rebirth, Iyálode, Abanise: The Ancestor, and Her Excellency generated a combined ₦1.016 billion. The breadth of genres represented in his work underscored his versatility and technical consistency across large-scale productions.

Ranking third is Emmanuel Igbekele, whose visual execution on Gingerrr, The Herd, and The Serpent Gift amassed ₦794 million. His work stood out for its atmospheric control and strong narrative framing, reinforcing the growing importance of mood-driven cinematography in Nollywood storytelling.

At number four, Jonathan Kovel earned ₦539 million through his work on Oversabi Aunty, delivering a visual style that complemented the film’s comedic and cultural themes while maintaining high production value.

Fifth place is held by Sanjo Adegoke, whose combined work on Labake Olododo, Warlord: Olori Ogun, Family Brouhaha, and Out in the Darkness grossed ₦468 million. His year was marked by a steady output across both historical and contemporary narratives.

In sixth position, David Otemolu recorded ₦419 million with Ori: Rebirth, reinforcing his reputation for visually grounded storytelling rooted in cultural authenticity.

Seventh on the list is Muyiwa Oyedele, whose work on Reel Love generated ₦356 million. The film’s clean, modern visual language resonated strongly with cinema audiences, particularly within the romance genre.

At number eight, Barnabas Emordi earned ₦215 million from Asoebi Diaries, Radio Voice, and Colors of Fire, reflecting a year defined by stylistic experimentation and visual texture.

Ninth place is occupied by Samuel Osuolale Jonathan, whose work on Owambe Thieves delivered ₦205 million, further proving the commercial viability of visually dynamic ensemble-driven films.

Rounding out the top ten is Nora Awolowo, whose film Red Circle closed the year with ₦118 million. Her inclusion highlights the continued rise of new voices in Nollywood cinematography and the expanding space for fresh visual perspectives.

Together, these ten cinematographers represent the visual backbone of Nollywood’s 2025 box office success. Their work not only supported commercial outcomes but also elevated the industry’s visual standards, signaling a continued shift toward technically refined, cinema-ready storytelling in Nigerian film.

Nollywood’s Box Office Powerhouses: The Top 10 Producers of 2025 by Revenue

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The Nigerian film industry recorded one of its most commercially defining years in 2025, with box office receipts confirming a new generation of producers who combined audience appeal, strong storytelling, and disciplined production strategy. According to data compiled in the Nigeria Box Office Year Book by FilmOne Entertainment, these producers emerged as the highest-grossing figures of the year based on theatrical releases that each surpassed ₦120 million as of December 31, 2025.

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At the top of the list is Funke Akindele, whose film Behind The Scenes delivered an exceptional ₦1.32 billion in box office revenue. Her continued dominance reflects not only her star power but also her ability to consistently translate mass appeal into record-breaking commercial outcomes.

Sharing the top position is Wendy Uwadaize Imasuen, also credited with Behind The Scenes, which matched the same ₦1.32 billion gross. The joint leadership underscores the scale and collaborative strength behind one of Nollywood’s most successful theatrical releases to date.

Ranking second is Toyin Abraham, whose film Oversabi Aunty Iyálode earned ₦786 million. Her performance at the box office reaffirmed her position as one of Nollywood’s most bankable producers, particularly within the comedy and family entertainment space.

In third place, Bolaji Ogunmola recorded ₦596 million with Gingerrr: Summer Rain, marking a strong commercial outing and highlighting her growing influence behind the camera.

The fourth position features a three-way showing, each recording ₦522 million from the Gingerrr franchise. Wumi Toriola, Kie Kie, and Bisola Aiyeola all contributed to the franchise’s commercial success, demonstrating the viability of ensemble-driven productions in today’s Nollywood market.

At number five, Muyiwa Ademola earned ₦419 million with Ori: Rebirth, reinforcing his longstanding relevance and ability to reconnect with audiences through culturally grounded storytelling.

Tied at sixth position are three producers whose films each grossed ₦356 million. Kayode Kasum and Timini Egbuson both achieved this milestone with Reel Love, while Omolara Ojelabi also matched the figure, highlighting the commercial strength of contemporary romance-driven cinema.

In seventh place, Iyabo Ojo posted ₦264 million from Labake Olododo, a performance that reaffirmed her crossover appeal between traditional Yoruba storytelling and mainstream theatrical audiences.

The eighth position is jointly occupied by Eniola Ajao and Barbara Babarinsa, both of whom recorded ₦205 million with Owambe Thieves, a film that resonated strongly with urban cinema-goers.

At number nine, Feyifunmi Oginni earned ₦193 million with The Herd, while rounding out the top ten is Ibrahim Yekini, whose historical epic Abanise: The Ancestor closed the year with ₦164 million.

Together, these figures reflect a Nollywood industry that is increasingly data-driven, commercially ambitious, and capable of producing films that compete at scale. The 2025 rankings not only celebrate individual success but also signal a broader shift toward structured production, franchise thinking, and measurable box office impact in Nigerian cinema.

Ondo Palace Warns Against Casual Address of 22-Year-Old Monarch, Insists on Full Royal Protocol

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Ondo Palace Warns Against Casual Address of 22-Year-Old Monarch, Insists on Full Royal Protocol

Arujale-Ojime of Okeluse Kingdom

The palace of the Arujale-Ojime of Okeluse Kingdom has issued a firm warning to the public over what it described as increasing incidents of disrespectful forms of address directed at the reigning monarch, Oba Oloyede Adekoya Akinghare II.

In an official statement released on Friday, the palace, through the king’s Chief of Staff, Prince Adefemi Olorunfemi, made it clear that the monarch must be addressed strictly by his full royal title, “His Royal Majesty.” The statement stressed that informal or casual terms will no longer be tolerated under any circumstance.

According to the palace, some members of the public have taken to addressing the 22-year-old monarch with slang expressions such as “bro” or “blood,” often under the guise of familiarity. The palace described such conduct as inappropriate and deeply disrespectful, noting that the age of the monarch does not diminish the dignity, authority, or sacredness of the throne he occupies.

The statement further warned that any attempt to undermine the authority of the king or trivialise the institution of the monarchy would be met with decisive measures. It emphasised that traditional rulership is rooted in centuries of cultural values and should not be treated casually in modern interactions.

The palace also issued a broader appeal, particularly to the Yoruba community, to uphold respect for culture, tradition, and constituted authority. It reminded the public that reverence for traditional institutions remains a cornerstone of Yoruba heritage and social order.

The warning underscores the palace’s resolve to protect the integrity of the throne of Okeluse Kingdom and ensure that the monarch is accorded the respect due to his office, regardless of age or personal familiarity.

Babajide Sanwo-Olu Approves Recruitment of 150 Additional Firefighters to Strengthen Lagos Emergency Response

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The Lagos State Government has approved the recruitment of an additional 150 able-bodied men and women into the Lagos State Fire and Rescue Service, reinforcing its commitment to public safety and rapid emergency response across the state.

The approval by Governor Babajide Sanwo-Olu was disclosed by the agency’s Controller-General, Margaret Adeseye, during the flag-off of the LSFRS Squad 23 training exercise in Ikeja.

Adeseye stated that the latest recruitment reflects the administration’s sustained focus on building a resilient, well-trained, and properly equipped fire and rescue service capable of meeting the growing safety demands of a rapidly expanding мегacity. She noted that the decision aligns with a consistent pattern of strategic investments in emergency services under the current government.

She recalled that in 2020, on the eve of the COVID-19 pandemic, the Sanwo-Olu administration recruited 100 firefighters to strengthen frontline response capacity. This was followed in 2022 by the largest single recruitment in the history of the service, when 435 firefighters were enlisted. Their Passing Out Parade formed a central part of the Fire Service’s Golden Jubilee celebrations in October 2022.

That milestone year also saw major infrastructure upgrades, including the commissioning of 62 fire apparatuses, the opening of new fire stations in Ajegunle, Ebute Elefun, and Oba Oniru–Lekki, and the unveiling of a purpose-built ultra-modern headquarters at Alausa, Ikeja.

According to Adeseye, the newly recruited 150 firefighters, who were employed in November 2025, have since commenced intensive training at the upgraded LSFRS Fire Academy. They are undergoing the Professional Basic Firefighting Competency and Short Service Course, a programme designed to produce disciplined, highly skilled, and operationally efficient emergency responders in line with global best practices.

She concluded by reaffirming the Lagos State Government’s resolve to continue investing in human capacity development, modern infrastructure, and operational equipment, with the overarching goal of safeguarding lives, property, and the environment across Lagos State.