Entertainment
Lexy M Rates Rivers Entertainment Industry Above Average
Frontline music Maestro and
Showbiz personality in Rivers State, Mr. Lexy Mueka popularly called Lexy M has rated the entertainment industry in Rivers State above average in terms of performance and creativity.
The Ogoni, Rivers State-born musician and producer, said the state is well-blessed with all categories of entertainers as well as peaceful and enabling environment which have turned the state capital, Port Harcourt to one of the most viable cities in the country both in entertainment and other business opportunities.
The former chairman of the performing musicians Employees Association of Nigeria (PMAN) in the State, however noted that most of the foremost entertainers who brought glory and respect to the state through their escapades in the industry were not cerebrated by the state as a mark of honour and respect.
According to him people like Late Cardinal Rex Lawson, Prince David Bull Jackwest Omodu of Garden city band, Boma Erekosima and Living Legend, King Sunny Brown Etc, have not been remembered in the last five years. He stressed that these Icons of the industry need to be remembered and celebrated annually.
He noted that music is part of show business, in Lagos, Onitsha, Aba Etc musicians there see every thing about music as business, but their colleagues here in Port Harcourt see it as fun and this attitude is not helping them to grow to stardom and recognition, so they need to repackage themselves to national and international standards.
He emphasized that another militating factor against the growth of musicians in the state is lack of encouragement, recognition and sponsorship, because our people do not believe in the indigenous musicians, they rather prefer outsiders, he also complained about lack of viable market in the state where musicians could record and sell their works that is why most of them go to Lagos and other neighbouring cities and refused to come back.
He however, contended that despite these set backs all genres of music live here in the state, while most of the artistes making waves in the countrymusic clan today all have their roots in Rivers State, such as Duncan Mighty, Daniel Wilson, Flavour, Burna Boy, Gift of Aboki Shine My Shoe fame, Oba Omega, Rymzo Etc.
On the comedy profession in the state, the Showbiz Maestro said “most of the people who parade themselves as comedians are nothing but jesters”. He maintained that comedy to him is humour mongering to make people laugh and relax not to insult organizers of the event and their guests.
He observed that during the days of Iyobu Koko, Boma Erekosima, Micheal Obodo Singer Etc, comedy was all about laughter, fun and relaxation, but these days, comedians turn their employers and guests to dummies to be laughed at even after paying heavily for their services.
According to him, these anomalies exist because there are no checks and balances in the profession and “they donot even have an association to check their excesses. He however expressed hope that genuine comedians with the talent and exposure will soon sort out themselves to prove to the world that comedy is not an all comers game.
For the movie industry, he said Rivers State is not playing the second fiddle as most of the actors and actresses from the state who have found themselves in the mainstream are playing leading roles in the make believe industry in Nigeria, called Nollywood.
He reiterated that there is hardly any movie jacket in the market without the faces of the Rivers State born thespians such as Sam Dede, Columbus Irisoanga, Walter Anger, Gentle Jack, Alaso Wariboko, Monalisa Chinda, Hilda Dokubo, Tonto Dike, Maureen Ihua, Milliscent Jack Etc.
LexyM who is also into movie production confirmed that there are good script writers with interesting story lines in Rivers State, but they lack the finances to develop the scripts or shoot the movie, so most of them sell the scripts to producers and marketers.
Beauty pageants is another aspect of the entertainment clan the seasoned musician rated highly. He said with the various international beauty events hosted by the state, it is obvious that Rivers State occupies an envirous position in the world. Apart from hosting Two Editions of ECOWA beauty pageant and several others, Rivers State born Agbani Derego was crowned the first ever black African Miss World, which brought international recognition to not only Rivers State but to Nigeria as a country.
He observed that many people misunderstand beauty pageants and attach negative opinions to it with diverse cultural values which is affecting most of the young girls who may want to become models and queens, he noted that beauty pageants are all about beauty and brains, fashion and modeling so parents should encourage their beautiful daughters to participate and bring honour to the state.
LexyM however condemned the fake pageant organizers who are out to dupe the public and the contestants. He said most of them choose the girls with very rich back ground or social contacts in high places as winners.
Most times the wishes of the audience do not count as the handpicked judges are there to do the bidding of the organizers. Others promise mouth watering prizes and big contracts for the winners only to disappoint them at the end.
He said these are the people killing beauty pageants in the state. He therefore called on the state government to investigate the activities of these organizations to fish out the fraudsters, and sanitise the industry.
He lauded the State government for reviving and showcasing the state’s indigenous cultural heritage through CARNIRIV. According to him the event has brought Tourists and international organizations from all over the world to the state.
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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