Entertainment
Kalabaris Celebrate Alagba Festival …Admits Dickson Into Ekine Society
The Kalabari people of Rivers State recently celebrated the Alagba masquerade festival, the famous and most outstanding masquerade in the history of the Kalabaris Kingdome, the festival was celebrated in Buguma City in 1908, 1927, 1973 and 1991.
King Prof TJT Princewill, the Amayanabo of Kalabari Kingdom whose eminent presence captured the beauty and significance of the festival used the occasion to declare to the entire world that the kingdom is peaceful and safe for investment and development. The festival was witnessed by a mammoth crowed and array of personalities ,
King Princewill further explained that the Kingdom used the masquerades to welcome and entertain high placed dignitaries adding that in Kalabari, the highest honour they give to a stranger was to admit him into the Ekine society as they do not confer chieftaincy titles on strangers.
He explained that the Ekine society served as the court of the people, since traditionally, there was no court or police in the kingsom. The Ekine society also serves as the custodian of the culture, matters are settled there and you cannot be a chief without being a member of the society.
His Excellency, Chief Seriake Dickson the Executive Governor of Bayelsa State in a remark expressed happiness for being invited and initiated into the prestigious Ekine Society. “With this, I am now a true son of the Kalabari Kingdom with King Princewill as my King. This event reminds me of the Kalabari chieftaincy institution which is as old as the Kalabari Kingdom with very interesting historical background in its evolution as one of the ancient Ijaws of the Niger Delta. I am indeed very appreciative and grateful for the honour done on me by His Majesty, King (Prof.) T.J.T. Princewill (Amachree XI), the incumbent Amanyanabo of Kalabari by permitting me to witness this great epoch making event. I therefore wish to thank him for this great honour done to me as one of his sons.
Governor of Bayelsa state, Chief Seriake Dickson used the opportunity to state that the government of Bayelsa State would continue to work with Governor Chibuike Amaechi the Rivers State Governor and other constituted authorities in Rivers State to ensure that the people have better security and development. The Governor vowed not to allow anything to cause disunity between Rivers and Bayelsa, stressing that the two states would continue to work together to promote unity, development and cultural heritage of the Ijaws. According to him, we shall continue to maintain the peaceful co-existence and development among the people and the two states. “For this to happen, then you must work and support your Governor, Rt.Hon. Chibuike Amaechi”, he said.
He however commended the Amayanabo of Kalabari, His Majesty, King Theophilous T.J.T Princewill, the Amachree XI, the people of Kalabari and the Sakiabo club for the honour they have done on him to become a member. He noted that he accepted the membership of Sakiabo club to underscore the importance of their culture. “Whatever we do, those of us who are in government have duties to support and promote our culture and traditions, preserve and transfer them to succeeding generations”, he said.
The Governor joined some of the dancers to dance the Alagba Masquerade which was last displayed 20 years ago.
Prof Robin Hutton a Professor for over 60 years a Briton and now a Kalabari man married to a Kalabari woman and a member of Ekine Sekiep Society who was very visible during the festival expressed his happiness that peace has finally returned to his people and development will now flow as the Asari River flows. He stated that he has been in the kingdom for over 30 years and it has been long since one saw this type of love, unity and peace among the people of the kingdom.
Alh Asari Dokubo the Leader of the Niger Delta Peoples Frontier Force (NDPFF) and the Edi-Abali of the Kalabari Kingdom stated “The Federal Government of Nigeria can no longer use lack of peace in Niger Delta as a periquisite to deny the people of the region the needed development that is lacking in the region. The Kalabari Kingdom with over 33 communities is the largest section of the Ijaw Nation and with peace being celebrated through the Alagba Masquerade festival today; peace is assumed to have returned to the region so we expect immediate and sustainable development in the Niger Delta region. We are proud of our culture as without culture the people ceases to exist. With what has happened today the Kalabari Kingdom will now take its rightful place among the great cultural centres in Africa. I am involved in this event not minding that I am a Muslim due to that with my position in the Kingdom as the Edi-Abali, I am the custodian of culture of our people!
The family of veteran Nollywood actor, Pete Edochie, has dismissed viral rumours circulating on social media claiming that the film icon is dead.
Reacting to the reports in a video shared on his Instagram page on Tuesday, the actor’s eldest son, Leo Edochie, described the claim as false and malicious.
“I’ve been receiving text messages and calls over the nonsense post by some people that our father, Chief Pete Edochie, is dead. It is a lie from the pit of hell,” he said.
Leo added that the actor is alive and in good health, condemning those responsible for spreading the rumour.
“Our father is alive, hale and hearty. And if you wish someone dead, two things usually happen. The person will live very long and you will die before him. Shame to all of you,” he said.
The rumour had sparked concern among fans before the family’s clarification.
Nollywood veteran actress Omotola Jalade-Ekeinde is making her directorial debut with a different and sharper focus. Speaking recently with Newsmen,, the screen icon highlighted a glaring void in the industry’s catalogue, which is the authentic reality of mother-daughter relationships.
“We don’t have too many films that explore or showcase the relationship between mothers and daughters,” Omotola said during the interview, describing the subject as something deeply personal to her.
Speaking honestly about raising her first daughter, she admitted she had only one mode at the time, which was discipline. “I didn’t do a good job,” she said plainly, explaining that she understood motherhood strictly through control, not softness or emotional openness.
At the centre of Mother’s Love is Adebisi, a sheltered young woman from a wealthy home whose life is shaped by her father’s rigid control. Her first taste of freedom comes through NYSC, where distance from home allows her to begin discovering who she is outside her family’s expectations. She forms a friendship with a young man from a more modest background, and through him, starts to see the world and herself differently.
But the emotional core of the film isn’t Adebisi’s rebellion. It’s her mother. Long after being presented as quiet and compliant, she slowly reveals a resolve when her daughter’s safety and future are threatened. As secrets surface and buried grief comes into view, Mother’s Love becomes less about youthful independence and more about maternal sacrifice, unspoken trauma, and the emotional costs of survival inside a patriarchal home.
The Tide Entertainment reports that the film doesn’t shy away from weighty themes by including PTSD, unresolved grief, and social inequality at the centre of the story. It is far removed from the soft-focus sentimentality that often defines Mother’s Day-style narratives.
It also marks Omotola’s directorial debut, a significant moment considering how long she has shaped Nollywood from the front of the camera. She stars in the film alongside a mix of familiar faces and newer talent, including Ifeanyi Kalu, Olumide Oworu, and Noray Nehita.
Beyond the film itself, Omotola’s interview touched on a tension that has been simmering in Nollywood for a while now: how movies are marketed in the age of TikTok. Addressing the growing expectation for actors and filmmakers to create viral dance content to promote their work, she didn’t mince words. The pressure, she said, is exhausting and unnatural.
For her, the industry wasn’t meant to function this way. Still, she was careful not to judge anyone else’s approach. Everyone invests differently, carries different risks, and should be allowed to promote their films however they see fit.
“Do whatever you can do. It’s exhausting, it’s not natural. For me, the film industry is not supposed to be like that. We are encouraging nonsense if we are doing that. It doesn’t mean that whoever is doing it is wrong.”
Her comments arrive not long after the public back-and-forth between Kunle Afolayan and Funke Akindele over marketing styles, a debate that quickly turned into a proxy war between prestige storytelling and viral strategy. Omotola’s stance sits somewhere calmer. She understands the shift social media has brought, but she’s also clear about her own boundaries.
Omotola’s critique about the lack of mother-daughter stories isn’t unfounded. In Nollywood, mothers often exist as symbols rather than people. They’re either saintly figures who pray endlessly for their children or villains whose cruelty drives the plot forward. What’s missing is intimacy, the negotiations, and the regrets. The love that exists alongside resentment and misunderstanding.
Films rarely sit with the emotional complexity of women raising daughters in systems that also failed them. There’s little room for mothers who made mistakes but are still trying, or daughters who love their mothers while questioning the damage they inherited. Mother’s Love attempts to occupy that space, offering a more grounded portrayal that reflects lived experience rather than archetypes.
That’s where the film’s potential impact lies, in the decision to centre a relationship that Nollywood has largely flattened. If it works, it could open the door for more stories that treat motherhood as a lived, evolving reality rather than a fixed moral position.
Mother’s Love, directed by and starring Omotola Jalade Ekeinde, had its world premiere at the 50th Toronto International Film Festival on September 6, 2025. The film is set for a nationwide cinema release in Nigeria on March 6, 2026.
Funke Akindele’s Behind The Scenes becomes Nollywood’s highest-grossing film of 2025, earning ?1.77bn in under four weeks.
Multi-award-winning actress and producer Funke Akindele has done it again, and this time, the numbers speak louder than applause.
Her latest film, Behind The Scenes, has officially emerged as the highest-grossing Nollywood film of 2025, pulling in an astonishing ?1.767 billion in less than four weeks.
The Tide Entertainment reports that Funke Akindele Makes Box Office History as Behind The Scenes Crosses ?1.77bn
Earlier in its release cycle, the film’s distributor, FilmOne Entertainment, revealed that Behind The Scenes smashed five opening-weekend records, including the highest single-day gross ever recorded on Boxing Day, with ?129.5 million in one day. That announcement already hinted that something unusual was unfolding.
Reacting to the milestone, FilmOne described the moment as both surreal and communal, crediting audience loyalty for pushing the film to the top spot once again as the number-one movie of the weekend. And that sentiment feels accurate. This wasn’t just ticket sales; it was momentum.
What makes this achievement even more striking is that Behind The Scenes is Funke Akindele’s third film to cross the ?1 billion mark. Before now, there was A Tribe Called Judah, and then Everybody Loves Jenifa, a film that didn’t just open big, but went on to become the highest-grossing Nollywood film of all time. At this point, it’s no longer a fluke. It’s a pattern.
Part of Behind The Scenes’ success lies in strategy. The film enjoyed advanced screenings on December 10 and 11, quietly building curiosity and conversation before its nationwide release on December 12. By the time it officially hit cinemas, audiences already felt like they needed to see it.
Then there’s the cast. The film brings together a lineup that feels deliberately stacked: Scarlet Gomez, Iyabo Ojo, Destiny Etiko, Tobi Bakre, Uche Montana, and several others. Familiar faces, strong fan bases, and performances that kept word-of-mouth alive long after opening weekend.
Still, beyond timing and casting, there’s something else at work here. Funke Akindele understands Nigerian audiences. Their humour, their pacing, their emotional buttons. She doesn’t guess, she calculates, experiments, listens, and refines. That understanding has slowly turned into box-office dominance.
Behind The Scenes crossing ?1.77 billion isn’t just another headline; it’s confirmation. Funke Akindele has moved from being a successful actress to becoming one of the most reliable commercial forces Nollywood has ever produced. Three-billion-naira films don’t happen by luck. They happen when storytelling, business sense, and audience trust align.
And right now, that alignment seems firmly in her hands.
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