In her article, Ifeoma Udu critiques the tendency to accuse feminists of misandry simply for speaking out against patriarchy. Responding to influencer Maraji’s claim that TikTok feminists are “crazy” and “man-hating,” Udu argues that labeling assertive feminism as hatred of men is a misguided deflection that exposes ignorance, not insight—and ultimately makes the accuser look foolish.

In “Nollywood, and the Missing Art of Sex and Intimacy,” Onaefe and Ifeoma Udu argue that despite Nollywood’s technical and cinematic progress, it still lacks authentic, well-crafted portrayals of sex and intimacy on screen. They call for more mature, nuanced storytelling in this area, imagining the powerful impact of a bold, sensual film led by top Nigerian actresses.

In her review of Netflix Nigeria’s *A Lagos Love Story*, Ifeoma Udu critiques the film’s cringeworthy attempt at romantic storytelling, calling out its poorly executed clichés, like a slow-motion fall scene where the lead stares into a man’s “soul” while he wears dark sunglasses. She laments the film’s lack of authenticity and overreliance on borrowed tropes, urging Nollywood to stay true to its roots instead of mimicking foreign styles without understanding them.

The Nigerian beauty queen snagged the 1st runner-up spot at the global Miss Universe competition held on Sunday the 17th 2024, and fans couldn’t be prouder.
Her journey wasn’t without its fair share of drama, most notably, South Africa’s rep pulling out of the competition last minute, leaving Nigeria and Zimbabwe as the last African countries standing.

A witty and reflective piece exploring the dynamics of fandoms in Nigeria’s entertainment scene. It touches on the disconnect between local celebrities and their fans, while advocating for better fan engagement.

In “The Sex Appeal Olympics: Why Is Every It Girl Put on Trial???”, Ifeoma Udu examines the double standards women face when they embrace their sexuality in the public eye. Inspired by Sydney Sweeney’s viral soap launch, which was marketed in a way that sparked rumors and online frenzy, Udu critiques how female celebrities are both celebrated and punished for their sex appeal. She questions why society constantly puts “It Girls” on trial for expressing confidence or sensuality, while men are rarely held to the same standard.

In “Janet’s Top, J.Lo’s Dress, and Why Nigerian Tech Bros Need a Muse,” Ifeoma Udu playfully argues that iconic moments of female glamour have historically driven major tech innovations. She points out how Janet Jackson’s 2004 Super Bowl incident inspired the creation of YouTube, and Jennifer Lopez’s 2000 Grammys dress led to the launch of Google Images. With tongue in cheek, she urges Nigeria’s fintech-focused tech entrepreneurs to look beyond apps and payments and instead find inspiration in culture, desire, and beauty, suggesting that a little muse-driven imagination might just spark the next big thing.

A playful but thoughtful breakdown of why the hit K-drama Vincenzo deserves a second season. I explore its themes, character arcs, and what makes its chaotic blend of violence, justice, and fashion so irresistible.

An award-winning essay featured in Korea Literature Now, this piece examines the cultural parallels and intersections between Nigeria and Korea. It combines storytelling and analysis to reflect on shared values and the beauty of diversity.