Asake brought his ‘In God We Trust’ World Tour to Toronto on Saturday, August 22, delivering a high-energy Afrobeats spectacle to a sold-out crowd at Scotiabank Arena.
The Nigerian star commanded the arena with an explosive performance packed with live instrumentation, striking LED visuals, stage smoke, energetic choreography and loud sing-alongs from thousands of fans.
The atmosphere intensified throughout the night as fans lit up the arena with their phone flashlights, creating a sea of lights while Asake moved through some of the biggest records in his catalogue.
Asake kept the energy high with performances of several fan favorites, including “Lonely At The Top,” “Forgiveness,” “Remember,” “Chanel,” “Mr. Money With The Vibe,” “Why Love,” “Asambe,” “Worship,” “EGO” and “OBA.”
“Chanel,” his collaboration with Blaqbonez, also received a huge reaction, with the Toronto audience singing along despite the featured artist not being present.
“Lonely At The Top” and “Skilful” were among the other standout moments, with fans heavily involved in the performances and Asake interacting with the crowd throughout the night.
With a sold-out Scotiabank Arena show following his North American tour dates, the ‘In God We Trust’ World Tour continues to demonstrate the international reach of Afrobeats and Asake’s growing arena level audience.
Uncle Waffles opened the Toronto show before Asake took the stage, with the tour continuing across Canada and the United States.
TikTok and its parent company, ByteDance, have agreed to pay $400 million to resolve a U.S. Justice Department lawsuit alleging that the platform violated federal children’s privacy protections by collecting and retaining personal information from users under 13 without the required parental consent.
The settlement, announced by the U.S. Department of Justice on Friday, August 21, is described by the department as one of the largest recoveries ever obtained in a case involving the Children’s Online Privacy Protection Act (COPPA).
The lawsuit stems from a 2024 complaint filed by the Justice Department on behalf of the Federal Trade Commission (FTC) against TikTok, ByteDance and affiliated companies.
The government alleged that TikTok knowingly allowed millions of children under 13 to use the platform despite its minimum age requirement, and that the company collected and used their personal information without first providing the required notice to parents or obtaining verifiable parental consent.
The allegations went beyond ordinary TikTok accounts. Federal regulators also accused the company of collecting children’s information through TikTok’s Kids Mode, a version of the service designed with younger users in mind.
According to the FTC’s complaint, TikTok collected information about children’s activities on the platform and persistent identifiers that could be used to build profiles. The complaint also alleged that some information from Kids Mode users was shared with third parties, including Facebook and marketing analytics company AppsFlyer, for a practice TikTok called “retargeting less active users.”
The FTC further alleged that TikTok had difficulty identifying and removing underage accounts and that parents often faced unnecessary hurdles when trying to have their children’s accounts and data deleted.
One of the more significant allegations in the 2024 complaint concerned accounts TikTok classified as “age unknown.”
The FTC alleged that children could bypass TikTok’s age gate by using credentials from third-party services such as Google and Instagram, allowing them to create accounts without providing their age or obtaining parental consent. According to the complaint, these “age unknown” accounts eventually numbered in the millions.
The FTC complaint also alleged that between February 2019 and July 2022, TikTok collected more than 300,000 problem reports from Kids Mode users that contained children’s email addresses and retained those addresses longer than reasonably necessary.
The settlement is structured in two parts.
$300 million will be paid immediately.
The remaining $100 million will be paid after a court enters an order vacating a previous consent decree involving TikTok’s predecessor, Musical.ly.
That earlier matter dates back to 2019, when Musical.ly agreed to a settlement with the FTC over allegations that it had collected personal information from children under 13 without obtaining the required parental consent.
The company agreed to pay $5.7 million at the time.
TikTok acquired Musical.ly in 2017 and subsequently integrated the service into TikTok.
The Justice Department said TikTok has undergone significant changes to its ownership, management, compliance operations and privacy practices since the 2024 lawsuit was filed.
The department specifically pointed to measures intended to strengthen safeguards for younger users, improve age-related controls and increase parental oversight.
Recent reporting also indicates that TikTok’s U.S. operation has strengthened its age-assurance systems, requires users to provide their birth dates when creating accounts and has employees trained to identify and remove users believed to be under 13.
The Justice Department said these changes contributed to its decision to resolve the case rather than continue with prolonged litigation.
Despite the size of the settlement, it is important to note that the settlement is not a judicial finding that TikTok or ByteDance violated the law.
The Justice Department explicitly stated that the claims resolved by the settlement are allegations only and that there has been no determination of liability.
The agreement allows the government to secure a substantial financial recovery while bringing the 2024 litigation to an end.
Note: This report is based on filings and statements from the U.S. Department of Justice and Federal Trade Commission, alongside corroborating reporting from Reuters and other major outlets. The allegations described above were not judicially determined as part of the settlement.
London’s Victoria Park became a celebration of contemporary R&B, Afrobeats, soul and UK dance music on Friday, August 21, as All Points East opened its 2026 festival run with a specially curated day headlined by Jorja Smith and Tems.
From the moment the gates opened, the festival offered a broad mix of sounds and styles, moving between soulful R&B, Afrobeats, UK garage, jungle, amapiano, hip-hop and electronic music across its stages.
With Jorga Smith curating the day alongside her label FAMM, the lineup brought together established stars, emerging voices and some of the most exciting artists shaping the current UK and African music landscape. The official bill featured Nia Archives, kwn, Ayra Starr, Odeal, Elmiene & The Sunday Service Choir, Destin Conrad, Uncle Waffles, DJ EZ, Maverick Sabre, Katy B, Wesley Joseph and many more.
By the time Tems walked onto the East Stage, the energy across Victoria Park had already been building for hours.
Performing as the penultimate act of the night, the Nigerian superstar delivered one of the evening’s most commanding performances, combining her trademark vocals with a much more physical and energetic stage presence.
Tems danced, moved across the stage and repeatedly connected with the crowd as she worked through her catalog.
One of the standout moments came during “Crazy Tings,” which quickly became one of the most talked about performances from the night.
But the biggest surprise came when Tems brought out Dave.
The British rapper joined her on stage for their collaboration “Raindance,” instantly turning an already major performance into one of the defining moments of the festival’s opening day.
The appearance was particularly fitting for the London crowd, bringing together two artists whose collaboration has become one of the strongest links between Britain’s contemporary rap scene and Nigeria’s global Afrobeats movement.
Videos of Tems and Dave performing “Raindance” quickly circulated online following the show.
Moment Tems brought out Dave at All Points East as they perform "Raindance" 🔥 🇬🇧 pic.twitter.com/6bEUIdw07t
If Tems owned the East Stage, Ayra Starr made the North Arena feel like her own headline show.
The Nigerian singer arrived with a set designed around movement, energy and familiarity, running through a mixture of major hits and songs from her newer material.
Her set included “Dangerous,” “Who’s Dat Girl,” “Bloody Samaritan,” “Misunderstood,” “Away/LHB,” “Heaven Baby,” “Midnight in NY,” “Gimme Dat,” “Pressure,” “Amazing,” “Ms Paper,” “Dance,” “Hot Body,” “Tornado,” “Rush,” “Commas” and “Sability.”
One of the sweetest moments came when kwn joined Ayra Starr on stage for “Amazing.”
The collaboration brought together two of the day’s most talked about young voices and gave the North Arena another memorable moment before the night moved toward its final headline performance.
After Tems’ explosive set and Ayra Starr’s high-energy performance elsewhere in the park, Jorja Smith had the responsibility of closing the night.
And fittingly, the festival’s curator ended the day with a set built around the music that established her as one of Britain’s most distinctive contemporary R&B voices.
Jorga Smith performed songs from across her catalog, including “Blue Lights,” “Teenage Fantasy,” “Addicted,” “Where Did I Go?,” “falling or flying” and “I Lied, You Lied.”
There was also a surprise appearance from AJ Tracey, adding another London connection to a night that repeatedly blurred the lines between UK and African music.
Away from the main headline stages, Nia Archives provided one of the strongest alternative moments of the night.
Her West Stage performance brought a completely different energy to the festival, leaning into jungle, drum & bass and the sounds that have long shaped British club culture.
Her set also created one of the night’s few genuine clashes, overlapping with Ayra Starr’s North Arena performance.
For fans attempting to catch both artists, it became one of those unavoidable festival dilemmas: stay with Ayra or head across the park for Nia Archives.
Still, the fact that both performances were attracting strong attention at the same time demonstrated just how much depth the day’s lineup possessed.
Odeal delivered a well-received performance on the West Stage, continuing the momentum around one of the UK’s rising R&B voices.
kwn also made an impression during her East Stage slot before returning later for her appearance with Ayra Starr.
Meanwhile, the special performance from Elmiene & The Sunday Service Choir provided one of the day’s more unusual and memorable combinations.
The festival’s programming also ensured that the day never became sonically one dimensional.
Uncle Waffles brought amapiano and DJ energy to the North Arena, while DJ EZ delivered the unmistakable UK garage sound.
Across the other stages, artists including Maverick Sabre, Katy B, Wesley Joseph, Destin Conrad, Bellah, Sekou, Bricknasty, Crazy Cousinz, Keyrah and others kept the park moving throughout the afternoon.
The SHY FX Presents Digital Soundboy takeover provided an entirely different experience, with jungle, drum & bass and club sounds taking over its dedicated stage.
Breakage with MC GQ, Champion, ENNY, Femi Koleoso, Saint Ludo and SHY FX himself helped create the dance-focused side of the festival.
Elsewhere, Westside Gunn brought his distinct hip-hop presence to the wider bill.
Tems is set to headline the East Stage at All Points East today at Victoria Park, London. 🎤🇬🇧
Nigerian sprint sensation Kanyinsola Ajayi has etched his name into the country’s athletics history books after shattering the national men’s 100m record with a stunning 9.84-second performance at the 2026 NCAA Division I East First Round meet in Lexington, Kentucky.
Representing Auburn University, the 21-year-old delivered the record-breaking run during the quarter-final heats, eclipsing the long-standing Nigerian record of 9.85 seconds set by Olusoji Fasuba in May 2006. The mark had stood untouched for two decades before Ajayi’s remarkable breakthrough.
This achievement establishes Ajayi’s status as one of the fastest rising stars in global sprinting. Earlier in the competition, he had clocked 9.90 seconds, but returned with an even more impressive performance to rewrite Nigerian athletics history.
Ajayi’s 9.84 seconds currently stands as the fastest men’s 100m time recorded anywhere in the world in 2026. The time also places him among the greatest collegiate sprinters in NCAA history, ranking as the second-fastest collegiate performer ever and just 0.02 seconds shy of Christian Coleman’s NCAA record of 9.82 seconds set in 2017.
The Nigerian sprinter has been on an upward trajectory in recent years. In 2025, he became the first Nigerian man in 18 years to qualify for the men’s 100m final at the World Athletics Championships. He ran 9.88 seconds in the heats before finishing sixth in the final, signaling his arrival among the world’s elite sprinters.
Meanwhile, another Nigerian athlete, Samuel Ogazi, also delivered a historic performance at the same competition. The Alabama star clocked 43.82 seconds in the men’s 400m, setting a new Nigerian national record and reclaiming the world-leading mark for the event in 2026.
Ogazi’s performance not only broke the national record but also established a new school record for Alabama and became one of the fastest collegiate 400m times ever recorded.
The record-breaking performances by Ajayi and Ogazi mark a significant moment for Nigerian athletics, highlighting the country’s growing influence on the global sprinting stage. With both athletes in world leading form, expectations will be high as they prepare for the NCAA Championships and major international competitions later this year.
The 2026 edition of the Ojude Oba Festival once again transformed Ijebu-Ode into a living canvas of Yoruba heritage, fashion, and pageantry. Held on May 29, just days after Eid al-Kabir, the annual celebration at the heart of Ojude Oba Festival reaffirmed its status as one of West Africa’s most visually striking cultural gatherings.
From coordinated regberegbe processions to mounted horse displays and celebrity appearances, this year’s festival leaned heavily into tradition while still feeding the modern social media moment.
Ojude Oba, meaning “The King’s Forecourt,” is a centuries-old celebration held in honour of the Awujale of Ijebuland. This year’s edition carried added emotional weight, with tributes tied to the legacy of the late Oba Sikiru Kayode Adetona, whose reign helped elevate the festival into global cultural relevance.
The grounds of Itoro Centre and the Awujale Palace became the focal point as thousands gathered to witness a carefully choreographed display of Yoruba identity where history, faith, and community pride intersect.
Over 90 regberegbe (age-grade) groups participated, each arriving in coordinated aso-oke, lace, beads, and elaborate geles. Their synchronized entrances, chants, and dances created a competitive yet unified atmosphere that has become the festival’s signature.
The Regberegbe Spectacle
If there is one element that defines Ojude Oba, it is the regberegbe system. These age-based groups turned the festival into a runway of cultural competition.
Each group attempted to outdo the next with:
Matching traditional outfits in rich fabrics and bold colour palettes
Highly choreographed processions
Musical accompaniment from local drummers and praise singers
Dramatic entrances designed for maximum crowd reaction and camera appeal
No moment defined Ojude Oba 2026 on social media more than the return of businessman and cultural personality Farooq Oreagba.
Riding through the grounds on a decorated horse, Oreagba appeared in a flowing white traditional agbada accented with purple embroidery, matched with a fila cap, sunglasses, and signature cigar. His horse, decorated with vibrant fabrics, tassels, and patterned coverings became part of the performance itself.
But beyond appearance, it was presence that carried the moment. Calm, composed, and fully aware of the cameras following him, Oreagba once again dominated online conversation, extending a reputation that has grown since his earlier viral appearances.
For many spectators, he has become an unofficial face of the modern Ojude Oba where tradition meets personal branding without losing cultural grounding.
The 2026 edition also attracted a strong lineup of public figures and celebrities.
Notable attendees included:
Ogun State Governor Dapo Abiodun
Deputy Governor Noimot Salako-Oyedele
Seyi Tinubu
Senator Solomon Olamilekan Adeola
Their presence reinforced the festival’s growing importance not just as a cultural gathering, but as a political and tourism focal point for Ogun State.
Beyond politics, Nollywood actors, musicians, influencers, and fashion personalities filled the grounds in a wave of colour and style. Social media timelines were flooded with clips of coordinated families, elaborate outfits, and high-energy horse riders, turning Ojude Oba into a trending digital spectacle.
Another defining pillar of the festival remains the horse-riding families from Balogun lineages. Their decorated horses. Adorned with embroidered cloths, symbolic colours, and traditional regalia, carried riders through ceremonial displays that reflect centuries of warrior heritage.
The equestrian processions remain one of the most anticipated segments, symbolising status, history, and continuity within Ijebu culture.
Beyond the glamour, Ojude Oba continues to reflect deeper social themes: unity, identity, and resilience. While the festival celebrates wealth and style, it also highlights community cohesion across generations.
Kenjiro Tsuda, the acclaimed Japanese voice actor behind iconic anime characters like Seto Kaiba in Yu-Gi-Oh! and Kento Nanami in Jujutsu Kaisen, has reportedly taken legal action against TikTok over the alleged unauthorized use of an AI-generated replica of his voice.
According to reports emerging from Japan, Tsuda filed a lawsuit at the Tokyo District Court accusing the platform of allowing monetized content creators to distribute videos narrated with an AI voice that closely imitates his signature tone and delivery.
The lawsuit claims that one TikTok account uploaded nearly 200 videos using the AI-generated narration. Tsuda’s legal team alleges that the account profited from the content, reportedly earning hundreds of thousands of yen monthly through monetization.
Lawyers representing the veteran actor argue that the AI voice imitation violates his publicity rights and unfairly exploits the years of work and recognition attached to his vocal identity. They also warned that unchecked AI replication could create long-term risks for voice actors and performers whose likenesses can now be digitally reproduced without consent.
TikTok’s Japanese operator has reportedly denied the claims, arguing that the narration in question was merely a “generic male voice” and not a direct reproduction of Tsuda’s performance or identity.
The lawsuit is already being viewed as a potentially landmark case in Japan’s growing conversation around artificial intelligence and intellectual property. As generative AI tools become more accessible, entertainment industries worldwide are increasingly grappling with questions surrounding consent, compensation, and ownership of digital likenesses.
Kenjiro Tsuda remains one of Japan’s most recognizable voice talents, widely celebrated for his performances in major anime franchises including Yu-Gi-Oh!, Jujutsu Kaisen, Tokyo Revengers, Chainsaw Man, and Attack on Titan. His deep, commanding voice has become a defining part of many fan-favorite characters over the years.
Drake has officially made Billboard history after his latest single, “Janice STFU,” debuted at No. 1 on the Billboard Hot 100, pushing him past Michael Jackson for the most chart-topping songs by a solo male artist.
The milestone gives Drake his 14th No. 1 hit on the Hot 100, surpassing Michael Jackson’s legendary total of 13 chart-toppers, a record that stood for decades and symbolized Jackson’s dominance during the peak of his global music reign.
Michael Jackson’s No. 1 records came across several iconic eras of pop music, with classics such as “Billie Jean,” “Beat It,” “Black or White,” “The Way You Make Me Feel,” and “Rock With You” helping define generations. Widely regarded as the “King of Pop,” Jackson transformed global entertainment with groundbreaking music videos, unmatched stage performances, and record-breaking album sales.
For years, his Billboard achievements remained among the most untouchable records in music history. However, Drake’s consistency in the streaming era has steadily seen him climb the all-time charts, breaking numerous records previously held by music legends.
“Janice STFU” continuing that streak further reflects Drake’s remarkable longevity and commercial power. The song exploded across streaming platforms immediately after release, dominating playlists, social media conversations, and digital sales charts worldwide.
With the new record now in his possession, Drake adds yet another historic achievement to a career already filled with Billboard milestones, multi-platinum albums, and sold-out global tours.
The 2026 American Music Awards delivered one of its most competitive and globally diverse editions with major wins spread across K-pop, pop, R&B, Latin, Afrobeats, and hip-hop. From BTS’ dominance to Sabrina Carpenter’s pop takeover and Cardi B’s hip-hop sweep, the night reflected a fully global music landscape. Held at the MGM Grand Garden Arena in Las Vegas.
ARTIST CATEGORIES
ARTIST OF THE YEAR
Winner: BTS
Nominees:
Bad Bunny
Bruno Mars
BTS
Harry Styles
Justin Bieber
Kendrick Lamar
Lady Gaga
Morgan Wallen
Sabrina Carpenter
Taylor Swift
NEW ARTIST OF THE YEAR
Winner: KATSEYE
Nominees:
Alex Warren
Ella Langley
KATSEYE
Leon Thomas
Olivia Dean
SOMBR
ALBUM CATEGORIES
ALBUM OF THE YEAR
Winner: Sabrina Carpenter – Man’s Best Friend
Nominees:
Cardi B – AM I THE DRAMA?
Fuerza Regida – 111XPANTIA
Justin Bieber – SWAG
Lady Gaga – Mayhem
Morgan Wallen – I’m The Problem
Olivia Dean – The Art of Loving
Playboi Carti – MUSIC
Sabrina Carpenter – Man’s Best Friend
Tate McRae – So Close To What
Taylor Swift – The Life of a Showgir
BREAKTHROUGH ALBUM OF THE YEAR
Winner: Olivia Dean – The Art of Loving
Nominees:
Olivia Dean
SOMBR
Zara Larsson
Leon Thomas
SONG CATEGORIES
SONG OF THE YEAR
Winner: “Golden” – HUNTR/X
Nominees:
Alex Warren – “Ordinary”
Ella Langley – “Choosin’ Texas”
HUNTR/X – “Golden”
Kehlani – “Folded”
Leon Thomas – “MUTT”
Morgan Wallen – “I’m The Problem”
Olivia Dean – “Man I Need”
Sabrina Carpenter – “Manchild”
SOMBR – “Back to Friends”
Taylor Swift – “The Fate of Ophelia”
SONG OF THE SUMMER
Winner: BTS – “SWIM”
Nominees:
BTS – “SWIM”
Other viral summer hits
SOCIAL SONG OF THE YEAR
Winner: Tyla – “CHANEL”
Nominees:
Disco Lines & Tinashe – “No Broke Boys”
PinkPantheress – “Illegal”
Role Model – “Sally, When the Wine Runs Out”
Tyla – “CHANEL”
Zara Larsson – “Lush Life”
COLLABORATION OF THE YEAR
Winner: PinkPantheress & Zara Larsson – “Stateside”
Nominees:
BigXthaPlug & Bailey Zimmerman – “All The Way”
David Guetta, Teddy Swims & Tones And I – “Gone Gone Gone”
Morgan Wallen & Tate McRae – “What I Want”
PinkPantheress & Zara Larsson – “Stateside”
Shaboozey & Jelly Roll – “Amen”
Tinashe & Disco Lines – “No Broke Boys”
POP CATEGORIES
BEST FEMALE POP ARTIST
Winner: Sabrina Carpenter
Nominees:
Sabrina Carpenter
Olivia Rodrigo
Taylor Swift
Lady Gaga
Dua Lipa
BEST MALE POP ARTIST
Winner: Justin Bieber
Nominees:
Justin Bieber
Harry Styles
Bruno Mars
The Weeknd
Morgan Wallen
R&B CATEGORIES
BEST FEMALE R&B ARTIST
Winner: SZA
Nominees:
SZA
Kehlani
Summer Walker
H.E.R.
Victoria Monét
BEST MALE R&B ARTIST
Winner: Bruno Mars
Nominees:
Bruno Mars
Chris Brown
The Weeknd
Khalid
Giveon
BREAKTHROUGH R&B ARTIST
Winner: Leon Thomas
Nominees:
Leon Thomas
Mariah The Scientist
Ravyn Lenae
BEST R&B SONG
Winner: Bruno Mars – “I Just Might”
Nominees:
Bruno Mars – “I Just Might”
Kehlani – “Folded”
Leon Thomas – “MUTT”
Chris Brown & Bryson Tiller – “It Depends”
Mariah The Scientist – “Burning Blue”
BEST R&B ALBUM
Winner: Bruno Mars – The Romantic
Nominees:
Bruno Mars – The Romantic
Justin Bieber – SWAG
Leon Thomas – MUTT
Mariah The Scientist – Hearts Sold Separately
Summer Walker – Finally Over It
HIP-HOP CATEGORIES
BEST FEMALE HIP-HOP ARTIST
Winner: Cardi B
Nominees:
Cardi B
Nicki Minaj
Megan Thee Stallion
Doja Cat
Latto
BEST HIP-HOP SONG
Winner: Cardi B – “ErrTime”
Nominees:
Cardi B – “ErrTime”
Other major hip-hop tracks from top female rappers
Popular Nigerian actor and content creator Victor Udochukwu Nwaogu, popularly known as Nkubi, has responded to growing criticism surrounding his decision to have a child despite living with dwarfism.
The comedian recently addressed the issue during an interview clip that has gone viral across social media platforms. In the video, Nkubi firmly rejected claims that people with dwarfism should avoid parenthood, stressing that the condition has existed throughout human history.
“People should stop blaming me for having a child. Dwarfism is as old as man,” he said during the conversation, while passionately reacting to public scrutiny and online debates.
Nkubi, who has long spoken openly about his experiences as a little person in Nigeria, revealed that discrimination played a major role in shaping his career path. According to the actor, he often faced rejection from conventional jobs because of his height before eventually finding success in entertainment and digital content creation.
His marriage and journey into fatherhood have continued to spark mixed reactions online. While many people have praised the couple for embracing family life confidently, others questioned their decision to conceive because of the possibility of passing down dwarfism genetically.
Despite the criticism, Nkubi and his wife, Vivian, have maintained that they were fully prepared for any outcome. The couple welcomed their first child, a daughter, who does not have dwarfism.
Vivian previously recounted a difficult experience during pregnancy after undergoing an anomaly scan. She claimed a doctor asked whether there was a history of dwarfism in the family before allegedly suggesting alternative options such as conceiving with another man or using a sperm donor to reduce the chances of having a child with dwarfism. The couple said they immediately dismissed the suggestion.
Beyond the controversy, Nkubi has consistently used his platform to advocate for empathy, inclusion, and equal opportunities for people living with dwarfism. Through interviews, comedy, and public appearances, the actor continues to challenge stereotypes and encourage conversations around acceptance and respect.
“Twitter people should stop blaming me for having a child” Nkubi warns banger boys pic.twitter.com/LvtP8ERZQa
Meta CEO Mark Zuckerberg has sparked fresh Big Tech debate after criticizing Apple during a viral resurfaced clip from his appearance on The Joe Rogan Experience (#2255).
In the widely circulated segment, Zuckerberg argued that Apple has not delivered meaningful breakthrough innovations in years, suggesting the company has largely relied on the success of the iPhone era while tightening control over its ecosystem.
Zuckerberg acknowledged the iPhone as one of the most important inventions in modern tech history, but claimed Apple’s momentum has slowed significantly since then.
He stated that Apple has “kind of been sitting” on the iPhone legacy for nearly two decades, arguing that most updates in recent years have been incremental rather than revolutionary.
He also questioned Apple’s growth trajectory, suggesting iPhone sales may be flattening or declining as users hold onto devices longer due to minimal upgrade incentives.
A major point of criticism was Apple’s tightly controlled ecosystem.
Zuckerberg argued that Apple has made it difficult for competitors to build comparable integrations with iPhones, especially in areas like accessories and connected devices. While he praised products like AirPods for their seamless experience, he claimed the company’s closed system limits broader innovation.
He also revisited long-standing industry criticism of Apple’s App Store policies, describing its commission structure as a way of “squeezing people” as hardware growth slows.
The comments also reflected the broader competitive tension between Meta and Apple, particularly in emerging technologies.
Zuckerberg positioned Meta as more aggressive in next-generation innovation, highlighting its work in artificial intelligence, mixed reality, and smart wearables through products like Quest headsets and Orion AR glasses. He contrasted this with Apple’s more controlled and closed ecosystem approach.
The resurfaced clip, originally from a long-form conversation aired in early 2025, was reposted on X (formerly Twitter) by @cptdankkk on May 24, 2026. It quickly gained millions of views, reigniting debate around whether Apple has lost its innovative edge or simply matured into a more ecosystem-driven company.
Mark Zuckerberg says Apple's lack of innovation since the iPhone will lead to its decline
"They haven't really invented anything great in a while. Steve Jobs invented the iPhone, and now they're kind of sitting on it 20 years later"
