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ADJETEY ANANG: “Ladies Constantly Hit On Me



GREATER ACCRA – June 29, 2020/ – Renowned Ghanaian Actor Adjetey Anang was the recent guest on Instagram Live Sessions with Nana Adwoa Sarkodie.

Discussing the topic “Waiting On God”. Adjetey Anang said

“If you’re waiting on something, there must be a sense of belief that you would get what you’re waiting for. You wait in anticipation. Just like David who was anointed to be King at 16, he waited till he was 30 before becoming a King”.

He described his own predicament waiting on God for a child after several years of marriage.

“It was really hard waiting for 7 years to have a child after marriage. In hindsight I can put it in perspective and encourage others. The wait was worth it because it increased my faith.”

He stressed it was difficult sometimes with the glimmer of hope when they’re expecting and all of a sudden a miscarriage happens.

“People also made it difficult by always suggesting solutions and offering unnecessary sympathy. Even though it came from a place of concern, it only made things worse for my wife and I” he said.

Speaking about his career, the multiple award winning actor recalled that he started off being concerned with showcasing his talents and following his passion. The fame came along unexpectedly and he learnt how to adapt and make a living out of it.

“One of the things I did to stay relevant to this point is adding value to what I do. Talent is good but it’s not enough. And so immediately I realized that, education became something I couldn’t negotiate on. I think that’s one of the things that really made me accessible to all walks of life and the business aspect as well” he added.

Asked about how he combines being an astute Christian with working in such an industry, he responded;

“When Jesus commanded his disciples to go into the world and make disciples of all nations, he didn’t specify and I believe He wanted us to go into places that are usually alluded to as sinful and use our influence to impact those industries. So I chose acting because I found fulfillment there and saw it as an opportunity for ministration as well. Where there is darkness, you shine your light.”

However he insisted that he doesn’t go to work with a judgemental or condemnation spirit but rather to negotiate and showcase his values to others. “I live by example and not by speech. That has helped me to sustain this quest to make a difference in the industry.”

Adjetey Anang admitted that he’s sometimes challenged with creating different personas for similar characters when acting.

“The other challenge I constantly deal with is the attention I get from the opposite sex. It never gets to a point where I can say I’m done with that. It’s a daily battle. The ladies are bold, they come at me. But the Bible even tells us to flee from such temptations” he revealed on a lighter note.

He encouraged young upcoming actors to thread cautiously and endeavor to leave a legacy rather than focus on the fame and money.

“If you’re a Christian, there are certain qualities you can’t part away with and prayer is important in keeping a good character. Bad company would produce bad character so you have to sift who your friends are and who you hang out with on a daily basis, because before you know it you’re speaking their language. You have to be careful that the quality of friendship you keep is not impacting on you negatively.”

You can re-watch the full interview on Youtube or Instagram via Nana Adwoa Sarkodie.

In Theatres

Charlize Theron’s ‘The Old Guard,’ Netflix’s Most-Watched Movie, Is Another Franchise-Starter That’s Just Set-Up For The Sequel



Netflix’s The Old Guard is a $70 million prologue to a sequel that, even with strong initial viewership, may never actually get made

As expected by everyone paying attention, The Old Guard, directed by Gina Prince-Bythewood and written by Greg Rucka (and adapted from on his comic book), is this morning’s most-watched movie on Netflix NFLX -4.2%. It would be something of a calamity if the film wasn’t at least in the top ten, considering the media attention and star power (specifically Charlize Theron in the lead role) for this $70 million comic book/superhero movie, although the idea of it earning mostly positive reviews and still ending up behind the likes of Unsolved Mysteries and The Lorax would have qualified as an all-too-fitting metaphorical irony. Nonetheless, we’ll see if it has any more staying power than, offhand, Eurovision, or whether it’s a one-week wonder.

If it continues to stick around, then I’d argue that the film will be an example of a rare movie that broke the cardinal rule of franchise-building and got away with it. There’s plenty to admire about The Old Guard, such as the strong performances (Chiwetel Ejiofor gets several lovely moments), an emphasis on character interaction over spectacle and the unapologetic LGBTQIA representation that plays like a dare to “old Hollywood” to get its act together. However, I didn’t care for the film as much as many of my (very smart) peers because it played less like a movie and more like a TV pilot or feature-length prequel to the next chapter. Yes, in a skewed way, it played the same game that usually dooms franchise-starters.

To be fair, the film, which stars Theron as the unofficial leader of a small group of seemingly immortal mercenaries, doesn’t quite err as badly in this regard as Josh Trank’s Fantastic Four, Jon M. Chu’s Jem and the Holograms or Kenneth Branagh’s Artemis Fowl. The 124-minute, R-rated actioner does give you enough of “what you came to see,” namely Theron and her team (along with new recruit Kiki Layne) killing bad guys and looking cool while doing it. Its sins in this “glorified TV pilot” arena are more about how much of the film is spent with past-tense exposition and world-building, as well as leading to a conclusion that merely teases a more interesting status quo/more interesting movie than the one we got. Most Popular In: Hollywood & Entertainment

I didn’t think the action scenes were all that engaging, as there seemed to be a disconnect between the poignant conversations about morality and mortality and the deluge of faceless murdered goons who may be less “bad guy” and more “security personal just doing their job.” That’s always been a pet peeve with me (see also: The Matrix lobby massacre). Otherwise, the action sequences are indeed well-staged and well-edited by Terlyn Shropshire. But the core issue, to the extent that it matters, is the fact that The Old Guard didn’t feel like a singular feature. No spoilers, but it felt like set-up for the actual movie, with (like Elizabeth Banks’ Charlie’s Angels) that obnoxious “You’ll get to see this cool adventure… next time!” tease.

The question is whether that this film debuted on Netflix and not in theaters merited the presumption that we’d get another one of these. You can argue Jurassic World: Fallen Kingdom acted as glorified set-up for Jurassic World: Dominion, but A) Fallen Kingdom felt like a stand-alone movie and B) Jurassic World earned $1.671 billion worldwide so its sequel being successful enough to merit a third film felt like a safe bet. And it’s entirely possible that Netflix will announce on Monday that The Old Guard 2 is “in development.” Save for (offhand) To All the Boys: P.S. I Still Love You and The Kissing Booth 2 (debuting July 24), it’s not like Netflix’s library is filled with sequels to their successful originals.

It’s a little ironic that The Old Guard premiered just days before the 20th anniversary of Bryan Singer’s X-Men, a film that felt like a new kind of franchise-starter, one that played like a TV pilot that ended with a glorified “To be continued!” The whole “first movie is set-up” gambit, inspired by comic books and episodic TV which can spend the first issue/episode on table-setting, is now almost a sub-genre unto itself. What was unusual in 1985 with Remo Williams: The Adventure Begins (still waiting for that adventure to begin…) is now almost par for the course. But its application in cinema (Jem, Warcraft, Fantastic Four, Ridley Scott’s Robin Hood, The Man from U.N.C.L.E.) almost always results in a one-and-done franchise.

I like the folks involved with The Old Guard. Prince-Bythewood’s Beyond the Lights and Therons Atomic Blonde are modern genre classics and I loved Rucka’s run on Detective Comics in the early 2000s. I will express artistic disappointment and still cheer commercial success. If we do get The Old Guard 2 which gives us an adventure based on the notions teased out at the end of this movie, it will be a somewhat unprecedented victory. However, if The Old Guard is a hit but the sequel still ends up in the same development hell as Bright 2, then it’ll be just another feature-length tease for a franchise that never actually came to be. Considering Netflix’s self-proclaimed status as a Hollywood disruptor, that would be bitterly ironic.

Scott Mendelson/

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Movie News

Ghanaian Actor, Michaela Coel, Reveals Why She Turned Down Netflix’s $1 Million Offer for ‘I May Destroy You’



British-Ghanaian actor, Michaela Coel can largely credit her breakout success in the U.S to Netflix, the domestic distributor of her acclaimed comedy series “Chewing Gum.” She fronted the 2018 Netflix musical film “Been So Long” and Netflix also released “Black Earth Rising” starring Coel, outside the United Kingdom in 2019.

This would have made Netflix a natural destination for Coel’s latest project, “I May Destroy You,” but the creator walked away from a mega-deal in order to maintain ownership of the series.

In a new profile published by Vulture, the actor reveals that Netflix made her an offer for “I May Destroy You” in spring 2017 worth $1 million. The series is based on Coel’s personal experience of being sexually assaulted during the making of “Chewing Gum.” Coel, who wrote all 12 episodes of the series and co-directed nine, stars as a young writer struggling to come to terms and process a recent assault. Coel turned Netflix’s $1 million offer down because they wouldn’t allow her to retain any percentage of the copyright. The creator even ended her relationship with CAA after it “tried to push her to take the deal” with Netflix since CAA “would be making an undisclosed amount on the back end.”

Coel told Vulture that she tried negotiating with “a senior-level development executive at Netflix” in order to retain “at least 5 percent of the copyright.” According to Coel, “There was just silence on the phone. And she said, ‘It’s not how we do things here. Nobody does that, it’s not a big deal.’ I said, ‘If it’s not a big deal, then I’d really like to have 5 percent of my rights.’ ”

When Coel bargained down and asked to own just 0.5 percent of the copyright, the Netflix executive said she would have to run it up the chain while adding, “Michaela? I just want you to know I’m really proud of you. You’re doing the right thing.”

“I remember thinking, I’ve been going down rabbit holes in my head, like people thinking I’m paranoid, I’m acting sketchy, I’m killing off all my agents,” Coel said. “And then she said those words to me, and I finally realized — I’m not crazy. This is crazy.”

Coel eventually pitched “I May Destroy You” to the BBC in the fall of 2017 and the network offered her everything she wanted, from “a seat at the table on the production side” to “full creative control and the rights to the work.” HBO would join BBC as a co-producer of the project. The show debuted in June to some of the best TV reviews of 2020. IndieWire’s Tambay Obenson gave the series a perfect A grade in his review. Read Coel’s new profile in its entirety on Vulture’s website.

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Arts & Culture

Nollywood Actor, Linda Osifo, Covers VL Magazine July 2020 Issue



LAGOS STATE – July 12, 2020/ – Dedicated to all health workers all over the world putting their lives on the line to save lives and on its cover for July 2020, Vergeria Life (VL) Magazine host Nollywood actor “Linda Osifo”, who, in an exclusive interview, talked current projects , thoughts on the covid – 19 pandemic and many more. This edition also embodies amazing stories and articles surrounding social life and business.

“I know these are trying times as the pandemic is still on but nevertheless, we would definitely see this through with God on our side and also by following safety precautions given to us by the WHO. I would like to encourage everyone to keep staying safe as this is the only option we have. I pray God will always provide for our needs and protect us, this is not the time to be sad or feel neglected, always reach out to people.” She said

See photos below;


Photography: @dap_shooter
Styling/Creative Direction: @thafashiongawd
Makeup: @annklairmakeup
Hairstylist: @ariyikhair
Outfits: @yinkasamuels @chunnie.official
Graphics: @freshmonigrafix
Cinematography: @glitzmediahouse
Founder & Editor-In-Chief: @oleleoflagos

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Coming Soon

THE CROWN: Netflix’s Biggest Shows Set Wrap Up After Its Fifth Season



Earlier this year, it emerged that The Crown, one of Netflix’s biggest shows, would wrap up after its fifth season. But it has reversed course, as it’s returning to creator and writer Peter Morgan’s initial concept of a six-season run for the Royal Family drama.

“As we started to discuss the storylines for Series 5, it soon became clear that in order to do justice to the richness and complexity of the story we should go back to the original plan and do six seasons,” Morgan told Variety in a statement. “To be clear, Series 6 will not bring us any closer to present-day — it will simply enable us to cover the same period in greater detail.”

By the time it ends, The Crown will cover Queen Elizabeth II’s life up to the early 2000s. So, it won’t touch on more recent events, such as Prince Harry and Meghan Markle’s departure from the Royal Family.

Filming on season four wrapped up just before the onset of COVID-19 lockdowns in the UK. That season is expected to hit Netflix later in 2020, a year or so after season three premiered. It’ll bring an end to Oscar-winner Olivia Colman’s two-season stint as Queen Elizabeth II, as Imelda Staunton is taking over the role for the final two seasons.


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