The milestone also means all of Asake’s released projects have now surpassed 50 million streams on Spotify. His catalogue includes Ololade Asake, Mr. Money With The Vibe, Work of Art, Lungu Boy, M$NEY, and M$NEY Live In London.
Asake’s studio albums have recorded particularly strong numbers on the platform. Mr. Money With The Vibe is nearing the billion-stream mark, while Work of Art has crossed 900 million streams. Lungu Boy has surpassed 560 million, and M$NEY has crossed 490 million streams.
The latest milestone further reinforces Asake’s position as one of the most consistent streaming artists to emerge from Nigeria’s current Afrobeats generation, with every major project in his catalogue now recording at least 50 million Spotify streams.
Mike Bamiloye’s Agbara Nla: The Return is now showing in cinemas across Nigeria, bringing the iconic Christian story back to the big screen more than three decades after the original film was released.
The faith-based drama opened in cinemas on October 1, 2026, following its Abuja premiere in September. The new film reimagines Bamiloye’s 1993 classic Agbara Nla, which became one of the defining titles of Nigeria’s Christian film movement during the home video era.
The return has already recorded a strong reception at the box office. According to figures released by the film’s theatrical distributor, Nile Entertainment, Agbara Nla: The Return generated more than ₦71 million from over 12,100 admissions during its single day preview, with the distributor describing the performance as the biggest faith based opening and biggest first day gross for a Nollywood title.
The new production is directed by Damilola Mike Bamiloye and Joshua Bamiloye, the sons of Mike Bamiloye, while Mike reprises his iconic role as Isawuru, the powerful herbalist at the centre of the story. The film was produced by Chris Odeh in collaboration with Mount Zion Film Productions, Sozo Films and Circuits.
— Streamdorm | Film & TV News (@Streamdorm_) October 3, 2026
The original Agbara Nla was released in 1993 and was later followed by its English language adaptation, The Ultimate Power, in 1994. The story became widely recognised for its themes of faith, spiritual conflict, family and the power of Christianity.
The idea for the remake reportedly began about four years before its release, when Damilola and Joshua approached their father about revisiting some of Mount Zion’s classic stories. Damilola revealed that Mike Bamiloye initially rejected the idea of remaking Agbara Nla before eventually agreeing to the project.
Set in the community of Muwonleru, the film follows a village living under the influence of Isawuru, a powerful herbalist.
Olaboye and Olatomi leave their lives in the city to take the message of the Gospel to the community, setting up a confrontation between faith and spiritual darkness. Their mission ultimately places questions of obedience, sacrifice and deliverance at the centre of the story.
Agbara Nla: The Return is currently showing in selected cinemas across Nigeria, with additional showtimes reportedly being added following demand from moviegoers.
Veteran Nollywood actor and film executive Olu Jacobs has been laid to rest in Lagos, following a funeral service attended by his family, friends, colleagues, industry figures and dignitaries.
The celebrated actor, whose full name was Oludotun Baiyewun Jacobs (MFR), was buried on Friday, October 2, 2026, after a funeral service at This Present House, Freedom Way, Lekki Phase 1, Lagos. His private interment followed the service.
He died on September 16, 2026, at the age of 84. His family announced his passing in a statement that described him as the “Lion of Lufodo” and reflected on his life as one “well lived and fought.”
The funeral service brought together members of Olu Jacobs’ family, including his wife, veteran actress Joke Silva, and their sons, Olusoji and Olugbenga Jacobs.
One of the emotional moments of the ceremony came when singer and entertainment entrepreneur Dare Art Alade performed his song “Pray for Me,” which featured the late actor alongside Joke Silva.
Olu Jacobs’ son, Olugbenga, also presented his father’s biography during the proceedings as attendees reflected on the actor’s extraordinary career and contribution to the performing arts.
Among the dignitaries who attended were Lagos State First Lady Ibijoke Sanwo-Olu, Lagos State Deputy Governor Obafemi Hamzat and his wife Oluremi Hamzat, and former Ogun State Governor Ibikunle Amosun. Minister of Arts, Culture, Tourism and the Creative Economy Hannatu Musawa was also reported among those present during the farewell events.
The funeral came two days after a Night of Tributes and Service of Songs held on September 30 at Glover Memorial Hall in Lagos Island. The gathering brought together numerous Nollywood figures who shared memories and tributes celebrating Jacobs’ life, mentorship and decades of work in the industry.
Among those associated with the tribute events were Richard Mofe-Damijo, Sola Sobowale, Funke Akindele, Jide Kosoko, Kate Henshaw, Hilda Dokubo, Segun Arinze, Rita Dominic, Keppy Ekpenyong, Norbert Young and several other figures from Nigeria’s entertainment industry.
Born on July 11, 1942, Olu Jacobs built a career spanning more than five decades across theatre, television and film, working in both Britain and Nigeria. He trained at the Royal Academy of Dramatic Art in London before establishing himself as one of Nigeria’s most recognisable and respected actors.
Beyond acting, Jacobs and Joke Silva co-founded the Lufodo Group and Lufodo Academy of Performing Arts, contributing to film production, distribution and the training of young talents in the performing arts. He was also honoured with the national title of Member of the Order of the Federal Republic (MFR) in 2011.
With his burial now concluded, Nigeria’s entertainment industry has said its final public farewell to an actor whose career helped connect generations of Nigerian theatre, television and cinema.
Olu Jacobs leaves behind a legacy that extends far beyond the screen, through his performances, mentorship, institutions and influence on the Nigerian performing arts. May he continue to Rest in Peace.
A Deeply Emotional Moment As The Family Walks In With The Remains Of Olu Jacobs. Through The Pain Of Saying Goodbye, His wife, Joke Silva Stands Strong, Walking Beside Her Family To Honour Her Husband's Final Journey🥹 💐 🕊️ pic.twitter.com/kixSxG3lbX
Muyeez and Seyi Vibez’s hit collaboration, “Instagram,” has officially been certified 5× Platinum in Nigeria, marking another major milestone for the young singer.
TurnTable Charts announced the certification on October 2, 2026, revealing that the single has surpassed 500,000 units under the TurnTable Certification System of Nigeria (TCSN).
Released on April 30, 2024, “Instagram” served as the mainstream introduction of Muyeez, born Moshood Abdulmuiz, and featured a standout contribution from Seyi Vibez. The Afrobeats and street-pop record quickly gained traction following its release, reaching No. 1 on Apple Music Nigeria within 24 hours before later topping the official Nigeria singles chart.
At the time of its release, Muyeez was around 16 years old and was associated with Seyi Vibez’s Vibez Inc./NSNV Inc. camp. The song’s themes around love, social media and youthful experiences helped it connect strongly with younger listeners and establish Muyeez as one of the notable young voices emerging from Nigeria’s music scene.
MUYEEZ & SEYI VIBEZ’S “INSTAGRAM” IS NOW 5X PLATINUM-CERTIFIED IN NIGERIA 🇳🇬💿
Under the TCSN certification system, a Platinum certification for a single represents 100,000 units, with each additional Platinum level representing another 100,000 units.
As a result, 5× Platinum represents 500,000 units in Nigeria. TCSN’s methodology primarily considers on demand streaming and digital downloads, with different weights applied to paid and ad-supported streams.
“Instagram” had already accumulated multiple certifications before reaching the latest milestone, reflecting its sustained performance since its release.
The certification adds to Muyeez’s growing list of achievements. His catalog has also earned certifications for records including “Free,” “Mortal Kombat” and “247,” alongside recognition for his self-titled EP.
For Seyi Vibez, “Instagram” adds another multi-Platinum record to an already highly certified catalog.
Halle Berry is facing a new legal dispute with her former husband, Olivier Martinez, after the actor accused her of physically abusing their 12-year-old son, Maceo, and asked a Los Angeles County court to grant him sole legal custody.
Martinez, 60, filed a petition for a domestic violence restraining order against Berry, also 60, on October 1, according to court documents obtained by multiple outlets. He alleged that an incident occurred on September 26, when Maceo was at Berry’s home.
In his filing, Martinez alleged that Berry physically attacked Maceo during an argument, claiming she jumped on the child, put her hands around his neck and choked him.
Martinez described the alleged incident as the latest in what he characterized as a pattern of physical, verbal and emotional abuse. He also alleged that there had been previous incidents involving his son over the past several years.
The filing reportedly includes text messages exchanged between Berry and Martinez following the September 26 incident. According to PEOPLE, Berry allegedly told Martinez the following day that she felt terrible about what had happened.
Olivier Martinez Files Restraining Order against Ex-Wife Halle Berry, Accusing her of Physically Abusing their 12 Year Old Son. pic.twitter.com/078SSCoEJh
— Streamdorm | Film & TV News (@Streamdorm_) October 2, 2026
Martinez is seeking to replace the former couple’s existing shared custody arrangement with sole legal custody of Maceo. He also requested restrictions on Berry’s contact with both him and their son.
His attorney, Patrick Baghdaserians, said Martinez’s primary concern is Maceo’s health, welfare and safety, while also arguing that Berry should receive appropriate help.
Berry has denied the allegations through her attorney, Marina Beck, who described Martinez’s filing as “entirely meritless and deliberately misleading.”
In a statement, Beck argued that there is extensive evidence concerning Martinez’s own conduct during the couple’s long-running custody dispute, alleging that he has violated court orders and interfered with therapeutic and educational interventions involving their son.
Berry’s legal team said the actress remains focused on Maceo’s best interests and intends to continue fighting for him.
The allegations made by either side have not been finally determined by the court.
The legal dispute escalated on October 1 when a Los Angeles County judge granted Martinez a temporary restraining order covering him and Maceo, according to court records reviewed by PEOPLE.
The order temporarily changes Berry’s visitation schedule rather than completely cutting off contact between Berry and her son. She is permitted to see Maceo on specified days and during specified hours while the order remains in effect.
The judge declined Martinez’s request for monitoring of Berry’s sobriety, citing insufficient information, according to PEOPLE.
The court has also ordered Berry and Martinez to participate in confidential mediation concerning custody.
A hearing has been scheduled for October 16, when the court is expected to consider the matter further and determine whether the temporary restrictions should remain in place.
The latest dispute comes three years after Berry and Martinez finalized their divorce following years of legal proceedings.
The former couple married in 2013 and welcomed Maceo later that year. They separated in 2015, and their divorce was finalized in 2023.
Under their divorce agreement, Berry and Martinez shared joint legal custody of Maceo. Berry was also ordered to pay Martinez $8,000 per month in child support, along with an additional percentage of income above a specified threshold. She was also responsible for certain educational and extracurricular expenses.
Their co-parenting relationship has previously required court intervention. In 2024, the former couple agreed to participate in co-parenting therapy intended to help resolve disagreements and improve their ability to co-parent Maceo.
Streamdorm careful not to treat the allegations made by Martinez nor the counterclaims made by Berry’s legal team as findings of fact at this stage. The court proceedings will determine how the custody dispute develops and whether any longer-term orders are warranted.
When we talk about AI products, we often focus on what the technology can do. How intelligent is it? How accurate is it? How quickly can it respond? How much work can it automate?
But as AI becomes a more common interface between companies and their customers, I think we need to ask another question: what is it like to interact with the AI?
I am Amara Awana, a Conversational AI Designer. I design and build AI conversational systems. My work sits at the intersection of conversation design, AI product experience, branding and marketing. My background in English and Literary Studies, alongside my interests in scriptwriting, filmmaking and brand strategy, has shaped the way I think about conversations between people and machines.
Designing AI conversational systems is a branding and marketing decision not only a technical decision, not only a product decision, not only a UX decision.
Because when an AI becomes one of the ways people experience a company, the way that AI communicates becomes part of the experience. And the experience becomes part of the brand. That is where I think conversational AI gets particularly interesting.
I Think About AI Through Character
My interest in this started with storytelling. Think about a character in a film that you really love. You probably remember more than what happened in the story you remember the character: their personality, their mannerisms, their reactions and, especially, the way they speak. Sometimes you can recognise a character from a single line because you already know how that character talks. There is an identity there, and that identity makes the character both recognisable and memorable.
I started wondering what this could mean for AI. What happens when we deliberately design an AI conversational system with a recognisable identity? Not because we are pretending the AI is human, but because we have made intentional decisions about how it communicates: its voice, its tone, its personality, its conversational behaviour, its responses to different situations, its relationship with the user.
Imagine two AI products that can perform essentially the same task. Both are accurate, useful and fast. But one feels generic, while the other has a distinctive conversational identity that fits the product. You may use both, but you might remember one. You might even talk about it: “I love this AI.”
That interests me, because now the user is not remembering only what the product did they are remembering the experience of interacting with it. And that experience can become part of the brand.
The Conversation Is Part of the Brand
We often think about branding through visual elements: the logo, the colours, the typography, the website, the packaging, the social media presence. But people do not experience brands only through visual identity. They experience them through interactions.
If an AI is one of the ways a customer interacts with a company, then that conversation is part of the brand experience. Think about what happens when a customer asks an AI a question. The system has an opportunity to communicate something about the company through that interaction. It can feel warm or cold, playful or serious, formal or conversational, direct or overly cautious, distinctive or completely interchangeable. Those choices affect the interaction, and the interaction contributes to how the user experiences the product.
This is why I keep coming back to a simple idea: everything is brand. The conversation is part of the experience. The experience is part of how people perceive the product. And the personality of the AI can become part of what people remember about the product. That makes conversational design more than an interface decision it becomes a brand decision.
Duolingo Shows What This Can Look Like
One company that has understood the power of personality particularly well is Duolingo. Duolingo is not simply a language learning product with a green owl attached to it. The personality of Duo, the company’s mascot, has become deeply connected to the way people experience the brand: the humour, the exaggerated reactions, the playful threats, the tone of its notifications, the way the brand communicates on social media. These are not separate from the product’s identity they reinforce it.
Imagine extending that principle beyond a mascot or marketing campaign and into an AI interaction. If a user is talking to an AI tutor, the AI does not have to communicate like a generic educational chatbot. It could reflect the same personality principles that make the wider product recognisable. That does not mean every response needs to contain a joke, or that the AI should constantly perform a character. It means the interaction can have an intentional point of view: encouraging without sounding artificial, playful without becoming distracting, direct without becoming cold, supportive when the user struggles, celebratory when they make progress.
The important thing is consistency. The personality should feel like it belongs to the product. That is where branding and conversational design begin to overlap.
This Is Where Marketing Comes In
I think conversational AI can become one of the most interesting marketing touchpoints for an AI product. Not because the AI should constantly sell something that is not what I mean. I mean that every interaction is an opportunity to reinforce what the product represents.
If a company says its brand is friendly, but its AI communicates like a cold instruction manual, there is a disconnect. If a product is built around creativity, but every interaction feels robotic and generic, there is another disconnect. If a company has spent years developing a distinctive brand voice, but its AI sounds exactly like every other AI product, that is an opportunity being missed.
The AI is communicating with the customer. So why should that communication feel disconnected from the brand? For me, that is a marketing question. And it is a design question.
The interaction itself can carry the brand in the way a system welcomes someone, asks a question, or handles frustration.
The interesting part is that this does not require the AI to advertise anything. The interaction itself can carry the brand: the way the system welcomes someone, the way it asks questions, the way it explains something, the way it handles frustration, the way it responds when it does not know something, the way it guides someone through a task. All of these are moments in which the user is experiencing the product. That is why I think conversational design deserves a place in the marketing conversation.
Designing Personality Is Not Just Making AI Fun
There is a tendency to think that giving an AI personality means making it quirky: give it a funny name, add jokes, make it use emojis, give it an avatar. That is not what I mean by personality.
Personality needs to be designed intentionally. How does this AI speak? How direct is it? What does it value? How does it respond when the user is frustrated? How does it handle uncertainty? What does it do when it cannot fulfil a request? How does it disagree? How does it guide the user? What kinds of language does it repeatedly use? What should the interaction feel like? These are conversational design decisions, and they can influence the identity of the product.
A memorable AI does not necessarily have to be loud or entertaining. It can be quiet. It can be serious. It can be extremely direct. It can be warm. It can be sophisticated. The point is not to make every AI quirky the point is to make the AI recognisable, appropriate and intentional. Its personality should make sense for what the product is and the experience the company wants people to have.
Conversation Is More Than Generating a Response
This is another reason my background influences how I approach conversational AI. I studied English and Literary Studies, which gave me an interest in language, pragmatics, discourse and turn taking. I also write, work with scripts and have an interest in filmmaking. So when I look at a conversation between a person and an AI, I naturally think beyond the individual response.
I think about the interaction. What happens before the response? What does the user expect? What should happen next? When should the system ask a question? When should it stop talking? How should it recover when something goes wrong? How should one turn influence the next? How does the conversation feel as a whole?
In scriptwriting, dialogue is not simply a collection of sentences. Dialogue moves something forward. It reveals character. It communicates information. It creates tension. It establishes relationships. It changes the direction of a scene. I think there is something valuable in bringing that way of thinking into conversational AI design.
We are designing conversations. So we should care about how those conversations work. An AI response should not only be evaluated by whether it is correct. We should also ask whether it is appropriate for the moment, whether it moves the interaction forward and whether it contributes to a coherent experience.
What Makes an AI Product Feel Like Its Own?
This becomes increasingly important as AI products become more common. Many products will have access to powerful underlying models. Many will be able to answer questions, summarise, generate, recommend and automate. The technology behind them may become increasingly accessible. So I think another question becomes important: what makes your AI experience yours?
Part of the answer may be the technology. But part of it can also be the experience built around the technology: the personality, the conversational behaviour, the voice, the way the system interacts with people, the way it handles uncertainty, the way it responds to different situations, the way it represents the brand.
This is where I see conversational AI design becoming strategically important. The underlying model may not be what differentiates one product from another the experience built around that model might. Two companies could use similar AI models and still create completely different products, because the model is only one part of the experience. What happens around it matters too. The conversation matters. The interaction matters. The personality matters. The brand matters.
What I Am Interested in Designing
This is the space I am exploring through my work. I design and build AI conversational systems. I am interested in how we can design systems that understand their purpose, communicate intentionally and create experiences that people enjoy and remember.
I am interested in the relationship between conversation and product experience, between personality and brand, between dialogue and user experience, between AI systems and the people who interact with them. I am particularly interested in what happens when we stop thinking about conversational AI as simply a way for users to get answers and start thinking about it as a designed experience.
Because sometimes, the most memorable thing about a product may not be what the product did. It may be the experience of interacting with it. The way it spoke. The way it responded. The personality it consistently presented. The small details that made the interaction feel different from another product.
And that is why I believe conversational AI design deserves a place in conversations about product, branding and marketing. The future of AI products will not only be about what their systems can do. It will also be about how those systems communicate, how those interactions shape the product experience and what people remember after the interaction ends.
Not AI that simply works. AI that creates an experience worth remembering.
ABOUT THE AUTHOR
Amara Awana is a Conversational AI Designer who designs and builds AI conversational systems.
Her work sits at the intersection of conversation design, interaction design, AI product experience, branding and marketing. With a background in English and Literary Studies and interests spanning scriptwriting, filmmaking and brand strategy, she approaches conversational AI through the lens of language, dialogue, interaction and experience.
She is interested in designing AI systems that do more than provide information systems that communicate with intention, express a distinctive identity and create experiences people can remember.
Based in Africa and working at the intersection of AI, interaction design, marketing and branding, Amara is exploring what comes next for conversational interfaces, including embodied AI and conversational robotics. Her broader ambition is to help shape how people experience AI, not simply through what these systems can do, but through how they communicate, behave and interact with us.
For Mohzeez, entertainment has always been about more than what happens in front of the camera. It is about people, personalities, stories, and the conversations that reveal what exists beyond the public image.
Born in Surulere, Lagos, and raised in Badagry, Mohzeez’s journey has been shaped by experiences that taught him resilience, ambition, and the importance of building something of his own. Today, he is channeling those qualities into The Mohzeez Show, a podcast and entertainment platform built around authentic, entertaining, and often unpredictable conversations.
The name Mohzeez represents more than an identity. For him, it represents creativity, entertainment, authenticity, curiosity, and the person he is continuously becoming.
His long term ambition is to transform the name into a brand that extends beyond an individual, a platform and community built around creativity, storytelling, entertainment, and genuine human connection.
That ambition is rooted in a desire to create something he can truly call his own.
“I want to look back one day and be able to say, ‘I built this from nothing,’” Mohzeez says.
His upbringing in Badagry exposed him to different stages of life, including periods of difficulty and moments when things were going well. Those experiences helped shape his understanding of resilience, relationships, family, and the importance of appreciating opportunities.
They also strengthened one of his biggest motivations: building a future where he can take care of the people he loves while creating something meaningful for himself.
Mohzeez’s interest in entertainment developed alongside a natural curiosity about people.
He has always been drawn to different personalities, their stories, and the parts of their lives that audiences do not necessarily see. Over time, that curiosity evolved into something more.
Rather than simply consuming entertainment, he wanted to become part of the process of creating it.
His academic journey took him to the University of Benin (UNIBEN), where he studied Guidance and Counselling. While his university education provided an academic foundation, some of his most important development came from experiences outside the classroom.
Those experiences eventually led him toward content creation and podcasting, where his natural curiosity and interest in people could become part of his work.
The idea behind The Mohzeez Show goes beyond simply creating another podcast.
For Mohzeez, the platform is an opportunity to have conversations that feel natural, unpredictable, humorous, and honest.
Rather than limiting interviews to promotional conversations, he wants guests to be able to talk about their journeys, successes, failures, challenges, personalities, and experiences away from the public eye.
“I wanted to create a space where conversations could feel real,” he explains.
That philosophy also influences the type of guests he wants to feature. While entertainment remains a major part of the platform, Mohzeez does not want the show restricted to one industry.
Creatives, entrepreneurs, professionals, influencers, artists, entertainers, and people with compelling stories all have a place within his vision.
For him, being a major celebrity is not necessarily the most important qualification for a guest. Personality, experience, perspective, and the ability to tell a genuine story matter just as much.
Mohzeez describes himself as ambitious, curious, energetic, funny, and people oriented.
That personality plays an important role in the format of his show. He can move from a serious conversation to humour in a matter of seconds, while his natural curiosity keeps him asking questions that can take a conversation in unexpected directions.
It is also part of what he hopes viewers will connect with.
He wants audiences to feel as though they are sitting in the room with him and his guests rather than watching a rigid interview from a distance.
The goal is to create moments that can make viewers laugh, think, learn something new, or simply see a familiar personality differently.
The confidence and humour audiences see on screen only represent one part of Mohzeez’s journey.
Behind the finished content are the challenges that come with trying to build something independently, including financial setbacks, uncertainty, mistakes, sacrifices, and periods when progress did not happen as quickly as expected.
Those experiences have taught him patience, discipline, and resilience.
They have also reinforced his belief that meaningful success takes time.
One of the people who has influenced his perspective on entertainment is Nigerian media personality Isbae U, whose approach to conversations and entertainment has shown Mohzeez the power of personality, consistency, and audience connection.
For Mohzeez, talent is only one part of the equation. Discipline, courage, consistency, and a willingness to continue learning are equally important.
Mohzeez wants the show to become synonymous with real conversations, humour, curiosity, chaos, and authenticity.
Mohzeez and Reeguy Beatz on The Mohzeez Show
The unpredictability is intentional.
A conversation might move from serious discussions about a guest’s career to jokes, uncomfortable questions, unexpected stories, or revelations that were not necessarily planned.
That balance is central to the show’s identity.
The objective is not simply to entertain viewers, but to leave them with something after every episode. Whether that is a new perspective, a lesson from a guest’s journey, inspiration from their struggles, or simply a good laugh.
Mohzeez’s ambitions extend beyond becoming a successful podcaster.
Over the next three to five years, he wants The Mohzeez Show to develop into a recognized entertainment and conversation platform with a strong audience across YouTube, TikTok, and other digital platforms.
He envisions bigger guests, stronger production, deeper conversations, and a community that genuinely looks forward to each episode.
But the larger vision extends beyond the show itself.
Mohzeez intends to build businesses and creative projects around the wider Mohzeez brand, with the long term goal of becoming a creator, entrepreneur, and entertainment personality whose work exists beyond podcasting.
At the heart of Mohzeez’s journey is a simple ambition: to build something meaningful from his own vision.
He wants his story to demonstrate that people do not need to have everything figured out before they begin.
For him, the journey is still unfolding.
The goal is to create opportunities for others, tell stories that deserve to be heard, entertain audiences, and build a brand capable of outliving any single moment.
Ultimately, he wants the name Mohzeez to represent growth, creativity, resilience, authenticity, and the courage to start from wherever you are and keep building.
And with The Mohzeez Show, that journey is already underway.
Veteran Nigerian actor and film executive Oludotun Baiyewun Jacobs, popularly known as Olu Jacobs, has died at the age of 84.
The Jacobs family announced his passing on Wednesday, September 16, 2026, describing the celebrated actor as “The Lion of Lufodo.”
In a statement shared by his son and associated with the family, they wrote:
“It is with gratitude to God for a life well lived and fought, that we announce the passing of our dear husband, father, grandfather and uncle. The Lion of Lufodo. Oludotun Baiyewun Jacobs (MFR) 11/07/1942 – 16/09/2026.”
The family also appealed to the media and social media users to respect their privacy during the period of mourning.
Born on July 11, 1942, Olu Jacobs built a career that spanned more than five decades, establishing himself as one of the most respected actors to emerge from Nigeria.
He trained at the Royal Academy of Dramatic Art (RADA) in London, where he began his professional acting career before appearing in several British television productions and international films.
His early credits included appearances in television series such as The Goodies, Till Death Us Do Part, The Professionals, Angels and The Tomorrow People. He also appeared in international films including The Dogs of War (1980), Baby: Secret of the Lost Legend (1985) and Roman Polanski’s Pirates (1986).
After returning to Nigeria, He became one of the defining figures of the country’s emerging film industry.
Over the course of his career, he appeared in more than 100 Nigerian films and became particularly recognised for his commanding portrayals of traditional rulers, fathers, politicians, elders and other authoritative characters.
His distinctive voice and screen presence eventually made him one of the most recognisable faces in Nigerian cinema, with Jacobs frequently mentioned among the foundational figures of Nollywood.
Jacobs’ contributions to African cinema earned him numerous honours throughout his career.
He won the Africa Movie Academy Award for Best Actor in a Leading Role in 2007 and received the Industry Merit Award at the 2013 Africa Magic Viewers’ Choice Awards.
He was also honoured with a Lifetime Achievement Award at the Africa International Film Festival, while the Nigerian government conferred on him the national honour of Member of the Order of the Federal Republic (MFR) in 2011.
In 2026, his 84th birthday was celebrated publicly by his wife, veteran actress Joke Silva, who referred to him as “The Lion of Lufodo.”
Beyond his work on screen, He played an important role in developing Nigeria’s creative industry infrastructure.
Together with Joke Silva, whom he married, he co-founded the Lufodo Group, a company involved in film production and distribution, as well as the Lufodo Academy of Performing Arts.
Through the academy and their wider work in the industry, the couple contributed to the training and development of a new generation of Nigerian performers.
Olu Jacobs gradually stepped away from acting and public appearances in his later years.
His reduced presence on screen followed revelations from Joke Silva that he had been living with Lewy body dementia, a progressive neurological condition. The family had previously faced repeated false reports of his death, including a widely circulated rumour in 2024 that was publicly debunked by his son.
The announcement of his passing on September 16, 2026, therefore marks the end of the life and career of one of the most influential figures in Nigerian acting.
For generations of Nigerian and African audiences, Olu Jacobs was more than a prolific actor. His work connected Nigeria’s theatre tradition with the country’s rapidly expanding film industry and helped establish a standard for screen performance that influenced countless actors who followed.
From British television and international cinema to the growth of Nollywood, he maintained a career that crossed industries and generations.
He leaves behind his wife, Joke Silva, their children and grandchildren, as well as a body of work that remains deeply embedded in the history of Nigerian cinema.
The Jacobs family has asked the public, bloggers and social media influencers to respect their privacy as they mourn.
Nigerian dancer and performer Poco Lee, whose real name is Iweh Pascal Odinaka, is set to return to court in the United Kingdom in February 2027 as proceedings continue over allegations of sexual offences.
The development follows a Plea and Trial Preparation Hearing held at Snaresbrook Crown Court today, Tuesday, September 15, 2026.
Poco Lee is facing five charges in connection with alleged incidents in east London on July 23, 2026. The charges include two counts of rape, one count of attempted rape and two counts of assault by penetration.
According to reports from the proceedings, the prosecution requested additional time to gather further evidence in the case. The court subsequently scheduled Poco Lee’s plea hearing for February 8, 2027, while the trial is expected to begin on March 8, 2027.
The latest hearing was part of the preliminary legal process and was not the trial itself.
Poco Lee was previously granted bail on September 11, 2026. Reports have also stated that he remains subject to bail conditions while the case proceeds.
The allegations against the entertainer remain before the court, and he is presumed innocent unless and until proven guilty.
Community leader Benjamin Kuti has also called for restraint and respect for the judicial process as the case continues, urging the public not to prejudge the outcome.
The case has attracted attention among fans and followers of the Nigerian entertainer, with some sharing messages of support online.
For now, the next major development will be Poco Lee’s February 8, 2027 plea hearing, ahead of the scheduled trial in March.
The 2026 African Muzik Magazine Awards (AFRIMMA) have officially concluded, bringing together some of the biggest names in African music, entertainment and culture for a night celebrating the continent’s creative excellence.
The awards returned in 2026 after a two-year break, with this year’s ceremony taking place on September 12 at Annette Strauss Square in Dallas, Texas, as part of the expanded AFRIMMA MusicFest.
The 2026 edition saw artists from across Africa and the diaspora compete across regional, musical and cultural categories, with 41 honors ultimately presented.
DR Congo’s Fally Ipupa emerged as one of the biggest winners of the night, taking home Artist of the Year and the Crossing Boundaries with Music Award. Nigeria’s Davido won Album of the Year for 5ive, while BNXN and Sarz took home both Song of the Year and, alongside Diamond Platnumz and Juma Jux, competed among the year’s biggest collaborations.
Other notable winners included Tems, Ruger, Tyla, Marioo, Nikita Kering, Fola, Phyno, Mercy Chinwo, Eno Barony, DJ Tunez, London, Patoranking, Shenseea, Dope Nation, Victor Osimhen, Victony and Didi B.
Full AFRIMMA 2026 Winners List
Regional Awards
Best Male West Africa Nominees: Davido, Black Sherif, BNXN, Rema, Asake, Didi B, Djodje, Burna Boy, Wizkid, Ruger, Dino Santiago Winner: Ruger
Best Female West Africa Nominees: Hadzi Vodushi, Tems, Josey, Viviane Chidid, Ayra Starr, Moliy, Tiwa Savage, Mariam Ba Lagare, Teni, Soraia Ramos Winner: Tems
Best Male East Africa Nominees: Lij Michael, Marioo, Eddy Kenzo, Diamond Platnumz, Juma Jux, Bien, Mbosso, Joshua Baraka, Single Dee, Barnaba Winner: Marioo
Best Female East Africa Nominees: Abigail Chams, Veronica Adane, Bridget Blue, Zuchu, Nikita Kering, Ariel Wayz, Njerae, Winnie Nwagi, Salemia Winner: Nikita Kering
Best Male Central Africa Nominees: Matias Damásio, Dadju, TayC, Fally Ipupa, Calema, Gims, Gerilson Israel, Ko-C Winner: Gerilson Israel
Best Female Central Africa Nominees: Anna Joyce, Rebo, Krys M, Blanche Bailly, Cindy Le Coeur, Espoir La Tigresse, Jessy B, Emma’a Winner: Emma’a
Best Male Southern Africa Nominees: Scott Maphuma, Nutty O, Yo Maps, DJ Maphorisa, Zeze Kingston, Cassper Nyovest, William Last KRM, Kabza De Small Winner: DJ Maphorisa
Best Female Southern Africa Nominees: Mawhoo, Tamy Moyo, Charma Gal, Babalwa M, Hanna, Uncle Waffles, Bombshell Grenade, Makhadzi, Tyla Winner: Tyla
Best Male North Africa Nominees: Wegz, Stormy, Adviser, Amr Diab, Marwan Moussa, ElGrandeToto, DJ Snake, Cheb Momo Winner: DJ Snake
Best Female North Africa Nominees: Marwa Loud, Chirine Lajmi, Manal, Souhila Ben Lachhab, Sherine, Latifa, Kenza Morsli, Zina Daoudia Winner: Latifa
Artist of the Year Nominees: Asake, Fally Ipupa, Diamond Platnumz, Burna Boy, Rema, Tyla, Tems, Davido, Bien Winner: Fally Ipupa
Best Gospel Nominees: Mercy Chinwo, Prosper Germoh, Christina Shusho, Miguel Buila, Bidemi Olaoba, Deborah Lukalu, Joel Lwaga, Moïse Mbiye, Sunmisola Agbebi Okeleye Winner: Mercy Chinwo
Best Female Rap Act Nominees: Rosa Ree, Eno Barony, Bombshell Grenade, Freda Rhymz, Moozlie, Ssaru, Ami Yerewolo, Candy Bleakz Winner: Eno Barony
Best Male Rap Act Nominees: Odumodublvck, Jeriq, Ninho, Black Sherif, A-Reece, 6uff, Blxckie, Yung Lunya, Phyno, Himra Winner: Phyno
Best Collaboration Nominees: Bien & Alikiba — “Finale”; BNXN & Sarz — “Back Outside”; Davido & Omah Lay — “With You”; Diamond Platnumz ft. Juma Jux — “Joy”; Patoranking ft. Ruger — “Shake That”; Fally Ipupa ft. Wizkid — “Jam”; Jazzworx & Tukuthela — “Bengicela”; Flavour ft. Baaba Maal — “Afroculture”; Marvais Djo ft. Kano Choir — “Pile” Winner: Diamond Platnumz & Juma Jux — “Joy”
Song of the Year Nominees: Davido ft. Omah Lay — “With You”; BNXN & Sarz — “Back Outside”; Bien & Alikiba — “Finale”; Diamond Platnumz ft. Juma Jux — “Joy”; Moliy ft. Shenseea & Skillibeng — “Shake It to the Max”; Black Sherif — “So It Goes”; Ciza — “Isaka (6AM)”; Young Jonn — “Elumelu”; DopeNation — “Kakalika”; Marvais Djo ft. Kano Choir — “Pile”; DJ Kedjevara — “Ça Fait Mal” Winner: BNXN & Sarz — “Back Outside”
Best Video Director Nominees: Hanscana, Director Pink, Elias Belkader, Mateo Da Silva, TG Omori, Babs Direction, Jake Zaral, Dammy Twitch Winner: Pink
Best DJ Africa Nominees: DJ Spinall, DJ Dollar, Uncle Waffles, DJ Obi, DJ Tunez, DJ Sly King, DJ Commissioner Wysei, DJ Nelasta, Major League DJs, DJ Kaywise, DJ Dope Caesar, DJ Moh Winner: DJ Tunez
Best African DJ USA Nominees: DJ Kuncept, DJ Akua, DJ Prince, DJ Bode, DJ Chelsea, DJ Shinski, DJ Birame BB L’amour, DJ Oreo, Lex and Answer, DJ Nani Winner: DJ Prince
Music Producer of the Year Nominees: Masterkraft, Andre Vibez, 207, Dlala Thukzin, Magicsticks, MOG Beatz, Xduppy, London Winner: London
Best African Dancer Nominees: Masaka Dance Kids, Incredible Zigi, Poco Lee, Ghetto Kids, Angel Nyigu, Hope Ramafalo, Wet Bad Gang, Dancegod Lloyd, Hooliboy Winner: Ghetto Kids
Best Male Reggae/Dancehall Nominees: Valiant, Mr. Killa, Patoranking, Shatta Wale, Skillibeng, Vybz Kartel, Popcaan, Kranium Winner: Patoranking
Best Female Reggae/Dancehall Nominees: Shenseea, Jada Kingdom, Moliy, Spice, Koffee, Lila Iké, Shaneil Muir, Vanessa Bling Winner: Shenseea
Best African Group Nominees: Disco Misr, Calema, Show Dem Camp, Toofan, DopeNation, Team Paiya, Mi Casa, Bracket Winner: Dope Nation
Album of the Year Nominees: Black Sherif — Top of The Morning Era; Omah Lay — Clarity of Mind; Asake — M$NEY; Tyla — A-Pop; Burna Boy — No Sign of Weakness; Lloyiso — Never Thought I Could; Davido — 5ive; Leigh-Anne — My Ego Told Me To; Himra — SORRY I’M BAD Winner: Davido — 5ive
Best African USA-Based Artist Nominees: Kwate, Bills, Mannywellz, Moses Sumney, Libianca, Palmwine Tappers Band, Detty K, J Pako, Emma Nyra Winner: Kwate
AFRIMMA Music Without Borders Award Winner: Juma Jux
AFRIMMA Timeless Impact Award Nominees: Timaya, Amr Diab, Sarkodie, Nameless, Oskido, Kcee, Slap Dee, Bebe Cool, Flavour, Mafikizolo Winner: Timaya
Culture & Impact Awards
African Athlete of the Year Nominees: Victor Osimhen, Serhou Guirassy, Ademola Lookman, Achraf Hakimi, Pascal Siakam, Faith Kipyegon, Nnamdi Madubuike Winner: Victor Osimhen
Best Influencer Nominees: Peller, Carter Efe, Khaby Lame, Nasty Blaq, Lasizwe Dambuza, Ilyas El Maliki, Crazy Kennar, Sabinus Winner: Nasty Blaq
Best Actor/Actress Nominees: Timini Egbuson, Uzor Arukwe, Bimbo Ademoye, Uche Montana, Elizabeth Michael “Lulu”, Zander Adika, Pallance Dladla, Masali Baduza Winner: Uche Montana
Best Comedian Nominees: Basketmouth, Bovi, Warri Pikin, Eric Omondi, Trevor Noah, Godfrey, Patrick “Salvado” Idringi, Ty Ngachira Winner: Warri Pikin
Best Hypeman/MC Nominees: Big Smart, Shody, Ogee The MC, MC Wild, Robot Boii, Balaa MC, MC Mignon, Do2dtun Winner: Big Smart
Community Impact Award Nominees: Ester Mathew Tonlagha Foundation, Noella Foundation, FAWE, Educate!, IkamvaYouth, Street Child, Tony Elumelu Foundation Winner: Esther Mathew Tonlagha
The remaining special recognition categories were also revealed as part of AFRIMMA’s expanded 2026 honors.
Best Francophone – Innoss’B Best Lusophone – Gerilson Israel AFRIMMA Fans Choice Award – Victony AFRIMMA Rising Star – Florito Francophone Viewers Choice Award – Didi B
