The bout, which drew significant attention from fans and entertainment enthusiasts held at Balmoral Hall, Federal Palace Hotel, Lagos.

The boxing bout delivered an intense three round contest marked by high energy and dramatic exchanges.

The opening round saw both celebrities come out aggressively with Portable displaying his trademark energetic style while Efe maintained a more composed approach, focusing on controlled punches.

Portable, a two-belt holder after defeating Charles Okocha and Speed Darlington in previous bouts, vowed to take a third title from Efe.

“I will use you to collect my third belt. Charles Okocha was bigger than you, Speed Darlington was bigger than you, and I beat them. I will beat you now,” the street artiste had warned ahead of the fight.

Efe, however, was unmoved, responding, “One punch and you fall.”

In the second round, Efe began to assert dominance by landing more accurate shots as Portable’s aggressive but less precise swings appeared to take a toll on his stamina.

The turning point came in the third round when Efe connected with a series of clean punches that gave him a clear advantage as Portable struggled to maintain his earlier intensity.

At the end of the contest, all three judges scored the bout 27-30 in favour of Efe, having demonstrated better stamina, precision and ring control throughout the fight.

The match forms part of the growing trend of celebrity boxing events in Nigeria, blending entertainment and sports while attracting wide audience engagement.

Source: NAN

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The post Carter Efe defeats Portable in celebrity boxing bout appeared first on Frontpageng.

The actor shared the news via his verified Instagram page on Friday.

He described the arrival of his three sons as his “greatest blessing”.

“I’ve been quiet, not absent. I was building and protecting my world,” Adedimeji wrote.

The actor further celebrated his wife as a “mother of three” and his “legacy”.

His announcement follows years of intense social media scrutiny regarding their marriage.

Critics frequently trolled the couple over their childless status since their December 2021 wedding.

Previous years were marked by viral “clickbait” videos claiming the couple had twins.

Adedimeji had previously dismissed these rumours, urging fans to respect their private journey.

The news of the three boys has now sparked a frenzy of joy online.

Prominent stars joined thousands of fans to celebrate the “triple miracle”.

“God is Good! I am in tears,” wrote actress Juliana Oloyede in an emotional post.

Omowumi Dada also described the triplets’ arrival as the best news for May.

Other notable well-wishers included Iyabo Ojo, Destiny Etiko, and veteran actress Fathia Balogun.

Source: NAN

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The post Nollywood stars, Lateef Adedimeji, Mo Bimpe welcome triplets appeared first on Frontpageng.

Pause.

Let nobody rush this matter.

Today is a birthday…

But the celebrant is not here.

Or is he?

Chief Gani Fawehinmi, SAN.

Senior Advocate of the Masses.

The man who did not practise law…

He fought with it.

Tell me…

Do men like this die?

Or do they simply change location?

Haaaa!

If you were here today…

What would you have said?

What would you have done?

Would you have kept quiet?

You?

Impossible.

Because silence and Gani Fawehinmi…

Were never friends.

Let us remember.

June 12.

That season when truth was expensive.

When democracy was not a theory… but a struggle.

You stood.

Not behind.

Not beside.

But in front.

With men of conviction.

Including one Bola Ahmed Tinubu.

Yes.

That same man.

Now look again.

Time has turned the table.

The comrade of yesterday…

Is now the captain of the ship.

President.

By God’s arrangement… or democratic arithmetic.

And you?

You are not here to cross-examine.

Not here to object.

Not here to file processes.

Because if you were here when that “Emilokan” doctrine was preached…

Tell me honestly…

Would you have smiled?

Or would you have headed straight to court?

Ah!

Let us not pretend we have forgotten.

Toronto certificate matters.

Your pen was not shy.

Your voice was not neutral.

You questioned.

You challenged.

You insisted.

So today…

What would you have said?

And then…

Another name enters the file.

Muhammadu Buhari.

Your friend?

Your client?

The same man whose military government in 1984 dealt with politicians like files without appeal.

Yet you defended him.

Why?

Because to you…

Justice was not selective.

Years later…

He returned.

As a democrat.

We hoped.

We believed.

We endured.

Eight years.

Now we stand again…

Between memory and expectation.

Hoping.

Waiting.

Watching.

Haaaa!

Chief Gani Fawehinmi…

We are still here.

I’m still navigating this same Nigeria.

Still arguing.

I’m still hoping for that coast of success.

Tell me…

From where you are now…

Do you see what we see?

Do you understand what we are facing?

Because down here…

Things are not simple.

We remember you as a Muslim who feared God.

A lawyer who feared no man.

A citizen who refused to sit down when the truth was standing.

So we say:

If advocacy continues beyond this world…

Then continue.

If prayers travel across realms…

Then send some.

If influence exists where you are…

Then, use it for us.

Because Nigeria still needs voices.

Not echoes.

Voices.

Haaaa!

Chief Gani Fawehinmi…

Happy posthumous birthday.

You are missed.

Not emotionally alone…

But structurally.

So again…

Has he gone?

Or has his silence become louder than our noise?

Remain blessed, sir.

Even in quietness.

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The post Haaaa! Chief Gani Fawehinmi… Can you hear us from there? appeared first on Frontpageng.

Convened by Mighty Media Plus, publishers of online newspaper QEDNG, the summit brings together conversations at the intersection of creativity, enterprise and influence, with a focus on strengthening Nigeria’s creative economy.

Reflecting on the inaugural edition, Iyanda said the summit drew participation from respected figures across sectors, including group managing director of SO&U Udeme Ufot as chairman and founder of The Africa Soft Power Group Dr Nkiru Balonwu as keynote speaker, alongside panellists such as filmmaker Kunle Afolayan, All Africa Music Awards, AFRIMA, founder Mike Dada and executive director of the National Film and Video Censors Board, NFVCB, Dr Shaibu Husseini who contributed to discussions on the direction of the creative economy.

“The first edition showed that there is a strong interest in serious engagement around the creative economy. We had contributions from experienced voices who helped set the tone for the kind of platform we are building,” Iyanda said.

Building on the success of its inaugural edition, the summit continues to expand its scope, attracting a diverse mix of industry leaders, entrepreneurs, policymakers and emerging talents.

“This summit is designed as a meeting point for ideas, influence and execution. It is not just about conversations, but about outcomes that strengthen the creative economy,” Iyanda added.

He noted that the timing of the summit is significant as the country’s creative sector continues to evolve.

“Nigeria’s creative sector has grown in visibility, but the structures that support it are still evolving. The QEDNG Creative Powerhouse Summit is part of the effort to bring clarity, direction and serious engagement to that growth,” he said.

The 2026 edition will feature keynote addresses, panel discussions and curated sessions addressing themes around innovation, growth, funding and the global positioning of Nigerian creative talent.

According to Iyanda, the long-term goal is to build a platform that remains relevant across generations.

“Our goal is to build a platform that remains useful over time, one that documents progress, connects stakeholders and contributes meaningfully to policy and practice,” he said.

Further details on speakers, partners and the full programme will be announced in the coming weeks.

The post QEDNG Summit 2026 set for August 11 in Lagos appeared first on Frontpageng.

The event, sponsored by Kolomoni and Tiger Beer, featured electrifying performances from top Nigerian artistes and rising stars.

Olamide, Wande Coal, Jeriq and Qing Madi thrilled the crowd with energetic sets and crowd-pleasing hits.

Emerging acts including Tuff King, Evade Lee and Aguero Banks also delivered performances that drew loud cheers from fans.

Fans travelled from far and wide, filling the venue with excitement, as Phyno’s Easter concert maintained its reputation for spectacle and musical excellence.

At a defining moment, Phyno invited VeryDarkMan on stage, urging him to withdraw his case against BLord “in the interest of peace”.

The concert, organised by Funky4Gang Entertainment, attracted government officials, business leaders and fans from within and beyond Enugu State.

Funky4Gang President, Osifu Prince Osaro, described the concert as “astonishing” and praised Phyno’s enduring influence in eastern Nigeria.

“Phyno’s experience is always different. He is the god of the East, always setting the pace. Thank you for making me part of this project,” he said.

Enugu Commissioner for Culture and Tourism, Ugochi Madueke, expressed delight at the turnout and vibrant atmosphere.

“Phyno is always there for Enugu fans, making them happy. That is why the state supports him. He is our son and deserves our backing,” she said.

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The post Phyno, Olamide ignite Enugu Easter concert appeared first on Frontpageng.

A statement issued by the Lagos State Ministry of Tourism, Arts and Culture on Friday, said the closure would begin at 7:00 a.m. on Monday to ensure a smooth and safe carnival procession.

The ministry listed the affected routes as King George V Road at the junction by Mobil Filling Station, Onikan Roundabout inbound to TBS, Flagstaff House inbound to TBS, Outer Marina by State House inbound to TBS, Campbell St. by the Old Defence Building, and Catholic Mission St. by St. Nicholas Hospital.

It noted that the temporary restriction was part of efforts to provide a secure and organised environment for participants and spectators expected to throng the Lagos Island corridor for the annual cultural celebration.

It also advised motorists and residents to plan their movements accordingly and use alternative routes during this period, while appealing for patience and understanding from road users.

According to the ministry, the Lagos State Traffic Management Authority has mapped out diversion routes to ease vehicular movement and reduce traffic congestion around the carnival axis.

It explained that vehicles coming from Obalende and descending toward Onikan Roundabout would be redirected to Zone 2, while those coming from Bonny Camp toward McEwen Bridge and from Flagstaff House to TBS would be diverted to Obalende Bridge.

Similarly, motorists approaching from Outer Marina to TBS would be redirected to Obalende Bridge to ensure free movement around the carnival route.

The ministry said the traffic plan was designed to minimise disruption to daily activities, especially for commuters and businesses operating within the Lagos Island area.

It expressed appreciation to residents and motorists for their anticipated cooperation, noting that the measure was necessary to guarantee a successful and hitch-free celebration.

“The state government regrets any inconvenience this may cause and appreciates the cooperation of the public,” the ministry said.

Fanti Carnival, a historic cultural event in Lagos, is expected to attract residents, tourists and cultural enthusiasts, showcasing music, dance and colourful displays that highlight the city’s rich Afro-Brazilian heritage.

Source: NAN

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The post Fanti Carnival: Lagos announces closure of roads appeared first on Frontpageng.

D’banj held the concert to launch the updated C.R.E.A.M (Creative, Reality, Entertainment, Arts and Music) platform, a digital initiative aimed at supporting creatives and rewarding fans.

The platform brings together creators, fans, and industry professionals to engage, collaborate, and access opportunities within the entertainment industry.

The concert attracted a vibrant crowd with attendees gathering at the cultural hub to witness a dynamic showcase of music and creative talent, as the event maintained high energy throughout the night.

The live performance celebrated entertainment, youth creativity and artistic expression, offering an immersive experience that blended contemporary sounds with engaging stagecraft.

The night was further energised by performances from supporting acts including Peruzzi, NasBoi, Slimcase and 2Baba, who each brought unique flair to the stage, drawing cheers from the audience.

The artistes delivered a mix of hit songs and crowd favourites, keeping fans engaged with energetic performances and interactive moments.

When D’banj took the stage, he was met with thunderous applause, performing several of his classic hits that had fans singing and dancing along in excitement.

The award-winning artiste showcased his signature charisma and stage presence, combining lively choreography with engaging vocals to create a memorable performance.

D’banj also connected with the audience, expressing appreciation for their support and highlighting the importance of platforms like C.R.E.A.M in nurturing emerging talents.

Attendees expressed delight at the concert experience.

A music enthusiast, Tunde Balogun, described the event as “exciting and full of energy”, noting that the lineup of artistes made it a standout show.

Another attendee, Adaeze Okafor, said the performances were captivating and hugely exciting.

“Each act brought something unique, making the night unforgettable.

“I’m glad that I was able to make it here in spite of the challenges I had that nearly discouraged me from coming here,” she said.

Ibrahim Sadiq praised the organisers for creating an avenue for both established and up-and-coming artistes, saying, “It’s inspiring to see a platform that promotes creativity and talent in such a vibrant way.”

Kemi Ogunleye also commended the choice of venue, noting that the cultural setting added depth to the concert experience and enhanced its artistic appeal.

Source: NANd’ban

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The post D’banj, others thrill fans at C.R.E.A.M concert in Lagos appeared first on Frontpageng.

A familiar face on television.

A character that has entered our homes, our language, our laughter.

A man we all feel we know.

And yet, behind the laughter, there is a quiet revelation that unsettles.

The man who played “Papa Ajasco” for decades, Abiodun Ayoyinka, recently disclosed that despite years of work, he has no house of his own, no car to his name. For many Nigerians, it sounds unbelievable. How can someone so visible, so iconic, remain so financially constrained?

But that is where law meets reality. And reality, as always, is less sentimental than the audience imagines.

Let us slow down and examine this, not as gossip, but as a legal lesson.

The “Papa Ajasco” brand itself was created and produced by Wale Adenuga, a seasoned media entrepreneur. From the beginning, the character, the show, and the intellectual property surrounding it were structured under his control. Over time, as the show gained popularity, the character became more than just a role. It became a brand. A commercial identity. A marketable symbol.

And crucially, that identity was protected under Nigerian law through trademark registration.

Now, this is where many Nigerians misunderstand the entertainment industry.

You can be the face.

You can be the voice.

You can be the body that brings a character to life.

But in law, that does not automatically make you the owner.

Under the Nigerian Trade Marks Act, a trademark is a legally protected sign, name, or identity used to distinguish goods or services. Once a name or character is registered as a trademark, the owner has exclusive rights to use it commercially. That includes endorsements, branding, merchandise, and licensing.

So when “Papa Ajasco” is trademarked, it means the character is no longer just artistic expression. It is property. Legal property. Commercial property.

And the owner of that property controls how it is used.

This is why the actor, despite embodying the character for decades, cannot simply take the “Papa Ajasco” persona and sign endorsement deals independently. He cannot walk into an advertising agency and say, “I am Papa Ajasco, pay me.” The law will stop him.

Because legally, he is not Papa Ajasco.

He is an actor who plays Papa Ajasco.

There is a difference. A painful difference. A costly difference.

This distinction becomes even more striking when one considers the earnings trajectory he disclosed. From ₦2,500 per episode in the late 1990s, gradually rising to ₦45,000 per episode in 2026, a figure that sits below Nigeria’s current minimum wage, it raises uncomfortable questions about value, bargaining power, and long-term contractual arrangements.

But again, the law does not operate on emotion. It operates on agreements.

What did the contract say?

That is the first question any serious lawyer will ask.

In most entertainment arrangements, especially in earlier decades of Nollywood and television production, actors were engaged on a per-episode or per-project basis. Many of these contracts did not include provisions for royalties, residual payments, or profit participation. Once the actor was paid for the performance, that was the end of the financial relationship.

Meanwhile, the producer retained ownership of the intellectual property, the story, the character, the brand.

As the years pass and the show continues to generate value through reruns, syndication, digital platforms, and brand recognition, the imbalance becomes more visible.

The actor remains tied to the original compensation structure.

The owner continues to benefit from the expanding commercial value.

It is not necessarily illegal. But it can feel deeply unfair.

Now, can anything be done at this stage?

The answer is cautious. It depends.

The first port of call is always the contract. If there are provisions for renegotiation, review, royalties, or residual benefits, those clauses can be activated. If the contract is silent, the actor may still attempt to renegotiate based on the continued commercial relevance of the character.

In some situations, where the terms appear excessively one-sided, there may be arguments around unconscionability or inequitable bargaining power, although such claims are not easy to sustain under Nigerian law without strong evidence.

But one thing is clear. As long as the trademark remains valid and subsisting, the actor cannot commercially exploit the character independently. Any attempt to do so may expose him to legal action for trademark infringement.

This is the hard truth many young creatives do not want to hear.

Talent is not ownership.

Visibility is not control.

Fame is not property.

In law, ownership belongs to the person who creates, registers, or contractually secures the rights.

Let us bring this closer to everyday Nigerian life.

A young skit maker creates a funny character on Instagram. A producer approaches him and says, “Let us make this big. I will invest. I will produce.” Excited, the creator signs a contract without reading the fine print. Years later, the character becomes a national sensation. Brands are calling. Money is flowing.

But then he discovers that the name, the image, the brand, all belong to the producer.

He is now a performer in a brand he originally brought to life.

This is not fiction. It is happening across Nigeria’s creative industry.

And that is why this conversation matters.

Before you step into a role.

Before you sign that contract.

Before you celebrate the fame.

Ask the difficult questions.

Who owns the character?

Is the name registered as a trademark?

Am I entitled to royalties if the show succeeds?

Can I use this character outside the production?

What happens in ten years?

These are not questions for later. They are questions for the beginning.

Because by the time success arrives, it may already be too late to renegotiate from a position of strength.

For producers and companies, there is also a lesson.

While the law protects ownership rights, sustainability in the creative industry requires fairness. An actor who embodies a character for decades contributes more than labour. He contributes identity, consistency, emotional connection with the audience. Ignoring that contribution may be legally permissible, but it raises ethical and commercial questions about long-term industry growth.

A balanced structure, one that combines ownership protection with fair compensation, is often the wiser path.

In the final analysis, the story of Papa Ajasco is not just about one actor. It is about an entire generation of Nigerian creatives who built iconic characters without fully understanding the legal architecture behind them.

It is a reminder that in today’s world, creativity must walk hand in hand with legal awareness.

Because in the end, the law does not reward who is most loved on screen.

It rewards who owns the rights behind the screen.

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The post The hidden legal trap every Nigerian creative must understand appeared first on Frontpageng.

The movie, distributed by FilmOne Entertainment also achieved significant commercial success at the domestic box office grossing N2.7 billion to become one of Nollywood’s biggest titles of all time.

In a post shared on its Instagram page, the distributor described the achievement as a record breaking run and a defining moment for African cinema.

”A record-breaking run. A defining moment for African cinema,” the company said, adding that the film continued to attract audiences across multiple regions.

‘Behind The Scenes’ explores themes around fame, success and the hidden emotional realities behind public admiration.

The film’s success extends beyond West Africa with growing viewership reported across international markets, further reinforcing Nollywood’s expanding global footprint.

Source: NAN

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• WINNER: One Battle After Another
• Bugonia
• Frankenstein
• F1
• Hamnet
• Marty Supreme
• The Secret Agent
• Sentimental Value
• Sinners
• Train Dreams

Best actress

• WINNER: Jessie Buckley – Hamnet
• Rose Byrne – If I Had Legs I’d Kick You
• Kate Hudson – Song Sung Blue
• Renate Reinsve – Sentimental Value
• Emma Stone – Bugonia

Best actor

• WINNER: Michael B Jordan – Sinners
• Timothée Chalamet – Marty Supreme
• Leonardo DiCaprio – One Battle After Another
• Ethan Hawke – Blue Moon
• Wagner Moura – The Secret Agent

Best supporting actress

• WINNER: Amy Madigan – Weapons
• Elle Fanning – Sentimental Value
• Inga Ibsdotter Lilleaas – Sentimental Value
• Wunmi Mosaku – Sinners
• Teyana Taylor – One Battle After Another

Best supporting actor

• WINNER: Sean Penn – One Battle After Another
• Benicio del Toro – One Battle After Another
• Jacob Elordi – Frankenstein
• Delroy Lindo – Sinners
• Stellan Skarsgård – Sentimental Value

Best director

• WINNER: Paul Thomas Anderson – One Battle After Another
• Ryan Coogler – Sinners
• Josh Safdie – Marty Supreme
• Joachim Trier – Sentimental Value
• Chloé Zhao – Hamnet

Best animated feature

• WINNER: KPop Demon Hunters
• Arco
• Elio
• Little Amélie or the Character of Rain
• Zootopia 2

Best international feature

• WINNER: Sentimental Value
• It Was Just an Accident
• Sirât
• The Secret Agent
• The Voice of Hind Rajab

Best documentary feature

• WINNER: Mr Nobody Against Putin
• Come See Me in the Good Light
• Cutting Through the Rocks
• The Alabama Solution
• The Perfect Neighbor

Best original screenplay

• WINNER: Sinners – Ryan Coogler
• Blue Moon – Robert Kaplow
• It Was Just an Accident – Jafar Panahi
• Marty Supreme – Ronald Bronstein and Josh Safdie
• Sentimental Value – Eskil Vogt and Joachim Trier

Best adapted screenplay

• WINNER: One Battle After Another – Paul Thomas Anderson
• Bugonia – Will Tracy
• Frankenstein – Guillermo del Toro
• Hamnet – Chloé Zhao and Maggie O’Farrell
• Train Dreams – Clint Bentley and Greg Kwedar

Best original song

• WINNER: Golden – KPop Demon Hunters (by EJAE, Mark Sonnenblick, Joong Gyu Kwak, Yu Han Lee, Hee Dong Nam, Jeong Hoon Seo and Teddy Park)
• Dear Me – Diane Warren: Relentless (by Diane Warren)
• I Lied to You – Sinners (by by Raphael Saadiq and Ludwig Goransson)
• Sweet Dreams of Joy – Viva Verdi! (by Nicholas Pike)
• Train Dreams – Train Dreams (by Nick Cave and Bryce Dessner)

Best original score

• WINNER: Sinners – Ludwig Goransson
• Bugonia – Jerskin Fendrix
• Frankenstein – Alexandre Desplat
• Hamnet – Max Richter
• One Battle After Another – Jonny Greenwood

Best cinematography

• WINNER: Sinners – Autumn Durald Arkapaw
• Frankenstein – Dan Laustsen
• Marty Supreme – Darius Khondji
• One Battle After Another – Michael Bauman
• Train Dreams – Adolpho Veloso

Best film editing

• WINNER: One Battle After Another – Andy Jurgensen
• F1 – Stephen Mirrione
• Marty Supreme – Ronald Bronstein and Josh Safdie
• Sentimental Value – Olivier Bugge Coutté
• Sinners – Michael P Shawver

Best sound

• WINNER: F1 – Gareth John, Al Nelson, Gwendolyn Yates Whittle, Gary A Rizzo and Juan Peralta
• Frankenstein – Greg Chapman, Nathan Robitaille, Nelson Ferreira, Christian Cooke and Brad Zoern
• One Battle After Another – José Antonio García, Christopher Scarabosio and Tony Villaflor
• Sinners – Chris Welcker, Benjamin A Burtt, Felipe Pacheco, Brandon Proctor and Steve Boeddeker
• Sirât – Amanda Villavieja, Laia Casanovas and Yasmina Praderas

Best visual effects

• WINNER: Avatar: Fire and Ash – Joe Letteri, Richard Baneham, Eric Saindon and Daniel Barrett
• F1 – Ryan Tudhope, Nicolas Chevallier, Robert Harrington and Keith Dawson
• Jurassic World Rebirth – David Vickery, Stephen Aplin, Charmaine Chan and Neil Corbould
• Sinners – Michael Ralla, Espen Nordahl, Guido Wolter and Donnie Dean
• The Lost Bus – Charlie Noble, David Zaretti, Russell Bowen and Brandon K McLaughlin

Best production design

• WINNER: Frankenstein – Tamara Deverell and Shane Vieau
• Hamnet – Fiona Crombie and Alice Felton
• Marty Supreme – Jack Fisk and Adam Willis
• One Battle After Another – Florencia Martin and Anthony Carlino
• Sinners – Hannah Beachler and Monique Champagne

Best casting

• WINNER: One Battle After Another – Cassandra Kulukundis
• Hamnet – Nina Gold
• Marty Supreme – Jennifer Venditti
• Sinners – Francine Maisler
• The Secret Agent – Gabriel Domingues

Best make-up and hairstyling

• WINNER: Frankenstein – Mike Hill, Jordan Samuel and Cliona Furey
• Kokuho – Kyoko Toyokawa, Naomi Hibino and Tadashi Nishimatsu
• Sinners – Ken Diaz, Mike Fontaine and Shunika Terry
• The Smashing Machine – Kazu Hiro, Glen Griffin and Bjoern Rehbein
• The Ugly Stepsister – Thomas Foldberg and Anne Cathrine Sauerberg

Best costume design

• WINNER: Frankenstein – Kate Hawley
• Avatar: Fire and Ash – Deborah L Scott
• Hamnet – Malgosia Turzanska
• Marty Supreme – Miyako Bellizz
• Sinners – Ruth E Carter

Best animated short

• WINNER: The Girl Who Cried Pearls
• Butterfly
• Forevergreen
• Retirement Plan
• The Three Sisters

Best live action short

• WINNER (TIED): The Singers
• WINNER (TIED): Two People Exchanging Saliva
• A Friend of Dorothy
• Butcher’s Stain
• Jane Austen’s Period Drama

Best documentary short

• WINNER: All the Empty Rooms
• Armed Only with a Camera: The Life and Death of Brent Renaud
• Children No More: Were and Are Gone
• The Devil Is Busy
• Perfectly a Strangeness

Source: BBC

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