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How to Redeem the VBank Promise

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If you live in Nigeria, you’ve probably heard some stories about how difficult it is to get anything done at a government agency. Those stories are so popular that they have made their way into popular culture through “oga is not on seat” jokes.

When you’re going to a government agency, you brace yourself for the reality that no matter how small the task you want to accomplish, it could take all day. It’s not unusual for simple processes to be complicated by ridiculous demands.

It’s the sort of thing we’ve come to expect from Nigeria’s public sector. Yet, in the private sector, Nigeria’s legacy banks will give any government institution a run for their money.

A few weeks ago, I read this interesting rant by a Nigerian in the UK Guardian on how it took him 15 trips to the banking hall to withdraw money. We all have these experiences. The Nigerian banking system throws up the kind of processes that can test the patience of the Pope. Sometimes you apply to get a debit card and you wait for weeks to get. Then you begin another process to get the PIN for the same debit card.

Some other issues that rankle are the unending debits for card maintenance, SMS alerts, the list is endless. Yet, these would be such small trade offs if Nigerian banks actually provide service that work and are reliable.
Bank transfers in Nigeria are like Russian roulette. Sometimes you can transfer money without hassles, the next time, you may get debited thrice for a failed transaction.

Frankly, I’m not sure which I would rather visit: a banking hall or a government parastatal. If banking is this difficult for me, what’s it like for a lot of the people in the informal sector?
I got the clearest answer last week when my friend shared an article about how many of the artisans who work for him often do not have bank accounts.

It’s hard to fault them because banks and banking have come to represent stressors for the average person.
Digital banks are promising freedom This is why the digital alternative to banking is interesting. The counterbalance to the wahala of legacy banking is a bank that exists almost entirely in your phone.

They have no physical branches so you don’t have to spend hours in a banking hall trying to explain to a frazzled customer rep that you can no longer reproduce your signature from when you first opened the account seven years ago.

Beyond the branchless structure of digital banks, one of the things digital banks like VBank say that works for me is their promise of banking without a ton of bank charges.I can be free from those pesky little card maintenance charges from that second generation bank.

I can make a request for a debit card from an app and get the card delivered to my address in one week.

It’s not often that a bank says all the right things.. Yet, there are lingering questions like, “can I put my money in a bank that doesn’t have a branch that I know?,” “Whose shirt will I hold when they debit my account wrongly?”

There are also big questions like; many of the promises of ease the digital banks make will appeal to the carpenter down your street who still doesn’t have a bank account. How will the digital banks reach people like this?

Can the segment of the population who find these promises of freedom attractive- young millennials – form the basis for a sustainable business?

These are questions that remain up in the air, but here’s what I know; V Bank makes really good promises, but the real argument for them is time. Will they still send my debit card in 4 business days in 2027? Will my free transfers still go through and will their customer reps still be as attentive?

I don’t have a crystal ball; but it doesn’t hurt to live in the moment and enjoy all these perks right away.

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SEVEN DOORS: OLATUNJI AFOLAYAN DESERVES A FLORIST

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SEVEN DOORS: OLATUNJI AFOLAYAN DESERVES A FLORIST

 

As a film student, my evaluation of Seven Doors, the Netflix mini-series produced and directed by Femi Adebayo and others, may differ from the general audience’s. While the audience is integral to the film’s meaning, my academic perspective allows me to appreciate the cinematic craftsmanship that underlies the narrative.

Unarguably, in the same way that auteur theory highlights the director’s creative vision and Schreiber theory emphasises the screenwriter’s role, mise-en-scène theory underscores the art director/production designer’s contributions to the film’s visual language.

The art director/production designer plays a crucial role in creating the mise-en-scène, encompassing settings and props, costumes, facial and body expressions, lighting and colour, and character positioning within the frame. Therefore, the art director of Seven Doors, Olatunji Afolayan deserves a special recognition for designing visual elements that evoke nostalgia and cultural memory.

That you may know, the vintage chinawares and floral metal bowls in Seven Doors are props and carefully designed elements that contribute to the film’s visual composition and spatial relationships. The mural and sculptural designs are creatively etched on the walls and plotted to depict the period piece seamlessly. The choice of architectural designs (constructed or adapted) is a brainchild of the art director’s attention to detail when selecting these props, which helps create a sense of realism and authenticity.

An art director is said to be a “master of visual storytelling, a weaver of worlds, and a conductor of the cinematic orchestra.” The look, feel, mood, and colour pallets that connect all the departments are designed by an expert—the art director. Olatunji Afolayan’s technical depth and prowess are the apparent signature of Seven Doors. Without Afolayan’s ‘dirtied hands’, Seven Doors would remain bald and bland.

In conclusion, the art director/production designer is an essential member of the filmmaking team, and their contributions to the mise-en-scène deserve recognition. Olatunji Afolayan’s work in Seven Doors is a testament to the importance of the art director/production designer in creating a visually stunning and engaging film.

Undoubtedly, Olatunji Afolayan is the god of mise en scene in Seven Doors.

Steven Anu’ Adesemoye

SEVEN DOORS: OLATUNJI AFOLAYAN DESERVES A FLORIST

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Ayra Starr’s Mother Sparks Buzz with Confession About Her Mystery Crush

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Ayra Starr’s Mother Sparks Buzz with Confession About Her Mystery Crush

Ayra Starr’s Mother Sparks Buzz with Confession About Her Mystery Crush

 

The mother of Nigerian Afrobeat sensation Ayra Starr has sent social media into a frenzy with a playful revelation about having a crush on someone who, humorously, calls her “mummy.” In a video that quickly went viral, she expressed her excitement about the possibility of meeting her crush at Ayra Starr’s upcoming show on Christmas Day.

Ayra Starr’s Mother Sparks Buzz with Confession About Her Mystery Crush

Captioning the video, Ayra Starr’s mother wrote: “Wahala, my crush is calling me mummy. Anyways, we will meet at Ayra’s show on the 25th.” Her candid and lighthearted confession immediately captivated fans, sparking a wave of speculation about the identity of her mystery crush.

Many have taken to social media to guess the individual who has captured Ayra Starr’s mother’s affections. A popular theory among fans is that the crush might be none other than Don Jazzy, the renowned Nigerian music mogul and the boss of Ayra Starr’s record label, Mavin Records. However, Ayra’s mother kept the identity of her crush under wraps, leaving fans to wonder and eagerly anticipate any clues that might surface.

As the excitement for Ayra Starr’s Christmas Day show builds, fans are eagerly awaiting the event, with many now watching closely to see if Ayra’s mother’s cheeky prediction about meeting her crush will indeed come true.

Stay tuned for updates and watch the video below as the mystery continues to unfold!

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Tiwa Savage Reveals Divorce Struggles: “It Made Me Depressed and Turned Me Into the ‘African Bad Girl'”

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Tiwa Savage Reveals Divorce Struggles: "It Made Me Depressed and Turned Me Into the 'African Bad Girl'"

Tiwa Savage Reveals Divorce Struggles: “It Made Me Depressed and Turned Me Into the ‘African Bad Girl'”

 

Nigerian music sensation Tiwa Savage has opened up about her turbulent divorce from Tunji “TeeBillz” Balogun, sharing deeply personal insights about the emotional toll it took on her life and career.

Tiwa Savage Reveals Divorce Struggles: "It Made Me Depressed and Turned Me Into the 'African Bad Girl'"

Speaking candidly on The Receipts Podcast, the 44-year-old Afrobeat star reflected on the heartbreak of her 2018 separation, which she revealed was exacerbated by her struggles with postpartum depression and public backlash.

“I Was Nigeria’s Sweetheart”
Tiwa described how her rise to fame was met with widespread admiration, as she followed what she called the “perfect path” of societal expectations.

“When I started, I was Nigeria’s sweetheart. I could do no wrong. I went to university, got married, had a baby — everything by the book. But then everything came crashing down, and I became the target of criticism,” she said.

The separation, which TeeBillz announced online, marked a turning point in Tiwa’s life. Despite not initiating the breakup, she recalled being vilified in the media and by the public.

“I Was Told I’d Never Win”

Tiwa revealed how the overwhelming criticism pushed her into a dark place. “At the time, my baby was just a few months old, and I was already dealing with postpartum depression. My body wasn’t the same, and I was depressed. But instead of support, people attacked me,” she shared.

After attempting to tell her side of the story in a public interview, she faced even more backlash.

“People said, ‘How dare you go and talk? You’re a woman, and you’re supposed to hold the home together.’ Famous people called to tell me I’d never win, and it was my fault because I was a woman. It was heartbreaking,” Tiwa recounted.

 

Reinvention as the “African Bad Girl”
The constant criticism and emotional pain led Tiwa to transform her image and embrace a bolder persona.

“It made me depressed for so long, but it also made me angry. I thought to myself, ‘If I did everything right and still got attacked, why should I bother?’ That’s when I became the ‘African Bad Girl,’” she said.

Tiwa explained how she began to rebel against societal norms, opting for tattoos, shorter skirts, and bikinis. “I was just wild. It was my way of coping and reclaiming control of my life after being judged for so long,” she added.

Despite the challenges, Tiwa’s resilience and reinvention have made her an enduring icon in the global music scene, solidifying her place as a trailblazer in African entertainment.

The revelations highlight not only the personal cost of fame but also the cultural pressures that women in the spotlight often endure. Through it all, Tiwa continues to inspire, proving that reinvention is a powerful tool for survival and success.

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