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What Hope For Our Future Leaders?

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In the wake of delin
quency among the youth, serious minds are considering what best to do to be able to catch these youthful minds earlier than they could be susceptible to the prevalent mind of vices hunting the societal air.
This no doubt must have informed the inclusion of early childhood education into the Universal Basic Education programme of the Nigerian government.   By the provision of the National Policy on Education of the Federal Republic of Nigeria, early childhood is segmented into 0 – 3 years situated in day care centres fully in the hands of the private sector and social development services while ages 3 – 5 are within the formal educational sector.
It is all about the care, protection, stimulation and learning promoted in children from age 0-5 , supposedly to take place in day care centre, nursery or kindergarten
However, whether done formally in a daycare centre or informally at home, one outstanding goal of this early childhood education is to inculcate in the child, social and moral norms as well as stimulate in him/her good habits, including good health habit among others.
The goals of the early childhood education make it imperative on parents and care providers to consider it a  project and so, a serious business which result must be announced someday some time.
Unfortunately, not many parents know that this formative age of the child means a great deal in his/her future development, not many also realise the fact that children at this age remember fastly and repeat actions they observe so as to be wary of their actions before them. While the first two years of a child’s life are spent in the creation of the child’s first “sense of self”.  Parents can be seen as the child’s first teacher and therefore an integral part of the early learning process because this age can be highly influential to whatever the child learns in future.
It must be understood that with proper guidance and exploration children get easily acquainted with their environment and ofcourse you can imagine how detrimental the absence of this steady positive relationship will be on the future development of the child with respect to his/her relationships and independence.
Although early childhood education often focuses on learning through play, Jean piaget, an early psychologists posits that play meets the physical, intellectual, language, emotional and social needs of children, their curiosity and imagination naturally evork learning when  undisturbed.
Suffice it to say that children learn better and gain more knowledge through activities such as dramatic play, art and social games.  However, the object of the child’s play, the toys and the type of game the child is involved in must not be overlooked as they all inform what knowledge the child equips him/herself with at the end of the day.   What this means is that there must be adequate supervision of the child’s daily activities.
The Tide’s Women’s Desk, engaged Mrs Nzokurum Mercy, an occupational health/nursing coordinator in a chat on what should be the role of parents in ensuring a proper development of the child.  Hear her: “From 0 – 1 year, the world is strange to the child, the first duty of the parents is to make him see the world as a friendly and happy place to live by meeting his perceived needs.  Few months older the child’s personality developments and mind very fast too, so parents need to be cautious so as to understand and guide him aright.
She warned against pretentious attitudes towards the child as the child copies every behaviour of the adult to mean the right altitude, in her words.  “If there be any need for parents to walk away from the child, then bid the child a proper goodbye, don’t sneak or slip away”.
Mrs Nzokurum explained that until about age 2, the child learns mainly through  seeing, hearing and touching, hence parents must be careful to do just what they would want the child to do, say what they need him/her to hear and show them only what they would want them see.
Explaining play as a means by which children discover their skills, the occupational health expert enjoins parents to make out time to guide their little ones, play by creating a conducive and safe environment for effective exploration of their world, maintaining that toys must be age appropriate while observing their activities to know when they derail so they can be guided.
She condemned in its entirety, the idea of sending children of age 0-5 out for holidays or to live outside the sight of their biological parents, stating that many had been corrupt and abused under the guise of living with uncles and aunties as no one can be more vigilant on a child as the biological parent.
She called on parents to watch out for peculiar and worrisome traits, behaviours and attachments usually exhibited by children at this age such as identifying with certain toys, bullying other children and inventing imaginary friends as well as talking about them; she insists that parents listen to them and guide them accordingly.
Parental role to the family is a combination of many activities, expected of the father and the mother for the wellbeing of the home. It ranges from providing protection from the scourge of the weather, by way of shelter, provision of material needs in the forms of clothings and food, provision of medical attention, to provision of education, be it formal or informal. Of all these activities both mentioned and unmentioned, there is no single one that is preferred over the other, a child provided with one without the rest is said to be deficient in the one not provided.
Unfortunately, a failure to provide a child with a necessary developmental requirement does not only leave the child deficient of the good that comes out of it, such vacuum in the life of a child is usually replaced with a trait, unbecoming of a future leader.
Therefore, while it is expected that every parent lives up to their roles and responsibilities in assuring a bright and better future for the child, it is as well important that their daily life activities reflect the image they want to imprint in their children and wards.

 

Sylvia ThankGod-Amadi

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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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