Entertainment
At 43, Rivers Still Dominates Entertainment Clan In Nigeria
As Rivers State celebrates its 43rd anniversary with pomp and pageantry, it is pertinent to note the achievements, progress, challenges and prospects of the entertainment industry as partners in the growth and development of the oil rich state since its creation in May 27, 1967. There is however, no doubt that over the years, the industry has experienced the good, the bad and the ugly sides in its development strides.
The good aspect is the positive transformation of the industry from its obscure state to a position of reckoning. Today Rivers State is respected as “Nigeria’s home of entertainment. The bad aspect include paucity of funds, sponsorship, leadership tussle and poor distribution framework among others, while the ugly side has remained the nagging problem of piracy and the excesses of the movie and music marketers.
Despite these problems, the industry still remains a force to reckon with in the political and economic development of the country as well as its contribution to the rebranding of the country as well as the promotion of the cultural and social values of the nation among others.
To fully understand the achievements of the industry, its exploits will be discussed based on the various aspects which include:
The Movie Industry: The Movie industry in Rivers State since 1967 is a success strory. Apart from being a vibrant sector with lots of glaring achievements, it has produced the best crop of talents in the nation’s make believe industry called Nollywood. The state boasts of the best locations, hospitality outlets and other facilities for the production of standard movies that can stand the test of time both locally and internationally.
In the early days, we had popular Television series such as, ‘Bassey and Company,’ produced by late Ken Sarowiwa, Obigbo connection with artistes such as Adiele Onyedibia, Paul Worika, Columbus Irosoanga, Sam Dede etc.
Presently, the state has produced top stars who make waves in Nollywood. They include: Engr. Reginald Orlu, Chairman Assocations of Movie producers, Rivers State chapter, Hilda Dokubo, Basorge Tariah, Ibinabo Fiberesima, Gentle Jack, Larry Briggs, Columbus Irosoanga, Tonto Dike, Monalisa Chinda, Vikky Eeen, Alaso Wariboko etc.
The Actors Guild of Nigeria (AGN), which is currently headed by Ibinabo Fiberesima, has also produced many films which include ‘Snake Kingdom’, “War of Roses”, Double Trouble, ‘Battle of the gods’, ‘School Life’, Elegible Spinster, ‘Lost Glory’, ‘Who Cares and’ Sounds Of Love’ among others. It will also be recalled that apart from these achievements, most Nollywood stars who hold sway in the industry today were trained in Rivers State among whom were Ejike Asiegbu, Ini Edo, Sunny Mc Don, Clem Ohaneze etc.
Last year, the Rivers State government sponsored the ION film festival which was hosted here in Port Harcourt. It also happens to be the first time such an international event would be hosted in Africa. The event brought together all the top practitioners from Hollywood of America, Bollywood of India, Gollywood of Ghana and other movie industries of the world to partner with Nollywood, it was the biggest thing to happened to the Nigerian movie industry with a lot of positive developments to show for it.
That same 2009, the state government sponsored the ECOWAS beauty pageant which, was hosted here in Port Harcourt, the Rivers State capital with galaxy of beautiful stars from across the African continent in attendance. It was also a big boost for the tourism sector and opened new avenues for investment and corporation. It is therefore no gainsaying the fact that the entertainment industry has remained a dependable source of revenue for the state all these years despite its shortcomings.
Music industry: The music industry in the state is also developing at a fast pace. It is on record that Rivers State produced the legendary highlife King of Africa, late Cardinal Rex Lawson, who took highlife music beyond the shores of Africa. His music is still played in most of the civilized Western world such as Europe and America. After him, other equally very good lighlife musicians from the state took over. They include King Sunny Brown, King David Bull, late Jackwest Omodu of Garden City Band, the Great Sinya and his Seamasters band etc. We also have other modern musicians like Duniel Wilson, Duncan Mighty, Lexy M, Stone Cold, Muma Gee etc, who are doing very well in the music scene, among others.
Cultural entertainment: When we talk of cultural entertainment we refer to our various cultural dances and plays that not only entertain, but showcase our rich cultural heritage to the outside world. Our cultural dances, plays, and masquaerades like the Orukoro, Odum, Wokorogbo etc, have helped to highlight the acquatic culture of Rivers people and assisted in promoting the growth of entertainment in the state.
Nite Clubbing: This is another aspect of entertainment in the state. Apart from providing entertainment, it gives the fun seekers the opportunity to make new friends and exchange business ideas.
There is no doubt that Port Harcourt is one of the leading states in night clubbing with international standard facilities and the best of music, dance and other side attractions.
It will be recalled that in the ‘90s, the popular nite clubs were Blue Pelican, Chichi night club, Acquarius and later Dreams, which gave way to Parallax, Lulus, Chakas place and Friends Night clubs. Also on the list were Charlies, O.J. Maroni, Rollingstone, Bootleggers Morella, Studiz, etc. Today, most of them are out of business except a few such as Cassablanca, Boomerang etc.
There is no doubt that the entertainment clan in the state has come a long way and still dorminates. The nations entertainment business.
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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