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The battle for Hollywood is officially a corporate battle. Just days after Netflix appeared to win the bidding war for major parts of Warner Bros. Discovery (WBD), rival bidder Paramount Skydance has escalated the fight, launching a bold hostile takeover bid for the entire company.

Led by CEO David Ellison, Paramount Skydance is now going over the WBD Board of Directors’ heads and taking a massive, all-cash offer directly to WBD shareholders. This dramatic move throws the entire future of two media giants and the streaming world into immediate uncertainty.

The Heart of the Battle: The Bidding terms

The core of the dispute lies in what is being bought and how much it’s worth.

The Netflix Deal (Currently Board-Approved)

What it Buys: Only WBD’s Studio and Streaming assets, including the Warner Bros. film studio, HBO, and HBO Max.

What is Left Out: WBD’s Global Networks (like CNN and TNT) would be spun off into a separate, new company.

Value: Roughly $27.75 per WBD share in a mix of cash and Netflix stock.

The Paramount Skydance Bid (Hostile Offer)

What it Buys: The Entire Warner Bros. Discovery Company, keeping the film studios, streaming services, and the Global Networks together.

Value: $30.00 per share in all cash.

Total Enterprise Value: An impressive $108.4 billion, including WBD’s current debt.

Paramount Skydance argues that its offer is superior and more certain for shareholders, delivering an estimated $18 billion more cash than the complicated Netflix proposal.

Why the Hostile Move? The Strategy Behind the Bid

When a company goes “hostile,” it means the existing management and board have rejected the offer, so the bidder must appeal directly to the owners the shareholders to force a sale.

Paramount Skydance is pushing three main arguments to convince WBD shareholders to reject the Netflix deal:

• More Cash, Less Risk: The $30.00 per share is a higher price, and the all-cash structure removes the risk and complexity of receiving volatile Netflix stock as part of the payment.
• Regulatory Advantage: Paramount argues that a Netflix-WBD deal which would merge two massive content libraries and streaming subscriber bases would face intense and lengthy antitrust scrutiny from regulators. A Paramount-WBD merger, being smaller, might have a “quicker path to completion.”
• Keeping the Company Together: Paramount believes that keeping all of WBD’s assets together (studios, streaming, and cable networks) provides a stronger, more stable business, arguing the separate “Discovery Global” company created by the Netflix deal would be saddled with uncertainty.

What Happens Next?

The hostile bid signals that this fight is far from over. Paramount Skydance has formally launched a tender offer that is set to expire in January 2026.

TikTok has revealed a new policy that limits late-night live streaming for users in Nigeria, blocking access to the LIVE feature from 11:00 p.m. to 5:00 a.m. daily. The sudden restriction has sparked concern among creators who depend on night time engagement for stronger audience reach and monetization.

According to a system notification sent to Nigerian accounts, TikTok described the move as a temporary safety measure, noting that the platform is “investigating to ensure our community remains protected.” Only creators who meet TikTok’s eligibility for LIVE; typically those with at least 1,000 followers are affected by the nighttime lockdown.

Why TikTok Is Enforcing the Restriction

Though it’s not yet clear why TikTok has enforced this policy, the company says the restriction is part of an ongoing safety investigation targeted at keeping the Nigerian creator community secure. The platform has intensified content moderation in the country this year, removing millions of videos and banning thousands of LIVE sessions for guideline violations.

In earlier reports, TikTok revealed that over 49,000 LIVE sessions from Nigeria were taken down in 2025 for issues related to adult content, harmful behaviour, and violations of LIVE monetization rules. The new nighttime restriction appears to be an extension of this broader safety according to them.

Impact on Nigerian Creators

For many Nigerian creators, the 11 p.m.– 5 a.m. window is a high traffic period, especially for entertainment, lifestyle updates, gaming streams, and casual community chats. With LIVE now blocked during those hours, creators may experience:

• Reduced engagement and reach
• Lower gifting earnings during peak hours
• A shift in content scheduling and audience behaviour

However, TikTok confirmed that creators’ previous gift earnings and account balances remain untouched, meaning no financial losses on past live sessions.

This December, Netflix is taking over your holiday watchlist with a lineup of must-see movies. From heartwarming festive romances to mysteries, there’s something for every mood. And with its recent acquisition of Warner Bros., Netflix now commands one of the biggest film and TV catalogs in the world.

For the purpose of this article we will be picking out 10 Movies that would be released on Netflix this December that you can’t afford to snooze on.

Wake Up Dead Man: A Knives Out Mystery (Dec 12)

Directed and written by Rian Johnson, the mastermind behind the Knives Out series, Wake Up Dead Man continues the story of the brilliant detective Benoit Blanc, played by Daniel Craig. 

Blanc is called to solve the murder of a charismatic church leader in a small-town church with a dark past. The body is discovered in a locked room, setting up a classic “impossible crime” mystery.

Joining Blanc is a young priest, portrayed by Josh O’Connor, who brings layers of faith, morality, and emotional tension to the investigation. The plot promises a darker, more emotionally grounded story compared to the previous films in the series.

Whether you’re a fan of clever mysteries, complex characters, Wake Up Dead Man: A Knives Out Mystery has something for everyone. The film explores not just a murder, but deeper questions about faith, morality, and justice, making it a thought-provoking experience.

The Great Flood (Dec 19)

Directed by Kim Byung-woo and co-written with Han Ji-su, The Great Flood follows a catastrophic natural disaster that traps residents inside a high-rise apartment building. A sudden, massive flood turns an ordinary day into a fight for survival, testing human courage, resilience, and morality.

At the center of the story is An-na (Kim Da-mi), an AI researcher and devoted mother, who must protect her son Ja-in while navigating the rising waters and the building’s chaos. She teams up with Hee-jo (Park Hae-soo), a security officer with a mysterious mission, as they confront dangers far beyond the immediate threat of the flood.

The film isn’t just about survival, it explores humanity’s hope, sacrifice, and the choices we make under pressure.

My Secret Santa (Dec 3)

My Secret Santa tells the story of Taylor Jacobson (Alexandra Breckenridge), a hardworking single mom doing everything she can to provide for her daughter. When she lands a seasonal job at a luxurious ski resort, Taylor must disguise herself as an older man “Santa Claus.”

What starts as a clever disguise quickly becomes a comedic situations, holiday cheer, and unexpected romance. Along the way, Taylor forms a bond with Matthew Layne (Ryan Eggold), the resort manager, all while trying to keep her secret hidden. The film blends humor, romance, and heartfelt family moments.

The Northman (Dec 3)

The Northman follows the brutal, fate-driven journey of Prince Amleth (Alexander Skarsgård), a young Viking who witnesses the betrayal and murder of his father by his own uncle. Forced to flee his homeland, Amleth grows into a fierce warrior, living only for one purpose:

“I will avenge you, Father. I will save you, Mother. I will kill you, Fjölnir.”

That promise becomes the backbone of the film, sending Amleth deep into a world ruled by prophecy, bloodshed, myth, and destiny. His journey takes him across icy seas, into slave camps, and ultimately back into the heart of danger where vengeance is waiting.

A Lot Like Christmas (Dec 4)

Set in a picturesque small town where the holiday spirit fills every corner, A Lot Like Christmas follows two rivals forced to work together to save their community’s beloved Christmas market.

At the center of the story is Sarah, a talented but overworked event planner returning home for the holidays, and David, a local craftsman determined to protect the town’s traditions. When the Christmas market faces an unexpected shutdown, the two must put aside their differences and team up; discovering friendship, healing, and maybe even love along the way.

Love and Wine (Dec 5)

Love and Wine follows Emily, a rising sommelier who travels to a remote countryside vineyard to evaluate a rare wine collection. What starts as a routine professional trip quickly turns into an unexpected emotional journey when she meets Luca, the vineyard owner’s charismatic son who is dedicated to preserving his family’s heritage.

As Emily digs deeper into the vineyard’s history and Luca fights to protect his family’s business from being sold, the two are drawn together by shared passions, clashing ambitions, and a spark they didn’t see coming. The film explores themes of love, self-discovery, and what it truly means to follow your heart all wrapped in a beautiful, sun-soaked setting.

The Night My Dad Saved Christmas 2 (Dec 5)

Picking up from the first film, the story follows the Baxter family, whose holidays always seem to spiral into hilarious disasters. This time, Dave Baxter (the dad) faces an even bigger challenge: keeping Christmas on track despite unexpected setbacks, wacky mishaps, and holiday emergencies that threaten to ruin the festive spirit.

As always, Dave proves that being a dad comes with courage, creativity, and a touch of comedic genius. The movie blends humor, family dynamics, and holiday warmth.

Jay Kelly (Dec 5)

Jay Kelly follows the a once-glamorous movie star whose life of fame and success begins to unravel. Haunted by past mistakes and distant relationships, Jay embarks on a soul-searching journey across Europe with his loyal manager, Ron (Adam Sandler).

Their journey is more than a physical one, it’s a confrontation with the choices Jay made, the people he neglected, and the legacy he hopes to leave behind. The film blends humor, emotional depth, and human vulnerability, creating a story that resonates beyond Hollywood glitz.

 I Wish You Had Told Me (Dec 4)

I Wish You Had Told Me follows Seph, a young missionary whose father has recently passed away. While sorting through his father’s belongings, Seph discovers a secret his dad had kept hidden his entire life; a forbidden love. Driven by a desire to understand his father and reconcile the past, Seph travels from the Philippines to Spain, carrying a letter that reveals the truth behind the secret.

The journey becomes one of self-discovery, healing, and coming to terms with love, regret, and family. It’s a story that balances emotional depth with reflective storytelling.

Goodbye June (Dec 24)

Goodbye June centers on a family preparing for the holidays, only to face emotional turmoil when their mother, June, experiences a sudden health crisis. The story follows her children and husband as they navigate unresolved conflicts, unspoken truths, and the pain of impending loss.

Set against the backdrop of Christmas, the film reflects festive cheer with heartfelt emotional struggles, creating a story that is both relatable. It’s a narrative about reconciliation, understanding, and cherishing the moments that truly matter.

Netflix has a little something for everyone this December; from fun holiday comedies and romantic movies to exciting mysteries and sci-fi adventures. These 10 movies are perfect for some family movie time, or just relaxing with a good story. Make sure to check them out!

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The nominations for the 2026 Critics Choice Award (CCA) are in, it covers the best films for 2025 according to critics. The event will hold January 4th, 2026.

The full nominee List:

BEST PICTURE
Bugonia (Focus Features)
Frankenstein (Netflix)
Hamnet (Focus Features)
Jay Kelly (Netflix)
Marty Supreme (A24)
One Battle After Another (Warner Bros.)
Sentimental Value (Neon)
Sinners (Warner Bros.)
Train Dreams (Netflix)
Wicked: For Good (Universal Pictures)

BEST ACTOR
Timothée Chalamet – Marty Supreme (A24)
Leonardo DiCaprio – One Battle After Another (Warner Bros.)
Joel Edgerton – Train Dreams (Netflix)
Ethan Hawke – Blue Moon (Sony Pictures Classics)
Michael B. Jordan – Sinners (Warner Bros.)
Wagner Moura – The Secret Agent (Neon)

BEST ACTRESS
Jessie Buckley – Hamnet (Focus Features)
Rose Byrne – If I Had Legs I’d Kick You (A24)
Chase Infiniti – One Battle After Another (Warner Bros.)
Renate Reinsve – Sentimental Value (Neon)
Amanda Seyfried – The Testament of Ann Lee (Searchlight Pictures)
Emma Stone – Bugonia (Focus Features)

BEST SUPPORTING ACTOR
Benicio del Toro – One Battle After Another (Warner Bros.)
Jacob Elordi – Frankenstein (Netflix)
Paul Mescal – Hamnet (Focus Features)
Sean Penn – One Battle After Another (Warner Bros.)
Adam Sandler – Jay Kelly (Netflix)
Stellan Skarsgård – Sentimental Value (Neon)

BEST SUPPORTING ACTRESS
Elle Fanning – Sentimental Value (Neon)
Ariana Grande – Wicked: For Good (Universal Pictures)
Inga Ibsdotter Lilleaas – Sentimental Value (Neon)
Amy Madigan – Weapons (Warner Bros.)
Wunmi Mosaku – Sinners (Warner Bros.)
Teyana Taylor – One Battle After Another (Warner Bros.)

BEST YOUNG ACTOR / ACTRESS
Everett Blunck – The Plague (Independent Film Company)
Miles Caton – Sinners (Warner Bros.)
Cary Christopher – Weapons (Warner Bros.)
Shannon Mahina Gorman – Rental Family (Searchlight Pictures)
Jacobi Jupe – Hamnet (Focus Features)
Nina Ye – Left-Handed Girl (Netflix)

BEST DIRECTOR
Paul Thomas Anderson – One Battle After Another (Warner Bros.)
Ryan Coogler – Sinners (Warner Bros.)
Guillermo del Toro – Frankenstein (Netflix)
Josh Safdie – Marty Supreme (A24)
Joachim Trier – Sentimental Value (Neon)
Chloé Zhao – Hamnet (Focus Features)

BEST ORIGINAL SCREENPLAY
Noah Baumbach, Emily Mortimer – Jay Kelly (Netflix)
Ronald Bronstein, Josh Safdie – Marty Supreme (A24)
Ryan Coogler – Sinners (Warner Bros.)
Zach Cregger – Weapons (Warner Bros.)
Eva Victor – Sorry, Baby (A24)
Eskil Vogt, Joachim Trier – Sentimental Value (Neon)

BEST ADAPTED SCREENPLAY
Paul Thomas Anderson – One Battle After Another (Warner Bros.)
Clint Bentley, Greg Kwedar – Train Dreams (Netflix)
Park Chan-wook, Lee Kyoung-mi, Don Mckellar, Jahye Lee – No Other Choice (Neon)
Guillermo del Toro – Frankenstein (Netflix)
Will Tracy – Bugonia (Focus Features)
Chloé Zhao, Maggie O’Farrell – Hamnet (Focus Features)

BEST CASTING AND ENSEMBLE
Nina Gold – Hamnet (Focus Features)
Douglas Aibel, Nina Gold – Jay Kelly (Netflix)
Jennifer Venditti – Marty Supreme (A24)
Cassandra Kulukundis – One Battle After Another (Warner Bros.)
Francine Maisler – Sinners (Warner Bros.)
Tiffany Little Canfield, Bernard Telsey – Wicked: For Good (Universal Pictures)

BEST CINEMATOGRAPHY
Claudio Miranda – F1 (Apple Original Films)
Dan Laustsen – Frankenstein (Netflix)
Łukasz Żal – Hamnet (Focus Features)
Michael Bauman – One Battle After Another (Warner Bros.)
Autumn Durald Arkapaw – Sinners (Warner Bros.)
Adolpho Veloso – Train Dreams (Netflix)

BEST PRODUCTION DESIGN
Kasra Farahani, Jille Azis – The Fantastic Four: First Steps (Marvel Studios)
Tamara Deverell, Shane Vieau – Frankenstein (Netflix)
Fiona Crombie, Alice Felton – Hamnet (Focus Features)
Jack Fisk, Adam Willis – Marty Supreme (A24)
Hannah Beachler, Monique Champagne – Sinners (Warner Bros.)
Nathan Crowley, Lee Sandales – Wicked: For Good (Universal Pictures)

BEST EDITING
Kirk Baxter – A House of Dynamite (Netflix)
Stephen Mirrione – F1 (Apple Original Films)
Ronald Bronstein, Josh Safdie – Marty Supreme (A24)
Andy Jurgensen – One Battle After Another (Warner Bros.)
Viridiana Lieberman – The Perfect Neighbor (Netflix)
Michael P. Shawver – Sinners (Warner Bros.)

BEST COSTUME DESIGN
Kate Hawley – Frankenstein (Netflix)
Malgosia Turzanska – Hamnet (Focus Features)
Lindsay Pugh – Hedda (Amazon MGM Studios)
Colleen Atwood, Christine Cantella – Kiss of the Spider Woman (Lionsgate/Roadside Attractions)
Ruth E. Carter – Sinners (Warner Bros.)
Paul Tazewell – Wicked: For Good (Universal Pictures)

BEST HAIR AND MAKEUP
Flora Moody, John Nolan – 28 Years Later (Sony Pictures)
Mike Hill, Jordan Samuel, Cliona Furey – Frankenstein (Netflix)
Siân Richards, Ken Diaz, Mike Fontaine, Shunika Terry – Sinners (Warner Bros.)
Kazu Hiro, Felix Fox, Mia Neal – The Smashing Machine (A24)
Leo Satkovich, Melizah Wheat, Jason Collins – Weapons (Warner Bros.)
Frances Hannon, Mark Coulier, Laura Blount – Wicked: For Good (Universal Pictures)

BEST VISUAL EFFECTS
Joe Letteri, Richard Baneham, Eric Saindon, Daniel Barrett – Avatar: Fire And Ash (20th Century Studios)
Ryan Tudhope, Nikeah Forde, Robert Harrington, Nicolas Chevallier, Eric Leven, Edward Price, Keith Dawson – F1 (Apple Original Films)
Dennis Berardi, Ayo Burgess, Ivan Busquets, José Granell – Frankenstein (Netflix)
Alex Wuttke, Ian Lowe, Jeff Sutherland, Kirstin Hall – Mission: Impossible – The Final Reckoning (Paramount Pictures)
Michael Ralla, Espen Nordahl, Guido Wolter, Donnie Dean – Sinners (Warner Bros.)
Stephane Ceretti, Enrico Damm, Stéphane Nazé, Guy Williams – Superman (Warner Bros.)

BEST STUNT DESIGN
Stephen Dunlevy, Kyle Gardiner, Jackson Spidell, Jeremy Marinas, Jan Petřina, Domonkos Párdányi, Kinga Kósa-Gavalda – Ballerina (Lionsgate)
Gary Powell, Luciano Bacheta, Craig Dolby – F1 (Apple Original Films)
Wade Eastwood – Mission: Impossible – The Final Reckoning (Paramount Pictures)
Brian Machleit – One Battle After Another (Warner Bros.)
Andy Gill – Sinners (Warner Bros.)
Giedrius Nagys – Warfare (A24)

BEST ANIMATED FEATURE
Arco (Neon)
Elio (Walt Disney Studios Motion Pictures)
In Your Dreams (Netflix)
KPop Demon Hunters (Netflix)
Little Amélie or the Character of Rain (GKIDS)
Zootopia 2 (Walt Disney Animation Studios)

BEST COMEDY
The Ballad of Wallis Island (Focus Features)
Eternity (A24)
Friendship (A24)
The Naked Gun (Paramount)
The Phoenician Scheme (Focus Features)
Splitsville (Neon)

BEST FOREIGN LANGUAGE FILM
It Was Just an Accident (Neon)
Left-Handed Girl (Netflix)
No Other Choice (Neon)
The Secret Agent (Neon)
Sirât (Neon)
Belén (Amazon MGM Studios)

BEST SONG
“Drive” – Ed Sheeran, John Mayer, Blake Slatkin – F1 (Apple Original Films)
“Golden” – Ejae, Mark Sonnenblick, Ido, 24, Teddy – KPop Demon Hunters (Netflix)
“I Lied to You” – Raphael Saadiq, Ludwig Göransson – Sinners (Warner Bros.)
“Clothed by the Sun” – Daniel Blumberg – The Testament of Ann Lee (Searchlight Pictures)
“Train Dreams” – Nick Cave, Bryce Dessner – Train Dreams (Netflix)
“The Girl in the Bubble” – Stephen Schwartz – Wicked: For Good (Universal Pictures)

BEST SCORE
Hans Zimmer – F1 (Apple Original Films)
Alexandre Desplat – Frankenstein (Netflix)
Max Richter – Hamnet (Focus Features)
Daniel Lopatin – Marty Supreme (A24)
Jonny Greenwood – One Battle After Another (Warner Bros.)
Ludwig Göransson – Sinners (Warner Bros.)

BEST SOUND
Al Nelson, Gwendolyn Yates Whittle, Gary A. Rizzo, Juan Peralta, Gareth John – F1 (Apple Original Films)
Nathan Robitaille, Nelson Ferreira, Christian Cooke, Brad Zoern, Greg Chapman – Frankenstein (Netflix)
Jose Antonio Garcia, Christopher Scarabosio, Tony Villaflor – One Battle After Another (Warner Bros.)
Chris Welcker, Benny Burtt, Brandon Proctor, Steve Boeddeker, Felipe Pacheco, David V. Butler – Sinners (Warner Bros.)
Laia Casanovas – Sirât (Neon)
Mitch Low, Glenn Freemantle, Ben Barker, Howard Bargroff, Richard Spooner – Warfare (A24)

TELEVISION NOMINATIONS FOR THE 31ST ANNUAL CRITICS CHOICE AWARDS

BEST DRAMA SERIES
Alien: Earth (FX)
Andor (Disney+)
The Diplomat (Netflix)
Paradise (Hulu)
The Pitt (HBO Max)
Pluribus (Apple TV)
Severance (Apple TV)
Task (HBO Max)

BEST ACTOR IN A DRAMA SERIES
Sterling K. Brown – Paradise (Hulu)
Diego Luna – Andor (Disney+)
Mark Ruffalo – Task (HBO Max)
Adam Scott – Severance (Apple TV)
Billy Bob Thornton – Landman (Paramount+)
Noah Wyle – The Pitt (HBO Max)

BEST ACTRESS IN A DRAMA SERIES
Kathy Bates – Matlock (CBS)
Carrie Coon – The Gilded Age (HBO Max)
Britt Lower – Severance (Apple TV)
Bella Ramsey – The Last of Us (HBO Max)
Keri Russell – The Diplomat (Netflix)
Rhea Seehorn – Pluribus (Apple TV)

BEST SUPPORTING ACTOR IN A DRAMA SERIES
Patrick Ball – The Pitt (HBO Max)
Billy Crudup – The Morning Show (Apple TV)
Ato Essandoh – The Diplomat (Netflix)
Wood Harris – Forever (Netflix)
Tom Pelphrey – Task (HBO Max)
Tramell Tillman – Severance (Apple TV)

BEST SUPPORTING ACTRESS IN A DRAMA SERIES
Nicole Beharie – The Morning Show (Apple TV)
Denée Benton – The Gilded Age (HBO Max)
Allison Janney – The Diplomat (Netflix)
Katherine LaNasa – The Pitt (HBO Max)
Greta Lee – The Morning Show (Apple TV)
Skye P. Marshall – Matlock (CBS)

BEST COMEDY SERIES
Abbott Elementary (ABC)
Elsbeth (CBS)
Ghosts (CBS)
Hacks (HBO Max)
Nobody Wants This (Netflix)
Only Murders in the Building (Hulu)
The Righteous Gemstones (HBO Max)
The Studio (Apple TV)

BEST ACTOR IN A COMEDY SERIES
Adam Brody – Nobody Wants This (Netflix)
Ted Danson – A Man on the Inside (Netflix)
David Alan Grier – St. Denis Medical (NBC)
Danny McBride – The Righteous Gemstones (HBO Max)
Seth Rogen – The Studio (Apple TV)
Alexander Skarsgård – Murderbot (Apple TV)

BEST ACTRESS IN A COMEDY SERIES
Kristen Bell – Nobody Wants This (Netflix)
Natasha Lyonne – Poker Face (Peacock)
Rose McIver – Ghosts (CBS)
Edi Patterson – The Righteous Gemstones (HBO Max)
Carrie Preston – Elsbeth (CBS)
Jean Smart – Hacks (HBO Max)

BEST SUPPORTING ACTOR IN A COMEDY SERIES
Ike Barinholtz – The Studio (Apple TV)
Paul W. Downs – Hacks (HBO Max)
Asher Grodman – Ghosts (CBS)
Oscar Nuñez – The Paper (Peacock)
Chris Perfetti – Abbott Elementary (ABC)
Timothy Simons – Nobody Wants This (Netflix)

BEST SUPPORTING ACTRESS IN A COMEDY SERIES
Danielle Brooks – Peacemaker (HBO Max)
Hannah Einbinder – Hacks (HBO Max)
Janelle James – Abbott Elementary (ABC)
Justine Lupe – Nobody Wants This (Netflix)
Ego Nwodim – Saturday Night Live (NBC)
Rebecca Wisocky – Ghosts (CBS)

BEST LIMITED SERIES
Adolescence (Netflix)
All Her Fault (Peacock)
Chief of War (Apple TV)
Death by Lightning (Netflix)
Devil in Disguise: John Wayne Gacy (Peacock)
Dope Thief (Apple TV)
Dying for Sex (FX on Hulu)
The Girlfriend (Prime Video)

BEST MOVIE MADE FOR TELEVISION
Bridget Jones: Mad About the Boy (Peacock)
Deep Cover (Prime Video)
The Gorge (Apple TV)
Mountainhead (HBO Max)
Nonnas (Netflix)
Summer of ’69 (Hulu)

BEST ACTOR IN A LIMITED SERIES OR MOVIE MADE FOR TELEVISION
Michael Chernus – Devil in Disguise: John Wayne Gacy (Peacock)
Stephen Graham – Adolescence (Netflix)
Brian Tyree Henry – Dope Thief (Apple TV)
Charlie Hunnam – Monster: The Ed Gein Story (Netflix)
Matthew Rhys – The Beast in Me (Netflix)
Michael Shannon – Death by Lightning (Netflix)

BEST ACTRESS IN A LIMITED SERIES OR MOVIE MADE FOR TELEVISION
Jessica Biel – The Better Sister (Prime Video)
Meghann Fahy – Sirens (Netflix)
Sarah Snook – All Her Fault (Peacock)
Michelle Williams – Dying for Sex (FX on Hulu)
Robin Wright – The Girlfriend (Prime Video)
Renée Zellweger – Bridget Jones: Mad About the Boy (Peacock)

BEST SUPPORTING ACTOR IN A LIMITED SERIES OR MOVIE MADE FOR TELEVISION
Owen Cooper – Adolescence (Netflix)
Wagner Moura – Dope Thief (Apple TV)
Nick Offerman – Death by Lightning (Netflix)
Michael Peña – All Her Fault (Peacock)
Ashley Walters – Adolescence (Netflix)
Ramy Youssef – Mountainhead (HBO Max)

BEST SUPPORTING ACTRESS IN A LIMITED SERIES OR MOVIE MADE FOR TELEVISION
Erin Doherty – Adolescence (Netflix)
Betty Gilpin – Death by Lightning (Netflix)
Marin Ireland – Devil in Disguise: John Wayne Gacy (Peacock)
Sophia Lillis – All Her Fault (Peacock)
Julianne Moore – Sirens (Netflix)
Christine Tremarco – Adolescence (Netflix)

BEST FOREIGN LANGUAGE SERIES
Acapulco (Apple TV)
Last Samurai Standing (Netflix)
Mussolini: Son of the Century (MUBI)
Red Alert (Paramount+)
Squid Game (Netflix)
When No One Sees Us (HBO Max)

BEST ANIMATED SERIES
Bob’s Burgers (Fox)
Harley Quinn (HBO Max)
Long Story Short (Netflix)
Marvel Zombies (Disney+)
South Park (Comedy Central)
Your Friendly Neighborhood Spider-Man (Disney+)

BEST TALK SHOW
The Daily Show (Comedy Central)
Hot Ones (YouTube)
Jimmy Kimmel Live! (ABC)
Late Night with Seth Meyers (NBC)
The Late Show with Stephen Colbert (CBS)
Watch What Happens Live with Andy Cohen (Bravo)

BEST VARIETY SERIES
Conan O’Brien Must Go (HBO Max)
Last Week Tonight with John Oliver (HBO Max)
Saturday Night Live (NBC)

BEST COMEDY SPECIAL
Brett Goldstein: The Second Best Night of Your Life (HBO Max)
Caleb Hearon: Model Comedian (HBO Max)
Leanne Morgan: Unspeakable Things (Netflix)
Marc Maron: Panicked (HBO Max)
Sarah Silverman: PostMortem (Netflix)
SNL50: The Anniversary Special (NBC)

The Nigerian film industry continues to be one of the most vibrant storytelling ecosystems in the world. Beyond box-office hits and streaming successes, film festivals have become crucial platforms for discovering new voices, celebrating African cinema, and fostering collaborations between filmmakers, investors, and audiences.

As 2025 is coming to an end, Nigeria is set to host a series of prestigious film festivals that bring together filmmakers, producers, critics, and film lovers together. From Abuja to Lagos, Enugu to Benin City, here’s a comprehensive guide to the top film festivals happening across Nigeria from October to December 2025.

Abuja International Film Festival (AIFF)

Dates: October 26–31, 2025

Location: Abuja, Nigeria

Founded in 2004, the Abuja International Film Festival is one of Nigeria’s longest-running film festivals. Its goal is to provide a platform for filmmakers from Africa and beyond to showcase their works, exchange ideas, and network with industry players.

The festival screens a broad range of content from documentaries and shorts to feature-length film. It also features panel discussions, masterclasses, film markets, and awards ceremonies, making it a key stop on the African festival circuit.

Africa International Film Festival (AFRIFF)

Dates: November 2–8, 2025

Location: Lagos, Nigeria

AFRIFF is arguably Nigeria’s most internationally recognized film festival. Since its inception in 2010, it has grown into a premier destination for African cinema, attracting filmmakers, industry executives, journalists, and cinema lovers from all over the world.

Held annually in Lagos, AFRIFF offers a week-long celebration of film, featuring screenings, industry sessions, pitching platforms, talent development programs, and the AFRIFF Film & Content Market (November 3–6). The festival has played a major role in positioning Nigeria as a creative hub for African storytelling.

Eastern Nigeria International Film Festival (ENIFF)

Dates: November 26–29, 2025

Location: Enugu, Nigeria

ENIFF was created to spotlight filmmakers from Eastern Nigeria while also welcoming entries from across Africa and beyond. Enugu, often regarded as the historic heart of Nollywood, provides a symbolic backdrop for this festival.

The 2025 theme, “Reimagine. Rethink. Reframe,” focuses on pushing creative boundaries and encouraging new cinematic perspectives. ENIFF showcases narrative films, documentaries, animations, and experimental works, accompanied by workshops, panel discussions, and youth-focused training sessions.

Imo Creatives & Film Festival (IMOIFF)

Dates: November 27–29, 2025

Location: Owerri, Imo State

The Imo Creatives & Film Festival (IMOIFF) is a growing event designed to highlight the power of storytelling in Nigeria’s Southeast.

IMOIFF focuses on empowering Nigerian storytellers through training programs, panel conversations, film showcases, and networking sessions. It serves as a bridge for young creatives, connecting them with mentors, funders, and collaborators.

Benin City Film Festival (BCFF)

Dates: November 27–29, 2025

Location: Benin City, Edo State

The Benin City Film Festival has quickly gained a reputation as a home for independent filmmakers. It focuses on films that challenge mainstream narratives and offer fresh, bold perspectives. The festival typically includes international and national screenings, panel talks, student competitions, and cultural showcases.

Benin City, with its rich artistic heritage, provides a vibrant atmosphere for the festival, blending film with local art, history, and tourism.

S16 Film Festival

Dates: December 1–5, 2025

Location: Lagos, Nigeria

The S16 Film Festival is a niche event dedicated to Super 16mm and analogue filmmaking. In an era dominated by digital technology, this festival celebrates the craft, texture, and discipline of analogue film production.

Participants engage in hands-on workshops, screenings of 16mm films, and discussions with veteran cinematographers who champion the art of traditional filmmaking.

African Indigenous Language Film Festival (AILFF)

Dates: December 3–5, 2025

Location: Lagos, Nigeria

The AILFF is a celebration of films made in African indigenous languages, highlighting the diversity and cultural depth of the continent. It was created to challenge the dominance of English and French in African film narratives, and to encourage filmmakers to embrace their mother tongues.

The festival features screenings, language preservation panels, and storytelling workshops, creating a space where language and cinema intersect powerfully.

These festivals not only celebrate creativity but also provide real platforms for training, funding, and collaboration.

Whether you’re a filmmaker looking to showcase your work, a student hoping to learn or eager to explore fresh stories, get ready 2025 is still packed.

In Nigeria’s Middle Belt, a place filled with beauty, history, and pain, a young filmmaker is bringing a different kind of story to the screen. Agatha Doowuese Akaahar, a 23-year-old Tiv filmmaker from Benue State, is the writer and director behind Black Sands, a moving short film that shines a light on the real lives of people living through conflict.

Agatha’s love for storytelling began early. After losing her mother as a child, books became her escape. Later, theatre gave her a voice and showed her the power of stories to heal and connect. Even though she studied History and International Studies at the University of Ilorin, she never lost her passion for film.

The inspiration for Black Sands came from her own experiences growing up in Benue. “The Middle Belt is often spoken about only in numbers — how many died, how many were displaced,” she says. “But behind every number is a person, a family, a dream.”

Unlike most films about conflict, Black Sands doesn’t focus on politics. Instead, it tells a human story about love, loss, and resilience. The title is symbolic — sand usually represents life, but when huts burn, the sand turns black. “The land remembers everything,” Agatha explains. “Black Sands is both mourning for what has been lost and hope for what can still grow.”

The filming took place in Jos, Plateau State, a place that mirrors Benue’s landscape and history. The cast and crew, many of whom had personal experiences with violence, brought honesty and depth to the film. “It wasn’t just another project,” Agatha says. “It was a way to remember.”

As both writer and director, Agatha rewrote her script eight times to get the story right. The result is a film that blends personal truth with collective memory — a story told simply but powerfully.

With Black Sands, Agatha isn’t just releasing a short film; she’s preserving voices that are often forgotten. It’s a reminder that even in the middle of pain, people still live, love, and hope.

Film Details

Black Sands written by Agatha Doowuese Akaahar

Format: Short film (3 minutes)

Single location (mud-hut compound interior)

Three characters:

• Kator (15)
• Wuese (10)
• Their mother (30s)

Language: Tiv (with translations to English)

Logline: During a violent raid on a rural village in the hinterlands of Benue State, two older siblings are forced to hide their little siblings inside a water drum and sacrificing themselves to keep these little ones safe.

Genre: Drama / War / Political Tragedy / Coming-of-age

Setting: A modest mud-hut compound in rural Benue State, Nigeria. It is early morning. The space feels warm, smoky, and lived-in; filled with the quiet rhythm of village life: birdsong, crackling firewood, footsteps on the dusty path, yam boiling on the stove, and the soft hum of a mother’s song.

Synopsis: Black Sands is a visceral, intimate portrait of a family caught in a moment of irreversible change and irreparable damage.

Kator is cooking yam in the family kitchen while his younger sister Wuese nags him playfully for food. Their older sister, weary and quiet, hums softly as she nurses a baby in the next room. A framed photo on the wall of their father and young Kator is a quiet nod to a simpler life. His absence suggests that he’s either deceased or away at the moment.

In the blink of an eye, there’s a low rumble and everything falls apart. Panic ensues. Gunfire cracks in the distance. Kator hears shouts and cries in the distance and the scampering sounds of neighbours frantically running; he hears someone shout ‘Mba agwey shi va ve’ , he immediately deciphers what’s happening; The armed men in tribal wraps who often visit with machetes and leave a trail of violence and bloodshed in their wake are here again.

Smoke starts to rise as huts and barns are raised to the ground, their sister acts quickly. She leads them to the backyard where there’s a big dugbe; a large, empty water drum. In a few quiet, devastating gestures, she places the children in it.

From inside the drum: muffled breathing. Raised voices. A scream. Then; silence.

Later, in the aftermath of the chaos, Wuese is seen sitting and staring into the distance, suggesting that everyone else is gone.

Themes

• Familial sacrifice: The sister’s final actions show deep, silent love; she’s like a mother doing whatever it takes to protect her children.
• Innocence in conflict: The war is never shown directly. Instead, we see its impact through the eyes of confused, frightened children.
• Political erasure: The story highlights the human cost of the Middle Belt crisis in Nigeria; a tragedy that is personal, painful, and

Tone & Visual Style

• Cinematic realism: Handheld camera work, natural lighting, close-up shots, and subtle, emotional performances.
• Muted, earthy tones: Warm browns, soft greys, black ash, and gentle firelight to reflect the mood and setting.
• Sound design is key: The dugbe becomes a space filled with tension, where every sound from outside is amplified.
• Minimalist style: The violence is never shown, only heard. The story is told from the children’s emotional point of view.

Why This Story?

In just one location, with just three characters, Black Sands captures something deeply Nigerian: the fragility of peace, the quiet strength of mothers, and the small, unspoken ways we hold onto dignity in the face of devastation.

It is inspired by countless untold stories of displacement and systemic violence in Nigeria’s Middle Belt; a region where family and community are the only shield, and memory, the only monument in the midst of all that chaos. This is a quiet, devastating film; deeply evocative, gripping, and powerful in its message. It is designed to eviscerate, to leave the audience with much to reckon with.

Budget: The budget for the film was ₦3M (three million naira) but due to Agatha’s financial management skills, the film was made under budget.

The French media giant Canal+, in the early hours of 13th October, announced it has acquired over 90% of Africa and South Africa’s media giant, MultiChoice Group.

The company, which initiated its buyout and takeover of MultiChoice Group, now owns 94.39% of MCG shares.

It now plans to squeeze out the remaining shareholders of the company, as a result owning 100% of the company shares and voting power.

The company also plans to terminate MultiChoice from the Johannesburg Stock Exchange, replacing it with CANAL+, solidifying itself as a solid competitor in South Africa and Africa.

In the official press release, CANAL+ CEO Maxime Saada said, “We are pleased with the overwhelming success of the offer. Following this outcome, we will now acquire the remaining shares in MultiChoice and seek a secondary inward listing of CANAL+ in Johannesburg, in addition to our primary listing in London. We were clear the day we launched the acquisition of MultiChoice that this was a commitment we wanted to make. Given the important role CANAL+ will now play in South Africa and across the African continent, we believe it is critically important that domestic investors have the are able to have exposure to a leading media and entertainment company on the Johannesburg Stock Exchange while investors continue to get access to CANAL+ through the London Stock Exchange platform.”

MultiChoice Group is now valued at #3.2 billion.

About a month ago, Hollywood was shaken when the announcement was made that the Ellison family backed Paramount Skydance’s plans to purchase Warner Bros. Discovery. If the deals go through, Paramount ($18.6B) and David Ellison will become the kings of Hollywood, sitting on Warner Bros.’ ($42.3B) valuable IP.

In the early hours of October 12, it was reported that Warner Bros. had rejected Paramount Skydance’s acquisition price, stating it was too low per share.

According to Bloomberg, Paramount’s initial bid of $20 per share was not attractive to Warner Bros. Discovery despite its stock price being around $17 on Friday’s market close.

David Ellison will allegedly re-evaluate his bid, looking for additional funds and backing while taking his bid directly to WBD shareholders.

This will be Ellison’s second big move in Hollywood this year. Earlier this year, David Ellison’s Skydance completed its merger with Paramount at $8 billion. Skdance Media is now the parent company to Nickelodeon, MTV, CBS and more, including properties like Teenage Mutant Ninja Turtles and Star Trek.

Warner Bros. Discovery is expected to split into two companies (Warner Bros. the Studio and Discovery Global for all the TV properties); companies like Paramount, Skydance, and Netflix are in a bidding war to acquire all of its properties, with more expected to announce their interest in the coming months.

Grammy-nominated Afrobeat musician Seun Kuti has never been one to hold back. The youngest son of legendary Afrobeat pioneer Fela Kuti has built his career on music that challenges systems of oppression and amplifies Black liberation. Now, he’s expanding that mission beyond the stage with the launch of his new podcast, Bird’s Eye View; produced by OkayAfrica, the leading digital platform for African culture.

The podcast, which premiered in September 2025, is already generating buzz for its unapologetic take on some of the most pressing issues facing Africans and the diaspora today.

What Bird’s Eye View is About

Hosted by Seun Kuti and Bro Diallo a Chicago based Pan-Africanist activist with over two decades of community organizing experience, Bird’s Eye View talks about:

• Pan-Africanism and unity across the continent and diaspora
• Capitalism and colonial legacies affecting Black progress
• The global state of Black communities and liberation struggles.

Unlike polished political talk shows and some popular podcasts these days, Bird’s Eye View embraces raw honesty, history, humour, and resistance. It challenges Africans everywhere to rethink their beliefs, confront systemic oppression, and build solidarity that transcends borders.

“Bird’s Eye View sets itself apart with honest perspectives on topics often discussed only behind closed doors,” says the press release. “It serves as a mirror for Africans, pushing us to question which convictions truly serve our communities.”

Seun Kuti

For Seun Kuti, the podcast is a natural extension of his artistry and activism. Since releasing his debut album in 2008 and breaking through with From Africa with Fury: Rise (2011), Seun Kuti has used music as a vehicle for resistance. His latest album, Heavier Yet (Lays the Crownless Head), executive produced by Lenny Kravitz further cements his reputation as a revolutionary voice for Black liberation.

Now, through Bird’s Eye View, Seun Kuti is creating space for conversations that music alone cannot contain. By teaming up with Bro Diallo, he brings both cultural weight and grassroots activist perspective to the mic.

OkayAfrica’s Role in Amplifying African Voices
The launch of Bird’s Eye View also reflects OkayAfrica’s deep investment in African storytelling. Founded in 2011, OkayAfrica has grown into the largest digital platform dedicated to African culture, music, and politics.

Under the leadership of Isha Sesay, a former CNN journalist known for her fearless reporting during Nigeria’s Bring Back Our Girls movement, OkayAfrica has doubled down on empowering African voices.

This podcast follows the success of Afrobeats Intelligence presented by OkayAfrica, which has attracted a vast audience.

The enthusiastic response since its premiere shows that Bird’s Eye View is filling a gap in public discourse. In an era when social media dominates conversations, the podcast offers depth, historical perspective, and unfiltered truth and these are qualities often missing from fast-moving online debates.

For Africans at home and abroad, the show provides both reflection and direction. It encourages listeners to confront hard realities while inspiring collective solutions for liberation.

How to Watch Bird’s Eye View

Episodes of Bird’s Eye View are streaming now on YouTube via OkayAfrica’s official channel.

Watch here:

With Bird’s Eye View, Seun Kuti and Bro Diallo aren’t just launching another podcast, they’re building a platform for Pan-African thought leadership and cultural resistance.

Netflix’s One Piece: Into the Grand Line (Season 2) is set to release in 2026. Here’s everything we know so far; cast, story arcs, new characters, and what to expect from the Straw Hat Pirates’ journey into the Grand Line.

Netflix’s One Piece Into The Grand Line

When Netflix’s live-action One Piece launched in 2023, it surprised fans and critics alike by delivering a faithful, fun, and visually daring adaptation of Eiichiro Oda’s legendary manga. The first season charted the rise of Monkey D. Luffy (Iñaki Godoy) and his ragtag crew through the East Blue saga, culminating in their setting sail toward the dangerous, mysterious, and endlessly exciting Grand Line.

Now, the voyage continues with One Piece: Into the Grand Line, the official title for Season 2.

When Will One Piece Season 2 Release on Netflix?

Netflix has confirmed that One Piece: Into the Grand Line is scheduled to debut in 2026, though no exact date has been announced yet. Filming wrapped in early 2025, meaning the show is now in the heavy visual effects and post-production stage.

Even better, Netflix has already given the series a Season 3 renewal, proving confidence in the franchise’s long-term potential.

What Story Arcs Will Season 2 Cover?

Season 2 promises to expand the world of One Piece beyond the relatively small seas of East Blue. Expect to see the Straw Hat Pirates navigate major fan-favorite arcs, including:

• Loguetown: The town where Gold Roger was executed, and where Luffy faces Marine Captain Smoker for the first time.
• Reverse Mountain & Whiskey Peak: The gateway into the Grand Line, introducing dangerous new foes and allies.
• Drum Island: Where the crew meets Tony Tony Chopper, the reindeer doctor who will officially join the Straw Hats.
• Little Garden: A prehistoric island filled with giants and hidden threats.

New Characters Joining the Adventure

The cast is expanding in exciting ways for Into the Grand Line:

• Tony Tony Chopper: Played via CGI and performance capture, Chopper is a reindeer who ate the Human-Human Fruit. He becomes the Straw Hats’ beloved doctor.
• Smoker: A chain-smoking Marine captain with a Logia-type Devil Fruit ability, making him a formidable new rival.
• Miss All Sunday (Nico Robin): Mysterious, intelligent, and dangerous, she plays a pivotal role in the Baroque Works storyline.
• Dr. Kureha: The eccentric doctor who mentors Chopper on Drum Island.
• Crocodile: The mastermind villain of Baroque Works, one of the first major warlords Luffy must overcome.

Production Team

The creative team remains mostly intact, with Joe Tracz leading Season 2 as showrunner and Matt Owens staying on as executive producer. Season 3 will see Ian Stokes join the leadership team, but for now, Into the Grand Line continues with the same insight that made Season 1.

Why Into the Grand Line Could Define Netflix’s One Piece

Season 1 was all about introducing Luffy, Zoro, Nami, Usopp, and Sanji. Season 2 is about testing them as a crew. The Grand Line is where the real adventure begins, where Devil Fruits, warlords, Marines, and ancient mysteries intertwine in ways that cement One Piece as one of the greatest sagas ever written.

If Netflix can balance emotional depth with the high-stakes action and outrageous creativity of Oda’s world, Into the Grand Line may not just satisfy fans but also prove that live-action anime adaptations can truly thrive.