Putting aside the controversies surrounding the rollout of Uganda’s digital number plates, it’s worth understanding what the different formats represent. Unlike the old registration system, which mainly relied on alphabetical identifiers, the digital number plate system combines coded numbers, letter combinations and colours to identify vehicle categories, ownership, and, in many cases, the institution they belong to.

Private & Commercial Plates (Cars, Motorcycles, & Trailers)
UA 001AA: With black characters displayed on a white plate, this is the standard digital number plate issued to private and commercial vehicles in Uganda, such as a taxi in Park Enkadde or a family car. They are printed in rectangular and square formats for the front and back, depending on the vehicle.

UA 000AA: Distinguished by red characters on a white plate, these registration plates are issued to vehicles granted tax exemptions or special import privileges, including some vehicles belonging to NGOs, persons with disabilities and returning citizens relocating with their vehicles.

U00001D: These registration plates are issued by the Uganda Revenue Authority (URA) to licensed motor vehicle dealers, garages and vehicle importers, according to Patrick Mpairwe, a supervisor at the URA.

UMA 000AA (White): Black characters printed on a white square plate; this format is issued to motorcycles operating as public transport providers such as Boda Bodas.

UMA 000AA (Yellow): Black characters slapped on a yellow square plate; these are issued to privately owned motorcycles.

T UA 0001AA: Black characters printed on a white plate; these are digital number plates issued to privately owned and commercial trailers in Uganda.

Government Ministries, Departments and Agencies (MDAs)
UG XX 00001: Red characters on a white plate; this is a digital number plate format used by central government ministries, departments and agencies (MDAs).

The first two digits, XX, after UG represent the specific ministry or agency. For instance, the code UG 01 00001 is used by the Office of the President, UG 03 00001 by the Electoral Commission, and UG 12 00001 by the Ministry of Agriculture, Animal Industry & Fisheries.

This system introduced a new way of identifying government vehicles, moving away from alphabetic prefixes that denoted MDAs. Full list of MDAs number plate codes here.

Government Trailers
UG XX T001: Printed in red on a white plate, these are digital number plates issued to Trailers owned by specific government ministries, departments and agencies. The initial two digits, XX, after UG identify the corresponding MDA. For instance, UG 38 T001 is issued to a trailer used by the Ministry of Works and Transport.

Government Agencies and Authorities
UA XX 001AA: Featuring light-blue characters on a white plate, these number plates are issued to government agencies, authorities, and corporations operating under certain ministries, identifiable by the first two digits, XX, after UA. For instance, UA 12 025AA is used by the National Agricultural Research Organisation (NARO), an agency under the Ministry of Agriculture, Animal Industry and Fisheries.

Uganda Police Force
UP 00001: Printed on a white plate with red characters, these number plates are reserved for vehicles operated by the Uganda Police Force.

Uganda Prisons Service
UU 00001: Printed on a white plate with red characters, these number plates distinguish vehicles belonging to the Uganda Prisons Service.

Local Governments
LG XXX 0001: Printed on a white plate with red characters, these number plates are issued to local government cars (districts and municipalities). The initial three digits, XXX, after LG identify the district or municipality. For instance, local government cars in Kira Municipal have digital number plates that follow LG 139 0001. Find your area’s local government digital number plate code here.

Diplomatic Vehicles
CD XXX 000U: These plates, printed on a white background with blue characters, are issued to diplomatic missions and accredited diplomatic personnel in Uganda. The first three digits, XXX, identify each mission in Uganda. For instance, CD 001 000U is used by the British High Commission in Uganda, CD 002 000U by the American Embassy in Uganda, and CD 014 000U by the Russian Embassy in Uganda.

UN WFP 0001: Printed in blue on a white background, these digital number plates are used by the United Nations’ World Food Programme (WFP) in Uganda. Any number plate beginning with UN belongs to a United Nations agency operating in Uganda.

Summary of Uganda Digital Number Plate Colours
Black characters on white: Private and commercial vehicles
Red characters on white: Government and exempt vehicles
Light blue characters on white: Government agencies and authorities
Blue characters on white: Diplomatic and UN-related vehicles
Black characters on yellow: Private motorcycles.

#1. Global Births & Deaths Every Second
Every second, roughly four babies are born, and about two people die somewhere around the world. According to the United Nations World Population Prospects 2024, global births and deaths amount to these rates when annual figures are converted to seconds.

#2. Emails Sent Every Second
More than 4 million emails are sent every second, amounting to more than 347 billion emails each day. Estimates from EarthWeb confirm the figure includes personal messages, newsletters, business communications and automated emails.

#3. Google Searches Are Made Per Second
Around 100,000 Google searches are made every second, according to widely cited estimates based on Google’s enormous daily search volume. Google itself does not regularly publish a live per-second figure, so yes, treat this number as an estimate.

#4. Text Messages Sent Every Second
About 200,000 text messages are sent every second, according to figures published by Every Second, a book examining global activity through one-second intervals. The exact number changes as communication habits and messaging platforms evolve.

#5. Lightning Flashes Every Second
According to space-based data from NASA’s Earthdata program, Earth experiences between 35 and 55 lightning flashes per second, depending on the season, with roughly 1.4 billion flashes occurring worldwide each year.

#6. Earth’s Speed Around the Sun
While you are reading this, Earth is racing around the Sun at roughly 30 kilometres per second. NASA puts our planet’s average orbital speed at about 29.8 kilometres per second.

#7. Global Oil Consumption Per Second
Global liquid-fuel consumption was forecast at about 102.8 million barrels per day in 2026, according to the U.S. Energy Information Administration. This amounts to roughly 189,000 litres every second.

#8. Carbon Dioxide Emissions Every Second
Global energy-related carbon dioxide emissions reached 37.8 billion tonnes in 2024, according to the International Energy Agency, equating to roughly 1.2 million kilograms of carbon dioxide into the atmosphere every second.

#9. People Who Die in Road Accidents Every Second?
The World Health Organization estimates approximately 1.16 million people die in road crashes each year, equivalent to about one road death every 27 seconds.

#10. How Much Walmart Makes Per Second
According to Walmart’s 2026 annual report, the world’s largest retailer reported approximately $713 billion in fiscal 2026 revenue, averaging around $22,600 every second.

#11. How Much Amazon Makes Every Second
Amazon, the world’s largest online retailer, follows closely behind, with $716.9 billion in net sales in 2025, according to its annual report. This is $22,700 in sales every second throughout the year.

#12. YouTube Videos Uploaded Every Second
According to a 2021 article on the YouTube Blog, more than 500 hours of video were being uploaded to YouTube every minute, equating to more than 8 hours of video every second. The Inside YouTube article does not specify the number of individual videos, Shorts or long-form uploads behind the figures presented. Considering how much YouTube has grown since 2021, the volume today may be even greater.

On a normal day, this would be a movie review. But since Spider-Man: Brand New Day is dominating at the box office, let’s talk about one small bit of it that exposes a bigger problem running through all four MCU live-action Spider-Man movies: the scene where Peter Parker leaves flowers at Aunt May’s grave.

Aunt May died in Spider-Man: No Way Home during a confrontation with the Green Goblin. Four years later, Brand New Day finds Peter all alone and fully committed to a life as Spider-Man, with everyone having forgotten his identity. Meanwhile, the woman who raised him, May Parker, is little more than a name on a gravestone.

A moment like this, especially in a superhero movie, is supposed to hit hard. Peter has lost the person who raised him, and the flowers should remind us of what she meant to him. Instead, the scene plays out like any other.

The problem here is not Marisa Tomei’s performance; it is how the MCU wrote Aunt May across the four Spider-Man films. Grief works best when the audience knows the person who is gone, yet May was rarely given a life beyond Peter.

Unlike Rosemary Harris’s Aunt May in Sam Raimi’s trilogy or Sally Field’s version in The Amazing Spider-Man films, Tomei’s May has little in the way of personal struggles, relationships or ambitions. She mostly exists to look after Peter, provide exposition, deliver jokes and occasionally push the plot forward.

This is why her death struggles to carry the emotional weight the films expect; it’s difficult to feel what Peter lost. How am I supposed to mourn Aunt May, who, across four films spanning more than 9 hours, had around 20 minutes of screen time that barely gave us enough time to know her?

The same problem extends to Peter’s friends. MJ and Ned are among the most important people in his life, yet their stories largely revolve around him. MJ is Peter’s love interest, while Ned is his best friend and comic relief. Beyond that, nothing!

Compare that with Harry Osborn in Raimi’s trilogy. Harry has his own relationship with his father, his own ambitions and even resentment towards Spider-Man. When Norman Osborn dies, Harry blames Spider-Man, and that resentment pushes him to become the New Goblin.

Harry Osborn’s transformation grows from conflicts the films had already established. That is exactly what the MCU Spider-Man films lack: supporting characters with lives and conflicts of their own.

May, MJ, and Ned matter to Peter, but the films barely make them matter independently of him. So, when Peter visits May’s grave, Spider-Man: Brand New Day asks us to feel the absence of a character previous MCU films never gave us enough reason to know.

Every 10th August, the world comes together to celebrate World Lion Day, a day that reminds us of the importance of protecting lions and natural habitats where they live. In Uganda, this call has become more urgent as the country’s lion population continues to decline.

Uganda is now home to an estimated 291 lions, down from 493 in 2011. This represents a decline of more than 40% in about 14 years. Even more concerning is that around 80% of the remaining lions, about 240, are concentrated in Murchison Falls National Park. Queen Elizabeth National Park has about 40 lions, while Kidepo Valley National Park has only about 12.

These numbers show that protecting Uganda’s lions cannot be left to national parks alone. Lions need safe habitats, enough food and water, and healthy ecosystems to survive. When these ecosystems are degraded or fragmented, wildlife faces greater pressure.

ECOTRUST, a Ugandan environmental conservation organisation, is supporting the restoration of more than 50,000 hectares of degraded and fragmented land across the Albertine Rift region, including community and public land outside of the protected areas. Working with local communities, private landowners, forest owners, partner organisations and the government, this initiative is not only promoting habitat connectivity but also providing livelihoods for local communities and much-needed natural resources that both people and wildlife depend on.

The Albertine Rift is one of Africa’s most bio-diverse regions, with tropical forests that harbour an astounding 52% of Africa’s bird species; 39% of its mammal species; 19% of its amphibians; 14% of its reptiles; and 14% of its plants (Plumptre et al., 2007). At the same time, millions of people depend on the region’s agriculture, forests and other natural resources for their livelihoods.

Protecting these landscapes is therefore not only about wildlife. It is also about ensuring that communities can continue to benefit from healthy ecosystems.

Landscape restoration can take many forms. It can include planting trees, restoring degraded land, protecting forests and supporting communities to adopt environmentally friendly farming practices. These activities help improve ecosystems’ health while also creating opportunities for communities to earn a living.

For lions, healthy landscapes are especially important because they need enough space, food and water to survive. Restoring degraded areas and maintaining connections between habitats can help create healthier ecosystems for wildlife.

The sharp decline in lion numbers also shows why conservation efforts must look beyond individual animals. If most of Uganda’s remaining lions are concentrated in one protected area, protecting the wider ecosystem around key wildlife habitats becomes even more important.

Conservation also cannot happen inside national parks alone. Communities living around protected areas are important partners. Their decisions about farming, tree growing, grazing and the use of natural resources can have a direct impact on the environment.

When communities are supported to restore degraded land and benefit from conservation-friendly activities, they become important partners in protecting nature.

World Lion Day provides an opportunity to look at conservation from this wider perspective. Saving lions is not only about protecting a single species. It is about protecting the ecosystems that allow lions and other wildlife to survive.

It is also about helping people understand that their daily activities are connected to the health of nature. Farmers, communities, conservation organisations, government institutions and other partners all have a role to play in protecting Uganda’s natural heritage.

As Uganda marks World Lion Day on 10th August, the message should go beyond the lions we see in national parks. It should also draw attention to the landscapes around these protected areas and the people who live within them.

For 12 years, Atinoi Basil has helped golfers chase birdies and trophies. At the Watoto Caddies Tournament, he finally had the chance to chase one of his own.

Most golfers remember the shot that won them the tournament. Few remember the person who carried the clubs, searched for errant balls, read the greens and quietly whispered, “Aim a little left.” “Less energy on the swing.”

Yet without caddies, golf would be a much lonelier game. On Monday 3 August 2026, the usual order of things changed at Uganda Golf Club. The golfers stepped aside, and the caddies took centre stage, as the Third Edition of the Watoto Golf Tournament got underway with a Caddies Tournament.

As the Elite Amateurs and Pros prepare to tee off later, 59 of the club’s 140 registered caddies swapped their familiar supporting role for the spotlight, competing in a tournament organised in their honour.

For one day, they were no longer carrying someone else’s dreams. They were playing for their own. Among them was Atinoi Basil, a soft-spoken caddie whose story mirrors that of many men who quietly keep Uganda’s oldest golf course moving.

When Basil arrived at Uganda Golf Club in 2014, fresh out of high school, he wasn’t chasing trophies. He was chasing survival. “I had just finished school and needed something that could help me earn a living,” he recalls. “A cousin introduced me to the club, and that’s how everything started.”

What began as a temporary job became a career, a classroom and, unexpectedly, a passion. Over the years, Basil has learned far more than where bunkers lie or how fast the greens roll. He trained as a coffee barista and coffee roaster along the way, but caddying remained the profession that consistently put food on the table and helped finance his education. Being a caddie, he says, is often misunderstood.

“People think we only carry golf bags,” he says with a smile. “But a caddie is like the golfer’s second mind. You guide them, help them understand the course and give advice throughout the round.” It is a role that demands sharp observation, patience and trust.

Before anyone is allowed to caddie at Uganda Golf Club, they must first be approved by the club professional after undergoing one to two months of training. They learn every corner of the course, from hidden hazards and deceptive bunkers to the subtle slopes that can turn a winning putt into a disappointing miss.

That knowledge becomes invaluable once they step onto the course beside golfers. But unlike many professions, there is no guaranteed paycheque waiting at the end of the month.

Caddies earn only when they are assigned to a player by the caddie master. Some days bring work. Others bring only hope.

“It is casual work,” Basil explains. “Sometimes you work, sometimes you don’t. But it has helped me pay school fees and support myself.” The uncertainty has never dimmed his enthusiasm.

If anything, golf has become part of his identity. As a boy, Basil dreamed of wearing the Uganda Cranes jersey. Football was his first love, but life had different plans.

Today, another dream has quietly taken shape. “I want to remain in golf,” he says. “Maybe not as a caddie forever, but one day as a golfer.” That ambition feels more achievable after Monday’s tournament.

For a few hours, there were no players asking for club selections or reading difficult putts.

The caddies became competitors. Cheers echoed across the fairways as colleagues who usually walked behind golfers now stood over their own tee shots.

It was more than a tournament. It was recognition. Basil says the opportunity meant everything. “We appreciate Watoto for remembering us,” he says. “Every day we help other people enjoy golf, so it felt special to have a day where we could also play.”

His appreciation reflects a larger truth about the game. Golf may celebrate champions, but every champion has someone quietly walking beside them.

Someone carrying fourteen clubs under the afternoon sun. Someone searching for lost balls in the rough. Someone offering calm advice after a difficult hole.

Someone whose own story rarely appears on the leaderboard. For Basil, golf has also become a teacher.

“Golf is life,” he reflects. “Nobody is perfect. You will hit a bad shot, but what matters is how you respond with the next one.”

It is wisdom earned not from textbooks but from thousands of kilometres walked across fairways, watching victories, heartbreaks and everything in between.

As Uganda’s golfing community continues to grow, caddies remain among its quietest heroes. They are guides, mentors, counsellors, strategists and sometimes even confidence coaches.

Their names may never be engraved on the trophies they help others win. But for one unforgettable day at Uganda Golf Club, the applause belonged to them. And perhaps that was the greatest victory of all. Because every great golfer walks the course with a caddie. Every caddie, however, walks the course carrying a dream of their own.

As the Watoto Golf Tournament continues, attention now turns to Saturday’s game, where pros will take centre stage.

On 31 July 2026, Spider-Man: Brand New Day swung into cinemas and, within its opening weekend, became the second-biggest opening film of all time while earning a 98% Rotten Tomatoes score. With millions rushing to catch it, questions about how cinemas get, protect, and make money from blockbuster movies naturally arise. And that’s exactly what we’re breaking down in this short explainer.

How Cinemas Get Movies
Cinemas do not buy movies outright. Instead, they license them from film studios or authorised distributors for a limited period. The agreement specifies when the film can be shown, how long it can remain in theatres, and how ticket revenue will be shared between the cinema and the distributor.

How Cinemas Play Movies
Movies are delivered to cinemas as encrypted digital files, either through secure online delivery systems or on encrypted physical hard drives. Each cinema receives a unique decryption key, known as a Key Delivery Message (KDM), which only unlocks the movie on authorised projectors and servers during approved dates and screening times. Without the correct key, the movie cannot be played, even if the file has been copied to the cinema’s servers.

How Movie Studios Prevent Piracy
Besides encryption, every copy of a film contains an invisible forensic watermark. Unlike a visible logo or text, this watermark is not visible to the audience. It is embedded directly in the video and audio so that it is undetectable to human eyes and ears but can be identified using specialised forensic software.

How Cinemas Prevent Piracy
If you secretly record a film in a cinema and upload it online, investigators can analyse the watermark to determine exactly which cinema, screen, and in some cases even the specific screening where the recording was made. This allows studios to trace the source of screen-recorded copies uploaded to movie pirating websites.

Cinemas also curb movie piracy by monitoring auditoriums with security cameras, conducting regular checks during showings, and using night-vision devices to spot anyone attempting to record the screen.

How Movie Theatres Make Money
During the first few weeks of a major release, film studios often take anywhere from 80% to almost 100% of ticket revenue, leaving cinemas with little to no profit from ticket sales. As the film remains in theatres and demand falls, the revenue split gradually becomes more favourable to cinemas, often approaching 50% by the later weeks, depending on the agreement.

Because of this, cinemas rely heavily on concession sales. Popcorn, soft drinks, sweets, and other treats is where cinemas make most of their money. At Century Cinema, Acacia Mall, for example, a bucket of popcorn that costs around UGX 650 to produce is sold for over UGX 12,000, while most drinks are priced at more than double their normal retail price.

These higher prices help cinemas pay for rent and licenses, staff salaries, electricity, equipment maintenance, and the expensive digital projection systems required to screen modern films.

For many movie theatres, the snack counter brings in more profit than ticket sales.

Directed by Destin Daniel Cretton, Spider-Man: Brand New Day is the fourth solo Spider-Man film starring real-life couple Tom Holland and Zendaya Coleman, who return as Peter Parker and MJ.

Now in cinemas, Spider-Man: Brand New Day is expected to hit premium video-on-demand (PVOD) around 27 October 2026, according to Forbes, before streaming in early 2027. Here are five spoiler-free facts you should know before watching.

#1. Where Spider-Man: Brand New Day Fits in the MCU Timeline
Spider-Man: Brand New Day takes place four years after the emotional ending of Spider-Man: No Way Home. You’re walking into a world where Peter Parker has spent four years protecting New York on his own while trying to rebuild a life in a world where nobody, his former friends and allies, remember who he is.

Continuing the friendly neighbourhood Spider-Man story, expect a more independent and grounded version of Spider-Man than before.

#2. Spider-Man: Brand New Day Got a Script Upgrade
The film’s production was pushed back by six months, a delay that gave the creative team more time to refine the screenplay. Tom Holland reportedly called Sony Pictures boss Tom Rothman requesting a schedule change so he could be part of Christopher Nolan’s The Odyssey (2026) before returning to the Spider-Man suit.

This extra time also allowed the film’s co-parents, Marvel Studios and Sony Pictures, to strengthen the story.

#3. Spider-Man is Wearing a Practical Suit, Again
One of the most noticeable changes in Brand New Day is the Spider-Man costume. The movie departs from the flashy CGI suits used in recent Spider-Man films and adopts a more practical suit throughout. This direction could be interpreted as adding depth to the film’s story, with Peter Parker having lost everyone and everything he relied on.

In a behind-the-scenes video, Tom Holland explained that he wanted Peter Parker to feel more grounded, and the redesigned suit reflects that vision with visible stitching, wrinkles and small imperfections that make it look as though Peter Parker, your friendly neighbourhood Spider-Man, made it himself by hand.

“When we decided that we’re going to make Spider-Man: Brand New Day, we said, what if we made a suit that was an homage to Tobey and Andrew’s designs because now my Peter Parker had met those guys… we kind of created a Spider-Child of all three costumes,” Holland shared.

#4. Spider-Man: Brand New Day Post-Credits Scene
The first unspoken rule of watching a Marvel film is to stay seated until the very last second and never skip the credits. Spider-Man: Brand New Day is no exception. The post-credit scene rewards your patience by teasing the events of Avengers: Doomsday.

#5. Highest-Rated Live Action Spider-Man Movie
Early reactions have been overwhelmingly positive. At the time of this writing, Spider-Man: Brand New Day holds a 98% critics’ score on Rotten Tomatoes, making it the highest-rated live-action Spider-Man film since Sam Raimi’s 2004 Spider-Man 2.

Three days after its cinema release on 31 July 2026, Spider-Man: Brand New Day has become the second-biggest opening weekend film of all time, grossing $927M globally. It ranks behind Avengers: Endgame (2019), which earned $1.2B, and ahead of Avengers: Infinity War (2017), which opened with $640M. All three films are part of the Marvel Cinematic Universe.

To refresh your memory before heading to the cinema for Spider-Man: Brand New Day, in order, watch the following films, Captain America: Civil War (2016), Spider-Man: Homecoming (2017), Avengers: Infinity War (2018), Avengers: Endgame (2019), Spider-Man: Far From Home (2019), and, most importantly, Spider-Man: No Way Home (2021).

If you’ve been following national news and events, you’ve probably noticed that barely a few months pass without another climate walk, tree-planting campaign, or environmental award. Sustainability summits and youth innovation challenges have become common. Schools compete to showcase the greenest campus, banks sponsor conservation drives, NGOs fund climate competitions, and government agencies continue to organise environmental awareness events across the country.

Just recently, Adjumani topped the IFPA-CD Woodlots Programme; Northern Uganda was reflecting on its way forward following the Transformative Approach to Sustainable Landscapes and Livelihoods (TASLL) project.

We’ve all seen the activities. But why? Why has climate action seemingly moved from the sidelines to the centre of national conversation?

Let’s start with dear Uganda. We have witnessed increasingly unpredictable rainfall, prolonged dry spells with hotter days, devastating floods when it finally rains, landslides in mountainous regions, and rising temperatures. Agriculture, which supports millions of Ugandans through livelihoods and food production, depends heavily on predictable weather patterns. As those patterns become increasingly unreliable, the economic and social consequences become impossible to ignore.

But while climate change provides the urgency, it is not the only force, or even the main reason behind the surge in environmental activities.

Uganda has also committed itself to several national and international climate frameworks, including the Paris Agreement, updated Nationally Determined Contributions (NDCs), and national climate policies. These commitments increasingly shape government planning, donor funding and institutional priorities in Uganda. They are also a major reason climate-related initiatives now appear across nearly every sector, not just environmental organisations.

The Sustainable Development Goals
If you’ve attended a climate conference or even a school tree-planting exercise recently, you’ve probably noticed a colourful circular logo with 17 segments. That’s the Sustainable Development Goals (SDGs), and once you notice it, you begin seeing it almost everywhere.

Adopted by all United Nations member states in 2015, the 17 Sustainable Development Goals serve as a global blueprint for achieving a more sustainable future by 2030. They go beyond environmental protection to include education, poverty, health, gender equality, clean energy, economic growth and responsible consumption.

Climate action is only one of those goals. In reality, a single environmental activity often contributes to several SDGs simultaneously. For example, a single tree-planting exercise contributes to SDG 13 (Climate Action) by absorbing carbon emissions, SDG 15 (Life on Land) by restoring forests and biodiversity, SDG 6 (Clean Water and Sanitation) by protecting watersheds, SDG 11 (Sustainable Cities and Communities) through urban greening, and SDG 17 (Partnerships for the Goals) by bringing together governments, businesses, schools and civil society.

This is why so many organisations, from universities and financial institutions to local governments and NGOs, have taken up environmental campaigns. They are not simply planting trees; they are contributing to internationally recognised development goals.

There is Funding in Climate Projects
Another reason for the rise in climate initiatives is funding. Across the world, governments, development agencies and philanthropic organisations are investing billions of dollars in climate resilience, environmental restoration and sustainable development.

Projects that align with the SDGs and national climate priorities are increasingly attractive to donors and development partners. As a result, NGOs are designing more climate-focused programmes, universities are applying for green research grants, community organisations are developing environmental projects, and local governments are integrating climate action into development plans.

Global Markets Are Raising the Bar
Beyond funding, international expectations are also influencing environmental action. As global markets place greater emphasis on sustainability, countries and businesses face increasing pressure to demonstrate responsible environmental practices. Exporters seeking access to markets such as the European Union face stricter environmental and supply chain standards, while international investors are paying closer attention to Environmental, Social and Governance (ESG) performance before committing capital.

Development banks and multinational companies are likewise encouraging climate-conscious policies and operations. Although these expectations are not the sole driver of Uganda’s environmental initiatives, they reinforce the idea that sustainability is no longer optional but increasingly a requirement for remaining competitive in the global economy.

Businesses Are Turning Green Too
Not long ago, corporate social responsibility often meant donating to schools or supporting community events. Today, sustainability has become a major part of corporate identity.

Banks sponsor tree-planting drives, telecom companies invest in environmental campaigns, manufacturers promote recycling initiatives, and real estate developers highlight green building practices. While some organisations are motivated by genuine environmental concern, others recognise that consumers, investors and international partners increasingly expect businesses to demonstrate responsible environmental practices.

In reality, these motivations often overlap. Doing good for the environment is becoming good for business…so to speak.

Young People Are Leading the Conversation
Perhaps the most noticeable change is who is driving the movement. Young Ugandans are no longer just participants; they are the organisers, innovators and advocates behind many climate change and green movements.

Climate innovation competitions, environmental clubs, university research programmes and youth-led organisations are becoming increasingly common. Social media has also boosted climate awareness, allowing young activists and organisations to inspire participation beyond traditional environmental circles. Many students today grow up learning about climate change as part of their education, making environmental responsibility feel less like an obligation and more like a shared responsibility.

But Are These Campaigns Making a Difference?
This is perhaps the most important question. Tree-planting photographs often dominate headlines, but what happens after the cameras leave? How many seedlings survive beyond the first year? Are degraded wetlands genuinely restored? Do climate awareness campaigns change behaviour? Are businesses reducing their environmental footprint beyond symbolic events?

Climate action is now intertwined with agriculture, education, business, urban planning, public health and economic development. Behind many of these initiatives is the recognition that environmental sustainability is essential to national progress, and that the Sustainable Development Goals provide a shared roadmap for achieving it.

In the music industry, artists get the fame, but it’s the producers who often build the sound. They are the ones who turn raw talent into radio hits and influence the direction of the entire industry.

From the golden days of Kadongo Kamu and live bands to the digital Afrobeat era, these are the producers who left the biggest fingerprints on Ugandan music.

#1. Steve Jean Sserunkuma
If urban Ugandan music has a patriarch, Steve Jean is probably the closest thing to one.

In the early 2000s, his studio Fenon Records became the finishing school for some of the biggest names in Ugandan music. His production helped polish Rasta Rob MC, Shanks Vivie’D, Red Banton, Juliana Kanyomozi, Iryn Namubiru and Blu*3 into household names.

But Steve Jean’s biggest achievement may not even be the number of hits attached to his name; it is the family tree of Ugandan musicians and producers who continue to draw inspiration from him.

Once upon a time, a young Benon Mugumbya, before becoming one half of the Benon and Vamposs duo, walked into Fenon looking to learn both singing and production. Under Steve Jean’s mentorship, Benon developed into a producer himself and later, after leaving Fenon Records, founded Swangz Avenue.

Through Benon, that influence continued to spread to producers such as Just Jose, Big Nash, and Banger Boi.

#2. Dr Tee (Trevor Kazibwe) and Silver Kyagulanyi
Before digital production took over, Ugandan music was built around live instruments, bands and songwriting. Few people shaped that world more than Dr Tee and Silver Kyagulanyi.

Dr Tee became one of the key figures at Kasiwukira Studios, producing and writing countless songs for some of Uganda’s biggest traditional and band musicians, including Mesach Semakula, Geoffrey Lutaaya, Ronald Mayinja, Betty Mpologoma, Angella Kalule, Afrigo Band, Sophie Nantongo, and the like.

What separated Dr Tee and Silver from many producers was that they were not just engineers pushing buttons. They were songwriters, arrangers and musicians who understood the culture behind the music.

A practising lawyer by profession, Silver Kyagulanyi also played a major role in developing artistes through Sauti Media, helping create names like Abdul Mulaasi, Mamuli Katumba, John Segawa and Kazibwe Kappo.

Together, Dr Tee and Silver remain among the biggest influences in the band and Kadongo Kamu world, respected even by producers such as Daddy David of DMS Records and Producer Jonah.

Other producers who worked at Kasiwukira Studios at some point include Steve Jean, Timothy Kizito, Henry Kiwuwa, Paddyman, and Ken Lubwama.

#3. Paddyman (Paddy Kayiwa Mukasa) and Tony Houls (Tony Bikumbi)
During Uganda’s famous Big Three era, when Bebe Cool, Bobi Wine and Jose Chameleone’s rivalries dominated industry conversations, Paddyman and Tony Houls occupied a unique position. All three superstars recorded some of their biggest hits with the pair, making them the producers behind one of the most competitive periods in Uganda’s music history.

Paddyman and Tonny began at Eddy Yawe’s Dream Studios, producing their initial hits. Tonny Houls later joined Bobi Wine at Fire Records, while Paddyman formed his own Audio1 Studio. Coming from a gospel background, Paddyman, whose stage name was crafted for him by Bobi Wine, developed his craft around church music and even shared studio space with Kadongo Kamu legend Elly Wamala. That influence could be heard in his sound at Audio1.

Most of Jose Chameleone’s most inspirational songs, like Valu Valu, Badilisha, Katupakase, Tubonge, Kuba-bulunji, Nzigulira, etc are produced by Paddyman. He also produced for artists including Eddy Kenzo, Judith Babirye, Rema Namakula, Chosen Blood, and Pastor Wilson Bugembe.

#4. Washington David Ebangit – The Goodlyfe’s Lifeline
Washington started at Dream Studios in the early 2000s, working with a young Bobi Wine before moving to Black-Hole Studio, where he became one of Bebe Cool’s main producers. It was a significant breakthrough, with Bebe Cool no longer needing to travel to Kenya to record with Ogopa DJs.

Washington’s defining moment came during his time as the in-house producer for Radio and Weasel at Goodlyfe Magic studios in Neverland, Makindye home. Much of Radio and Weasel’s catalogue carried Washington’s signature sound: guitars pushed to the front of the mix, powerful drums, and basslines inspired by South African sounds.

#5. Jose Chameleone (Joseph Mayanja)
Most people know Jose Chameleone as one of Uganda’s greatest singers, but many forget that he is also a talented producer. Do not mistake him for his nephew Mayaja on da Beat.

During Chameleone’s years in Kenya, he absorbed lessons from the Ogopa DJs camp and returned with a sound influenced by South African instrumentation. Back home, he produced many of his own early songs while also working with upcoming artistes such as Weasel, Lizard (later Pallaso), Radio and Ragga Dee.

As his career evolved, he began working closely with Paddyman, Producer Madder Kayz, Diggy Baur and Yaled.

#6. Diggy Baur (Galabuzi Andrew)
The modern Ugandan sound owes a lot to the rise of Kidandali, and Diggy Baur was among the producers who helped shape that movement. Baur started at Sound Cava before setting up Sabula Records in Makindye.

He peaked at a highly competitive period, surrounded by talents such as Producer Kusseim, Producer Jonah, Producer Crouch, Yaled and Dr Fizzol.

Jonah brought modern touches to Kadongo Kamu; Crouch became known for smooth zouk-inspired arrangements; Yaled transformed David Lutalo’s sound; while Dr Fizzol helped shape the early sounds of Spice Diana, Geosteady and Maro.

Yet Diggy Baur remained one of the standout names. His ability to combine Kidandali melodies with polished Afrobeat production was something he might have borrowed from Producer Madder Kayz, Producer Rinex and Bless Touch.

Diggy Baur was also respected as a skilled mixer, blending live instruments and digital sound with a clean finish. Eno Beats claimed that spot.

#7. Nash Wonder (Enock Kubeerwa)
Some producers dominate for decades. Others burn brightly for a shorter period but leave behind unforgettable work. Nash Wonder belongs to the second category.

During his Monster Studios era, Nash Wonder influenced the rise of artistes including Ziza Bafana, Sheebah Karungi, Khalifah Aganaga, and Pallaso. His run may have been shorter than some others on this list, but his impact was massive.

#8. Nessim Pan Production
Born Isma Mukuzza, Nessim became Steve Jean of his day. He polished the urban Benon-like sound heard in Radio & Weasel/GNL Zamba/Navio with a soft, clean, radio-friendly sound that he orchestrated through Ykee Benda and A Pass.

Nessim began his journey at Badi Musik before founding Shotgun Studios. He credits Tonny Houls for introducing him to production.

Nessim’s sound shaped the early careers of A Pass, New Chapter Africa, Ykee Benda and Levixone. At his peak, his smooth production style set him apart from rivals such as Danz Kumapeesa, Andy Muzic, Aethan and Producer Hannz.

#9. Artin Pro (Martin Musoke)
Shortly after joining the music industry in 2015, Artin Pro and T.O.N helped introduce a fresh wave of artistes between 2016 and 2018, including Fik Fameica, Rickman Manrick, Karole Kasita, and Latinum, who embraced the Nigerian-influenced sound.

Their sound defined an era in Uganda’s music scene, where digital production, infectious melodies, and youth-driven songwriting began shaping the mainstream. The simplicity of their lyrics became part of the appeal, turning everyday phrases into hooks that listeners could easily sing along.

In 2019, Artin Pro launched Axtra Nation Studio after leaving Jahlive Studios

#10. Daddy Andre (Ojambo Andrew)
Every era has its leading producer, and though we have trending producers like Trapex Booming, Producer Genee, Chemical Beats, Hey Sekret, Banger Boi, Bass Boi, and Producer Horace, Daddy Andre’s influence is still existent.

Whether he eventually reaches the legendary status of Steve Jean will depend on time, but for now, he is the producer defining and influencing the current Ugandan sounds.

The Ghetto Kids from Uganda made history when they performed on one of the world’s biggest entertainment stages alongside global superstars Shakira and Burna Boy at the FIFA World Cup 2026 Final. The performance was more than another international appearance for the Kampala-based dance group; it placed Ugandan talent at the centre of the most-watched event globally for a solid two minutes.

The historic show took place at MetLife Stadium in East Rutherford, New Jersey, during the first-ever official FIFA World Cup Final halftime show. With more than 80,000 fans filling the stadium and over a billion viewers tuning in worldwide, the 0-1 final match between Argentina and Spain became a global phenomenon, as appearances by major icons in music and film delivered a Super Bowl-style show.

For the Ghetto Kids, appearing on that stage marked a major leap in their journey, which began in 2014 with performances in Kampala suburbs and appearances in music videos.

The Ghetto Kids’ path to the World Cup stage began after Shakira saw a clip of their improvised choreography to her song “Zoo” from Zootopia 2. Impressed by their creativity and energy, the “ageless” Colombian superstar invited the Ugandan-bred dancers, led by Dauda Kavuma, to feature in the official “Dai Dai” music video, a FIFA World Cup 2026 song by Shakira and Nigerian Grammy-winning star Burna Boy.

Directed by Hannah Lux Davis and featuring star cameos from football legends including Kylian Mbappé and Lionel Messi, the “Dai Dai” music video was shot over two days in early April 2026, primarily at Robot Studios in Miami. On 20 May 2026, just days before the video’s official release, Shakira officially unveiled her collaboration with the Ghetto Kids.

Their bond grew even stronger as the Ghetto Kids spent time rehearsing and touring New York City with the singer.

What can’t be left out is that, on their second trip around June, the Ghetto Kids’ World Cup dream hung in the balance when U.S. health protocols linked to the Ebola outbreak forced the troupe to spend 21 days in quarantine in Ecuador before they could land in the United States to take the stage.

Against the odds, they made it through. On 15 July 2026, a day after their viral walkout at her New Jersey concert, Shakira confirmed she would perform with “The @Ghettokids_tfug from Uganda” during the 2026 FIFA World Cup Final on 19 July 2026.

The rest is history. The Ghetto Kids are now cemented global icons who earned Uganda a spot in the spotlight brighter than what some of the competing nations in the tournament got.

#1. World Cup Winners Don’t Get to Keep the Trophy
The original FIFA World Cup trophy is permanently housed at the FIFA Museum in Zurich, Switzerland. World Cup winners briefly celebrate with the original trophy during the official presentation ceremony, immediately after the final match, before receiving the FIFA World Cup Winners’ Trophy, a gold-plated replica they can keep. The original remains FIFA’s property.

#2. Why FIFA Introduced a New World Cup Trophy
The current World Cup trophy was first presented in 1974, replacing the previous Jules Rimet trophy (1930 – 1970) that was permanently awarded to Brazil in 1970 after they became the first nation to win the World Cup three times.

#3. Not Pure Gold!
The FIFA World Cup trophy weighs about 6.1 kg and contains roughly 5 kg of 18-carat gold (75% gold mixed with other metals). The two green bands (layers) around the trophy’s base are crafted from the semi-precious stone malachite.

The FIFA World Cup Trophy isn’t made of pure 24-carat gold because pure gold is too soft and malleable, making it vulnerable to scratches and dents during handling and celebrations.

#4. The FIFA World Cup Trophy is Hollow
Despite looking like a solid sculpture, the FIFA World Cup Trophy is actually hollow inside. This hollow interior keeps the 18-carat gold trophy at a manageable 6.175 kg. If it were made from solid gold, it would weigh an estimated 70-80 kg.

#5. Not Everyone Can Touch the World Cup Trophy
Despite being lifted by champions around the world, the original FIFA World Cup Trophy can only be touched without gloves by a select few, including the FIFA President, heads of state, World Cup-winning players and officials.

#6. Engraving at the Bottom
The names of every FIFA World Cup-winning team and the year of their victory are engraved on the trophy’s base. After the 2014 tournament, FIFA changed the engraving layout from vertical rows to a spiral configuration, creating enough space for future champions until 2038.

#7. Who Designed the World Cup Trophy?
Designed by Italian sculptor Silvio Gazzaniga (1921–2016), the original FIFA World Cup Trophy has an estimated value of around US$20 million, making it one of the most valuable trophies in sport.

The FIFA World Cup trophy depicts two human figures lifting the Earth, symbolising the joy and unity of victory on football’s biggest stage.

Not the usual father-daughter list you’ll find on IMDb, these are films the author has watched and handpicked for their relatable portrayals of father-daughter relationships, ideal for young fathers and father figures. That’s right; some of the movies listed here were not created as father-daughter films but are well-made and, in line with what you’re looking for, feature moving father-daughter relationships.

Note: Movie titles highlighted in blue link to their official YouTube trailers.

#1. Searching (2018)
In a world where much of our lives happen through screens, Searching (2018) delivers one of the most unique father-daughter stories of the modern era. Told almost entirely through computer screens and digital devices, the screenlife thriller turns a missing-person investigation into a father’s journey of discovering how much he never knew about his daughter’s life.

The film follows David Kim (John Cho), a father desperately searching for his missing 16-year-old daughter, Margot. With no clear answers, David turns to her laptop and online presence, uncovering conversations, friendships, and hidden parts of her life.

Searching lingers on a difficult question every parent can relate to: how well do you really know your child? Do you know their friends, their struggles, fears, or the world they experience when you are not around? Impressive in its storytelling, execution, and plot twist, Searching (2018) remains one of the most inventive screenlife movies and a standout modern father-daughter story.

#2. Logan (2017)
James Mangold’s dystopian future film, Logan (2017), follows a troubled retired X-Man, Logan, who is forced out of hiding to protect X-23, a young girl revealed to be his biological daughter. Despite the brutal action expected in a Wolverine story, the emotional core of Logan (2017) lies in its unexpected father-daughter relationship.

The 2017 blockbuster, which marked the end of Wolverine’s journey in that universe, is led by Hugh Jackman as the iconic mutant and then-11-year-old Dafne Keen as X-23, a role that became her breakout performance. With Patrick Stewart portraying an ageing Professor Charles Xavier under Logan’s care, the film also carries a touching father-son-granddaughter dynamic.

#3. Interstellar (2014)
Best space exploration movie? Absolutely. But beyond the breathtaking visuals, scientific ambition, and journey across the galaxy, Interstellar (2014) carries one of the most powerful father-daughter stories in science fiction.

The 2014 Christopher Nolan epic follows Joseph Cooper (Matthew McConaughey), a former NASA pilot turned farmer and father of two, who leaves Earth with a team of researchers to find a new habitable home for humanity. Behind that impossible mission lies a deeply personal one: a father trying to keep a promise to his daughter, Murph.

The father-daughter relationship in Interstellar (2014) drives the entire story. Even with her older brother Tom present, it is Murph who carries the weight of her father’s absence and ultimately becomes central to humanity’s survival.

#4. The Father (2020)
Moving away from the younger father-daughter stories, The Father (2020) presents a later-life portrayal of a father-daughter relationship shaped by ageing, illness, and role reversal. The film follows Anthony (Anthony Hopkins), an ageing father living with dementia, as he is cared for by his daughter, Anne (Olivia Colman).

Directed by Florian Zeller, the film presents a rare perspective on a relationship where roles begin to shift, with a daughter becoming the caregiver for the parent who once cared for her. The Father (2020) is one of the rare films that perfectly captures this later stage of fatherhood.

Read the 2023 Nymy Net review of The Father (2020).

#5. Southpaw (2015)
Directed by Antoine Fuqua, Southpaw (2015) stars Jake Gyllenhaal as Billy Hope, a professional boxer desperate to regain custody of his daughter, Leila (Oona Laurence), following the death of his wife. The movie stands as another great father-daughter story within the sports drama genre.

More than a boxing film, Southpaw (2015) is a powerful depiction of hope, self-control, redemption, and the responsibilities of fatherhood.

#6. Prisoners (2013)
Not many experiences test a father’s love like the fear of losing a child. Prisoners (2013) asks how far one can go when that fear turns into desperation. Directed by Denis Villeneuve, the film stars Hugh Jackman as Keller Dover, a father whose world collapses when his young daughter, Anna, goes missing. With Detective Loki’s (Jake Gyllenhaal) investigation taking forever, Keller takes matters into his own hands.

Prisoners (2013) brings a darker father-daughter perspective to this list, exploring the anger, desperation, and impossible choices that emerge when a child’s safety is at stake.

#7. Gifted (2017)
Led by Chris Evans as Frank, a single man caught in a legal custody battle while trying to raise his genius niece, Mary, as a normal child, Gifted (2017) may not technically be a father-daughter movie, but it delivers one of the clearest father-and-young-daughter dynamics on screen.

This film helped establish McKenna Grace’s reputation for portraying child prodigies, making her a natural fit to play Paige Swanson, Sheldon Cooper’s academic rival, in Young Sheldon.

#8. The Furious (2025)
This Hong Kong martial arts film pushes the question of how far a father will go to protect his daughter. Starring Mo Tse as Wang Wei, a mute father whose 10-year-old daughter is kidnapped by a criminal network involved in child trafficking, The Furious (2025) delivers a powerful story of a father’s love mixed with determination.

Keeping spoilers to a minimum since it’s a recent release, if you’re looking for relentless fight sequences alongside unforgettable father-daughter moments, The Furious (2025) cuts it.

#9. Shelter (2026)
A typical Jason Statham movie, except this time, he is not just fighting to survive; he is risking everything to protect a young orphan girl from enemies tied to his past. Jessie (Bodhi Rae Breathnach), a teenager targeted alongside him, has no one else to rely on but Michael Mason.

Though the two are not biologically related, their de facto father-daughter relationship in Shelter (2026) proves that family can be built through protection, trust, and sacrifice.

The 10th movie would have been Aftersun (2022), but the final direction had to include a gay storyline. Nevertheless, The Prestige (2006) and Deep Water (2022) feature interesting father-daughter elements.