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Nigeria: The Journey To Civil Rule

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The destiny of Nigeria as an independent state, certainly is influenced by the manner of its conception and creation. As a product of colonial and imperialistic adventure, Nigeria’s attempt to evolve a definite and enduring pattern of socio-political existence had been wavering and shallow.

The Nation, perhaps, survives on an ethnocentric platform, where the only bond is a false claim to federalism, whereas every ethnic group give their first loyalty to their various ethnic sentiments.

There had however been calls by the stakeholders for a Sovereign National Conference where the various component units that make up the country will discuss the basis of their corporate existence, but such calls had remained a pipe dream.

Proponents of Sovereign National Conference like the Nobel laureate and literary icon, Prof Wole Soyinka and foremost nationalist, Pa Anthony Enahoro, had insisted that only a Sovereign National Conference that can settle the problems of Nigeria.

In their view, those who are anti Sovereign National Conference are the beneficiaries of a skewed political system that will not want to let Nigeria out of the hook of their grand political deception.

Nigeria had, to a large extent, has also been a victim of party politics.

At independence, Nigeria adopted parliamentary system of government, an indigenous version of the westmister model practiced in Britain, its former colonial overlord. But the parliamentary system was truncated by the military through a coup de’ tat.

The aftermath was series of bloody revolutions including a civil war that threatened the very existence and foundation of the country. The military’s contemptuous seizure of power in the country was stamped on the self righteous notion that the politicians are corrupt.

With the prevailing ethos of the ruling military class operating as a tiny cabal from a dominant part of the country, the minority groups where placed permanently at a disadvantaged position as mere spectators in the game of power.

This compounded the knotty problems of complex relationships in the country.

But passing years often take with them the burdens and struggles of a nation, and sometimes providence plays the ultimate role in shaping the ideals of a country.

With the advent of democratic rule in 1999, Nigerians are begging to keep faith with democracy and obviate the pains of yester years.

Some Nigerians who spoke with The Weekend Tide on the strides of the country on certain critical areas of the economy were ambivalent in their assessment.  

Lenu Kpagi, an Assistant Comptroller General of Customs, (retired) thanked God for keeping the country united over the past 50 years.

Kpagi who had a bias for qualitative educational development of the country, decried the high premium placed on paper qualification in the country which had encouraged sharp practices in the education sector in a desperate bid to acquire certificates.

Kpagi recalled that in those days, when students fail exams they worked hard to remedy their deficiencies. Such zeal for hard work, he noted, had disappeared from the educational system as students do not want to learn but want to cut corners to acquire certificates.

He said parents were culpable in the act as some parents go any length to aid and abet their wards to acquire certificates without merit.

“Everybody want to have a certificate so that they can access important positions, especially in government. Some parents bribe teachers to assist their children in getting certificates.  

Kpagi who is an educationist and founder of Zina Academy however stated that their was remarkable improvement in terms of internet facilities and  modern technologies compared to the past.

The weekend Tide also spoke with some civil society groups.

Adebayo Samuel, strategy coordinator of the Development Partnership International, a civil society organisation, expressed concern over the electoral process in the country.

He said Nigerians should stand firm and expressed their franchise without intimidation as that was the only way of whipping the erring system to line.

He regretted that inspite of glaring inconsistencies in the electoral system, the National Assembly was reluctant to institute the needed reforms.

 Rita Kigbara, of the stakeholders Democracy Network, said there was need for a strong civil society presence to put things under check. She said civil society participation in Nigeria was still dismal and need to be re-invigorated.

She hinted that blind materialism had beclouded the reasoning of Nigerian law makers to the extent that they are less concerned about stabilising the polity through practical reform programme.

She called on the president, Dr Goodluck Jonathan to restore the hope of Nigerians by exerting strict supervision of the various agencies and machineries of government  to be proactive and make expectations of Nigerians a reality. 

Dr Chime Onumba, a safety management expert and academic, said there was nothing to celebrate.

According to him, Nigeria’s political system is a mockery of democracy,  as critical issues such as resource control, economic manpower and, electricity are yet to be addressed.

He noted that the tyranny of mere will had blinded the conscience of the political leaders of the country and they are only concerned about what they can milk out of the system.

To him, the violence in various parts of the country which had claimed innocent lives is an epitome of a decadent society.

On political reforms, he said it was totally, wrong and unacceptable for the North to claim exclusive right to governance. He also kicked against the idea of restriction of movements on election days, stating that it was a deliberate plot to cow the electorates to submission of the political whims and caprices of the wielders of power.

 He blamed the numerous problems of the country on politicians whom, he accused of dubiously manipulating the system and exploiting the citizenry.

Dr Onumbu also called for higher remuneration for University lecturers and civil servants, which, according to him, are the highest victim of hyper inflation in the country. 

 

Taneh Beemene

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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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