Entertainment
NULGE And Healthcare Law
The recently enacted Primary Health Care Board Law which compels local government councils in Rivers State to contribute 10 per cent of their total revenue monthly to the board is raising some dust at the third-tier of government. The umbrella association of the council workers is crying wolf over two sections of the law, which it considers offensive. The National Union of Local Government Employees (NULGE) thus called for amendment to the sections, if the local government system is to be sanitised.
NULGE did not stop there but proceeded to take its protest of the law to the state government. As it stands today, the law has pitched the Board it sets up against the grassroots workers’ union, and except something is done urgently to assuage the situation, the third-tier system may be the worst for it.
Aside NULGE, the councils’ authorities themselves view the new law as an affront on them and are reluctant to abide by its provisions, especially the aspect that mandates them to contribute 10 per cent of their total revenue to the Board. The situation at the councils may snow ball into a major crisis between local government chairman and the Board on one hand, and NULGE and the Board on the other, except the law is re-visited and the offending sections amended.
At the Port Harcourt City Local Government, Obio/Akpor and Emohua councils for instance, the issue has been at the front burner of discourse among stakeholders who view the ‘offending’ sections as ‘Obnoxious and stringent so should be expunged from the law. Same is the feeling at the NULGE Consulate (secretariat) in Port Harcourt.
For NULGE, it is a slight on the union that the law did not also include the union on the Board as a member but, rather prefers medical and health workers union to be o n the Board. And NULGE is not prepared to take this, hence it is leading the third-tier of government on the protest to have these sections amended.
How far NULGE can go in achieving this feat remains to be seen but the leadership of the union is optimistic and sees light at the end of the tunnel. The Weekend Tide accosted NULGE state president, Sir Barr. Franklin Ajinwo and he said just this.
Sir. Barr. Ajinwo said he could not understand why 10 per cent of the total allocations of councils in the state which amounts to over N200 million monthly, using the new salary scale should be paid to the Board as overhead when the councils were still required to pay primary healthcare to workers.
He fumed saying that “by the provisions of that law, local government councils in this state are expected to contribute 10 per cent of their total allocation to that board and the deduction is to be made at source,” adding despitefully, “that does not even stop it, after contributing the 10 per cent, the local government councils will also go ahead and pay the Primary Healthcare workers (whereas) that 10 per cent ordinarily is enough to pay their salaries and remain, but they said, that’s just overhead cost!”
The NULGE boss told The Weekend Tide that as a union, they find this inconceivable and therefore unacceptable.
His words, “As a union, we saw that and felt that it was not in the best interest of the union or the system because by the time you make that deductions, cumulatively, using the May, 2011 allocation (formula) as a case study, 10 per cent will give you almost 200 and something (naira) to be used as overhead for just one board!
Barr. Ajinwo said the fact that the over N200 million will not be used for salaries makes the law even more worrisome, adding that they have protested to the government and expressed the hope that the state governor, Rt. Hon. Chibuike Amaechi “being somebody who believes in the right things being done, in the rule of Law” will ensure that these offending sections of the law will “certainly be amended”.
He told The Weekend Tide that “another aspect of the law we did not like is that in that primary healthcare board, we have medical and health workers union being represented in the board while NULGE where the money is going to be generated from (is not on the Board).”
“Ordinarily, every staff of local government is a member of NULGE. NULGE means National Union of Local Government Employees so the fact that you’re an employee of local government makes you a member of NULGE, you can belong to your professional body, that does not remove you from NULGE. As a lawyer, I pay my subscription to NBA, Engineer can pay to NSE, all that. If you are a doctor employed by local government, you’re a staff of local government so a member of NULGE, but that does not mean you should not pay your subscription to NMA, so every staff of local government is a member of NULGE, therefore, if you’re taking any decision that affects them, naturally, NULGE should be part of it”, he explained.
“But we discovered that in that law, instead of making NULGE to be represented on the Board, they rather went and maked Medical and Health Workers Union to be represented,” he said and explained that medical and health workers union is the union that brings together health workers in the hospital, the UPTH, secondary and tertiary sectors. Ajinwo said,“If you say they are professionals want them to pay their professional and fees to you, it’s different from union dues because everything we discuss here, we do so as a union; as members of NULGE.
We are people who have common problem. So we come together, that’s the essence of union; we come together to see how we can solve our common problems”.
Barr Ajinwo insisted that NULGE should be represented on the board, the Board should be re-constituted and that section of the Law should be amended to include NULGE as a member, adding, if they say Medical and health Workers should be members, as a matter of fact, we don’t even see the need for them, NULGE is the appropriate union to be there.
But if medical and health workers union should be there, well!.
Barr Ajinwo further told The Weekend Tide that they’re relating with the local Lgovernment chairmen that were newly elected, with a view to seeing that they walk as a team for the interest of the 3rd tier system.
Justus Awaji
Entertainment
‘Lie From The Pit Of Hell,’ Family Debunks Pete Edochie’s death Rumours
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.
Entertainment
‘Mother’s Love’ Challenges Nigerian’s Film Portray Of Motherhood
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.
Entertainment
Funke Akindele’s Behind The Scenes Crosses ?1.77bn
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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