Kwerecultre

Tag: #entertainmentnews

  • Title: Brymo Calls It Clout—But What If It’s Just Strategy?

    Recently, Brymo berated the “Big 3” for constantly jumping on features with new or emerging artists.

    But honestly, that’s laughable—because music and business go hand in hand. Yes, there’s passion, but there’s also the part where you have to stay rich from it.

    Ever wondered why Davido and Wizkid haven’t fizzled out yet? It’s called hustle. But to Brymo, that’s weakness. That’s clout chasing. He believes new artists stop growing the moment they get a feature with the top boys in the industry.

    What he fails to see is this: for these top boys, music isn’t just a passionate stroll through the garden with a lover—it’s a livelihood. So when the sound shifts, they evolve. Take Davido, for instance. What we now call Afro-Adura, largely pushed by Bhlarry Jhay—the “See Me See God” crooner—was once still forming when Davido jumped on a track with him, *“Only You”*. That was before TML Vibes, Ayo Maff, and the rest.

    These guys have stayed relevant not through internet gimmicks but through consistency, strategy, and genuine fan engagement. The kind of cult following Davido and Wizkid built around 2010–2012 isn’t something that fades just because a few fresh faces show up. To reach their level, you’ll need more than just music. You need image, adaptability, hunger, and yes—collaborations.

    So to respond to Brymo: No, collaborations between big names and rising stars don’t kill anyone’s growth. If anything, they boost it—especially if the new artist is intentional. Just look at Fola. Look at Asake.

  • Title: Zikko – A Masterclass in Foreshadowing and Storytelling

    written by Mmenyene-Abasi Ekwere

    For most people, when starting a series, the first episode needs to be gripping enough to pull them into the second without even realizing it. For rap lovers, it’s that double entendre that makes them scream, “WTF!” But with Zikko, the opening scene alone is enough to foreshadow what’s coming in the next minute.

    The film opens with Miriam taking contraceptives. Moments later, she’s in the living room getting the kids ready for school. One of the children is running around a dining table where the father sits, leg stuck under the chair. He doesn’t flinch, doesn’t even attempt to free his leg, just playfully grabs the boy. That’s how effortlessly Zikko and his crew use foreshadowing—it’s subtle but intentional.

    Now to the plot: it’s simple, concise, and progresses with precision. Think of it as watching a relay team of Usain Bolts—each handoff smooth, building to a climax as the anchor dashes to the finish. That’s what the pacing feels like. The cinematography? Clean. Especially that eatery scene with Aliyu and Fatima—visually crisp.

    One standout moment is the argument between Mariam and Caleb. It flows from the living room to the kitchen and into the dining room. They didn’t cut it. She dishes food, moves to the dining table, serves her husband—all while the argument is heating up. That unbroken sequence heightens the tension beautifully. These characters didn’t just hit their marks—they became them. Caleb especially: insensitive, manipulative, calm, and eerily convincing.

    Now, some may argue there was poor communication of needs. But let’s ask: what if Miriam changed her mind after discovering Aliyu’s infidelity?

    If this had been an hour-long movie, I might’ve questioned the decision to send her out at night so abruptly. I’d have raised eyebrows at the writer’s choice. But in their defence—humans are erratic. Caleb, being who he is, could very well do that.

    Still, Victor Daniel deserves credit. His ability to immerse us in Miriam’s emotional spiral—her eviction as a turning point, how every argument felt like a full story—deserves applause. In just 27 minutes, so much was unpacked.

  • IS AFROBEATS NEAR ITS END?

    The recession of Afrobeats — or the culture — isn’t surprising. It’s something that’s been predicted. But because stanship is cheap, your idolos hand you gunpowder, and you gladly load it into cannons, firing at anyone bold enough to speak the truth.

    Gunna brought in three Afrobeats artists for his album, and all three features svck. This isn’t the Asake we praised when he was featured by Friday. He landed his biggest feature yet, and guess what? Well… he tried — at least better than the other two. But the wildest take? Some people think adding Yoruba is embarrassing. Just look at what inferiority complex has done to Nigerians.

    That same complex reflects in the artists they stan. Burna and Wizkid now present themselves as ex-Afrobeats artists. They spent years shaming the culture, and one even offered an apology — after dropping an underwhelming album.

    And then he followed up with yet another underwhelming performance on Gunna’s album. The world has either forgotten Afrobeats or will soon, because the so-called “top two” foreign-facing artists can’t hold their weight on global projects. We now live in an era where snippets sound better than the actual release.

    Now, since these tracks are nothing to write home about, two of them have started throwing tantrums online. Fans no longer vibe to good music — they dine on beef cooked by bruised egos that failed to represent the culture.

    Some will say, “But these songs hit Billboard Hot 100.” Okay — but is it really Afrobeats that charted? Or just Gunna’s star power lifting weak features?

    Shame on you.

  • SUPERMAN: DCEU’S REBOOT

    SUPERMAN: DCEU’S REBOOT

    by Mmenyene-Abasi Ekwere

    The problem with modern comic movies is that it borrows the flare off of comic books but leaves us to scramble for the soul. — it’s like being served beans without something for combination. Comic books have storytelling, internal struggles and character development, but when these books gets adapted to movies, it going for more visuals, loud actions and excessive CGI’s.

    However, James Gun’s “Superman” begs to differ. In what seems to be a major reboot in the DCEU, he tries to create a bridge between the dark, gritty Snyder verse. He adapts the version of comic con that’s not weary to audience. Although it’s come under heavy fire, yes, it’s not the best there is out there. But it embodies humanity in a metahuman

    Superman is supposed to be a symbol of hope and what ever “Man of Steel” portrayed, well…..that was a phase we enjoyed but an end has been put to it.

    Jumping into the train of selection, the role players were like bridal trains, perfect in fitting wears for its bride (Superman). Nicolas Hoult as Lex Luthor embodied so much humanity in the role that I almost got convinced that he was fighting the good fight and Cornswet, he was perfect for the type of Superman James Gun had in mind. Also, the annoying dog, who refused to listen actually grew on me, at least there were times where the ears raised a bit to instructions. Rachel Brosnahan did well as Lois Lane. Thankfully, Jonathan Kent was allowed to live long enough to share that screen time bond with Clark. In addition, they did not waste time giving us Clark Kent’s backstory, assumption was enough to swing swiftly into action and allowed everything, shorts though, play at the end.

    Nonetheless, it might not be the best superhero movie out there in the market, but if you want to enjoy yourself as this is a beginning of new installments, the man in the blue suit, might just be it for you.

Powered by
►
Necessary cookies enable essential site features like secure log-ins and consent preference adjustments. They do not store personal data.
None
►
Functional cookies support features like content sharing on social media, collecting feedback, and enabling third-party tools.
None
►
Analytical cookies track visitor interactions, providing insights on metrics like visitor count, bounce rate, and traffic sources.
None
►
Advertisement cookies deliver personalized ads based on your previous visits and analyze the effectiveness of ad campaigns.
None
Powered by