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Winnie Mandela: Flawed Heroine?

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South African activist, Winnie Madikizela Mandela has died at the age of 81 after battling a long illness. She was once married to former South Africa’s beloved President, Nelson Mandela of blessed memory but she never cowered in his shadow she was an activist in her own right.
When Gertrude and Columbus Madikizela had their fourth daughter in 1936, they gave her the name Nom Zamo if indeed parents have premonitions of their children’s lives, Winnie Mandela was aptly named “Nom Zamo’ in their native Xhosa Language while literally means “she who strives: for more than six decades, she spent her life striving for justice for herself, her family and her country until her death on Monday April 2nd 2018 at the age of 81.
Her famed marriage to the symbol of anti-apartheid was bound to make her a collaborator in the fight against racial segregation in that country, but her struggle actually began before the two met at a time when it was a rarity for black people to go to school. She attended the Jan H Hopmeyr School of social work and earned a degree in social work at the age of 20.
It was not until two years later that she met a handsome fourth-year-old man at a bus stop where she was trying to get home from her job as a social worker, Rolih Lahla Nelson Mandela a tall charming man and soon enough a romance ensued between them.
Winnie was weary that the man was married and had three children already. He convinced her that the marriage had become strained as a result of his involvement into politics. Eventually, Mandela’s first wife Evelyn Mase filed for divorce, citing adultery on the part of her husband that same year, 1958 Mandela and Winnie got married, their happiness was doomed to be short lived.
In five years, the couple had two daughters, Zenani and Zindziwa but due to his work in fighting against apartheid Mandela was frequently picked up and charged to court. However, in 1963, he was sentenced to life imprisonment on charges of planning a violent over throw of the government.
The responsibility of continuing the struggle fell on the young wife’s shoulders and she carried on where Mandela stopped, she was arrested and detained several times often tortured, but her spirit was never broken she led the political party ANC like an Athena. In 1969 she was kept in solitary confinement for 18 months.
Even when she was banished to exile in 1977, her house was bombed twice by apartheid operatives, but her work was not without controversy. She was widely criticized for endorsing the killing of political opponents and quoted in 1986 as saying: “with our boxes of matches and our necklaces we shall liberate this country (Necklacing as in the burning of people with tyres around their necks).
She was also said to have a security force known as Mandela United Football Club whose role was to kill opponents and turncoats Most notoriously, she and her body guards were accused of slitting the throat of 14 years-old-Stompie Moeketsi who they suspected to be a police informer. She was given a six year jail term but offered the option of a fine.
Her criminal accusations also included several cases of intimidation and blackmail, little wonder publications described her as a “tarnished symbols. When Mandela was released from prison in 1990, she was on his arm and sang the “Bring him home song”. She was by default the frist lady of the new democratic South, Africa.
Like it was before Mandela’s conviction the love was short lived the couple separated in 1992 and finally divorced in 1994. Winnie’s affair with a young lawyer, Dali Mpofu proved too bitter a pill for the old man to swallow, still she was part of his cabinet as deputy minister of Arts, Culture Science and Technology until she was sacked in 1985 after allegations of corruption, she later included her maiden name in full appellation going by Winnie Madikizela Mandela.
In 2003, she was again found guilty of embezzlement and given a suspended sentence of three years, but she returned to politics as a member of parliament from 2009 until her death. Every hero has an achilles heel, perhaps Winnie Mandela’ hubris was her unflinching conviction in whatever she believed in, even when it seemed like the end did not actually justify the means.
She was unflinching and blessed or is it cursed with a scatting tongue. She once reportedly called Arch Bishop Desmond Tutu ( another revered figure in South Africa) a cretin, Mandela himself was not left out of her sharp criticism His Concilliatory approach to the new South Africa with something she did not agree with Mandela did not go to prison and he went in there as a burning young revolutionary”, she once said an interview. But look what came out, Mandela let us down, he agreed to a bad deal for the blacks.
Nevertheless, her devotion to Mandela continued until he died. Many observers believed that the two were sole mates and never actually stopped loving each other even if she went to court to prove that their divorce was a fraud and he completely left her out of his will. Graca Machel whom Mandela later married also had a courteous relationship with her and once said.
“It is unfortunate that in our lives we don’t interact very easily, but I want to state very clearly that Winnie is my hero, Winnie is someone I respect highly since her passing on Monday several nes outlets have described her as a flawed hero mugger and controversial, but she would not have minded her life she repeatedly said was dedicated to the struggle against shite rule, in her words: “I was married to the ANC, it was the best marriage I ever had, I am not sorry, I would never be sorry, I would do everything I did again if I had to everything”, Winnie is survived by two daughters, eight grandchildren and a nation in mourning source, net news ltd.

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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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