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Two-time heavyweight champion survives devastating accident on Lagos-Ibadan Expressway that claimed lives of longtime friend Sina Ghami and training team member Anthony Joshua and scene of crash in Nigeria. (AP / Federal Safety Road Corp Nigeria) LAGOS, Nigeria-Dec. 29, 2025   In heartbreaking news that has sent shockwaves through the boxing world and beyond, British-Nigerian heavyweight champion Anthony Joshua survived a catastrophic car crash in Nigeria that tragically claimed the lives of two members of his inner circle, including his lifelong friend and rehabilitation coach, Sina "Evolve" Ghami. The devastating incident occurred Monday morning, December 29, around 11 a.m. local time on the Lagos-Ibadan Expressway near Makun in Ogun State, Nigeria. Joshua, 36, was traveling as a passenger in a Lexus SUV when the vehicle lost control and collided with a stationary truck parked along the roadside. Latif Ayodele (left) and Sina Ghami (right) were close friends and team members of Anthony Joshua The Victims: More Than Just Team Members The two men who lost their lives were far more than professional associates to Joshua—they were family. Sina Ghami served as Joshua's strength and conditioning coach and was a lifelong friend of the champion, playing an integral role in some of boxing's most historic moments. Ghami, co-founder of Evolve Gym in London, had been in Joshua's corner for over a decade, including the legendary 2017 victory over Wladimir Klitschko at Wembley Stadium that defined a generation of heavyweight boxing. The second victim, identified by multiple sources as Kevin Latif Ayodele (also known as "Latz"), was another close personal friend and training partner who helped keep the former two-time world champion in peak physical condition. Nigerian President Bola Ahmed Tinubu identified both men as "close associates" of the fighter and personally reached out to Joshua to offer condolences and prayers for his recovery. What Happened on the Lagos-Ibadan Expressway According to the Federal Road Safety Corps, preliminary investigations suggest the Lexus was traveling at excessive speed when the driver attempted an overtaking maneuver. The vehicle's tire burst, causing the driver to lose control, and the SUV careened into a stationary commercial truck parked by the roadside. Eyewitness Adeniyi Orojo described the harrowing scene to Nigerian newspaper The Punch: "It was a two-vehicle convoy: a Lexus SUV and a Pajero SUV. Joshua was seated behind the driver, with another person beside him." He noted that Joshua's security detail, traveling in the vehicle behind, narrowly avoided the collision. The crash resulted in four occupants in the Lexus. Joshua, seated in the rear of the vehicle, sustained minor injuries but survived. The two passengers: Ghami and Ayodele died at the scene. Joshua was immediately evacuated to a specialized medical facility in Lagos, where doctors confirmed he was in stable condition and did not require emergency intervention. Why Joshua Was in Nigeria Nigeria holds deep personal significance for the British-Nigerian champion. The son of Nigerian parents, Joshua attended boarding school in Ikenne, just 85 kilometers from the crash site at age 11 before returning to Britain at age 12. He had been celebrating in his ancestral homeland following his triumphant sixth-round knockout victory over YouTuber-turned-boxer Jake Paul on December 19 in Miami. The win, broadcast on Netflix, marked Joshua's return to form after a 15-month layoff and positioned him for a potential 2026 super-fight with British rival Tyson Fury. Sina Ghami (left) alongside Anthony Joshua and Jake Paul in the ring following their fight on 19 December The Tragedy Highlights Nigeria's Road Safety Crisis The accident has reignited painful conversations about Nigeria's chronic infrastructure and emergency response challenges—issues that plague not just Nigeria but many African nations. In the comments sections across social media and news platforms, thousands of Nigerians and Africans have expressed grief not just for the loss of life, but for what the tragedy represents: a healthcare and road safety system that too often fails its people. "This is heartbreaking. Our roads are death traps," wrote one commenter on Twitter. "How many more lives before we fix our infrastructure?" "The fact that they died at the scene because medical help couldn't arrive fast enough... this is the Nigeria we live in," another shared. "We deserve better." Nigeria's Federal Road Safety Corps confirmed that speeding and wrongful overtaking remain among the leading causes of fatal crashes on Nigerian highways—a sobering statistic that continues to claim lives across the continent. The Lagos-Ibadan Expressway, one of Nigeria's busiest and most economically vital routes connecting the country's commercial hub to other major cities, has been the site of countless accidents over the years, with critics pointing to poor road maintenance, inadequate lighting, and limited emergency response infrastructure. An Outpouring of Support The boxing community and beyond have rallied around Joshua in the wake of the tragedy. Jake Paul, Joshua's recent opponent in the ring, set aside their competitive rivalry to tweet: "Life is much more important than boxing. I am praying for the lost lives, AJ and anyone impacted by today's unfortunate accident." Joshua's promoter Eddie Hearn called Ghami and Ayodele "close friends and team members" and confirmed he had spoken with the champion to convey his condolences. Sending Up Our Prayers As the investigation into the crash continues, the boxing world and millions across Nigeria and the globe are keeping Anthony Joshua, the families of Sina Ghami and Kevin Latif Ayodele, and everyone affected by this tragedy in their thoughts and prayers. This isn't just a story about a celebrity accident. It's a stark reminder of the fragility of life, the bonds that make us human, and the urgent need for safer roads and better emergency infrastructure across Africa. Rest in peace to Sina "Evolve" Ghami and Kevin Latif Ayodele. Gone too soon, but never forgotten.

From heartwarming theatre to dazzling circus acts, the Tropical Christmas Wonderland offers  Credit: Black Film Wire While most hotels simply decorate for Christmas, Eko Hotels & Suites transforms into an entire wonderland. Running from December 20, 2025 through January 2, 2026, the Tropical Christmas Wonderland; Kingdom of Lights edition has become what one observer aptly called "the African Disneyland," a magical destination where families create memories that last long after the decorations come down. Now in its seventh year, this isn't your typical holiday event. It's a full-scale celebration of African creativity, culture, and Christmas joy, featuring world-class theatre, circus spectacles, comedy nights, magic shows, and festive experiences designed specifically for families seeking something beyond the ordinary. What Makes This Year Special EVENT ITINERARY   At the heart of this year's Wonderland are productions that prove Nigerian theatre can compete on any global stage. Mary: The Musical Theatre  (Dec 21, 23, 30; Jan 1) has already been called "profoundly moving" by critics. The production humanizes the story of Mary, mother of Jesus, through outstanding musical performances and bold creative choices, including two Josephs who externalize Mary's internal struggle between faith and fear. It's a theatrical experience that leaves audiences in tears, not because it preaches, but because it connects. As director Dr. Iyadunni Gbadebo shared: "The birth of Christ has rarely been told in such a relatable, intimate, and compelling manner." Credit: Eko Hotels Prideland: The Return of King Bafa  (Dec 22, 27, 29, 31) continues the epic saga inspired by classic African literature, bringing Broadway-caliber storytelling to Lagos stages. A Full Calendar of Family Joy Credit: Eko Hotels Beyond the headline shows, the Wonderland offers something for every family member: The Dazzling Prideland Circus  (Dec 20, 21, 23, 25, 27, 28, 29, 30, 31; Jan 1) – Spectacular acrobatics and performances that will have children and adults equally mesmerized. The Spellbound Magic Show  (Dec 22, 23, 25, 29, 30, 31; Jan 1) – Wonder and illusion that captures the season's magic. Puppet Show  (Dec 22, 23, 25, 29, 30, 31; Jan 1) – Classic storytelling for younger audiences. A Night of Comedy and Laughs with Larry J  (Dec 25) – Because Christmas deserves laughter. Santa Illie's Grand Makossa Street Carnival Procession  (Dec 24) – An explosion of color, music, and African festive energy. A Movement Beyond Entertainment Credit: Black Film Wire What began in 2019 as an effort to keep hotel occupancy strong during the holidays has evolved into something much more significant. As General Manager Danny Kioupouroglou explained: "Tropical Christmas Wonderland was created to tell Christmas the African way. We usually hear Christmas from the North European or North American perspective. Here, we tell the story with an African touch." That touch includes gourmet African-inspired cuisine, warm Nigerian hospitality, and theatrical performances that blend tradition with cutting-edge artistic vision. The result? An experience that now draws families from across the globe—with tickets selling out rapidly year after year. Dr. Gbadebo describes the Wonderland as "an experience designed to bring pure happiness, unforgettable memories, and meaningful connection at a time when families value togetherness the most." A Place Where Hope Checks In This year, Eko Hotels also demonstrated that the true spirit of Christmas extends beyond entertainment. Through their heartwarming initiative, the hotel gifted two families who had lost everything to fire, including a merchant whose shop burned down and a single mother of three—all-expense-paid staycations valued at ₦6 million each. "This gift means more than a holiday. It is a reminder that we are seen, that our struggles matter, and that joy can still find us," said one recipient, Mr. Adekaz. As Managing Director Ghassan Faddoul stated : "At Eko Hotels and Suites, we believe hospitality goes beyond rooms and experiences. It is about humanity." Why Your Family Should Go Credit: Black Film Wire In a season often dominated by stress, commercialism, and obligation, the Tropical Christmas Wonderland offers something increasingly rare: intentional family time filled with wonder and culture. Whether it's watching your children's faces light up during the circus, being moved to tears by Mary , laughing together at comedy night, or simply strolling through twinkling lights while enjoying world-class cuisine, this is the kind of Christmas experience that reminds us why the season matters. As Lagos Governor Babajide Sanwo-Olu noted during the official light-up ceremony: "The Tropical Christmas season at Eko Hotels and Suites has grown to become an experience that brings families, friends, and communities together." Don't Wait! Tickets Are Selling Out With multiple shows already seeing sold-out dates and the event hosting approximately 10,000 guests across four zones, waiting means risking disappointment. The Eko Hotels Experience Curators are offering tailored itinerary planning and personalized assistance throughout the festive period to help families make the most of their visit. Dr. Gbadebo put it simply: "A visit to Wonderland is the wisest gift you can give yourself and your family this Christmas." Event Details Dates : December 20, 2025 – January 2, 2026  Location : Eko Hotels & Suites, 1415 Adetokunbo Ademola Street, Victoria Island, Lagos  Tickets & Information : Visit   ekohotelstropicalchristmas.ng For the family seeking magic, meaning, and memories, the Kingdom of Lights is waiting.

Top Nigerian film journalists share their favourite 2025 coverage moments, from To Kill A Monkey controversy to indie discoveries and festival highlights. As part of our Christmas Day publications, and in celebration of a wonderful year in Nigerian cinema, we reached out to some of the top voices covering the scene this year to learn about their favourite moments of coverage. Their responses ranged from mainstream favourites to indie gems and forward-thinking festivals. Read on to find out more and consider watching one or two of their recs for your holiday pleasure. Merry Christmas once again! Jeffrey Ini-Abasi,  What Kept Me Up: In terms of the general media response to a film, I’ll say it’s a tie between To Kill A Monkey  (not a film, but I had to include it) and The Herd . The conversations around TKAM, mostly driven by Seyi’s review in Culture Custodian, covered a wide range of the show’s wins and losses, and why I liked it is that many times these conversations are critics and media folks talking to themselves, but this time, the general public participated robustly. It helped prove that the public might not have the fancy words to string together a 1000-word review, but they know what they like and don’t like. I wrote a lot of reviews this year, but I think my review of The Herd  stands out to me because of the political implications. It’s also part of a broader conversation about violence in Nigerian cinema and how it used to be a tool for taking a political stance in films like Saworoide,  but now it just exists for an aesthetic purpose stripped of any political weight in films like Brotherhood. With The Herd , it understands that the violence is built into our systems and determines who has power over whom. Even though the film hesitates to take a real stand, I liked that it decided to take on a story many will run from. Props for that, especially for a first-time director. Praise Vandeh , Nollywire: A film I wrote about and couldn’t stop talking about is Dika Ofoma’s Something Sweet . For WKMUp, I wrote  about how Ogranya could be Nollywood’s latest heartthrob. I like Something Sweet  because it’s a nice romantic comedy and specifically because of Dika and Ogranya. He [Ogranya] is so amazing in it. He has such a heartthrob quality; aside from having such a killer face, his eyes were so amazing. Also, the film was so funny, and he had so much chemistry with Michelle Dede. I watched it a couple of times, kept talking about it, and spoke to Dika about it for 49th Street.  Remi  Akinwande , 49th Street:  Dika Ofoma’s God’s Wife  and Tai Egunjobi's The Fire and the Moth  are two pieces of Nigerian cinema I enjoyed writing about this year. For Dika Ofoma, it's about form and fundamentals executed well. Splinters of Italian neorealism are present in some of his shot choices and compositions. He relies on symbols and the image to depict the tug-of-war between duty, tradition, sin and Eastern Nigerian catholicism. It's very akin to Bresson’s The Diary of a Country Priest  in terms of its depiction of God's silence. There's also a theological similarity to Dreyer's The Passion of Joan of Arc . Bar a few exceptions, there's a case to be made  for Tai Egunjobi's The Fire and the Moth  as what we might dare bestow the genre moniker "naija noir". To paraphrase Bataille, crime is a fact of the human species — Egunjobi does a sterling job in entrenching his philosophy and characters in this quote. I think under the auspices of Culture custodian, Seyi Lasisi's coverage of AFRIFF and a lot of cinema outside the margins of the mainstream ecosystem [was memorable]. The ‘why’ is very perceptible. Film journalism is currently bereft of any discernible merit, but he does his best to write against the grain, despite the civil war on erudition and critical thought. Akoroko Magazine is also doing salient work. Seyi Lasisi,  Culture Custodian:  The first was my  review of Kemi Adetiba’s To Kill A Monkey . It’s such an interesting moment because, from a personal POV, I deal a bit with anxiety, and when the review came out, there was this divisive response, and in my anxiety-ridden mind, I was panicking. At some point, I was even scared to the bar, ‘cause I was worried – “What are people going to say?” It was such an interesting moment because it just goes to show that people are reading my work and having solid conversations about it, which is one of the essentials of journalism, or maybe they didn’t even think about it before, and it was my work that nudged them.  Also, it was interesting from the POV of being a film critic and journalist in that I’d written essays this year where I sort of suggested that we have a nonexistent film culture in this country in terms of things like people vigorously and passionately discussing cinema and people wearing merchandise of their favourite Nollywood characters. But linking it to a film like Omoni Oboli’s Love in Every Word , some of those conversations, as intellectually bereft as they might be, were still interesting to see Nigerians talking about Nigerian films, and suggest the possibility of having a film culture.  When I saw the comments [on TKAM], I knew I couldn’t respond to everybody. So, I put up a tweet/thread, and one of those things I mentioned is that we need to keep having conversations around Nigerian film and series because it is a way in which we build a film culture, interrogate our filmmakers, and hold them accountable for the art they make.  The second would be my coverage of IFA for various interesting reasons. I’ve been a fan of IFA  (Ibadan Indie Film Awards) for the longest [known Chukwu Martins for a while], but I hadn’t been able to attend physically. I was attending physically first as a journalist, second as a cinephile and from an industry POV, as someone who has written about the Nigerian indie film space, watching it outside Lagos. Lagos can be a bubble, but going to Ibadan and seeing students, filmmakers coming together to watch and discuss Nigerian films just shows that, again, the film culture is growing. Although another nuance is whether it’s growing at a larger rate or on a small basis, the point IFA confirmed is that it [film culture] is growing. Another thing that made it an interesting coverage moment was that I attended the S16 Festival the following week, and this sort of motivated one of my favourite essays this year, “ A Capsuled History of Indie Filmmaking in Nigeria and Alternative Screening Spaces .” Vivian Nneka Nwajiaku , Afrocritik: Covering the S16 Film Festival  might be it, because it had an interesting curation, and it was unsurprisingly the most organised Nigerian cinema event I attended this year. As you settle in for the holidays, you should also re-read some of their essays from the year. And if you’d prefer to have that with a side of feel-good holiday movies, we’ve got you. Check out our Christmas viewing listicle here and December listicles here  (Hollywood) and here  (Nollywood).

Here’s a list of movies to watch as part of your Christmas celebrations! Tis the season to be jolly and probably stock up on more than enough bottles of eggnog, wine, and warm milk with some cheer-favoured cookies. Merry Christmas, everyone! We hope you’re having a fantastic time wherever you are in the US this holiday.  To add to your joy, here’s the Black Film Wire’s list of Christmas films to see with friends, families, loved ones, and even exes (if y’all haven’t sought closure). It’s a mix of new and older classics across multiple streaming platforms. Ensure you watch ‘em all or we’ll report you to Santa ahead of next year (just kidding, of course). Jingle Jangle: A Christmas Journey  (2020) (Netflix) 2020 was a tough year for entertainment but it also gave us one of the most inventive Black Christmas movies of all time in Jingle Jangle . It’s the tale of a retired betrayed toymaker whose spark is restored upon the arrival of his granddaughter. Starring legendary actors Forest Whitaker and Phylicia Rashad, alongside stars like Keegan-Michael Key, and newcomers Madalen Mills, Anika Noni Rose, Abraham Popoola, Justin Cornwell, and Miles Barrow, the film shines with much of that Christmas cheer, reminding us that hope is never truly lost, and family will always be our strength.  The Best Man Holiday  (2013) (Prime Video)  The sequel to 199’s The Best Man  is everything you need this Christmas. It’s got fine actors who are basically a who’s who of Hollywood heartthrobs in Taye Diggs, Morris Chestnut, Terrence Howard, and Harold Perrineau, silver screen divas like Nia Long, Regina Hall, and Sanaa Lathan, and a Malcolm D. Lee script that’s sure to have the whole family talking as the credits roll. It’s a simple premise: What happens when college friends reunite after 15 years?. The Best Man Holiday is the film to watch if you’re particularly interested in feeling the Christmas spirit of the early 2010s.  The Muppet Christmas Carol (1992) (Disney+) We’re taking it back to the early ‘90s with this one. This classic Muppets movie adapts Charles Dickens’ A Christmas Carol  into a hilarious yet moving tale about the true meaning of Christmas. It’s got all your favourite muppets too: Gonzo and Rizzo (as narrators), Kermit the Frog, Bunsen Honeydew, Beaker, Statler, Waldorf and Fozzie Bear. It’s a fun watch for the holiday season that’s sure to please the kids.  Tyler Perry’s A Madea Christmas  (2013) (Tubi) Tyler Perry gave us a fun, bodacious Christmas in 2013 with the release of this film, starring himself as the vivacious Madea. And while it’s not the most loved in the Madea film series, it’s one of the most heartwarming. It follows Madea’s trip to the town of Bucktussle, Alabama, for a surprise visit to her great niece’s daughter, Lacey. In typical fashion, the visit turns into a grand event, as we discover that Lacey has secretly gotten married to her boyfriend. The film also stars Tika Sumpter, Kathiy Najimy, Chad Michael Murray, and Alicia Witt.  Bad Santa  (2003) (HBO Max)  Ten years before Madea, the late Bernie Mac and Tony Cox delivered incredible performances in this comedy thriller. Without spoiling too much, think of a shady Santa Claus and an elf who rob department stores, apprehended by the power of the most unlikely friendship. It’s a warm take on the magic of Christmas and finding satisfaction. Also, it’s about why you just shouldn’t mess with the Christmas spirit, not unless you want some red and green striped trouble on your tail. Other actors include Billy Bob Thornton, Brett Kelly, Lauren Graham, and the late John Ritter.  This Christmas  (2007) (Paramount +) Idris Elba, Chris Brown, Regina King, Delroy Lindo, Loretta Devine, Laz Alonso, Columbus Short, and Mekhi Phifer all star in this sentimental picture about the fictional Whitfield family celebrating the holiday season amid the arrival of the eldest son and travelling artist Quentin Jr., who hasn’t been home in 4 years. However, it all gets to a head as secrets emerge, but through forgiveness and reconciliation, the family makes the best of the situation. If you’re looking for an icebreaker for that difficult conversation, this is the film for you.  The Holdovers (2023) (Prime Video) A grieving mother, an oddball teacher, and a cantankerous school boy are all stuck at a New England prep school for the Christmas holidays. Doesn’t sound like the recipe for a lot, right? This Oscar-nominated film touches on the loneliness that can sometimes come with the holidays and how finding safety in others isn’t such a bad idea, after all. It stars Paul Giamatti, Da’Vine Joy Randolph (in a tear-evoking role of a lifetime), Dominic Sessa, Carrie Preston, and Brady Hepner. Make sure to have your eggnog with you for this one.  For more recommendations, you can check our December Hollywood and Nollywood lists, respectively. Merry Christmas, once again!

Though it dropped last December, Jade Osiberu's vibrant holiday romance deserves its flowers in a sea of formulaic festive films. Credit: Black Film Wire As streaming platforms overflow with yet another season of cookie-cutter Christmas movies, where the same Hallmark-lite plot gets retold ten different ways with minor variations, it's worth shining a light on films that bring genuine cultural specificity to the holiday genre. Jade Osiberu’s Christmas in Lagos , which premiered on Amazon Prime Video exactly one year ago, in December 2024, is one such film. While recent releases like Meet Me Next Christmas  (starring Christina Milian and Devale Ellis) and Tyler Perry's Finding Joy  have added Black voices to the 2025 holiday lineup, and other African productions like A Danfo Christmas  and A Naija Christmas  continue building Nollywood's festive catalog, Christmas in Lagos  stands out for its unapologetic celebration of Nigerian culture during "Detty December" —the vibrant, chaotic, joyful period when Lagosians living abroad return home for the holidays. The Film That Almost Got Away Directed and written by Jade Osiberu (credited as Jadesola Osiberu), Christmas in Lagos  represents a significant moment: it's one of Amazon MGM Studios' final Nigerian Originals before the streaming giant's departure from the market, marking the end of an era in its exploration of Nollywood content. Christmas In Lagos Movie on Prime The film weaves together multiple love stories against the backdrop of Lagos' bustling December festivities. Fiyin (Teniola Aladese)  has harbored feelings for her best friend Elo for years, only to be devastated when he returns with a surprise fiancée. Gbemi (Rayxia Ojo)  finds herself torn between her current boyfriend and an old flame. Meanwhile, London-raised Ivie (Shalom C. Obiago)  seeks a wild holiday fling but doesn't count on falling for Ajani (Ladipoe),  a delivery driver by day and guitarist by night. The stellar ensemble also includes Nollywood icons Richard Mofe-Damijo (RMD), Shaffy Bello,  and Waje,  alongside Afrobeats star Ayra Starr making her acting debut. Ayra Star in her acting debut in ‘Christmas In Lagos’ - Image Courtesy of Amazon The Numbers: Mixed Reception, Undeniable Impact Currently sitting at a 4.5/10 on IMDb  (with some individual ratings as low as 3.5), Christmas in Lagos  has polarized audiences and critics alike, with  top ratings from the US, Nigeria and the United Kingdom. Rotten Tomatoes has yet to post an official Tomatometer score, though audience reactions range from "tourism fiction" to "vibrant, heartwarming celebration." Credit- Black Film Wire via IMDb However, the film's cultural impact tells a different story. It was nominated for six Africa Magic Viewers' Choice Awards  and won for Best Costume Design, a well-deserved recognition given Damola Adeyemi's stunning work showcasing vibrant Nigerian aesthetics throughout the 120-minute runtime. Stunning cast and fashion from “Christmas In Lagos” | Image: Marie Claire. Some viewers praised it as "a perfect mix of humor and heartfelt moments, with lovable characters and authentic cultural touches," while others critiqued underdeveloped character arcs and an overreliance on romantic tropes. One Letterboxd reviewer noted it's " the first Nigerian film in like four years to not be a crime thriller " and "easily the best shot one in a while," acknowledging Osiberu's pivot from the gritty Gangs of Lagos  to something softer and more celebratory. What Works: Visual Splendor and Sonic Joy Cinematography That Celebrates Lagos Jonathan Kyriakou's cinematography captures Lagos in all its festive glory: from the Lekki-Ikoyi Link Bridge to Breeze Beach Club, The Civic Towers, and historic churches. Viewers consistently praised the "amazingly colorful and stylish" production design, with Matthew Yusuf and One House Lighting Crew's work creating a visual feast that showcases both contemporary and traditional aspects of the city. The costume design by Damola Adeyemi and art direction by Joy Kadiri enhance every frame, making Christmas in Lagos  one of the most visually sumptuous Nollywood productions in recent memory. “Christmas in Lagos” Movie | Image Courtesy of Amazon The Soundtrack: A Love Letter to Nigerian Music If there's one element that elevates Christmas in Lagos  above criticism, it's the music. Composed and produced by legendary Nigerian producer Cobhams Asuquo, the soundtrack is a vibrant tapestry that blends contemporary Afrobeats with timeless holiday classics. Playlist “Christmas in Lagos” Movie | Image: Black Film Wire Listen to Music Here As one IMDb reviewer noted: "Starting from the first scene the songs playing really elevate the vibe and are perfect complements to the story and make the whole film easy to enjoy. There are also several popular Naija artists that cameo and perform throughout." Standout Tracks Include: "Fall In Love"  by ESUA - The lead single incorporating traditional Nigerian sounds with modern pop "Only In Lagos"  by WurlD and Liya - Capturing the city's unique energy "Holy Night"  by Waje and 121SELAH - A stunning reinterpretation of the Christmas classic "Me Le Se"  by Adekunle Gold "Feeling"  by LADIPOE and buju "Men Of The South"  by Timi Dakolo "Buga (Lo Lo Lo)"  by Kizz Daniel and Tekno The eight-track EP, released by Lakeshore Records on December 20, 2024, combines Afrobeat, soul, and traditional Christmas melodies. From the rhythmic energy of contemporary hits to the soulful nostalgia of Cardinal Rex Jim Lawson's "Love Mu Adure," the music celebrates Nigeria's diverse musical landscape while enhancing key emotional beats. Nigerian artist Ladipo in “Christmas in Lagos” Movie | Image Courtesy of Producers Where It Stumbles The criticism isn't without merit. As one review aptly stated: "For a romantic comedy, the film is light on both comedy and romance. They appear like a mirage in the desert before collapsing back into the status quo." 1. Uneven Narrative and Pacing Many international holiday rom-coms, such as Love Actually  or The Holiday , are praised for their well-structured plots that seamlessly interweave multiple storylines or create engaging romantic arcs. Christmas in Lagos  struggles with this fundamental challenge. Some character arcs feel underdeveloped, and the pacing can be inconsistent, with slower scenes detracting from the overall rhythm of the story. The film's 120-minute runtime occasionally drags, particularly in the middle act where momentum stalls just when emotional stakes should be rising. The transitions between the various love stories lack the smooth cohesion needed to make an ensemble piece work. We jump from one couple to another without always understanding why we should care about their particular romantic dilemmas, which prevents the film from fully capturing the cohesive charm of its international counterparts.This observation, however, is not a standalone critique when compared to other Nollywood films’ pacing. Christmas in Lagos Movie | Image Courtesy of Producers 2. Reliance on Romantic Tropes Without Fresh Execution While romantic comedies often use familiar tropes: the best friend who's secretly in love, the return of an old flame, the unexpected holiday romance, execution matters. Christmas in Lagos  leans heavily on predictable romantic setups without offering much in the way of fresh twists or unique storytelling that could elevate the genre within Nollywood. International rom-coms often reimagine these tropes with depth or subversion, something viewers felt was missing here. The "will-they-won't-they" dynamics resolve in expected ways, and the conflicts feel manufactured rather than organic to the characters' journeys. We've seen these stories before, and the Nigerian setting alone isn't enough to make them feel new. That said, we love the steamy romance and slow burn between Ladipo’s character and the IJGB. 3. Production Value Disparity Although Nollywood has made great strides in production quality, especially in films like Osiberu's own Gangs of Lagos , there's still a noticeable gap in the technical polish of Christmas in Lagos . While the film does an excellent job capturing Lagos' festive atmosphere through Jonathan Kyriakou's cinematography, certain sequences feel overly polished in ways that detract from the raw, heartfelt emotions the story aims to evoke. Elements like editing transitions and some visual effects don't always match the finesse of major international productions backed by larger budgets. A few scenes could have benefited from tighter synchronization between the production sound mixing and on-screen visuals, creating occasional disconnects that pull viewers out of emotional moments. That said, the cinematography is exceptional. To me, easily one of the best-lit films I’ve seen from Nollywood in recent times. Shaffy Bello in “Christmas in Lagos” Movie | Image Courtesy of Producers 4. Cultural Specificity vs. Universal Appeal, and the "Tourism Fiction" Problem One of Christmas in Lagos ' strengths is its unapologetic focus on Nigerian culture and festive traditions. However, this becomes complicated by how the film chooses to represent Lagos and Nigerian life. One particularly pointed critique noted the film felt like " tourism fiction,"  reminiscent of "How Nigerians in the Diaspora write about Nigeria" skits. The focus on wealthy returnees (IJGBs: "I Just Got Back"), conspicuous consumption, and materialism: convertibles with tops down in Lagos traffic, endless parties at exclusive venues, expensive weddings—creates a fantasy version of the city that some found alienating (even though these are really things you DO  see in Lagos, having lived there for five years, myself. International holiday rom-coms often strike a balance between cultural specificity and universal appeal, making them accessible to broader audiences while maintaining authenticity. While Christmas in Lagos  succeeds in authentically portraying a  version of Lagos, it's a very specific, aspirational version that doesn't always resonate with audiences unfamiliar with that particular slice of Nigerian society, or even with Nigerians who don't see their own experiences reflected in the endless luxury on display- and if we’re being candid. Why should it? The film speaks to the specific experience of that class of Lagosians, previously explored in several movies like Bling Lagosian, among others. Yet even skeptical viewers acknowledged moments of genuine authenticity, like the New Year's church service "segregated by class", a detail that felt genuinely Lagos in its uncomfortable honesty. 5. Light on Both Comedy, Heavy on Romance For a film billed as a romantic comedy, Christmas in Lagos  delivers surprisingly few laugh-out-loud moments or swoon-worthy romantic beats. The comedy often feels muted, relying more on situational awkwardness than sharp wit or genuinely funny dialogue. The romance, meanwhile, was cooked in chemistry and development needed to make audiences truly invested in whether these couples end up together. I was very invested! The emotional payoffs between the leads were earned because we spent enough quality time with the single couples to understand what made their connections special. However, on the flip side of that, In trying to tell multiple love stories simultaneously, the film spreads itself too thin, leaving each narrative thread feeling incomplete rather than interwoven. Why It VERY MUCH Matters Despite its few relative flaws, Christmas in Lagos  represents important progress for Nollywood and African holiday cinema more broadly. Here's why it's worth celebrating: Cultural Authenticity : The film unapologetically centers Nigerian traditions, Pidgin English, and the specific phenomenon of Detty December, offering diaspora audiences a chance to see their experiences reflected on screen. “Christmas in Lagos” Movie Premiere | Image Courtesy of Producers Production Values : Filmed entirely on location in Lagos from January to March 2024, the movie showcases what Nollywood can achieve with proper resources and planning. The technical execution: from lighting to sound design sets a new standard that Jade in particular does with all her work, Platform for Nigerian Talent : Beyond established stars, the film provides opportunities for emerging talent and musicians, including Ayra Starr's acting debut and cameos from major Afrobeats artists. Genre Expansion : In an industry dominated by crime thrillers and dramas, Christmas in Lagos  proves there's appetite and market for Nollywood romantic comedies. In Context: The African Christmas Film Landscape Christmas in Lagos  joins a growing catalog of African holiday films that challenge Hollywood's monopoly on Christmas storytelling. From Kunle Afolayan's A Naija Christmas  (Netflix) to A Danfo Christmas  and A Wesley South African Christmas , filmmakers across the continent are claiming their space in the holiday genre. While it may not achieve the finesse of international rom-com classics like Love Actually  or The Holiday , it offers something those films can't: an authentic window into how millions of people actually celebrate Christmas, with all the chaos, joy, family drama, and cultural specificity that entails; and in the Hallmark-esque cookie cutter Holiday film era of same-storied films spewed across Netflix, this film is super refreshing. “A Naija Christmas”  Netflix Original| Image Courtesy of Netflix Final Verdict Christmas in Lagos  is a truly enjoyable film. Its narrative can be uneven, some character arcs feel incomplete, and it occasionally prioritizes aesthetics over emotional depth. But it's a film that wears its heart and its culture proudly on its beautifully costumed sleeve. In a landscape saturated with interchangeable holiday movies where the only variation is whether the career-driven woman who returns to her small town falls for the local baker or the local carpenter, Christmas in Lagos  offers something genuinely different: a celebration of Nigerian identity, a showcase for local talent, and a vibrant portrait of a city at its most festive. As one American viewer beautifully expressed: "Growing up as an African American, I was exposed to the most horrendous and false images of Africa in school and on TV. I am so happy to see a film that showcases successful African business owners, strong families, and the beauty and opulence of the land." That alone makes it worth revisiting and worth recommending to anyone seeking holiday films that expand beyond the usual boundaries. Rating : ★★★☆☆ (3/5) Recommendation : Stream it for the music, the costumes, and the unapologetic celebration of Nigerian culture. Lower your expectations for narrative depth, and you'll find plenty to enjoy. Where to Watch Christmas in Lagos  is currently streaming on Amazon Prime Video globally. Production Credits Director/Writer : Jadesola Osiberu Producer : Eku Edewor, Jade Osiberu Co-Producer : Maryann Eziekwe Cinematography : Jonathan Kyriakou Art Direction : Joy Kadiri Costume Design : Damola Adeyemi Music : Cobhams Asuquo Production Companies : Greoh Studios, Amazon MGM Studios

Submit African Films for Tubi Distribution - via African Pictures International In a December 21 article, Black News UK  reported that African Pictures International (API) and BackHome LLC have issued a new acquisition call on behalf of Cross Market Films, inviting filmmakers to submit their films for global streaming distribution on Tubi.  Here is the full report: African Pictures International (API) and BackHome LLC  have issued a new acquisition call on behalf of Cross Market Films, inviting African filmmakers to submit their films for global streaming distribution on Tubi, the AVOD platform owned by FOX Corporation. The announcement represents a renewed strategic collaboration between API Founder Sahndra Fon Dufe and BackHome LLC Founder Adewole Lipede, whose decade-long creative partnership began during the development of Yefon: The Red Necklace and its accompanying children’s book campaign. Tubi remains one of the world’s largest free-streaming platforms, reporting more than 80 million monthly active users in 2025. As FOX Corporation continues to invest heavily in ad-supported streaming, Tubi has emerged as a powerful destination for international content, particularly films from Africa and the African diaspora. “African filmmakers deserve consistent, structured access to global distribution. Our decade-long relationship with API is rooted in a shared belief that African cinema is ready for broader commercial positioning. Tubi offers that scale. Our goal is to ensure filmmakers not only reach global audiences but also participate meaningfully in revenue opportunities,”  Lipede said. African titles have demonstrated strong performance on the platform. Projects such as Angela White and Chris Attoh’s NINE, alongside several Nigerian and Ghanaian features, have shown remarkable viewer retention among U.S. audiences and the global African diaspora. API and BackHome LLC aim to leverage this momentum by creating a structured, transparent pathway for African filmmakers seeking placement. API is a U.S.-based film and creative sector communications company dedicated to advancing African film content, festival strategy, and international entertainment partnerships. Its collaborator on this acquisition call, BackHome LLC, is a distribution and development company focused on creating global pathways for African and diasporan filmmakers through strategic partnerships and platform relationships. Dufe added, “The African film market has evolved, and international demand has never been higher. We have seen diaspora-driven content, including films like NINE, perform exceptionally well on Tubi. This call is part of our long-term commitment to bridging African creators with platforms that value their work. Quality storytelling, strong production values, and global accessibility remain our core priorities.” African filmmakers are invited to submit films in the following categories: Christmas and holiday films Nollywood and African feature films (English or French) Drama, comedy, romance, inspirational, family films, and thrillers Non-English films must include SRT subtitle files. Submitted films should meet the following standards: Minimum 1080p resolution Clean, professional audio SRT subtitles for all non-English dialogue Clear documentation of global distribution rights Submissions should be emailed to info@africanpicturesinternational.com with the subject line: TUBI Placement – Film Submission This follows Black Film Wire’s coverage of the subject seen here . All of these point to the unique nature of the partnership, encouraging African filmmakers to seize this opportunity.  Visit https://tubitv.com/

Submit African Films for Tubi Distribution - via African Pictures International In a December 21 article, the British Blacklist UK  reported that African Pictures International (API) and BackHome LLC have issued a new acquisition call on behalf of Cross Market Films, inviting filmmakers to submit their films for global streaming distribution on Tubi.  Here is the full report: African Pictures International (API) and BackHome LLC  have issued a new acquisition call on behalf of Cross Market Films, inviting African filmmakers to submit their films for global streaming distribution on Tubi, the AVOD platform owned by FOX Corporation. The announcement represents a renewed strategic collaboration between API Founder Sahndra Fon Dufe and BackHome LLC Founder Adewole Lipede, whose decade-long creative partnership began during the development of Yefon: The Red Necklace and its accompanying children’s book campaign. Tubi remains one of the world’s largest free-streaming platforms, reporting more than 80 million monthly active users in 2025. As FOX Corporation continues to invest heavily in ad-supported streaming, Tubi has emerged as a powerful destination for international content, particularly films from Africa and the African diaspora. “African filmmakers deserve consistent, structured access to global distribution. Our decade-long relationship with API is rooted in a shared belief that African cinema is ready for broader commercial positioning. Tubi offers that scale. Our goal is to ensure filmmakers not only reach global audiences but also participate meaningfully in revenue opportunities,”  Lipede said. African titles have demonstrated strong performance on the platform. Projects such as Angela White and Chris Attoh’s NINE, alongside several Nigerian and Ghanaian features, have shown remarkable viewer retention among U.S. audiences and the global African diaspora. API and BackHome LLC aim to leverage this momentum by creating a structured, transparent pathway for African filmmakers seeking placement. API is a U.S.-based film and creative sector communications company dedicated to advancing African film content, festival strategy, and international entertainment partnerships. Its collaborator on this acquisition call, BackHome LLC, is a distribution and development company focused on creating global pathways for African and diasporan filmmakers through strategic partnerships and platform relationships. Dufe added, “The African film market has evolved, and international demand has never been higher. We have seen diaspora-driven content, including films like NINE, perform exceptionally well on Tubi. This call is part of our long-term commitment to bridging African creators with platforms that value their work. Quality storytelling, strong production values, and global accessibility remain our core priorities.” African filmmakers are invited to submit films in the following categories: Christmas and holiday films Nollywood and African feature films (English or French) Drama, comedy, romance, inspirational, family films, and thrillers Non-English films must include SRT subtitle files. Submitted films should meet the following standards: Minimum 1080p resolution Clean, professional audio SRT subtitles for all non-English dialogue Clear documentation of global distribution rights Submissions should be emailed to info@africanpicturesinternational.com with the subject line: TUBI Placement – Film Submission This follows Black Film Wire’s coverage of the subject seen here . All of these point to the unique nature of the partnership, encouraging African filmmakers to seize this opportunity.  Visit https://tubitv.com/

Venus Williams married Andrea Preti in an intimate five-day Palm Beach celebration, with sister Serena gifting the couple a yacht and showcasing the unbreakable bond between tennis's legendary sisters. THE ACADEMY PARTNERS WITH YOUTUBE FOR EXCLUSIVE GLOBAL RIGHTS TO THE OSCARS® AND OTHER ACADEMY CONTENT STARTING IN 2029  - Image: The Academy Tennis icon Venus Williams has entered a new chapter, marrying Italian actor and model Andrea Preti in an intimate five-day celebration in Palm Beach, Florida, following an earlier ceremony in Italy in September. The 45-year-old tennis legend called the weekend "the happiest, most beautiful, sweetest day," surrounded by family and close friends who witnessed the union of two people whose love story began at Milan Fashion Week in 2024. Venus Williams and husband Andrea Preti | Photo: David Bastianoni The couple's journey to the altar took an unexpected turn. After tying the knot in Ischia, Italy on September 18, Venus and Andrea decided to host a second wedding in Florida because completing the foreign marriage paperwork would take up to eight months. Rather than wait for bureaucracy, they brought the celebration home, quite literally welcoming Andrea's Italian family to the United States just before Christmas. But it was Serena Williams  who set the tone for the week-long festivities with an extraordinary gesture that captured the depth of their sisterhood. The younger Williams sister gifted the couple a yacht, not just any yacht, but what Venus described as "a beautiful yacht" where Serena "arranged all the food, everything." The yacht hosted 10 to 12 of the couple's closest family and friends for a day of singing, dancing, gossiping, and celebration that kicked off six days of pre-wedding events. The festivities included an Italian dinner at Miami's Sopra members' club, an athletic day filled with tennis, volleyball, dodgeball, and pickleball, and a bridal shower. On Friday morning, December 19, Venus and Andrea arrived at 6:45 a.m. for an intimate courthouse ceremony before their larger celebration that weekend. Andrea called the courthouse ceremony "unique, emotional, and deep," adding it was "the second-best day of my life,"  after the weekend wedding.   Venus Williams wedding Throughout the wedding planning process, Serena was intimately involved. In interviews before the wedding, Serena revealed she and Venus talked "every day" about the planning, helping with everything from styling to hairstyles. "I'm the person that gets things done," she noted, recalling how Venus asked for help with "14 hairstyles" and Serena delivered options "not only done, but in a PDF file" within 30 minutes. Serena also shared marriage advice for her sister, telling the Today Show: " My advice is to always have fun, to always go on dates, to take a moment and just, like, dance. Let your guard down and just let you feel vulnerable." For the Black Film Wire audience, this moment resonates beyond celebrity news. The Williams sisters have long represented excellence, resilience, and Black womanhood at the highest level of global visibility. Their bond forged on the backyard courts of Compton and tested on the world's biggest stages, has always been central to their story. "There is no Venus without Serena and Serena without Venus," Venus has said, and this wedding week proved that truth again. Venus and Serena Williams lost to Lucie Hradecka and Linda Noskova in the first round of the women's doubles at the U.S. Open in New York on Thursday.Corey Sipkin / AFP - Getty Images Serena once confessed to being "still codependent" with Venus, adding: "I don't even want to not be codependent with her. I love her. I don't want our lives to ever be separate." That devotion showed in every detail of the celebration, from the yacht gift to Serena's presence singing with a backing band during the reception. As Venus steps into marriage, the celebration serves as a reminder that behind every iconic public figure is a private story, one shaped by community, shared sacrifice, and enduring sisterhood. The Williams legacy has always been built on family, purpose, and love. This wedding week, orchestrated with the same championship mentality that made them legends on the tennis court, was simply the latest chapter in that story. Andrea Preti, born in Denmark to Italian parents, is an actor and model according to IMDB. The couple was first publicly linked in July 2024 when they were spotted vacationing together in Nerano, Italy, along the Amalfi Coast. They got engaged on January 31, 2025, during an intimate moment in Tuscany. The wedding caps a remarkable year for Venus, who returned to competitive tennis in July after a 16-month absence, becoming the second-oldest woman to win a tour-level singles match. Andrea was there in the stands supporting her comeback, just as he'll be there for this next chapter of their lives together. Congratulations to the Williams family on this beautiful new chapter.

Davido and French Montana headlined AFCON 2025's opening ceremony in Morocco, showcasing how African music, sports, and global culture converge on the world stage. Davido and Montana- AFCON 2026 The 2025 Africa Cup of Nations opened with more than football—it opened with a cultural statement. Nigerian global superstar Davido and Moroccan-American rapper French Montana headlined the opening ceremony at Prince Moulay Abdellah Stadium in Rabat, alongside producer RedOne, underscoring AFCON's evolution into a pan-African cultural showcase that extends far beyond the pitch. AFCON 2026 The performance, titled "Le Show,"  unfolded as one of the most visually striking opening moments in AFCON history, combining music, light, movement, and symbolism in a carefully choreographed display aimed at a global television audience. Even steady rainfall couldn't dampen the spectacle as Davido serenaded the crowd moments before Morocco's tournament opener against Comoros. French Montana, born in Morocco and raised in the United States, brought global hip hop influence and diaspora identity to the opening night, highlighting how African identity now moves fluidly across continents, genres, and audiences. As reported by TVC For the film and entertainment industry, moments like this matter. AFCON's opening ceremony functions as a live, global broadcast platform watched by millions across television and streaming, one where music, fashion, storytelling, and national identity intersect at scale. It's the same ecosystem Black Film Wire tracks closely: where African-led narratives are no longer niche, but central to how the continent presents itself to the world. Davido and Montana- AFCON 2026 The tradition of music at AFCON dates back decades, evolving from intimate local performances to global spectacles. Earlier ceremonies featured acts like Kojo Antwi and Samini in 2008, while the 2010 Angola edition brought Akon and Wyclef Jean. By 2022's Cameroon tournament, the lineup was deliberately pan-African with Youssou N'Dour, Fally Ipupa, and Diamond Platnumz. AFCON 2025 runs until January 18, featuring 24 national teams competing across six host cities: Rabat, Casablanca, Tangier, Marrakech, Fez, and Agadir. This marks Morocco's first time hosting the finals since 1988. As AFCON continues, the message is clear: Africa's biggest moments, whether in sports, music, or film, are increasingly interconnected, co-produced, and globally staged. And the opening night, led by Davido and French Montana, set that tone unmistakably.

As Hollywood reckons with shifting economics and incentives, major production hubs (especially Atlanta) face uncertainty - but also opportunity. Caleb McLaughlin and Sadie Sink in ‘Stranger Things Season 5’ Filmed in Georgia - Image: Netflix Marvel's Departure: The End of an Era For much of the 2010s and early 2020s, Georgia, particularly the greater Atlanta region, stood as one of the most consequential production hubs in the United States. Marvel Studios' association with the state began with Ant-Man in 2015, shot at what was then Pinewood Atlanta Studios, now Trilith Studios. Over nearly a decade, the company filmed major blockbusters there, including Captain America: Civil War and Black Panther. The Falcon and the Winter Soldier filmed heavily in Metro, filmed in Georgia (in 2021) - Image: Marvel That era has shifted dramatically. In 2025, Marvel began relocating its major superhero productions including future Avengers and Spider-Man films, to the United Kingdom, citing lower labor costs and production economics that make overseas shoots more cost-effective, even when compared with generous U.S. incentives. The impact on Georgia's film ecosystem has been stark. Productions shot in the state have declined significantly since 2022, mirroring broader national trends of studios tightening budgets and pursuing cost efficiencies wherever they can find them. Recent Legislative Changes House Bill 475, signed into law by Governor Brian Kemp in May 2025, represents a modernization rather than an expansion of the program. The bill updates the production tax credit system to explicitly recognize streaming platforms and FAST (Free Ad-Supported TV) channels, provisions that didn't exist in the original framework but doesn't fundamentally change the base economics that continue to favor large-budget productions. Meanwhile, fan-favorite series like Stranger Things,  (created by twin brothers Matt and Ross Duffer), wrapped its final season after filming in Georgia since 2016. The Netflix juggernaut generated an estimated USD $800 million in economic impact over the course of its run in the state The cast of  ‘Stranger Things Season 5’ Filmed in Georgia  However, recent legislative updates are shifting the calculus: Post-Production Incentives Return Modernization, not expansion: Georgia reinstated a standalone post-production tax credit starting in 2026, offering a 20% credit on at least $500,000 in post-production expenditures. The credit includes bonuses for content also shot in Georgia or completed in rural counties, but the minimum spending thresholds remain significant barriers for many creators. House Bill 475, passed on May 12, 2025 and effective January 1, 2026, updated Georgia’s production tax credit system to recognize streaming platforms and clarify administrative rules, but it didn’t fundamentally change the base economics that favor large productions. Credit Caps: Some bills extend sunset dates and cap annual post-production credits (at $10 million total), meaning established players can still benefit substantially. However, smaller independent films frequently fall below threshold levels unless they combine qualified spend across multiple projects. The Reality on the Ground According to conversations with Georgia legislators, some studios are being repurposed, converted from production facilities into data centers, reflecting broader shifts in how the state's infrastructure is being utilized in a changing entertainment landscape. Athena Studios Filmed in Georgia, USA | The entrance sign at Athena Studios in Athens-Clarke County is shown on Tuesday, Dec. 9, 2025. As film production slows down in the state, the landlords have proposed plans to convert the Athena campus into a data center. (Miguel Martinez/AJC) Athena Studios in Athens, Georgia , operational since 2021 , reflects the volatility of Georgia’s once-booming production economy. The facility hosted The Woman in the Yard  (2024) , starring Danielle Deadwyler  and Russell Hornsby , and later the independent feature American Deadbolt  (2025) , demonstrating its capacity to support both studio and indie productions. But as major players like Marvel Studios  began shifting high-budget productions out of Georgia in favor of cheaper overseas markets, including the U.K., underutilized soundstages became increasingly common. By late 2025 , Athena’s owners proposed repurposing much of the studio into a data center , underscoring how rapidly Georgia’s film infrastructure is being reimagined amid shrinking production slates and rising competition from global incentives. Who Benefits? And Who Gets Left Behind? The modernized tax credit structure rewards budget-heavy films and series, but minimum spend requirements and competitive landscapes mean independent productions without deep pockets may struggle to qualify for meaningful credits. A critical question emerges: What percentage of major productions filming in Georgia actually employed local actors? While Georgia has built robust infrastructure and crew bases, most principal cast members still come from Los Angeles and New York; a reality that reflects the industry's entrenched power centers. For younger Georgian filmmakers, particularly those under 40 who are increasingly working in digital content creation rather than traditional film: the current incentive structure presents challenges. The majority of content creators nationwide fall between ages 24 and 35, representing up to 40% of the total creator population, yet few have access to the $500,000 minimum budgets required to qualify for Georgia's tax credits. The result? Producers of budget-heavy films and series are still rewarded, but the minimum spend requirements and competitive landscape mean independent productions without deep pockets may struggle to qualify for meaningful credit  unless they package multiple eligible projects or seek private equity and co-production deals. These young Black influencers eat, sleep and shoot videos at a mansion near Atlanta. Together they have 30 million followers | Theodore Wisseh plays with Redtro, the Collab Crib's dog. Lynsey Weatherspoon/Redux for CNN Industry leaders are recognizing this shift, with some noting that "the next wave of tax incentives and tax laws will have to be geared towards creators and towards YouTube" to capture where younger filmmakers are actually spending their time and building audiences. How Indie and Mid-Size Producers Can Navigate 2026 Despite the challenges, strategic approaches exist for filmmakers working at different budget levels: Aggregate projects for credits : Smaller films by the same production entity can pool their spend to reach Georgia's minimum thresholds, unlocking the base 20% tax credit. Leverage post-production incentives : With the reactivated post-production credit effective in 2026, films finished in Georgia, even if shot elsewhere can capture a portion of available incentives. Play the bonuses : Shooting part of principal photography in Georgia or completing post-production in rural counties provides additional uplift that can make the difference for indie projects. Explore co-productions and partnerships : Aligning with certified Georgia companies or partnering with in-state studios can make financing more accessible and streamline the credit application process. Atlanta | Courtesy of FX What to Watch in 2026 Several trends will shape the landscape: Global production migration : Marvel's move to the U.K. could accelerate cost-sensitive shoots relocating to Canada, Europe, or Eastern Europe, pressuring U.S. hubs to remain competitive. Incentive evolution : More states are likely to reassess tax credit caps and eligibility requirements to protect revenue while still attracting jobs and investment. Talent and crew mobility : The industry continues balancing deep local expertise in established hubs like Atlanta against the appeal of lower overseas labor costs. The creator economy : Georgia is seeing "a bit of an indie renaissance" with independent filmmakers and online content creators finding new ways to leverage the state's infrastructure, even as major studio productions decline. The Path Forward Atlanta remains a major component of the U.S. production landscape, but the playing field is undeniably shifting. Filmmakers must think creatively about structuring spend, leveraging incentives, and diversifying where work gets done in 2026. For legislators, the challenge is clear: Find new ways to engage the younger population of creators who are building careers in digital content, YouTube, TikTok, and emerging platforms. The state that can bridge traditional film incentives with support for next-generation storytellers will be best positioned for long-term success. The question isn't whether Georgia can maintain its position—it's whether the state can evolve its support systems to serve both the blockbusters and the bootstrapped creators shaping the future of entertainment.

In a seismic shift for entertainment's most prestigious night, the Academy Awards will abandon traditional broadcast television for streaming, a move that signals a new era for live cultural events starting 2029. THE ACADEMY PARTNERS WITH YOUTUBE FOR EXCLUSIVE GLOBAL RIGHTS TO THE OSCARS® AND OTHER ACADEMY CONTENT STARTING IN 2029  - Image: The Academy The End of an Era For more than half a century, the Oscars were synonymous with broadcast television in the United States. Beginning with the Academy's 101st ceremony in 2029, that relationship will come to an end. The show will livestream globally and exclusively on YouTube under a multi-year deal running through 2033, with YouTube outbidding other contenders, including ABC, the Oscars' longtime home since 1961 (except for a brief period in the early 1970s). Halle Berry  and Jennifer Hudson  made Oscar history when Berry became the first Black woman to win Best Actress  in 2002  ( Monster’s Ball ), and Hudson won Best Supporting Actress  in 2007  ( Dreamgirls ), marking two of the most defining moments for Black women at the Academy Awards. The upcoming 100th ceremony in 2028 will mark ABC's final broadcast of the awards, closing the curtain on Disney's decades-long stewardship of Hollywood's biggest night. The financial terms of the deal were not disclosed, but industry insiders suggest that the amount YouTube was willing to pay didn't make sense for Disney, which has faced persistent challenges with the types of films that typically win Oscars and the show's declining viewership numbers. Why This Shift Matters This isn't simply a platform change. It represents a fundamental reimagining of how the world's most prestigious film awards reach audiences. Global Reach at Unprecedented Scale : YouTube boasts more than 2 billion users worldwide, and streaming the ceremony free globally could open access far beyond traditional TV audiences. The platform will offer features such as closed captioning and audio tracks in multiple languages, making the Oscars more accessible to international viewers than ever before. Changing Viewership Habits : Even the infamous incident of Will Smith slapping Chris Rock in 2022 only boosted the show to an average 16.6 million viewers: the second-lowest yearly tally ever after the COVID-impacted 2021 Oscars. Traditional TV ratings for awards shows have declined precipitously over the past two decades, as audiences increasingly expect events to be accessible online and on mobile devices. Will Smith, right, hits presenter Chris Rock on stage while presenting the award for best documentary feature at the Oscars on Sunday, March 27, 2022, at the Dolby Theatre in Los Angeles. (AP Photo/Chris Pizzello) Chris Pizzello/Invision/AP Creative Freedom : Perhaps most significantly, the move to YouTube gives the Academy unprecedented control over the ceremony's production. It's not a secret that the Academy and Disney/ABC would occasionally have disagreements over the best path for the Oscars, including the show's length, which awards to present, and who should host. Now, without network time constraints, the Oscars can run as long as the Academy deems appropriate. Year-Round Content Ecosystem : Beyond the main event, YouTube will host red carpet coverage, behind-the-scenes features, nomination announcements, the Governors Awards, the Scientific and Technical Awards, and other Academy programming, effectively transforming the Oscars from a single-night event into a year-round digital platform Lupita Nyong’o made history in 2014 as the first Kenyan actress to win an Oscar, earning Best Supporting Actress for  12 Years a Slave.| (Image courtesy of: Wally Skalij / Los Angeles Times) The Host Question The 2029 ceremony's host has not yet been announced, but the position remains one of entertainment's most prestigious and challenging assignments. Whoopi Goldberg hosts the Oscars (four times) | images courtesy of Everett Collection / AP The role has been filled by legendary performers ranging from Bob Hope, who hosted or co-hosted the ceremony a remarkable 19 times between 1940 and 1978, to Billy Crystal (nine times), Johnny Carson (five times), and Whoopi Goldberg (four times). Conan O'Brien hosted the 97th Oscars in March 2025 and has already been confirmed to return for the 2026 ceremony, positioning him as one of the show's contemporary masters of ceremonies alongside Jimmy Kimmel, who has hosted four times and expertly navigated the infamous Best Picture envelope fiasco in 2017. Where Else Have We Seen This Type of Unprecedented Shift? The Oscars' move to YouTube isn't happening in a vacuum; it's part of a broader transformation in how marquee live events reach audiences: Netflix/SAG The SAG Awards Lead the Way : Netflix secured rights to the SAG Awards (now rebranded as "The Actor Awards presented by SAG-AFTRA"),  which has streamed on the platform since 2024 as part of a multi-year exclusive partnership running through 2026 and beyond. This marks the first time one of the big four awards shows (Emmys, Grammys, Oscars, and Tonys) left broadcast TV entirely in favor of streaming. NFL Christmas Games Go Streaming : Netflix streamed its first-ever NFL Christmas Gameday in 2024, with games averaging more than 26.5 million viewers in the U.S. and over 30 million globally; positioning them as the two most-streamed NFL games in U.S. history. The 2025 Christmas Day games continue on Netflix, with a third game airing on Amazon Prime Video. NFL Christmas Gameday streams on Netflix The Grammys' Musical Chairs : Disney recently acquired the rights to the Grammy Awards from CBS, underscoring the value traditional broadcasters still place on live events even as they lose other tentpole properties. What This Means for the Industry The implications of the Oscars' shift extend far beyond one awards ceremony: For Traditional Broadcasters : The loss represents more than a ratings blow, it's a symbolic defeat. For Disney/ABC executives, losing the Oscars to YouTube doesn't sting as hard as it would have had it wound up on a direct competitor like NBCUniversal, but it still marks a retreat from live cultural programming that once defined network television's primacy. ABC took solace in noting that 2027 will still see them broadcast the Super Bowl, the Oscars, and the Grammys all in one year: a trifecta of premium live content. But the future beyond 2028 looks decidedly less certain. For YouTube and Streaming Platforms : Landing the world's highest-profile and most-watched awards show is a big feather in the cap of deep-pocketed YouTube, which is intent on becoming "the most powerful platform on earth". The platform has been aggressively pursuing premium live content, including exclusive NFL games and major boxing events. THE ACADEMY PARTNERS WITH YOUTUBE FOR EXCLUSIVE GLOBAL RIGHTS TO THE OSCARS® AND OTHER ACADEMY CONTENT STARTING IN 2029  - Image: The Academy YouTube CEO Neal Mohan told The Hollywood Reporter:  "YouTube is the epicenter of culture. And what I mean by that is it is where culture is set, it creates these moments. But the amazing thing about that culture setting is that it's participatory, it's like a fandom." For Creators and Traditional Hollywood : The tension between YouTube's creator economy and traditional Hollywood will come to a head with this partnership. YouTube will have to figure out how its creator community fits into its Oscars broadcast. If YouTube beats the creator drum too fiercely, it risks alienating the traditionalists who don't know MrBeast from Adam (and prefer to keep it that way). But there's also opportunity: YouTube should be proud of its contributions to cinema, especially as creators like RackaRacka and Chris Stuckmann become in-demand Hollywood filmmakers. Production Control and Innovation : YouTube doesn't have a production infrastructure like the ones that even streamers like Netflix and Amazon have built to produce live events, meaning the Academy will likely take over full production of the show, giving them creative carte blanche in ways they never had under ABC's oversight. The Concerns and Questions Not everyone is celebrating the move. Screenwriter Daniel Kunka remarked on X: "YouTube broadcasting the Oscars is like shaking hands with the guy who's trying to kill you" —a sentiment that captures the industry's ambivalence about partnering with a platform that has fundamentally disrupted traditional distribution models. Twitter @danielkunka Several questions remain unanswered, including what happens to the Academy's international distribution deals for the Oscars, which represent additional license fee revenue. It's also unclear how viewership will be measured. YouTube won't provide the same Nielsen report card that linear television offers, making year-over-year comparisons difficult. There's also the question of YouTube viewers' attention spans, although videos have grown in length on the service over the years, the specter of audience members losing attention and going elsewhere on the site looms large. The Bottom Line The Oscars on YouTube aren't just a broadcast shift-they're part of a broader evolution in entertainment distribution and audience connection. For filmmakers and fans, the move signals the Academy's intention to modernize and expand engagement, meeting audiences where they are while acknowledging that broadcast TV no longer holds a monopoly on live cultural moments. Academy CEO Bill Kramer and Academy President Lynette Howell Taylor stated: "This partnership will allow us to expand access to the work of the Academy to the largest worldwide audience possible which will be beneficial for our Academy members and the film community. This collaboration will leverage YouTube's vast reach and infuse the Oscars and other Academy programming with innovative opportunities for engagement while honoring our legacy." See Oscars Press Release for more The question isn't whether the Oscars will survive this transition. The Academy Awards have endured for nearly a century through countless industry upheavals. The real question is how the marriage between Hollywood's most elite institution and the internet's most democratic platform will reshape what it means to celebrate cinema in the 21st century. As traditional gatekeepers give way to algorithmic recommendations and broadcast schedules yield to on-demand viewing, the Oscars' move to YouTube represents both an ending and a beginning, the closing of television's golden age and the opening of something entirely new.

NUMBER 1 ON NETFLIX IN THE US TODAY ⚠️ SPOILER ALERT:  This review discusses major segments, punchlines, historical references, and the special's closing "code word" moment. Credit: Black Film Wire There are comedy specials you watch, and then there are the ones that demand you pay attention. Dave Chappelle's latest Netflix offering, The Unstoppable ... , released December 19, 2025, falls firmly in the latter category. Filmed in Washington, D.C., and directed by Rikki Hughes , this isn't just stand-up, it's cultural archaeology performed live, where every joke connects to a deeper thread of American history, power, and paranoia. Unstoppable by Dave Chappelle. Courtesy of Netflix The Numbers: An Event, Not Just a Special Within its first week, The Unstoppable...  debuted at No. 9 on Netflix's English TV chart with 3.3 million views. As of December 23, 2025, it's sitting above Emily in Paris  Season 5 on the U.S. Netflix chart, alongside other high-traffic titles like Sean Combs: The Reckoning  and the Jake Paul/Anthony Joshua boxing event. Dave Chappelle’s Unstoppable is Number 1 on Netflix today December 23 2025 The early ratings tell a familiar story: IMDb shows 6.7/10, while Rotten Tomatoes hasn't posted a critic score yet, which tracks with how Chappelle's work lands now. His specials don't arrive as "comedy content." They arrive as referendums, and audiences split into camps immediately. The Chappelle-Netflix Saga: A Complicated Marriage Remember when we thought Chappelle was done with Netflix? So did many of us. But here we are again, and the relationship between the comedian and the streaming giant remains one of entertainment's most fascinating dynamics. Chapelle’s complicated relationship with Netflix, as symbolized by severe backlash after some of his Netflix specials including Closer. Netflix's partnership with Chappelle reportedly started with a deal worth up to $60 million for multiple specials. But the road hasn't been smooth. His 2021 special The Closer  triggered massive backlash and even led to a Netflix employee walkout over his comments about the transgender community. Many assumed that would be the end. Screenshot from the Conversation Website | Excerpt Yet Netflix has continued treating him as a cornerstone of its comedy brand and Chappelle has continued testing exactly how far that relationship can bend. The Unstoppable...  feels like another chapter in that ongoing negotiation: a special that dares both the platform and the audience to decide what they're willing to tolerate in exchange for brilliance. The Structure: Two Acts, Two Chapelles Dave Chapelle, on stage for Netflix special - 2025 The special operates in distinct movements. The first half is classic hangout Chappelle: conversational cadence, crowd love, fans shouting " I love you"  and Dave responding " love you too, homie."  It's the warm, familiar exchange that made him a legend. Then he asks the audience to bear with him for what he describes as "two closers," and everything shifts. The second act becomes a tightly staged monologue, lights focused, delivery sharp, tone darker. It's still funny, but the comedy now functions as a delivery system for something else: a warning, a history lesson, or a map of power dynamics, depending on how you read it. This "lights-on-me" delivery style has become Chappelle's signature in recent specials, transforming stand-up into something closer to political theater. The Storytelling: Chain-Link Connections What makes Chappelle's work so compelling, even to those who disagree with him is his ability to connect disparate ideas across time like a documentarian. In The Unstoppable... , this is the main craft on display. He builds chain-links: a story leads to a name, a name leads to a law, a law leads to a modern headline, a modern headline swings back into celebrity anecdote, and that anecdote loops back to history. Watching him work is like watching someone assemble a puzzle you didn't know existed until it's complete. Jack Johnson  became the first African American heavyweight boxing champion in 1908 , redefining the sport—and American racial history—inside and outside the ring. Jack Johnson and the Mann Act: History as Weapon One of the special's most intellectually grounded segments centers on the Mann Act, passed in June 1910, originally aimed at prohibiting the transportation of women across state lines for "immoral purposes."  Chappelle uses this law as a hinge to discuss how morality legislation becomes an enforcement tool against those who threaten the status quo. In 1913, Jack Johnson was accused of breaking the Mann Act in response to his relationship with Lucille Cameron, who was alleged to be a white prostitute. He was the first person to be persecuted under the act. He connects it to Jack Johnson, the first Black heavyweight boxing champion, who was convicted under the Mann Act in 1913, a case widely recognized as racially motivated retaliation for a Black man's public dominance and interracial relationships. Johnson famously said before his conviction:  “I risked Everything, for my pleasure”   Jack Johnson Yet nothing couldn't save him from a system determined to stop him. Chappelle then flips the narrative into a reverse scenario: imagine a Black man owning an entire town and asking a white person, "Do you have permission to be here?"  It's the unsavory "BBQ Becky" theory inverted; a mirror of the everyday dynamics that have produced countless viral incidents of Black people being policed in public spaces. The audience knows exactly what he means, and the laughter is uncomfortable because the truth is sharp. The Diddy Story: Bias, Acknowledged and Weaponized One of the most-discussed segments involves Sean "Diddy" Combs, specifically, Chappelle's claim that Diddy saved his life during the May 3, 2022 attack at the Hollywood Bowl, when a 23-year-old man rushed the stage with a replica gun and knife blade at the “ Netflix Is a Joke “ festival. Dave Chappelle and Puff Daddy (Sean Combs) Image Courtesy of Chris Marion/ NBAE via Getty Images What makes this story land differently is that Chappelle flags his own bias upfront, explaining: "It's not that I think Puff is innocent… but when I got attacked… Puff was the guy that tackled my attacker. He saved my life. That's a hard dude to be mad at after that." Unstoppable Documentary- Diddy, Chris Rock and Marlon Wayans (with a shady expression)  In his 2023 special The Dreamer , Chappelle recounted the moment: "Just before he got to the door, motherf*cking Puff Daddy from Bad Boy Records jumped in front of the door. That n**** was like, 'Eh-eh, eh-eh.' Boy… Puffy got that motherf*cker." Chappelle also thanked Jamie Foxx and Busta Rhymes, who helped subdue the attacker. In The Unstoppable... , Chappelle adds layers of darkly comic commentary. His joke infers that his own security "most likely slipped on baby oil," a reference to items found during federal raids connected to Diddy's current legal troubles. He then recalls a moment that, in retrospect, seems odd: Diddy once asked him, " So, Dave, what are you into?" Chappelle responded with innocent answers: video games and all sorts of trivial stuff," not realizing it could have been an invitation to something far more salacious involving Cassie Ventura. Chappelle quickly pivots away from the implication before landing on another uncomfortable joke: Cassie having to answer the hardest question of all-being asked publicly about her sex life by a judge in court. It's a moment that becomes both hilarious and deeply unsettling, especially given the cultural atmosphere around Diddy in late 2025 and the renewed conversation about the Mann Act in connection to his legal case. Whether viewers find the story brilliant or problematic depends on the viewer, but it undeniably functions as a bridge between celebrity mythology and institutional power, which is one of Chappelle's main fixations throughout the special. Saudi Arabia and the "Canceled" Paradox Chappelle addresses the controversy around his appearance at Saudi Arabia's Riyadh Comedy Festival, where performers were reportedly paid in the hundreds of thousands to over a million dollars. The criticism was immediate: how could comedians claiming to champion free speech perform in a country with severe censorship and human rights violations? Chappelle's response? A meta-commentary on American cancel culture:  the idea that it's somehow easier to speak freely in Saudi Arabia than in parts of America. It's provocative, deliberately so, and it encapsulates his ongoing persona: too famous to silence, too controversial to safely platform, yet platforms keep writing checks. Emmy-winning comedian Dave Chappelle joined an all-star ensemble for the first-ever Abu Dhabi Comedy Week on 23 May | Image courtesy of WildFight Middle East Another moment from the Saudi performance has viewers divided on whether it's true or comedic exaggeration: Chappelle claims he performed with a Saker falcon (Saudi Arabia's national bird, known in Arabic as "Al Saqr" and revered for centuries in Arab falconry tradition) and jokes about it taking out a person. Given the deliberately outrageous nature of the claim and Chappelle's history of pushing boundaries, audiences are left debating whether this actually occurred or if it's part of his satirical commentary on how his controversial material is received differently in different cultural contexts. Nipsey, Surveillance, and the Code Word The special ends with Chappelle in full prophetic mode. Wearing an outfit emblazoned with Nipsey Hussle's name, he talks about "strange disco lighting," surveillance imagery, the feeling of being watched. He connects this to moments with Diddy, with Nipsey, and to a broader paranoia about what happens when black public figures become too influential. Dave Chappelle, TI, Jay Z at said party with Nipsey Hustle in Atlanta | Images courtesy of Vivien Killilea, Getty Images. Then comes the closer: a warning. If the public ever hears him say a specific phrase, it means he's speaking under duress, not by his own free will. That phrase, widely reported as "I stand with Israel"  has already traveled across social media like wildfire because it's designed to: sticky, inflammatory, instantly screenshot-able. Whether you see this as brilliant provocation or reckless conspiracy-baiting depends entirely on where you stand. But it's undeniably calculated to generate conversation. What This Means for the Industry Black Twitter and the Cultural Temperature Reactions online have been predictably polarized. Black Twitter is split: some call it prophetic brilliance, others call it less "stand-up" and more "lecture with jokes." Posts range from "Dave just gave us a whole history lesson disguised as comedy" to " This felt more like a TED Talk than a special." One Facebook user said “ He should have called it the UNCANCELABLE.” Another commented, “Dave, Chris Rock and Kat Williams need to do a tour together and call it the “Disciples of Pryor.” Both camps have a point, and The Unstoppable...  almost seems designed to produce that debate. REDDIT @dolarin1 Several Reddit users questioned the factual accuracy of some historical details in Chappelle’s delivery, prompting us to fact-check a few claims to assess their validity. One recurring point of contention centers on Chappelle’s assertion that Senator John McCain  was the lone vote against establishing Martin Luther King Jr. Day , and that he later ran against Barack Obama —a race McCain indeed lost in the 2008 U.S. presidential election . While the latter is accurate, the Senate vote itself was misstated. Official congressional records show that the MLK federal holiday bill passed the U.S. Senate on October 19, 1983, by a vote of 78–22 , not “99 out of 100.” Moreover, McCain was not a U.S. Senator at the time ; he was serving in the House of Representatives , where the bill passed earlier on August 2, 1983, by a vote of 338–90 . McCain did vote against  the holiday in the House, but he could not have been the lone Senate dissenter. In this case, Reddit users were correct to flag the discrepancy: while Chappelle’s broader point about the intense resistance faced by the legislation, and the pivotal advocacy of Coretta Scott King and Stevie Wonder remains historically sound, the specifics of the vote count and McCain’s role were oversimplified and slightly misinformed , according to the Congressional Record and U.S. House and Senate roll-call archives. Ranking Chappelle's Funniest Specials While The Unstoppable...  may be among Chappelle's most culturally and politically relevant specials, it's not necessarily his funniest. Here's how his funniest work ranks: 1. Killin' Them Softly (2000) - Ranked #6 on Rolling Stone's list of the 25 best stand-up specials, this HBO special remains the gold standard. It's the one that introduced many to Chappelle's genius, combining racial commentary with observations on children's entertainment, police brutality, and everyday absurdities. Pure, unfiltered comedy before the weight of controversy. 2. For What It's Worth (2004) - The Showtime special that came during his Chappelle's Show peak, showcasing his ability to read an audience and weave personal anecdotes into cultural critique. Dave Chappelle “For what its worth” Stand Up Special 3. Sticks & Stones (2019) - Won the Grammy Award for Best Comedy Album. Despite being his most divisive special to date, it demonstrated Chappelle's refusal to bend under pressure, with exceptional comedic timing even as he courted controversy. 4. Equanimity (2017) - Won both an Emmy for Outstanding Variety Special and a Grammy for Best Comedy Album. Gut-busting performance that showcased his ability to tackle cultural taboos with precision. 5. The Age of Spin (2017) - Part of his triumphant Netflix return, featuring the infamous Bill Cosby material and establishing Chappelle as comedy's most fearless truth-teller. Controversial Commentary: Israel and LGBTQ Topics The Unstoppable...  includes risqué commentary on both Israeli politics and LGBTQ issues, particularly regarding the transgender community. When addressing criticism of his Saudi Arabia performance, Chappelle stated: "They said 'but Saudi Arabia killed a journalist,' and rest in peace Jamal Khashoggi...And also, look bro, Israel's killed 240 journalists in the last three months so I didn't know y'all were still counting." Regarding his transgender material, Chappelle said:  "Don't forget what I just went through. Two years ago, I almost got canceled right here in the United States for transgender jokes...But I gotta tell you something, transgender jokes went over very well in Saudi Arabia." These segments have generated significant discussion and criticism, with the special leaning into controversy as a central element rather than traditional punchline-driven comedy. BLACK FILM WIRE: The Verdict Dave Chappelle: The Unstoppable...  is not his funniest work, but it may be among his most intentionally constructed. The craftsmanship is in the architecture: the way he links law to celebrity, history to paranoia, violence to satire, and audience adoration to the threat of public collapse. If you come to stand-up for relief, this might feel heavy. If you come to Chappelle for the uneasy thrill of watching a comedian operate like a cultural historian with a microphone, this special delivers. Credit: Black Film Wire He's intelligent in ways that make you hang on every word, waiting to see where the thread leads. And when it all connects: the Mann Act to Jack Johnson to Diddy to surveillance to the final code word—you realize you've just watched someone build a map of power dynamics in America, joke by joke (aka  topic by topic) Recommendation:  Watch it with attention, not as background noise. And yes—stay for both closers. Dave Chappelle’s Unstoppable isn’t chasing laughs: it’s mapping power, history, and surveillance through stand-up. Now streaming on Netflix.