THEWILL DOWNTOWN, AUGUST 30, 2026

BIODUN STEPHEN

Issue No. 290 • August 30, 2026

On Life and Filmmaking

Issue No. 290 • August 30, 2026

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THEWILL DOWNTOWN • www.thewilldowntown.com

THEWILL DOWNTOWN • www.thewilldowntown.com

Issue No. 290 • August 30, 2026

CONTENT

EDITOR’S NOTE

13 WELLNESS Photo: Kola Oshalusi @insignamedia Makeup: Zaron

14 HEALTH

I

have always admired filmmakers who understand that the most powerful stories do not need to be complicated to move us. Biodun Stephen has built a remarkable career doing exactly that, creating films that reflect everyday life with warmth, humour and emotional honesty. Her stories remind us of ourselves.

Stephen has consistently demonstrated an ability to tell stories that connect deeply with audiences.

What stands out to me is her consistency and her understanding of human relationships. Her films entertain, but they also leave us thinking, feeling and sometimes seeing ourselves differently.

Beyond her achievements as a writer, director, producer and actress, her commitment to storytelling is particularly inspiring. She continues to nurture new talent while helping Nollywood evolve and reach wider audiences. In this conversation, Biodun Stephen shares the experiences, values and creative convictions that continue to shape her remarkable journey.

Read her interview on pages 8 to 10.

In a world filled with notifications, deadlines, social media and endless entertainment, it is easy to mistake constant stimulation for productivity. Sometimes, what we truly need is not another distraction, but permission to pause. Our wellness page in this issue explores simple ways to quiet the noise and give your mind room to breathe. Check out page 13 for this article; it’s an eye-opener.

Hard work matters, but in today’s workplace, excellence alone does not always guarantee recognition. You can consistently deliver, solve problems and take on more, yet remain overlooked.

Sometimes, the challenge is visibility. Our career page (page 17) explores how to communicate your value, build influence and ensure your contributions are seen.

Until next week, enjoy your read.

15 CULTURE 04-05 FASHION

07

#UNSHAKABLE TRUTHS

8-10 COVER

4 Wardrobe Mistakes That Waste Money Untold Truths Some Fires Don’t Go Out

Biodun Stephen on Life and Filmmaking

11

She Was Ready

12

5 Signs Your Skin Is Crying Out for Help

LUXURY SILK

BEAUTY

16

Overstimulation Effect Why Everything Feels Too Much Sometimes Immunity Myth What Actually Helps Your Body Stay Strong Performance of Self

DÉCOR

5 Things That Make Your House Look Cheap

17 CAREER

The Visibility Game Why Doing Good Work Isn't Always Enough

18 TRIBUTE 19

DOWNTOWN CONFIDENTIAL

20

REVIEW

Taiwo “Ogogo” Hassan The Legend Who Helped Build Yoruba Cinema

It’s Still Complicated

The End of Oak Street

WHAT YOU SAID Boluwatife Adesina @bolugramm

- Contributing Writer Boluwatife Adesina is a media writer and the helmer of the Downtown Review page. He’s probably in a cinema near you.

Onah

Issue No. 289 • August 23, 2026

WEAR NIGERIAN The Rise of Homegrown Fashion

INSTAGRAM

@angel_tohbe

@onahluciaa +2348033239132

AUSTYN OGANNAH

We too hot here Sally Chiwuzie @unshakable.is.a.state.of.mind - Contributing Writer Sally Chiwuzie is a non-practising barrister who owns the brand #Unshakable. She is the author of Silent Symphonies, a fictional love story, and the creator of the podcast Chronicles of #Unshakable Truths.

fave mi ta le nu

@boluwatyfe_01

PUBLISHER/EDITOR-IN-CHIEF Executive Editor: Onah Nwachukwu @onahluciaa Writers:Dorcas Akintoye, Johnson Chukwueke & Evi-Ben Ezaga Design & Layout: Hogan Effiom Digital Media: Oladimeji Balogun, Victoria Dairo & Olamide Abolarin Consulting Art Director: Sunny Hughes ‘SunZA’ www.thewilldowntown.com thewilldowntown thewilldowntown 36AA Remi Fani-Kayode Avenue, GRA, Ikeja. Lagos, Nigeria. +234 810 345 2286, +234 913 333 3888

Ada Obiajunwa @aaddaahh - Contributing Writer Ada Obiajunwa writes from Lagos about the big truths tucked inside ordinary moments — friendship, self-discovery, and the quiet revolutions of everyday life. She believes in the power of presence, good banter, and decoding the unsaid. Through her fragrance studio, WhiffWonders, she also crafts scents that weave memory and emotion into experiences that feel like home.

@dabefemi God bless your wisdom

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Issue No. ISSUE NO.290 261••August FEBRUARY 30, 2026 08, 2026

THEWILL DOWNTOWN • www.thewilldowntown.com

FASHION

4

WARDROBE MISTAKES THAT WASTE MONEY

PAGE 4

BY DORCAS AKINTOYE

L

ooking stylish does not always mean buying more clothes. Many people spend too much money because of wardrobe mistakes they repeat without noticing.

A crowded wardrobe can leave you feeling like you have nothing to wear. The problem is not a lack of clothes, but buying pieces that do not serve you well. If you want to spend less and get more from your wardrobe, this article shows you four wardrobe mistakes to avoid.

THEWILL DOWNTOWN • www.thewilldowntown.com

Issue No. 290 • August 30, 2026

FASHION BUYING CLOTHES JUST BECAUSE THEY ARE ON SALE

A discount can make an item seem like a smart purchase, but cheap clo thes can still be a waste of money. If you would no t buy the item at its norm al price, you do not need it just because the price ha s dropped. Sales can also encourage impulse buyin g, especially when you fee l you are getting a “great deal. Before buying a sa le item, ask yourself if you already own something similar, where you will we ar it, and whether it works with clothes you already have.

BUYING FOR AN IMAGINARY LIFESTYLE It is easy to buy clothes for the person you hope to become rather than for the life you actually live.You may buy fancy dresses for events that rarely happen, office clothes when you mostly work from home, or uncomfortable shoes because they look good online, and at the end of the day, you barely use these purchases.Your wardrobe should support your real daily routine.

Look at where you spend most of your time and choose clothes that match those needs.

BUYING CLOTHES THAT DO NOT FIT PROPERLY

An expensive outfi t will not look good if it does not fit your body well. Cl othes that are too tight, too lo ose, too long, or too short often stay in the wardrobe be cause you do not feel co mfortable wearing them. Do not buy something based only on its size on the label.

Different brands us e different measurements, so always pay attention to ho w the garment fits.

BUYING TRENDS WITHOUT THINKING ABOUT LONGEVITY Trends can be fun

, but buying every new style can quickly become expensive. A trendy piece may look exciting today and feel outdated a few months later.When this happens often, you keep spending money to replace clothes that have lost their appeal. Instead, build your wardrobe around simple pieces you enjoy wearing.Then add a few trends that fit your personal style. Before buying something fashionable, ask whether you would wear it for a long time.

By avoiding unnecessary sales, poor-fitting clothes, unrealistic purchases, and short-lived trends, you can reduce waste and save money.

Before buying anything new, ask whether you truly need it, whether you will wear it often, and whether it works with what you already own.

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Issue No. 290 • August 30, 2026

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THEWILL DOWNTOWN • www.thewilldowntown.com

THEWILL DOWNTOWN • www.thewilldowntown.com

Issue No. 290 • August 30, 2026

#UNSHAKABLE TRUTHS

SALLY CHIWUZIE

UNTOLD TRUTHS @unshakable.is.a.state.of.mind

Some Fires Don’t Go Out

T

oday, while I was working out, an earlier version of #Unshakable was playing in the background. It was my debut podcast for the brand, a conversation titled Did You Follow Your Passion? A room full of lawyers talked about the lives we trained for, the lives we chose, and the lives that sometimes called us in another direction. Everyone on screen was wearing #Unshakable.

Returning does not mean going backwards.

I do not need to recreate the exact version of #Unshakable that existed when that podcast was recorded. I do not need to force the shop, the podcast or the writing back into their previous shapes.

The more interesting question is what those earlier forms have left behind. What did they teach me? What still feels true?

What deserves to return, and what needs to evolve?

Every so often, I looked up from the thirty-minute workout I had designed for myself and caught the clothes, the conversations, the ambition, and the energy of a version of the brand that began one way and then paused.

There is wisdom in allowing something to come back differently.

We do this in our own lives all the time.

We return to old interests with new discipline. We revisit dreams with better judgment. We pick up work we once loved and discover that our hands now know how to hold it differently.

Last week, I wrote that there is no final version of us. I wrote about seasons, and how every version has work to do before making room for what comes next.

Not everything deserves revival because some things end precisely because they should. Growth also requires knowing what to leave behind.

Today, that thought returned in another form and made me realise that not everything that pauses has ended. Some things are simply waiting for their next expression.

Still, we should be careful not to bury something merely because it became quiet. Quiet does not necessarily mean failure, and a pause does not automatically mean death. Sometimes the season simply changed before the purpose was complete.

I used to struggle with pauses.

If momentum slowed, I assumed something was wrong. If an idea became quiet, I wondered whether I had lost interest, lost direction or failed to push hard enough. #Unshakable has taught me otherwise.

rebuilt, grief is carried, The brand has worn different faces. There money is was the shop, bold and visible. There was made, health the podcast, built around conversation and is restored, curiosity. There was the writing, which slowly or survival moved towards the centre. There were stretches takes when one part grew louder while another faded priority. from view.

I used to interpret that as inconsistency, but now I see transition.

Perhaps the mistake was expecting every expression of the brand to remain active at the same volume, in the same form, for the same reason.

The pause can feel like an ending because silence is easy to misread.

Sometimes, though, silence is preparation.

A fire does not always need to roar to remain alive. Sometimes it lowers, gathers itself and waits for enough oxygen to rise Life does not work that way, and neither do we. again. The next flame may not look like the first one because it may burn differently Some parts of us need to pause because another after the person tending it has changed. part requires our attention. A passion may step back while children are raised, careers are That is the part I understand better now.

Watching my debut podcast today, while building strength in a different season of my life, felt like a reminder. The brand had not disappeared. It had been moving through me, changing shape as I changed shape.

Perhaps the #Unshakable truth is this: some things do not leave us. They wait until we are ready to meet them differently.

So, if something you once loved has started whispering again, listen before you dismiss it. You may not be going backwards. You may simply be discovering what the next version of that fire looks like in the hands of who you are now.

‘See’ you next week.

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Issue No. 290 • August 30, 2026

THEWILL DOWNTOWN • www.thewilldowntown.com

COVER

F

ew filmmakers have built a reputation for telling heartfelt, relatable stories quite like Biodun Stephen. In an industry often driven by spectacle and commercial success, she has carved a distinct niche by creating films that resonate with audiences through authentic characters, emotional depth, and everyday experiences. Whether exploring family dynamics, romance, personal growth, or the complexities of human relationships, her storytelling consistently reflects life's realities while offering hope, humour, and meaningful lessons.

From producing her breakout film The Visit to directing acclaimed titles such as Picture Perfect, Breaded Life, Sista, Muri & Ko, and Aso Ebi Diaries, Biodun Stephen has established herself as one of Nollywood's most prolific and respected filmmakers. Her ability to balance creativity with consistency has earned her industry recognition and, more importantly, the admiration of audiences who have come to trust her unique storytelling voice.

Every project carries her signature blend of warmth, authenticity, and emotional honesty, making her one of the defining creative forces of modern Nigerian cinema.

BIODUN STEPHEN ON LIFE AND FILMMAKING PAGE 8

THEWILL DOWNTOWN • www.thewilldowntown.com

Issue No. 290 • August 30, 2026

COVER Yet beyond the accolades and successful productions lies a woman whose passion for storytelling is deeply rooted in observation, empathy, and an unwavering belief in the power of human connection. As a writer, director, producer, and occasional actress, Biodun continues to push creative boundaries while mentoring emerging talents and contributing to the growth of Nollywood as a global industry.

In this exclusive interview with THEWILL DOWNTOWN’s Johnson Chukwueke, she reflects on her remarkable journey, the lessons she's learned behind the camera, the evolving landscape of Nigerian filmmaking, and what continues to inspire her creativity. She also shares a glimpse into the person beyond the director's chair, her interests, the values that guide her, and the moments that keep her grounded despite the demands of one of Africa's fastest-growing film industries.

Let's start from the beginning. Before the awards, the film sets and the recognition, who was Biodun Stephen growing up, and did you always know storytelling would become your life's work?

I will start from when I was a young kid reading too many books. I grew up in an era when television started at 4pm, so you know you had to engage with other things. So I engaged with the radio and lots of books; I read so many, and it opened my mind to the imaginative world out there. I started writing after I had my first crush on a boy, and I always imagined the boy toasting me, saying yes or no, how the relationship would go, so I just started writing it out like it was a dialogue. But when I really knew that storytelling was a calling was when I started a radio show back in 2010; it was called Whispers. It was a live show platform.

The show was about people talking about various life challenges and how thy have been able to deal with them or even the lessons learnt from those travails, and that cemented my focus as a storyteller, I knew that stories have the power to heal, and people always call into the show to either relate, commend, or even share their own travails as well, and that really formed the kind of storyteller I am right now. It made me realise that stories were more than entertaining; they helped lighten the burden for lots of people, and that’s really where it started for me. I was clear on what type of storyteller I wanted to be by 2012.

behind the camera was in 2015 after I had done my first movie, The Visit. I didn’t always want to be behind the camera, though; I also wanted to act, be the star and all of that, but in 2015, after my first movie was nominated at the AMVCA 2015 for Best Movie, West Africa, I didn’t win, but that nomination just cemented that my place was behind the camera, and I made peace with it. Be it as a producer, director, or writer, my place was behind the camera.

"Reading people’s comments, getting feedback and seeing how much the work has helped someone.

That’s what I would call my biggest growth. In terms of creativity and technicals, they are continuous processes."

Looking back on your journey from The Visit to your most recent projects, what do you consider your biggest growth as a filmmaker?

I think growth is continuous; we are always evolving. When I started off wanting to be an actor, and now I’m a writer, director, and producer, that is a constant evolution process; I constantly want to be the better version of myself, better than my last job. For me, the biggest growth is in the impact and importance of the stories being told. The impact on the viewers who have seen the film, and the importance of why the stories needed to be told- those moments have added to my growth. Reading people’s comments, getting feedback and seeing how much the work has helped someone. That’s what I would call my biggest growth. In terms of creativity and technicals, they are continuous processes.

You've worked with some of Nigeria's biggest actors as well as rising talents. What qualities do you look for when casting a role?

The first thing will be performance. The actor’s ability to perform will always come first because sometimes you write a story and the character is described in a certain way, but you find an actor that really performs, so you have to doctor your script to fit that actor and make him shine in how they do their thing best. So basically, I look for two things: the ability to perform and commitment to the story. You see, you can have a performer, but you can have someone who is not committed to the story.

Someone can be a great actor, but there won’t be a stern approach to the project.

So performance comes first; that is the first qualifier, but the second thing that cements that decision would be the commitment to the story. I am an energy person; when I send you the script and we discuss it, I will know how much of yourself you are willing to give to the story. Thirdly, discipline is important.

So overall, it will be performance, commitment, discipline.

"Growth in everything, such as quality of production, storytelling, actors, the fact that the barriers are gradually thinning out, and opportunities for everyone who has a voice- I am just excited for where Nollywood is."

You studied Philosophy before venturing into filmmaking. At what point did you realise your future wasn't in a conventional career but behind the camera?

I would say I have always known I wouldn’t have a conventional career because I have oscillated around that axis since secondary school. I even auditioned for a series, I Need To Know; I was a TV presenter, a radio presenter, a news broadcaster; I was into photography, so I had always oscillated around entertainment as a whole. Even when I did commercial 9-5 when I was working as a copywriter at an ad agency, my commercials, the kind of copy I wrote, were stories; they told stories, so I had always known. But the moment I knew my place was

As someone who has helped shape contemporary Nollywood, where do you see the industry in the next five to ten years?

I am excited about where Nollywood is at the moment; the growth over the last decade is really applaudable. Growth in everything, such as quality of production, storytelling, actors, the fact that the barriers are gradually thinning out, and opportunities for everyone who has a voice- I am just excited for where Nollywood is. I can’t really put it into words where I see Nollywood in the next 5-10 years, but I can tell you that even after 5-10 years, Nollywood will still be evolving to keep up with where the world is going. Nollywood has suffered a bit of a setback in the last few months, but Nigerians in general are resilient, and I believe we would still be in the process of evolution. My prayer is that Nollywood really becomes a staple in the global film industry.

Is there a dream project you've been waiting for the right time to make, one that audiences haven't seen from you yet?

There are two dream projects that the audience are yet to see from me, and those stories need to be told very much. Those two stories are very key to me. I’m not going to reveal it yet, but we do have a film coming to the cinema soon. I won’t give dates, but we have made it in collaboration with two other people, so it’s something to look out for in December. It’s a really good film.

What's the biggest misconception people have about directing films?

That would be people thinking directing a film is easy. I think it’s one of the toughest jobs cause you are the visionary of the film, and you have envisioned this film from what you have read in the script, and you're envisioning even way beyond what was in the script; that makes it such a big job. You also take the fall for every single error, whether it’s a sound error, picture error, or performance error; it doesn’t matter cause you take the fall for it because it’s your film. People look at it from the prestige of it, the importance of it, like you are the director, the alpha and omega, the captain of the ship; however, it’s one of the toughest jobs. It comes with its perks, but those perks do go away, and you are the lifeline of that film, and whatever comes out of that film, you get blamed.

What kind of stories do you believe Nollywood still isn't telling enough?

I think Nollywood is telling a lot of stories, but what we are not doing is showing enough lead experiences; we are not showing the diversity of our culture enough, the richness of Nigeria, the richness of our landscape, the beauty, the forestry; we are not showing them enough.

The stories are right there, and we need to open up the story world. Of course, there are factors limiting that, though; take, for instance, security issues like banditry. I really feel the stories are there, and every day Nollywood is becoming more audacious in telling them.

"The stories are right there, and we need to open up the story world. Of course, there are factors limiting that, though; take, for instance, security issues like banditry."

You wear several hats: writer, producer, director and actress. Which role feels most natural to you, and why?

I think that would be writing, because stories come naturally to me; I see stories in everything.

In conversations like this or just observing the world, and I love observing the world. Just standing at my window and looking out, I like sitting in my car parked somewhere and just enjoying the view, or even just driving. Basically, I enjoy looking at the world, and through that, writing comes to me naturally cause there’s a story in everything I see.

Away from scripts and film sets, what does Biodun Stephen enjoy doing to relax and recharge?

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Issue No. 290 • August 30, 2026

THEWILL DOWNTOWN • www.thewilldowntown.com

COVER I am literally a couch potato; I am such a homebuddy, and I watch a lot of TV. I watch it all: documentaries, news, films; I watch everything. I am most relaxed when I am in bed, sleeping; I love that very much.

Filmmaking is demanding and often unpredictable.

How do you maintain balance between your career and your personal life?

Being a CEO of a company isn’t the only hat I wear; I am also a mom to two amazing daughters, and they are at a stage in life where they really need my guidance and counselling, so I must find a balance between all of that. I am also spiritual; I must have time for my Maker and my family, and make sure that while doing those two, my work doesn’t suffer or anything suffers for another. I think these are natural instincts that come with being a woman; you must find a balance.

I try to make sure I am on schedule, and nothing suffers. Sometimes I miss it; I am not perfect, but I ensure that the balance is there. Family is important, then my job. I know that if I don’t take care of myself, I can’t be there for my

family or function well at work.

Finally, if your closest friends had to describe Biodun Stephen in three words, not the filmmaker, just the woman, what do you think they'd say?

My closest friend will tag me as an evangelist, fun-loving or funny, and they will say very hardworking, so those will be the three words I will pick. I enjoy being in church, having a really good laugh, and I work really hard. I think about work 65% of the time, and the remaining 35% is for my family.

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THEWILL DOWNTOWN • www.thewilldowntown.com

Issue No. 290 • August 30, 2026

LUXURY SILK

ADA OBIAJUNWA @aaddaahh

SHE WAS READY Ada was in university when she decided she was ready to start paying bills.

Something would renew.

And there were things Ada was certain she had paid remarkably recently that had somehow become due again.

Ade had already started working.

She checked.

She had.

They were due again.

She paid those too.

Sometimes money entered Ada's account and, for a short while, looked like money.

From where Ada was sitting, employment appeared to be going extremely well.

He lived with his older brother.

Although from the way Ade and his friends occupied the house, his brother sometimes seemed to be the visitor.

Then came the bed.

The phone.

The banking app.

Ade often took Ada out to eat.

Anything she asked for, he seemed happy to get for her.

Some payments went directly.

When GSM first came to Nigeria, Ada wanted a line.

An Econet SIM cost eighteen thousand naira then.

It was a lot of money.

Ade bought one for her.

He couldn't afford to buy two.

So Ada got the SIM. Ade joked that he would get his own when SIM cards became buy one, get one free.

Ada laughed.

She still uses the number.

And somehow, back then, Ade always seemed to have money.

Ada couldn't wait to start working.

Ade kept telling her to enjoy school.

People were still paying her bills.

She should enjoy it while it lasted.

Ada listened.

Then told him she was ready.

Ready to work.

Ready to earn her own money.

Ready to pay for her own things.

He told her again another time.

Enjoy school.

Ada remained unmoved.

Bring it on.

Years later, Ada sat on her bed with her phone.

Electricity.

She opened the banking app and made the transfer.

Successful.

Internet.

Another transfer.

There were other things after that.

Ada didn't need a list.

She knew the list.

For others, she first moved money into the account from which a standing order would eventually collect it.

She moved the money.

Made another payment.

Then another.

The banking app displayed her balance.

Ada hid it.

There was a setting for that.

The numbers disappeared.

She continued.

Outside, the estate was quiet.

Some mornings she sat outside with her coffee and could hear birds.

There was traffic somewhere beyond the gates.

Lagos was still Lagos.

But inside, it could be surprisingly peaceful.

The AC hummed in the room.

Facility managers.

Security.

Estate dues.

Electricity was prepaid.

Band A. Ada bought units.

If PHCN went, the generator came on.

Most of the time, the house simply continued to be a house.

The AC continued being an AC. The lights stayed on.

The internet worked.

Ada paid for that too.

She hadn't gone shopping.

No holiday had been booked.

The house was simply working.

Food would finish.

Fuel would finish.

Beneficiary.

Amount.

Narration.

Confirm.

Successful.

Next.

The balance appeared.

Ada hid it.

The AC continued humming.

Outside, somewhere in the estate, the birds carried on.

They appeared to be doing very well.

Ada made the next payment.

One evening, Ada sat on her bed paying bills.

She made one transfer.

Then another.

There was one more she remembered halfway through putting the phone down.

She picked it back up.

Opened the app.

The balance was there.

She didn't know why.

Some setting had undone itself.

There it was.

Ada looked at it.

The setting was two taps away.

She knew exactly where it was.

Ada hid it.

Then she opened the next payment.

Beneficiary.

Amount.

Confirm.

Successful.

She put the phone beside her.

The AC was on.

The house was quiet.

Everything appeared to be working.

PAGE 11

Issue No. 290 • August 30, 2026

THEWILL DOWNTOWN • www.thewilldowntown.com

BEAUTY

5

SIGNS YOUR SKIN IS CRYING OUT FOR HELP

BY DORCAS AKINTOYE

Y

our skin works hard every day to protect you from dirt, sunlight, pollution, and other things that can affect your health.

When your skin is healthy, it usually feels smooth, looks fresh, and has a natural glow. However, when something is wrong, your skin often gives warning signs.

Learning to recognise these signals can help you take better care of your skin before a small issue becomes a bigger one. Here are five signs that your skin may be crying out for help.

CONSTANT DRYNESS If your skin always feels dry, rough, flaky, or tight, it may be trying to tell you that it needs more care. When this happens, your skin can become uncomfortable and more prone to irritation. Drinking enough water, using a gentle cleanser, and applying a good moisturiser can help restore moisture and improve your skin’s condition.

FREQUENT BREAKOUTS Getting a pimple once in a while is normal, but frequent breakouts can be a sign that your skin is struggling. Pimples can appear because of excess oil, clogged pores, stress, lack of sleep, hormonal changes, or products that do not suit your skin type. If breakouts keep returning despite your efforts, your skin may be trying to tell you that something needs to change

REDNESS AND IRRITATION Red, itchy, burning, or irritated skin is another clear sign that your skin needs help. This can happen when you use harsh products, over-exfoliate, or expose your skin to environmental factors that cause irritation. Giving your skin a break and switching to gentler products can help calm irritation and allow it to recover.

DULL AND TIREDLOOKING SKIN Healthy skin usually has a bright and fresh appearance. If your skin suddenly starts looking dull, tired, or lifeless, it may need extra attention. This can happen because of dehydration, stress, lack of sleep, or a buildup of dead skin cells. When your skin loses its glow, it is often a sign that it is not getting the care it needs. Getting enough rest, staying hydrated, and following a simple skincare routine can help bring back a healthier appearance.

INCREASED SENSITIVITY If your skin suddenly reacts to products that never caused problems before, it may be becoming sensitive.

You may notice stinging, itching, burning, or discomfort after applying certain products. This often happens when the skin barrier is weakened.

Sensitive skin can react more easily to fragrances, harsh ingredients, or even changes in weather. Ignoring this sign can lead to further irritation.

Using mild products and avoiding harsh treatments can help protect and strengthen your skin.

Your skin has its own way of communicating with you. Paying attention to these warning signs and taking action early can help prevent bigger skin problems in the future. By treating your skin gently and giving it the care it needs, you can keep it healthy and glowing for a long time.

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THEWILL DOWNTOWN • www.thewilldowntown.com

Issue Issue No. No.290 290•• August 30, 2026

WELLNESS

Overstimulation WHY EVERYTHING FEELS Effect TOO MUCH SOMETIMES

BY JOHNSON CHUKWUEKE

T

here are days when nothing particularly terrible has happened, yet everything suddenly feels like too much. You may become unusually irritated, distracted or desperate for some quiet. In today's alwaysconnected world, overstimulation has become an increasingly familiar experience, especially for people constantly switching between work, social media, entertainment and real-life responsibilities. Sometimes, your mind isn't asking for more stimulation. It is asking for a break.

SMALL IRRITATIONS CAN SUDDENLY FEEL HUGE

One of the easiest ways to recognise overstimulation is noticing that ordinary things start getting on your nerves. A noisy room becomes unbearable. Another phone call feels like a burden. You don't want to answer messages or have conversations. You may even feel annoyed when someone asks you a perfectly reasonable question. Often, it isn't that one particular thing causing the reaction; it's the accumulation of everything that came before it.

SOCIAL MEDIA DOESN'T YOUR BRAIN IS PROCESSING ALWAYS HELP Scrolling can feel like relaxation, but social media MORE THAN YOU REALISE constantly introduces new images, opinions,

A normal day can involve hundreds of small pieces of information. Notifications, conversations, emails, traffic, music, videos and social media feeds all compete for your attention.

Even when you aren't consciously thinking about them, your brain is processing much of what is happening around you. Eventually, that constant input can leave you mentally exhausted. This is why you can feel drained after spending hours on your phone even though you haven't physically done much.

conversations, advertisements and information into your mind. One minute you're watching a funny video, the next you're reading about someone's relationship, comparing your career to another person's, and then worrying about something happening in the news.

Your brain rarely gets a genuine pause.

SILENCE CAN BE MORE USEFUL THAN ANOTHER DISTRACTION

When everything feels overwhelming, many people immediately reach for another distraction.

They put on music, start another show or scroll through another app. Sometimes, however, the better solution is to reduce the amount of stimulation. Put your phone away for a while.

Sit somewhere quiet. Take a walk without headphones. Eat without scrolling. Even short periods of intentional quiet can help create breathing room in a busy day.

YOU DON'T HAVE TO BE AVAILABLE ALL THE TIME

Constant accessibility can make overstimulation worse. Messages arrive at all hours, work conversations continue after office hours, and social platforms make it easy for people to expect immediate responses. Creating small boundaries can help. You don't have to answer every message immediately, respond to every notification or remain online simply because your phone is within reach. Protecting your attention is also a form of self-care.

Overstimulation isn't necessarily a sign that you are becoming antisocial, lazy or difficult. Sometimes, it is simply your mind telling you that it has had enough input for the moment. In a world that constantly asks us to watch, respond, listen, compare and engage, deliberately creating moments of quiet can make a meaningful difference.

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Issue No. 290 • August 30, 2026

THEWILL DOWNTOWN • www.thewilldowntown.com

HEALTH

Immunity Myth WHAT ACTUALLY HELPS YOUR BODY STAY STRONG

BY NATO CHIMA Everywhere you look, there seems to be a new trick for “boosting” immunity.

One day it is a special drink, the next it is an expensive supplement or a socialmedia wellness hack promising to keep every illness away. But your immune system doesn't work like a phone battery that you can recharge overnight. It is a complex defence system that works continuously to protect your body. The good news is that supporting your overall health doesn't have to involve expensive products or complicated routines. Some of the most effective habits are also the simplest.

SLEEP IS MORE IMPORTANT THAN YOU THINK

Staying up late to finish work, binge-watching a series, or scrolling through TikTok may feel harmless, but consistently poor sleep can affect your overall well-being. Your body needs adequate rest to recover and function properly.

A consistent sleep schedule and enough quality sleep can do more for your health than many trendy wellness products.

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BUILD A BALANCED PLATE

There is no single food that can magically “boost” your immune system. What matters more is consistently giving your body a variety of nutrients. Thankfully, you don't need exotic ingredients to do this. Nigerian foods such as beans, eggs, fish, vegetables, fruits, whole grains and nuts can all form part of a balanced diet. A plate of rice with vegetables and fish, beans with plantain and vegetables, or a nutritious soup can provide a range of essential nutrients.

KEEP YOUR BODY MOVING Exercise isn't only about weight loss or building muscle. Regular physical activity supports your general health and helps your body function efficiently. You don't necessarily need an expensive gym membership either. Walking, dancing, cycling, swimming, playing football or simply taking more active breaks during the day can help you stay physically active.

DON'T UNDERESTIMATE STRESS Your physical health and mental well-being are more connected than many people realise.

Constant stress can leave you feeling exhausted and affect your overall well-being. Finding healthy ways to decompress can therefore be part of selfcare. Spend time with people who make you feel good, take a walk, pray or reflect, enjoy a hobby, listen to music, or allow yourself some quiet time.

FORGET THE MIRACLE FIX

Perhaps the biggest immunity myth is that a single supplement, herbal mixture, detox, or “immune booster” can compensate for unhealthy habits. Supplements may be useful for people with specific nutritional needs, but they aren't a replacement for a balanced lifestyle. And if you're frequently unwell or have persistent symptoms, getting proper medical advice is more useful than relying on another viral health hack.

Keeping your body healthy doesn't require chasing every new wellness trend; your immune system benefits from just the basics. There is no magic drink that can replace these habits. The real secret is consistency. Taking care of your health every day may not be as exciting as the latest social-media remedy, but it is far more valuable in the long run.

THEWILL DOWNTOWN • www.thewilldowntown.com

Issue No. 290 • August 30, 2026

CULTURE

EVI-BEN EZAGA

PERFORMANCE OF SELF

T

everybody bring attention and approval, making it difficult to know where genuine missed. expression ends and performance begins.

But not everything that looks This is why the word “performative” has become so popular. We live in a curated space where people are constantly is fake. presenting themselves, and we have Someone become increasingly aware of the can presentation. Social media gives us genuinely endless examples of how people dress, love speak, spend their time and express their opinions.

here was a time when doing something simply meant doing it. Now, especially online, it can feel as though every action comes with a second question: what does this say about me?

A person reading a book in a café might be called performative. Someone dresses a certain way, likes vinyl records, or starts posting about a cause, and people begin to wonder whether they genuinely care or are simply trying to look a certain way.

Even doing something effortlessly cool can earn a new label: aura farming.

Aura farming is the deliberate act of doing things that make you appear cool, interesting or impressive.

The term is usually used jokingly, but it points to something bigger about how we behave online. We have become increasingly aware that the things we do can communicate a certain image of who we are.

This has also changed the way we look at other people. The internet has made us very good at recognising patterns. We know what a certain aesthetic looks like, what the “intellectual” person is supposed to like and what the mysterious person is supposed to keep hidden. We know what the effortlessly cool person is supposed to wear and even what showing support for a cause is supposed to look like. Once these behaviours become recognisable, it becomes easier to question whether they are genuine.

There is also a quiet satisfaction in being the one to notice it, a small thrill in being the first to see through something

books, care about an issue or enjoy a particular style and still be called performative because of how their behaviour is perceived online.

The accusation has become so common that being visibly enthusiastic about something is sometimes enough

to attract it.

Caring is another area where this becomes complicated.

Supporting a cause, speaking up about an issue or sharing an act of kindness can be a genuine expression of what matters to someone. But there are also moments when showing that we care seems to become part of the act itself.

The right post, the right statement or the right response can

people get noticed.

It means we are not only deciding who we want to be. We are also seeing which versions of

People are allowed to have interests, change their style, discover new things and express themselves without having to explain why. But the more familiar we become with the language of internet trends and aesthetics, the easier it becomes to look at someone's behaviour and wonder what they are trying to communicate.

We've become skilled at watching other people perform, and just as skilled at managing our own.

We know what gets attention, what looks cool, what makes someone seem interesting, caring, mysterious or effortlessly confident.

So, when we choose what to wear, what to post, what to support, how much of it is who we are, and how much is who we've learned to be?

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Issue No. 290 • August 30, 2026

THEWILL DOWNTOWN • www.thewilldowntown.com

DÉCOR

5 Things That Make Your House Look Cheap POOR LIGHTING Good furniture can look completely different under poor lighting. Very bright white bulbs, weak ceiling lights, or a single light source can make a room feel cold and unfinished. Lighting should create warmth and show off the best parts of your home. Use a mix of ceiling lights, lamps, and wall lights where possible. Warm bulbs can make living spaces feel softer and more welcoming.

TOO MANY DIFFERENT COLOURS

Using too many colours can make a home feel confused rather than stylish. This does not mean your house must be completely neutral. The problem arises when every room has a different colour, or when several strong colours compete in the same space.

Choose a simple colour palette and repeat those colours through curtains, cushions, rugs, artwork, or furniture. This creates a sense of order. Even bold colours can look expensive when used with care and balance.

FURNITURE THAT IS TOO BIG OR TOO SMALL

BY DORCAS AKINTOYE

A

home that looks expensive is not always the home with the most expensive things. It is a home that feels neat, balanced, intentional, and well put together. If your goal is to make your space look classy and well-designed, let us show you five common mistakes you should watch out for.

TOO MUCH CLUTTER Clutter is one of the fastest ways to make an expensive home look messy and cheap. When too many items are placed on tables, shelves, counters, and floors, the eye does not know where to look. Make sure to keep only items that are useful, meaningful, or attractive. Give your furniture and decorations enough space to breathe.

Expensive furniture will not look good if it does not fit the room. A huge sofa squeezed into a small living room can make the space feel crowded. Tiny furniture in a large room can make the home feel empty and poorly planned. Before buying anything, measure your space and think about how people will move around it. The right size and placement can make ordinary furniture look much better.

CHEAP-LOOKING FINISHING TOUCHES

Sometimes, the main furniture is beautiful, but small details ruin the overall look. Tangled cables, worn-out cushions, plastic-looking accessories, messy curtains, and badly hung artwork can make a room feel careless. These details may seem small, but they affect the whole space. Keep cables hidden, hang curtains properly, choose quality-looking accessories, and place artwork at the right height.

A polished home is often about neat finishing touches, not just expensive purchases.

Making a home look expensive is less about how much you spend and more about how well you use what you have.

Sometimes, the best thing you can do is remove what is unnecessary, improve what is already there, and pay attention to the details you normally ignore.

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THEWILL DOWNTOWN • www.thewilldowntown.com

Issue No. 290 • August 30, 2026

CAREER

THE VISIBILITY GAME

Why Doing Good Work Isn't Always Enough

DON'T ASSUME EVERYONE MAKE YOUR SEES YOUR WORK ACHIEVEMENTS One of the biggest career misconceptions is believing that doing excellent work MEASURABLE automatically guarantees recognition.

Managers may oversee several people and multiple projects, meaning they don't always see the effort behind every successful outcome.

This doesn't mean you need to advertise yourself constantly. Instead, communicate your progress, share relevant results and make your contributions clear during appropriate conversations.

Being able to explain what you have accomplished is an important professional skill. Instead of saying you "worked on a campaign," be able to explain what you contributed and what changed because of your work. Keep a record of successful projects, positive feedback, targets achieved, problems solved and responsibilities you've taken on. This makes it easier to communicate your value during performance reviews, salary negotiations and conversations about new opportunities.

LEARN TO PARTICIPATE IN THE ROOM Being visible doesn't mean becoming the loudest person in the office. It means making meaningful contributions. If you consistently remain silent during meetings, avoid sharing ideas or never volunteer for projects, colleagues may not realise what you're capable of. Ask thoughtful questions, contribute solutions and speak when you have something useful to add. You don't need to have an opinion on everything. Strategic participation is far more valuable than talking simply to be noticed.

BUILD RELATIONSHIPS BEYOND YOUR IMMEDIATE TEAM

Visibility shouldn't stop with your direct manager.

The wider professional relationships you build can also influence your career. Get to know colleagues in other departments, participate in industry events, collaborate with people outside your immediate team and maintain genuine professional connections.

BY JOHNSON CHUKWUEKE

Y

ou can be excellent at your job and still be overlooked. You meet deadlines, solve problems, take on extra responsibilities and consistently deliver quality work. Yet, when a promotion, major project or exciting opportunity comes up, your name somehow isn't on the list. It can be frustrating, particularly when you've been taught that hard work will naturally speak for itself. The reality of modern workplaces is a little more complicated.

If the people who make decisions don't understand your contributions, your skills can easily remain hidden behind the work you quietly deliver.

DON'T CONFUSE VISIBILITY WITH SHOWING OFF There's a difference between making your contributions known and constantly seeking attention. You don't need to announce every achievement or turn your workplace into a personal publicity campaign. Good visibility is intentional. It means contributing ideas, communicating your results, volunteering strategically and allowing people to understand your strengths. You can be confident without being boastful and visible without being disruptive.

Doing good work will always matter, but in a competitive professional environment, disappearing into the background can make it harder for your work to create opportunities for you. Visibility isn't about demanding attention; it is about making your value recognisable. You shouldn't have to shout about everything you do, but you also shouldn't make people guess what you're capable of.

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Issue No. 290 • August 30, 2026

THEWILL DOWNTOWN • www.thewilldowntown.com

TRIBUTE

honouring

TAIWO “OGOGO” HASSAN The Legend Who Helped Build Yoruba Cinema

Taiwo Hassan

BY N ATO C H IM A

F

ew actors have left as enduring a mark on Yoruba cinema as Taiwo Hassan, popularly known as Ogogo. His death at 66 marks the end of a remarkable career spanning more than four decades, but his influence on Nigerian storytelling will continue to live on.

Born in Ilaro, Ogun State, Hassan began acting in 1981 while working with the Lagos State Water Corporation. In 1994, he left his government job to pursue acting full-time, a decision that eventually established him as one of Yoruba cinema's most recognisable faces.

demonstrated his ability to remain part of a changing Nigerian film industry while continuing to represent Yoruba culture on screen.

His legacy is ultimately bigger than his filmography. Ogogo helped preserve the Yoruba language, traditions, and storytelling for generations of viewers.

He did not simply act in Yoruba cinema; he helped build its history.

Ogogo was celebrated for his commanding performances, particularly in roles as traditional rulers, chiefs, fathers, warriors, and other authoritative characters. Yet his contribution extended beyond acting. He was also a producer, director, and screenwriter, shaping the stories he brought to audiences.

From the home-video era to contemporary Nollywood productions, Ogogo remained relevant across generations.

His later appearance as Alaafin Ademuyiwa in Aníkúlápó

Taiwo Hassan At An Event

PAGE 18

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Taiwo Hassan

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Taiwo Hassan at 65

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Taiwo Hassan With Some Colleagues on a Movie Set_

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THEWILL DOWNTOWN • www.thewilldowntown.com

Issue No. 290 • August 30, 2026

DOWNTOWN CONFIDENTIAL

s e l c i n o r h c ’s y s s ca IT’S STILL COMPLICATED

settling in, I heard a knock. It was Tobi, holding a tray of food from the restaurant downstairs.

"Thank you, I was just thinking about what to eat," I said, stepping aside to let him in.

One thing led to another. We started talking about work, about Lagos, about nothing important. Then there was this awkward silence. We were both on the couch, staring at each other. That was the moment I realised how much I wanted him again.

He held my hand and brought me closer until we could feel each other's breath. I didn't resist this time. I wanted him, and I no longer cared about my fears.

He leaned in first to kiss me, and I kissed him back. His kiss was passionate and deep. While kissing, he brought his hand under my top and started pressing my breast, squeezing my nipple between his fingers. I let out a soft moan against his mouth. This time, my body was on fire.

I brought my hand down and found his balls through his trousers, rubbing them gently. He wasn't expecting it, so when my fingers pressed against him, his kiss changed; it became more urgent, more desperate.

He was already hard, and I was dripping to have him. He pulled my top over my head and unhooked my bra, freeing my breasts. His mouth found my nipple, sucking and biting while his hand slid between my legs. He pushed my skirt up and slipped his fingers into my panties, finding me soaked.

"F@#k, you're so wet," he groaned against my breast.

I unzipped his trousers and pulled out his cock, stroking the thick length. He stood up and pulled off his clothes while I removed the rest of mine. The moment we were naked, he sat back on the couch and pulled me onto his lap. I straddled him, positioning his cock at my entrance, and sank down slowly. The stretch was just as intense as I remembered.

H

aving sex with Tobi again was something I didn't expect, but it happened.

team meeting, my manager announced that Tobi and I would both be representing the company at a week-long event in Abuja. My stomach dropped—one week alone with him, away from the office, away from my excuses.

For weeks after that first night, I tried to avoid him as much as possible. Every time our eyes met across the office, I felt that Throughout the trip, I tried to stay familiar heat between my legs, but I kept professional. But his small gestures kept my distance. I buried myself in reports and chipping away at my walls, asking if I was fine meetings, pretending the memory of his during the long drive, opening doors for me, cock stretching me open didn't still make my making sure I had water. Each kind word made lady bits throb. it harder to keep pretending I didn't want him.

Then one Monday morning during our

We got to the hotel and discovered our rooms were directly opposite each other. After

I rode him hard, bouncing on his cock while he gripped my ass and thrust up to meet me. The sound of skin slapping filled the room. He flipped me onto my back on the couch, spread my legs wide, and f@#ked me deep and fast. My lady bits clenched around him as I came, moaning out his name.

He didn't stop. He kept pounding into me until he pulled out and came on my stomach.

After that day until we got back to Lagos, it was sex galore. Every night in his room, every morning in mine. Against the wall, in the shower, bent over the desk. We f@#ked like we were making up for all those weeks of avoidance. And every time he filled me with his cock, I knew I was falling deeper, work relationship or not.

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THEWILL THEWILL DOWNTOWN DOWNTOWN •• www.thewilldowntown.com

Issue No. 290 • August 30, 2026

MOVIE REVIEW:

BY BOLUWATIFE ADESINA Scan this with your camera or click to access the playlist (Youtube Music)

The End of Oak Street

Scan this with your camera or click to access the playlist (Spotify)

job of building the suspense by hiding the beasts just long enough to stoke our interest and let the terror mount.

T

he End of Oak Street is a movie from another time. I mean this both literally and figuratively.

In the literal sense, The End of Oak Street is about a street that is transported back in time. We open on an unhappy family at a block party sometime in the early 1980s, judging by the clothing, cars, and music. Denise Platt (Anne Hathaway) is struggling to keep it together as her marriage to Greg (Ewan McGregor) disintegrates. She’s unhappy and writing a novel about that unhappiness; he’s out of work and delivering pizzas to make ends meet.

Just to linger on Mitchell for a moment, this movie calls to mind his work in It Follows, a film in which a stranger slowly walking towards you became a portent of existential dread.

The heroes of that movie aren’t being chased by dinosaurs but by a poltergeist that functions a bit like a sexually transmitted disease, ambling at a steady pace in the direction of those who have been cursed. Never before has an audience been kept on the edge of their seat by the image of an old woman walking across a high school campus; Mitchell knows precisely where to position his actors to instantly convey a sense of space and the directions from which danger might spring.

For all its references to 1990s dinosaur movies and 2010s indie horror, The End of Oak Street is, however, firmly rooted in the cinema of the 1980s. And that’s what I mean, figuratively, when I say this is a Their kids, Audrey (Maisy Stella) and Brian (Christian Convery), are movie from another time. It is an original film, bereft of intellectual property, focused like the kids of so many 1980s movies: not nearly as oblivious as on a family in peril that comes together through adversity, with a high-concept their parents seem, but hopeful idea that is, on its face, a little goofy. I life can revert to normal. Though mean, look: It’s a goofy idea when you everyone’s confusion may be say it out loud: unexplained wormholes amplified by how disjointed transport a town back in time 200 million this whole opening segment years, forcing ordinary people to face off is, there’s a weird disconnect against dinosaurs. But if you can abide here between how Denise and that weirdness, you realise that this is a Greg react to his leaving the more Spielbergian film than anything block party to make deliveries Steven Spielberg himself has made in and what we learn later about the last few decades. (No surprise that J.J. his work situation. But picking Abrams produced The End of Oak Street.) nits about how much Greg has This movie is pure, undiluted 1980s told Denise about their financial difficulties seems irrelevant when, cinema. moments later, there’s a storm, The box office has been on a real winning a flash of light, and the entire streak lately, particularly in the form of neighbourhood goes back to the Mesozoic for reasons that are mega-blockbusters like Spider-Man: Brand New Day and The Odyssey. But the real never really explained. story of the year has been the surprise success of originals like Obsession and Again, this is quite literally a new ideas like Backrooms. But those were movie about a town transported low-budget breakouts; The End of Oak through time. The people of this Street is a much pricier affair, with genuine pleasant neighbourhood wake stars and big effects. And, again, kind of a up as bait for dinos, mangled by weird premise, one that’s hard to explain marauding pterodactyls. in a trailer. It’s a strange movie.

The last hour or so of The End of Oak Street is like all the best parts But it’s an original, and I think you’ll enjoy it. And we need strange, one-off originals of the Jurassic Park films rolled into one: an extended chase-hide- like this to succeed if we want movies escape-repeat segment, featuring beyond the big tentpoles driven by superheroes and tired franchises. raptors, T. Rexes, pterodactyls, and giant snake things, with Rating: 8/10 writer-director David Robert Unexpectedly a lot of fun Mitchell doing an outstanding

PAGE 20

Alewya - Spirit_X

Bongo Maffin - Vuma

Fana Hues - Rental

Asake - Ako - Live in London

Ayra Starr - Pressure (feat. Leon Thomas)

KITSCHKRIEG - Gut Genug (with Omah Lay, Blumengarten & 255)

As for this season’s positives,

WATCH OF THE WEEK Nightcrawler, one of my favourite

X-MEN ‘97

SEASON 2 CATCH UP

X

-Men ’97 Season 1 was a tour de force, a breath of fresh air, a worthy continuation of the original animated series. Season 2, however?

It’s wobbly, to say the least. At worst, the tight and refreshing writing has suffered greatly between seasons.

Does that depletion in quality hinge on Disney firing former showrunner Beau DeMayo? I don’t know what DeMayo actually did or didn’t do as far as possible poor conduct. Also, the writing team certainly can’t hinge solely on one man. But I do wonder if Season 2’s writing team needed someone with an overarching vision for the season. As I faithfully watched each episode every week, I realised, with a growing, sinking feeling, that this season lacked the clarity and stubborn vision of the first. The season finale clinched it.

Season 1 made it clear to the viewers that stopping Apocalypse was going to be the biggest story in Season 2, yet Season 2 spent too many episodes away from the threat. Then, at the very end, we get the sense that, for the right mutant, Apocalypse isn’t really a threat at all. Overall, it just gives a big, deflating feeling to the whole mystique (no pun intended) of Apocalypse as not only a villain but also an inevitable Nexus Being.

X-Men characters, was a true highlight. We learned a lot more about his personal philosophy on faith and life, and frankly, if we followed him for most of the season instead of being stuck with the Apocalypse albatross, I would have been happy.

Anyways, as for my final thoughts on this season, X-Men ’97‘s writing team needs to take a look at the season’s highs and lows and figure out how to come back stronger in Season 3.

This season was fun with individual episodes.

But as a whole, it just didn’t stand up to the tight storytelling and commentary that Season 1 had.

If things did all boil down to DeMayo's vision, then Disney had better find someone who matches his vision fast to lead the writer’s team. Because with Mystique’s characterisation in the balance, the last thing we need is another villain to start strongly, only to peter out and trip at the finish line.