Judith Audu’s film production outfit has joined forces with Switch Visual Productions to kick off production on the female-led Afrobeats feature, ‘EVI.’
Written and directed by award-winning filmmaker Uyoyou Adia, who is famous for the films, ‘Hey You,’ and ‘Casa De Novia,’ the project is slated for release in the second quarter of 2026.
The film follows the turbulent journey of Evi-Oghene Donalds (Evi), a gifted but arrogant music star whose world collapses after her record label cuts ties without compensation. Stripped of fame, fortune and privilege, Evi must confront the harsh realities of the music industry. With the support of her loyal best friend and a troubled manager, she fights to reclaim her voice and rebuild her identity.
According to Judith Audu, the collaboration marks a bold step in Nollywood storytelling, shining a dramatic light on the world of Afrobeats and the untold struggles of women in the music industry. It also highlights the rise of women leading Nollywood’s creative frontlines.
“This is for every woman who’s ever been told to shrink herself just to fit in,” said Audu. “EVI is a bold, unapologetic story that proves women can rise above challenges and thrive on their own terms. We believe it will strike a chord with audiences everywhere.”
Director of ‘Evi,’ Adia said: “When I write or direct, I want stories that people can feel in their hearts. This is not just about music, but about survival and second chances. Many artists, especially women, go through these struggles in silence. With this film, we want our audience to feel inspired by Evi’s journey.”
Ebenezer Olaolu Mabinuori, popularly known as Ebonny Musik, is emerging as one of the defining voices of Afro-urban music.
Originally from Abeokuta in Ogun State, Ebonny represents a generation of Nigerian artists whose musical journeys are shaped by deep cultural roots and a global outlook.
Growing up in the bustling city of Lagos, music surrounded Ebonny from an early age. From the soulful sounds of Highlife to traditional Yoruba rhythms, Fuji, and the new wave of Afrobeats, he found inspiration in the diversity of Nigeria’s sonic landscape. These early influences would go on to form the backbone of his sound—a hybrid style that captures the spirit of the streets while also speaking to the soul. Two musical icons in particular helped shape his path: Fela Anikulapo Kuti and Wizkid. Fela’s uncompromising artistry and bold political messaging taught Ebonny the power of music as a tool for storytelling and activism, while Wizkid’s global rise proved that Nigerian music could resonate far beyond the country’s borders.
As Ebonny developed his craft, he began attracting the attention of leading producers both at home and abroad. His collaborations read like a who’s who of Afrobeat production, including Phazehop (Bolaji Williams), a Grammy-nominated producer known for his innovative approach to Afro-fusion; D’Tunes, a multiple award-winner and one of the driving forces behind some of Nigeria’s biggest musical exports; Indomix, a highly respected engineer whose name is synonymous with sound quality in the Nigerian music scene; and Christian Jude, a UK-based producer whose influence has helped refine Ebonny’s Afro-urban aesthetic.
These partnerships have been key in shaping Ebonny Musik’s growing discography, which includes standout tracks such as Feelings featuring D’Tunes, Whine 4 Me, Good Days Bad Days, Sweetest and One Life, both featuring Christian Jude.
Many of these songs appear on his Unstoppable EP, a project that encapsulates his ability to fuse infectious rhythms with thoughtful songwriting.
Beyond the music, Ebonny Musik is fast becoming a cultural bridge between Nigeria and the United Kingdom.
Nollywood actors Chinedu Ikedieze, Uche Elendu, and Grace Amah have applauded the visionary CEO of Akwaamaka Music, High Chief Stanley Obodoagwu over the newly launched expansive music, photography, and content creation studio.
Situated in Festac Town, Lagos, the grand opening drew a distinguished crowd of Nollywood celebrities, industry professionals, and media.
Veteran actor Chinedu Ikedieze praised the initiative, stating, “What High Chief Obodoagwu has done with Akwaamaka Studio is commendable. It’s a huge step toward professionalizing our industry’s infrastructure and providing a standard that our talent truly deserves. They have virtually everything here; you can shoot an entire movie in one location. The quality, the design, the nature-themed sets… it’s out of this world. Akwaamaka brought nature to life, and for filmmakers, this is going to cut costs significantly.”
Supporting this sentiment, actress Uche Elendu added, “This new studio is exactly what Festac and the wider Lagos creative community needed. It is a one-stop-shop for high-quality production, and I believe it will be instrumental in fostering the next wave of creative talent.”
Speaking on the idea behind the new venture, High Chief Obodoagwu highlighted a gap in the local industry.
“I have visited various studios across Lagos and observed a noticeable lack of internationally competitive standards,” he stated. “My decision to launch Akwaamaka Studio stems from a commitment to elevate the industry. We are creating a multipurpose hub designed to meet the holistic needs of the entertainment sector—serving filmmakers, music producers, recording artists, content creators, and individuals seeking world-class facilities. This is the best studio in Nigeria. I can bet that.”
The studio is poised to become a central creative engine for the entertainment community. The event also featured a captivating performance by one of Akwaamaka Music’s rising stars, Kingsley Ifeanyi Adaoje aka Spenta, who entertained the audience with tracks from his latest EP, Roll My Dice.
For talented actor, Kalu Ikeagwu, the message and value of the script are more important than the budget of the film. A complete actor with so many titles to his name, Ikeagwu opens up about his journey in the Nollywood industry, sharing the challenges, lessons, and experiences that have shaped his career. He highlights how a constructive upbringing has shaped his way of life. In this interview with Entertainment Editor GBENGA BADA, he also speaks about his most challenging role so far.
‘M sure you get a lot of scripts and offers. How do you decide which of them to take?
Before anything else, I read the script. From what I learned in school, whatever movie you do is supposed to inform, educate, and entertain at the same time. I didn’t really take it that seriously until one day, I think, when my mom came to visit me. When I was seeing her off at the airport, she saw some people who were like, “Ah, can I take a picture? Can I sign an autograph?” I never really told them what I was doing. So she was like, “Ah, this acting you went to do, it’s as if something is coming out of it. When next you’re coming to visit, bring one of your movies so we can watch.”
When I went to visit next, my brothers were there and everything. During the movie, it got to a point where I had a scene with Ini Edo, and we had to kiss. I completely forgot that scene was there because I had looked for the safest movie I could find. As the scene was about to start, I was like, “Oh, this scene is coming! Sweat was running down from my armpits, and I just started retreating. My brothers already knew what was coming, so they said, “Ah, Mommy, where is this your son going? What is he doing?” I disappeared from that place, and I looked at myself and thought, “I’m not a small boy anymore; why am I so nervous around my mom?”
It dawned on me that the training your parents give you never leaves you. Though it wasn’t a bad movie, it just made me realise I would never take part in a film my mother can’t watch. My dad is late, so that one is different. I think that’s the main thing that really inspires me to make sure I read the scripts of movies I appear in. I don’t care how much you’re paying me or how big the budget is; the message is always the most important.
Are you ever going to step out of your calm persona of doing family-friendly films, perhaps an action role or a character very different from the calm persona we often see on screen?
I had a shot at that in Cheta’M. In it, people hated my gut. It was an English/Igbo series. I played three different characters all in the same body, so my body was inhabited by different spirits and stuff like that, and one was really evil. I enjoyed that one because it was outside my scope, and in fact, I had to learn a different dialect of Igbo. I think that was the most challenging role I’ve ever had, and I like playing bad guys; it’s really good fun. Something outside you and I had to be very energetic outside my normal, calm self and stuff, so it was fun.
You schooled in England and Zambia, and then you also graduated from the University of Nigeria, where you studied English Literature. Did living in England and Zambia affect the man you have become today as an actor?
Immensely, because sometimes I feel like when someone says he is the son of a soldier or a policeman, I understand what they mean. You get posted everywhere, as a soldier or policeman. The children never really gather moss wherever they are; they’re always in different places. I think that’s how I feel sometimes. But kudos to my dad, he made sure that by age four, I could read and write Igbo. My dad banned English from the house; you go outside and speak English. He made sure Igbo was spoken in the house, where I learned everything I knew about my culture. So, I’m kind of a split personality. I’m a very down-to-earth village man, and at the same time, I have everything mixed in me so I can play or do anything that comes to mind because my dad made sure I was rooted, all of us were rooted in our culture right from birth.
If you did not make it as an actor, what other career path would you have chosen?
Teaching, definitely, or I’d have been a writer. I do a bit of storytelling too. But it would have been teaching. My dad was a teacher, and he rose through the ranks. He was a primary school teacher, then went into teacher training school, then went into secondary school teaching, before he was sent on scholarship to go overseas to study, and then came back and became a lecturer. So I went through the whole gamut; I had to learn how to read and write Igbo. Originally, I was supposed to be a doctor, read medicine, but because my father made sure I read a lot of literature, I fell in love with storytelling, and that’s why I insisted I was going to read English literature in the university.
Nollywood has become such an enigma that a lot of people are watching, and we are now getting the attention of the world. What do you think informed us that made us that way? What do you think helped the industry grow into that, and where do you think is the next step for the industry in terms of growth?
It’s simple: self-confidence. My best movies are from 2000 and earlier, dating back to the early ’90s, because they told stories about us, by us, for us. These films were so original and heartfelt, which is what attracted the whole world, even if they didn’t understand our culture. It was so impactful that, whenever I travel to the US, I meet people like Jamaicans giving their children Nigerian names. Everyone knows what Omugwo is, and it really helped us because, surprisingly, abroad, they actually think we swing from trees like monkeys. Imagine their shock when they see beautiful houses and people with a rich culture. Especially with Nigeria, Africa as a whole, or even the black diaspora—when you see a parent disciplining a child in a movie, everyone understands what it means: that broom or slipper will follow you and hit you right on the butt. Black people understand that, and it really resonates because many times they feel alienated, like strangers. But when they see models like Nigeria—so confident—they immediately feel they haven’t lost their culture. They feel connected, and that really endeared them to us. We went through that phase with great storytelling, but lacked proper equipment; it wasn’t very strong. Most was analogue, and as more sophisticated equipment came in, it became about picture quality and what you could produce. The storytelling scene was somewhat pushed aside, and often stories from Bollywood or Western tales were adapted into ours, which alienated viewers—they couldn’t connect. I believe there’s a resurgence of African stories, helped by music. Our music, unapologetically Nigerian, has gained global popularity. I think the film industry has also contributed, like the one I did with Tosin Igho, Uzor Arukwe, and others, which was an amazing story. It was a detective story, but using African methods to find the culprit, with jazz and local traditions. Omowunmi Dada and RMD starred in it. That really resonated with us, sparking a renewal of stories by Africans, for ourselves, and exporting them to the world.
There’s a new trend now that, as a producer, after you’ve done your work, you have to go the extra mile again and make sure to market it. And one of the ways to market it in Nigeria successfully is to dance. You have this sort of sage aura around you; will you dance to promote a film?
Yes, I’ve danced to promote. See, dancing is not something I like to mention because I’m still very angry with Mary Lazarus. I had to dance, and I’m a terrible dancer. I hate dancing because I cannot dance to save my life. The only worse dancer than me is my younger brother. So please, don’t ask me to dance unless you pay me good, I have to rehearse very well beforehand.
What if it’s your film?
I’ll dance. Have you seen white people dance? That’s how I dance, but a white person, when they’re dancing, they dance so terribly, but they believe so much in themselves that they actually enjoy what they’re doing, making fools of themselves. That is how I’ll dance to promote my film.
Do you think it creates a dangerous trend in the industry?
You see, one thing you have to understand is why Nigerians are respected all over the world. They’re like the Agama lizard. If no one praises them, they’ll praise themselves, and that is why what we are known for is anything that works. That is why this country has not crumbled with all the stress it’s going through; they must find something to laugh at or smile, so if it’s dancing that will do the job, so be it.
Kennery music act, Afe Fakorede Ojo, who is fondly called Ijinle kennery by his fans, is putting final touches to his anticipated album ahead of his scheduled European tour.
Dios Manda Entertainment, a Spain-based entertainment outfit is finalising arrangements to ensure that Ijinle Kennery hits Europe soon with his kennery vibes.
Winner Omo Gisanrin, the show promoter and boss of Dios Manda Entertainment, said his outfit have concluded arrangements for the tour.
Having established himself as a force to be reckoned with in the Kennery genre on the local scene, Ijinle Kennery is now set to take his music beyond the shores of Nigeria.
The budding star is one of the few music acts who have perfected the unique style made popular by the late Kennery legend, Orlando Owoh.
Ijinle Kennery, a product of a culturally-rich family from Irun Akoko, Ondo state, said he fell in love with the Kennery genre of music early in life.
The opportunity to fulfill his dream presented itself around 2010 when he formed his first music band. In 2013, he came out with his debut album, ‘Tribute to Orlando Owoh.’
The album, which was a sold-out, was a resounding success as it erased the doubt that Kenneryusic may have died with the passing of Orlando Owoh.
With the acceptance by the lovers and fans of Owoh, Ijinle kennery took further steps to solidify his entry with his sophomore album, titled ‘Eru Obodo’ in 2014.
From that point, he has refused to look back, churning out albums after albums. Between 2017 and 2024, he has recorded the albums including, ‘Our Democray’ in 2017; ‘Ire ti Ola’ in 2018; ‘Yan’niyan timi’ in 2021; ‘Success is a trap’ in 2022 and ‘Legacy Dr Orlando Owoh’ and ‘Current Affairs’ in 2024.
The E1 Lagos Grand Prix has come and gone but the memories the sporting tournament left will forever linger on in the memories of attendees and special guests.
The three day event, which was held in the heart of Victoria Island, Ikoyi and Lekki, was spiced up by special performances led by Adekunle Gold, Fireboy DML, Shoday, Lojay, and Tiwa Savage.
The tone of the tournament was set by Adekunle Gold, who recently released his third album, Fuji, on Friday, October 3, 2025 with his performance at the LASWA Boat Jetty – Five Cowries Terminal.
Attendees of the event at other watching venues couldn’t get enough of the 38-year-old singer, who dished out tunes upon tunes to their delight.
After Adekunle Gold belled the cat for performances at the tournament, other music acts like YBNL signee, Fireboy DML, fast rising singer, Shoday and Lojay took turns in adding spice to the fun filled event.
The performances didn’t come as a surprise to many, who have attended the FirstBank inspired annual initiative, DecemberIssaVybe. Many of the attendees, who were mostly the younger generation, commended the Lagos State Government as well as major sponsors led by FirstBank of Nigeria.
Taiwo Elegbede, a 23-year-old student living in Lagos said the experience has set the tone for what December in Lagos will be like.
In her words, “When I heard about the E1 event, the first thing I did was to google about it and I saw that it was a sporting event. I am not really into sport but I was urged by my friends to attend and I don’t regret attending. The performances in the last three days have been awesome and now I have an idea how Christmas in Lagos will be.”
At the sporting tournament, nine teams including Aoki Racing Team, Team Alula, championed by LeBron James, Team Blue Rising, Team Brady, owned by Tom Brady, Team Brazil by Claure Group, Team Drogba, owned by football legend Didier Drogba, Team Miami powered by Magnus, and Team Rafa, owned by Tennis star, Rafael Nadal, participated at the tournament.
However, Team Brazil by Claure Group lifted the highly coveted trophy in a keenly competed race.
On why FirstBank decided to throw its heavy financial weight behind the tournament, the Acting Group Head, Marketing and Corporate Communications, Yinka Ijabiyi, who spoke during the E1 Lagos GP, said FirstBank would continue to be involved in driving initiatives that enhance creative culture across the country.
He also expressed that the vision of Firstbank as sponsors of the E1 Lagos GP was to champion a movement that would continue to celebrate global ideas and innovations that are not only sustainable but that could also push the boundaries of sustainability, and unleash the “unstoppable Vybes of Lagos” onto the global stage.
With the success recorded with the first-ever all-electric powerboat racing competition in Africa, Ijabiyi noted that it was a good testimony that the brand was not only determined to drive every initiative that prosper Lagos State, but was ready to transform the Lagos coastline into global reckoning.
The E1 Lagos Grand Prix was rounded off with a scintillating performance by the self acclaimed Number one African bad gyal, Tiwa Savage, on Sunday, October 5, 2025. Tiwa left the audience asking for more as she sang her soul to the delight of guests, dignitaries and other attendees at the event.
These performances were part of a broader effort to celebrate Lagos culture and the innovation of the E1 series electric powerboat race.
A new platform CameraHubs has intensified efforts to launch Africa’s marketplace for cameras, audio equipment, broadcasting gear, and stage lighting to boost creatives in their work.
The launch is slated for December 1, 2025.
The brains behind the platform, Eugin Joachin, a Nigerian businessman with over 20 years of experience in the photographic equipment industry, said the inspiration for CameraHubs came from decades of watching creatives struggle.
“I have seen photographers cry after discovering they bought fake gear or they are finding it difficult to get exactly what they want .I have seen churches spend months trying to bring in basic microphones, trusses, stage lights and other equipment. I have also seen middlemen inflate prices unnecessarily. CameraHubs is the big break Africa’s creatives have been waiting for,” he said.
He said the target audience are photographers, cinematographers, content creators, churches, clubs, broadcasters, and entertainers, adding that creatives don’t just need equipment; they need guidance, inspiration, and opportunities to connect.
“The platform will connect buyers directly to different distributors, retailers and manufacturers. Buyers will also be able to browse multiple shops, compare prices, and choose what suits their budgets,” he said at a media parley in Lagos.
“This is not just another online store. It is a hub where industry players, manufacturers, retailers, and professionals come together in one space. If you are a photographer, a filmmaker , club owners, churches you will find exactly what you need without stress,” he added.
Nigerian gospel singer Angel K has released the official video for her trending single, ‘Gratitude,’ a soulful expression of thanksgiving to God.
The five-minute track, which has been making waves across digital platforms, captures the singer’s signature style of worship and contemporary gospel rhythm.
Shot on a serene beachfront, the music video for Gratitude opens with scenic visuals that mirror the message of peace and appreciation that runs through the song. With energetic dancers complementing her performance,
Speaking about the inspiration behind the song, Angel K described Gratitude as a personal testimony of God’s faithfulness.
“This song came from a very deep place of reflection,” she said. “There have been moments when I didn’t know how things would work out, but God showed up for me in ways I couldn’t imagine. Gratitude is my way of saying ‘thank You, Lord,’ not just for the big things, but even for the breath of life and the peace of mind I enjoy daily.”
The singer added that she hopes the song reminds listeners to remain thankful regardless of their circumstances.
“In a world where so much is happening, we often forget to pause and thank God. I want this song to help people reconnect with that attitude of gratitude,” Angel K added.
With this release, Angel K reaffirms her place as one of the promising voices in Nigeria’s contemporary gospel scene dedicated to spreading hope and praise through her music.
“My goal is simple,” she concluded. “To use my music as a light to uplift, to heal, and to remind people that God still answers prayers.”
Canada was set alight with rhythm, colour, and cultural pride as the 2025 Pan-Afrikan Drum Festival unfolded in grand style across Brampton and Etobicoke.
The event, now in its third edition, became more than a cultural gathering and a living testimony to the resilience of African heritage in the Diaspora and its power to unite communities across continents.
The festival, according to the convener, Prince Segun Akanni, was born out of a vision to preserve and promote African cultural traditions through the universal language of drums. Over time, that vision has evolved into a continental showcase of heritage, creativity, and empowerment. In 2025, the event achieved new heights, blending African traditions with multicultural expressions while creating space for dialogue, youth empowerment, and intercultural diplomacy.
The festivities began at the Hilton Garden Inn in Brampton with the Youth Empowerment Program, a vibrant prelude to the weekend’s cultural crescendo.
Organized by The Drum Online Organization (Pan-Afrikan) in collaboration with the Global Forum for Human Rights and Sustainable Development, the program brought together mentors and young leaders in an atmosphere charged with hope.
The Youth Empowerment session was coordinated by Mrs. Folasade Akanni, and she ensured that the voices of youth were not only heard but celebrated.
Distinguished speakers underscored the importance of combining cultural pride with innovation. Prof. Francis Fasanu, Senior Lecturer at Sheridan College, challenged youth to see heritage as a springboard for global relevance rather than a relic of the past. Dr. Abiodun Bakare, representing UWORK, USA, injected energy into the discussions as both speaker and moderator. Adding a practical edge, Madam Kehinde Okoroafor, founder of MakeMe Elegant (Nigeria), led sessions that armed participants with real-world skills to confront everyday challenges. The day ended with young attendees emboldened, equipped, and ready to lead with confidence.
If the first day was a spark, the following day was a blaze. The Grand Finale, held at the Emerald Banquet Hall in Etobicoke, was nothing short of regal. The venue glittered with cultural elegance, alive with the anticipation of guests who arrived from across Canada, Nigeria, and beyond. The Grand-Finale was declared open by Consul-General of Ghana High Commission In Canada, Mr. Peter Kobina.
The highlight of the evening came with the majestic entrance of Her Regal Majesty, Olori Ambassador (Dr.) Temitope Enitan-Ogunwusi, Queen of the Ooni of Ife, who was received with thunderous applause. Her presence elevated the festival to a royal spectacle. Accompanying her were distinguished monarchs such as Oba Babatunde Tokunbo Awosunle, Elejesi of Ejesi, and Oba Olusegun Aderemi, Atayero of Aramoko Ekiti, among others. Their attendance symbolized the deep cultural and spiritual roots binding Africans at home and abroad.
But the festival was not only about royal splendour; it was also about intercultural exchange. The Pan-Afrikan Drum Festival team dazzled the audience with pulsating rhythms drawn from West, South, and East Africa, while the Punjab Di Virasat Cultural Troupe introduced South Asian traditions of drumming, music, and dance. Their performances underscored a powerful truth: cultural strength is magnified when diversity is embraced. The Funky Cultural Troupe of Toronto added local flavour, while a fashion show and dance competitions further energized the evening.
The message was clear, this was not just a festival of African heritage but of global unity, where boundaries dissolved, and humanity danced to a shared beat.
In his address, Prince Segun Akanni, Chief Host and Convener of the festival, expressed gratitude and optimism: “We are determined to keep building bridges, empowering youth, and celebrating the greatness of Africa, one beat at a time.” He went further, unveiling an ambitious plan for the establishment of an African Cultural Village (ACV) in Toronto during the 2026 FIFA World Cup. With FIFA’s approval, the project aims to showcase African drumming and dancing during the tournament’s opening and closing ceremonies, a bold step in taking African heritage to the world stage.
The festival’s impact did not end with the final drumbeat. Two days after the finale, Prince Akanni led a high-powered delegation to visit Mayor Patrick Brown of Brampton. The courtesy call was both a gesture of respect and a step toward deepening cultural diplomacy. During the meeting, Akanni proposed that the Ooni of Ife confer a Chieftaincy title on Mayor Brown in recognition of his unwavering support for the Black community in Canada. The delegation, which included royal fathers, cultural leaders, and entrepreneurs, was honoured with certificates of recognition, further cementing bonds of friendship between Canadian and African communities.
The festival also received an outpouring of goodwill messages from global leaders. Prime Minister Mark Carney of Canada praised the event as an opportunity for Canadians to learn more about African traditions. Ontario Premier Doug Ford lauded the contributions of African Canadians to the province’s growth, while Toronto Mayor Olivia Chow and Brampton Mayor Patrick Brown both emphasized the festival’s importance in shaping inclusive communities.
From Nigeria, Ambassador Abba Kawu Zanna, Acting High Commissioner in Canada, described the event as cultural diplomacy at its finest. The Ooni of Ife, Ojaja II, in his royal address, commended Prince Akanni for his dedication to preserving Yoruba and African culture abroad, calling the festival “a platform for global cultural exchange.” Meanwhile, Otunba Biodun Ajiboye, Executive Secretary of Nigeria’s National Institute for Cultural Orientation (NICO), affirmed the federal government’s support, stressing that culture is not just entertainment but the soul of a nation.
The presentation of the Awards of Excellence was coordinated by the representative of Osun State Governor, Hon. Moshood Olagunju Osun State Commissioner for Youth, popular Nollywood Actor, Muyiwa Ademola and Prince Julius Ojo, Founder of Julicare Foundation
As the curtains closed, what remained was not silence but echoes of drums that spoke of unity, empowerment, and hope. The beats will linger long after, reminding the world that the drum is more than an instrument.
Nickelodeon viewers are ready for endless fun, adventure and excitement in a series of shows billed for October.
Already, family time just got better with the Halloween season as Nickelodeon is bringing all the fun with fan favourites making a return and brand-new adventures to keep the whole family laughing and excited.
From spooky specials to classic characters, viewers are to get ready for favourite shows.
Under the Nickelodeon Global is the Wylde Pak (New Series), where half-siblings Jack and Lily adjust to living together while helping at their family’s pet business.
Viewers will also be able to watch new episodes on weekdays till Friday, October 24, 2025.
SpongeBob SquarePants returns to bring even more laughter and fun to your family time from October 13, 2025 to October 24, 2025.
The Haha Halloween special will include the premiere of The Patrick Star Show, from October 27, 2025 to October 31, 2025.
On NickJr., Tim Rex in Space returns with T-Rex Tim, his big brother Tommy, little sister Tia and Triceratops bestie Kai tackle kid-shaped problems with dinosized solutions in space.
Also to rock the October specials include Rubble and Crew, Trick or treat!, Dora, Blaze and the Monster Machines, and The Tiny Chef Show.
NickToons will air The Patrick Star Show, SpongeBob SquarePants, and SONIC Prime which returns by popular demand.
