I think the one thing haters and fans of the DCU can all agree on is that it’s hard to keep up with what is canon – and we’re just 3 projects in.
Many have argued that a full reboot of the DCEU would have better solved these issues, but if you were James Gunn, would you reboot your projects, especially when they are the most loved by the audience? The thought of the question would open another can of worms.
Hired in October 2022, James Gunn and Peter Safran were tasked with ushering in a new era of thriving and coherent DC content. Coming from the mess of the Snyderverse, the Gunnverse came with its own mess… “the not-so-reboot, reboot”.
James Gunn has been on a “tour” trying to explain the DC universe to new and old fans, but that is not enough, as I ask myself in the middle of the night… why not do a full reboot?
The new logic is similar to the logic used in comics. You see, in comics, the writer for the continuity of a project changes hands often, and most times the new writers dislike or forget the old logic, so what they do instead is create a new narrative and gaslight the audience into thinking that what’s always happened. You can take comic events like Jon Kent (Superman’s son) becoming 17 and 10 multiple times with no explanation, or switching from New 52 to Rebirth without explanation.
This, of course, has been discussed by studio execs but hasn’t really been tested on this scale. James Gunn is pushing the boundary and changing how we view superhero media. Take Superman, for example; it is a full-blown comic book movie, and now in Peacemaker, it uses comic book logic to explain to fans that this is a new universe.
The DCU maintains some of the actors and storylines of the DCEU, and this builds a new narrative for this DC Universe. The cast and characters of the DCEU Peacemaker season 1 return for season 2, which is set in the DCU. This caused a bit of a problem amongst the general audience: “Are Suicide Squad, The Suicide Squad, and Peacemaker now canon?” No and yes.
At the beginning of Peacemaker Season 2 Episode 1, we got “previously in the DCU,” an explanation on all thing DCU and what carries over into this new universe. We saw some details change, which include the inclusion of the Justic Gang at the butterfly battle ground on the farm and the green lantern joke. Why not reshoot theses scences? James Gunn explained to TV Insider, “unfortunately I’d have to change too many little things throughout Season 1, and it would cost too much money.”
The beauty of this new DCU is you can always skip a project but if you choose to follow all, note that it becomes canon if and only if it is mentioned in this new project.
When Pirates of the Caribbean: The Curse of the Black Pearl hit cinemas in 2003, few expected it to spark a billion-dollar phenomenon. What started as a risky gamble; a film based on a Disneyland theme park ride quickly transformed into one of Disney’s most lucrative and enduring live-action franchises. Johnny Depp’s flamboyant and unpredictable performance as Captain Jack Sparrow not only earned him an Academy Award nomination but also redefined how audiences imagined pirates on screen. The success of that first adventure set the stage for a sprawling saga that would stretch across five films, exploring supernatural curses, legendary figures, and high-seas betrayals. Now, with Disney charting a bold new direction, the franchise once again stands at the brink of reinvention.
The Expanding Seas of the Sequels
The triumph of The Curse of the Black Pearl made sequels inevitable, and Disney wasted no time turning the swashbuckling hit into a trilogy. In 2006, Dead Man’s Chest arrived and expanded the lore with the terrifying figure of Davy Jones, master of the Flying Dutchman, whose tentacled face and heart locked away in a chest became iconic symbols of the series. The film not only deepened the mythology but also delivered grand spectacle, from the Kraken’s attacks to Sparrow’s frantic bargaining with fate. Audiences responded enthusiastically, propelling the film past the billion-dollar mark at the global box office, a milestone that cemented the franchise as more than just a novelty.
The following year, At World’s End attempted an even more ambitious narrative, weaving together multiple storylines of betrayal, sacrifice, and shifting alliances. With the introduction of the nine pirate lords and a climactic battle in a maelstrom, the film carried both the grandeur and the complexity of an operatic finale. Though critics were divided over its dense storytelling, fans were treated to one of the most visually spectacular finales of the 2000s, with Jack Sparrow, Will Turner, and Elizabeth Swann caught in the storm of destiny. For many, this marked the natural endpoint of the original saga, closing the arcs of its central characters while leaving the door slightly ajar for Sparrow’s continuing misadventures.
But Disney was not ready to dock the Black Pearl just yet. In 2011, the franchise returned with On Stranger Tides. With Gore Verbinski stepping away from directing and Rob Marshall at the helm, the film shifted toward a standalone adventure, introducing the infamous Blackbeard, played by Ian McShane, and a quest for the Fountain of Youth. Penélope Cruz brought fiery energy as Angelica, a woman from Sparrow’s past whose motives were as murky as the seas they sailed. Though critics found the story thinner and less charming than the original trilogy, the film once again proved the enduring appeal of the brand, grossing over a billion dollars worldwide.
The most recent entry, Dead Men Tell No Tales (2017), brought back a sense of legacy. Javier Bardem delivered a haunting performance as Captain Salazar, a vengeful ghost hunting Sparrow, while the film tied itself to earlier mythology by revisiting the cursed fate of Will Turner aboard the Flying Dutchman. It also introduced a new generation of adventurers in Henry Turner and Carina Smyth, setting up the possibility of passing the torch. Despite mixed reviews, the film rekindled nostalgia by reuniting audiences with Orlando Bloom and Keira Knightley, albeit briefly, reminding fans of the franchise’s emotional core.
Through these sequels, Pirates of the Caribbean became a rare blend of gothic fantasy, slapstick comedy, and mythmaking. It crafted a world where cursed treasure and ghost ships were as real as shifting allegiances and romantic entanglements, a formula that audiences around the globe could not resist.
New Horizons: Reboots and Spin-Offs
Now, nearly two decades after the first film, Disney is preparing to chart a new course for the franchise. Producer Jerry Bruckheimer has confirmed that the next entry will not be a continuation of Jack Sparrow’s adventures but a complete reboot. This means fresh characters, a brand-new storyline, and a creative attempt to reimagine the franchise for a new generation of audiences. Screenwriter Jeff Nathanson, who previously penned Dead Men Tell No Tales, is tasked with bringing this vision to life. Reports suggest that the script has been undergoing refinements, especially in its third act, as Disney aims to launch a saga that feels distinct yet still carries the adventurous spirit fans expect.
At the same time, Disney has been developing a separate spin-off project, one that could shift the franchise in a bold direction. Academy Award nominee Margot Robbie has been linked to the film, with Christina Hodson, known for Birds of Prey, attached as the screenwriter. Robbie herself revealed in 2022 that the project seemed to have been scrapped, but Bruckheimer has since stated that Disney remains committed to the idea. If realized, this spin-off would likely focus on a female-led pirate crew, opening up new narratives within the vast Caribbean seas and breaking away from the male-dominated stories of the past.
Still, one question looms larger than all others: will Johnny Depp ever return as Captain Jack Sparrow? His portrayal of the rum-loving trickster is inseparable from the franchise’s identity. While Depp’s tumultuous legal battles and estrangement from Disney once made a return unlikely, recent comments from Bruckheimer suggest that if the right script comes along and Depp agrees, a comeback could happen. Orlando Bloom, who played Will Turner, has also voiced that a successful revival would require bringing back “everybody,” emphasizing that the original crew remains the heart of the franchise. Whether Disney will balance this nostalgia with its plans for a reboot remains uncertain.
The Legacy of the Black Pearl
As Pirates of the Caribbean prepares for its next voyage, it faces the challenge of honoring its legacy while steering into new waters. For many fans, the franchise is not just about ghost ships or cursed coins, it is about the unhinged charm of Jack Sparrow, the sweeping romance of Will and Elizabeth, and the eerie grandeur of seafaring legends come to life. Any attempt to reboot the series must grapple with this weight of expectation, delivering something fresh without losing what made the films beloved in the first place.
Yet, Disney’s confidence in rebooting and expanding the franchise signals that the seas are far from quiet. The world of Pirates of the Caribbean is one rich with untold stories: hidden islands, legendary figures, and the eternal clash between freedom and order. Whether through a new generation of characters or a long-awaited reunion of the original cast, one thing remains certain, the horizon still holds treasure, and the adventures are far from over.
Nollywood has built a reputation for weaving tales of love, betrayal, and survival, and Devil Is a Liar, which premiered on Netflix on August 15, 2025, is no exception. Directed by Moses Inwang and written by Tunde Babalola, this suspense-filled drama brings together some of the industry’s finest actors, including Nse Ikpe-Etim, James Gardiner, Nancy Isime, Erica Nlewedim, Mercy Aigbe, and Tina Mba.
A Familiar Yet Gripping Plot
Set in Lagos, the film tells the story of Adaora, a wealthy, accomplished woman whose only missing piece is love. When she meets Jaiye, a charming younger stylist, sparks fly. Despite the age difference and raised eyebrows, she marries him, investing heavily in his fashion dreams and building a family she desperately yearns for.
But what starts as a fairytale quickly turns sinister. Jaiye’s insecurities and hidden agenda lead him to manipulate Adaora, pressure her into terminating pregnancies, and exploit her financially. When tragedy strikes with the loss of their daughter and Adaora faces imprisonment, Jaiye fakes his own death, leaving a trail of betrayal. The film climaxes with Adaora’s confrontation of her once-beloved husband, living up to the haunting title: Devil Is a Liar.
The Strength of Performances
The standout performance is undoubtedly from Nse Ikpe-Etim, who embodies Adaora with depth, vulnerability, and quiet strength. Her portrayal anchors the film, making the character’s heartbreak and resilience resonate with viewers. The supporting cast, from Nancy Isime’s vibrant presence to Tina Mba’s matriarchal gravitas, enriches the narrative.
Unfortunately, the movie struggles where it matters most, which is the heart of the love story. The chemistry between Nse Ikpe-Etim and James Gardiner (Jaiye) is unconvincing, and Gardiner’s character feels underdeveloped. The script leans too much on melodramatic shortcuts and implausible twists, leaving the story both predictable and unrealistic.
Devil Is a Liar had the potential to be a memorable drama but instead falls into the trap of overused Nollywood formulas. Nse Ikpe-Etim’s stellar performance is the saving grace, yet it isn’t enough to rescue the film from its weak writing and unconvincing central relationship.
My Rating: 5/10
Watchable, but average. A film that proves talent can shine, but poor storytelling will always hold a project back.
The Academy Awards, one of the most prestigious events in global entertainment, could soon find itself at the center of a broadcasting shake-up. According to fresh reports from Bloomberg and other outlets, YouTube has formally expressed interest in acquiring broadcast and streaming rights to the Oscars, positioning itself as a challenger to the traditional network dominance that has defined the ceremony for decades.
YouTube’s Ambition to Host the Oscars
YouTube, with its 2.7 billion monthly users, has long cemented its status as the world’s most influential video platform. Its recent inquiry into Oscars rights is being hailed by industry watchers as a bold move that could redefine how audiences experience live cultural events. The appeal is clear: while traditional television viewership has steadily declined, YouTube thrives among younger demographics who increasingly consume live events and highlights online rather than through cable television.
Analysts argue that the Oscars’ migration to YouTube. If this happens, it could inject the ceremony with fresh relevance. Features like live chat, polls, real-time audience engagement, and instant replay clips could make the show interactive in ways traditional TV cannot match.
ABC’s Standing Contract: A Barrier to Entry
However, YouTube’s ambitions face a significant hurdle. ABC currently holds exclusive U.S. broadcast rights to the Oscars through 2028, under a contract signed with the Academy of Motion Picture Arts and Sciences in 2016. This deal not only secures ABC’s coverage but also extends its global distribution partnerships.
The partnership between ABC and the Oscars is longstanding, dating back to 1976. While viewership has fluctuated over the years, hitting historic lows in the 2020s—ABC has retained the prestige of hosting Hollywood’s biggest night. For YouTube to step in, it would either need to negotiate terms for after 2028, or strike an unprecedented arrangement that coexists alongside ABC’s deal, which appears unlikely.
The Oscars have battled declining TV ratings in recent years, prompting the Academy to explore new ways of reaching younger and global audiences. Moving to a digital-first platform like YouTube could potentially address both challenges:
Global Reach: YouTube’s international accessibility could expand the Oscars’ footprint beyond traditional TV markets.
Youth Engagement: With Gen Z and millennials spending far more time on YouTube than cable, the ceremony could reclaim cultural relevance.
Interactivity: Live engagement features could transform a passive viewing experience into an active, social one.
On the other hand, such a move raises questions about prestige and tradition. Would streaming dilute the Oscars’ aura as a formal, televised event? Could the Academy risk alienating long-time audiences who still prefer the TV broadcast format?
For now, ABC’s standing contract means YouTube’s interest remains speculative. But the fact that YouTube is actively inquiring about rights signals a shifting tide in entertainment broadcasting. If the Oscars were to transition to YouTube in the future, it could mark one of the most significant cultural and technological shifts in awards-show history. One thing is clear: the conversation about where the Oscars belong in the digital era has officially begun.
Few characters in cinema are as iconic as James Bond, the stylish MI6 agent known worldwide by his codename: 007. For over six decades, the Bond movie franchise has redefined the spy genre, influenced global pop culture, and brought audiences thrilling adventures steeped in danger, luxury, and mystery.
As the world prepares for a new Bond era following Daniel Craig’s departure, one actor, Taron Egerton has captured attention not for his interest, but for openly stepping away from the speculation. Before diving into his reasons, it’s essential to understand the powerful legacy he’s saying no to.
The James Bond Franchise: A Global Film Phenomenon
Launched in 1962 with Dr. No, the James Bond franchise is based on the novels by Ian Fleming, a British intelligence officer turned author. Bond quickly evolved from literary spy to global screen sensation, becoming one of the longest-running and most successful movie franchises of all time.
Franchise Highlights:
25 official films (as of 2021)
Over $7 billion in global box office revenue
Produced by EON Productions under the Broccoli family
Known for legendary gadgets, globe-trotting locations, and iconic villains
The Men Behind the Tux: All Six Bond Actors
Sean Connery (1962–1967, 1971, 1983) – The original Bond, Connery brought unmatched charisma and masculine toughness.
George Lazenby (1969) – Delivered a one-time performance in On Her Majesty’s Secret Service.
Roger Moore (1973–1985) – Took a lighter, humorous approach, starring in seven films.
Timothy Dalton (1987–1989) – Gave Bond a serious, gritty edge in The Living Daylights and Licence to Kill.
Pierce Brosnan (1995–2002) – Modern, tech-savvy Bond who helped the franchise into the 21st century.
Daniel Craig (2006–2021) – Brought emotional realism and depth to Bond across five films.
Thematic Depth and Cultural Evolution
Bond films have reflected changing world politics, from the Cold War to modern terrorism. Recent entries explore mental health, aging, and institutional trust, evolving with modern audiences.
Bond Essentials: What Makes a 007 Film?
Style & Glamour: From Savile Row suits to Omega watches.
Gadgets & Cars: From invisible cars to exploding pens.
Villains: Blofeld, Goldfinger, Silva, and more.
Bond Women: Complex portrayals from Honey Ryder to Vesper Lynd.
Music: Theme songs by Adele, Billie Eilish, Sam Smith, and others.
Global Influence and Impact
James Bond has inspired countless spy spoofs, TV dramas, fashion trends, and boosted tourism in its filming locations. Bond isn’t just a movie—it’s a global cultural force.
The Next Bond: Who Will Take the Mantle?
Following No Time to Die, producers have teased a reinvention of Bond. Rumored actors include Aaron Taylor-Johnson, Henry Cavill, Regé-Jean Page, and Damson Idris. Taron Egerton, however, has taken himself out of the conversation.
Why Taron Egerton Isn’t Pursuing the Role
Despite fan enthusiasm, Taron Egerton has respectfully bowed out of the Bond race—and he has his reasons.
He Doesn’t See Himself as Bond
Egerton has said:
“I don’t think I’m the right choice for it.”
He believes Bond requires a certain aloofness and maturity he doesn’t naturally project. He’s charismatic, yes—but he leans more toward emotional depth and relatability than icy sophistication.
The Pressure Is Immense
Being Bond is more than just acting—it’s a decade-long commitment, intense media scrutiny, and the responsibility of carrying a beloved global brand. Egerton has voiced a preference for artistic freedom over franchise obligations.
He’s Already Played a Bond-Like Role
Egerton’s performance as Eggsy in Kingsman is already a cheeky, action-packed riff on Bond. Playing 007 after that could feel redundant—especially since Kingsman already pays tribute to the genre.
He Prefers Diverse, Emotional Roles
From playing Elton John in Rocketman to real-life entrepreneurs in Tetris, Egerton enjoys roles that stretch his dramatic muscles. Bond could box him into one cinematic persona for years.
He’s Guarding His Career Path
Egerton is building a résumé of varied, critically respected performances. Taking on Bond might elevate his fame, but possibly at the cost of his creative range.
Taron Egerton is not interested to be the next James Bond:
“I think I’m too messy for that… and I think there’s so many cool, younger actors who would be great for it. I think it would be wasted on me, probably”
— Streamdorm Film Updates 🎥 (@Streamdorm_) July 30, 2025
Bond Will Continue—But Without Egerton
The James Bond franchise is a cinematic juggernaut that has endured for generations. Taron Egerton, while a strong actor, knows what Bond demands and has wisely chosen a different path. Whoever becomes the next Bond will not only inherit a role but a legacy.
Ten seasons in, and Big Brother Naija is only getting louder, bolder, and more unpredictable. This year’s milestone edition, dubbed the “10/10” season, has thrown open the doors to 29 housemates—a mixed bag of fiery creatives, corporate minds, street kings, and everyday dreamers ready to chase fame and ₦150 million in prize money. It’s a house bursting with talent, strategy, and drama before eviction even begins.
Split across two nights, the housemates were unveiled in two waves: 15 Women on Day 1, followed by 14 Men on Day 2.
The Female Housemates
From royalty and law to DJ decks and beauty empires, these 15 Females aren’t just here to play—they came to dominate.
Zita (Elizabeth Oloruntola, 24 – Ogun State) A visual artist and makeup creative with a confident streak. Zita brings youthful energy and strong opinions—an unfiltered firestarter in the making.
Mide (Ayomide Iwasokun, 23 – Ondo State) A fashion entrepreneur with a sharp mind and a sharper tongue. She says she can spot lies from a mile away, and she’s not afraid to test her theory in the house.
Sultana (Farida Auduson, 25 – Adamawa State) Plus-size model and unapologetic Gemini. She commands space with presence and pride, and isn’t here to play small.
Doris (Doris Okorie, 33 – Ogun State) Actress, mother, and full-blown firecracker. Doris knows who she is, and she’s not scared to challenge egos or expectations.
Big Soso (Sonia Amako, 28 – Kaduna State) A trained lawyer and chef, Sonia blends intellect with domestic flair. She’s passionate about advocacy and unbothered by house drama.
Tracy (Uchenna Ekwe, 27 – Anambra State) A single mum and corporate trainee with a quiet storm brewing. She brings softness wrapped in steel and is likely to be underestimated.
Ivatar (Ifeyinwa Okafor, 37 – Anambra State) The oldest female housemate, Ivatar is a media guru and tattoo-loving DJ with class, control, and a mysterious aura.
Sabrina (Sabrina Idukpaye, 32 – Edo State) A literal princess with a London School of Economics Master’s degree. Beauty, brains, and boldness wrapped in royalty.
Gigi Jasmine (Nicole Simon-Ogan, 31 – Akwa Ibom/Lagos) A Nigerian-American DJ, storyteller, and mother with quiet confidence and a touch of mystery.
Thelma Lawson (26 – Rivers State) This skincare CEO doesn’t waste words. She’s classy, brutally honest, and on a mission to expand her brand under the BBNaija spotlight.
Imisi (Opeyemi Ayanwale, 23 – Oyo State) She’s a rising fashion voice and actress who wears her emotions on her sleeve. Sweet, loud, and refreshingly real.
Ibifubara Davies (28 – Rivers State) A mental health advocate with a background in psychology. Her presence is gentle, but her intentions are sharp.
Isabella (Esther Georgewill, 29 – Rivers State) A spiritual entrepreneur and mom of a teenage daughter. Isabella radiates calm, seduction, and silent authority.
Joanna (Josephine Iwoh, 21 – Benue State) A pageant queen-turned-designer with a fierce drive. She’s young, competitive, and fully aware of the power of glam.
Dede (Precious Ashiogwu, 23 – Delta State) Drama magnet and self-proclaimed “problem.” She’s in the house to stir energy, not blend into the background.
The Male Housemates
The men of this season are walking contradictions—brawny and brainy, stylish yet strategic, streetwise but sensitive.
Koyin (Koyinsola Sanusi, 21 – Ogun State) The youngest male contestant. A full-time model and street-styled Lagos boy with flair and fast-talking energy.
Danboskid (Daniel Olatunji, 25 – Ekiti State) Model, actor, and pageant king who says he prefers being chased. Charming and clearly aware of his looks.
Bright Morgan (27 – Imo State) Popular actor known for intense roles. He’s bringing Nollywood drama to the reality stage.
Rooboy (Olakunle Samuel, 30 – Ogun State) Professional hype man with a rich personal story. Vibrant, sensitive, and driven to rewrite his narrative.
Faith (Faith Adewale, 25 – Osun State) Doctor by training, AR creator by hustle. Charismatic, brilliant, and a low-key playboy.
Kaybobo (Kayode Oladele, 26 – Ekiti State) Former American footballer who now doubles as a chef. He’s loud, confident, and determined to win.
Denari (Arinze Ekwenme, 27 – Anambra State) Comedian and mimic artist with a strong sales background. The entertainer of the group.
Kayikunmi (Kayikunmi Ajibade, 25 – Ekiti State) A proud twin and banker who blends street-smart moves with Yoruba royal confidence.
Victory (Victory Okokon, 28 – Akwa Ibom State) A psychologist and the brooding philosopher of the group. He’s deep, reactive, and emotionally vulnerable.
Jason Jae (Ayomide James, 29 – Ondo State) Creative director and choreographer. His energy is artsy, flirty, and visually captivating.
Kola (Kolapo Omotosho, 28 – Ekiti State) Calm strategist, quality analyst by day and content creator by passion. His confidence is quiet, but commanding.
Otega (Oghenetega Eritomi, 32 – Delta State) Chef and techie with an old soul. Reserved, deliberate, and deep-thinking.
Kuture (Unekwuojo Godswill Ameh, 27 – Kogi State) Fashion designer and sailor, proudly repping Ajegunleenergy. Real, rugged, and street-approved.
Mensan (Mensan-Awaji James, 29 – Rivers State) A budding lawyer with poetic charisma and unfiltered honesty. Strong-headed and unapologetically sharp.
What Makes This Season Different?
Big Brother didn’t just increase the prize money—he changed the rules. For the first time:
₦150 million is to be earned gradually through weekly challenges and influence scores.
“Most Influential Housemate” will be announced weekly, giving strategic social gameplay a big reward.
New twists like “Monday Challenges,” immunity tags, “Most Valuable Player,” and even return tickets for evicted housemates have made it a game of endurance, not just survival.
With 29 highly diverse personalities and a rulebook that rewards more than just fan love, Season 10 is shaping up to be the most explosive yet. Whether you’re here for alliances, love triangles, fashion, kitchen chaos, or epic fights—you won’t be disappointed as a fan of the show.
With To Kill a Monkey, filmmaker Kemi Adetiba returns with her most daring and socially confrontational work yet — a brooding, eight-part cybercrime thriller that swaps political theatrics for a deep dive into the moral compromises of survival in modern Nigeria. Streaming on Netflix as of July 18, 2025, the series is a raw and layered portrait of a man seduced by tech-enabled fraud, haunted by loss, and hunted by consequence.
Anchored by strong performances and atmospheric tension, To Kill a Monkey is as much about internet scams as it is about identity, desperation, and the haunting price of trying to outrun your past.
Plot Summary: Into the Heart of Digital Darkness
The story follows Efemini — simply “Efe” — a down-on-his-luck, intelligent young man played with controlled intensity by William Benson. Efe has lost everything that once grounded him: his job, his family, and most importantly, his sense of moral compass. Living in Lagos and trying to find his footing, he reconnects with Oboz (Bucci Franklin), a notorious cybercrime kingpin running a covert fraud syndicate.
The syndicate operates under the guise of “monkeys” — an ironic label for men who scam their way to wealth by pretending to be what they’re not. Efe, with his background in tech and artificial intelligence, quickly proves useful, building tools that help the gang target foreigners.
But beneath the wealth, women, and wild nights, the cracks begin to show. Efe’s inner world is fragile, riddled with grief, survivor’s guilt, and the slow realization that he’s spiraling into something unrecognizable.
On the other side of the hunt is Mo Ogunlesi (Bimbo Akintola), an emotionally scarred cybercrime officer determined to bring down the syndicate. As the lines blur between right and wrong, her pursuit of justice collides with Efe’s desperate need for escape.
Performance & Characterization: A Breakout and a Masterclass
William Benson is a revelation in the role of Efe. His performance is quiet, haunting, and deeply internal. Benson doesn’t play Efe as a one-note criminal but as a man struggling to survive the emotional wreckage of his life. His pain never screams — it simmers.
Bucci Franklin, as Oboz, brings charisma and controlled menace. The Edo accent, the swagger, the manipulative confidence — Franklin crafts a character that is seductive yet untrustworthy. Oboz is as much a metaphor for the streets as he is a reflection of its dangers: fast wealth, shallow loyalty, inevitable betrayal.
Bimbo Akintola returns to the screen with force. Her portrayal of Mo Ogunlesi — driven, grief-ridden, unshakably moral — offers the perfect foil to Efe’s morally gray journey. Their eventual face-off is among the most emotionally potent in the series.
Other cast members, including Stella Damasus, Chidi Mokeme, and Lilian Afegbai, deliver strong performances, though a few characters, especially within law enforcement, could have used more backstory and depth.
Direction & Writing: Kemi Adetiba’s Bold Evolution
This is Adetiba’s first major work since the King of Boys franchise, and it’s an intentional departure. Gone are the dramatic monologues and crown politics. In their place: subtlety, grit, and the silence of desperation.
As the creator, director, and writer, Adetiba shapes a story rooted in the here and now — from dating app scams to dark web forums. The dialogue is authentic, street-smart, and emotionally resonant. The writing captures both the banter of Lagos boys and the desperation of a generation trading dreams for survival hacks.
Still, the series isn’t without its flaws. At eight episodes, it occasionally lingers too long on scenes that don’t move the story forward. The mid-section, in particular, could’ve benefited from tighter pacing. But when the show finds its rhythm, it doesn’t let go.
Cinematography & Sound
Visually, To Kill a Monkey is a triumph. Shot by KC Obiajulu, the series uses deep shadows, neon backlights, and smartphone overlays to immerse viewers in the digital underworld. The use of screen graphics; messages, code, AI models, and is clever without feeling gimmicky.
Sound plays a crucial role too. The series hums with tension: the buzz of a hacked laptop, the ping of a notification just before betrayal, the muffled roar of Lagos nightlife. The soundtrack, blending ambient electronica with low-key Afrobeats, heightens both danger and emotion.
Costume & Styling: The Look of Fast Life
From knock-off designer belts to crisp kaftans and “big boy” jewelry, the costume design mirrors the delusion of luxury that defines the fraud world. Oboz is always overdressed, a walking ad for his own success story , while Efe’s style shifts from humble to gaudy, then back to broken as his inner world begins to collapse.
It’s in the subtle styling — the oversized shades, the loud watches, the new iPhones — that the show tells a silent story about aspiration and identity.
Themes & Symbolism
The title To Kill a Monkey is both literal and metaphorical. In Nigerian slang, it implies removing a nuisance — but here, it represents a deeper question: what does it mean to kill the part of yourself shaped by trauma, poverty, and anger?
The “monkey” is Efe’s alter ego — the face he wears to survive a system that failed him. Killing it isn’t just about walking away from crime; it’s about reclaiming his humanity. But can a man who’s benefited from darkness ever fully escape it?
Other powerful themes include: – Grief and isolation – Tech as both savior and curse – The price of betrayal – The thin line between survival and corruption
My Rating: 8/10
To Kill a Monkey is a sharp, emotionally resonant, and stylistically confident series. It’s not just about cybercrime; it’s about the personal cost of chasing shortcuts in a world that offers so few long roads.
With a career-defining performance from William Benson, a pitch-perfect villain in Bucci Franklin, and a director who continues to evolve and challenge herself, this is one of Nollywood’s most relevant thrillers in recent years.
In the world of the “monkeys,” survival is never free, and sometimes, the hardest person to escape is yourself.
In the ever-evolving landscape of Nollywood, few filmmakers carry as much weight, influence, and anticipation as Kemi Adetiba. Known for her bold storytelling, strong character arcs, and cinematic style, the King of Boys director has carved a unique lane for herself in Nigerian cinema. Now, with her new film To Kill a Monkey officially released today, July 18th, 2025, all eyes are once again on the self-proclaimed “storyteller supreme.”
A Title That Grabs You
Right from the title, To Kill a Monkey isn’t trying to blend in. It’s loud. It’s daring. And it promises a storyline unlike anything we’ve seen in recent Nollywood blockbusters. Kemi Adetiba has described the film as a psychological thriller filled with suspense, power play, and deep emotional conflict. It’s a cinematic experiment that leans into darker, more provocative themes.
The plot explores betrayal, survival, political tension, and the cost of silence, a compelling mix that sets the stage for high-stakes drama. With the success of King of Boys still resonating, this new outing feels like the next evolution in Adetiba’s storytelling arsenal.
A Queen of Her Craft
Kemi Adetiba has never been one to play it safe. From her breakout directorial debut in The Wedding Party, which became a box office sensation, to the gritty, politically charged world of King of Boys, she has constantly raised the bar. What makes her work even more impressive is the consistency of quality across storytelling, casting, visuals, and sound.
Her brand is now synonymous with excellence and edge, and To Kill a Monkey seems positioned to further strengthen that reputation.
Trailer for Kemi Adetiba “To Kill A Monkey” coming to Netflix.
Starring Chidi Mokeme, Stella Damasus, Bimbo Akintola, William Benson, Lilian Afegbai, Bucci Franklin, Michael .O. Ejoor and Damilola Adegbite.
— Streamdorm Film Updates 🎥 (@Streamdorm_) June 26, 2025
Star Power Casting
This time, Adetiba assembles a powerful cast to bring her vision to life. The film features veteran actor Chidi Mokeme, the graceful Stella Damasus, and the ever-commanding Bimbo Akintola, William Benson, Bucci Franklin in key roles. Joining them are, Lilian Afegbai, Michael .O. Ejoor, and Damilola Adegbite; each bringing unique flair and depth to the screen.
With this cast, audiences can expect powerhouse performances, emotional complexity, and standout moments that will linger long after the credits roll.
Stills from Kemi Adetiba “To Kill A Monkey” coming to Netflix.
Starring Chidi Mokeme, Stella Damasus, William Benson, Lilian Afegbai, Bucci Franklin, Michael .O. Ejoor and Damilola Adegbite. pic.twitter.com/AfubMKnXV3
— Streamdorm Film Updates 🎥 (@Streamdorm_) June 26, 2025
Raising Nollywood’s Global Profile
Beyond entertainment, Kemi Adetiba represents something larger; the global ambition of Nollywood. With her international fan base, sleek production style, and ability to tap into culturally resonant stories, she’s helping reshape how the world views African cinema. Every project she releases becomes a cultural conversation, and To Kill a Monkey is no different.
Final Thoughts
To Kill a Monkey isn’t just another film — it’s another power move. A declaration that Nollywood isn’t just growing, it’s evolving. And at the helm of that evolution is a woman who knows exactly what she’s doing. It premieres on Netflix today!
Are you planning to see To Kill a Monkey? What are your expectations? Share your thoughts with us after you’ve seen the movie.
Calling Superman nostalgic will be a hyperbole, but it is. James Gunn’s ‘Superman’ takes me back to the days when I woke up at 3 in the morning to watch cartoons without my parents’ knowledge (I’m pretty sure my mum was aware), the days when everything seemed bright in the world, and the days that made me fall in love with superheroes and comics.
James Gunn’s Superman is meant to remind us of why we fell in love with the character and comics as a whole, but did it achieve its job?
In the plethora of points made by the ever-divided fandom of DC, a standout point of argument is that “Man of Steel” is too dark. For the general audience, this means nothing; movies are movies. Why should a parent who has worked all month take their precious money to see this movie?
The creatives and execs at the time of DCEU left a big dent in the DC brand, and with James Gunn steering the ship, will everything be bright and beautiful? Can this DCU rival the already falling MCU? Time will tell.
Movie Overview
Superman follows Clark Kent/Superman, who must reconcile his Kryptonian heritage with his human upbringing while saving the world from a self-centered billionaire with a saviour complex, determined to destroy him both emotionally and literally.
While the movie has a nod to today’s world, I will argue that this is a classic case of life imitating art. From tone to action and dialogue, this is a movie that raises the question, “What does being good in today’s world look like?”
The Positives
Think of the first time you opened a comic book, or the first animation you watched as a kid… In rare cases, your introduction to that world is an origin story. James Gunn has said this on multiple occasions: this is not an origin story; expect to be dropped right in the middle.
The concerns of many, rightfully so, will be the amount of jokes in this movie and to my surprise, it’s way less than you will expect.
James Gunn managed to create a film with heartfelt moments without his jokes, which may come off as corny to some. The funniest jokes are those in real situations that everyday people can relate to. Some jokes sadly did not stick, and some could be felt a mile away, but the funniest of them is a surprise cameo.
With past iterations trying to drag and showcase Superman’s power set, this movie is about who he is or, at the very least, believes himself to be at the core. Questions like, should those with too much power oppress or intervene? Superman ignorantly believes in the good of humanity.
The casting of this movie is arguably the best casting of all iterations of Superman. Every cast did 150% with what they had. More on our YouTube:
Neutral Point
Despite being the coal to the Orient Express, the score was all over the place. The nostalgia in the John Williams theme was useful in some parts of the movie, but in most places, it felt over the top.
The flying scenes were a choice, but the action mid-flight was beautiful.
Negative Point
Despite how “comic booky” this movie is, the number of characters could use more screen time, especially a female superhero. Each tertiary character tried to shine, but with such great talent, you forget this is a Superman movie.
To compensate for not being an origin story, James Gunn found the worst way to make the audience understand why things are the way they are. I don’t think there is a reason why actual people will have to explain, without being asked, why you only wear a gold chain. This movie found a way to make callbacks annoying. What’s worse is there’s nothing to call back to.
Conclusion
Superman delivers on its promises: a great movie experience that poses the question, “What does it mean to be good?” This is a great start to the vision of the DCU, but will it end up like the old DC and new Marvel?
In K.O., director Antoine Blossier delivers a tense, emotionally layered thriller that strikes with quite an intensity and moral complexity. Set in the undercurrent of Paris’s fight scene, the film explores the collision between violence, guilt, and the human desire for redemption. At the center of the story is Bastien Durand, a once-promising MMA fighter whose career and conscience shatter when he accidentally kills an opponent during a sanctioned bout. Wracked with guilt and shunned by the world that once celebrated him, Bastien disappears from public life, retreating into isolation. But his past refuses to stay buried. K.O. is not about the glory of combat but the emotional wreckage it leaves behind. Blossier steers the film away from traditional fight drama clichés, focusing instead on psychological tension, intimate character dynamics, and the thin line between justice and forgiveness. K.O. examines themes of atonement, the ripple effect of loss, and the fragile hope that even broken people can heal. It’s a gripping, morally complex story where the greatest battle isn’t fought in a ring but within.
Movie Summary
The movie begins in an MMA Stage fight between two figter and in the hit of the moment one of the fighters (Bastien) kills the other while trying to escape from his grapple hook. He visits the opponents wake-keeping to pay his respect but he is sent away by the son and wife of the deceased.
Two years after, an incident occurs in an old factory where a gang killing by drug dealers happens. The son of the late fighter (Leo) is now a drug dealer and also an informant to a police officer (Alaoui) and he is a witness to the killing that occured at the factory. The gang well feared in Marseille even by the Police force now wants him dead so his mother runs to Bastien for help with her son whose life is in danger.
Bastien full of grieve and regrets of what had happened two years ago, quits fighting and resolve to living in isolation but now he must atone for his sins by saving the life of the son of the man he murdered. Getting to Marseille he meets with Alaoui who is also looking for Leo and their parts cross when he goes to the apartment of Leo’s cousin where the mother believed he was living.
They team up together to look for Leo after she was suspended from the Police force after fighting the security at a club where they went to get information about Leo’s whereabout. Bastien and Alaoui end up having a moment together and there after Leo is rescued from his hideout from the grip of the Manchours gang.
He is taken safely to the police station for statement but unknown to them there is a mole in the police station and they are attacked at the station.
Review: K.O. (2025) – A Quiet Thriller That Hits Where It Hurts
If you’re expecting a fast-paced fight movie filled with punches and cheers, K.O. will surprise you and in the best way possible. Directed by Antoine Blossier, this French thriller takes a very different route. It’s not about the fight in the ring; it’s about what happens after.
The movie is quiet and intense. There are a few violent moments, but they feel real and necessary not flashy but also begs of the question of what could have been. In regular films we see instances where common sense is required but if you are watching a film, most especially an action film and you try to apply your common sense to all the scenes then you will end up not enjoying the film.
There are some places you might have expected some things to be done differently but for the fun of the film it is done in the way it is. For example some of the mobs using cutlass and knifes to fight Bastien when they all have access to guns, (if they used guns and he used his bare hands then the movie will sure end sooner than it should be).
Commenting on the guilt and forgiveness part in the movie I understand from research that there are unspoken understanding between fighters on the dangers of the game and in some cases like UFC, Bellator, and PFL, fighters usually typically sign contracts and waivers acknowledging the risks of injury or death.
So my thoughts are that Bastien felt guilty because he wanted to and later on we found out that he had a similar childhood like Leo, his father was killed so he felt guilty that he was exposing someone else to such a world over again but aside that in its self he owed nothing to Leo and his mother for an accident that occured between both fighters, I know this would sound harsh and heartless but its just a movie and the story line I agree should have taken this turn for the purpose of everything that later happened.
The real focus is on the characters, their emotions, and how they try to make sense of a situation with no easy answers. What makes K.O. special is how real it feels. It doesn’t rush. It doesn’t pretend everything will be okay. It just shows two people trying to make peace with the past, while doing what they can in the present.
To calm the tension of the action packed film, like every other regular action movies Blossier creates a scene of romance and intimacy which was introduced between Bastien and Alaoui which to some like myself would say it’s unnecessary because they had just met and didn’t even know one another that well yet but the very first chance they get to be alone together they already end up having sex. The fighting scenes are well done to their standard and looks somewhat real though there are some places that could have been improved upon most especially in the last battle inside the Police station.
If you are someone who is used to watching films with subtitles and loves action packed movies then K.O. should be on your watch list though its original language is in French, with subtitle it is well understandable. I mean that is if you do not speak or understand French.
