Funke Akindele’s latest film, Behind The Scenes, has earned ₦1.77 billion in box office revenue within its first four weeks, making it the highest-grossing Nigerian film of 2025. The film premiered in December 2025 and quickly broke multiple records, including surpassing ₦200 million in ticket sales during its opening weekend. Within 17 days, it became the fastest movie in West Africa to cross the ₦1 billion mark. On Boxing Day alone, ticket sales reached ₦129.5 million, the highest single-day total for a Nigerian film during the holiday period.‏

Funke Akindele – Instagram

Akindele has previously produced three films that each earned over ₦1 billion, including A Tribe Called Judah and Everybody Loves Jenifa. These figures make her the only filmmaker in Nollywood history with multiple billion-naira films in a single calendar year. Everybody Loves Jenifa also ranks among Nollywood’s all-time highest-grossing films, reflecting strong audience engagement.

Photo Credit – Instagram

The film features a cast including Scarlet Gomez, Iyabo Ojo, Tobi Bakre, Destiny Etiko, and Uche Montana, which contributed to its broad appeal across audiences. Analysts suggest that its success was supported by strategic release planning, including advanced screenings and well-timed premieres before the nationwide rollout.

The performance of Behind The Scenes arrives amid ongoing challenges in Nollywood, such as limited funding, restricted cinema access, and piracy. Its commercial success demonstrates the growing potential of Nigerian cinema and underscores Akindele’s influence in the industry. While figures confirm her market impact, experts note that her continued success may also reflect an understanding of audience preferences and effective franchise building.

Akindele – Instagram

Funke Akindele’s recent achievements highlight her consistent ability to produce films that resonate with viewers. The results show that Nollywood productions can achieve significant commercial success while appealing to wide audiences, providing a benchmark for the industry’s evolving market potential.

Justin and Christian “King” Combs, the sons of imprisoned music mogul Sean “Diddy” Combs, have announced a forthcoming documentary series set to air on Zeus Network in 2026, offering their personal perspective on the events surrounding their father’s highly publicized legal troubles.

The announcement comes just weeks after the release of Sean Combs: The Reckoning, a four-part Netflix docuseries executive produced by Diddy’s longtime rival Curtis “50 Cent” Jackson. While that project examined the case from outside voices, Justin and Christian say their series will focus on their own experiences and the impact on their family.

Photo Credit: Variety

In a trailer shared late Sunday night, the brothers are seen seated together watching news clips and courtroom footage from their father’s federal criminal trial. The teaser promises to explore “our voice,” touching on family dynamics, personal pain, public scrutiny, and what they describe as misinformation surrounding the case.

The clip closes with an automated phone call from Fort Dix Federal Correctional Institution, where Sean Combs is currently serving a 50-month sentence following convictions on two federal prostitution charges. It remains unclear whether Combs himself participated in the production or will appear through recorded conversations.

Photo Credit: Blex Media

Zeus Network CEO Lemuel Plummer addressed the project directly, emphasizing that the docuseries is not intended to defend or vindicate Diddy. Instead, he described it as a platform for Justin and Christian to share their lived experiences during an intense and life-altering period.

The timing of the announcement is notable. Netflix’s Sean Combs: The Reckoning quickly became a ratings success, amassing nearly 22 million minutes viewed within its first week. That series included behind-the-scenes footage originally commissioned by Combs, which his legal team criticized as unfair and unauthorized, though Netflix maintains it was obtained legally.

Photo Credit: 92.1 WROU

Beyond their father’s case, both Justin and Christian Combs have faced their own legal scrutiny. Each has been named in separate sexual assault lawsuits alongside their father, allegations they have consistently denied.

While no official title or release date has been confirmed, the Zeus Network project is shaping up to be one of the most closely watched celebrity documentaries of 2026, not for spectacle, but for the rare look at how a family navigates fame, fallout, and public judgment from the inside.

During the height of Detty December, Tafawa Balewa Square came alive for Wizkid’s G.O.A.T: The Greatest of All Time Experience, one of the most anticipated concerts of the year. Media coverage and official announcements confirmed the event, marking it as a headline performance in Lagos’s crowded year-end entertainment calendar.

By early evening, the venue was buzzing with energy. Longtime fans, younger listeners drawn by Wizkid’s international hits, and returnees in town for the holidays all filled the space. Observers noted that the crowd followed the performance closely, reacting to each song with attention rather than impulsive excitement.

Wizkid – Instagram

Wizkid took the stage without a long lineup of opening acts. According to attendee reports and media coverage, there were no widely publicised guest appearances during the performance. His setlist spanned his career, moving from early hits that prompted loud sing-alongs to newer tracks delivered steadily. In some sections, fans carried parts of featured verses themselves, underscoring the show’s solo-led focus.

The stage featured multiple levels and a dominant LED screen. Fans near the front enjoyed clear sightlines and strong sound, while those farther back relied on the screen. Reports and social media commentary highlighted that the visuals, which included abstract imagery for long stretches, occasionally drew attention away from the performer in distant sections.

Wizkid – Instagram

Post-event reactions captured the range of audience experiences. Some praised the show’s focus on Wizkid alone, while others noted challenges in visibility from the back. Discussions centred on engagement, sightlines, and how large venues influence the concert experience.

Organisers and city authorities confirmed additional transport and crowd control measures were implemented to manage turnout. Ticketing included an instalment payment option, publicly announced before the show, which some fans welcomed and others debated online. Both elements underscored the planning and logistics required for an event of this scale.

Wizkid – Instagram

The response to The G.O.A.T Experience shows that audiences now look for more than just star power. Attendance and engagement confirmed Wizkid’s draw, but visibility, access, and production matter just as much. How a performance reaches every corner of the venue is now a key measure of success.

For Lagos’s concert scene, the event sets a new standard for solo-led shows. It illustrates how production, venue size, and audience placement intersect, providing insight into what fans will expect from similar large-scale performances in the future.