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Entertainment World Remembers Jackson … As Reactions Trail One Year Anniversary

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The entertainment industry and fans of Micheal Jackson all over the world, yesterday observed the one year anniversary of the late King of pop music who died on June 25th 2009 at the age of 50 years as a result of drug overdose administered to him by his personal physician.

In Port Harcourt, the Rivers State capital, the day was marked with mixed feelings. While some of the fans considered it as a life well spent considering his laudable achievements on Earth and celebrated the day with music, dance and total fun at some entertainment hangouts in the city, others feel his death was untimely  and a big loss to the entertainment world , stressing that he did not reap fully the fruits of his hard labour before his life was cut short.

In his reaction, Rivers State born music sensation and entertainer, Mr Emmanuel Amakiri Popularly known as Oba Omega said it is not life that matters or how long you lived on Earth, but what you are able to achieve in life for which you will be remembered for by humanity long after you are gone.

He maintained that the death of Micheal Jackson will continue to remain a big loss to the entertainment industry because the late legend of pop music revolutionized the entertainment world and gave musicians a pride of place globally.

Oba Omega the current toast of the music industry in the state whose music and video titled ‘identify’ is making waves in the music scene across  the country and beyond said Jackson’s songs and  popular dance steps (Moonwalk) ruled the music world and dance floor in the 70s and 80s and is currently in vogue among the young stars and old school, while his dress code is copied by young entertainers who see him as their role model and a source of great inspiration even in death.

Another fan of the pop idol, Mr.  Onyeka Orluwene, A Port Harcourt based show biz personality and seasoned accountant noted that though Michael Jackson is dead, he literally lives in the minds of his fans.  He said Micheal came into the entertainment industry  at a tender age, saw it and conquered. He contended that the industry will not be the same again without him because he introduced hard work style, glamour and success to the industry while most of his wealth went to charity because of his love for humanity and the less priviledged.

Apart from these reactions, Jackson’s music dominated the air in most Radio and Television stations in the state to mark the historic day.

Micheal Jackson was born in 1958 in Garg, Indiana, United States of America (USA), into a family made up of great musicians and he grew up to become a very popular singer, dancer and song writer.  Though all his life he has been enmeshed in many controversies, he has always had a way of rising above them and soaring high.

At the age of five, Micheal  joined his brothers’ singing group then known as the ‘Jackson Five’ and later renamed.  The ‘Jacksons’. Micheals dancing ability as well as his singing  skills made him the groups leader at a very tender age.  Under Berry Gordy’s sponsorship, the group became  popular on record (on the Motown label), in personal appearances and on Television.` Jackson’s First Solo album ‘Got to Be There’ released  in 1971, established him as a solo performer.  Leaving the family group, he played the ‘Scare crow’ in the musical  film The Wiz (1978) and recorded the album ‘Off the wall’ in 1976 which included a number of his own songs.  His album ‘Thriller’ recorded in 1982 earned a then unprecedented eight Grammy Awards. His dancing style, slight physical appearance and whimsical mode of dressing, with a trade mark of a single rhinestone-covered white glove, became well known.

Jackson rejoined his brothers on a six month tour after the release of their album ‘Victory’ in 1984.  He co-wrote (with Lionel Richie) the song “We are the world” in 1985 which was performed by a group more than 40 popular musicians with all profits from audio and video donated to alleviate world hunger.  Subsequently, Jackson’s album ‘Bad’ (1987) and the title single as well as the video of the song became best sellers as did his album ‘Dangerous’ (1992) and the single ‘Remember the Time (1992).

His autobiography, Moonwalk, was published in 1988.  In 1995 he released another chart topping album, ‘History’ and  the following year, he won a Grammy Award for the music video ‘Scream’ (1995) which he created with his sister Janet. Also in 1996 Jackson divorced Lisa Marie Presley, daughter of Late Elvis Presley ending a two year marriage.

Jackson celebrated his 30th anniversary as a solo performer in 2001 by reuniting for a series of concerts with his brothers as the Jackson Five. Later in the year, he released ‘Invincible’ his first major album, released in six years. That same year, he was inducted into the ‘Rock and Roll Hall of Fame’.

Continued Controversy over Jackson’s private life caught the headlines in 2002 and again in 2003 in November of that year, he was arrested, charged with alleged child molestation to which he later pleaded not guilty. When the world got wind of the child molestation law suit that had the irrepressible Johnny Cochran  (who had squeezed O.J. Simpson and Snoop Dog out of the jaws of murder charges) advising Jackson to settle out of court, mike reportedly paid $20m to settle the case  and his innocence became doubtful.

His whitening skin, crumbling faces, failed  arrangee marriage to Lisa Marie-Presley, allegations that his kids from Debbie Road, his nurse/wife were conceived through artificial insemination and perhaps the worst, his lack of racial identify have all contributed in so small measure to the fall of one of the greatest entertainers to ever set foot in this planet, meanwhile  as an organizer of two major fan groups is just one of thousands of supporters keeping Jackson’s legacy alive along with the pursuit of justice for his untimely death a year ago this Friday.

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‘Lie From The Pit Of  Hell,’ Family Debunks Pete Edochie’s death Rumours

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The family of veteran Nollywood actor, Pete Edochie, has dismissed viral rumours circulating on social media claiming that the film icon is dead.

Reacting to the reports in a video shared on his Instagram page on Tuesday, the actor’s eldest son, Leo Edochie, described the claim as false and malicious.

“I’ve been receiving text messages and calls over the nonsense post by some people that our father, Chief Pete Edochie, is dead. It is a lie from the pit of hell,” he said.

Leo added that the actor is alive and in good health, condemning those responsible for spreading the rumour.

“Our father is alive, hale and hearty. And if you wish someone dead, two things usually happen. The person will live very long and you will die before him. Shame to all of you,” he said.

The rumour had sparked concern among fans before the family’s clarification.

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‘Mother’s Love’ Challenges Nigerian’s Film Portray Of Motherhood

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Omotola Jalade-Ekeinde critiques Nollywood’s lack of mother-daughter stories ahead of her directorial debut, ‘Mother’s Love.’ See the cast and 2026 release date.

Nollywood veteran actress Omotola Jalade-Ekeinde is making her directorial debut with a different and sharper focus. Speaking recently with Newsmen,, the screen icon highlighted a glaring void in the industry’s catalogue, which is the authentic reality of mother-daughter relationships.

“We don’t have too many films that explore or showcase the relationship between mothers and daughters,” Omotola said during the interview, describing the subject as something deeply personal to her.

Speaking honestly about raising her first daughter, she admitted she had only one mode at the time, which was discipline. “I didn’t do a good job,” she said plainly, explaining that she understood motherhood strictly through control, not softness or emotional openness.

At the centre of Mother’s Love is Adebisi, a sheltered young woman from a wealthy home whose life is shaped by her father’s rigid control. Her first taste of freedom comes through NYSC, where distance from home allows her to begin discovering who she is outside her family’s expectations. She forms a friendship with a young man from a more modest background, and through him, starts to see the world and herself differently.

But the emotional core of the film isn’t Adebisi’s rebellion. It’s her mother. Long after being presented as quiet and compliant, she slowly reveals a resolve when her daughter’s safety and future are threatened. As secrets surface and buried grief comes into view, Mother’s Love becomes less about youthful independence and more about maternal sacrifice, unspoken trauma, and the emotional costs of survival inside a patriarchal home.

The Tide Entertainment reports that the film doesn’t shy away from weighty themes by including PTSD, unresolved grief, and social inequality at the centre of the story. It is far removed from the soft-focus sentimentality that often defines Mother’s Day-style narratives.

It also marks Omotola’s directorial debut, a significant moment considering how long she has shaped Nollywood from the front of the camera. She stars in the film alongside a mix of familiar faces and newer talent, including Ifeanyi Kalu, Olumide Oworu, and Noray Nehita.

Beyond the film itself, Omotola’s  interview touched on a tension that has been simmering in Nollywood for a while now: how movies are marketed in the age of TikTok. Addressing the growing expectation for actors and filmmakers to create viral dance content to promote their work, she didn’t mince words. The pressure, she said, is exhausting and unnatural.

For her, the industry wasn’t meant to function this way. Still, she was careful not to judge anyone else’s approach. Everyone invests differently, carries different risks, and should be allowed to promote their films however they see fit.

“Do whatever you can do. It’s exhausting, it’s not natural. For me, the film industry is not supposed to be like that. We are encouraging nonsense if we are doing that. It doesn’t mean that whoever is doing it is wrong.”

Her comments arrive not long after the public back-and-forth between Kunle Afolayan and Funke Akindele over marketing styles, a debate that quickly turned into a proxy war between prestige storytelling and viral strategy. Omotola’s stance sits somewhere calmer. She understands the shift social media has brought, but she’s also clear about her own boundaries.

Omotola’s critique about the lack of mother-daughter stories isn’t unfounded. In Nollywood, mothers often exist as symbols rather than people. They’re either saintly figures who pray endlessly for their children or villains whose cruelty drives the plot forward. What’s missing is intimacy, the negotiations, and the regrets. The love that exists alongside resentment and misunderstanding.

Films rarely sit with the emotional complexity of women raising daughters in systems that also failed them. There’s little room for mothers who made mistakes but are still trying, or daughters who love their mothers while questioning the damage they inherited. Mother’s Love attempts to occupy that space, offering a more grounded portrayal that reflects lived experience rather than archetypes.

That’s where the film’s potential impact lies, in the decision to centre a relationship that Nollywood has largely flattened. If it works, it could open the door for more stories that treat motherhood as a lived, evolving reality rather than a fixed moral position.

Mother’s Love, directed by and starring Omotola Jalade Ekeinde, had its world premiere at the 50th Toronto International Film Festival on September 6, 2025. The film is set for a nationwide cinema release in Nigeria on March 6, 2026.

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Funke Akindele’s  Behind The Scenes Crosses ?1.77bn

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Funke Akindele’s Behind The Scenes becomes Nollywood’s highest-grossing film of 2025, earning ?1.77bn in under four weeks.

Multi-award-winning actress and producer Funke Akindele has done it again, and this time, the numbers speak louder than applause.

Her latest film, Behind The Scenes, has officially emerged as the highest-grossing Nollywood film of 2025, pulling in an astonishing ?1.767 billion in less than four weeks.

The Tide Entertainment reports that Funke Akindele Makes Box Office History as Behind The Scenes Crosses ?1.77bn
Earlier in its release cycle, the film’s distributor, FilmOne Entertainment, revealed that Behind The Scenes smashed five opening-weekend records, including the highest single-day gross ever recorded on Boxing Day, with ?129.5 million in one day. That announcement already hinted that something unusual was unfolding.

Reacting to the milestone, FilmOne described the moment as both surreal and communal, crediting audience loyalty for pushing the film to the top spot once again as the number-one movie of the weekend. And that sentiment feels accurate. This wasn’t just ticket sales; it was momentum.

What makes this achievement even more striking is that Behind The Scenes is Funke Akindele’s third film to cross the ?1 billion mark. Before now, there was A Tribe Called Judah, and then Everybody Loves Jenifa, a film that didn’t just open big, but went on to become the highest-grossing Nollywood film of all time. At this point, it’s no longer a fluke. It’s a pattern.

Part of Behind The Scenes’ success lies in strategy. The film enjoyed advanced screenings on December 10 and 11, quietly building curiosity and conversation before its nationwide release on December 12. By the time it officially hit cinemas, audiences already felt like they needed to see it.

Then there’s the cast. The film brings together a lineup that feels deliberately stacked: Scarlet Gomez, Iyabo Ojo, Destiny Etiko, Tobi Bakre, Uche Montana, and several others. Familiar faces, strong fan bases, and performances that kept word-of-mouth alive long after opening weekend.

Still, beyond timing and casting, there’s something else at work here. Funke Akindele understands Nigerian audiences. Their humour, their pacing, their emotional buttons. She doesn’t guess, she calculates, experiments, listens, and refines. That understanding has slowly turned into box-office dominance.

Behind The Scenes crossing ?1.77 billion isn’t just another headline; it’s confirmation. Funke Akindele has moved from being a successful actress to becoming one of the most reliable commercial forces Nollywood has ever produced. Three-billion-naira films don’t happen by luck. They happen when storytelling, business sense, and audience trust align.

And right now, that alignment seems firmly in her hands.

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