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Standout Actor 2026: Toluwani George Is Becoming Difficult to Ignore

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Ranks Africa recognises Toluwani George as a Standout Actor of 2026, celebrating a year in which her performances, growing range and consistency have moved her beyond simply being a familiar face into an actress increasingly capable of commanding attention across different stories.

For many viewers, Wura was the introduction. As Eve Adeleke, Toluwani found herself inside one of Nigerian television’s most recognisable dramas, steadily building familiarity with audiences through the demands of long-form storytelling.

But 2026 has given us something more important than familiarity.

It has given us a clearer picture of the actress Toluwani George is becoming.

Her year has not depended on one loud moment or a carefully manufactured narrative. It has been built through work — different productions, different characters and opportunities that have gradually revealed more of the performer behind the face audiences first came to know.

From Love & New Notes to Aba Blues, Extra Love and other projects, Toluwani has continued to stretch beyond the world that first brought her wider attention. Each role has added another layer to her screen identity and, importantly, made it increasingly difficult to define her by one successful character.

Then came Bride Switch.

Playing one convincing character is the job. Playing two women who share the same face but must feel like completely different people is a test.

As the twin sisters at the centre of the story, Toluwani had to create separation through temperament, physicality, emotional rhythm and the small details that allow an audience to recognise who they are watching without constantly needing the script to explain it.

She delivered.

And while the film attracted a strong audience response, the bigger victory for Toluwani was what the assignment allowed her to demonstrate: range.

That matters.

Range changes the conversation around an actor. It changes what filmmakers believe they can trust you with, what casting directors can imagine you doing and what audiences begin to expect when they see your name attached to another project.

For Toluwani, Bride Switch therefore feels like more than another credit on a growing résumé. It feels like another piece of evidence that the actress audiences met in Wura is becoming capable of considerably more.

The Quiet Work Is Starting to Speak

There is something refreshing about Toluwani’s progression because it does not feel manufactured.

She did not arrive surrounded by declarations that Nollywood had discovered its next superstar. Her career has taken shape through the work itself — getting opportunities, learning, returning and gradually being trusted with assignments that demand more from her.

That kind of development can sometimes be overlooked in an industry naturally attracted to big announcements and instant moments.

But careers are rarely built on announcements.

They are built when an actor keeps giving filmmakers reasons to call again.

And Toluwani is increasingly giving them reasons.

What stands out about her 2026 run is not simply visibility. Visibility is everywhere now. Development is much harder to fake.

You can see an actress becoming increasingly comfortable with responsibility. You can see the distance between the performer audiences first encountered and the one now being trusted with more demanding material. And you can see someone beginning to understand that standing out does not always require doing the most — sometimes it is about understanding exactly what the character needs and delivering it.

From Familiar Face to Standout Actor

There is often a rush to describe every promising performer as “the next big thing.”

Toluwani George does not need that label.

What she has accomplished this year is more tangible.

She stood out.

She took the visibility that came with Wura and began converting it into a broader body of work. She moved between projects without allowing one character to permanently define her. And when presented with an opportunity to demonstrate greater range, she made it count.

That is precisely what the Ranks Africa Standout Actor 2026 recognition is intended to celebrate: performers whose work during the year gave audiences a compelling reason to pay closer attention.

It does not suggest that the journey is complete.

Quite the opposite.

It recognises momentum while it is happening.

And there is unmistakable momentum around Toluwani George.

There is a difference between an audience recognising your face and an audience becoming genuinely interested in what you are going to do next.

Toluwani is crossing that line.

From Eve Adeleke in Wura to a growing collection of characters and the double responsibility of Bride Switch, the progression is becoming increasingly visible.

Give Toluwani George Her Flowers

There will be bigger roles ahead. There will be characters that demand even more from her, and there will be projects that determine how far this momentum can travel.

But recognition should not always wait until somebody has accumulated decades of work.

Sometimes you give people their flowers while you can still see them growing.

For her progression, versatility and increasingly confident screen presence, Ranks Africa recognises Toluwani George as a Standout Actor of 2026.

She worked. She stretched herself. She showed range. And perhaps most importantly, she changed the question surrounding her career.

It is becoming less about “Who is Toluwani George?”

And increasingly:

“What is Toluwani George doing next?”

That is what standing out looks like.

And when we eventually look back at her journey, 2026 may very well be remembered as Toluwani George’s breakthrough year.

NTDA DG Dr. Ola Awakan Calls on Nigerian Youths to Turn Passion into Enterprise at PROVIDA Independence Fiesta

As Nigeria marks its 66th Independence anniversary, Director-General of the Nigerian Tourism Development Authority (NTDA), Dr. Ola Awakan, has called on young Nigerians to embrace their national identity, develop their talents and transform their skills into enterprises capable of projecting Nigeria’s culture and creativity to the world.May be an image of text

Dr. Awakan made the call while delivering the keynote address at the Prosperity in Diversity (PROVIDA) Independence Day Fiesta held at the Landmark Event Centre in Lagos. Themed “A Taste of Naija: Celebrating Food and Culture,” the event brought together stakeholders and participants to celebrate Nigeria’s cultural diversity, cuisine, creativity and entrepreneurial potential.May be an image of text

Speaking to the young entrepreneurs and creatives at the gathering, the NTDA Director-General encouraged Nigerian youths to speak positively about the country while actively contributing to its development through their talents, businesses and creative pursuits.May be an image of text

He emphasised the importance of turning skills and passion into viable businesses that can communicate the uniqueness of Nigeria to international audiences.

A key part of his address was the concept of “Passionsistency,” a term coined by Dr. Awakan to describe the combination of passion and consistency required to build sustainable ventures.May be a black-and-white image of text

According to him, passion can provide the drive to begin a venture, but consistency is essential to sustaining it, developing its value and achieving long-term growth.

The DG urged young entrepreneurs to remain committed to their respective fields while continually improving their skills and creating products and experiences that reflect Nigeria’s rich cultural identity.May be an image of one or more people and text

The PROVIDA Independence Day Fiesta also provided a platform for the celebration of Nigerian food, heritage and cultural expression, reinforcing the role of tourism and the creative economy in promoting national identity and creating opportunities for young Nigerians.May be an image of text

Dr. Awakan’s participation underscores the NTDA’s broader mandate of promoting Nigeria as a destination while encouraging citizens, particularly young people, to recognise the economic possibilities within the country’s diverse tourism and cultural assets.May be an image of one or more people, dais and text

The event was held as part of activities marking Nigeria’s 66th Independence anniversary.

 

Bimbo Ademoye and Timini Egbuson Just Pulled 8 Million+ Views in One Day With “My 30th Wedding”

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Just When You Think You’ve Seen Enough of Bimbo Ademoye and Timini Egbuson, They Give You Another Reason to Watch

There are numbers you celebrate, and there are numbers that force you to pay attention. My 30th Wedding belongs firmly in the second category.

Bimbo Ademoye’s latest production, starring Bimbo Ademoye and Timini Egbuson, crossed 8 million views on YouTube within its first day of release. The film had already raced to its first million in under four hours, and the momentum simply refused to slow down. But this is bigger than a screenshot of a YouTube counter. It is another reminder of what happens when strong storytelling meets performers audiences have learned to trust.

And perhaps this is the right moment to say it plainly: give Bimbo Ademoye her flowers.

What we are watching is the result of years spent building something every filmmaker wants but cannot manufacture overnight — audience trust. Bimbo has built a relationship with viewers that goes beyond individual characters or projects. People know her work, anticipate it, talk about it and increasingly show up in huge numbers when she puts her own name behind a story.

Yet there is another interesting part of this particular success: Bimbo Ademoye and Timini Egbuson have become two of the most visible actors of their generation, and somehow familiarity has not made them less interesting.

We have seen them before. Audiences know their faces, understand their individual strengths and are familiar with the screen energy they bring. Ordinarily, that level of exposure should make the next performance harder. The more audiences see an actor, the greater the challenge of making them forget the previous character and believe the next one.

And then My 30th Wedding happens.

Bimbo plays Elamosi, an event planner approaching her 30th birthday, while Timini plays Lekan Wellington, the client who disrupts the carefully ordered life around her. Through their relationship, the film moves through love, class, personal fears and the pressures surrounding marriage and age, but what makes the pairing work again is not simply that Bimbo and Timini look good together on screen. It is that they understand how to play off each other without turning the performance into a contest.

This Is What Being a Thespian Looks Like

There is a temptation in entertainment to turn everything into competition: who is bigger, who has more views, who had the better year, who carried the film, who is number one. But Bimbo and Timini are making a more interesting argument with their work.

They are not competing with each other. They are telling stories.

Every time they return to the screen, the assignment is the same: make us believe again. That sounds simple until you consider how difficult it is for two highly recognisable performers to repeatedly step into new characters without the weight of their celebrity overwhelming the story.

Timini understands the leading-man space he occupies, but what continues to make him effective is not simply charm or screen presence. He knows how to adjust that presence to the character, the story and, importantly, the performer opposite him. He doesn’t need every scene to announce that Timini Egbuson has arrived. When the material requires softness, restraint or vulnerability, he is increasingly comfortable allowing those qualities to do the work.

Bimbo, meanwhile, is operating on an even broader canvas. She is no longer simply waiting for somebody else’s production to hand her a great character. Through Bimbo Ademoye TV, she is increasingly involved in the complete journey of her stories — from writing and producing to performing, promoting and ultimately taking the finished work directly to an audience she has spent years building.

That distinction matters because My 30th Wedding is not simply another Bimbo Ademoye performance. She wrote it. She produced it. She stars in it. When millions of people turn up within hours, the achievement therefore belongs to a much bigger chapter in her evolution as a creative.

Eight Million Views Tell Us Something

The numbers surrounding My 30th Wedding should not simply become another social-media victory lap. Eight million-plus views in one day is an extraordinary opening, but the more interesting question is what made that kind of response possible.

Part of the answer is undoubtedly marketing. Before audiences fully understood what was coming, photographs of Bimbo and Timini dressed as bride and groom triggered speculation that the pair might actually be getting married. The reveal was My 30th Wedding. What initially looked like celebrity gossip became a smart promotional conversation around a film.

It was playful, culturally aware and perfectly suited to the way entertainment travels across social media today.

But good marketing can create curiosity; it cannot carry a feature-length film by itself. It can generate the first click, but the work still has to give audiences something worth watching, discussing and recommending.

That is why the response matters.

Millions of views do not automatically make a film great, just as critical acclaim does not automatically produce commercial success. But when audiences repeatedly arrive for someone’s work at this kind of speed, it becomes difficult to ignore the relationship being built between creator and viewer.

Bimbo understands that relationship increasingly well. She understands anticipation, presentation and promotion, but she also understands that once people press play, the story has to take over.

Perhaps We Haven’t Had Enough After All

That may ultimately be the biggest compliment we can give Bimbo Ademoye and Timini Egbuson.

You can be visible without remaining interesting. You can be popular without convincing audiences to follow you from character to character. You can have great chemistry once without necessarily being able to recreate something compelling the next time.

Yet these two keep finding reasons for audiences to come back.

Not because they are trying to prove who is bigger. Not because every project needs to become a contest between two stars. At their best, they understand the fundamental assignment of acting: tell the story, become the character and make the audience feel something.

And for Bimbo, there is another layer deserving of recognition. She is increasingly becoming more than one of the actresses audiences love to watch. She is becoming a storyteller who understands how to create, package, promote and deliver her own work directly to the people who want it.

That is a powerful position for any actor-producer to build.

So yes, 8 million-plus views in one day deserves celebration. In a year crowded with Nigerian movies, music, comedy and an endless stream of digital entertainment competing for the same attention, getting millions of people to show up that quickly is no small achievement.

But don’t allow the size of the number to obscure the people behind it.

Give Bimbo Ademoye her flowers. Give Timini Egbuson his flowers too. And give the cast and crew who helped bring the film to life theirs.

Because just when you think you have seen enough of Bimbo and Timini, they find another story, another character and another reason to make you watch.

My 30th Wedding is another reminder.

The audience clearly hasn’t had enough of them. And judging by the work, neither have they had enough of telling us stories.

Bolu Ogunyemi Makes History as First Black Physician to Lead Canadian Medical Association

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Nigerian-born dermatologist Dr. Bolu Ogunyemi has become the first Black physician to serve as president of the Canadian Medical Association, 159 years after the organisation was founded.

Ogunyemi formally took office on May 29, 2026, following the CMA’s Annual General Meeting in Ottawa. At 39, he is also among the youngest physicians to hold the position.

His appointment marks a milestone for Black representation in Canadian medicine and caps a career spanning specialist practice, academic leadership, rural healthcare and national health policy.

FROM NIGERIA TO CANADIAN MEDICAL LEADERSHIP

Ogunyemi moved from Nigeria to Canada at a young age and built his professional career in Newfoundland and Labrador.

He studied sociology and medical sciences at Western University before earning his medical degree from Memorial University of Newfoundland, where he served as president of the Medical Student Society. He later completed his dermatology residency at the University of British Columbia, serving as chief resident.

He returned to Newfoundland and Labrador, where he combined clinical practice with teaching, research, leadership and advocacy. He is now a Clinical Associate Professor of Medicine at Memorial University.

From 2020 to 2023, he served as the university’s inaugural Assistant Dean of Social Accountability, working on health equity, Indigenous health, global health and community engagement.

EXPANDING SPECIALIST CARE IN RURAL CANADA

Since 2018, Ogunyemi has operated a visiting dermatology clinic in Labrador City, providing specialist care to patients in Labrador.

His work addresses the challenges faced by remote communities, where accessing specialist services can require significant travel and expense. He has also used virtual healthcare to extend dermatological services beyond major urban centres.

That experience has shaped his emphasis on making healthcare more accessible to underserved communities.

A HISTORIC FIRST FOR BLACK PHYSICIANS

Founded in 1867, the Canadian Medical Association represents physicians across the country and serves as a national voice on medical and healthcare issues.

For more than 150 years, no Black physician had served as its president. Ogunyemi broke that barrier in 2026.

His path to the presidency began in December 2024, when CMA members from Newfoundland and Labrador selected him as their nominee for president-elect. He became president-elect in 2025 before assuming the presidency the following year.

In the role, he serves as a national spokesperson for Canadian physicians, engaging with governments, policymakers, healthcare organisations, the media and the public.

HEALTH EQUITY AND ACCESS

Ogunyemi’s work has focused heavily on health equity, inclusion and access to care. His background in sociology has informed his interest in the social factors that shape patients’ experiences of healthcare.

He has served on the board of Canadian Doctors for Medicare and participated in federal health policy discussions, including with the Public Health Agency of Canada’s Ethics Consultative Group.

His advocacy has earned the Canadian Medical Association Award for Young Leaders, alumni recognition from Memorial University and Western University, and recognition from the Canadian Senate.

PRIORITIES AS CMA PRESIDENT

Ogunyemi has identified primary care, physician workload, healthcare innovation and community-based medicine as key priorities.

He has called for reducing unnecessary administrative demands on doctors so they can spend more time with patients, while strengthening care within communities rather than relying primarily on hospitals and large urban centres.

He has also highlighted the potential of artificial intelligence and other technologies to improve diagnosis and treatment. However, he has stressed that these tools must work effectively for diverse populations.

That concern is particularly relevant to dermatology, where differences in skin pigmentation can affect diagnosis and the representation of medical conditions in education and technology.

REPRESENTATION AND THE NEXT GENERATION

Ogunyemi’s rise from immigrant beginnings to the leadership of a national medical organisation has made his appointment significant beyond the CMA itself.

He was the first Black student from Newfoundland and Labrador to train at Memorial University and has since held several academic and professional leadership roles.

For young Black physicians and medical students, his presidency offers a visible example of progress in a profession whose senior leadership has not always reflected the diversity of the communities it serves.

A NIGERIAN-BORN PHYSICIAN LEADING A NATIONAL INSTITUTION

Ogunyemi’s story carries particular resonance in Nigeria and across the African diaspora. Born in Nigeria and raised partly in Canada, he has built a career connecting immigrant experience with medicine, public service and institutional leadership.

As president of the Canadian Medical Association for the 2026–27 term, he will represent Canadian physicians during ongoing debates over access to care, physician workload, technology, health equity and the future of the healthcare system.

His appointment has secured his place in Canadian medical history while marking the latest chapter in a journey that began far from Ottawa and led to the leadership of one of the country’s most influential medical organisations.

Odutuyo Oluwaseun: The Chef Who Turned a Lost Job Into a Celebrity Kitchen Owambe Spicey

RANKS AFRICA SPOTLIGHT

From an empty schedule after the airport to the wedding tables of Nigeria’s biggest stars, the founder of Owambe Spicey has built a food brand on trust, creativity and a refusal to quit.

Some businesses begin with a plan. Owambe Spicey began with a free calendar and a lifelong love of cooking.

Odutuyo Oluwaseun, CEO OWAMBE SPICEY

Odutuyo Oluwaseun, a proud son of Ijebu in Ogun State, had lost his job at the airport and had nothing to fill his days. The kitchen had always been the place where he felt most at home, so it became his way forward. What started as a search for income has grown into a catering and culinary brand that serves some of the most watched celebrations in Nigerian entertainment, and one that has already carried its name to Lusaka, Zambia.

Born on July 12, Oluwaseun describes himself simply as a Christian and a lover of good food. That love, joined to hard work, sits at the centre of everything the brand does.

A Beginning Without Guarantees

Oluwaseun never planned for Owambe Spicey to reach its present size. The early days offered little comfort. “It was a tough beginning,” he recalls, “and I was not sure there would be light at the end of the tunnel.” He kept pushing anyway.

The hardest lesson came first. A new business has no reputation to lean on, and people are slow to hand their money to a name they do not know. “You have to put in every effort to make sure they can trust you with every penny,” he says. Building that trust took time, and finding enough funds to grow the business took longer. Both tests shaped the way he runs the brand today.

There were harder seasons still. At one point the business was moving far slower than he hoped, and his worries were heavy. He counts his refusal to give up as his proudest achievement. “When I look at how far my brand has come,” he says, “I say thank you, Lord.”

The Owambe Spicey Difference

Ask him what sets his brand apart and he answers in three words: creativity, taste and presentation. New ideas arrive constantly, in flavours and in the way food reaches the table. “Every now and then, as a brand, we come up with new innovations,” he says. “In fact, we lead and others follow.”

Growth has come mostly through referrals. When a client is delighted, that client tells others, and each well-served event brings the next introduction. “One good turn deserves another,” he says. “When we do a good job, people are happy, and it helps us grow and meet new people.”

A Guest List Worth Noting

The client list reads like a who’s who of Nigerian entertainment and faith. Owambe Spicey has catered at the weddings of Davido and of Priscilla Ojo, and at the wedding of Davido’s manager, Asa. The brand has also served at the birthday celebrations of Baba Ijebu, Pastor Bolaji Idowu, Dunsin Oyekan and the Vintage CEO, along with many other VVIP occasions.

For him, one moment stands above them all. He was called out of the blue to cater an event in Lusaka, Zambia. “I knew this was God,” he says, “and that he was taking my brand somewhere.” Since then he has travelled to other countries for work, and his brand now carries an international reputation.

The Skills Behind the Success

Owambe Spicey’’s story offers a practical lesson for young entrepreneurs. Several habits stand out.

• Resilience. He stayed with the business through slow months and heavy worry, and he treats persistence as his main asset.
• Trust as capital. He handled every naira entrusted to him with care, and that discipline built the good name that now wins him work.
• Innovation. Fresh ideas in taste and presentation keep the brand ahead of its competitors.
• Word of mouth. He grows by satisfying clients, and each event becomes an advertisement for the next.
• Readiness. When the Zambia opportunity arrived, he was prepared to say yes and to deliver.

A Kitchen With a Camera

For Owambe Spicey, the plate is only half the product.Oluwaseun gives equal weight to how the work is seen, and his Instagram page is where that care meets the public. With more than 4,300 posts and over 31,000 followers, the page presents him as a chef and culinary artiste who specialises in fingerfood and grills. It sends clients straight to WhatsApp to book events.

The feed works as a running portfolio. Fingerfood is arranged on branded skewers and picks, so the food carries the brand’s mark to every table. The page organises its highlights with purpose. Collections cover the brand’s platters, its celebrity events, its favourite specialities and a visit to a television station, so a visitor can judge the work in a few taps.

The pinned posts tell the story of the business at a glance. One shows a wedding billed as the biggest of the year. Another captures a well-known guest tackling a turkey to the bone. A third greets Zambia and marks the brand’s arrival abroad. There is humour too, including a reel about guests who sweet-talk vendors so their tables are served first. Anyone who has worked a large event will recognise the joke, and it shows how well Odutuyo understands his trade. The mix of polished plating, star moments and light comedy keeps followers returning and gives new clients proof before they send a single message.

The Table Still to Come

The next item on Odutuyo’s wish list is a restaurant of his own, a proper place where people can sit down and enjoy a taste of the service he has taken to the country’s grandest occasions. After years of feeding other people’s biggest days, he wants a table that is always his.

His advice to anyone with a business idea is short. “Start. There is no perfect timing. Just start and trust in God.”

Owambe Spicey is on Instagram at @owambespicey. Event bookings are handled through WhatsApp.

ANDREW YAW BUNTING: AFRICA’S LEADING MAN OF 2026

From a growing Nollywood presence to starring in one of the year’s biggest theatrical successes, Andrew Yaw Bunting is turning potential into performance, visibility into impact, and opportunity into a career worth watching — a progression that has earned him recognition by Ranks Africa as one of Africa’s Leading Men of 2026, alongside a ★★★★★ 5-Star Performance Rating for his portrayal of Eli in Call of My Life.

There is a moment in an actor’s journey when the conversation changes.

They are no longer simply described as promising. They are no longer introduced as someone audiences should “watch out for.” The performances become stronger, the opportunities become bigger, and the results begin to confirm what the talent had been suggesting all along.

For Andrew Yaw Bunting, 2026 feels like that moment.

His journey this year reflects more than the success of a single role. It is the story of an actor increasingly finding his voice, strengthening his screen identity and demonstrating that he can carry greater expectations. His performance as Eli in Call of My Life became an important part of that progression, earning him a ★★★★★ 5-Star Performance Rating from Ranks Africa for his authenticity, emotional depth, compelling screen presence and remarkable chemistry.

Taken together, his performance, progression, growing visibility and expanding body of work have made 2026 a defining chapter — and earned Andrew Yaw Bunting recognition among Africa’s Leading Men of 2026.

The Ghanaian actor has spent the past few years steadily establishing himself within Nollywood and the wider African screen industry, building a résumé across film and streaming without trying to manufacture overnight stardom. There has been no need for unnecessary noise. Instead, Andrew has allowed each project to add another layer to his development.

And this year, the work is speaking particularly loudly.

Call of My Life and the Arrival of a Leading Man

At the centre of Andrew’s remarkable 2026 run is Call of My Life, the romantic comedy directed by Dammy Twitch, written by Uzoamaka Power, and released in Nigerian cinemas on May 15.

Andrew stars as Eli, the charming stranger whose unexpected connection with Soluchi, played by Uzoamaka Power, becomes central to the story.

On paper, Eli could easily have become the familiar handsome romantic interest audiences have seen countless times before.

Andrew gives him more.

There is an ease to the performance that makes the character immediately watchable. He brings charm without forcing it, confidence without arrogance, and emotion without making every scene feel like a performance designed to attract attention.

Sometimes, his most effective acting happens when he isn’t saying much at all.

He listens. He reacts. He allows a look, a pause or a moment of silence to carry the scene.

That restraint gives Eli something essential for any romantic lead: believability.

Alongside Power, Andrew also creates the kind of chemistry audiences don’t have to be persuaded to accept. It feels natural enough to make viewers genuinely invest in what happens between them.

Uzoamaka Power & Andrew Bunting Deliver Exceptional 5-Star Performances in “Call of My Life”

When Performance Meets Commercial Impact

Then came the numbers.

Call of My Life didn’t simply enjoy a successful opening weekend and disappear.

The film developed into one of Nollywood’s major theatrical stories of 2026, reaching ₦900+ million at the Nigerian box office by August and extending its theatrical journey internationally, including screenings in the United Kingdom.

For Andrew, that success represents more than another impressive statistic attached to his filmography.

He was one of the central faces of the movie.

Audiences weren’t simply buying tickets for a film in which he happened to appear. They were investing in a romantic story that he and his co-star were responsible for making audiences believe.

That’s significant.

Box-office success belongs to an entire filmmaking team, of course. But when a romantic film connects with audiences on that scale, the performances at its centre have done their job.

Andrew did his.

The Journey Didn’t Start Here

What makes Andrew’s 2026 progression particularly interesting is that it doesn’t feel accidental.

Before Call of My Life, he had already been steadily building a body of work within Nollywood and African screen entertainment, appearing in productions including Water and Garri, Princess on a Hill, Dynamite, Love Lockdown, My Body, God’s Temple and Down the Aisle.

Those projects allowed him to work across different characters, production environments and ensembles while gradually sharpening qualities that are becoming increasingly identifiable in his performances.

His presence is understated but noticeable. His performances rarely feel desperate for approval.

And he appears increasingly comfortable allowing the character to occupy the screen instead of constantly reminding audiences that Andrew Yaw Bunting is playing the character.

Finding His Place in African Cinema

Andrew’s journey also says something interesting about the direction of contemporary African cinema.

As a Ghanaian actor building a significant part of his screen career within Nigeria’s film industry, he represents an African entertainment landscape in which creative borders are becoming increasingly fluid.

Andrew hasn’t approached Nollywood merely as an occasional visitor seeking additional visibility. He has steadily accumulated meaningful credits within the industry, working alongside Nigerian actors, filmmakers and production companies while developing his own place within that ecosystem.

His performances have placed him alongside established Nigerian stars and veterans, while his growing leading-man credentials position him among a generation of African actors capable of carrying increasingly ambitious stories across borders.

More Than a Handsome Face

There is an obvious temptation with actors who possess natural charm and screen presence to immediately package them as romantic leads and stop there. Andrew’s potential feels broader.

What makes his progression interesting isn’t simply that he can convincingly play the man audiences are supposed to fall for. It is the emotional restraint underneath that charm.

There is room for vulnerability. There is patience in his delivery. There is an ability to exist inside quieter scenes without disappearing from them.

Those qualities suggest there is considerably more to explore.

One of Africa’s Leading Actors Making an Impact in 2026

At Ranks Africa, recognising an actor’s impact is not simply about counting projects, followers or social-media conversations. It is about looking at the work, the progression, the opportunities earned and, ultimately, what an actor has contributed to African screen culture during the year.

For Andrew Yaw Bunting, 2026 is increasingly looking like the year potential began turning into proof.

His performance as Eli in Call of My Life placed him at the centre of one of the year’s major Nollywood theatrical successes and gave audiences a clearer picture of what he could become as a leading man. But perhaps just as importantly, Andrew hasn’t allowed that success to become the end of his 2026 story.

There is already another significant test ahead.

RANKS 5-STAR PERFORMANCE DIGITAL RECOGNITION PLAQUE

Andrew joins the ensemble of the highly anticipated Black Market, where he takes on the role of Leather, appearing alongside Linda Ejiofor-Suleiman, Omowunmi Dada, Lateef Adedimeji, Itele D Icon, Teniola Aladese, Susan Pwajok, Kanaga Eme Jnr, Uzor Arukwe, Tomiwa Tegbe and others. The film is scheduled for September 26, 2026, with its ambitious Lagos premiere tied to an attempt to gather 50,000 people for a single film screening.

RANKS 5-STAR PERFORMANCE PHYSICAL RECOGNITION PLAQUE

For his performance, progression, audience connection, growing range and contribution to African screen entertainment in 2026, Ranks Africa recognises Andrew Yaw Bunting as one of Africa’s leading actors making an impact in 2026.

Earlier this year, Ranks Africa officially recognised Andrew Yaw Bunting with a ★★★★★ 5-Star Performance rating for his portrayal of Eli in Call of My Life. His authenticity, emotional range, screen presence and chemistry with Uzoamaka Power made him one of the film’s standout performers — a recognition that now forms part of a much bigger 2026 story for the Ghanaian actor.

Uzoamaka Power & Andrew Bunting Deliver Exceptional 5-Star Performances in “Call of My Life”

Uzoamaka Power & Andrew Bunting Deliver Exceptional 5-Star Performances in “Call of My Life”

Call of My Life Ranked 5-Star Must-Watch Movie in Cinemas by Ranks Africa

Andrew Garfield Reveals How Fela Kuti Influenced His Spider-Man Performance

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Hollywood actor Andrew Garfield has revealed that the music and revolutionary spirit of Nigerian Afrobeat pioneer Fela Anikulapo-Kuti influenced the way he approached his portrayal of Spider-Man.

Garfield, who played Peter Parker in The Amazing Spider-Man (2012) and The Amazing Spider-Man 2 (2014), said Fela’s sound and rhythm became part of his preparation for the role, helping him explore the physicality, confidence and energy required to inhabit the superhero character.

Speaking during an appearance on Track Star, Garfield explained that he creates a music playlist for every character he plays. When he was cast as Spider-Man, Fela Kuti quickly became part of that process.

“I started listening to Fela Kuti when I first got Spider-Man, and there was something about the sound and the rhythm that was really useful to me for that character,” Garfield said.

The actor said Fela’s music also helped him connect with Spider-Man’s physical presence and his pursuit of justice, drawing a connection between the musician’s revolutionary persona and the moral dimension of the superhero.

“There was something about suddenly being in touch with the body, but also justice-seeking, because obviously he was a revolutionary figure,” he explained.

Garfield went further, revealing that Fela’s influence could be felt in the way he physically moved while wearing the Spider-Man suit.

“And the way that I moved in that film, in the suit, has some inspiration from Fela and his music,” he said.

The revelation builds on comments Garfield made during the promotion of The Amazing Spider-Man in 2012, when he also mentioned listening to Fela Kuti while preparing for the role and developing the confidence, agility and physical freedom he wanted to bring to Spider-Man.

Fela’s influence resurfaced in Garfield’s September 2026 Track Star music session, where “Water No Get Enemy,” the 1975 classic from the album Expensive Shit, featured among the songs discussed during the programme.

More than two decades after Fela Kuti’s death, the revelation offers another glimpse into the enduring reach of his music. His Afrobeat rhythms, distinctive physicality and revolutionary spirit continue to find audiences and creative applications far beyond the Nigerian music scene.

For Garfield, Fela was not simply music for a playlist. His sound became part of the actor’s process of understanding the body, energy and sense of purpose behind one of Hollywood’s most recognisable superheroes.

Jane Njimogu: How Learning To Understand Her Own Hair Led To The Birth Of Zingiber Hair Care

The Patch That Started a Brand

Jane Njimogu, Founder and CEO of Zingiber Hair Care, on learning to understand her own hair and teaching others to do the same.

Zingiber Hair Care began with a small bald patch at the crown of Jane Njimogu’s scalp.

Jane was not thinking about a business when she first noticed it. She wanted to know what was happening to her hair and whether anything could be done. That question took her through months of reading, a good deal of trial and error, and eventually into the beginnings of a company.

A Girl with Hair Worth Fussing Over

Jane comes from Abia State and grew up mostly in Lagos. She is the youngest of four children and the only girl, with three older brothers.

Her mother looked after her hair with real care. Jane remembers it as full and healthy, combed and plaited on a regular schedule and handled properly.

That changed when she was old enough to manage her hair on her own. Like many young girls, she copied the routines she saw around her. Over time her hair grew weaker and harder to manage.

Salon visits did little to help. Her hair was often called hard, stubborn or difficult. She sat through painful blow drying sessions, and the pulling and rough handling made having her hair done something to get through rather than enjoy.

When people keep telling you that your hair is stubborn, you can come to believe the fault lies with the hair. Jane believed it too.

The Turning Point

The bald patch appeared around the crown of her head. It was small at first and became more noticeable with time.

Some of the people around her doubted the hair would return. Jane did not have every answer, but she was unwilling to accept that nothing could be done. She wanted to understand the cause.

Then came the 2020 lockdown, and with it, time. Jane spent it reading. She studied hair care, ingredients, scalp health, breakage, moisture retention and the common reasons people lose hair. She also began to look closely at how she treated her own hair day to day.

She tried different routines and formulations, and she later took several hair care trainings to build on what she had taught herself. One product came out of this period, a hair oil.

As her routine became more deliberate, the condition of her hair began to change. She let a few friends try what she had made, and their feedback gave her the confidence to take the idea further. Before the end of 2020, Zingiber Hair Care was a business.

Learning Her Hair Again

The results on her scalp were only part of what Jane gained. The work also changed the way she thought about her hair.

For years she had accepted that her hair was simply difficult. The more she learned, the clearer it became that nobody had ever shown her what her hair needed. Moisture, porosity, the choice of product and gentler handling all turned out to matter. Once she understood them, she approached her hair differently and stopped treating it as something to fight.

Hair care grew easier. She also grew more confident in looking after her own hair, and that confidence still sits at the centre of the brand. For Jane, selling a product is only half the job. She wants customers to understand their hair as well.

What Zingiber Offers Today

The range is small and focused. It includes the Hair Growth Oil, which grew out of Jane’s early experiments, and the Moisture Lock Butter.

Jane does not want a customer to buy a jar and leave with no idea how to use it. For that reason every order comes with a complimentary guide. The guide helps customers understand their hair and explains how to use the products.

She pays close attention to ingredients and to what customers tell her. In her view, people should know what a product is meant for, how to use it and when it may not suit them. When customers give feedback, she listens, because it shows her what they are experiencing and where the products can improve.

Rooted in Ginger

The name comes from Zingiber officinale, the botanical name for ginger.

Jane also reads a second meaning into it. There is the root of the hair, and there is the idea of staying connected to where you come from. Zingiber Hair Care was created mainly with African hair in mind. It speaks to men and women of African descent, and it holds that no single way of wearing African hair is correct. A person may keep their hair natural, relaxed, straightened, braided or styled in some other way. What matters to Jane is that they know how to care for it and feel confident doing so.

A Different Academic Background

Jane did not study hair or beauty. She holds a diploma in Local Government Studies from Obafemi Awolowo University and a BSc in International Relations from ISCOM University in the Benin Republic.

The subjects differ from her trade, yet much of her daily work is about people. She spends her time listening to customers, answering their questions, teaching them and building a community around the brand.

What Success Means to Her

When Jane explains what she wants Zingiber to stand for, she names education, careful product development, honest communication and proper customer care.

The things that please her most are simpler. A customer returns to buy again. Someone leaves a good review. A message arrives saying that hair feels softer or easier to manage. Someone says they finally understand their hair.

These small moments carry weight because Zingiber began in a personal place, with one woman trying to understand her own hair. Even as the business grows, each customer who has a better experience with their hair still matters to her.

Jane Njimogu, Founder & CEO, Zingiber Hair CareThe Goal

Jane wants Zingiber Hair Care to help people build a better relationship with their hair. She would like people to stop calling their hair stubborn or impossible to manage when the real gap is that no one has shown them how to care for it.

She believes that once people understand their hair, looking after it becomes less frustrating. For a woman who was once told her own hair was stubborn, the message is a personal one.

Zingiber began with Jane searching for answers for herself. Today she is helping other people find theirs.


Zingiber Hair Care at a Glance

  • Founder and CEO: Jane Njimogu
  • Founded: 2020
  • Products: Hair Growth Oil, Moisture Lock Butter
  • Included with every order: A complimentary hair care guide
  • Audience: Men and women of African descent
  • Instagram: @zingiberhaircare
  • Website: zingiberhaircare.com

66 Years of Nigeria: The Democracy We Fought For, The Nation We Became, and the Country We Still Hope to Build

I have lived long enough to understand that Nigeria cannot be explained by statistics alone.

Nigeria is better understood through memory.

It is in the stories our parents told us about independence. It is in the black-and-white photographs of our first leaders. It is in the old radio sets through which Nigerians listened to political speeches. It is in the excitement surrounding the lowering of the Union Jack and the raising of the Nigerian flag on October 1, 1960.

It is also in the stories of disappointment that followed.

There were coups, counter-coups, a civil war, military dictatorships, disputed elections, economic crises, corruption scandals, religious and ethnic tensions, unemployment, insecurity and years when democracy itself appeared to be a distant dream.

Yet here we are.

Sixty-six years after independence, Nigeria remains standing.

That fact deserves reflection.

Not because everything has gone well. It has not. Not because the Nigerian project has been completed. It has not. Rather, because the history of Nigeria is the story of a people who have repeatedly encountered moments that could have broken the country, yet somehow found ways to continue.

Nigeria’s 66th Independence Anniversary is therefore more than a celebration of a date. It is an opportunity to examine the long journey from colonial rule to self-government, from parliamentary democracy to military intervention, from civil war to political reconstruction, from the Second Republic to another period of military rule, and finally to the Fourth Republic, which has now provided the country’s longest uninterrupted period of civilian government.

The official history of Nigeria’s electoral institutions tells us that the Electoral Commission of Nigeria conducted the 1959 elections that preceded independence. The Federal Electoral Commission subsequently conducted the 1964 federal and 1965 regional elections before the military intervention of January 1966. Nigeria’s democratic journey has therefore never been a straight line.

But history is rarely a straight line.

The Nigeria We Inherited

When Nigeria became independent on October 1, 1960, the country inherited a constitutional system that had been negotiated during the final years of British colonial rule.

It was a moment of enormous expectation.

Nigeria had achieved independence without the kind of prolonged armed liberation struggle experienced by some other African countries. Political leaders had negotiated constitutional reforms, contested elections and gradually assumed greater responsibility for governing the emerging nation.

Sir Abubakar Tafawa Balewa became Prime Minister. Dr Nnamdi Azikiwe became Governor-General.

But independence in 1960 was not yet the complete constitutional break many Nigerians imagined.

The British monarch remained the formal head of state, represented in Nigeria by the Governor-General. Nigeria’s highest court of appeal was also still the Judicial Committee of the Privy Council in London. In 1963, Nigeria became a republic, replacing that arrangement with a Nigerian head of state and establishing the Supreme Court as the country’s highest court.

Those constitutional changes mattered.

They represented another step in the process of turning political independence into institutional sovereignty.

The first generation of Nigerian politicians had inherited a complicated country.

There were three major regions. There were numerous ethnic groups. There were different religious traditions, languages and political interests. There were also considerable economic differences between regions.

The challenge was never simply to remove British authority.

The challenge was to build a country from the pieces left behind by colonial administration.

That challenge remains with us.

The First Great Democratic Test

The early years of independence were politically turbulent.

Nigeria’s first democratic experiment was subjected to pressures that would eventually overwhelm it.

The 1964 federal elections and the 1965 regional elections became deeply contentious. Political competition became increasingly fierce, and disputes over electoral processes contributed to an atmosphere of crisis.

Then came January 15, 1966.

The military intervened.

That moment changed Nigeria permanently.

The young republic entered an era in which soldiers, rather than elected politicians, would repeatedly determine who governed the country.

For many Nigerians born after 1999, military rule is history.

For those of us who remember its consequences, it is something else.

It is memory.

Military governments came with promises.

They promised discipline.

They promised to fight corruption.

They promised to restore order.

They promised to correct the failures of politicians.

But military intervention created its own political and institutional consequences.

The suspension of democratic institutions became normalised. Political parties disappeared. Constitutions were suspended or altered. Citizens became subjects of decrees rather than participants in a functioning democratic process.

And then Nigeria entered its darkest national chapter.

The War That Tested the Idea of Nigeria

The Nigerian Civil War, fought between 1967 and 1970, remains one of the most painful episodes in our national history.

The conflict followed political instability, violence, competing claims over national power and the declaration of the independent Republic of Biafra.

Millions of Nigerians suffered.

Families were separated.

Children became refugees.

Entire communities were destroyed.

Food became a weapon of war.

The human cost was immense.

Yet the end of the war also produced one of the most important political declarations in Nigerian history: the idea of reconstruction and reconciliation.

Nigeria had survived a conflict that could have permanently destroyed the federation.

The country did not emerge untouched.

But it emerged as one country.

That history should be remembered carefully, because the preservation of Nigeria has never been guaranteed simply because Nigeria exists on a map.

Every generation has had to make its own contribution to keeping the country together.

The Second Republic and Another Democratic Opening

The return to civilian government in 1979 created another moment of hope.

The Second Republic introduced a presidential system and brought elected politicians back into national government.

Alhaji Shehu Shagari became president.

Once again, Nigerians were voting, political parties were competing, and elected institutions were functioning.

But the experiment lasted only four years.

In December 1983, the military returned.

Once again, democracy was suspended.

The lesson became painfully familiar.

Nigeria could establish democratic institutions, but sustaining them was another matter.

This distinction is crucial.

Democracy is not simply an election.

An election can produce a government.

Democracy requires something much larger.

It requires institutions capable of surviving political disagreements. It requires citizens who can criticise government without fearing the state. It requires courts that can adjudicate disputes. It requires a legislature capable of exercising oversight. It requires a press that can investigate power. It requires political parties that understand that losing an election is not the same thing as losing one’s country.

Nigeria spent decades learning these lessons, often painfully.

June 12 and the Price of Political Freedom

Then came June 12, 1993.

That election remains one of the defining moments in Nigeria’s democratic history.

The election was annulled, plunging the country into another political crisis.

The years that followed were difficult.

Activists were imprisoned.

Journalists were harassed.

Political opponents were persecuted.

Many Nigerians went into exile.

Civil society organisations intensified their resistance.

The struggle for democracy became more than a contest among politicians. It became a broader demand for political freedom.

The names associated with that period are now part of Nigeria’s democratic memory.

M.K.O. Abiola.

Kudirat Abiola.

Gani Fawehinmi.

Beko Ransome-Kuti.

Alfred Rewane.

Bola Ige.

Anthony Enahoro.

Shehu Musa Yar’Adua.

And many others whose contributions did not always receive the attention they deserved.

In its 2026 Democracy Day address, the Presidency also recognised a long list of activists, journalists, labour leaders and political figures whose resistance helped sustain the struggle for democratic government. (State House)

Their stories remind us that democracy was not handed to Nigerians as a gift.

People fought for it.

Some lost their freedom.

Some lost their livelihoods.

Some lost their lives.

1999: The Door Finally Opened

The death of General Sani Abacha in 1998 changed the political atmosphere.

General Abdulsalami Abubakar subsequently led the transition that culminated in the return to civilian rule in 1999.

On May 29, 1999, Nigeria entered the Fourth Republic.

Olusegun Obasanjo became president.

For many Nigerians, there was a feeling that something historic had happened.

The soldiers had finally returned to the barracks.

The ballot box had returned to the centre of political life.

The country had another opportunity.

And this time, something different happened.

The experiment lasted.

Four years became eight.

Eight became sixteen.

Sixteen became twenty-four.

Today, Nigeria has experienced 27 uninterrupted years of civilian government since 1999.

The country’s electoral management body, INEC, records that it has conducted federal elections in the Fourth Republic in 1999, 2003, 2007, 2011, 2015, 2019 and 2023.

That continuity is significant.

Nigeria has experienced transfers of political power through elections.

Presidents have left office.

Opposition parties have won elections.

Incumbents have been defeated.

Courts have heard electoral disputes.

Parliaments have changed.

Political alliances have shifted.

The country has continued.

That is one of the major democratic achievements of the post-1999 era.

Democracy Is More Than A Presidential Election

There is a tendency in Nigeria to measure democracy by the person occupying Aso Rock.

That is too narrow.

Democracy is also the local councillor.

It is the state legislator.

It is the governor.

It is the judge.

It is the journalist who asks an uncomfortable question.

It is the civil society organisation that demands accountability.

It is the citizen who challenges a government decision in court.

It is the opposition politician who is allowed to organise.

It is the voter who can change his or her mind.

It is the young Nigerian who can openly criticise government policy on a phone without needing permission from a military administrator.

The institutions may be imperfect.

They may be contested.

They may require reform.

But their existence matters.

Nigeria’s electoral institutions have also evolved technologically. INEC’s current framework includes tools such as the Bimodal Voter Accreditation System and the INEC Result Viewing portal as part of efforts to modernise electoral administration.

These developments do not eliminate electoral disputes.

They do, however, demonstrate that democratic institutions can change with society.

The Nigeria That Surprised the World

If we look beyond politics, the Nigerian story becomes even more complicated.

There is another Nigeria.

It is the Nigeria of entrepreneurs.

The Nigeria of filmmakers.

The Nigeria of musicians.

The Nigeria of technology developers.

The Nigeria of fashion designers.

The Nigeria of farmers.

The Nigeria of engineers.

The Nigeria of doctors and nurses.

The Nigeria of academics.

The Nigeria of writers.

The Nigeria of comedians.

The Nigeria of young people creating businesses from bedrooms and university hostels.

The Nigeria of Nollywood, Afrobeats and Nigerian literature.

These industries have carried Nigerian culture far beyond our borders.

Nigerian musicians now perform on some of the world’s largest stages.

Nigerian films travel internationally.

Nigerian authors continue to shape global conversations about Africa.

Nigerian entrepreneurs build companies serving customers across continents.

Our diaspora has become an enormous extension of the Nigerian story.

This is one of the country’s greatest success stories.

Nigeria has never lacked talent.

Our recurring problem has been creating systems capable of converting that talent into broad prosperity.

The Contradiction Called Nigeria

This is where the Nigerian story becomes difficult.

We are a country of enormous resources and widespread poverty.

We produce some of the world’s most talented young people while struggling to create enough quality jobs for them.

We have enormous agricultural potential while importing significant quantities of food.

We have produced world-class creative industries while many practitioners struggle with infrastructure, financing and intellectual property protection.

We have universities producing brilliant graduates while employers frequently complain about skills gaps.

We have oil and gas resources, yet energy supply remains one of the country’s most persistent economic problems.

We have some of Africa’s wealthiest individuals and millions of people struggling with the cost of everyday necessities.

These contradictions should not be hidden on Independence Day.

They should be discussed.

Patriotism without honesty becomes ceremony.

And Nigeria needs more than ceremony.

The Democracy We Have Today

The Nigeria of 2026 is not the Nigeria of 1960.

It is not even the Nigeria of 1999.

Our society has changed dramatically.

Technology has changed political communication.

Social media has changed journalism.

Young Nigerians have become more politically vocal.

Women occupy positions of influence across business, government, entertainment and civil society.

The Nigerian diaspora is more connected to the country.

The private sector has become more sophisticated.

The creative economy has expanded.

Our cities have transformed.

The expectations of citizens have changed.

Yet our institutions have not always moved at the same speed.

This creates tension.

Young Nigerians do not want to inherit the political culture of their grandparents.

They want accountability.

They want opportunity.

They want security.

They want functioning public services.

They want to be able to build careers without having to leave the country.

They want government to explain itself.

And they increasingly have the technological tools to make their voices heard.

That is democracy developing in real time.

But We Must Also Tell the Hard Truth

Nigeria’s democracy remains unfinished.

There are still concerns about electoral integrity, political violence, accountability, institutional independence, corruption, insecurity, poverty and economic opportunity.

There are still citizens who feel disconnected from government.

There are still communities where the presence of the Nigerian state is weak.

There are still elections where allegations and disputes dominate public confidence.

There are still politicians who treat political office as personal property.

There are still citizens who sell their votes because immediate survival sometimes appears more important than distant political promises.

There are still young Nigerians who believe their future lies elsewhere.

These are not reasons to abandon democracy.

They are reasons to take democracy seriously.

The Presidency itself acknowledged in June 2026 that Nigeria’s democratic system is imperfect and argued that its institutions must continue to be strengthened.

That admission matters because mature democracies are not built by pretending that everything is working.

They are built by identifying what is broken and repairing it.

Sixty-Six Years Later

Today, when the Nigerian flag rises, I think about the generations that came before us.

I think about those who celebrated independence in 1960 believing they were witnessing the beginning of something extraordinary.

Some lived to see their dreams challenged.

Some lived through war.

Some experienced military rule.

Some went into exile.

Some were imprisoned.

Some never returned home.

Others stayed and built.

They opened businesses.

They established schools.

They founded newspapers.

They created factories.

They wrote books.

They made films.

They composed music.

They built hospitals.

They raised children.

They contributed to communities.

They kept believing.

And that, perhaps, is the most Nigerian thing of all.

We complain about Nigeria constantly.

Sometimes rightly.

Sometimes excessively.

But Nigerians continue to build.

A trader opens a shop.

A farmer plants another crop.

A filmmaker starts another production.

A young programmer writes another line of code.

A teacher enters another classroom.

A doctor begins another shift.

A mother sends another child to school.

An entrepreneur takes another risk.

A citizen votes again.

The country moves.

The Meaning of Independence Today

Independence should not simply mean remembering when the British flag came down.

Political independence was the beginning.

The deeper question is what Nigerians have done with it.

Have we built institutions stronger than individuals?

Have we created opportunities broad enough for ordinary citizens?

Have we protected the rights of minorities?

Have we made justice accessible?

Have we treated public resources as a trust?

Have we built an economy capable of supporting the aspirations of our young population?

Have we created a country where a child born in a poor household can still dream realistically about becoming anything?

These are the questions that should define the next chapter.

Because the Nigeria of the future will not be built by government alone.

It will be built by citizens.

By entrepreneurs.

By teachers.

By artists.

By farmers.

By scientists.

By journalists.

By politicians.

By religious and traditional leaders.

By young people.

By Nigerians at home and abroad.

The Country We Must Hand Over

Sixty-six years is a long time in the life of a person.

It is still relatively young in the life of a nation.

Nigeria has made mistakes.

Nigeria has survived crises.

Nigeria has produced extraordinary people.

Nigeria has disappointed its citizens.

Nigeria has surprised the world.

Nigeria has fallen short of its possibilities.

Nigeria has also demonstrated, repeatedly, that its possibilities are enormous.

The task before the next generation is not to romanticise Nigeria.

It is not to condemn Nigeria either.

It is to build Nigeria.

Our founding generation fought for independence.

The generation that followed fought to preserve the federation.

The pro-democracy generation fought for political freedom.

The Fourth Republic generation has spent 27 years trying to make civilian rule durable.

The generation now coming of age must ask a different question:

What should Nigerian democracy actually deliver?

The answer cannot simply be elections.

It must be dignity.

It must be opportunity.

It must be justice.

It must be security.

It must be functioning institutions.

It must be a country where talent does not have to leave before it can flourish.

It must be a country where citizenship is not merely an identity on a passport but a relationship between the individual and the state.

That is the unfinished work.

Happy 66th, Nigeria

On this 66th Independence Anniversary, we should celebrate.

But we should celebrate with our eyes open.

Let us remember the joy of 1960.

Let us remember the turbulence of the First Republic.

Let us remember the pain of the Civil War.

Let us remember the years of military rule.

Let us remember June 12.

Let us remember the activists, journalists, workers, students, politicians and ordinary Nigerians who paid prices for political freedom.

Let us remember 1999.

And let us remember that democracy survived because Nigerians kept insisting that it should.

The Nigerian story is not finished.

Perhaps that is its greatest strength.

There are still chapters to write.

There are still institutions to build.

There are still wrongs to correct.

There are still young Nigerians whose talents are waiting for opportunity.

There are still communities waiting for development.

There are still dreams waiting for the Nigerian state to catch up with them.

Sixty-six years after independence, Nigeria is still becoming.

And after four decades of watching this country struggle, stumble, recover and rise again, I have come to one conclusion:

Nigeria’s greatest story is not that we have arrived. It is that, despite everything, we have refused to stop moving.

Happy 66th Independence Anniversary, Nigeria.

May the next chapter be written with greater wisdom, stronger institutions, wider opportunity and a deeper understanding of what it means to belong to this extraordinary country.

God bless Nigeria.

Adesina Kasali | Ranks Africa Columnist
October 1, 2026 | Independence Day Special

GOOGLE SELECTS SIX NIGERIAN NEWS CREATORS FOR AI-DRIVEN REVENUE GROWTH PROGRAMME

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In a major move to empower the next generation of digital media voices across the continent, the Google News Initiative (GNI) has selected six independent Nigerian news platforms to participate in its prestigious Emerging News Voices Growth Lab.
The intensive multi-month virtual accelerator, which officially concluded in late September 2026, was designed to equip emerging, digital-native newsrooms across Sub-Saharan Africa with the tools needed for long-term financial independence and operational resilience.
Google opens applications for ₦75m fund to empower Nigerian SMBs | The  Guardian Nigeria News - Nigeria and World News
Out of a highly competitive cohort of roughly 20 creators from across the region, six standout Nigerian media platforms secured their spots in the programme:
  • The Republic
  • More Branches TV
  • Onlinebanker
  • Adetunji Films
  • Wearegst
  • Iswellthecapitalist
Future-Proofing Journalism with AI
A cornerstone of this year’s GNI Growth Lab was the practical integration of cutting-edge artificial intelligence. The chosen creators underwent extensive, hands-on training with advanced Google AI technologies—including Gemini, NotebookLM, Google Trends, and SynthID. The training focused on using these tools ethically to streamline resource-heavy workflows, such as rapid research, audio transcription, language translation, and rigorous content verification.
Beyond technological innovation, the curriculum focused heavily on modernizing video storytelling techniques and diversifying monetization models.
Breaking Free from the Algorithm
With social media algorithms becoming increasingly unpredictable, a major strategic focus of the lab was helping creators establish first-party relationships with their readers and viewers. Participants were trained on how to migrate their primary audiences onto independent web platforms, localized apps, and dedicated newsletters, ensuring they own their audience data and revenue pipelines.
As creator-led media outlets increasingly dictate how younger generations consume news, this Google initiative represents a vital step toward ensuring Africa’s most innovative storytelling platforms can thrive independently in the digital age.