Hijack ’93 is a Nigerian historical drama based on the infamous October 1993 hijacking of a Nigerian Airways flight by four young men advocating for democracy during Nigeria’s military regime. Written by Musa Jeffery David and directed by Robert Peters, the movie dramatizes this real-life event while exploring themes of youthful idealism, disillusionment, and political resistance. The film debuted on Netflix in October 2024, marking a significant addition to Nollywood’s repertoire of historical thrillers.
The hijackers’ story centers on their desperate mission to bring attention to their democratic demands. Although the movie includes some fictional elements, such as altered character names and motivations, it retains the core of the event. It highlights the hijackers’ internal struggles, the tense interactions between passengers and captors, and the ultimate resolution through negotiations and force.
Strengths
Cinematography: The film excels visually, particularly in capturing the confined space of the airplane. The camera work during action sequences is commendable, enhancing the film’s intensity.
Themes: The exploration of tribalism, grief, and abuse offers relevant social commentary, reflecting issues still prevalent in Nigeria today. Historical Resonance: By revisiting a dark chapter in Nigerian history, the film prompts viewers to reflect on political struggles and societal change.
Weaknesses
Plot and Character Development: The film struggles with narrative cohesion, leading to flat emotional moments. Characters lack depth, and their motivations such as the hijackers’ transition from personal grievances to political activism are underexplored.
Dialogue and Acting: The script and performances fall short of delivering the tension and emotional stakes expected in such a high-stakes story.
Historical Authenticity: While visually modern, the film fails to convincingly portray the 1990s setting, with overly polished props and inconsistent period details detracting from the narrative’s credibility.
Overall, while Hijack ’93 provides a gripping premise and impressive cinematography, it falters in execution, leaving its emotional and historical impact underwhelming. However, its bold attempt to tackle a complex historical event makes it a noteworthy, albeit imperfect, addition to Nollywood’s catalog.
Rating 5/10
The men behind the real Hijack visual by Premium Times Nigeria
The 2024 nomination list came with no surprise, with nominations from well-deserved shows including “Shōgun,” “The Bear,” and “The Penguin.” This year’s nomination was led by “Shōgun” with six nods, followed by Abbott Elementary, Disclaimer, Hacks, The Diplomat, The Penguin, and What We Do in the Shadows with four nods each.
Netflix leads all networks and platforms with 23 nominations, followed by HBO/Max with 21, then we have Disney’s FX, with 20 (including FX/Hulu), and Apple TV+ with 12. Other platforms are in the single digits.
The FX Shōgun nods in six categories; they include drama series, drama actor (Hiroyuki Sanada), drama actress (Anna Sawai), supporting drama actor (Tadanobu Asano and Takehiro Hira), and supporting drama actress (Moeka Hoshi).
The Critics Choice Awards will take place on Jan. 12 and air live on E! at 7 p.m. Below, find the full list of 2024 Critics Choice Awards TV nominations.
BEST DRAMA SERIES
The Day of the Jackal (Peacock) The Diplomat (Netflix) Evil (Paramount+) Industry (HBO | Max) Interview With the Vampire (AMC) The Old Man (FX) Shōgun (FX/ Hulu) Slow Horses (Apple TV+)
BEST ACTOR IN A DRAMA SERIES
Jeff Bridges – The Old Man (FX) Ncuti Gatwa – Doctor Who (Disney+) Eddie Redmayne – The Day of the Jackal (Peacock) Hiroyuki Sanada – Shōgun (FX / Hulu) Rufus Sewell – The Diplomat (Netflix) Antony Starr –The Boys (Prime Video)
BEST ACTRESS IN A DRAMA SERIES
Caitriona Balfe – Outlander (Starz) Kathy Bates – Matlock (CBS) Shanola Hampton – Found (NBC) Keira Knightley – Black Doves (Netflix) Keri Russell – The Diplomat (Netflix) Anna Sawai – Shōgun (FX / Hulu)
BEST SUPPORTING ACTOR IN A DRAMA SERIES
Tadanobu Asano – Shōgun (FX / Hulu) Michael Emerson – Evil (Paramount+) Mark-Paul Gosselaar – Found (NBC) Takehiro Hira – Shōgun (FX / Hulu) John Lithgow – The Old Man (FX) Sam Reid – Interview With the Vampire (AMC)
BEST SUPPORTING ACTRESS IN A DRAMA SERIES
Moeka Hoshi – Shōgun (FX / Hulu) Allison Janney – The Diplomat (Netflix) Nicole Kidman – Special Ops: Lioness (Paramount+) Skye P. Marshall – Matlock (CBS) Anna Sawai – Pachinko (Apple TV+) Fiona Shaw – Bad Sisters (Apple TV+)
BEST COMEDY SERIES
Abbott Elementary (ABC) English Teacher (FX) Hacks (HBO | Max) Nobody Wants This (Netflix) Only Murders in the Building (Hulu) Somebody Somewhere (HBO | Max) St. Denis Medical (NBC) What We Do in the Shadows (FX)
BEST ACTOR IN A COMEDY SERIES
Brian Jordan Alvarez – English Teacher (FX) Adam Brody – Nobody Wants This (Netflix) David Alan Grier – St. Denis Medical (NBC) Steve Martin – Only Murders in the Building (Hulu) Kayvan Novak – What We Do in the Shadows (FX) Martin Short – Only Murders in the Building (Hulu)
BEST ACTRESS IN A COMEDY SERIES
Kristen Bell – Nobody Wants This (Netflix) Quinta Brunson – Abbott Elementary (ABC) Natasia Demetriou – What We Do in the Shadows (FX) Bridget Everett – Somebody Somewhere (HBO | Max) Jean Smart – Hacks (HBO | Max) Kristen Wiig – Palm Royale (Apple TV+)
BEST SUPPORTING ACTOR IN A COMEDY SERIES
Paul W. Downs – Hacks (HBO | Max) Asher Grodman – Ghosts (CBS) Harvey Guillén – What We Do in the Shadows (FX) Brandon Scott Jones – Ghosts (CBS) Michael Urie – Shrinking (Apple TV+) Tyler James Williams – Abbott Elementary (ABC)
BEST SUPPORTING ACTRESS IN A COMEDY SERIES
Liza Colón-Zayas – The Bear (FX / Hulu) Hannah Einbinder – Hacks (HBO | Max) Janelle James – Abbott Elementary (ABC) Stephanie Koenig – English Teacher (FX) Patti LuPone – Agatha All Along (Disney+) Annie Potts – Young Sheldon (CBS)
BEST LIMITED SERIES
Baby Reindeer (Netflix) Disclaimer (Apple TV+) Masters of the Air (Apple TV+) Mr. Bates vs the Post Office (PBS) The Penguin (HBO | Max) Ripley (Netflix) True Detective: Night Country (HBO | Max) We Were the Lucky Ones (Hulu)
BEST MOVIE MADE FOR TELEVISION
The Great Lillian Hall (HBO | Max) It’s What’s Inside (Netflix) Música (Prime Video) Out of My Mind (Disney+) Rebel Ridge (Netflix) V/H/S/Beyond (Shudder)
BEST ACTOR IN A LIMITED SERIES OR MOVIE MADE FOR TELEVISION
Colin Farrell – The Penguin (HBO | Max) Richard Gadd – Baby Reindeer (Netflix) Tom Hollander – FEUD: Capote vs. The Swans (FX) Kevin Kline – Disclaimer (Apple TV+) Ewan McGregor – A Gentleman in Moscow (Paramount+) Andrew Scott – Ripley (Netflix)
BEST ACTRESS IN A LIMITED SERIES OR MOVIE MADE FOR TELEVISION
Cate Blanchett – Disclaimer (Apple TV+) Jodie Foster – True Detective: Night Country (HBO | Max) Jessica Lange – The Great Lillian Hall (HBO | Max) Cristin Milioti – The Penguin (HBO | Max) Phoebe-Rae Taylor – Out of My Mind (Disney+) Naomi Watts – FEUD: Capote vs. The Swans (FX)
BEST SUPPORTING ACTOR IN A LIMITED SERIES OR MOVIE MADE FOR TELEVISION
Robert Downey Jr. – The Sympathizer (HBO | Max) Hugh Grant – The Regime (HBO | Max) Ron Cephas Jones – Genius: MLK/X (National Geographic) Logan Lerman—We Were the Lucky Ones (Hulu) Liev Schreiber – The Perfect Couple (Netflix) Treat Williams – FEUD: Capote vs. The Swans (FX)
BEST SUPPORTING ACTRESS IN A LIMITED SERIES OR MOVIE MADE FOR TELEVISION
Dakota Fanning – Ripley (Netflix) Leila George – Disclaimer (Apple TV+) Betty Gilpin – Three Women (Starz) Jessica Gunning – Baby Reindeer (Netflix) Deirdre O’Connell – The Penguin (HBO | Max) Kali Reis – True Detective: Night Country (HBO | Max)
BEST FOREIGN LANGUAGE SERIES
Acapulco (Apple TV+) Citadel: Honey Bunny (Prime Video) La Máquina (Hulu) The Law According to Lidia Poët (Netflix) My Brilliant Friend (HBO | Max) Pachinko (Apple TV+) Senna (Netflix) Squid Game (Netflix)
Hot Ones (YouTube) The Daily Show (Comedy Central) The Graham Norton Show (BBC America) John Mulaney Presents: Everybody’s in L.A. (Netflix) The Kelly Clarkson Show (NBC/Syndicated) The Late Show with Stephen Colbert (CBS)
BEST COMEDY SPECIAL
Ali Wong: Single Lady (Netflix) Jim Gaffigan: The Skinny (Hulu) Kevin James: Irregardless (Prime Video) Nikki Glaser: Someday You’ll Die (HBO | Max) Rachel Bloom: Death, Let Me Do My Special (Netflix) Ramy Youssef: More Feelings (HBO | Max)
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I want to believe most of us grew up with DC or, at the least, have consumed DC content; I know I did. When I was a kid, I used to have a sense of joy calling myself a fan of DC, but this past decade, it’s more than embarrassing watching what DC has turned to, especially in this MCU world we live in.
Warner Bros. and DC executives sometimes forget they sit on a gold mine of IPs, and it’s a shame we have to rotate between Superman and Batman repeatedly. Filmmakers have tried to do justice to these characters, but to the audience, it’s the same story. DC has continuity issues; the DCEU (Extended Universe), DCAU (Animated Universe), or all iterations of the film and TV universe all meet the same fate. CANCELLED.
Don’t get me wrong; DC has some successful projects, but it’s time they do something stable, and this is where James Gunn and Peter Safran come in. As a fan observing from the outside, looking in, it’s fascinating to see that they are finally getting a creative head, and hopefully, they get it right.
On January 31st, 2023, James Gunn announced the start of a new DC, the DCU, a reboot of everything DC on film, TV, and gaming. His vision includes the continuity of Peacemaker, Creature Commandos, a new Superman film, the Lantern shows, and many more. Today is the start of that universe.
What do you need to watch to understand this universe?
To be honest, nothing. If you’ve watched or consumed any DC content, then you should understand what “reboot,” “continuity,” or “canon” is in the context of DC. If not, let me explain. When you reboota universe, you are not necessarily starting over but moving the story in a better direction, resulting in the issue of continuity. How do you move what we’re following and enjoying? What are you bringing into this universe?
This new universe will include nods to some of the events of the DCEU, such as Peacemaker Season 1, The Suicide Squad, and Blue Beetle.
Peacemaker: James Gunn recently mentioned that the events of Peacemaker remain canon aside from the scene where the Justice League showed up. He explained that, in his DCU, the Justice League is yet to be formed.
The Suicide Squad: [Spoilers] In Creature Commandos, Weasel survived, and Rick Flag Jr. is still dead.
Blue Beetle: I’m still unsure, but with the announcement of a Blue Beetle animated TV show with the same actors, I want to believe the origin of Blue Beetle will remain canon.
The Timeline
The events of Creature Commandos begin two years after The Suicide Squad and just before Superman (Legacy).
Creature Commandos takes the same tone as The Suicide Squad but with monsters. If you’re done with that tone, it’s understandable not to watch Creature Commandos. James Gunn has announced the defining moment to begin the DCU starts with Superman.
Then why start Creature Commandos now?
James Gunn told fans he greenlit Creature Commandos after he became DC Co-CEO. He explained he wrote Creature Commandos after The Suicide Squad. Critics may argue that Creature Commandos, being the same tone as previous Marvel/DC work, will never be greenlit.
Will DCU remain permanent?
Previously, executives and creatives did not always agree on the way forward, which is why most projects get shelved. Giving Warner Bros. Discovery state, if David, James, and Peter continue to agree, the DCU is projected to be a success.
Your only excuse should be that you’re on a remote island with no access to the internet and don’t notice the wave of new talents in the Nigerian music industry. The wave is led by those I will consider the latest Big 4, starring Ayra Starr, Asake, Rema, and Tems. These talents have well-crafted and mastered the art of making good music, and it’s high time they get their flowers.
The Rolling Stone’s 2024 Top Albums List, released on Monday, features Rema’s ‘Heis,’ Tems’ ‘Born in the Wild,’ and Ayra Starr’s ‘The Year I Turned 21.’
Ranking them, we have:
Rema’s second studio album, ‘Heis,‘ was ranked 11th overall. The album recently received a Grammy nomination for Best Global Album Performance.
Description: “Rema has taken to calling his own style of Afrobeats “Afro-rave,” in the tradition of Burna Boy and the like who have fought to differentiate themselves from what became a catchall for African music in general. Yet, there was no real sonic signifier for Rema’s Afro-wave — he seamlessly traverses hip-hop, house, R&B, and dancehall. Heis sounds more like a rave than almost anything Rema has made prior (excluding the excellent loosey “Bounce,” for example, raging while everything else simmers. The result is the buzzy, visceral, sweat-it-out music that no one else in the mainstream is making.”
Tems’ debut album, ‘Born in the Wild,‘ ranked 37th overall. Tems, whose voice is captivating, earned Grammy nominations for both ‘Best African Music Performance’ and ‘Best Global Music Album.’
Description: “Tems has already remade Nigerian pop in her own image. Her debut album measures the soul work it’s taken to get here. All of it has paid off on an album so rich that the listening experience is a physical one as much as it is emotional. “Wickedest” is primed for the dance floor, while the single “Love Me Jeje” is a masterpiece, soaked in the sun and major-key dopamine. Her vision is made timeless via a seamless blend of stripped-down ballads, the cool of 1990s R&B with flecks of SWV and Sade, joyous high life, Afro-dance music like amapiano, and rugged hip-hop.”
Ayra Starr’s sophomore album, ‘The Year I Turned 21,′ ranked 53rd on the list according to Rolling Stone.
Rolling Stone describes it as: “With the follow-up to her 2021 debut, Ayra Starr asserts a musical maturity that could be considered far beyond her years, but perhaps more aptly serves as a reminder of the emotional depth, logical prowess, and enviable passion young people often possess. Across it, Starr refreshes tried-and-trueAfrobeats elements with the type of songwriting that SZA fans flock to, darting between Nigerian Pidgin, Yoruba, and English with endless finesse and attitude in all three languages.”
I, for one, am glad for the recognition of Nigerian musical talents on a global stage, and this should continue for a long time. Last year the list featured legends like Mr. Eazi, Burna Boy, Adekunle Gold, and Asake.
Oscar-winning actress Angelina Joliehas publicly reiterated what matters to her above all… Motherhood.
While speaking on Good Morning America with Michael Strahan to promote her upcoming film, Maria, Angelina Jolie expressed how she feels about her kids describing it as something similar to Maria Callas’s passion for singing.
The actress told Strahan that motherhood is happiness: “You can take everything else away from me. Nothing else matters.”
Maria is a biopic about the opera singer, Maria Calles portrayed by Angelina Jolie. The movie also stars legendary actors Haluk Bilginer, Kodi Smit-McPhee, Alba Rohrwacher, and Valeria Golino directed by Pablo Larraín.
She and ex-husband Brad Pitt share six kids: Maddox, 23, Pax, 20, Zahara, 19, Shiloh, 18, and Knox and Vivienne, 16-year-old twins.
Jolie’s two eldest sons, Maddox and Pax, worked with her on Maria as assistant directors, which described the experience as “amazing” despite having no interest in being seen on camera yet. “They’re quite private. Shiloh’s extremely private. They weren’t born with privacy, right? So I hope they can have that as they grow,” she said.
The Eternals star has always been outspoken on motherhood and the importance of education.
“I’m somebody who has tried to have a better education on foreign policy. I think of the amount of times it’s been summarized, ‘You’re an artist, but you also use your voice,’ you feel like, that’s just being a person,” she said. “I’m trying to understand what is happening within our world, why so many things are the way they are. I’m trying to understand how to best be a guide for my children, to make sure that they are good people. I don’t often feel like I’m doing enough. So when you say, ‘You use your voice,’ I feel like there are so many things I don’t quite know how to do or say at this time.”
Angelina Jolie underwent vocal training for her performance as Callas in Maria—a process that her kids were apparently witnesses to. “All of my children suffered through my early opera singing in the house before I got kinda good,” she recalled, adding jokingly, “which was a nightmare.”
Lisabi: The Uprising is a cinematic story of the Egba people’s historic rebellion against the Oyo Empire’s oppressive reign in 18th-century Yorubaland.
Directed by Niyi Akinmolayan, the film spotlights the bravery and leadership of Lisabi, a farmer turned revolutionary who rallies his community against tyranny. The movie blends historical events, cultural representation, and personal sacrifices to craft a narrative that is both educational, thrilling and deeply emotive.
Thematic Depth
The film’s core themes include resistance to oppression, the strength of unity, and the power of cultural heritage in the face of adversity.
Lisabi symbolizes the transformative potential of collective action as he unites farmers and oppressed individuals to reclaim their dignity. Through the struggles depicted, the movie reflects the importance of standing up against injustice.
Additionally, the narrative incorporates themes of sacrifice, as Lisabi and his companions must endure personal losses for the greater good.
While these overarching themes resonate strongly, there is a noticeable lack of focus on women’s roles within the rebellion.
Abebi, Lisabi’s wife, is portrayed as a victim whose tragic demise propels the uprising, but her potential as a fully realized character is underexplored which could have been as a result of the old concept about women back in the historical days.
This omission limits the story’s depth, particularly in highlighting how women contributed to historical movements.
Cultural Authenticity
The film excels in its depiction of Yoruba traditions and lifestyle. From the detailed costumes to the realistic portrayal of rural Egba life, every visual aspect immerses viewers in the time period.
The traditional chants, songs, and rituals interwoven into the narrative enhance the cultural richness. The filmmakers also focus on the symbolic role of land and farming, which not only defined Egba identity but also became the very essence of the resistance.
The cinematography further elevates the cultural experience by capturing the serene beauty of Nigeria’s landscapes. These visuals contrast sharply with scenes of violence and oppression, emphasizing the stakes of the rebellion.
Performance and Characterization
Lateef Adedimeji’s portrayal of Lisabi anchors the film with a mix of determination, charisma, and vulnerability. His transformation from a humble farmer to a revolutionary leader is compelling and emotionally resonant. Ibrahim Chatta’s menacing performance as Songodeyi, the brutal tribute collector, brings a palpable sense of danger to the story.
Supporting characters, while impactful, sometimes lack narrative depth. For instance, Oshokenu’s storyline, feels incomplete, as does the portrayal of the Alaafin of Oyo, who is depicted more as a symbol of power than as a complex figure. Similarly, Abebi’s character arc, while central to Lisabi’s motivation, could have been expanded to give her more agency in the story.
Narrative Structure and Weaknesses of the Movie
The storytelling struggles with inconsistent pacing, alternating between slow, reflective moments and abrupt action sequences. While the reflective scenes effectively build the world and explore the characters’ struggles, they occasionally drag, disrupting the film’s momentum.
The inclusion of supernatural elements, meant to reflect Yoruba spirituality, feels underdeveloped and disconnected from the main narrative, diminishing its impact and the whole essence of incorporating it in the movie.
The film concludes on an unresolved note, leaving room for a potential sequel. While this approach allows for a broader narrative, it risks leaving the audience unsatisfied with the incomplete resolution of key storylines and feelings of a bad ending alongside a quest to know if there will be a next.
Production Value
The film’s production values are impressive, with attention to detail evident in the set designs, props, and costumes. The vibrant depiction of traditional Yoruba attire and the careful recreation of Egba and Oyo environments add to the film’s authenticity. The sound design, incorporating traditional music and chants, further immerses viewers in the world of the Egba rebellion.
Sociopolitical Resonance
Beyond its historical focus, Lisabi: The Uprising resonates with contemporary audiences by drawing parallels between historical oppression and modern struggles for justice and self-determination.
The story of Lisabi serves as a reminder of the enduring relevance of unity and resistance against exploitation, oppression and injustice making it both a tribute to Yoruba history and a call to action for current and future generations.
In conclusion, Lisabi: The Uprising is a culturally significant film that showcases the richness of Nigerian history and heritage.
Despite its narrative shortcomings, including pacing issues and underdeveloped characters, it succeeds in capturing the spirit of resistance and the beauty of Yoruba traditions. The film stands as a testament to Nollywood’s growing capability to produce grand historical epics and sets the stage for future projects that can refine and expand upon this foundation.
For viewers interested in historical dramas or African culture, this film is a worthwhile experience, offering both entertainment and a deeper understanding of Nigeria’s rich past.
Lawal Mayowa Joel known professionally as Mayor Glorious is a talented Nigerian Juju Gospel singer. He was born on 20th of September, 1993 and hails for Ibadan city, Oyo state, Nigeria. He has a Higher National Diploma (HND) and is the second born in his family and is currently engaged.
Mayor glorious is what we can call a real hard worker as he joggles his musical career with his pharmacy store. He decided to delve into music in 2015, after he discovered that he had a passion for the art and wanted to make use of his given gift.
Mayor Glorious
Over the years in total Mayor Glorious has released various tracks that’s been a blessing to his fans as the melody of his artistry captivates his listeners in all tracks.
He released his first single in the year 2022, a track titled Iyanu. When he is not doing music he’s doing music in that he loves to sing and another thing he also loves doing aside singing is reading.
Mayor Glorious can be said to gain his inspiration from playing. He is currently signed to Juju Gospel label as he himself is a certified Juju gospel singer. His band name Mayor Glorious Band Music Worldwide or just MGB Music World is a beauty to behold.
He plays talking drum and mostly loves to listen to Gospel music as faith and believe keeps him going all the way. He is determined to achieve success in life and stay focused on his dream.
Congratulations to Alexandra Daddario and Andrew Form. The 38-year-old White Lotus star announced the birth of their newborn baby.
Alexandra Daddario made the birth of her child through a whimsical Halloween Instagram post. She shared a picture of her child in a bowl with some candy on him with the caption, “I thought this was a weird bowl of candy.”
The gender of her child is yet to be revealed.
Via @alexandradaddario
The actress immediately received in bulk congratulatory messages:
Earlier this year, Daddario opened up about her pregnancy, explaining her “complicated” feelings after previously suffering a miscarriage.
“I’m pregnant and it’s all successful and everything’s healthy. ” She continued to share the emotional toll of her previous loss, stating, “I had been pregnant. Then I had a loss. It’s long and complicated, so I don’t want to be too specific.”
“Those kinds of losses and trauma are very hard to explain unless you’ve been through them.” “I really relate to all the women who have been through those kinds of things in a way that I didn’t understand fully before. It’s very, very painful.”
The creative director, Brian Horton, for one of the most anticipated games, Marvel’s Wolverine, will now work with the team making Perfect Dark for Xbox. In a report by Game File, Brian left Insomniac to work on the Perfect Dark reboot game, currently in development by Microsoft’s The Initiative and Crystal Dynamics.
Brian, who previously worked on Marvel’s Spider-Man: Miles Morales and 2015’s Rise of the Tomb Raider, hasn’t worked on Marvel’s Wolverine for some time. Meanwhile, Wolverine’s game director, Cameron Christian, will be working at Insomniac.
An Xbox spokesperson told Game File that Brian is “bringing his wealth of experience to the upcoming reboot of the classic Secret Agent series.”
A new creative director for Wolverine, Marcus Smith and game Director, Mike Daly are reportedly the new hires. Both Mike and Marcus are known for their work on the 2021 game Ratchet & Clank: Rift Apart.
Though Marvel’s Wolverine was first announced in 2021, neither game has an official release window. The Wolverine is to be released for PS5 and reportedly in the same universe as the Spider-Man game.
