Nothing really prepares you for life as a student in a Nigerian university. Anecdotes might give you a general idea of what it’s like, but it’s a period that is best gauged by personal experiences. Things like the inadequate infrastructure, dealing with lecturers who double as bullies, and the difficult adjustment phase (especially if you have to travel away from home) are through lines almost every (ex-)undergraduate can relate with, however, uni stories differ from person to person.
The one absolute positive, though, is that everyone finds a tribe of friends to go through the ups and downs of uni with. Reflecting the importance of camaraderie, Netflix show, “Crazy, Lovely, Cool” shows the life of a group of undergraduate friends, using them as the point of contact to represent the topsy-turvy nature of the Nigerian university experience.
Brought together by the eponymous blog/website, CLC (acronym for the show title), the nine friends at the show’s nucleus—Izu, Funmi, Nana, Luciano, Ubong, Amara, Wisdom, Boma and Nkem—spend the major portion of “CLC” dealing with challenges that are brought about or exacerbated by external sources.
One issue that quickly becomes a definitive part of the show, comes at the end of the first episode, when Effy—Boma’s younger brother—dies during a cult initiation and his body is found beside the basketball court on campus. Grief stricken, Boma takes it upon herself to get to the bottom of what happened to her newly matriculated sibling, after she comes across comments on the CLC blog from students who suspect her brother was into cult activities.
Beyond being related to one of the show’s central characters, Effy’s death serves as a compelling touchstone for “CLC”, due to his endearing introduction as a starry-eyed kid who wanted to gain popularity on campus through his artistic endeavours. Solving his sudden demise gives “CLC” a sense of purpose for its first five to episodes. It’s during this period that we see potent depictions of the insecurities students face due to cult activities on campus, as well as the grossly ineffective policing in Nigeria, especially on the investigative side. Also, this plotline largely moves with intent, as the friends galvanise in their fact-finding mission. For example, their strategy of getting a medical student to do an autopsy on Effy’s body isn’t foolproof, but their desperation and the humour of the events in the autopsy scene makes it one of the more memorable moments of the show.
As the second half of “CLC” unfolds, though, the search for answers begins to bug its enjoyability. Although part of this downward spiral is assisted by the stiff acting of Chinonye Chidolue, the actress that plays Boma, the major culprit is the trajectory chosen by the award-winning backroom duo of Kemi Adesoye (“The Figurine” “Fifty”) and Obi Emelonye (“Last Flight to Abuja” “Onye Ozi”), series writer and director respectively.
For the most part, their story and character development is remarkable, but the introduction of Hassan, a wealthy love interest mid-series, as the hero figure undermines the initial build-up, in favour of closing the story arch neatly. Also, the revelation that Effy being gay was the reason he was killed sheds a light on the cruelty gay people face in Nigeria’s conservative society, but in the context of the show, it comes across as a shoehorned detail that fits a narrative.
The struggle to find a strong closing arch also spills into the other relatively minor storylines. A particularly vexing story arch is that of Dr Douglas, a poised and intelligent lecturer who eventually loses her career by getting into a needless sexual relationship with slacking student/upcoming artist, Luciano. Also, the tame affair, on-screen, is a prime instance of how unstimulating “CLC” is when it comes to building romantic tension between two potential partners. This part is down to the lack of chemistry between actors immediately the script goes beyond filial, which is a shame because dating is a big part of the university experience.
All of these missteps are balanced out by the show’s charming portrayal of friendship. While they show up for each other in varying combinations and capacities, the in-fighting and personal quarrels adds a personable layer to their relationship. This imperfect framing allows the mix of recognisable and new faces to get along on screen without the need for a strong bond, even though the more experienced actors—Adesua Etomi (Funmi), Enyinna Nwigwe (Izu) and Uru Eke (Dr Douglas)—clearly outpace their relatively new colleagues at nearly every turn.
Although “Crazy, Lovely, Cool” was shot in 2017, its status as the first Nigerian TV series to be acquired by Netflix should have set it up for an anticipated second season. But with a Kamikaze-style ending—another result of the latter preoccupation with fitting in an ending—it likely won’t be back, and it’s probably best that way. Being a near even balance of highs and lows, “CLC” does a solid job of never falling flat, which is all it really needed to do across its ten 50-minute episodes to keep things interesting. It can be confounding on multiple occasions, but it is also frequently entertaining and relatable.
Featured Image Credits: YouTube/Obi Emelonye TV
[mc4wp_form id=”26074″]
Dennis is not an interesting person. Tweet Your Favourite Playboi Carti Songs at him @dennisadepeter
Following a successful first campaign, Studio Monkey Shoulder returns to Nigeria for the second year in a...
Following a successful first campaign, Studio Monkey Shoulder returns to Nigeria for the second year in a row. A brainchild of the Scottish Whisky brand Monkey Shoulder and online radio station Worldwide FM, Studio Monkey Shoulder is a grassroots music initiative created to fund trailblazers who are pushing sonic boundaries while also fostering real-world connections across different regions. Last year, Jazzhole received the Nigerian grant to digitally remaster rare archival recordings that preserve and celebrate Nigeria’s rich musical heritage.
This year, the competition, in continued partnership with legendary DJ and Worldwide FM founder Gilles Peterson, once again invites the country’s most innovative and ambitious grassroots music communities – everything from from independent record stores to DIY music venues, online radio stations and collectives – to apply for a £10,000 grant (₦20 million) to bring their hugely imaginative music projects to life.
“I am thrilled to see Studio Monkey Shoulder grow in its second year in partnership with Worldwide FM. It’s been a privilege to work with the communities we supported in 2024, seeing their projects thrive and come to life,” Peterson stated in a press release. “I am excited to uncover more amazing community-driven projects in Nigeria and witness the talent that comes with it as the project evolves in year two.”
The winner of this year’s grant will join an international creative network that’s designed to elevate community voices and bring their stories to a global stage. Applications for Nigeria’s Studio Monkey Shoulder Fund open on April 28th and close on June 1st.
The rapper’s decision to embark on a local university tour of this nature could go on to become a...
There’s no denying that OdumoduBlvck’s 2023 mixtape ‘Eziokwu’ established his musical genius. While...
There’s no denying that OdumoduBlvck’s 2023 mixtape ‘Eziokwu’ established his musical genius. While the half dozen projects that preceded ‘Eziokwu’ almost served as target practice, largely showcasing the early iterations of Okporoko music – his unique melodious rap fusion – it was his major label debut that truly grounded the rapper in Nigeria’s rich Hip-Hop lineage. The album’s far-reaching success culminated in a historic joint tour with fellow 2023 breakout star Shallipopi, which saw the two share the stage across 9 cities in the United States. Similarly, riding the high of his latest mixtape, ‘The Machine Is Coming,’ the Anti-World Gangstar head huncho recently announced a new tour. This time, however, instead of taking his new collection of infectious bangers to stages abroad, the rapper decided to visit different universities across the country for what he calls the ‘Greatest School Tour Ever.’
Touring in Nigeria is a subject that has become somewhat controversial over the last few years, splitting opinions amongst many fans, industry experts, and artists themselves. Back in the mid-2000s to early 2010s, local touring was very much the norm. Platforms like Star Music’s ‘The Trek,’ as well as a few prominent local promoters, enabled some of the biggest names like 2face, Olamide, and M.I to hold annual nationwide tours. These tours included stops in cities like Warri, Makurdi, Owerri and many other places that artists are less likely to visit today. University tours were also popular as they presented an avenue for these artists to connect with their younger audience, who mostly served as the bedrock of their fan base.
The rise of digital streaming platforms, which has partly informed the industry’s rapid evolution over the past decade, coupled with other economic and infrastructural issues, has, however, forced a sharp decline in local touring, making it an almost altruistic endeavour in today’s Nigeria. Afropop gaining global exposure meant that the international market immediately became more viable and lucrative to our biggest stars, and this reshaped their priorities. The extensive, multi-city shows became reserved for diaspora fans, while the local audience, in most cases, are treated to a solitary annual show.
OdumoduBlvck looks to buck this trend with the ‘Greatest School Tour Ever,’ prioritizing his primary audience before tending to those abroad. In truth, the Lagos-born rapper is not the only one who has embarked on this type of tour in recent times. A couple of years ago, UK-based rapper Kida Kudz and Ckay also went on similar campus tours, with the latter making stops at 10 different universities across the country. Llona, one of the breakout stars from last year, is also currently on a nationwide tour coming off the success of his impressive debut album ‘Homeless.’ The ‘Greatest School Tour Ever,’ is however, peculiar and momentous because of its timing and OdumoduBlvck’s standing as one of the biggest names around.
At the recent 17th Headies Awards, the rapper became the latest recipient of the Next Rated award, a highly coveted plaque that’s historically reserved for standout acts whose music defines the zeitgeist at a given period. He received the award just two days after he gave an electrifying performance at Afe Babalola University. His latest mixtape, ‘The Machine Is Coming,’ a precursor to his highly anticipated forthcoming debut, currently sits at the No. 2 spot on the Turntable Top 50 Album charts. It is unheard of in recent times: that the Headies Next Rated act, who has one of the top projects in the country, is on a local university tour. The Abuja-native has, however, shown on numerous occasions that he has never really been one to abide by existing standards. The famous opening lines from his breakout single “Declan Rice” (I can do without their Policy I Know), did not only serve as a message to gatekeepers and naysayers but also as a manifesto that declared his mode of operation going forward.
At the time of this writing, the rapper has only made two stops on his ongoing tour, but his decision to embark on a local tour of this nature already looks to be paying dividends. The first two shows have produced viral clips that capture his star power, the hysteria of his headline shows and his rapidly growing influence, especially amongst younger listeners. The viral clips have already created an increased demand for shows, with many young fans harassing the rapper to add more dates to the tour. With the release of ‘The Machine Is Coming’ and his recent crowning moment at the Headies, it’s safe to assume there’s more attention on him now than ever. While it is, of course, still early days, the rapper’s decision to embark on a local university tour, especially given that he’s currently experiencing a career high, could go on to become a significant moment, one that potentially inspires a shift in the touring landscape in Nigeria.
The historic Fanti Carnival is set to make its grand return on Easter Sunday, April 20, 2025, bringing the...
The historic Fanti Carnival is set to make its grand return on Easter Sunday, April 20, 2025, bringing the...
The historic Fanti Carnival is set to make its grand return on Easter Sunday, April 20, 2025, bringing the streets of Lagos Island alive with colour, music, and culture. With roots dating back to 1890, the Lagos Fanti Carnival is one of Nigeria’s oldest and most vibrant cultural traditions, celebrating the deep ties between Nigeria and Brazil through a dynamic fusion of Afro-Brazilian heritage and modern creativity.
This year’s edition is supported by the Lagos State Ministry of Tourism, Arts, and Culture, in partnership with Robert Taylor Media and the Brazilian Descendants Association of Lagos. Together, they aim to honour the legacy of the Afro-Brazilian community in Lagos — descendants of formerly enslaved returnees who shaped the city’s culture, religion, and architecture.
The carnival procession will kick off at 12:00 PM, starting from Old Defence Road and will end at the JK Randle Centre, with accreditation beginning at 10:00 AM. Attendees can expect a stunning showcase of traditional costumes, Afro-Brazilian drumming, dance, and performances from local creatives reinterpreting heritage for a new generation.
Whether you’re drawn to the dazzling pageantry, the live performances, or the chance to connect with a rich cultural history, the Fanti Carnival is an unmissable event this Easter.
Tickets are now available, and more information can be found via the official Fanti Carnival website or their social platforms.