Entertainment

Nigerians React To Jeff’s Exit From 2019 BBNaija …As Viewers Say Last Saturday’s Party “The Best Ever”

Published

7 years ago

August 9, 2019

On Sunday, August 4, 2019 at the 2019 Big Brother Naija eviction show, Jeff became the eighth house mate to be evicted from the house. He was shocked to have been evicted from the house, but he took the eviction with grace and left the house saying his good bye to other housemates.
He talked about his experience in the house with host Ebuka Uchendu. While chatting with the host, Jeff expressed that he would like to live his life after the house one step at a time. He also expressed his hopes for Omashola to emerge as Big Brother Naija winner.
Nigerians twitter shared their thoughts about Jeff’s eviction, some users stated that they were not surprised about this eviction; others thanked God for his eviction, while many of them who are Tacha’s fans noted that he was always nominating her for eviction.
It would be recalled that the 19 remaining house mates of the 2019 Big Brother Naija took their Saturday night party to a new height as they were joined with DJ Sose for the fifth Saturday night party which was described as the best so far. It was held on Saturday, August 3, 2019. The party has been rated as a better performance and improvement over the four previous parties that held since the “Pepper Dem edition of the reality TV show began.
After 35 days in the Big Brother house, the remaining housemates who included the five newly admitted members threw caution in the air when they rocked to the DJ’s expertise behind the wheel of steel.
The following are the highlights of what happened at the Saturday night party that you must have missed.
DJ Sose matched the abilities of the house mate: DJ Sose made it to the BBNaija Saturday night party as the fifty DJ since the commencement of the reality show on June 30, 2019 like those before him that included DJ Exclusive, DJ Big N, DJ Lambo and DJ Kay Wise who also made the housemates danced their hearts out.
DJ Sose was in his best element as he dished out several tunes from Nigeria music stars, the housemates marked the rhythms from DJ Sose’s wheels of steel with erotic and great dance styles.
Embelishments from Esther, Mercy, Cindy and Tacha: The Saturday night party would have been incomplete without the embellishments from Esther, Mercy, Cindy and interestingly, Tacha. These female housemates gave the viewers reasons to look forward to another interesting night bash this Saturday.
From Elozonam to Omashola and Joe, these female rocked their dance partners who changed with the change of songs throughout the party. As always, Mercy didn’t fail to serenade the viewers with her booty dance and she got support from Esther, Cindy and Tacha.
Male housemates go shirtless: the male housemates that included Frodd, Elozonam, Omashola, Mike and Joe appeared shirtless as the club became too hot after DJ Sose kept serving hit songs upon hit songs giving delight performances to their viewers with their dance steps. The male housemates decided to flaunt their ripped bodies as the party swung into full mode. Omoshola, Mike and frodd seemed to Flaunt the most salacious body frame after going shirtless.
Joe, Omashola took turns in rocking Mercy: From Elozonam to Omashola and Joe, these male housemates took turns in rocking Mercy who couldn’t help but shake her booty to the admiration of many housemates. The guys who couldn’t take their eyes off Mercy’s behind took turns in dancing with her in the full glare of Ike who was watching throughout the party.
Ike got so angry and he told Mercy he was going for Joe who probably hadn’t gotten the memo of his relationship with Mercy. Mercy begged him not to create a scene as it was only a harmless dance and nothing to worry about.
Gedoni and Khafi, Ike and Mercy steal kisses at the party: The lover birds in the house, Geodic and Khafi, Ike and Mercy enjoyed the Saturday night party with other housemates, but also took out time to steal kisses. The lover birds ensured they found some quiet time out of the noisy club house for fun. Ike and Mercy sneaker out to steal some kisses and cuddle before joining other housemates to continue rocking the party.
Geodic and Khafi couldn’t leave each other for a split second except on one or two occasions; they were always together cuddling or rocking each other on the dance floor.
Ike picks fight with Seyi to defend Mercy: More drama ensued on the fifth Saturday night immediately after the party. Mercy had calmed Ike down and prevented him from fighting Joe for dancing with her and grinding on her during the party.
However, Seyi got angry that his drink and ice cream were stolen and went on rampage; he visited his anger on Mercy over meat. Mercy couldn’t understand, but apologised to Seyi who wouldn’t hear any of it. Apparently Mercy had told Ike what happened and the Texas returnee went to the garden to rain abuses on Seyi, calling him a ice cream Nigga.
As the argument went on, Ike went into a fit of rage and lurched at Seyi, but they were separated by Sir Dee, Frodd and Omoshola who held him back.
Tacha defends Seyi’s honour to fight Frodd: Tacha came for frodd to defend Seyi’s honour shortly after the heated situation in the house Seyi left the garden after the incident with Ike but frodd decided to bring up the issue he had with him, in his absence, he went about bad mouthing Seyi and Tacha. She went into a shouting match with frodd insisting he should go meet Seyi and sort out issues he has with him rather than talking behind his back.

Entertainment

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

Published

2 days ago

February 13, 2026

The Tide

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

Published

2 days ago

February 13, 2026

The Tide

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.

Entertainment

Funke Akindele’s Behind The Scenes Crosses ?1.77bn

Published

1 month ago

January 9, 2026

The Tide

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.