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Nollywood actor Ray Emodi has announced a major career shift, revealing that he is stepping away from acting to focus fully on music.

In a video shared on his social media platforms, the actor addressed fans directly, stating that while he appreciates the support he has received from movie lovers over the years, his creative direction is changing.

“I love every Nollywood fan, but I’m going to make music for the dance floor. I want to make music for people that are knacking. We’re working on my EP,” he said.

The announcement has sparked widespread reactions across social media, with many fans expressing surprise at what appears to be a complete transition from film to music even though he has been dropping clips of him singing on his social media handles. 

Ray Emodi, who has built a reputation as one of Nollywood’s charismatic leading men in recent years, suggested that the decision was not made lightly. According to him, his family does not support the move. He explained that his family has a reputation to protect and certain expectations, which makes the switch even more complicated.

While he did not confirm an official release date for the EP, he stated that work is already in progress. As of now, no tracklist or collaborators have been publicly announced.

The actor’s pivot reflects a broader trend of entertainers exploring multiple creative lanes, though it remains unclear whether this is a permanent exit from film or a temporary break to focus on music. Emodi did not explicitly state that he would never return to acting, but his comments suggest a serious commitment to his new path.

For now, fans await further details on the EP and what his sound will ultimately deliver. Whether the transition will reshape his public image or expand his fanbase. 

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Nollywood is once again preparing for a deeply emotional cinematic moment. Kilanko: The Invisible Child, the latest project from actor turned producer Rotimi Salami, is set to hit Nigerian cinemas this March and it carries more weight than a typical film release.

Beyond its storyline, Kilanko stands as one of the final directorial works of Allwell Ademola, whose passing in late 2025 sent shockwaves through the industry. Although she passed away before the film’s release, Kilanko now serves as a posthumous showcase of her artistry. It reminds Nollywood and its audiences of the power a director has in giving stories life, and it reveals  her place as one of the industry’s talents. Beyond this single film, her work continues to influence emerging filmmakers who aspire to combine commercial appeal with meaningful narratives.

In the broader context of Nigerian cinema, Allwell Ademola’s legacy is about showing the value of perspective and empathy. Her final directorial effort ensures that, even in absence, her voice continues to resonate not just in the themes she explored, but in the standard of storytelling she leaves behind.

While official plot details remain guarded, Kilanko: The Invisible Child has been described as an emotional drama exploring hidden pain, sacred sacrifice, and maternal resilience. The title alone suggests a narrative centered on a child overlooked by society; physically present, yet emotionally unseen.

Early descriptions from the production team hint at themes that resonate strongly within Nigerian communities: neglect, family bonds, and the quiet strength of mothers who endure more than they reveal. If executed with depth, the film could join the growing class of socially reflective Nollywood dramas that prioritize storytelling over spectacle.

The film brings together respected Nollywood veterans, including:

• Saidi Balogun
• Ibrahim Chatta
• Biola Adebayo
• Saka Oyetoro

With Rotimi Salami also appearing on screen, the ensemble suggests a production rooted in performance-driven storytelling. 

For Salami, this project represents another step in his evolution from actor to full-fledged producer. In recent years, Nollywood has seen a wave of performers stepping behind the camera to control narrative direction and production quality. Kilanko appears to sit firmly within that shift.

The emotional core of this release lies in its direction. Allwell Ademola was widely respected for her ability to craft intimate, character-focused stories. Her involvement elevates Kilanko beyond commercial expectations; it becomes a preservation of artistic legacy.

For an industry still experiencing the loss of influential creatives, the film offers audiences a chance to witness one of her final creative visions on the big screen.

Kilanko: The Invisible Child is scheduled to premiere on March 1, 2026, before opening nationwide in Nigerian cinemas on March 6, 2026.

The March window positions it strategically outside the heavy December blockbuster season, giving it space to breathe and potentially build word of mouth momentum.

If early anticipation translates into box office interest, Kilanko could become one of the more emotionally discussed Nollywood releases of the first quarter of 2026.

More than a decade after their historic first encounter, boxing legends Floyd Mayweather Jr. and Manny Pacquiao have officially announced a professional rematch, reigniting one of the biggest rivalries in modern boxing history.

The two icons, now aged 48 and 47 respectively, confirmed that they will meet again on September 19, 2026, in Las Vegas. The fight is scheduled to take place at Sphere, the technologically advanced venue that has quickly become one of the most talked-about arenas in the United States. Organizers are already positioning the bout as potentially the most expensive fight ever staged, citing expected global streaming numbers, sponsorship deals, and gate revenue.

The rematch will be streamed worldwide on Netflix, marking another major step in the platform’s expansion into live sports broadcasting. Industry analysts believe the global reach of the streaming giant could significantly surpass traditional pay-per-view models, opening the door for record-breaking viewership figures.

Their first bout in 2015, famously dubbed “The Fight of the Century,” generated over $600 million in total revenue and remains one of the highest-grossing fights in boxing history. Mayweather won that contest via unanimous decision, maintaining his undefeated professional record. However, the fight drew criticism at the time from some fans who felt it came several years after both fighters were at their peak.

This second meeting carries a different narrative. Both men have remained visible in the sport; Mayweather through high-profile exhibition bouts and Pacquiao through intermittent returns to competitive boxing and public life in the Philippines. The rematch now appears driven as much by legacy and spectacle as by competition.

Promoters have yet to release full details regarding purse splits, undercard matchups, or ticket pricing, but early projections suggest the event could challenge or even surpass previous financial records set by their first encounter.

With two Hall of Fame careers already secured, the rematch between Mayweather and Pacquiao is shaping up to be less about proving greatness and more about delivering one final global boxing event of historic commercial scale.

Veteran American actor Robert Carradine has died at the age of 71, his family confirmed on February 23, 2026.

Carradine was best known for his role as the socially awkward but determined Lewis Skolnick in the 1984 cult comedy Revenge of the Nerds, a performance that turned him into a pop culture icon of the 1980s. Decades later, he introduced himself to a new generation as Sam McGuire, the supportive father in Disney Channel’s hit series Lizzie McGuire.

His family said he had been living with bipolar disorder for nearly two decades. In a statement, they described him as a deeply creative spirit who remained resilient despite personal struggles, and they expressed hope that sharing his story would help reduce stigma surrounding mental health conversations.

Born into the legendary Carradine acting family, Robert was the son of actor John Carradine and part of a Hollywood dynasty that includes brothers David and Keith Carradine. Over a career spanning more than five decades, he built a resume that stretched far beyond his most famous roles.

In the early 1970s, he appeared in notable films such as The Cowboys alongside John Wayne and Martin Scorsese’s crime drama Mean Streets. Though often associated with comedy because of Revenge of the Nerds, Carradine demonstrated versatility across genres, working steadily in television and film throughout the 1980s, 1990s, and 2000s.

His portrayal of Lewis Skolnick became a defining character of its era; emblematic of underdog triumph and campus comedy culture. Meanwhile, his role in Lizzie McGuire secured his place in millennial childhood nostalgia, portraying a grounded, humorous father figure in one of Disney Channel’s most beloved early-2000s series.

Tributes from colleagues and fans have begun pouring in across social media, with many remembering his warmth, wit, and lasting cultural impact.

Robert Carradine leaves behind a body of work that bridged generations, from cult comedy classic to family television staple. 

May his soul rest in peace. 

On 22 February 2026, Mexican security forces successfully killed Nemesio “El Mencho” Oseguera, the notorious leader of the Jalisco New Generation Cartel (CJNG), one of the country’s most powerful and dangerous criminal organizations. The operation, while a significant victory for law enforcement, immediately triggered a wave of violent retaliation across several states, drawing global attention just months before the 2026 FIFA World Cup.

The city of Guadalajara, one of Mexico’s main World Cup host cities, experienced some of the most intense unrest. On the night of 22 February and the following days, residents reported blocked roads, burned vehicles, and suspended public transportation as CJNG members clashed with security forces. Airports and highways were temporarily affected, prompting travel advisories from several foreign governments, including the Indian and U.S. embassies, which urged citizens to exercise caution and avoid non-essential travel in affected areas.

The 2026 FIFA World Cup, co-hosted by Mexico, the United States, and Canada, is scheduled to begin in June. Guadalajara is slated to host several group-stage matches, which makes the recent unrest a matter of significant concern for both fans and organizers. Despite the chaos following 22 February, FIFA and Mexican authorities have not canceled or relocated any matches.

The immediate effects of the unrest were felt in Mexican football. On 23–24 February 2026, several Liga MX and lower-division matches near Guadalajara were postponed or canceled due to safety concerns. These disruptions highlight the unpredictable consequences of sudden escalations in violence and why authorities are taking every precaution ahead of the World Cup.

Although these local cancellations are limited in scope, they demonstrate the challenges organizers face when hosting international events in regions affected by organized crime.

Mexican authorities have emphasized that the operation against El Mencho aims to restore public safety and dismantle organized crime networks. Security forces continue to patrol major cities and key transportation routes, while the federal government reassures residents and visitors of ongoing efforts to maintain order.

International governments have issued guidance to travelers and their citizens in the country, advising caution in areas affected by cartel retaliation. These advisories, while precautionary, reflect the global attention drawn to Mexico’s security situation ahead of the World Cup.

The CJNG has long been a formidable network, and the sudden elimination of its leader can create power vacuums, triggering temporary insecurity in affected regions. The events of 22 February 2026 and the days following serve as a reminder of how crime, governance, and international events intersect on a global stage.

While the recent unrest has raised legitimate concerns, it is important to note that the 2026 FIFA World Cup remains on schedule in Mexico, with heightened security and ongoing monitoring to ensure that fans, players, and visitors can safely enjoy the tournament unless later updates report otherwise.

The 2026 BAFTA Awards were full of celebration, but one moment quickly became the center of conversation and controversy. Akinola Davies Jr., the British-Nigerian filmmaker, won the Outstanding Debut by a British Writer, Director or Producer award for his acclaimed film My Father’s Shadow. On stage, his speech was heartfelt, emotional, and politically charged. Yet when the BBC aired the ceremony on television, a key line from his speech, including the phrase “free Palestine” was missing.

The omission has sparked debate online, raising questions about editorial decisions, broadcast priorities, and how political messages are handled in mainstream media.

In his acceptance speech, Davies Jr. highlighted the importance of storytelling, memory, and social responsibility. Speaking to an audience of filmmakers, actors, and guests, he said:

“Archive your loved ones. Archive your stories yesterday, today, and forever. For Nigeria, for London, the Congo, Sudan, free Palestine.”

This line, filled with solidarity and political resonance, was celebrated by the live audience. Yet it did not appear in the version of the ceremony broadcast on the BBC.

The BBC explained that the omission was due to time constraints rather than political reasons. The live ceremony lasted roughly three hours, while the televised broadcast was limited to two. Multiple speeches were shortened across the event to fit the broadcast window. Full speeches, including the unedited version of Davies Jr.’s remarks, are available on BAFTA’s official YouTube channel. 

Despite these explanations, critics noted that some other unscripted or controversial moments remained in the broadcast, leaving viewers questioning why Davies Jr.’s politically charged line was cut.

Social media has gone on to highlight these discrepancies. Many applauded Davies Jr. for using his platform to raise awareness for global struggles. Others criticized the BBC for “censoring” a moment that reflected real-world issues.

For many, the incident illustrates the tension between live audience experience and televised broadcast reality. On stage, his words were met with cheers and applause. On TV, millions of viewers missed a portion of that context, altering the perceived impact of the moment.

Watch the Full Speech

If you want the full context, BAFTA typically posts complete acceptance speeches on its official YouTube channel. Watching the uncut version allows viewers to experience the speech as it was delivered, including the line “free Palestine” and appreciate the full power of Davies Jr.’s words.

Nigeria’s beloved national football team, the Super Eagles, is facing an unexpected off-field controversy, and it’s not about match results or tournament outcomes. Instead, the spotlight is on head coach Eric Chelle and reports that he requested a $130,000 monthly salary, a figure that has drawn criticism from football stakeholders and fans alike.

According to reports, Chelle, who guided Nigeria to a respectable finish at the 2025 Africa Cup of Nations, submitted a 19-point proposal to the Nigeria Football Federation (NFF), seeking an increase in his monthly salary from $50,000 to $130,000 (about ₦174 million).

But the proposal reportedly went beyond just a pay rise. Sources say Chelle’s package included:

• A secure official residence with uninterrupted power supply
• A private SUV with a driver and security detail
• Flight allowances for family members
• Autonomy over team selection and friendly matches
• Salaries for his technical staff and personal assistant

Former Gombe State FA chairman and football administrator Ahmed Shuaibu Gara-Gombe has been one of the loudest critics of the reported package. He warned that the NFF could regret agreeing to such terms.

“The Super Eagles brand elevated Chelle, not the other way around. Demanding such figures at this stage is almost blackmail,” Gara-Gombe said, describing the proposal as excessive and disconnected from the realities of Nigerian football. Via Africa Soccer

Critics argue that such financial expectations could undermine the team’s stability and shift focus away from player development and performance.

The NFF has since denied that Chelle formally demanded $130,000 monthly. According to a federation spokesperson, the figures circulating in the media are speculative and not part of official negotiations.

Whether the reports are exaggerated or accurate, the controversy underscores the tension between perception and reality in Nigerian football governance.

For the NFF, the challenge is clear: negotiate a fair deal, maintain team focus, and preserve public trust. The decisions made now will influence not just the next season, but the long-term direction of Nigerian football.

The 2026 BAFTA Film Awards, held on February 22 in London, saw a mix of industry veterans and rising stars take home the night’s most coveted trophies. One Battle After Another emerged as the biggest winner, sweeping both creative and technical categories under the direction of Paul Thomas Anderson.

Here’s a breakdown of the major categories and winners:

Best Film & Director

• Best Film: One Battle After Another
• Best Director: Paul Thomas Anderson – One Battle After Another

Acting Awards

• Best Leading Actor: Robert Aramayo – I Swear
• Best Leading Actress: Jessie Buckley – Hamnet
• Best Supporting Actor: Sean Penn – One Battle After Another
• Best Supporting Actress: Wunmi Mosaku – Sinners
• EE Rising Star Award (public-voted): Robert Aramayo

Screenplay & Writing

• Original Screenplay: Sinners – Ryan Coogler
• Adapted Screenplay: One Battle After Another

Craft & Technical Awards

• Cinematography: One Battle After Another
• Editing: One Battle After Another
• Original Score: Sinners
• Sound: F1
• Casting: I Swear

Design & Production

• Production Design: Frankenstein
• Costume Design: Frankenstein
• Makeup & Hair: Frankenstein
• Visual Effects: Avatar: Fire and Ash

British & International Film

• Outstanding British Film: Hamnet
• Film Not in the English Language: Sentimental Value
• Best Animated Film: Zootropolis 2
• Best Children’s & Family Film: Boong
• Best Documentary: Mr. Nobody Against Putin
• Outstanding British Debut: My Father’s Shadow – Akinola Davies Jr & Wale Davies
• British Short Film: This Is Endometriosis
• British Short Animation: Two Black Boys in Paradise

Special Honors

• Outstanding British Contribution to Cinema: Clare Binns
• BAFTA Fellowship: Dame Donna Langley

With multiple wins in both creative and technical categories, One Battle After Another is now a clear frontrunner for the 2026 Oscars, while emerging talents like Robert Aramayo continue to make their mark on international cinema.

The Internet Exchange Point of Nigeria (IXPN) has announced the deployment of new internet infrastructure aimed at significantly improving website loading speeds across Nigeria while strengthening the country’s resilience against cyber disruptions and global network outages.

The announcement was made during the organisation’s 2026 Annual Members Engagement Forum in Lagos, where IXPN executives outlined a strategic push to localise critical components of Nigeria’s internet architecture. At the centre of this upgrade is the deployment of an authoritative Domain Name System (DNS) server within IXPN’s local network; a move expected to reduce latency and enhance stability for millions of internet users.

DNS servers act as the internet’s address book, translating website names into numerical IP addresses that computers use to locate online resources. Until recently, many of these requests from Nigeria were routed to servers located abroad, increasing response times and exposing local connectivity to risks tied to international disruptions. By hosting key DNS infrastructure domestically, IXPN aims to keep more internet traffic within Nigerian borders, reducing delays and improving reliability.

IXPN’s Chief Executive Officer, Muhammed Rudman, described the development as a critical step toward digital sovereignty and operational efficiency. According to him, the newly deployed system is already processing thousands of DNS queries per second, indicating strong adoption and measurable performance improvements across connected networks.

The initiative was executed in collaboration with the Canadian Internet Registration Authority (CIRA), which provided hardware support for the deployment. The partnership ensures that global domain queries can now be resolved more efficiently from within Nigeria’s network ecosystem.

In addition, IXPN confirmed it has entered into a memorandum of understanding with Verisign to host primary DNS infrastructure for major global domains such as .com and .net locally. This arrangement is particularly significant, as it strengthens Nigeria’s ability to maintain access to widely used internet services even during international outages, undersea cable faults, or coordinated cyberattacks targeting overseas infrastructure.

For Nigeria’s growing digital economy, the implications are substantial. Faster DNS resolution translates into quicker website loading times, improved user experiences for streaming and online transactions, and more reliable access for businesses operating in e-commerce, fintech, media, and cloud services. By reducing reliance on foreign upstream providers, the country also lowers exposure to external vulnerabilities that could otherwise disrupt banking systems, government platforms, or critical communications.

Founded in 2006, IXPN operates as a neutral, non-profit interconnection hub that enables internet service providers, mobile network operators, content platforms, and enterprises to exchange traffic locally. Over the years, it has played a central role in keeping domestic internet traffic within Nigeria, cutting bandwidth costs and boosting network efficiency. The latest infrastructure upgrade signals an expansion of that mandate from traffic exchange to deeper control over core internet functions.

As Nigeria continues to position itself as one of Africa’s leading digital markets, investments in resilient infrastructure are becoming increasingly urgent. With cyber threats evolving and data consumption rising rapidly, the ability to localise critical systems is no longer just a technical upgrade, it is a necessity.

Nigerian singer Simi has responded after several of her old tweets resurfaced online, prompting criticism and debate across social media.

The posts, originally shared between 2012 and 2013, began circulating this week, with some users questioning their wording and intent. The resurfaced tweets referenced children at a daycare where the singer said she once lived and helped out while pursuing her music career.

In a statement posted on X (formerly Twitter), Simi acknowledged the tweets and addressed the growing conversation around them.

“I haven’t been on twitter today – but someone brought a few of my old tweets to my attention and I can’t not address it,” she wrote.

She clarified that at the time of the tweets; approximately 14 years ago,  she was 23 years old and assisting at her mother’s daycare. According to the singer, she frequently posted about everyday experiences during that period.

“In 2012, I lived and helped out at my mom’s daycare while I was hustling my music. I tweeted everything that happened in my life, as we all did at the time,” she stated.

Simi explained that the posts about children were expressions of affection or humor and denied any inappropriate intent.

“Nothing I tweeted was from perversion,” she wrote, adding that she would not allow her story to be twisted to fit what she described as false narratives.

She also disclosed that members of her team have deleted some of the resurfaced tweets due to the sensitivity of the situation for her family. While she said she initially did not want them removed, she acknowledged the broader implications.

The singer further emphasized her history of speaking out against sexual violence.

“I have always spoken against rape and sexual assault even before you knew I existed. It’s not a costume I’m wearing, it’s who I am,” she wrote. “I said stop raping women. I stand by it.”

As of the time of this report, there are no legal allegations linked to the resurfaced posts. The issue remains confined to online discourse and public reaction.

Simi has not issued additional statements beyond her initial response.