celebrity radar - gossips
Experience in stage crucial before film adventure – Ufuoma McDermott
Undoubtedly one of Nollywood’s most admired household name, Ufuoma McDermott’s journey into Nollywood began when she held movie buffs spellbound with her delivery in Zeb Ejiro’s 2004 movie, ‘The President Must Not Die’. Today, she is an A-List Nollywood actress. The former beauty queen is returning to the cinema this September with a new comedy flick, titled ‘What Just Happened’. She throws more light on the project and her career in this interview.
Excerpt:
You hinted earlier that it took you three years to shoot your new movie. Why did it take that long?
Ufuoma: The idea of perfection in this movie was my husband’s. We had spent so much money shooting the movie and when it was ready it wasn’t what we wanted. I wanted to release it but my husband wasn’t in support. I said okay let’s just throw it online and make it into DVD.
He said “unless you want to keep it under your bed. This film is not leaving this house”. To be honest with you it took a toll on me. I was heavily pregnant when we started shooting in 2015. We shot in and out of Los Angeles.
What’s the plot of the movie?
Ufuoma: The story is about a disgruntled professor who goes in search of a man. She takes up her brother’s offer for the position of a visiting lecturer at the University of Ibadan. So, what should have been a one-hour journey from Lagos to Ibadan ends up being a disaster.
Partly, (this was) as a result of her high-handedness and selfishness. The entire movie is a testimony, which is being recounted in church.
Is this your first shot at comedy?
Ufuoma: Well ‘Christmas is coming’ is a comedy but it was a romantic comedy. It wasn’t an entire comedy film as this. So probably yes, this is my first.
Did you write the screenplay?
Ufuoma: I will have to thank Bovi for his contributions especially for all the humour and comedy he injected into the script. Then I did the final rewrite of the script alongside another writer called Victor. I guess we have a great fantastic script. Bovi didn’t feature in the movie but he did a lot of ‘treatments’ for the story.
Can you give a rundown of the cast?
Ufuoma: I played the lead, Professor Ogborgbor, alongside Afeez Oyetoro who everyone knows as Saka. Jude Orhora played Leke; Segun Arinze played Efe the brother to the professor; Toyin Aihmaku played the Usher; MC Abbey played the pastor; Funnybone played the choirmaster. That’s already like a recipe for disaster.
You have a pretty interesting cast…
Ufuoma: I intentionally assembled an unusual cast; you don’t get to see the kind of cast in typical Nollywood films. For instance, nobody can dispute the fact that Segun Arinze is a damn good actor. I say to people that as much as I want people to laugh, I want people to leave the cinema after seeing my film, feeling satisfied. It’s not enough for you to just laugh. I want to be taken for a serious filmmaker. I want to be able to refer to my films many years from now with no regrets whatsoever.
What was it like shooting a comedy?
Ufuoma: I tend to respect a lot of comedy actors so much because it’s so difficult to make people laugh. It’s difficult to make light of your life.
Everything about us is serious now. I have never really played a comedic character. So yes it was a new challenge for my co-actors and I on set. They were so hilarious that it was difficult keeping a straight face on set.
When we were shooting the church scenes, my goodness, we laughed so hard in fact at a point even MC Abbey asked us to regroup and shoot another day.
How will you assess your growth as an actor?
Ufuoma: Before all an actor was only required to come on set with his or her skill set. Right now, it is a little different and I think maybe social media is to blame because right now people don’t just want to see you as an actor, they also want a peep into your life.
They want to see you beyond the character you play but that’s not going to be entirely possible because I am married to a very private man. I think, for now, my experience, as an actor is my ability to balance my private life and my career whether as an actor, director or scriptwriter.
That includes the ability to strike a balance without going against your own principles and not losing focus of what you want from your life or your career.
Today there is this segregation of who is the cinema actor, who is the DVD actor, who is the television actor, really I just want to be an actor alone. You’ve got to learn how to balance all of that. It’s very difficult but you just have to do this.
Do you have a favourite actor/actress?
Ufuoma: I can arguably say Bimbo Akintola is the greatest actress this country has ever produced.
How important is it for an actor to have a background on stage before shooting a feature film?
Ufuoma: I will be honest with you, mine was the reverse. I did film first before I went to stage and I have Bimbo Akintola to thank for that. The stage is a lot of work. It’s not a flash in the pan.
Unlike film, the stage is not ‘Take 1, 2 and Take 7’. The stage is Take 1 and 1 alone. With stage, you have a lot of rehearsals as to when you are shooting a movie.
With stage, you also need to get the whole script into your head and you also need to know your line fast. You also need to know when to improvise because if your co-actor loses his or her own line, your improvisation skills will come in handy.
You also need to know how to inculcate his or her own lines into yours so that he or she can recollect. It is a lot of work; I will be honest with you. With stage, you have contributions to make and if you feel there is something that will make a film better then you should be able to contribute.
When you have a background on the stage, it keeps you very sharp and alert as an actor. Getting my lines into my head is no longer a challenge as I am one of those actors that will give you your lines in your scripts word for word.
This has nothing to do with the fact that I can’t improvise but because acting on stage has made me realise that when a writer writes in a certain way, it is because they are trying to play on words.
celebrity radar - gossips
Why Babangida’s Hilltop Home Became Nigeria’s Political “Mecca”
Why Babangida’s Hilltop Home Became Nigeria’s Political “Mecca”.
By George Omagbemi Sylvester | Published by SaharaWeeklyNG.com
Former President Goodluck Jonathan’s birthday visit to Gen. Ibrahim Badamasi Babangida (IBB) in Minna (where he hailed the octogenarian as a patriotic leader committed to national unity) was more than a courtesy call. It was a reminder of a peculiar constant in Nigerian politics: the steady pilgrimage of power-seekers, bridge-builders and crisis-managers to the Hilltop mansion. Jonathan’s own words captured it bluntly: IBB’s residence “is like a Mecca of sorts” because of the former military president’s enduring relevance and perceived nation-first posture.
Babangida turned 84 on 17 August 2025. That alone invites reflection on a career that has shaped Nigeria’s political architecture for four decades; admired by some for audacious statecraft, condemned by others for controversies that still shadow the republic. Born on 17 August 1941 in Minna, he ruled as military president from 1985 to 1993, presiding over transformative and turbulent chapters: the relocation of the national capital to Abuja in 1991; the creation of political institutions for a long, complex transition; economic liberalisation that cut both ways; and the fateful annulment of the 12 June 1993 election. Each of these choices helps explain why the Hilltop remains a magnet for Nigerians who need counsel, cover or calibration.
A house built on influence; why the visits never stop.

Let’s start with the obvious: access. Nigeria’s political class prizes proximity to the men and women who can open doors, soften opposition, broker peace and read the hidden currents. In that calculus, IBB’s network is unmatched. He cultivated a reputation for “political engineering,” the reason the press christened him “Maradona” (for deft dribbling through complexity) and “Evil Genius” (for the strategic cunning his critics decried). Whether one embraces or rejects those labels, they reflect a reality: Babangida is still the place where many politicians go to test ideas, seek endorsements or secure introductions. Even the mainstream press has described him as a consultant of sorts to desperate or ambitious politicians, an uncomfortable description that nevertheless underlines his gravitational pull.
Though it isn’t only political tact that draws visitors; it’s statecraft with lasting fingerprints. Moving the seat of government from Lagos to Abuja in December 1991 was not a cosmetic relocation, it re-centred the federation and signaled a symbolic neutrality in a country fractured by regional suspicion. Abuja’s founding logic (GEOGRAPHIC CENTRALITY and ETHNIC NEUTRALITY) continues to stabilise the national imagination. This is part of the reason many leaders, across party lines, still defer to IBB: he didn’t just rule; he rearranged the map of power.
Then there’s the regional dimension. Under his watch, Nigeria led the creation and deployment of ECOMOG in 1990 to staunch Liberia’s bloody civil war, a bold move that announced Abuja as a regional security anchor. The intervention was imperfect, contested and costly, but it helped define West Africa’s collective security posture and Nigeria’s leadership brand. When neighboring states now face crises, the memory of that precedent still echoes in diplomatic corridors and Babangida’s counsel retains currency among those who remember how decisions were made.
Jonathan’s praise and the unity argument.
Jonathan’s tribute (stressing Babangida’s non-sectional outlook and commitment to unity) goes to the heart of the Hilltop mystique. For a multi-ethnic federation straining under distrust, figures who can speak across divides are prized. Jonathan’s point wasn’t nostalgia; it was a live assessment of a man many still call when Nigeria’s seams fray. That’s why the parade to Minna continues: the anxious, the ambitious and the statesmanlike alike seek an elder who can convene rivals and cool temperatures.
The unresolved shadow: June 12 and the ethics of influence.

No honest appraisal can skip the hardest chapter: the annulment of the 12 June 1993 election (judged widely as free and fair) was a rupture that delegitimised the transition and scarred Nigeria’s democratic journey. Political scientist Larry Diamond has repeatedly identified June 12 as a prime example of how authoritarian reversals corrode democratic legitimacy and public trust. His larger warning (“few developments are more destructive to the legitimacy of new democracies than blatant and pervasive political corruption”) captures the moral crater that followed the annulment and the years of drift that ensued. Those wounds are part of the Babangida legacy too and they complicate the reverence that a steady stream of visitors displays.
Max Siollun, a leading historian of Nigeria’s military era, has observed (provocatively) that the military’s “greatest contribution” to democracy may have been to rule “long and badly enough” that Nigerians lost appetite for soldiers in power. It’s a stinging line, yet it helps explain the paradox of IBB’s status: the same system he personified taught Nigeria costly lessons that hardened its democratic reflexes. Today’s generation visits the Hilltop not to revive militarism but to harvest hard-won insights about managing a fragile federation.
What sustains the pilgrimage.
1) Institutional memory: Nigeria’s politics often suffers amnesia. Babangida offers a living archive of security crises navigated, regional diplomacy attempted, volatile markets tempered and power-sharing experiments designed. Whether one applauds or condemns specific choices, the muscle memory of governing a complex federation is rare and urgently sought.
2) Convening power: In a season of polarisation, the ability to sit warring factions in the same room is not small capital. Babangida’s imprimatur remains a safe invitation card few refuse it, fewer ignore it. That convening power explains why movements, parties and would-be presidents keep filing up the long driveway. Recent delegations have explicitly cast their courtesy calls in the language of unity, loyalty and patriotism ahead of pivotal elections.
3) Signals to the base: Visiting Minna telegraphs seriousness to party structures and funders. It says: “I have sought counsel where history meets experience.” In Nigeria’s coded political theatre, that signal still matters. Outlets have reported for years that many aspirants treat the Hilltop as an obligatory stop an unflattering reality, perhaps, but a revealing one.
4) The man and the myth: The mansion itself, with its opulence and aura, has become a set piece in Nigeria’s story of power, admired by some, resented by others, but always discussed. The myth feeds the pilgrimage; the pilgrimage feeds the myth.
The balance sheet at 84.
To treat Babangida solely as a sage is to forget the costs of his era; to treat him only as a villain is to ignore the architecture that still holds parts of Nigeria together. Abuja’s relocation stands as a stabilising bet that paid off. ECOMOG, for all its flaws, seeded a habit of regional responsibility. Conversely, June 12 remains a national cautionary tale about elite manipulation, civilian marginalisation and the brittleness of transitions managed from above. These are not contradictory truths; they are the double helix of Babangida’s place in Nigerian memory.
Jonathan’s homage tried to distill the better angel of IBB’s record: MENTORSHIP, BRIDGE-BUILDING and a POSTURE that (at least in his telling) RESISTS SECTIONAL ISM. “That is why today, his house is like a Mecca of sorts,” he said, praying that the GENERAL continues to “mentor the younger ones.” Whether one agrees with the full sentiment, it accurately describes the lived politics of Nigeria today: Minna remains a checkpoint on the road to relevance.
The scholar’s verdict and a citizen’s challenge.
If Diamond warns about legitimacy and Siollun warns about the perils of soldier-politics, what should Nigerians demand from the Hilltop effect? Three things.
First, use influence to open space, not close it. Counsel should tilt toward rules, institutions and credible elections not kingmaking for its own sake. The lesson of 1993 is that subverting a valid vote haunts a nation for decades.
Second, mentor for unity, but insist on accountability. Unity cannot be a euphemism for silence. A truly patriotic elder statesman sets a high bar for conduct and condemns the shortcuts that tempt new actors in old ways. Diamond’s admonition on corruption is not an abstraction; it’s a roadmap for rebuilding trust.
Third, convert nostalgia into institutional memory. If Babangida’s house is a classroom, then Nigeria should capture, publish and debate its lessons in the open: on peace operations (what worked, what failed), on capital relocation (how to plan at scale), and on transitions (how not to repeat 1993). Only then does the pilgrimage serve the republic rather than personalities.
At 84, Ibrahim Babangida remains a paradox that Nigeria cannot ignore: a man whose legacy straddles NATION-BUILDING and NATION-BRUISING, whose doors remain open to those seeking power and those seeking peace. Jonathan’s visit (and his striking “Mecca” metaphor) reveals a simple, stubborn fact: in a country still searching for steady hands, the Hilltop’s shadow is long. The task before Nigeria is to ensure that the shadow points toward a brighter constitutional daybreak, where influence is finally subordinated to institutions and where mentorship hardens into norms that no single mansion can monopolise. That is the only pilgrimage worth making.
celebrity radar - gossips
Ajadi Celebrates Juju Legend Femolancaster’s 50th Birthday in the UK
Ajadi Celebrates Juju Legend Femolancaster’s 50th Birthday in the UK
Nigerian Juju music legend, Otunba Femi Fadipe, popularly known as FemoLancaster, is being celebrated today in London as he clocks 50 years of age.
Ambassador Olufemi Ajadi Oguntoyinbo, a frontline politician and businessman, led tributes to the Ilesa-born maestro, describing him as a timeless cultural icon whose artistry has enriched both Nigeria and the world.
“FemoLancaster is not just a musician, he is a legend,” Ambassador Ajadi said in his birthday message. “For decades, his classical Juju sound has remained a reminder of the beauty of Yoruba heritage. Today, as he turns 50, I celebrate a cultural ambassador whose music bridges generations and continents.”
While FemoLancaster is highly dominant in Oyo State and across the South-West, his craft has also taken him beyond Nigeria’s borders.
FemoLancaster’s illustrious career has seen him thrill audiences across Nigeria and beyond, with performances in the United Kingdom, Canada, United States of America, and other parts of the world. His dedication to Juju music has projected Yoruba traditional sounds to international stages, keeping alive the legacy of icons like King Sunny Ade and Chief Ebenezer Obey while infusing fresh energy for younger audiences
He further stressed the significance of honoring artistes who have remained faithful to indigenous music while taking it global. “In an era where modern sounds often overshadow tradition, FemoLancaster stands as a beacon of continuity and resilience. He has carried Yoruba Juju music into the global space with dignity, passion, and excellence,” he added.

The golden jubilee celebration in London has drawn fans, friends, and colleagues, who all describe FemoLancaster as a gifted artist whose contributions over decades have earned him a revered place in the pantheon of Nigerian music legends.
“As FemoLancaster marks this milestone,” Ajadi concluded, “I wish him many more years of good health, wisdom, and global recognition. May his music continue to echo across generations and continents.”
celebrity radar - gossips
Gospel Songstress Esther Igbekele Marks Birthday with Gratitude and Celebration
Gospel Songstress Esther Igbekele Marks Birthday with Gratitude and Celebration
By Aderounmu Kazeem Lagos
Lagos, Nigeria — The gospel music scene is aglow today as the “Duchess of Gospel Music,” Esther Igbekele, marks another milestone in her life, celebrating her birthday on Saturday, August 16, 2025.
Known for her powerful voice, inspirational lyrics, and unwavering dedication to spreading the gospel through music, Esther Igbekele has become one of Nigeria’s most respected and beloved gospel artistes. Over the years, she has graced countless stages, released hit albums, and inspired audiences across the world with her uplifting songs.
Today’s celebration is expected to be a joyful blend of music, prayers, and heartfelt tributes from family, friends, fans, and fellow artistes. Sources close to the singer revealed that plans are in place for a special praise gathering in Lagos, where she will be joined by notable figures in the gospel industry, church leaders, and admirers from home and abroad.
Speaking ahead of the day, Igbekele expressed deep gratitude to God for His mercy and the opportunity to use her gift to touch lives. “Every birthday is a reminder of God’s faithfulness in my journey. I am thankful for life, for my fans, and for the privilege to keep ministering through music,” she said.
From her early beginnings in the Yoruba gospel music scene to her rise as a celebrated recording artiste with a unique fusion of contemporary and traditional sounds, Esther Igbekele’s career has been marked by consistency, excellence, and a strong message of hope.
As she adds another year today, her fans have flooded social media with messages of love, appreciation, and prayers — a testament to the profound impact she continues to make in the gospel music ministry.
For many, this birthday is not just a celebration of Esther Igbekele’s life, but also of the divine inspiration she brings to the Nigerian gospel music landscape.
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