There are bad movies, and then there is Citizen Vigilante.

Directed by Uwe Boll and starring Armie Hammer, this is one of the weakest films I’ve ever watched, judging by its plot twist, pacing, and direction. Yet somehow, it still achieves exactly what it sets out to do, and that’s what makes it fascinating.

Citizen Vigilante (2026) follows Sanders, a wealthy American businessman living in Europe who has become a feared vigilante. Sanders’s targets are rapists, murderers, and other violent criminals, nearly all of whom are immigrants, as well as judges he believes let them walk free. The film leaves no doubt that its central message is built around illegal immigration and the failures of the justice system.

While most agenda-driven films embed their message through drama or symbolism that unfolds gradually, Citizen Vigilante throws its message at you within the first five minutes through an extremely graphic sequence, then reinforces it through repeated dialogue cues and direct visuals throughout the film.

The result feels less like a film directed by a filmmaker and more like a movie made by a series of posts on Elon Musk’s X profile stitched into a feature-length film.

The fascinating part? The constant pushing of the ideology Citizen Vigilante commits to from start to finish is what makes it work for those it was made for. Not because it’s a well-written or directed film, but because the message never lets its audience switch off.

By the single measure of keeping its intended audience watching until the credits roll, Citizen Vigilante is an undeniable success even as most of its filmmaking falls apart.

The pacing is painfully slow, with scenes dragging on far longer than necessary, not to mention the repeated cuts, all of which make Citizen Vigilante feel longer than it should be. With a runtime of 89 minutes, the film could have worked fine below 60 minutes.

Then there are scenes that simply don’t make sense or shouldn’t exist, such as the lengthy sex scene that adds almost nothing beyond revealing that Sanders owns the building where the sex workers operate.

The television news segments, which would otherwise work as a positive, strangely feel amateurish, with the news anchor never sounding convincing enough to sell the seriousness of what’s happening. Maybe that was intended.

Still, Citizen Vigilante isn’t without positives. Armie Hammer is easily the strongest part of the film and fits the role naturally. The ordinary streets, passing traffic, and background activity give several scenes a documentary-like feel, making parts of the film seem more believable.

The placement of terms like “take control,” “rule of law,” “justice,” “immigrants,” “Islamist extremists,” and “woke left” in the dialogue is great. There is this line stating;

“If these are your values, that women in America and Europe deserve to be raped because of a dress code, why did you come here?”

And just before the credits roll, the film cuts to a black screen with bold, all-caps text: “This film is dedicated to the thousands of rape and murder victims in Europe who were betrayed by our legal system,” leaving no ambiguity about the message it wants to leave behind.

Is Citizen Vigilante Worth It?
Citizen Vigilante is a poorly made film that only connects with viewers who already align with its message, making it engaging from start to finish. If you support strict deportation policies and accept its framing of immigration, it will likely resonate with you; if you don’t, it loses its grip early.

Oh, you can watch Citizen Vigilante on X, check Elon Musk’s X profile.

A lot of people buy washing machines based on price, brand, or whatever the salesperson recommends, only to realise later that the machine doesn’t actually fit their lifestyle.

The truth is, the best washing machine depends on how you live. Do you deal with power cuts? Is your water supply reliable? Do you live alone, have a large family, or simply want something that saves you time?

This guide breaks down the three main types of washing machines, explaining how they work, who they suit best, their pro and cons, and which one is worth your hard-earned money.

#1. Manual Top-Loader Washing Machine
Also known as a semi-automatic washing machine, the manual top-loader has two separate compartments: one for washing and another for drying.

You add the water yourself, set the washing time, move the clothes between compartments, and stay in control of the process. Not a flashy option, but it gets the job done.

If you’re on a tight budget, live in an area with frequent power interruptions, struggle with inconsistent water supply, are a student, or have a small family, this machine makes a lot of sense.

Its biggest advantage is practicality. It’s affordable, easy to repair, durable, and doesn’t consume much electricity. It also works well even when water pressure isn’t at its best, and the washing process can be surprisingly quick.

Of course, convenience isn’t its strongest point. You stay involved throughout the process, and it lacks the modern look and features of fully automatic machines. Top-loader washing machines can also be harsher on clothes.

Verdict: If you value affordability, durability, and simplicity over convenience, the manual top-loader is hard to beat.

#2. Automatic Top-Loader Washing Machine
This is where convenience starts to shine.

Load your clothes, add detergent, make sure the water supply is connected, press a few buttons, and walk away. The machine washes, rinses, and spins on its own. Once it’s done, all that’s left is taking your clothes out.

For busy people, that’s your machine.

Automatic top-loaders are ideal for medium to large families, working professionals, and anyone who wants laundry to require as little effort as possible.

They’re easy to use, save time and energy, and usually complete wash cycles faster than front-loaders. Since you load clothes from the top, there’s no bending, making them especially convenient for elderly people.

The trade-off is that they use more water than front-loaders and can be a bit rougher on fabrics. They also consume more electricity than semi-automatic machines and have a higher price tag.

Verdict: If you want convenience without stepping into premium price territory, the automatic top-loader balances cost and comfort.

#3. Automatic Front-Loader Washing Machine
This is the modern-looking washing machine.

Front-loaders are designed to deliver excellent cleaning performance while using less water and detergent. They’re also gentler on clothes, which is why many people trust them with delicate fabrics and expensive garments.

Most modern front-load washing machines come packed with features such as inverter technology, steam washing, smart programmes, and even built-in drying functions.

Like automatic top-loaders, they handle the entire process from start to finish. You load the clothes, choose your settings, and let the machine take over.

These machines are perfect for fancy homes, larger families, people who wash frequently, and anyone who wants the best possible care for their clothes.

They clean well, save water, run quietly, use energy efficiently, and offer advanced features.

The downside? They cost more to buy and repair, have longer washing cycles, and require a stable water and electricity supply. You’ll also need to bend down to load and unload clothes.

Verdict: If you’re into premium performance, advanced features, and the best care for your laundry, the front-loader washing machine is it!

Summary: Top Load vs Front Load
The manual top-loader is the practical choice: affordable, durable, and dependable.

The automatic top-loader is the convenience champion: easy to use and perfect for busy families.

The automatic front-loader delivers premium performance: efficient, gentle on fabrics, and packed with modern features.

Which Washing Machine Should You Buy?
Note: The front-load washing machine isn’t, by default, the best option.

The best washing machine is the one that fits your budget, your family’s needs, your electricity and water situation, and the way you actually do your laundry. In short, choose what works for you, not the one everyone else says is the “best.”

When CanalBox launched its fibre internet services in Uganda in July 2024, the only major downside early customers encountered was poor customer service. Many users willingly overlooked this flaw in exchange for affordable and stable internet speeds. However, by early 2026, CanalBox’s internet speeds deteriorated as well, with occasional outages escalating into weeks of downtime.

Because official customer support remained radio silent, the ground team (marketing) began advising frustrated customers to switch to a new router that the ISP is currently issuing to new customers. Seeing I once reviewed CanalBox, I figured a follow-up on its “magic” router wouldn’t hurt. So, I ordered one.

What You Need to Know About the New CanalBox Router
To avoid losing money, you should upgrade to the new CanalBox router when your current subscription expires. The replacement requires a completely new user account, and you’ll need to set up your Wi-Fi network and password again.

New CanalBox Router vs the Old One (Noticeable Differences)

While both routers share identical Wi-Fi 5 (802.11ac) capabilities, the old CanalBox router from Nokia actually delivers a better Wi-Fi signal range, likely due to its higher power consumption. But let’s be honest, most users are only here for speed.

Is the New CanalBox Router Worth It?
Well, considering the new router is free and only requires a new subscription, there is no risk; go for it. However, if you are still sceptical, here is my review based on 10 days of use by myself and other users I could reach.

Internet Speed
The new CanalBox router is no miracle worker! Internet speed largely still depends on what the service provider delivers at that moment. It’s also not ideal to judge speed on the first day, as slower performance is common during initial setup.

Power Cuts & Reboot Time
One of the biggest frustrations with the old black CanalBox router is that when power goes off, it restarts even if a power bank is connected, taking close to 3 minutes to reconnect. It gets worse when UEDCL toggles power every 30 minutes.

In contrast, the new CanalBox router is not affected by power cuts. Internet access remains uninterrupted as long as the device is powered through a power bank. When you restart it, the new CanalBox router boots up in about 1 minute for both bands.

Finally, the new CanalBox router consumes roughly half the power of the old one. This lower power consumption gives CanalBox customers using power banks longer usage times. For instance, my backup runtime increased from 10 hours on the old router to about 18 hours on the new one with the same number of devices connected. Keeping all factors constant, the new router can run on a single Yaka unit (1 kWh) for 83.3 hours, whereas the old router would deplete that same unit in just 41.6 hours.

According to online reviews, the new router model is purpose-built for fixed ISP use.

And there you have it; no magic fix for slow internet, but a worthwhile upgrade. Plus, with no extra cost, what is there to lose?

Some songs define a career, and some define an era. Jose Chameleone’s Valu Valu is both. The 2012 Swahili-laced love anthem became one of the defining records not just of Chameleone’s catalogue, but of East and Central African popular music at large. Yet what makes it truly remarkable is not just the song, but the fact that it got two music videos, and the story behind tells you almost everything about where African music was headed at the time.

The first video was shot by Lukyamuzi Bashir, head of BADI Films, one of the most accomplished music video directors at the time. Known simply as Badi, Bashir broke through around 2007 with Aziz Azion’s Nkumila Omukwano and went on to direct works for Goodlyfe Crew, GNL Zamba, Eddy Kenzo, and Keko. He was a music video revolutionary, reconciling the then-new-in-Uganda R&B/Hip Hop sound with a US-like RnB/Hip Hop visual picture. He was the guy you went to if you wanted a Chris Brown-like video. He, Kim XP/Seasonz Filmz, Grate Make, KingdomFilmz 3X3, and Plazma1 were the gods of urban music videos before Swangz Films and Jahlive Studios came into the picture. But the BADI entity was more than a music video production outfit; it was a music label outfit that nurtured A Pass and Ykee Benda.

The First Music Video for Valu Valu by Jose Chameleone
Bashir’s Valu Valu video followed a storyline of romantic conflict, a cheating woman (who cheated on his boyfriend with Chameleone), a drama that unfolded scene by scene and a piano-playing Chameleone. It was accomplished work. But Chameleone’s question, it seems, was not whether the video was good; it was whether it was good enough for where he wanted the song to go.

The Channel O Standard: When a Video Could Open or Close Doors
By 2012, three channels, Channel O, MTV Base, and Trace Music, had become the gatekeepers of pan-African musical ambition. Getting your video onto these platforms meant reaching a continent-wide/global audience; failing to meet their standards meant staying local. When MTV Base launched in February 2005, one of its earliest challenges was the shortage of high-quality videos from African artists that met its technical and aesthetic bar. The channel responded with workshops and initiatives, but the underlying message was blunt: if your video did not look right, it would not play.

Nigeria’s P-Square had figured this out early. Their polished videos were regular Channel O fixtures, and even winning big at the Channel O awards with Bizzy Body. Their subsequent collaboration with Johannesburg’s Godfather Productions on Do Me became one of the most requested videos on MTV Base Africa. That benchmark, cinematic, stylish, not-so-much-plot, was what East and Central African artists should have been chasing.

The Radio & Weasel camp documented that the Talk and Talk music video, shot by BADI for a global audience, was submitted to Channel O and rejected. The duo re-shot Magnetic, which already had an okay video, in South Africa, and it was accepted. Subsequent videos they wanted to push internationally, Fantastic, Home to Africa ft PJ Powers, Breath Away, were all redirected to South Africa thereafter. The lesson had been learned at cost, and it was one that the wider industry absorbed quickly.

Chameleone, with Valu Valu already a continental hit and a song he clearly believed had the legs to go further, took that direction too.

South Africa & the Visual Economy of African Music
South Africa, Johannesburg and Durban in particular, had become the de facto production hub for ambitious African music videos. The country’s developed film infrastructure, professional-grade equipment, experienced crews, and photogenic locations meant that videos shot there simply looked different. It was about resources, technology, and a production culture built over decades of formal film and television work.

Tanzania’s Ali Kiba understood this too. His Sony Music-era hit Aje (and other videos) was shot in Cape Town by director Meji Alabi. Diamond Platnumz, who would become the most decorated artist in East and Central Africa, famously took out bank loans to finance shoots in Lagos and South Africa, collaborating with Mike Ogoke of Godfather Productions, who shot Utanipenda, Ntampata Wapi, Kidogo, etc in Johannesburg. Until 2019, when he founded Zoom Productions, Diamond’s works and those of his Wasafi label-mates were shot either in South Africa or by South Africans, or both. The formula was established: go south, get international.

Bebe Cool, Chameleone’s long-time peer, grasped the same reality. He is spoken of as having invested in high-quality video cameras and collaborating with Sasha Vybz, a Ugandan director who trained at City Varsity College in Cape Town alongside the likes of Clarence Peters, and would get into the practice of flying Sasha Vybz to the United States for shoots. His experience on Love You Everyday video (short by Clarence Peters’ Capital Dreams Pictures) and the videos he did on Necessary Noise, which were highly pitched on Channel O, was a leaf to be picked.

iKind Media, Matt Nefdt, & Valu Valu Video Review
The production house behind the second Valu Valu music video was iKind Media, a Durban-based digital creative agency founded by Michael Nefdt. The director was Matt Nefdt, trained in Video Technology at the Durban University of Technology and experienced across directing, filming, and editing through early work at LA NEFDT Productions and iKind Media itself. The company’s portfolio extended beyond music, including the internationally noted ‘Africa For Norway’ campaign production.

The contrast between the two Valu Valu videos crystallises the broader shift. The BADI video gave you a plot. The iKind video gives you sensation: light, water, texture, movement, skin. No narrative arc, no characters with clear intentions. The edit is driven by feeling. This was not a stylistic accident; it was the precise language that Channel O, MTV Base, and Trace had established as the currency of international African music video production. Videos that travelled well prioritized mood over message, aesthetic over story.

Durban’s Coast, Slow Motion, & Moyo
The locations chosen for the second Valu Valu video are breathtaking: the warm Indian Ocean coastline, Durban’s sweeping beach vistas. And yet Matt Nefdt makes a deliberate, almost contrary choice: he refuses to let you settle into them. Rather than lingering on wide shots, the camera moves close. Face tracking, close-up on details such as hands breaking through water and the texture of a wet surface. The grand backdrop is blurred into a dreamlike wash of colour while the lens fixates on the tactile and the intimate. A lesser director might have made a travel postcard. Nefdt uses the landscape as atmosphere, something you feel rather than simply see.

Slow motion is the video’s primary tool, applied to semi-nude bodies in water, droplets breaking the surface, and movement against light. It forces the viewer to sit with moments that would otherwise blur past, giving the video the same unhurried emotional patience as the song itself.

A significant location detail: Chameleone is seen walking into Moyo, the iconic restaurant and beach bar on the uShaka Marine World pier. Moyo is the Swahili word for soul/heart, embodying the meaning in the second verse, “Moyo wako ufungue.” Open your heart.

Styling, Credits, & the Full Visual Package
The video’s YouTube description credits include a ‘Special Thanks’ to @thesocialitesa. @thesocialitesa’s Facebook handle, which we chose to look up on Facebook because it was the social media when the video came out, identifies it as a brand focused on fashion, lifestyle, and entertainment.

In a music video context, such a brand’s role would typically involve styling the artists and models on screen: the clothing, accessories, and overall look that signal polish and intentionality. This matters because what made South African-produced videos read as ‘international’ was not just camera quality or location; it was the total aesthetic.

A well-styled video signals a budget and a vision that local productions, however talented, often could not fully assemble at the time. Chameleone and iKind were not simply hiring a camera crew; they were assembling a complete visual package. They were also doing business at extension: iKind has a bikini store, which must have supplied the bikinis seen in the video; perhaps the inclusion of the bikini-girls was a marketing strategy for their store.

See Diamond Platnumz’s behind-the-scenes video to get a feel of how much such companies contribute to the polished picture we see in music videos.

Also worth noting: there are no artist or title credits on-screen announcing ‘Jose Chameleone’ or ‘Valu Valu.’ This was in line with Channel O’s submission requirements (you submitted the metadata to them by email, so that they included it themselves in the video, not you), which discouraged on-screen text branding; stardom should come with the confidence of an artist knowing his audience already knows his name when they see his face. The music speaks for itself, because the name behind it is already a legend.

Valu Valu was a song that earned the right to be revisited. The second video finds a visual language, intimate, slow, sensory, coastal, that genuinely deepens the emotional world of the song. Was the first video enough? For Uganda, perhaps. But the second one asked a different question: what does this song look like when dressed for the continent? The answer is something worth watching twice.

Compiled by Mwesigwa Joshua

Hearing that Google Chrome had rolled out vertical tabs took me back to 2016. Whenever I walked into an internet café, I always chose machines that had Opera installed because of how polished the browser felt. One feature I still remember was the sidebar for messaging apps; not exactly for tabs, but it gave a then-futuristic experience compared to the basic layouts of many other browsers at the time.

And finally, Chrome browser, which has long been my default, rolled out vertical tabs on 07 April 2026. Here’s how to enable the feature.

How To Enable Vertical Tabs in Chrome Browser
Open Chrome and enter: chrome://flags
On the Experiment page, enter and search Vertical Tabs in the search flags bar
On the rectangular Default button on the right, click and select Enable
Relaunch your Chrome Browser
After Chrome restart, go to the ⁝ menus icon, then > More Tools > Show Tabs Vertically.

How To Disable Vertical Tabs in Chrome
If the feature does not work for you, or you simply prefer the classic layout, switching back is easy.

Option-click anywhere on the vertical tab section and select Show tabs horizontally.

You can also return to chrome://flags, search Vertical Tabs, and set it back to Default or Disabled, then relaunch the browser.

Vertical or Horizontal Tabs, Which One Works Best for You
If you regularly keep many tabs open, vertical tabs are a practical option. Considering the vertical tabs section is adjustable in width, even at its minimum width, it becomes easier to see at least the first part of each page title, while horizontal tabs get too packed and shrink to only the favicon when many tabs are opened.

In that case, vertical tabs can be especially useful when checking multiple pages from the same website, where many tabs may share the same icon but have different page titles. As the list of tabs grows, you simply scroll through the sidebar to move between tabs instead of losing visibility.

Horizontal tabs, in contrast, still work well for people who keep only a few tabs open at once, giving a familiar feel and are a good fit on smaller laptop screens where webpage width matters more.

If the mobile data market weren’t almost limited to Airtel and MTN Uganda, with Lyca Mobile barely holding its small share, data bundles wouldn’t feel as expensive or run out so fast after loading.

In the fibre internet space, those two telecom giants now compete with a growing number of “unlimited” ISPs for a small but expanding customer base. With prices shifting wildly, not every attractive package is as good as advertised. In instances where prices are low, internet speeds and customer support often follow suit.

This guide walks you through Uganda’s major fibre providers, offering a firsthand look at pricing, speeds, and the common pitfalls that often go unmentioned.

Before that, it helps to understand how ISPs market their packages and where the gaps often lie. Speeds are usually listed as “up to,” not guaranteed, and are measured in Mbps (megabits), which is different from MB/s (megabytes per second) you see when downloading or uploading.

Difference between Mbps, Mb/s, and MB/s
Since 1 byte equals 8 bits, the number you see when downloading will always be lower than the advertised speed. For instance, a 50 Mbps connection translates to about 6 MB/s in real use. Tip: When you see a lowercase “b” (Mbps or Mb/s) instead of a capital “B” (MB/s), divide the advertised speed by 8 to estimate the actual file transfer speed.

Your experience will also vary based on network load, router limits, location, and time of day.

That said, before calling the number on that marketing flyer, note these realities: salespeople rarely share them.

Zuku Fiber Uganda
Starting Package: 25 Mbps at UGX 75,000
Highest Tier: 200 Mbps at UGX 200,000
Installation Cost: Free
Coverage: Kampala and selected areas of Wakiso
Common Issues: Frequent outages, poor customer support, payment challenges, and inconsistent speeds.
Best For: Small households looking for average unlimited internet plus an optional Zuku TV subscription, and are okay with occasional downtime if the price is right. (Zuku Fiber Review)

Simba Fiber Uganda
Starting Package: 30 Mbps at UGX 80,000
Highest Tier: 400 Mbps at UGX 499,000
Installation Cost: Free
Coverage: Kampala, Wakiso, Mukono, Jinja, Mbale
Common Issues: Difficult to contact customer support and occasional connection drops.
Best For: Households and small to medium offices in need of wider coverage and a relatively balanced overall experience. (Simba Fiber Review)

Canalbox Uganda
Starting Package: 50 Mbps at UGX 90,000
Highest Tier: 200 Mbps at UGX 200,000
Installation Cost: Free
Coverage: Kampala and selected areas of Wakiso
Common Issues: Poor customer support, slow upload speeds, peak-hour slowdowns, and delayed activation after payment.
Best for: Small households interested in streaming and video calls, and can tolerate slower uploads and peak-hour drops. (Canalbox Review)

Faibanet Uganda
Starting Package: 20 Mb/s at UGX 70,000
Highest Tier: 300 Mbps at UGX 500,000
Installation Cost: Free
Coverage: Kampala and selected areas of Wakiso
Common Issues: Poor handover between support teams and inconsistent speeds
Best for: Budget-conscious users who prioritise responsive customer care for basic browsing and streaming. (Faibanet Review)

Savanna Fibre Uganda
Starting Package: 20 Mb/s at UGX 67,000
Highest Tier: 250 Mbps at UGX 253,000
Installation Cost: Free
Coverage: Kampala and selected areas of Wakiso
Common Issues: Installation delays, weak routers, unreliable speeds, and poor communication after payment
Best for: Very budget-focused households needing entry-level unlimited internet for light use.

MTN WakaNet Fiber
Starting Package: 100 Mbps at UGX 110,000
Highest Tier: 500 Mbps at UGX 300,000
Installation Cost: Free
Coverage: Kampala and major towns
Common Issues: Speed throttling, downtime, and slow ground support response
Best for: Users in upcountry towns and existing MTN customers who want easier service integration.

Across all providers, fibre users frequently deal with downtime, inconsistent speeds, and slow customer support, especially when waiting for a technician.

Coverage remains another key limitation; most providers serve Kampala and selected areas of Wakiso. If you move outside these areas, you may need to switch providers entirely, which can influence your choice more than price or speed.

All packages are monthly. The challenges listed in this article are based on firsthand accounts gathered by the author from various users over time.

it’s 28 March 2028, and Kanye West (Ye) has just released his 12th album, Bully, an expansion of his 2025 three-track EP of the same name. Featuring guest artists such as Travis Scott and CeeLo Green, Bully (2026) has 18 tracks with a total runtime of 42 minutes.

17 tracks off the album are visualised using cuts of a black-and-white short film. In these visuals, Kanye West’s son, Saint, is the main character in a wrestling ring, playfully fending off and outmanoeuvring professional wrestlers. Father, the third track on the album, featuring Travis Scott, takes a different visual direction from the rest, set in a disruptive church service with bizarre characters.

Now, the review! Honestly, I couldn’t pen it all down, so I thought, why not pull reactions from random listeners across the web to give you a clearer sense of Kanye West’s Bully music album.

Negative Reviews of Kanye West’s Bully (2026) Album
I like the samples. Vocals are predictably poor, and it is horribly mixed.

Half of the songs go nowhere; he repeats the same phrases and then just sort of ends the song. Verses are vague and half-hearted. Beats are decent with alright mixing, but nothing special for what should be a Kanye West album. Yeah, it’s better than Vultures [Vultures 1 & Vultures 2], but that’s a low bar to clear.

His rapping is a little flat at times, but the production is f*c#ing stellar. It feels like a movie. I think he’s a better singer than rapper on this album.

This is not good. If this weren’t Kanye West, the album [Bully] wouldn’t even make a blip on Soundcloud.

Bully album is nowhere near his best work, but it seems we need to just compare it to his last album, which is definitely a step up, but if we compare it to just other projects coming out, this is mid at best. If I compare it to Vultures, then yeah, I guess it’s good, but like throw on Graduation (2007), MBDTS (2010), or Late Registration (2005), it’s not even close.

Positive Reviews of Kanye West’s Bully (2026) Album
Ye’s most cohesive and focused album since Donda (2021), and considering its relatively short length, you could argue it’s his most focused since Ye (2018). Very sparse, lacking development in some areas, but I get that the minimal vibe is a feature rather than a bug.

Some of the intros give the hope for old Kanye West, then it just fades away. It’s not a terrible album; he must be doing better mentally.

Best Ye solo album since TLOP (2016). Donda has higher highs for sure, but bloated as hell.

It’s irritating that it’s as good as it is. I expected much much worse.

The album is already overhated. The songs are miles better than Vultures, even if they are shorter. Lyrics are better than Vultures and only a few skips.

We have been having AI songs, and now Ye drops Bully with a lot of new songs and almost no AI.

This is what we’ve been waiting to hear from Kanye West for years.

Ye hasn’t sounded this smooth in a hot minute.

What do you think? Some comments…
Listen here: “Bully” Album by Kanye West (Ye).

Oh, how frustrating it is to watch a YouTube video with unclear audio, whether because of the environment in which the content was shot or the creator’s lack of proper audio gear. You raise the volume, replay sections, and still struggle to catch every word. Well, not anymore.

While your favourite YouTube content creators are still hoping for the best microphones for YouTube to reduce background noise and improve audio quality, YouTube is using artificial intelligence to address the voice problem by enhancing spoken audio and making voices clearer during playback.

What is YouTube Voice Boost?
YouTube Voice Boost is an audio enhancement feature designed to make spoken dialogue clearer when watching YouTube videos. Using AI, voice boost identifies voices and raises the volume of spoken words relative to background sounds like music, ambient noise, or sound effects, so the dialogue becomes easier to hear.

The adjustment happens only during playback on your device, and doesn’t affect the original video or how it sounds on other devices where the feature isn’t enabled.

When was Voice Boost YouTube Feature introduced?
Quietly rolling out for selected users and devices, the Voice Boost YouTube feature began appearing gradually in late 2025, with wider visibility in early 2026. Availability still varies by region, app version, and platform, which explains why some users see the option while others do not.

How Voice Boost YouTube works
When enabled, Voice Boost analyses the audio in real time by separating voice frequencies from other sounds and amplifying speech while slightly reducing competing audio. The result is clearer dialogue, though the processing can sometimes sound artificial depending on the original audio.

Prioritising dialogue clarity, Voice Boost works best for interviews, tutorials, lectures, and other talk-based content, making speech easier to follow.

How to turn on YouTube Voice Boost
To use Voice Boost, play a video and open the settings icon () in the YouTube video player. If the option is available on your device, you will see “Voice Boost” under audio settings. Toggle it on to enhance speech or off to return to the original sound. Not all videos or devices support it.

Why YouTube Voice Boost Sucks for Some Users
While some viewers find Voice Boost genuinely helpful, especially when voices are hard to hear. Others say it makes audio sound processed, flattens music, and reduces sound quality in videos where audio detail matters. The experience depends on the content type and how the original audio was recorded. There is also the concern that Voice Boost changes how some YouTubers intended their audio to sound.

Is YouTube Voice Boost worth using?
Voice Boost on YouTube works best for speech-focused content, such as interviews, discussions, and educational videos, only when speech isn’t clear due to background noise or poor audio equipment. For music videos or content with careful sound design, turning it off preserves the creator’s intended audio.

The new Voice Boost feature is an addition to YouTube’s audio tools, following the release of Stable Volume, which balances loud and quiet moments, and automatic dubbing for multi-language audio.  All of these features have received mixed reactions from users and content creators alike. Interestingly, Stable Volume and Voice Boost don’t work together; YouTube viewers have to pick between balanced audio and enhanced voices.

As an independent artist, the hardest part of the music business isn’t writing or producing a song; it’s getting people to hear it. That struggle frustrates most artists and explains why so many are more than willing to try anything that promises exposure.

If you already know TuneCore, and even better, distribute your music through it, you’re in luck. The platform built a program designed to tackle this exact problem. Having your music heard with TuneCore accelerator.

What is TuneCore Accelerator?
Launched in 2023, TuneCore accelerator is an all-in-one growth program built by TuneCore to help artists increase streams and reach new listeners. It works by connecting your music on TuneCore to promotional tools used across major streaming platforms. Spotify Discovery Mode is one of the main platforms of the accelerator campaign, where selected music tracks are pushed into algorithm-driven playlists and listening spaces such as Radio, Autoplay, and personalised recommendations.

TuneCore Accelerator also pitches your music to TuneCore Artist Pitches, YouTube Creator Music, and selected editorial and marketing programmes. The campaign saves you from applying to these campaigns individually and gives your music a better chance of being approved.

In short, your music gets pitched for more visibility without you running ads yourself.

How Does TuneCore Accelerator Work?
All artists using TuneCore music distribution can opt in to TuneCore Accelerator, with no restrictions on genre, location, or career stage. Once you opt in, the platform scans your music catalogue each month. It analyses your releases and performance data, then matches eligible tracks to promotional opportunities across different platforms. Selection depends on factors like music genre, listener behaviour, location, and current track performance.

Does TuneCore Accelerator Really Work?
Opting in does not guarantee promotion or inclusion on every track, nor is activation on approved tracks instant, as each platform has its own rules. With that said, TuneCore accelerator remains a viable option for both new and established artists. Emerging artists have a chance to be discovered, while established artists with steady engagement can still qualify if their music release fits what platforms are testing or pushing. $0 cost to reach more listeners.

How Much Does TuneCore Accelerator Cost?
Activating TuneCore Accelerator is free. There are no upfront fees and no extra subscription cost, whether you are on an annual unlimited plan or using single releases.

TuneCore only takes a 20% commission from streams generated through TuneCore Accelerator-supported promotion, mainly Spotify Discovery Mode. Organic streams you earn on your own remain 100% yours. You keep full royalties and ownership of your music.

Is TuneCore Accelerator Worth it?
If the programme does not generate extra streams, it does not cost you anything.

How to Check if You Opted in for TuneCore Accelerator
If you meet the eligibility criteria set by TuneCore, you are automatically opted in to the TuneCore Accelerator programme. Here’s how to check if you are active.

Log in to your TuneCore Dashboard > Money & Analytics > find TC Accelerator.

In other words, if you see a section labelled “TuneCore Accelerator” on your dashboard, your tracks have been activated. If it does not appear, your music has not been selected yet. TuneCore reviews catalogues regularly, so activation can happen later without notice.

How to Opt Out of TuneCore Accelerator
At the bottom of your account dashboard, inside the TuneCore Accelerator section, tap “learn more” and select the opt-out option in the pop-up menu. Interestingly, you can opt out of the TuneCore Accelerator program at any time.

Common Questions Indie Artists Ask
Is TuneCore Accelerator the same as paying for promotion? No. You are not buying placement. You are allowing TuneCore to pitch and test your music where it fits.

In summary, TuneCore Accelerator takes a 20% commission, which adds up across many artists and streams for their business, but in return provides tools, campaigns, and promotional access to help your music reach its potential. After all, keeping 100% of nothing isn’t the same as taking 80% of $100 at no cost. You don’t pay a thing, your music gets a chance to reach more listeners, and you keep all your TuneCore royalties from streams you earn on your own.

The Two Popes (2019) is clear about its premise from the start. Set behind Vatican walls, the film follows Pope Benedict and the future Pope Francis as they confront their past decisions and try to find common ground for the Church’s future. You already know how their story ends. Yet the film still finds ways to keep you engaged.

With earlier work circling on power, guilt, and moral tension, Fernando Meirelles was a natural fit to direct this film. The fact that he is Catholic matters and helps explain how the film treats faith, doubt, and ritual not as spectacle, but as lived experience.

Anthony McCarten writes this film’s screenplay in a dialogue-heavy style, one that will feel familiar if you have watched Darkest Hour (2017) and his later biopics. There is a lot of talking in The Two Popes (2019), but the careful attention to surrounding visuals sustains its pacing.

Director Meirelles thoughtfully handles the film’s space and composition, sometimes using a loose, handheld camera style, while real archival photos at key moments give the film a documentary feel, blurring the line between staged drama and recorded history.

Another observation is how the two conclaves are shown in condensed form, yet they retain their significance. The summarised scenes carry a distinctly Catholic atmosphere: cardinals move in unison into the Sistine Chapel, votes are cast under Michelangelo’s Last Judgment with careful attention to detail, and the silence, footsteps, and vows all contribute to the film’s aura. Even though the events are shortened, nothing feels rushed or hollow.

Although the film could have entirely worked with the Vatican’s traditional languages, The Two Popes leans on English for most exchanges, mainly between Pope Benedict and Cardinal Jorge Bergoglio. Subtitles are recommended, both for the accents and because the film naturally incorporates Spanish and occasional Latin. As a dialogue-driven film, keeping subtitles on ensures better comprehension.

Despite the title, this is largely Pope Francis’s story. Jonathan Pryce carries the film as Jorge Bergoglio, with Juan Minujin filling in his younger years. Pryce gives you a man shaped by regret, humour, and quiet conviction. Flashbacks to Argentina by Juan deepen his portrait without overwhelming the present.

If there have to be tears, let’s make them tears of joy

Anthony Hopkins approaches Pope Benedict with calm precision, capturing the weight of criticism, the loneliness of the office, and the burden of tradition. His performance avoids caricature and comes across as a thinker grappling with the limits of his role rather than a villain guarding power.

When no one is to blame, everyone is to blame

The film also offers a rare picture into the Pope’s life beyond prayers and formal duties, watching football, playing music, and strolling through gardens. These moments humanise without trivialising, expanding your view of the papacy without breaking it.

In this film, attention to detail is almost a second language. Bergoglio’s simple shoes, his rosary, and modest attire reflect the life he chose and maintained even as Pope. These small choices matter, quietly hinting at Pope Francis’ character without ever spelling it out.

Netflix deserves credit on this one: the film avoids crude language and cheap provocation, respecting both its subject and its audience. The direction and screenplay draw clear boundaries and stick to them, a rare approach in many Netflix films about religion. The story is also easy to follow, even if you don’t have deep knowledge of Catholic doctrine.

So, is The Two Popes (2019) still worth watching in 2026? Absolutely. This quietly moving film about Pope Francis’ election and inner life will long hold its place as a rare success, functioning as history, character study, and reflection on leadership, and could even be called a gospel film, told through the life of Jorge Mario Bergoglio.

If you enjoy mystery and crime films, this one is worth your attention. And if you have already watched it, this review might help you notice details that slipped past the first time. Isn’t that the common excuse for a rewatch?

Wake Up Dead Man (2025) is the third instalment in Rian Johnson’s directed and co-produced Knives Out mystery film series. Like the previous two films, Knives Out (2019) and Glass Onion (2022), Wake Up Dead Man stands on its own while keeping one constant: Daniel Craig as private detective Benoit Blanc. Once again, Blanc finds himself untangling a crime that is far more complicated than it first appears.

This time, the mystery centres on a death in a church. What follows is not a simple whodunnit. Blanc investigates layers of wrongdoing buried beneath that single death, which gives the story depth and momentum. The film is engaging and worth your time, but it also raises questions about its own focus.

At times, the film seems unsure of what it wants to be. Is it a tightly structured crime investigation, or a sharp critique of the Catholic Church? That tension runs through the story and does not always work in its favour.

The use of profane language is one early distraction. Netflix audiences may expect it, but in a church-centred setting, it feels jarring rather than purposeful. For instance, Jeffrey Wright delivers a strong performance as Bishop Langstrom, yet his dialogue choices clash with the role. You could argue this reflects a morally fractured church, caught between law and grace, but the film does not fully earn that argument.

Where the film consistently succeeds is its cast. As with earlier entries, the ensemble feels carefully balanced.

Glenn Close stands out as Martha Delacroix, bringing warmth and authority to the role. Her delivery makes the storytelling feel grounded and credible.

Daniel Craig makes his entrance nearly forty minutes in, but the wait pays off. His screen time is used well, especially in scenes opposite Josh O’Connor’s Jud Duplenticy, a young priest sent to Our Lady of Perpetual Fortitude in upstate New York as punishment for punching an obnoxious deacon. Interactions between these two heighten the mystery and maintain a steady and engaging pace of the film.

Daryl McCormack plays Cy Draven, a failed political aspirant who reinvents himself online by posting conservative sermons and church events for personal gain, from a local church led by Monsignor Jefferson Wicks, portrayed by Josh Brolin. Around them is a diverse group of church members implicated in the murder: Jeremy Renner as the troubled Natt Sharp, Cailee Spaeny as miracle-seeking Simone Vivanne, Andrew Scott as a distressed past-his-prime fiction novelist, Less Ross, and Kerry Washington as Vera Draven, Cy’s guardian.

The balanced screen time works in the film’s favour. You are likely to find at least one character or part of the storyline that pulls you in and keeps you invested.

Wake Up Dead Man: A Knives Out Mystery (2025) may not be the most focused entry in the series, but its layered mystery, strong performances, and ensemble chemistry make it a solid addition to the Knives Out franchise and definitely worth watching. What matters more to you when watching a mystery film: a clear moral stance, or a puzzle that keeps unfolding until the final scene?

In recent years, the Ugandan music industry has been marked by political tension that has cut through the scene, pushing artists to take sides while fans slowly drift away. Beneath that fuss, a quieter wave keeps unfolding, one led by artists who seem more focused on output, fresh talents inclined to building catalogues rather than clout, a movement that Jenesis Kimera clearly belongs to.

Best known as an artist and songwriter, both credited and working as a ghostwriter for other artists, and as a producer under the tag Ah My Beats, Jenesis Kimera continues to solidify his reputation for consistency through a growing body of work, with two music EPs released in 2025 so far, making a total of three EPs within just two years.

Having tweeted earlier this year about releasing 25 songs in 2025, Jenesis Kimera has delivered 17 EP tracks as of now; eight through his mid-year Unscripted EP and nine on his latest Up All Night EP. Some tracks were first released as lead singles and continue to gain renewed attention as part of the full EPs.

Up All Night EP, released on 13 December 2025, opens with its title track, written and produced by Jenesis himself, a song centred on the nocturnal life of sacrificing sleep in pursuit of money and progress in the ghetto. Its message is conveyed through lyrics that shift between English, Jamaican Patois, Luganda, and a touch of Swahili, a linguistic blend that cuts across most tracks on the EP.

I would argue the EP’s multilingual approach isn’t merely ornamental, but serves as an open invitation meant to pull in listeners from different regions and cultures. This pattern continues on Ndabilawa, the second track and the EP’s only duet, where Jenesis and Echoled explore the quiet excitement of meeting an old lover. Their voices blend so closely that, if listened to hurriedly, it’s easy to miss where one fades into the other. The track is produced by Jenesis Kimera (Ah My Beats) and co-written by him and Echoled.

Ballon d’Or follows with playful confidence, flirting openly while keeping things light, name-dropping Congolese icon Awilo Longomba in the chorus and riding Klin’s production with ease. The EP then stretches further with Bad and Solo, a track where Jenesis Kimera twists his vocals, shifts delivery, and weaves in cultural references such as Nigerian chicken jollof rice. You’ll definitely love the ‘they can’t style a stylist’ line.

On On the Floor, the project leans into reggae, slowing the tempo and introducing spiritual acknowledgements, clearly nodding to Jamaican influences while retaining Jenesis’s distinct voice, with Studio Vilaz Zen’s production giving the track body and resonance. In contrast, I Need You, the earlier-released lead single, channels club energy, immediacy, and concise lyrics, all propelled by Klin’s production.

Mukyakale, produced by Walter YT, pulls the listener into street culture and nightlife atmosphere infused with football references, party language, and a brief religious touch. Satisfy Her picks it up with a lively beat co-produced by Jenesis and Klin, narrating the life of a call girl.

As its final act, the EP closes with Bam Bam, its ninth and bonus track, clearly designed to get listeners moving.

Summary: Jenesis Kimera’s Up All Night EP stands out for its lyricism, blending languages and cultural references to welcome listeners from across regions, while its genre-spanning beats allow each track to find its own resonance, making it a lively EP well worth your 20 minutes!