Michaela Coel To Star In Upcoming Netflix & BBC War Crimes Drama 'Black Earth Rising'

The series explores international war crimes and the relationship between Africa and the West.

Michaela Coel is set to star in upcoming Netflix and BBC Two drama Black Earth Rising.

The BAFTA-winner and Chewing Gum show runner, will play Kate Ashby, a legal investigator, who was rescued as a child during the Rwandan genocide and adopted by a British prosecutor named Eve Ashby, played by Harriet Walter. The show takes place across Africa, Europe and the US.

Here's the show's synopsis via a press release from BBC Two:

Kate was raised in Britain and, now in her late 20s, works as a legal investigator in the law chambers of Michael Ennis (played by "Roseanne" star John Goodman). When Eve takes on a genocide case at the International Criminal Court, prosecuting an African militia leader, it pulls Ennis and Ashby into a journey that will change their lives.

"Kate Ashby's story is inspirational, it was an honour to play a character in possession of so much strength and integrity," says Coel of the role.

Written by fellow BAFTA-winner Hugo Blick, the eight-part series has also been described as "a labyrinthine thriller about the prosecution of international war crimes and the personal, legal and political turmoil it ignites as well as the West's relationship with contemporary Africa."

"The past isn't dead, it isn't even past," says Blick. "I was never quite sure exactly what this famous quote meant but by following the fictional journey of a young black British woman on an epic and deeply personal quest to bring a Rwandan génocidaire to legal justice—now I do. And now I know just how critical, difficult and terrifying that phrase can seem to anyone in pursuit, and denial, of international criminal justice."

It will also star Noma Dumezweni ("Harry Potter and the Cursed Child"), and Tamara Tunie ("Law & Order: Special Victims Unit").

The show is set to premiere on BBC Two in the U.K. and on Netflix internationally later this year. Coel is also set to star in the upcoming comedy musical Been So Long.

Photo Credit: Khaled Desouki DESOUKI / AFP

Egypt Demands That Netflix Drop Content the Country Deems 'Offensive'

The content that is being referenced is understood to be media that features members of the LGBT+ community.

Egypt became the most recent country to join six other Arab nations — including Saudi Arabia, Bahrain, Qatar, Kuwait, and Oman — to demand that streaming services like Netflix and Disney+ drop content it deems "offensive." The content that is being referenced is understood to be media that features members of the LGBT+ community.

This comes after a recent statement from the UAE's media regulatory authorities was released earlier in the week. The organization is asking Netflix to take down media content that goes against the societal values of its country. In the public statement, the office noted that they would be in touch with the streaming company about next steps. The joint notice from the Telecommunications and Digital Government Regulatory Authority (TDRA), which is headquartered in Abu Dhabi called out Netflix and its broadcasting practices.

The organization directly cautioned the company to have the content removed that especially targeted children.

Although many of Arab organizations calling out western streaming services did not directly specify what type of content was offensive, reports state that in recent years, several Arab nations have condemned movies and series with same-sex depictions within their story lines.

The recent developments do not signify the first hint of tensions between Arab countries and western streaming services. Earlier in June, several members of the Muslim community worked to ban the public showing of Disney’s Lightyear, an animation by the streaming service that depicted two lesbian characters.

According to an exclusive statement that Esra Assery, CEO of the Saudi General Commission for Audiovisual Media made to Arab News, the organization would take "all legal measures" if their warnings were not adhered to.

“All legal measures will be taken to protect the Kingdom’s sovereignty, citizens and residents from any intellectual attack aimed at affecting its societies, values, safety of upbringing their generations and protecting them from harmful content.”

Courtesy of Showmax

These Documentaries Are Giving Afrobeats the Origin Story it Deserves

From Netflix’s ‘Afrobeats: The Backstory’ to Showmax’s ‘Journey to the Beats,’ Africans who were there are finally telling the true story of Afrobeats.

A lot has happened since afrobeats rose to global fame near the end of the last decade. Multiple sellout concerts, Grammy awards, and critical acclaim have become common occurrences as popular music from West Africa has maintained a ubiquitous presence across the world. However, the narrative around the genre has been centered around talking points raised by corporations, agencies, and individuals who don’t often possess a contextual understanding of its origin, rise, and evolution.

For years, critics, historians, and academics have raised concerns about the continued absence of African voices on frontline platforms documenting popular African music, its key players, and landmark moments. Most of the criticism that has emerged is predicated on the subtle attempt of western institutions to interpret, contextualize, and classify our music through European-American lens that has often left important stories and key details adrift.

Attempts to have African voices documenting the progression within the genre have reached a crescendo in 2022 with a slew of documentaries following the rise of afrobeats from a scattergun industry of talented music producers, recording artists, video directors, and choreographers to global pop powerhouse.

Netflix’s Afrobeats: The Backstory — helmed by filmmaker, manager, and lawyer Ayo Shonaiya — offers an intimate take on the development of the genre. The other docuseries, a 10-part Showmax original titled Journey of the Beats, was produced by creative entrepreneur Obi Asika and takes a complex approach to documenting the genre, situating the rise of afrobeats in the wider context of black artistic expression, starting from slaves forcibly taken away from Africa during the transatlantic slave trade.

Both documentaries credit the golden age of R&B and hip-hop in the 1990s as an undisputed creative influence on afrobeats. “When the likes of The Remedies and Plantashun Boiz came out, we were just happy that we had our own version of what we saw in America,” Ayomide Tayo, a respected music critic and executive, says. “It was hip-hop but it was local to us. It had a lot of slang, and a lot of local languages put together, and the instrumentation wasn’t just pure hip-hop, they were fusing indigenous Nigerian records into it. To us, we felt like that we were at the highest [point] we could get.”

Made Kuti is Fela's grandson and Femi's son -

Made Kuti being interviewed for Showmax’s ‘Journey to the Beats.'

Courtesy of Showmax

Asika also agrees that the infusion of Nigerian language and slang over hip-hop instrumental, explored in the second episode of the docuseries, was a game-changer for the genre. “I would say I knew [we were creating something new] as far back as 1989, but I knew definitely when we had Junior and Pretty back in 1991,” he says over a Zoom call with OkayAfrica in mid-August. “We were the hip-hop generation and were not making traditional music in that sense, not like Femi Kuti and all those guys were doing. We knew we were doing something different, the question was if we had the talent and will to bring it to the world. I’m happy that we did because once we infused our own language and expressions into the music and changed the beats to our own music — it became afrobeats.”

A significant part of the early exchanges in both documentaries is dedicated to investigating the etymology of “afrobeats” with a straight line being run through Fela Kuti's Afrobeat — an electric fusion of jazz, highlife, and soul — and DJ Abrantee coining afrobeats as a catch-all term for popular music coming out of Africa. Jide Taiwo, a writer on both documentaries and the author of History Made: The Most Important Nigerian Songs Since 1999, believes that the name is a misnomer. “I was privileged to be around when 2face, Tony Tetuila, and people like that were making music and what they did at that time wasn’t called Afrobeats,” he said. “We all know that afrobeats is just a portmanteau term that somebody just came up with. The nature of Nigerian music is very eclectic and very varied so it is impossible to just put all of them under one umbrella term. But again, that’s the name that the world has come to adopt in the last five to seven years that we’ve had mainstream global appeal, so I’m a reluctant accepter of the term even though I might not used it myself.”

For Asika, the need to start documenting what was happening in the genre started to crystallize in his mind a little over 10 years ago, even if he didn’t necessarily have the tools for it then. “By ten years ago, it was already necessary to document what was happening on the scene because a lot was going on,” he said. “We had to ensure that the right information was being presented to the world as our music was going global.” According to Shonaiya, the idea to create Afrobeats: The Backstory came after watching Davido’s headline show at the O2 in 2019. “The day I actually decided I was going to start this documentary was when me and my friend and partner, Abass, were at the O2 watching Davido. It was absolutely crazy. Idris Elba came out and Davido came from the sky. I looked around and saw over 20,000 people at the 02 Arena.”

According to Taiwo, Afrobeats: The Backstory leaned heavily on Mr. Shonaiya’s work in the industry. “He’s been a lawyer, he’s been an exec, and he’s been a producer. He’s done all of these things and this documentary is his way of telling his experience of meeting certain people, doing certain things and trying to find all of those connections," Taiwo said. "If you look closely, there are always connections. One of the stories that he told is that he met Freestyle first who then introduced him to eLDee and the rest of Trybesmen and that’s how he got to know that they were not just three people but about 10.”

On Journey of the Beats, Taiwo worked as part of a team — led by Nigerian historian Ed Keazor — to investigate the history of afrobeats from pre-colonial times. “Ed Keazor led that team but there were a bunch of writers who got involved at different times,” he said. “I grew up in Ibadan, so how I saw it coming out of that area was different from Ayomide Tayo who was born in Lagos and broke the story of Da Grin’s death. So, we just came together to join our views of the culture and filter it to give the most accurate representation of our music.” Tayo believes that this approach to making Journey of the Beats is important to understanding afrobeats’ current trajectory. “It’s about heritage. You can’t celebrate Nigerian music without celebrating what came before because doing that leaves a huge vacuum,” he said. “It would feel like today’s singers just fell from space with their music. That’s why the documentary is taken in decades, which allowed us to properly navigate how a Joeboy or Rema is just the modern reincarnation of a pop singer from the '80s.”

Asika believes that Journey of the Beats is a historical effort that contributes to the body of knowledge about African culture. “What we did is not Obi’s opinion, it’s our history, documenting what has been happening in African music since pre-colonial times,” he said. "Our documentary tracks what happens since pre-colonial Africa to the essence of who we are in relation to our music and how the music has travelled because hip-hop is us, rock is us, and R&B is us. That’s what happened when we arrived in the new world 500 years ago, we impacted music and music changed. Then there are the last 200 years when Africans have been coming back to Africa and, as they have come back, they have brought new things and that has also affected us here. The Journey Of The Beats was about that journey that many people had not acknowledged and it’s important we tell it from our perspective because the world has been hearing the perspectives of others for so long it’s time they heard our perspective too.”

Journey of the Beats also takes in the point-of-view of actors like journalists, fashion designers, academics, intellectuals, and show promoters, giving a rounded edge to the journey of the genre. “I think the key takeaway of this documentary is that in a way we are not seeing anything new but you have to respect the stage and level that the Wizkids, Davidos, and Burna Boys are playing at, we cannot take it for granted because it’s not easy and there was no roadmap for what was possible," Asika said. "The impact that these guys and others like them have is what I’m excited about because afrobeats is no longer just about music, there's an entire culture around it."

Following the release of these documentaries, there’s been some criticism for some inaccuracies with veteran musician Dare Fasasi, aka Baba Dee, pointing out the lack of credit for his efforts. “The poor attempt to change the narrative of the evolution of the Afrobeat Music genre by latter participants who took the narrative from their own perspective while disregarding important events and players is not a true representation of Afrobeat back story,” he wrote in an Instagram post. Others have pointed out that both documentaries place a heavy focus on Lagos, London, and Accra, smudging the influence of regional hotspots like Enugu and Port Harcourt.

Still, there’s a belief that this is only the beginning of an archiving effort that has been years in the making. “The immediacy that technology enables makes it criminal if we have all of these tools now and we’re not the ones telling our story,” Taiwo said. “You can bring out your phone right now, record a podcast, and send it out right now, that’s the advantage that we have these days. It’s criminal if we’re not doing it now and all of them do not have to be Netflix exclusives or Showmax originals.”

Photo credit: Paras Griffi

Asake Has to Add Third O2 Academy Show After Selling Out in Minutes

As he climbs up the ladder of global superstardom, Asake continues to break glass ceilings and crash websites.

Asake has been making undeniable waves with his music and mass appeal, and his recent O2 Academy ticket sales are proof of that.

The new Afrobeats sensation recently sold out London's O2 Academy venue for his upcoming UK stint. Amidst the buzz of the sold out show, the official account of the O2 Academy took to social media to share that Asake would be headlining two additional shows at the event's center. Although the original date was slated for the 11th of December, the high demand for tickets pushed organizers to add on two more dates to the 11th, and "Mr. Money With The Vibe" will also now perform on the 12th and the 15th.

Asake's career trajectory has been swift, yet packed with back to back hits and critical acclaim. The Lagos-born artist first got his major big break when Olamide signed him to YBNL. His long trail of chart-topping records have quickly earned him the attention of fans, airplay and recognition. The Afrobeats singer's success, though sudden, has helped to propel him to the upper echelon of musical acts coming out of Africa. Because of the versatility of his sound, listeners have quickly gravitated towards his content. His ascent into superstardom has also ignited intrigue and conversation, inspiring many fans to root for him, because of his initial reputation as the underdog. Although he had received some recognition in 2020 after he released his "Mr. Money" single, 2022 was the year that he would gain the admiration and respect of his peers, as well as a bevy of fans and commercial success.

Though still a newcomer, Asake has proven that he is not a typical Afrobeats artist. His unique ability to fuse different Afro-inspired sounds from Fuji to Amapiano have made him a rare talent. He has also amplified the depth of most of his songs by merging different genres and articulating them with Yoruba language and the broken English spoken in some of the most intricate parts of Lagos. Those elements perhaps, are what have made Asake one of the most marketable and likable Afrobeats artists in recent time.

Photo by: Screenshot from The Daily Show'

"My Time is Up:" Trevor Noah Talks About Leaving 'The Daily Show' After 7 Years

The South African comedian announced that he would be leaving the Comedy Central series after his seven-year tenure.

Trevor Noah announced that he will be leaving The Daily Show after seven years.

In his statement Noah described his experience hosting the show as "absolutely amazing."

“It’s been absolutely amazing. It’s something that I never expected,” Noah said. “I found myself thinking throughout the time of everything we’ve gone through. The Trump presidency, the pandemic, just the journey, more pandemic and I realize that after the seven years, my time is up.”

Following the departure of Jon Stewart from the show in 2015, the South African comedian became the show's host, and has since interviewed the likes of Barack Obama, Burna Boy, Davido and a host of other notable public figures. The 38-year-old has also used his platform to elevate African artistry and elevate the African experience. Noah alluded to the idea that his decision to leave the show was inspired partly by his interest in returning to stand up comedy and exploring his skillset that way. Noah also thanked his viewers for giving him an opportunity when he first came on the American scene as a comedian who very few knew about.

“I spent two years in my apartment, not on the road, and when I got back out there, I realized there’s another part of my life out there that I want to carry on exploring. I miss learning other languages. I miss going to other countries and putting on shows,” said Noah.

Noah also referred to the show as "one of the greatest joys" of his life, and has credited the show for helping him hone his creative muscle.

“I’ve loved hosting this show, it’s been one of my greatest challenges and one of my greatest joys,” Noah said. “I’ve loved trying to find a way to make people laugh, even when the stories are particularly shitty, even on the worst days. We’ve laughed together, we’ve cried together.”

Although he did not make any comments about his last day on the show, or exactly when he would exit, he did humorously say that he would not abruptly leave without prior warning.

“Don’t worry, I’m not disappearing,” said Noah. “If I owe you money, I’ll still pay you.”

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