UK-based bilingual Nollywood actor, MC, and filmmaker, Dapo Opayinka, speaks on his journey from theatre to the big screen, building bridges through storytelling, and what’s next for African narratives in global cinema.

Dapo, you’ve had quite a journey from theatre to film, from Nigeria to the UK. Let’s start with how it all began. What drew you into acting?

Dapo: (Smiling) Ah, where do I start? I think storytelling has always lived inside me. I was that kid who would mimic characters from films or make up my own scenes with cousins during family gatherings. But professionally, it really kicked off at the London Drama School. That place sharpened me. The stage gave me discipline, and theatre? It gave me soul.

Your roles span Yoruba tragedies, British-Nigerian productions, and Nollywood cinema. How do you navigate these different worlds?

Dapo: Honestly, I don’t separate them. They’re all part of me. Being bilingual and bicultural isn’t a balancing act; it’s more like a fusion. Whether I’m Mallam Gaskiya in Our Husband Has Gone Mad Again or Gbonka in The Gods Are Not to Blame, I bring a bit of both worlds to every character. That’s the magic.

One of your standout performances was as Etieno, a Kenyan freedom fighter. What did that role mean to you?

Dapo: That one was special. Etieno wasn’t just a character; he was a symbol. Playing him in Darkest Hour to Victory pushed me emotionally. I had to tap into the spirit of resilience, of struggle; and the African story of fighting for dignity. That role reminded me why I act.

You’ve made quite the transition into Nollywood with titles like Basira in London and Sista Sista. What’s that experience been like?

Dapo: Oh, Nollywood! It’s a whirlwind; but in the best way. It’s vibrant, demanding, and beautiful. Basira in London was hilarious to shoot. And Sista Sista… that one connected deeply with diaspora realities. However, the first movie I ever acted in was Captivated by Toyin Moore. Nollywood is evolving, and I’m grateful to be part of the shift that bridges tradition with modern diaspora stories.

Interviewer: And you’re not just acting; you’re producing also?

Dapo: Yep! I’ve produced four indie films; The Actor, The Passport, Amuwa, and Apeje. Each one is a passion project. They’re stories that reflect our struggles, humour, love… all in our voice. I’m now working on The Telepath, and it’s shaping up to be my boldest yet. Let’s just say… I’m going sci-fi with an African twist.

Ireke was privately screened at Cannes recently. Tell us about that.

Dapo: That was surreal. Cannes is every filmmaker’s dream, and to have Ireke: Rise of The Maroons shown there; even privately, was humbling. It’s a love letter to heritage and identity. The film is a historical drama blended with romance, and it tells a powerful and thought-provoking story about ancestral resistance.

Set in the Bight of Benin and Colonial Jamaica in the 17th century, it follows the uprising of African captives who were unjustly enslaved and forced into brutal labour. But they fought back. The film connects West African cultural roots—like Igbo camouflage and Yoruba resilience—with the legacy of the Maroons in Jamaica. Even Queen Nanny’s origins spark that playful Nigeria-Ghana rivalry!

We’re releasing nationwide in the UK and Nigeria on 25th July, and I honestly can’t wait for audiences to experience it. It’s raw, it’s emotional, and despite the tight budget, it’s a cinematic journey that celebrates the resilience of our people and the bond between Africa and the Caribbean. It’s what African cinema should be—global, grounded, and unapologetically ours.

You’ve also built a name as a charismatic MC. How did that side of you emerge?

Dapo: (Laughs) That came naturally. I love people. I love culture. Being an MC at diasporic events allows me to celebrate us—our weddings, festivals, even protests. It’s about connection. Plus, Yoruba proverbs? Always a hit!

What’s your ultimate goal as an actor?

Dapo: I want to tell our authentic story and promote the richness of our culture. I believe our stories; if told well, are universal. My goal is to connect the African experience with real human emotions that cross language, border, and race. Simple.

You once said, “Our stories deserve the world stage.” How close are we to that reality?

Dapo: We’re closer than we think. Platforms are opening up. Audiences are curious. What we need now is to keep telling the truth—our truth—with quality and pride. The world is watching. It’s our time.

Dapo, thank you. It’s been a pleasure.

Dapo: Thank you! And to every young creative out there: keep pushing. Your voice matters.

Over the past fortnight, spanning late June through early July 2024, Lagos State has embarked on an aggressive environmental transformation under the directive of Commissioner Tokunbo Wahab. This campaign combines rigorous enforcement, proactive cleanups, and a landmark ban on single-use plastics, signaling a decisive shift in the state’s ecological governance. Wahab’s hands-on leadership, amplified by strategic media engagement, is steadily converting skepticism into tangible progress across Africa’s largest metropolis.

The most consequential development unfolded on July 1st, when Lagos commenced full enforcement of its ban on single-use plastics and styrofoam containers. Now entering its second week, this policy has ignited vigorous debate across social media platforms, news outlets, and community forums. Early critics alleged inadequate stakeholder consultation, but the Ministry of Environment and Water Resources has systematically countered these claims. Through a multifaceted approach involving town hall meetings, digital explainer videos, and daily on-ground visibility, Wahab’s team has demonstrated extensive pre-implementation outreach.

Commissioner Wahab’s digital communication strategy has been particularly instrumental in driving awareness. Across Instagram, X (formerly Twitter), and Facebook, his accounts feature real-time documentation of enforcement squads confiscating prohibited materials, community cleanups unclogging critical drainages, and educational content underscoring the policy’s urgency. Viral reels revealing styrofoam-choked canals in Mushin and Bariga, juxtaposed with infographics on sustainable alternatives like reusable packaging and plantain-leaf wrappers, have translated abstract environmental concerns into visceral public understanding. This consistent visibility, officials argue, has achieved what years of subdued advisories failed to accomplish: fostering collective accountability.

The groundwork for this shift was laid in late June through targeted “Operation Deep Clean” exercises. Commissioner Wahab personally supervised multi-agency raids along environmental blackspots including the Agege Railway Corridor, Oke Koto, Isale Oja, and Agidingbi. These operations resulted in nearly 100 arrests for illegal waste dumping, unauthorized trading on drainage setbacks, and obstruction of rail corridors. Critically, each raid was documented and disseminated online, showcasing both the scale of degradation and the government’s resolve. This fusion of physical enforcement with digital transparency represents a new template for public accountability in Lagos’ governance.

Beyond enforcement, Wahab has prioritized dialogue to sustain policy legitimacy. He has engaged citizens through live interviews on platforms like The KK Show, hosted dedicated sessions with market unions, and maintained responsive communication via social media comment threads. This accessibility has reframed the narrative: environmental compliance is positioned not as punitive imposition but as shared civic responsibility. In Lagos’ hyper-connected digital landscape, where misinformation can undermine policy credibility, this proactive engagement has anchored public discourse in verifiable actions.

The dual strategy of regulation and persuasion is yielding early behavioral shifts. Though challenges persist, particularly in regulating informal vendors and major markets like Balogun and Mile 12, observable changes are emerging. Markets in Ojota, Yaba, and CMS now display signage promoting reusable containers, while food vendors openly encourage customers to bring their own bowls, a cultural shift in Lagos’ convenience-driven street economy. Bulk-buy cooperatives for biodegradable packaging have reportedly formed among trader associations, signaling grassroots adaptation.

The true significance of these weeks extends beyond cleaner streets or reduced single use plastic volumes. It represents a rupture in Lagos’ longstanding cycle of environmental apathy. Previous initiatives often faltered against public cynicism and institutional inertia. Wahab’s approach; blending uncompromising enforcement with relentless public engagement, suggests that visible political will can recalibrate civic attitudes.

The success of Lagos State’s bold ban on single-use plastics (SUPs) hinges critically on effective enforcement. This is where the Lagos Waste Management Authority (LAWMA) steps into the spotlight as the operational linchpin. Charged with translating policy into tangible action, LAWMA’s mandate extends far beyond simple waste collection; it is now the frontline agency actively enforcing the ban across the mega-city.

LAWMA’s enforcement isn’t just about punitive measures; it’s a multi-pronged strategy: Rigorous monitoring and compliance checks target businesses and individuals, ensuring the ban’s regulations are understood and adhered to. Simultaneously, LAWMA is driving a massive public awareness campaign, conducting stakeholder meetings, and deploying multilingual educational materials to foster understanding and voluntary compliance. Crucially, they are integrating the ban into the core of waste management, promoting segregation, boosting recycling infrastructure, and developing systems to handle the transition away from ubiquitous SUPs.

Recognizing the scale of the challenge, LAWMA is also forging key collaborations – partnering with waste collectors, recyclers, and the private sector to build a cohesive ecosystem supporting the plastic-free vision and encouraging broader adoption of sustainable practices.

Nevertheless, substantial hurdles remain. Eight days of plastic enforcement cannot magically rectify decades of unregulated waste; two weeks of cleanups barely address systemic infrastructure gaps. Maintaining momentum requires scaling enforcement to industrial producers of single-use plastics, investing in affordable alternatives for low-income traders, and deploying circular economy solutions for plastic waste collection.

Environmental transformation is inherently protracted and underappreciated work. Yet Lagos’ recent actions under Commissioner Wahab reveal critical ingredients for success: leadership that operates in the public eye, policies grounded in operational realism, and a communication strategy that documents rather than declaims. If sustained, this model may finally turn the tide toward a Lagos where cleaner streets evolve into a healthier, more resilient urban future.

Senate Sacks Senator Natasha Akpoti-Uduaghan as Diaspora Committee Chairman, Replaces Her with Akwa Ibom Senator

The Senate, on Thursday, removed Senator Natasha Akpoti-Uduaghan from her position as Chair of the Committee on Diaspora, naming Senator Aniekan Bassey, representing Akwa Ibom North-East, as her replacement.

The announcement was made during plenary without any official explanation for the change. Senator Bassey is expected to take over the responsibilities immediately. Senator Akpoti-Uduaghan, who represents Kogi Central, was appointed Chair of the Diaspora and NGOs Committee on “February 4, 2025”, after being removed as Chair of the Committee on Local Content. This latest move represents another minor reshuffle in the Senate committee leadership.