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 this witty and nostalgic review, Ifeoma Udu reflects on how Kpop Demon Hunters revived her Wattpad days. Merging sharp pop culture insights with personal anecdotes, she parallels the film’s dramatic flair with her unfinished fanfiction, validation in its bold storytelling. This piece delves into fandom, fantasy, and the unapologetically “extra” aspects of idol culture, K-drama angst, and Nollywood’s development.

In “Janet’s Top, J.Lo’s Dress, and Why Nigerian Tech Bros Need a Muse Ifeoma Udu humorously highlights how moments of female glamour have fueled tech innovations. She cites Janet Jackson’s Super Bowl incident as catalyst for YouTube and Jennifer Lopez’s Grammys dress as the inspiration behind Google Images. Udu playfully encourages Nigeria’s fintech entrepreneurs to seek inspiration beyond technology, suggesting that tapping into culture, desire, and beauty could ignite the next big innovation.

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.

In “The Sex Appeal Olympics: Why Is Every It Girl Put on Trial???”, Ifeoma Udu explores the double standards women encounter when embracing their sexuality publicly. Drawing inspiration from Sydney Sweeney’s viral soap launch that ignited online buzz, Udu critiques the reactions female celebrities face regarding their sex appeal. She questions why “It Girls” are scrutinized for their confidence and sensuality while men often escape similar judgment.

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.