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Checkout Fake Lifestyles Of Slay Queens

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To slay, according to the Oxford Advanced Learner’s Dictionary is an informal, old fashioned word especially American and means to have a strong effect on somebody. These days many people in Africa especially in Nigeria and Kenya use the term or slang ‘slay queen’ to describe a woman that likes to show off her luxurious lifestyle even if she lives in the poorest neighbourhood and struggles to stay on her feet.
Presently, the internet is full of ‘slay queen images, the 21st century is the perfect era for slay queens as they can use the instagram, snap chat, twitter, face book etc, to tell the whole would about the expensive things they do not even own. You might be surprised, but this type of behaviour is actually not peculiar to women as slay kings also exist and behave in the same way as slay queens do.
A recent post in the social media actually disclosed the traits of this slay queens and their modus operandi. Most of the time the slay queens are quite two dimensional beings with little or no depth to them. They all look, dress and behave in same ways. This makes it fairly easy to tell them apart from the general population, but not from one another.
According to the post, the following are seven characteristics that can describe a slay queen any where and my time.
Make up and style: your typical slay queen never lives home without make up. She can show up to the corner store in the middle of the night wearing a full face of makeup and most likely a pair of high heels and short tight dresses is what slay queens love most.
However, the fact that slay queens wear makeup all the time does not mean they are good at it. In real life, a slay queen might not even be able to match the colour of neck to the shade of her face. Nevertheless, almost all of them are experts in using retouching applications and soft wear. Their selfies that they post so frequently in the social media are face tuned so hard you will probably never recognize them on the streets. If you somehow manage to catch one of them without any make on, do not be too shocked by the striking difference between what you see and what they post on line.
Expensive lifestyle: one of the most definitive trait of queens of slay that distinguishes them from others is their love for expensive things and luxury. They will go out of their way to snap a picture in or around a flashy car with a bottle of pricely alcohol or in five star hotels.
Despite her love for all things shinny, a typical slay queen cannot afford most of the things she takes pictures with, she usually achieves her cool shots by or her ‘bae’. A queen of slay might be also into an expensive shop must to try something on, take a picture of her self in it and leave.
Love for parties: Almost every slay queen is a party freak. Every weekend or some times even during the week, you can see her at the Fancy bars, clubs and other similar places dancing on her ridiculously high heels, drinking a colourful cocktail by the bar or drunkenly stumbling in or out of a cab. If you are (un) lucky enough, you might even see whole flock of them huddled together with their lips pursed and selfie hands out stretched in search of the best selfie angle and lightening. If a club has resident photographer, it can be certain that they would be in all of the pictures from the nights events.
Social media presence: A slay queen cannot live without her social media. After all how else will the world know about her awesome life if not for instagram snapchat or other social media platforms 95% of slay queens instagram profile is picture of her, mirror selfies, beach photos, club pictures, you name it, every minute of her life has to be documented, so the remaining 5% is photos of food and other random things.
The poses slay queens usually take in their photos are unnatural and uncomfortable as they flatten in their stomachs, curve their legs and push out their chests and behind they thing they look good, but more often than not they look utterly ridiculous.
Language: Even if you cannot see a slay queen approaching, you can hear her from a mile away, they have a weired way of talking, so it is often hard to comprehend what they are saying, their Language is littered with filler words and expletives and even the way they pronounce certain vowels is weired.
Just go, “you know” ‘whatever is one of their favorite words. When slay queens are writing, they use lots of harsh tags and do not pay much attention to their grammar. Nevertheless, some of them have the audacity to correct others in other to seem smart.
Intelect: Now when it comes to smarts, an overwhelming majority of slay queens have little to offer in this department. If you find yourself in a conversation with one of them prepare to be amazed at the ignorance some people can possess.
However, not all of them are stupid some might just be playing dumb to get the attention. Some girls are actually incredibly smart because they are able to get an insame amount of followers on social media and then just live off sponsorship deals and gifts from gullible men.

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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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