Ghana Entertainment News

The latest Ghana entertainment and showbiz news: music, movies, celebrities, and culture. Curated from Ghana's leading newsrooms and refreshed through the day, newest first.

Wanlov the Kubolor Recounts Childhood School Transfer Following Altercation with Rawlings Family
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Wanlov the Kubolor Recounts Childhood School Transfer Following Altercation with Rawlings Family

In a revealing interview with veteran broadcaster Kafui Dey, the unconventional Ghanaian musician and filmmaker Wanlov the Kubolor has shared a significant childhood incident that altered the course of his early education. Wanlov disclosed that a personal altercation with Yaa Asantewaa Rawlings, the daughter of the late former President Jerry John Rawlings, led to his abrupt removal from North Ridge Lyceum. The incident, which occurred during their primary school years, highlights the influence wielded by the former First Family during that era and provides a rare glimpse into the private school experiences of Ghana’s elite and their contemporaries. According to the "Kubolor" hitmaker, the disagreement with Yaa Asantewaa was substantial enough that the Rawlings family reportedly decided he could no longer attend the same institution as the President's daughter. Consequently, Wanlov was transferred to Christ the King School. While the specific nature of the childhood spat was not detailed in depth, the musician emphasized that the decision for his departure came directly from the Rawlings family's intervention. This forced transition serves as a backdrop to Wanlov's long history of challenging social norms and authoritative structures, a trait that has come to define his artistic persona in adulthood. Reflecting on the move, Wanlov expressed a complex mix of emotions regarding his forced departure from North Ridge Lyceum. While he found solace in being reunited with his siblings at Christ the King, he admitted to a deep sense of loss regarding the friendships he had cultivated at his former school. Furthermore, Wanlov noted that the incident remains a sensitive topic for the Rawlings family, indicating that they have expressed displeasure whenever this particular chapter of their shared history is mentioned in public forums. This revelation adds another layer to the public's understanding of the intersection between political power and private life in Ghana's recent history.

Kumawood Actors Yaw Dabo and Oboy Siki Resolve GH₵1 Million Defamation Suit Out of Court
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Kumawood Actors Yaw Dabo and Oboy Siki Resolve GH₵1 Million Defamation Suit Out of Court

Kumawood actor Yaw Dabo has officially withdrawn his GH₵1 million defamation lawsuit against fellow industry colleague Oboy Siki, following a successful out-of-court mediation. The resolution was facilitated by the Ashanti Regional Minister, Dr. Frank Amoakohene, and other influential figures within the community, bringing a swift end to a legal confrontation that had stirred significant interest in the Ghanaian entertainment sector. The settlement was finalized less than 48 hours after the pair's initial appearance in court, signaling a preference for reconciliation over protracted litigation. The legal dispute originated from derogatory comments made by Oboy Siki during a high-profile interview. These remarks allegedly targeted Yaw Dabo's personal life and included inflammatory insults directed toward a former president. Seeking to protect his reputation from what he described as false and damaging claims, Dabo initially sought legal redress and significant financial damages. However, the intervention of the Regional Minister provided a platform for both parties to address the grievances without the need for a full judicial trial. Following the mediation, Oboy Siki publicly retracted his statements and issued a formal apology to Yaw Dabo. He admitted that his remarks were made impulsively and acknowledged that they lacked factual basis. Dabo, in turn, accepted the apology and confirmed the withdrawal of the suit, noting that the involvement of respected community leaders played a crucial role in his decision to forgive. He expressed a desire to move past the incident and maintain harmony within the Kumawood filmmaking community. This resolution highlights the enduring influence of traditional and political mediation in Ghana's creative arts industry. By opting for a collaborative settlement, both actors have avoided the potential for long-term reputational damage and the financial burden of a lengthy court case. The outcome serves as a pertinent reminder of the impact of public discourse within the industry and the power of swift, community-led intervention in resolving high-stakes personal and professional conflicts.

PA Media Camilla, Pelicot and Agopian speaking in Clarence House, with a display of ornate crockery behind them.
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Queen Camilla Commends Resilience of French Rape Survivor Gisèle Pelicot During Clarence House Meeting

Queen Camilla recently hosted French rape survivor and advocate Gisèle Pelicot at Clarence House for a private tea, where the two discussed Pelicot’s newly released memoir, "Hymn to Life: Shame Has to Change Sides." This meeting marks a significant moment of high-level recognition for Pelicot, who has become a global symbol of courage after choosing to waive her anonymity and confront the dozens of men charged with abusing her over a decade. The encounter follows a heartfelt letter from the Queen, in which she commended Pelicot’s bravery in the face of unimaginable trauma. During their discussion, Queen Camilla revealed that Pelicot’s story left her "speechless" and deeply "shocked," an admission that carries significant weight given the Queen’s extensive, decades-long advocacy for survivors of domestic and sexual violence. Pelicot’s memoir serves as a powerful testament to her journey, focusing on the core message that the burden of shame must shift from the victims of sexual crimes to the perpetrators. This sentiment has resonated deeply within the feminist movement and beyond, inspiring public demonstrations of support for Pelicot throughout her legal battles and subsequent book launch. The dialogue between the Queen and Pelicot highlights a growing international momentum to address the systemic issues surrounding sexual assault and victim-blaming. By inviting Pelicot to the royal residence, Queen Camilla has used her platform to amplify a survivor’s voice on a global stage, reinforcing the necessity of public support in the healing process. As Pelicot continues to share her story through her advocacy and writing, her message that "shame has to change sides" remains a central pillar in the ongoing fight for justice and the redefinition of how society views survivors of gender-based violence.

Triumph and Turmoil: Sharon Dede Padi’s Guinness World Record and the Miss Intercontinental Ghana Controversy
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Triumph and Turmoil: Sharon Dede Padi’s Guinness World Record and the Miss Intercontinental Ghana Controversy

The Ghanaian entertainment and arts landscape has recently witnessed a stark contrast of fortunes, marked by a historic global achievement in the visual arts and a burgeoning legal scandal within the beauty pageant industry. Visual artist Sharon Dede Padi has brought international acclaim to the nation by securing a Guinness World Record for the largest leaf print painting, a feat that celebrates Ghana’s cultural heritage and environmental consciousness. Conversely, the pageantry world is embroiled in a heated dispute following the controversial dethronement of Chiaky Otuteye, the 2025 Miss Intercontinental Ghana winner, raising concerns about the treatment of beauty queens and the internal management of such competitions. Sharon Dede Padi’s record-breaking artwork, which measures an impressive 54.33 square meters, was completed on July 3, 2025, at the National Theatre of Ghana. The painting utilizes various leaf prints to symbolize diverse locations and identities across the country, serving as a visual narrative of Ghana’s history. Beyond its artistic merit, the project was designed with a philanthropic and environmental mission, specifically aiming to raise awareness about the devastating effects of deforestation. Padi has announced plans to collaborate with the Ministry of Tourism to display the record-breaking piece publicly and intends to dedicate her future efforts to nurturing the artistic talents of young children, ensuring the sustainable growth of Ghana’s creative sector. In sharp contrast to this celebration of talent, the story of Chiaky Otuteye highlights the darker side of the entertainment industry. Since being crowned Miss Intercontinental Ghana in November 2025, Otuteye reportedly faced significant online abuse and ill-treatment from the pageant’s organizers, Cloudz Entertainment. The backlash was allegedly exacerbated by a misleading video caption from an official blogger, which triggered widespread trolling regarding her appearance and poise. Despite Otuteye’s assertions that she met all competition criteria—including being a natural-born female—she was called to an emergency meeting and subsequently disqualified based on what have been described as subjective standards. The communication breakdown led to her official dethronement and the immediate elevation of the 4th runner-up to her position. As these two narratives unfold, they reflect the broader complexities of the Ghanaian creative economy. While Padi’s success demonstrates the potential for Ghanaian artists to influence global environmental and cultural dialogues, the situation surrounding Otuteye points to a need for greater transparency and professional standards within the pageant circuit. Cloudz Entertainment has stated that the matter regarding Otuteye’s disqualification is currently under legal proceedings, leaving the future of her title in the hands of the courts. Together, these events underscore the dual reality of the industry: a space capable of achieving world-class excellence, yet one that still struggles with internal governance and the protection of its participants.

Identity and Inspiration: Dr Likee and M.anifest Spark Conversations on Ghanaian Entertainment and Authenticity
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Identity and Inspiration: Dr Likee and M.anifest Spark Conversations on Ghanaian Entertainment and Authenticity

The Ghanaian entertainment landscape is currently navigating a series of poignant discussions ranging from personal career motivation to the complexities of national identity. In recent revelations, two of the country's prominent figures, comic actor Dr Likee and rapper M.anifest, have shared insights that highlight the psychological and social pressures faced by those in the public eye. Whether it is the validation required to sustain a creative career or the struggle to maintain cultural authenticity in a globalized world, these narratives reflect the evolving challenges and triumphs of Ghanaian artistry and national pride. Popular comic actor Ebenezer Akwasi Antwi, widely known as Dr Likee, recently shared a transformative moment that saved his career from a premature end. During an interview, the comedian revealed that he was on the verge of quitting the entertainment industry and retiring from acting and comedy altogether due to personal discouragement. However, a chance encounter with former President John Dramani Mahama at an airport completely shifted his perspective. Dr Likee expressed his deep surprise when the statesman recognized him and offered high praise for his comedic work. This unexpected affirmation from one of the nation's most influential figures acted as a vital catalyst, renewing his passion and motivating him to continue producing the content that has made him a household name. While Dr Likee's story focuses on internal motivation, award-winning rapper M.anifest has ignited a separate but equally significant conversation regarding the external presentation of Ghanaian identity. The artist sparked a heated debate on social media after criticizing what he perceives as an inferiority complex among Ghanaians in foreign social settings. M.anifest noted a trend where individuals abandon their natural accents and cultural confidence to seek validation from international peers. His remarks drew a wide range of reactions; supporters pointed to the lingering effects of a colonial mentality, while critics argued that adjusting one's communication style is often a practical necessity for navigating professional or social spaces abroad. These two instances, though distinct in their origins, underscore the critical roles of validation and authenticity within the Ghanaian creative space. Dr Likee’s experience illustrates how high-level recognition can provide the emotional fuel needed to overcome professional burnout and industry fatigue. Conversely, M.anifest’s critique serves as a provocative call for cultural self-assurance and the preservation of heritage. Together, they invite a broader reflection on how Ghanaians perceive themselves and their contributions, emphasizing that the strength of the nation's entertainment industry relies as much on its internal confidence as it does on its external recognition.

Wanlov the Kubolor Critiques Adisadel College's 'Power-Focused' Teaching Culture
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Wanlov the Kubolor Critiques Adisadel College's 'Power-Focused' Teaching Culture

Ghanaian filmmaker and musician Emmanuel Owusu-Bonsu, popularly known as Wanlov the Kubolor, has offered a candid and critical look back at his secondary education at the prestigious Adisadel College (Adisco). In a recent interview with Kafui Dey, the eccentric artist shared his views on the school’s pedagogical approach during his time, suggesting that the faculty's priorities were often misplaced. Wanlov expressed his belief that teachers were more focused on exerting their authority and maintaining power dynamics than on the actual academic development of their students. Central to Wanlov’s critique was the assertion that the educational environment at Adisco was sometimes more about discipline and control than imparting knowledge. He noted that teachers were often more interested in "showing power and inflicting harm" than in teaching. This atmosphere seemingly fostered a sense of detachment for the artist, who felt that the traditional classroom setting was more about conforming to authority than genuine intellectual engagement. The "Kubolor" persona was evidently in its formative stages during his high school years, as Wanlov recounted various tactics he used to skip classes. He detailed how he would hide cutlasses around the school campus to use as props; when questioned about his absence, he would use the tools as an excuse to claim he had been performing outdoor duties or chores. This allowed him to spend time socializing with friends instead of attending lectures. His absences were so frequent that he recalled a specific incident where a teacher failed to recognize him as a registered student when he eventually appeared in class, further illustrating his disconnected relationship with the formal school structure. Wanlov’s reflections provide a unique perspective on the culture within some of Ghana's most elite schools. While Adisadel College is renowned for its academic excellence and strong alumni network, Wanlov’s account sheds light on the experiences of students who felt alienated by rigid structures and authoritarian teaching styles. His story serves as a reminder of the diverse ways in which individuals engage with institutional education and how these early experiences can shape the unconventional artistic paths they later choose to follow.

Singer Simi Defends Resurfaced 2012 Tweets Following Backlash Over Sexual Assault Advocacy
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Singer Simi Defends Resurfaced 2012 Tweets Following Backlash Over Sexual Assault Advocacy

Nigerian singer Simi has broken her silence following a social media storm triggered by the resurfacing of decade-old tweets. The controversy erupted after Simi advocated for severe consequences for rapists in response to a high-profile sexual assault case involving TikToker Mirabel. As her advocacy gained traction, critics unearthed posts from 2012, leading to a polarized debate regarding the singer's past conduct and her current stance against sexual violence. The clash highlights the often-volatile nature of celebrity digital histories when they intersect with contemporary social justice issues. The resurfaced tweets, written over ten years ago, contained anecdotes and jokes about children that some social media users interpreted as inappropriate or perverse. At the time the posts were made, Simi was approximately 23 years old. The backlash was swift, with many online critics accusing the artist of hypocrisy and questioning her moral standing as she took a vocal stance on the Mirabel case. This digital excavation of past content is a recurring challenge for public figures, often used by detractors to undermine current advocacy efforts. Responding to the outcry on X (formerly Twitter), Simi clarified that the posts were reflections of her real-life experiences during a period when she worked at her mother’s daycare center. She insisted that the comments were intended as innocent humor and lacked any perverse intent, explaining that they were simply light-hearted moments from her youth. Defending her character, she emphasized that her views on sexual violence have always been clear and unwavering, asserting that she stands firmly against rape and has nothing to hide regarding her past or her principles. This incident underscores the complex relationship between celebrities and their social media legacies. While the controversy has sparked intense discussion and mixed reactions online, Simi remains resolute in her position against sexual offenders. The situation serves as a reminder of how digital footprints can resurface to challenge modern narratives, yet Simi’s direct response seeks to redirect public attention back to the urgent issue of sexual assault and the necessity of holding perpetrators accountable.

Getty Images The Prince and Princess of Wales attending the 79th Baftas at the Royal Festival Hall, Southbank Centre, London
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Robert Aramayo and Jessie Buckley Lead Winners at 2026 BAFTA Awards as 'One Battle After Another' Claims Best Film

The 2026 BAFTA Awards have concluded on a high note, celebrating a diverse array of cinematic achievements that defined the past year in film. Robert Aramayo and Jessie Buckley emerged as the evening's primary victors, securing the prestigious Best Actor and Best Actress titles for their respective roles in "I Swear" and "Hamnet." The glitzy ceremony, held in the presence of the Prince and Princess of Wales, served as a testament to the enduring power of global cinema. The royal presence added a layer of traditional prestige to an event that otherwise looked toward the future of the industry, highlighting both established stars and the next generation of creative talent. On the competitive front, the war epic "One Battle After Another" stood out as the night's big winner, sweeping six categories including the coveted Best Film trophy. The film’s dominance was followed closely by the psychological drama "I Swear" and the thriller "Sinners," each of which earned three awards, reflecting a balanced appreciation for various genres by the Academy. Beyond the major categories, the technical excellence of "Frankenstein" was recognized with several craft awards, while the documentary "Mr Nobody Against Putin" was honored for its poignant and timely storytelling, winning Best Documentary. These wins underscored a year where both high-budget spectacles and intimate, politically charged narratives shared the spotlight. The emotional heart of the ceremony was found in the personal milestones achieved by the winners. Robert Aramayo’s night was particularly successful, as he not only took home the Best Actor award but was also recognized with the BAFTA Rising Star Award, an honor he accepted with visible disbelief and humility. Jessie Buckley also made history, becoming the first Irish actress to win the Best Actress award, a milestone that was met with widespread acclaim. The ceremony concluded with a poignant tribute to the artists and creators the industry lost over the last twelve months, ensuring that the celebration of new success was grounded in a deep respect for the legacy of the creative arts.

M.anifest Sparks National Debate on Cultural Identity and the "Accent Switching" Phenomenon
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M.anifest Sparks National Debate on Cultural Identity and the "Accent Switching" Phenomenon

Award-winning Ghanaian rapper and lyricist M.anifest has ignited a passionate conversation across social media platforms following his critique of what he describes as an "inferiority complex" among Ghanaians in international spaces. Known for his intellectual approach to music and cultural advocacy, the artist questioned the tendency of some individuals to abandon their natural accents and cultural confidence when seeking validation in diverse or foreign settings. This observation has touched a nerve within the public, highlighting the ongoing tension between maintaining one's roots and the perceived pressure to conform in a globalized society. In his social media commentary, M.anifest contended that the rapid transformation of identity—often manifested through sudden changes in speech patterns—is a symptom of a deeper struggle with self-worth and cultural pride. Supporters of the rapper's viewpoint have been quick to agree, arguing that this behavior is a lingering effect of a "colonial mentality," where Western norms are subconsciously prioritized over indigenous African identities. For many, his comments serve as a call to action for Ghanaians to carry their heritage with pride regardless of their geographical location, rather than modifying their persona to fit perceived foreign expectations. However, the rapper's stance has not been met with universal agreement, dividing opinion among his followers and social commentators. Critics have pushed back, arguing that what M.anifest perceives as an inferiority complex is often a practical tool for "social adaptability" or linguistic "code-switching." These voices suggest that adjusting one's accent or demeanor can be a survival mechanism in professional or social environments where being understood and accepted is crucial for success. They maintain that adapting to new environments does not necessarily equate to a loss of identity but is instead a sign of social versatility. This debate underscores the complex nature of authenticity and belonging for the modern Ghanaian in the diaspora. As Ghanaian culture gains more visibility on the world stage, the question of how to remain "authentically Ghanaian" while navigating global spaces remains a central theme in national discourse. Whether seen as a betrayal of roots or a necessary evolution, the conversation sparked by M.anifest reinforces the importance of cultural self-awareness and the continuous search for a balanced identity in an increasingly interconnected world.

Edem Weighs Return to ‘Ayigbe Edem’ Moniker to Combat Social Media Identity Confusion
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Edem Weighs Return to ‘Ayigbe Edem’ Moniker to Combat Social Media Identity Confusion

Renowned Ghanaian rapper Edem is contemplating a return to his original stage name, ‘Ayigbe Edem,’ in a move primarily driven by the challenges of digital identity. In a recent reflective post on Facebook, the artist expressed concerns that his current mononym, ‘Edem,’ has become increasingly difficult to distinguish on social media platforms. Despite holding verified status on most major networks, the rapper noted that a proliferation of accounts sharing the same name has led to significant fan confusion, prompting him to consider reviving the more distinct prefix to stand out in the crowded digital landscape. The consideration marks a potential reversal of a significant rebranding decision made over a decade ago. Edem officially dropped the ‘Ayigbe’ prefix in 2012, a transition that followed consultations with community elders. The decision at the time was rooted in cultural sensitivity, as the term had historically carried derogatory implications in certain contexts. By moving to a single name, the artist sought to modernize his brand and distance his music from any negative connotations, while still maintaining his identity as a proud representative of the Ewe people. The prospect of bringing back the old name has sparked a lively debate among fans and entertainment critics alike. One segment of his audience has greeted the news with enthusiasm, citing nostalgia for the ‘Ayigbe Edem’ era, which produced some of the artist's most iconic early hits and established his reputation for lyrical prowess. Conversely, branding experts and some fans have cautioned against the move, suggesting that returning to an old moniker could lead to brand inconsistency and undo years of marketing efforts invested in the ‘Edem’ name. As the rapper continues to weigh his options, the situation highlights the unique pressures modern artists face when navigating the intersection of cultural heritage and digital discoverability. Whether Edem ultimately decides to officially revert to his former title or finds another way to differentiate his online presence, the conversation underscores the evolving nature of celebrity branding in the age of social media algorithms. For now, the rapper appears to be taking a thoughtful approach, balancing the practical needs of his digital business with the complex historical and personal sentiments attached to his name.

Cardi B Applauds Global Muslim Community at Start of Ramadan 2026
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Cardi B Applauds Global Muslim Community at Start of Ramadan 2026

American rap sensation Cardi B has expressed her deep admiration for the Muslim community worldwide as they embark on the holy month of Ramadan in 2026. Marking the commencement of the 30-day period of spiritual reflection and fasting on February 17, the global icon took to social media to acknowledge the discipline required for such a significant religious commitment. Her comments come at a time when cultural and religious inclusivity is increasingly highlighted by major global entertainers, resonating with millions of her followers globally. In a video that quickly gained traction across social media platforms, the Grammy-winning artist specifically pointed out the physical and mental strength necessary to observe the fast from dawn until sunset. With her characteristic humor and candor, Cardi B admitted that she personally finds the prospect of long periods without food or water daunting. She joked about her own inability to handle hunger for extended durations, while simultaneously highlighting the immense willpower displayed by practicing Muslims who maintain their devotion throughout the month. Beyond the humor, the rapper’s message was one of sincere respect for the spiritual sacrifices made in devotion to God. By using her platform to celebrate the start of Ramadan, Cardi B joins a growing list of Western celebrities who engage with and validate the religious traditions of their diverse global fanbase. As the 2026 Ramadan season continues, her remarks serve as a bridge of cultural appreciation, reflecting the influence of celebrity voices in promoting understanding and respect for faith-based observances in the modern digital age.

Gyakie Honors Highlife Legend Ebo Taylor, Credits His Artistry for Shaping Her Musical Journey
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Gyakie Honors Highlife Legend Ebo Taylor, Credits His Artistry for Shaping Her Musical Journey

Ghanaian singer-songwriter Gyakie recently paid a heartfelt tribute to the late highlife icon Ebo Taylor during an interview on BBC Focus on Africa. The "Forever" hitmaker reflected on the profound impact the legendary musician had on her personal life and professional career, acknowledging that his unique sound served as a blueprint for her own musical evolution. Gyakie’s comments come at a time when the music world is mourning the loss of Taylor, a pioneer whose work bridged traditional highlife with jazz and funk, creating a legacy that continues to resonate across the globe. During the interview, Gyakie shared how Taylor’s discography was a constant presence during her formative years. She described his music as "inclusive," noting that it played a central role in her upbringing and helped shape her artistic sensibilities from a young age. For Gyakie, Taylor was more than just a musician; he was a cultural architect whose melodies provided a sense of identity and inspiration. She expressed a deep emotional response to the news of his passing, emphasizing that while the man is gone, the artistry he pioneered remains an indestructible force in the industry. The tribute highlights the enduring influence of Ebo Taylor’s work on the younger generation of African artists. As one of the continent's most celebrated exports, Gyakie’s recognition of Taylor underscores how highlife remains the bedrock of modern Ghanaian music, even as it evolves into genres like Afrobeats and Afro-fusion. Taylor’s ability to inspire through his vast catalog has ensured that his influence is felt by musicians across various genres and borders, solidifying his status as a pan-African treasure who helped put Ghanaian music on the international map. In closing, Gyakie reiterated that Ebo Taylor’s legacy will live on through the countless artists who continue to sample, study, and draw inspiration from his work. His passing marks the end of an era, but as Gyakie noted, his music continues to impact new generations, ensuring that the essence of highlife remains vibrant and relevant. This public acknowledgement by a leading contemporary artist serves as a reminder of the importance of honoring Ghana’s musical pioneers and preserving the rich heritage they leave behind for future global audiences.