Akin Ogungbe was born in 1934 in Abeokuta, Ogun State, into a Christian family of Pa Ogungbe. He was privileged to have formal education but stopped schooling after his Standard Six education. His mother then took him to stay with his grandmother in Abeokuta.

Before venturing into acting, after a short period of staying with his grandmother, he learnt tailoring and briefly learned carpentry. His passion for the performing arts made him abandon his trade after being inspired by the legendary Baba G.T. Onimole, under whom he trained as an apprentice in the early 1950s, where he had his foundational training in the Yoruba Traveling Theatre tradition.

In 1953, Akin Ogungbe established his own theatre group, which he initially named Oluwa lo see Musical Party, later renamed Oguns Concert Party and eventually Ogungbe Travelling Theatre. During this time, Hubert Ogunde was a major inspiration for many theatre practitioners, including Ogungbe, who operated alongside Duro Ladipo and Moses Olaiya (Baba Sala) as a peer and fellow pioneer. As other pioneers like Kola Ogunmola brought their own uniqueness into the Yoruba Traveling Theatre, Ogungbe was known for deploying dynamic elements like acrobatics and fire-eating into his plays to set his troupe apart and engage audiences.

After the formation of his group, his professional play was titled A Terrible Life. It did not take many years before his plays became known within the localized traveling theatre circuit in southwestern Nigeria because of the uniqueness he infused into them, his perseverance in promoting Yoruba culture, and his addressing of social issues.

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In the 1970s, Ogungbe gained national recognition when his work became a household staple through the Atoka photo-play magazine, and his character as Baba Ibeji in the serialized visual stories made him one of the most popular actors in Nigeria.

In the late 1970s and early 1980s, due to the need for more audience and the motive to make plays reach wider areas, practitioners like Ola Balogun, Adeyemi Afolayan (Ade Love), Hubert Ogunde, and Moses Olaiya led the transitioning of stage plays to film, reducing the rising cost of touring towns, cities, and regions.

In the 1980s and 1990s, Ogungbe followed suit by transitioning into film, where his plays reached a new level of mainstream acceptance. His 1982 film adaptation of Ireke Onibudo and 50/50, produced in 1992, were considered his most successful and widely accepted screen works. He thereafter produced other films like Asiri Baba Ibeji, Ologbo Jigolo, Lisabi, and Igba Funfun.

Through his exceptional plays and films, Ogungbe was conferred with the national title of Member of the Order of the Niger (MON) by President Olusegun Obasanjo in 2003 for his enduring contribution to the Nigerian Film Industry. He also received a Lifetime Achievement Award from the Africa Movie Academy Awards for his notable impact on Yoruba cinema and theatre. Africa Magic and other industry bodies also recognized him as one of the cornerstones of Yoruba cinematic storytelling.

On November 28, 2012, Christopher Akintola Ogungbe died as a legendary Nigerian actor, filmmaker, and director after a 60-year career. Though he was unable to finish his education, Ogungbe provided a platform for notable movie legends like Jimoh Aliu, who later formed the Jimoh Aliu Concert Party in 1966 after completing his apprenticeship; others include Jide Kosoko, Bolaji Amusan, and his son, Segun Ogungbe, who had been acting since he was three years old, among many others who learned directly or indirectly from his tutelage.

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Okorie is being prosecuted under the Cybercrimes (Prohibition, Prevention, etc.) Act following allegations that she transmitted offensive and threatening messages through her social media platforms.

According to reports, the actress was arrested in Lagos by operatives of the Lagos State Criminal Investigation Department and later remanded at the Suleja Correctional Centre in Niger State after her arraignment.

At the resumed hearing, prosecution counsel, Victor Okoye, told the court that an amended charge dated January 30, 2026, had been filed and served on the defendant.

Defence counsel, Ernest Nwoye, confirmed receipt of the amended charge, after which Okorie pleaded not guilty to all seven counts.

According to the charge sheet, the actress allegedly transmitted offensive and threatening messages between 2024 and 2025 through her social media handles, targeting a fellow Nollywood actress, Mercy Johnson.

The prosecution alleged that the messages were capable of causing a breakdown of law and order and posed a threat to the life of the complainant.

Count 2 of the charges reads: “That you Angela Okorie ‘F’ of 1 Lekki Palm City, Henry MonteronStreet, Ajah, sometime between 2024 and 2025, in the Federal Republic of Nigeria within the jurisdiction of this Honourable Court did knowingly and intentionally transmit or cause the transmission of communication through computer system or network on your various social media handles, wherein you stated, ‘Blood sucking demon no see blood suck again, E say na sliming tea, Except there is no God, MJ go and beg people you chop their destinies and destroyed their homes else no peace for the wicked!!! Gospel songs won’t save you. Your heart is dark’, statement you made referring to Mercy Johnson, knowing it to be false for the purpose of causing a breakdown of law and order, and posing a threat to life of the said Mercy Johnson.”

The offence was said to be contrary to Section 24(1)(b) of the Cybercrimes (Prohibition, Prevention, etc.) Act, 2015, as amended in 2024.

In another count, the prosecution alleged that the defendant made statements referencing the complainant and her late mother in a manner intended to bully, harass and place the complainant in fear of death, violence or bodily harm, contrary to Section 24(2)(a) of the Act.

Moving the bail application, Nwoye told the court that the motion dated January 29 was supported by a five-paragraph affidavit and a written address, which he adopted.

He argued that the defendant was a responsible Nigerian with a known address and had no intention of evading trial.

Opposing the application, Okoye said the prosecution filed a counter-affidavit, claiming that the defendant had previously been granted administrative bail but failed to present herself and her surety when required.

He also told the court that Okorie was being investigated for other offences carrying possible jail terms of between three and 10 years.

Responding, Nwoye dismissed the claims as misleading, stating that the defendant had formally notified the police of her absence due to medical evaluation.

He added that Okorie had submitted medical evidence showing she sustained a bullet wound and had undertaken to report to the police upon returning to Nigeria.

Read Also: Actress Ini Edo Defends ‘A Very Dirty Christmas’ Title Amid CAN Backlash

In his ruling, Justice Emeka Nwite held that there was no concrete evidence before the court to suggest that the defendant would jump bail.

He consequently admitted Okorie to bail in the sum of N5m with one surety in like sum.

The judge ruled that the surety must be a Grade Level 13 civil servant who must depose to an affidavit of means and submit appointment and last promotion letters.

The case was adjourned until March 23, 2026, for continuation of trial.

Source: Punch

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The Executive Director of the NFVCB, Shaibu Husseini, clarified a series of posts on X, following public criticism of the film’s title by Christian groups.

Husseini said the film, including its title, was approved after regulators considered the narrative context and the creative intent of the producers.

According to him, the board interpreted the title as metaphorical rather than literal.

“During review, the title was interpreted as metaphorical rather than literal—understood as a reference to human conduct, moral contradictions, or social realities unfolding during a festive period, and not as an ascription of impropriety to Christmas as a sacred Christian event,” he said.

He explained that the title was assessed within the broader context of the storyline and themes, not as a direct commentary on Christmas itself.

He added that the film does not depict, reenact, mock or trivialise the nativity, the birth of Jesus Christ or any core Christian doctrine.

“There is no scene, dialogue, or imagery within the film that ridicules Christian worship or theology. In line with established regulatory principles, the NFVCB places significant emphasis on context and intent over isolated literary or semantic interpretations when exercising its statutory mandate,” he added.

However, he said the NFVCB had engaged the producers of the film in response to concerns raised by Christian bodies and communities.

He disclosed that the board requested a modification or stylisation of the title to address public sensitivities “without undermining the creative integrity and exploitation of the work”.

Husseini said such post-approval title changes were not unusual in the film industry, citing the 2019 Indian movie Judgemental Hai Kya, which was renamed after criticism from mental health professionals.

According to him, the step taken by the NFVCB was in line with the provisions of the NFVCB Act and aimed at preventing public misunderstanding and possible religious tension.

Husseini said, “Though engagement is ongoing, we are pleased to report that the producers are responding positively, and steps that will eventually be taken will be consistent with preserving goodwill among stakeholders and audiences.”

The controversy followed the release and promotion of A Very Dirty Christmas, a Nollywood film produced by actress Ini Edo, which drew criticism from the Christian Association of Nigeria and other Christian groups.

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In a statement shared on Instagram, the actress defended the creative choice, saying art is meant to provoke thought, spark conversation and reflect the complexities of human life.

Recall that CAN queried the National Film and Video Censors Board (NFVCB) over how the title was approved for public release during the Christmas season, triggering widespread public debate.

She explained that the production complied fully with Nigerian regulations and received approvals from both the NFVCB and the Nigerian Copyright Commission (NCC) before release.

Describing herself as a devout Christian, Edo said she would never knowingly take part in any work that disrespects Christianity or the essence of Christmas. She noted that the title is metaphorical, reflecting the film’s exploration of contrasts often associated with the season, including joy and struggle, appearance and reality, and human imperfection.

The filmmaker expressed regret that CAN’s concerns were raised only after the film’s release, suggesting that earlier engagement could have allowed for constructive dialogue and better understanding.

Read Also: Christian Association of Nigeria Criticizes Title of Ini Edo’s Movie ‘A Very Dirty Christmas’

She concluded by calling for mutual respect and open conversation between faith groups and creatives in Nigeria.

Meanwhile, the NFVCB confirmed it has opened discussions with the film’s producers over a possible modification of the title. The board stated that the film passed through its standard censorship and classification process, and that approval of the title was based on its context within the story, not as an endorsement of any disrespect toward Christian faith or Christmas.

Source: Thecable

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In an official statement signed by the National Public Relations Officer, Adejonwo Oluwafemi, and released on Saturday, ANTP confirmed that the actor, popularly known as Baba Eda Onile Ola, is alive and in good health.

The statement read, “We would like to inform the public that reports circulating on Facebook about the passing of Chief Olalere OsunPaimo are false.
“We have confirmed with Baba Eda Onile Ola’s wife that he is alive and in good health.

READ ALSO:

VETERAN ACTOR BABA GEBU IS DEAD

Please disregard these false reports and be aware that they are being spread by unscrupulous individuals.”
ANTP urged the public to verify information before sharing unconfirmed reports, warning against the spread of misinformation.

“We urge everyone to verify information before sharing to avoid spreading misinformation,” the statement said.

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He wrote, “It saddens my heart as I announce the passing away of our great legend, a great actor who passed away this evening after a brief illness… BABA GEBU may your soul rest in peace …”

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Before his death, Baba Gebu enjoyed a long and distinguished career in the Nigerian film industry, particularly in Yoruba-language cinema, where he featured in numerous acclaimed productions and mentored several younger actors.

With a career spanning several decades, Baba Gebu starred in numerous notable productions.
The actor’s death has sparked an outpouring of tributes from colleagues, fans, and well-wishers, who are mourning the loss of a true Nollywood icon.

Source: Punch

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The actor recounted how producers have consistently sidelined him for being either “too slim” or “too fat”.

Despite his talent and a slimmer physique, the actor said he was praised in aditions but never cast, saying that this pattern began early in his career.

“I have been told I’m fat, and I have even lost roles because of that. Some people say I’m not fine or that I won’t fit a character because I have a stomach,” he said.

The actor stated that the bias has shifted as his body has changed. He added that, now that he is “a bit chubby,” he finds himself stereotyped and overlooked for a diverse range of characters.

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“And now that I’m a bit chubby and I have a stomach, they are giving me roles like uncle, landlord or husband,” he said.

“Some producers even stopped giving me ‘bad boy’ roles because they assume I won’t be able to interpret the character, but they will be shocked when they see my upcoming movies.”

Source: Thecable

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The actress disclosed this while speaking in a video session with actress Ayo Adesanya. She revealed that she called off her wedding after enduring repeated physical abuse from her then-partner.

She said it was an experience that pushed her to end the relationship a day before their wedding, adding that despite pressure from family and her partner to proceed, she refused to sign the marriage papers.

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“Marriage is not a do or die affair. When domestic violence becomes too much, it’s best to walk away. If you accept it once, be ready to keep accepting it for the rest of your life. She said.

“My husband was a violent person. I remember one day he broke the kitchen door while I was boiling water, dragged me by my hair, and I started bleeding. That’s a day I’ll never forget.

Source: Dailypost

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The issue began after actor Itu Iberu said in a video that Adedimeji, whom he once struggled with, no longer takes his calls and has blocked his number.

Reacting, Jinad said she had a similar experience, revealing that Adedimeji blocked her on social media for over four years. She explained that they were once close friends and began their acting journey together, but their relationship broke down after he turned down a movie role she offered, saying he only acted in “good films.”

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Jinad said she later found out he had blocked her on WhatsApp and Instagram but recently noticed she had been unblocked. She added that while it’s normal to outgrow people, blocking them is unnecessary.

Adedimeji has not yet responded to the allegations.

Source: Punch

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“Acting is a crazy kind of work. It’s a mad person’s work,” she said, noting the unpredictable hours, intense emotional involvement, and mental endurance required in her current profession.

Comparing it to her former career, she said: “I have been an engineer and I have been an actor. No offence to my colleagues in the engineering world, but I dare say that being an actor is much more tasking.”

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She also urged fellow actors to take pride in their craft and not be discouraged by those who underestimate the seriousness of the profession. “Don’t let those people that close by 5 p.m. come and insult us,” she added.

Idemudia’s remarks shine a light on the often-overlooked demands of a career in acting and challenge common perceptions about what constitutes hard work.

Source: The Nation

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