Issue No. 299 • November 1, 2026
FATI MA G I M SAY
Making Movie History with Black Market
Issue No. 299 • November 1, 2026
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THEWILL DOWNTOWN • www.thewilldowntown.com
THEWILL DOWNTOWN • www.thewilldowntown.com
Issue No. 299 • November 1, 2026
EDITOR’S NOTE
CONTENT
Photo: Kola Oshalusi @insignamedia Makeup: Zaron
14 FITNESS
G
reat filmmaking begins with curiosity, courage and the willingness to tell stories that matter. Fatimah Binta Gimsay embodies these qualities, building her career from behind-the-scenes experience on productions such as Hush, MTV Shuga Naija and Slum King into writing, story development and directing. Her latest project, Black Market, marks a significant milestone. The crime thriller, which she co-wrote and directed, follows women caught in a dangerous crossborder smuggling operation after a child’s kidnapping changes everything. With a compelling cast, including Linda Ejiofor-Suleiman, Lateef Adedimeji, Omowunmi Dada and Scarlet Gomez, the film explores survival, suspense and difficult moral choices. What makes Gimsay’s achievement especially remarkable is the extraordinary reception of her work. On September 26, 2026, Black Market drew 51,258 people to its Lagos premiere at Tafawa Balewa Square, earning Guinness World Records recognition. Her journey offers an inspiring reminder of Nigerian cinema’s growing possibilities and the filmmakers daring to expand them. Scroll to pages 8 to 10 to read about Fatima Gimsay. Some days, finding the energy to exercise feels like a workout in itself. Between work, errands and everyday stress, motivation can easily fade. But staying active need not mean intense routines. This issue explores simple ways to move your body on low-energy days. Check out our Fitness page (page 14) for this. Moving into a new home is exciting, but decorating it can feel overwhelming. The secret is to start with essentials rather than buying everything at once. Our Décor page suggests five things worth investing in first to create a comfortable, stylish foundation. You’ll find this on page 17. Until next week, enjoy your week.
15 TRAVEL 16 CULTURE to Look Stylish 04-05 How Without Wearing Heels
FASHION
Untold Truths 07 Tomorrow Is a #UNSHAKABLE
TRUTHS
8-10 COVER
12
LUXURY SILK
13
BEAUTY
Terrible Place to Store Your Love Fatima Gimsay Making Movie History With Black Market Okay, My Dear
Everything You Need to Know About Slugging
17 DECOR 18
THE SCENE DOWNTOWN
19
DOWNTOWN CONFIDENTIAL
20
REVIEW
The Lazy-Day Workout Simple Exercises for When You Have No Motivation
Top Five Interesting Places to Visit in Barbados
The Cost of Grinding What Hustle Culture Is Quietly Taking From Us What to Buy First When Decorating a New Home
Beauty in the Motherland 2026
Three Is Not A Crowd
Clayface
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. 298 • October 25, 2026
ETINOSA IDEMUDIA
The Business of Telling Stories
@mike_premium
@onahluciaa +2348033239132
AUSTYN OGANNAH
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.
iam_oj_clinton
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 254 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.
@erm_eye
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Issue No. ISSUE NO.299 261••November FEBRUARY1,08, 2026 2026
THEWILL DOWNTOWN THEWILL DOWNTOWN • www.thewilldowntown.com • www.thewilldowntown.com
FASHION
HOW TO LOOK STYLISH WITHOUT WEARING HEELS PAGE 4
BY DORCAS AKINTOYE
Y
ou do not need to wear heels to look stylish. While heels can make an outfit look dressy, they are not the only shoes that can give you a polished appearance. Whether you are going to work, attending a wedding, meeting friends, or going on a date, you can create beautiful outfits with comfortable, flat shoes. The secret is knowing how to combine your clothes, shoes, and accessories to create a balanced look. From choosing the right footwear to paying attention to small details, this article shows you four ways to put together stylish outfits without wearing heels.
THEWILL DOWNTOWN • www.thewilldowntown.com
Issue No. 299 • November 1, 2026
FASHION CHOOSE SHOES THAT COMPLEMENT YOUR OUTFITS
Your shoes can change the entire appearance of an outfit, so choosing the right pair is important. Thankfully, there are sev eral stylish alternatives to heels, including ballet flats, loafers, pointed-toe fla ts, Mary Janes, and elega nt sandals. For example, you can wear pointed-toe fla ts with tailored trousers an da fitted shirt for a smart, workappropriate look. Balle t flats also pair beautifully wi th skirts and dresses, while loafers can make jeans and a blazer look more polished. For casual ou tings, simple sandals work we ll with wide-leg trousers, shorts, and sundresses.
USE ACCESSORIES TO ELEVATE YOUR LOOK Accessories can make an outfit feel more complete, even when your shoes are simple and flat. Items such as handbags, earrings, necklaces, belts, and sunglasses can add personality and make your appearance more intentional. Add a structured handbag, gold earrings, and a belt, and the outfit instantly feels more dressed up. You do not have to wear several accessories at once. Instead, choose pieces that complement your clothes without overwhelming them.
PAY ATTENTION TO HOW YOUR CLOTHES FIT You do no
t need heels to make your outfi t look flattering. What m atters is how your clothes fit your body and work to gether. Clothes that fit pr operly can make even a simple outfit look more sty lish. For instance, if yo u are wearing wide-leg trousers, pair them with a fitted top to create balance. If you prefer oversized shirts, you can tuck them into straigh t-leg jeans or wear them with a fitted skirt. You can also choose dresses that sit co mfortably on your body, so you don't need heels to com plete the look. Pay attentio n to trouser lengths, sleeve le ngths, and waistlines.
EXPERIMENT WITH COLOURS AND TEXTURES Wearing interesting co lours and mixing different tex tures can make your outfit sta nd out without relying on heels. Instead of choosing the same basic combinations ev ery day, experiment with sh ades and fabrics that work we ll together. If you prefer ne utral colours, introduce one brighter shade through your ba g, top, or shoes. The key is to create combinations tha t feel balanced and reflect yo ur personal style.
Ultimately, you don't need heels to look stylish. With the right shoes, well-fitted clothes, and a few thoughtful accessories, you can create beautiful outfits that make you feel confident and comfortable.
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Issue No. 299 • November 1, 2026
THEWILL DOWNTOWN • www.thewilldowntown.com
PROUD SILVER SPONSOR
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April Kamunde, I Don't Want a Seat at the Table of the Oppressor. I Want a Blanket and Pillow Down By the Ocean. I Want to Rest (2025). Image Courtesy of Afriart Gallery. Used with permission.
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SALLY CHIWUZIE
Issue No. 299 • November 1, 2026
#UNSHAKABLE TRUTHS
UNTOLD TRUTHS @unshakable.is.a.state.of.mind
Tomorrow Is a Terrible Place to Store Your Love
T
here are things we leave until tomorrow because we are certain tomorrow will come - a phone call, an apology, a visit, a conversation we have rehearsed a hundred times but never quite found the courage to begin.
We save the good words for special occasions. We wait for birthdays to celebrate people. We wait for disagreements to become apologies, for distance to become longing, for absence to remind us of presence. Sometimes, tragically, we wait until people can no longer hear us before saying the most beautiful things about them.
Then there are the things we leave unsaid because we assume the people we love already know. Surely they know, but do they? Life has a peculiar way of interrupting our assumptions. Sometimes gently and at other times, with such force that everything we thought we understood is suddenly open to question.
What if we gave our flowers while people could still smell them? Not every expression of love requires a grand declaration. Sometimes it is remembering a detail, making the call, showing up, listening properly or telling someone that their existence has made yours better. Sometimes it is simply refusing to let pride have the final word.
Lately, I have been reminded, with heartbreaking clarity, of just how fragile this business of being alive really is. One moment, we are making plans, filling diaries, worrying about deadlines and discussing what we might do next summer. The next, we are confronted with the uncomfortable truth that life has never promised us next summer, or even next week.
And no, loving openly does not guarantee that we will never be hurt. There is no such bargain. We cannot love our way out of loss or kindness our way into certainty; but surely the possibility of pain cannot be our reason for withholding everything beautiful. I have a saying I return to often: If I love you, you will never have to wonder. It is not a claim of perfection. I will get things wrong. I will have distracted days and moments when my actions fall short of my intentions, but I want the people I love to know it while knowing still matters.
Yet, somehow, we must continue to live, to make plans, to laugh, to love, to believe there is still beauty waiting to find us. Perhaps that is the extraordinary contradiction of being human. Earlier this week, someone referred to me with the Igbo phrase “Onwa na-eti l’ora.” The moon that shines for all. It touched me more deeply than I had expected. I have always described myself as a love enthusiast, not because I have perfected the art of loving, but because I believe love is worth being enthusiastic about, even when it is complicated, inconvenient or frightening. Actually, especially then. The phrase felt less like a compliment and more like a gentle responsibility. After all, the moon does not ask who deserves its light. It does not shine only through the windows of those who have earned its affection. It simply shines.
Of course, human love requires more discernment. We must have boundaries. We must recognise when loving someone does not mean granting them unlimited access to us, but somewhere between protecting ourselves and protecting our peace, have we become a little too careful with our affection? We are quick to say life is short. We repeat it at funerals, write it beneath photographs and whisper it when something terrible happens. Then, remarkably, we return to living as though we have all the time in the world.
Perhaps this is what Onwa na-eti l’ora will mean to me going forward. Not that I must illuminate every room, or carry everyone else's darkness, but that I should never become so preoccupied with preserving my own light that I forget to share it. Perhaps the #Unshakable Truth is that love was never meant to be something we save for later. It is something we are meant to make known while we still can. Because one day, all that will remain of us in someone else's story is how it felt to be loved by us. And wouldn't it be something if they never had to wonder? Tomorrow is a wonderful place to make plans. It is a terrible place to store our love. 'See' you next week.
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Issue No. 299 • November 1, 2026
COVER
THEWILL DOWNTOWN • www.thewilldowntown.com
F
or Fatimah Binta Gimsay, filmmaking has been a journey of curiosity, persistence and a willingness to take creative risks. What began with an opportunity to learn behind the scenes gradually grew into a career spanning television writing, story development, independent filmmaking and directing. After gaining experience on productions such as Hush, MTV Shuga Naija and Slum King, she began developing her own stories, creating films that explore identity, relationships, fear and the complicated choices people make. Her journey reflects the determination of a new generation of Nigerian filmmakers finding ways to tell distinctive stories while navigating the practical realities of the industry. In 2026, Gimsay stepped into a major new chapter with Black Market, a crime thriller she co-wrote and directed. The film follows women drawn into a dangerous cross-border smuggling operation, with their lives taking a devastating turn when a child is kidnapped. Featuring a cast that includes Linda Ejiofor-Suleiman, Lateef Adedimeji, Omowunmi Dada and Scarlet Gomez, the production brings suspense, survival and difficult moral choices to the screen. Yet the film's story extended far beyond the screen. On September 26, 2026, its premiere at Lagos's Tafawa Balewa Square attracted a record-breaking audience of 51,258 people, earning recognition from Guinness World Records for the largest attendance at a film screening in one location. The achievement placed Gimsay and her collaborators at the centre of a remarkable moment for Nigerian cinema.
FATIMA GIMSAY MAKING MOVIE HISTORY WITH BLACK MARKET
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In this exclusive interview with THEWILL DOWNTOWN’s Johnson Chukwueke, we speak with Gimsay about the making of Black Market, the pressures and possibilities of directing a major production, the record-breaking milestone, and the personal experiences that continue to shape her life and creative vision.
THEWILL DOWNTOWN • www.thewilldowntown.com
Your journey began in television writing before expanding into directing. Looking back, which early experience most shaped the filmmaker you have become? I think what has shaped the filmmaker I have become right now was 2020 during the pandemic and also learning about something called “Creative Control.” I was in a very weird space between 2019-2020 when I felt I had gotten so comfortable with writing that it felt like there was a world outside writing. I was seeing names of people that were outside my TV circles, people were doing other things that didn’t involve television. Writing brought structure, and it was like a routine in my life, but it gets to a point where you realise that there’s a bigger world outside of it, especially when you hear of other filmmakers doing other things, and you see other ways people can create. So, in 2019-2020, I was going through that phase of asking myself what was next for me, how long I wanted to stick with this phase of hoping to go from screenwriter to story editor. It almost felt like I was waiting, and I didn’t like the idea of waiting. Then we did Ijo, and when we shot Ijo for the first time, that was my first time directing, and it felt very concrete, it felt nice, I liked the fact that I had a voice, I liked the voice, something different from what I thought I had, and the world liked it, so that’s when I realised that I can keep seeking for more and more beyond my comfort zone. What was the original inspiration behind Black Market, and how did the story develop into the crime thriller audiences have now seen? It was originally a crime thriller; at least when I came on board the project, it was. It had gone through different inspirations, but the goal had always been centred on having a female-led story of women who are trying to survive; that had always been the core of the story. The film explores smuggling, kidnapping and survival. What conversations or realities did you want audiences to reflect on after watching it? For me, it’s mostly the characters I want for them to stick with the people, we did our best to create very real characters. Characters you can relate to, you even meet every day as a Nigerian. Every Nigerian right now is trying to survive in different ways; there’s a good and bad side to it, as there’s always a moral conversation on how you go about your survival, cause your ways will definitely be questioned. We didn’t want to glamorise or demonise the activities of these women in the movie. The idea was to make space for people to have their own opinions of them; we didn’t want to spoon-feed the audience to like or
Issue No. 299 • November 1, 2026
COVER dislike a character. Unfortunatey, you can’t control how the audience will view different characters, but the good thing is, you hope they are inline with how you also perceive these characters cause if that happens, you would be glad that the audience are thinking how you were thinking when you came up with these characters. What was the most challenging creative decision you had to make while directing Black Market? A lot though. So I have been on board from writing to directing, almost all processes of production. There were decisions we had to make- very difficult decisions. You know when you start writing and you are excited, then you have to face different realities, the realities of budget, realities of shooting in Nigeria. Cast fees as well, wanting certain actors, or not not being able to get certain actors, you know, those sort of things. Thankfully, the production team let me be part of certain conversations, so it also helped me as a director to prepare. Even when they shielded me, like they didn’t want me to panic, I was still brought to light about a lot of things, and it helped me prepare for my conversations with other teams like wardrobe, production designers, and more. Yeah, every task was challenging, but it was a good challenge.
know, approaches like that. So I was having private conversations ahead of that, basically building my relationship with them. The film’s premiere attracted 51,258 people and secured a Guinness World Records title. What was going through your mind as the scale of the achievement became clear? Before the premiere, we were all excited. You know when you have an idea, and it begins to come to play, you are getting it done, yeah, so the excitement was there. The nerves began like two weeks before the event cause in my head I was like, okay, this is actually happening. Plus we kept going to Tafawa Balewa Square (TBS) more and more, getting things in place; numbers were increasing, people were talking about it, it just started feeling real. Some days to the event, you get numb cause you are worrying about how it would be. At the event, I was a mess, especially seeing the crowd and the queue outside, and I felt people were going to turn back cause we as Nigerians can be impatient, but I'm forever grateful that people showed up; they didn't have to, but they did. They were with us to the very end, and I am grateful. Within me, I was already trying not to feel bad and was like, okay, we can just get 25,000 max; that would be good too. At least the goal was to try; that was our consolation. So when the counting was done and we hit the numbers, I was numb; I didn’t have a reaction. It wasn't until later that it actually hit me, and I was like, wow. So at that moment I felt like I could do anything. I felt like anybody can bring any project; they should bring it- no worries, I can handle it. I just felt on top of the world.
"The idea was to make space for people to have their own opinions of them; we didn’t want to spoon-feed the audience to like or dislike a character."
How did you approach directing a large ensemble cast, and what did you learn from working with actors such as Linda Ejiofor-Suleiman, Lateef Adedimeji and Omowunmi Dada? You know, I like this question cause now I am processing the largeness of the cast. I was so focused on getting it done that I didn’t really take it in. In my head, I was just approaching it day by day. Firstly, I would be honest that I was scared; I mean, these are well-experienced actors, and they don’t know me like that. Maybe a few know me on a personal level, but not as a director. Like Mr Lateef, this was my first time working with him as a director. I had to be very careful so as not to overdo things while trying to prove myself. I didn’t enter worrying about the scale of the cast, I was focused on each character delivering as the cast was very interesting when I saw it. I guess personal interactions helped as I lined up the cast, knew who I would be talking to each day, like I could be like, oh, I am speaking to Mrs Linda today, you
"I think what has shaped the filmmaker I have become right now was 2020 during the pandemic and also learning about something called “Creative Control.
"For me, it boils down to doing my best, telling stories in a better way. I don’t want Black Market to be the peak of my career."
Who first proposed the record attempt, and how did the team turn what might have seemed like an almost impossible idea into a successful event? So Nora had suggested it first, and asked what we thought about it, and it was a thing of, okay, let’s just do it. To be honest, it was not as if we wanted to prove ourselves worthy of doing things; we wanted to do something different, and to me, it was something different, so I felt like we should try it. I am not speaking for everyone, but for myself now: that target is what I felt gave us the push to keep going and try to accomplish the project. Beyond the headline figure, what did the record mean to you personally as a director, and what do you hope it changes for Nigerian filmmakers? It gave me the motivation and validation I needed that okay this is a good start, I mean, it was my feature film. So I feel like I did well, and I could use this now to start PAGE 9
Issue No. 299 • November 1, 2026
THEWILL DOWNTOWN • www.thewilldowntown.com
COVER good conversations that I am a film director; the proof is there that I can carry out projects, I can get things done; basically, I can do the work. So we have celebrated, now we are on to the next big thing and I have the proof that I can deliver. Outside filmmaking, what does a genuinely relaxing day look like for you, and what activities help you switch off from work? I love music so much, I love my music, I love making music playlist so much. I used to be a home baker. I love baking, and I said I used to be because it’s been a long while since I've been involved in it. I love different de-stressing activities like watching Tik-Toks, going to the beach, listening to music, watching different stuff cause my attention span is messed up right now, but really, a good relaxing day for me is me chilling, relaxing, not doing anything stressful, have music, on, or a reality show, and even doing amebo with my friends. What is something about your personality or
everyday life that people who know you only through your films might be surprised to discover? People who know me through my films think I am a mean person, but I don’t even like wahala. I hate stress, so the characters in my films that are quite mean, I am the opposite of that in person. Even in an argument, I like clearing things up quickly. I don’t like confusion; I like to know where I stand. Basically, I don’t like stress.
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When you look beyond Black Market and the recordbreaking milestone, what kind of life and creative legacy do you hope to build for yourself? I hope to be known as the filmmaker who is a doer. Not just trying, but actually doing it. I like that word “Doer”; I like the compliments that come with it,
and it has helped me come this far in my career. Even after this success of Black Market, there is still pressure and anxiety about what comes next and how to continue the success. For me, it boils down to doing my best, telling stories in a better way. I don’t want Black Market to be the peak of my career. As beautiful as the record is and as much as it will always be a part of me, I still want something bigger, and that’s why I am going to keep pushing myself and be known as a doer.
THEWILL DOWNTOWN • www.thewilldowntown.com
Issue No. 299 • November 1, 2026
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Issue No. 299 • November 1, 2026
THEWILL DOWNTOWN • www.thewilldowntown.com
LUXURY SILK
ADA " OBIAJUNWA @aaddaahh
"
T
he woman beside her had been laughing for nearly ten minutes.
OKAY, MY DEAR "Are you sure?" She ended the call. Titi sent laughing faces. Then: I'm looking forward to it. On Saturday, Titi sent photographs of two dresses. Which one? She chose the blue.
"You're terrible," the woman said, reaching for her glass.
At four: I'm ready. The play was at six. She was still deciding what to wear. Titi had sweets in her handbag. She offered one before they reached the main road. "What?"
The story was about a wedding in which the bride's mother changed clothes three times before the couple cut the cake. "Three?" "Three. By the second outfit, she was receiving guests as though she was the one getting married." Someone asked what the third outfit was for. "Photographs. Apparently the first two didn't photograph well." The table erupted. Across from her, Titi shook her head. "You people should enjoy her tonight." "Why?" "Because you might never see her again." She raised her glass to Titi. "It's true." "But she's so much fun," the woman said. "Exactly," Titi said. "That's how she deceives everybody." She had heard this warning so many times that she sometimes joined in before Titi finished. "Don't collect my number expecting anything," she told the woman. "Why?" "Because I won't come." The woman laughed, assuming it was a joke. "She's serious," Titi said. She was. She just didn't need any of it to have a good Saturday. Titi's husband liked being at home. Her children could spend whole weekends in their rooms without noticing it was Saturday. "Let's go somewhere," Titi would say. "Where?" "Anywhere." "Titi." "Just come." Sometimes she agreed. On the day itself, Titi's phone would light up.
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"Nothing." "Why are you smiling?" "Am I not allowed to smile?" "You're behaving as if I've never left my house before." Titi looked at her.
My dear, I don't think I'm going to make it. At first, Titi called.
She laughed. "Face front." At the interval, "What they met happened?" someone Titi "Nothing." knew. Within "Then come." minutes, the "I'm tired." three of them "You haven't done anything!" were discussing a restaurant that had just "Exactly. And I want to continue." opened and a woman whose birthday party There were tickets for performances she never attended. had continued long after she'd gone home. Restaurant reservations adjusted from two people to one. Invitations accepted on Tuesday and reconsidered When the bell sounded, Titi caught her arm. on Saturday. "Come. Before you find another person to Then Titi stopped arguing. talk to." "There's something on Saturday," Titi would say. "I'll In the second act, she laughed so loudly that send it to you." the woman in front turned around twice. "Okay." "And please, don't start giving me stories." At home, she took off her earrings. Unfastened her bra, slipped one arm out, When she cancelled, Titi no longer called. then the other, and pulled it free beneath her "Okay, my dear." blouse. That was all. One Thursday, weeks later, she saw an advertisement for a play. She read the description, checked the date and sent it to Titi. Are you free on Saturday? Let's go and see this. Titi called at once. "Who is this?"
Her phone rang. "We had a good time." "We did."
She laughed. "What's wrong with you?" "I'm just checking that somebody hasn't stolen your phone." "Do you want to go?" "Of course!"
A few minutes later, another message arrived. I've sent you the other play I was telling you about.
"Then I'll buy the tickets." "Should I buy my own?" "Titi, I'm buying both." "Okay, my dear." A pause.
"The woman in front turned around twice." "Go and sleep." "Okay, my dear. Thank you for today."
There was a photograph of the cast and a date. She read it. No pressure, o. She smiled and turned off the lamp.
THEWILL DOWNTOWN • www.thewilldowntown.com
Issue No. 299 • November 1, 2026
BEAUTY
EVERYTHING YOU NEED TO KNOW ABOUT SLUGGING BY DORCAS AKINTOYE
I
f your skin often feels dry, tight, or rough, slugging may be worth trying. The skincare method has become popular because it is simple, affordable, and does not require a shelf full of products. Slugging means applying a layer of an occlusive product, usually petroleum jelly, as the last step in your night routine. It creates a protective layer over your skin, helping to reduce water loss while you sleep. However, slugging is not simply about covering your face with petroleum jelly. How you do it matters, especially if your skin is oily, acne-prone, or easily irritated.
START WITH CLEAN SKIN Always begin with a clean face. Gently wash your face to remove makeup, sweat, dirt, and excess oil before applying your skincare products. Slugging creates a barrier over the skin, so you do not want to trap dirt underneath it. After cleansing, you can apply your usual hydrating products, such as a gentle moisturiser or a hydrating serum, before the occlusive layer.
APPLY YOUR MOISTURISER FIRST Slugging works best when you do not use petroleum jelly as your only skincare product. Apply your normal moisturiser first and give it a little time to settle. The moisturiser adds hydration, while the occlusive layer helps slow down water loss from the skin. Think of the petroleum jelly as a seal, not the main source of moisture.
USE A THIN LAYER More is not always better. You do not need a thick, heavy coating that leaves your face feeling uncomfortable. A thin layer is usually enough to cover the skin and create that protective barrier. Apply a small amount and spread it gently across your face. If your pillow becomes greasy or your skin feels suffocated, you are probably using too much.
CHOOSE THE RIGHT TIME Slugging is usually best done at night because the product can sit on your skin for several hours without interfering with makeup or daily activities. You can use it a few nights a week rather than every night, especially when you are just starting. Pay attention to how your skin responds and adjust your routine accordingly.
KNOW WHEN TO AVOID IT Slugging does not suit everyone. If you have very oily or acne-prone skin, a heavy occlusive layer may feel uncomfortable and could clog pores for some people, especially when combined with unsuitable products underneath. Avoid slugging over active skin infections or irritated, broken skin. If you notice new bumps, irritation, or worsening breakouts, stop and simplify your routine.
Slugging is best seen as a simple way to protect your skin barrier, not a miracle treatment. When done properly, it can help dry skin feel softer and more comfortable by reducing overnight moisture loss. It can be especially useful during dry weather or after using products that leave your skin feeling dry, but gentle skincare should always come first.
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Issue Issue No. 299 November 1, 2026 No.•299 • November 1, 2026
THEWILL DOWNTOWN • www.thewilldowntown.com THEWILL DOWNTOWN • www.thewilldowntown.com
FITNESS
The Lazy-Day Workout
SIMPLE EXERCISES FOR WHEN YOU HAVE NO MOTIVATION
BY NATO CHIMA
S
ome days, even putting on your workout clothes feels like too much effort. You know movement is good for you, but between work, errands, poor sleep and everyday stress, a full workout can feel impossible. The solution is not necessarily to force yourself through an intense routine. Sometimes, you need a simpler plan that gets you moving without demanding too much energy. Here are some practical ways to stay active.
START WITH A FIVEMINUTE WALK
Forget the hour-long walk. Put on comfortable shoes, set a five-minute timer and walk around your compound, street or living room. If going outside feels like too much, march in place while listening to your favourite song. Keep a comfortable pace and focus on moving rather than burning calories. When the timer ends, you can stop or continue for another five minutes if you feel better.
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TRY THIS SIMPLE CHAIR WORKOUT You do not need a gym or equipment for a quick strength session. Find a sturdy chair and complete the following mini-circuit. Chair stand: sit down and stand up 8–10 times, using your hands for support if needed. Wall push-ups: place your palms against a wall and complete 8–10 controlled push-ups. Calf raises: hold the chair for balance and lift your heels 10–15 times. Rest for 30–60 seconds between exercises. Complete one round, or repeat it if you still have energy. Move slowly and stop if you feel pain, dizziness or unusual discomfort.
TURN CHORES INTO MOVEMENT
If a formal workout sounds exhausting, use tasks you already need to complete. Put on music while sweeping, dance while preparing dinner, walk around during phone calls or take the stairs instead of the lift when practical. Choose one task and stay active for 10 minutes. These activities may not replace every structured workout, but they help reduce prolonged sitting and make movement easier to maintain.
FOLLOW THE TEN-MINUTE RESET Set a timer and divide your workout into three manageable parts. Spend three minutes marching gently in place, three minutes alternating between chair stands and wall push-ups, then four minutes stretching your shoulders, calves and thighs or taking a slow walk. Keep the intensity comfortable enough that you can still speak in full sentences. Once the timer rings, you are done. No extra rounds are required.
MAKE REST PART OF THE PLAN Not every low-energy day needs exercise. If you are ill, dizzy, unusually exhausted or recovering from an injury, prioritise rest and seek medical advice when appropriate. Otherwise, try gentle movement and reassess how you feel. Prepare your workout clothes beforehand, keep your routine simple and aim for consistency rather than perfection.
Your lazy-day workout does not need to be impressive; it needs to be achievable. Some days, you may manage ten minutes; other days, a short walk will be your win. The goal is to build a sustainable relationship with movement, not to punish yourself for having a low-energy day.
THEWILL DOWNTOWN • www.thewilldowntown.com THEWILL DOWNTOWN • www.thewilldowntown.com
Issue No. 299 • November 1, 2026
TRAVEL
Top Five Interesting Places to Visit in Barbados BY OLAMIDE ABOLARIN
B
arbados is one of those places that quietly get under your skin. Most people arrive expecting beaches and rum cocktails, and yes, there is plenty of that, but stay long enough, and you will discover that this small Caribbean island has a personality far richer than images suggest. Here are five places that make Barbados truly worth the trip.
HUNTE’S GARDENS HARRISON’S CAVE
Harrison’s Cave is a living limestone cavern filled with shimmering stalagmites, underground streams, and turquoise pools that glow in the dim light. The natural wonder lies underneath the green hills of central Barbados. It is quiet, cool, and completely unlike anything above ground. Whether you are a first-time visitor or a seasoned traveller, nothing prepares you for how beautiful it is down there.
OISTINS FISH FRY
BATHSHEBA BEACH Bathsheba sits on the rugged east coast of the island, and it is nothing like the calm, polished shores most visitors come for. Giant rocks rise from the churning Atlantic, the wind is wild, and the landscape feels almost untouched. It is the kind of place you visit once and never quite get out of your head. No beach bars, no crowds; just nature doing exactly what it wants.
Every Friday night, the small fishing town of Oistins transforms into the beating heart of Barbadian culture. Vendors dominate the streets with freshly grilled fish. The smell of seasoning fills the air, and music spills out from every corner. It is not a tourist attraction; it is simply what Bajans do on a Friday night, and visitors are warmly welcomed.
Hunte’s Gardens feels like stepping into another world entirely. A horticulturist, Anthony Hunte, created the natural gully in the heart of Barbados over decades. The garden is filled with exotic plants, and classical music plays softly in the background. It is the kind of place that slows you down in the best possible way.
GUN HILL SIGNAL STATION Gun Hill Signal Station is a 19th-century British military outpost that has been watching over Barbados for nearly two hundred years. The climb is worth every step. From the top, you get an interesting view of the entire island stretching all the way to the Caribbean Sea. The history is fascinating, the architecture is beautiful, and the view alone makes it one of the most rewarding stops on the island.
Barbados rewards the curious traveller. Beyond its famous beaches and world-class hospitality lies an island full of character, history, and quiet surprises. Whether you are standing inside a glowing cave, eating grilled fish by the sea on a Friday night, or watching the whole island spread out below you from a hilltop, one thing becomes clear — Barbados is far more interesting than anyone gives it credit for.
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Issue No. 299 • November 1, 2026
OLAMIDE ABOLARIN
THEWILL DOWNTOWN • www.thewilldowntown.com
CULTURE
THE COST OF GRINDING WHAT HUSTLE CULTURE IS QUIETLY TAKING FROM US
T
here is a particular kind of pride that comes with being busy in Nigeria. Ask someone how they are doing and the answer is almost always some variation of the same thing: "I am hustling," "I am grinding," "I am on the move." Busyness has become the default response, the acceptable answer, the thing you say to signal that you are serious about your life. In a country where the stakes are high, and the safety nets are thin, that makes a certain kind of sense. But somewhere along the way, the hustle stopped being a means to an end and became the end itself. And that shift is costing people more than they are willing to admit. Hustle culture did not arrive in Nigeria without context. It grew out of an economy that does not reward passivity, a job market that demands more than it gives, and a society that has always valued visible achievement. When the system is unstable, working harder feels like the only reasonable response. The grind became a survival strategy, and survival strategies are hard to argue with. What started as necessity has hardened into ideology. Now, rest is laziness; sleep is for the unserious. If you are not building something outside of your nine-to-five, you are falling behind. The person who works the longest hours is quietly admired. The person who admits to doing nothing over the
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weekend feels the need to apologise for it. Busyness has become a status symbol, and
the busier you appear, the more seriously you are taken. What this ideology does not account for is the damage it leaves
running on empty are so common that they have stopped being warning signs and started being accepted as normal. The cost goes beyond the physical. Hustle culture has a particular way of shrinking a person's world. Relationships require time and presence, and those are the first things the grind consumes. Friendships become something people intend to maintain but never quite get around to. Romantic relationships suffer under the weight of two people who are both too tired and too distracted to show up fully for each other. And because everyone around you is in the same position, it starts to feel normal. When everything you are is tied to what you produce, the question of who you are outside of work becomes genuinely difficult to answer. People lose touch with the parts of themselves that exist simply for the sake of existing, and by the time they notice the loss, they are not sure how long it has been happening. The uncomfortable truth about hustle culture is that it rarely delivers what it promises. As much as there are people whose relentless grinding led to the life they were working toward, there are many more who grind so hard yet arrive at a destination that looks nothing like what they imagined. The constant grind has shifted the reward, and the version of success that was supposed to make all the sacrifice worthwhile turns out to require even more sacrifice to maintain.
behind. The most obvious cost is physical. A body that is never allowed to recover eventually finds a way to stop on its own. Exhaustion becomes chronic. Sleep becomes something people negotiate with rather than something they actually get. Headaches, burnout, and a general sense of
This is not an argument against ambition. Ambition is not the problem. The problem is a culture that has confused ambition with punishment and made people feel guilty for resting, slowing down, and wanting a life that is about more than output. The grind is not a personality. It is not an identity. And it is certainly not something worth losing everything else for. The cost of grinding is real, and it is time Nigerians knew this.
THEWILL DOWNTOWN • www.thewilldowntown.com
Issue No. 299 • November 1, 2026
DÉCOR
What to Buy First When Decorating a New Home BASIC SEATING (SOFA OR CHAIRS) After your bed, the next important thing is somewhere to sit and relax. A simple sofa, a set of chairs, or even floor cushions can work depending on your budget. This is important because your living area is where you will spend time with family, guests, or even yourself after a long day. Choose something neutral and strong. You can always upgrade later, but start with something useful and comfortable.
LIGHTING ESSENTIALS Lighting changes everything in a home. Even a beautiful room can feel dull without proper light. Start with basic ceiling lights or standing lamps for each main room. Warm light is usually better because it makes the space feel calm and welcoming. If your home feels empty or cold, good lighting can fix that quickly without much decoration. Later on, you can add decorative lamps or stylish light fixtures, but start with the basics first so every room is usable.
BY DORCAS AKINTOYE
M
oving into a new home can be exciting but also overwhelming. You look around empty rooms and wonder where to start. The truth is you don’t need to buy everything at once. Decorating works best when you start with the basics and build slowly. This will help you settle in comfortably while also setting the foundation for your full home style later. Here are five important things to buy first when decorating a new home.
A COMFORTABLE BED AND BEDDING
Your bed should be your first priority. No matter how nice a house looks, it won’t feel like home without proper rest. A good mattress, pillows, and bedsheets help you sleep well and adjust faster to your new space. Start with simple, clean bedding colours like white, cream, or soft grey. These colours match easily with any future decor style. You don’t need expensive designs at the beginning. Comfort is more important than style here.
CURTAINS OR WINDOW COVERINGS Many people forget this step, but curtains are very important. They give you privacy, control sunlight, and also make your home look complete. Even simple curtains can change the look of a room. Choose light or neutral colours at first so they match different styles you may add later.
STORAGE ESSENTIALS
A new home can easily become messy if there is no storage plan. Start with simple storage items like shelves, baskets, plastic organisers, or cabinets. These help you keep things in order while you settle in. You don’t need fancy storage furniture at the beginning. Just focus on keeping your space neat and easy to manage.
Decorating a new home is not about doing everything at once. It is about starting with what matters most. When you focus on comfort, light, and organisation first, your home naturally becomes easier to build and style over time. PAGE 17
Issue No. 299 • November 1, 2026
THEWILL DOWNTOWN • www.thewilldowntown.com
BEAUTY IN THE MOTHERLAND 2026
T
he 2026 edition of Beauty in the Motherland (BITML) has attracted over 15,000 attendees and more than 300 exhibitors, bringing together beauty entrepreneurs, manufacturers, investors and industry leaders in Lagos. Held from October 5 to 7 at the Eko Convention Centre, Eko Hotel & Suites, Victoria Island, the event featured exhibitions, product showcases, business discussions and networking sessions focused on Africa’s beauty and personal care industry. The gathering explored key industry issues, including local manufacturing, access to finance, product innovation, distribution, branding and international market expansion. Founded in 2023 by Beatrice Nnadili Eneh and co-founded by Linda Edozien, BITML aims to strengthen Africa’s beauty industry through enterprise development, investment and commercial partnerships. This year’s edition also advanced the platform’s Vision 2030 ambition to help build a $100 billion African beauty industry, with greater emphasis on local production and global competitiveness.
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THEWILL DOWNTOWN • www.thewilldowntown.com
Issue No. 299 • November 1, 2026
DOWNTOWN CONFIDENTIAL
s e l c i n o r h c ’s y s s ca
THREE IS NOT A CROWD
exciting. I won't lie. I was surprised. In our three years together, Femi had never given me a reason to think he wanted something like this. Strangely, I wasn't angry. I was curious. “Okay,” I said. His eyes widened. “Okay?” “Yes. But you're the one bringing the person.”, I replied. He laughed, pulled me closer, and kissed my forehead. Two weeks later, he brought Teni home. She was light-skinned, curvy, and had a soft voice. She looked like the kind of girl who would be shy, but the moment we started drinking, she loosened up. Femi kept pouring wine for all of us, and before long, the three of us were laughing and touching each other. When we moved to the bedroom, Femi kissed me first, then turned to Teni. I watched them kiss and felt a strange heat between my legs. I joined them on the bed, and soon Teni's hands were on my breasts while Femi pulled off my pants. She sucked my nipples while Femi kissed my stomach, moving lower until his tongue found my lady bits. I moaned loudly, surprised at how good it felt.
I
never thought a day would come when I would share the same bed with another woman with my man.
If anyone had told me this six months ago, I would have laughed in their face. Me? Sharing my boyfriend with another woman? Never. But life has a funny way of making you question things you once swore you would never do. It started on a Friday night. Femi and I were lying in bed, scrolling through our phones,
when he suddenly asked, “Baby, have you ever thought about having a threesome?”
Then Femi entered me from behind while Teni licked my clit. The feeling was too much. I came hard, shaking and calling his name. Then Teni lay on her back, and Femi shagged her while I sat on her face. Her tongue worked fast on my lady bits as he thrust into her. I leaned forward and kissed Femi, tasting Teni's lip gloss on his mouth.
He laughed nervously. “I’m just asking.”
We changed positions again. This time, I lay on my back while Teni sat on my face and Femi shagged me. I licked her until she came, her juices dripping down my chin. Femi pulled out and came on my stomach, breathing heavily.
“Femi, answer me. Is this a question or a suggestion?”
Afterwards, we all lay there, sweaty and tired. Teni left around midnight, and Femi held me close.
He dropped his phone and faced me. Apparently, it was something he had been thinking about for a while. He wanted us to try something different, and he thought having another woman in the picture would be
I thought the experience would make me feel jealous or dirty, but instead, I felt closer to him. It was strange and new, but it didn't destroy us. If anything, it made our sex life more exciting. I still don't know if we will do it again, but for now, I'm glad I tried it.
I turned to look at him. “Threesome? With whom?”
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Issue No. 299 • November 1, 2026
THEWILL THEWILL DOWNTOWN DOWNTOWN •• www.thewilldowntown.com
BY BOLUWATIFE ADESINA Scan this with your camera or click to access the playlist (Youtube Music)
MOVIE REVIEW:
Clayface
Scan this with your camera or click to access the playlist (Spotify)
powered by artificial intelligence that can regenerate dead human tissues. Surely this unapproved therapy powered by unchecked AI will work exactly as planned!
I
n all ways, Clayface is a shapeshifter. At least eight different men and women have used that moniker in the pages of DC Comics. Every decade or two, a new person decides “Hey! I wanna be Clayface now!” and they annoy Batman for a couple of issues with a cosmically ironic ability to morph their bodies and look like other people — at the cost of their souls. In 2026, DC Studios called upon Clayface to change shapes yet again: Into the antihero of the company’s first out-and-out horror movie. Their Clayface is a surprisingly graphic creature feature, one that owes as much of its tone and style to classic Universal monster movies as to the comics in which the character originated. The film’s Clayface — who’s technically an amalgam of multiple versions of the character from comics and cartoons — is an up-and-coming actor named Matt Hagen (Tom Rhys Harries). Matt’s got it all: a burgeoning Hollywood career, his first Oscar nomination, and best of all, a truly magnificent face. With his chiselled cheekbones, sharp jaw, and piercing blue eyes, the dude looks like a star. Or he did look like a star until he pissed off Gotham City mobster Markos Szabo (David Dencik), who retaliates by slashing the actor’s face into a million pieces — slowly and graphically on camera. The unsuccessful reconstructive surgeries that follow are equally gnarly. (Who knew noses looked like that on the inside? I sure didn’t!) And generally Clayface is way gnarlier and nastier than you anticipate from a film about a mid-tier Batman villain. It will almost certainly satisfy gorehounds looking for explicit thrills at the cinema this Halloween season. Matt tries to sue Szabo, but the mob controls the Gotham City legal system. (Where’s a costumed vigilante who turns himself into a bat to make his enemies share his dread when you need him?) With his looks, finances, and prospects all destroyed, a desperate Matt turns to a daring scientist, Dr. Caitlyn Corr (Naomi Ackie), who has invented a “nanocell”
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Matt wants his life back and begs Caitlyn to become her first human test case. Moved by Matt’s story (or possibly swayed by his impressive acting skills), she eventually acquiesces. The initial nanocell infusions look promising until unforeseen side effects crop up. (“Side effects,” Matt mutters, his face melting off his skull like he’s in a Salvador Dali painting, same difference.) Frustrated by the pace of his recovery, and enraged that Szabo and his cronies destroyed his life with zero consequences, Matt takes matters into his own hands and injects himself with all of Caitlyn’s nanocells. This, as you might suspect, turns him into a bit of a, well, let’s call him a bit of a Clayface. Like many of cinema history’s best monsters, Matt Hagen is a pitiful but terrifying creature, one driven by a fatal flaw and cursed with incredible powers that warp his mind and transform him into a gruesome beast. Visually, Clayface pulls very few punches. Director James Watkins does an admirably grotesque job of depicting Matt’s gloppy descent into DC supervillaindom. When Matt’s eyelids begin to fuse shut on a cross-country flight, for example, Watkins and cinematographer Rob Hardy get right up close in Rhys Harries’ face as he tries to tear apart the fleshy strands covering his eyes with his bare hands. Then they creep even closer when he begins snipping away at his (clay) face with a pair of grooming scissors. The gags only get more repulsive from there. (complimentary.) Rhys Harries very much looks the part of a young Hollywood hunk, and he throws himself into Matt’s disgusting transformations. But for reasons I can’t quite understand (maybe an effort to make Matt a little more sympathetic?) Clayface’s screenplay by Mike Flanagan and Hossein Amini gives the character a backstory as a downtrodden street kid from the wrong side of the tracks in Gotham City, whose incredible gift for chameleonic performances extends to his construction of his entire movie-star persona. That choice to make Matt this brooding blue-collar guy doesn’t really match Rhys Harries’ physicality or his temperament, and every time the movie asks us to buy this boyish heartthrob as an uncouth galoot, it stretches credulity further than the skin on Matt’s face when he gets agitated. (Max Minghella is far more convincing as Caitlyn’s supportive boyfriend, the only honest cop in the Gotham City Police Department.) I can’t say I got particularly caught up in Matt Hagen’s fall from grace, or the muddy characterisation of his subsequent quest for stretchy-skinned revenge. Still, I did enjoy spending time in the seedy, sleazy world of Gotham City, and basking in Watkins and Flanagan’s dryly sadistic vibes. Let’s not mince words: Clayface is a pretty gross dude. He’s a walking pile of muck. If you’re gonna make a movie about him, it better make audiences squirm. As a tragic character study of a broken man, Clayface never really digs below the surface. As an amusingly icky horror movie, it actually does get under your skin. Yucky and difficult to look at (Complimentary)
Rating: 7/10
Alewya - Lingo
Tmaro - Ten Ten
Victoria Monét - Juicy
Logic - Wake Up - feat. Lucy Rose
INSTASAMKA - POPSTAR
Juls - YOU KNOW I'M DOWN
WATCH OF THE WEEK
VISIONQ U EST
A
fter five years and many other shows, Marvel returns to its original, and arguably best, small-screen project. 2021’s WandaVision was the studio’s most ambitious swing, putting Wanda Maximoff (Elizabeth Olsen) and her supposedly dead love, Vision (Paul Bettany), into a surreal sitcom world she created to avoid processing her grief. VisionQuest picks up the title character’s solo story in a sometimes fun, overly complicated off-shoot that lacks its progenitor’s light touch. After the loss of Wanda and his two fictional children, Vision is now working in a pub in Scotland, hoping not to attract attention. He lives a rich internal life, literally. In his digital mind, Vision shares a big house with other artificial entities from the MCU, including J.A.R.V.I.S. (James D’Arcy), F.R.I.D.A.Y. (Orla Brady) and, perhaps unwisely, his creator, Ultron (James Spader). Despite possessing the sum of all human knowledge, Vision is still working out who he is, a question further complicated when he meets Tommy (Ruaridh Mollica), who claims to be his child, one who cannot logically exist. Over eight episodes, Vision tries to answer his questions of identity while, naturally, being hunted by mysterious forces. VisionQuest exemplifies something that’s become tricky for the larger Marvel franchise, which sometimes treats plot like a memory quiz, testing how much you’ve been paying attention over the years. This plucks from across the Marvel Cinematic Universe, all the way back to Iron Man, in a way that’s quite clever in tying together disparate elements and might be thrilling
to dedicated fans, but is verging on hostile to the casual viewer. If you watched WandaVision, the Avengers movies and Doctor Strange In The Multiverse Of Madness, you should be fine, though if you didn’t bother with, say, Agatha All Along, certain key moments won’t land. All the elements
for a great time are here — if only it were less of a test of who’s done their homework. It ties the story up in a slightly messy knot rather than a neat bow, but VisionQuest feels like a fitting enough conclusion for one of the MCU's most beloved characters.