I Don’t See Daniel Etim-Effiong Whenever I Watch His Movies – Wife

Popular businesswoman, Toyosi Etim-Effiong has come out to break her silence on the controversial kiss between her husband, Daniel Etim-Effiong and co-Nollywood star, Bolaji Ogunmola in the promotional clip for their movie. She recently had her say during the pilot episode of her talk show, and fans have been reacting.

According to her, whenever she watches his movies, she never watches her husband, and anytime he comes on her screen, she never sees Daniel, and her focus is always solely on enjoying the movie.

Toyosi added that she is also never obsessed with any of his co-stars, and she never marks their faces like people suggest.

Her words, “I didn’t even know about the discourse because I don’t go to those places. When I got a Google alert and someone was saying, ‘check on Toyosi’s mental health,’ I was like, ‘what is it now?’

When you or Bolaji sent it, it was like watching a movie; that’s it. It wasn’t me watching my husband; it’s me watching a movie and that’s what these people don’t get. When you’re on screen, I don’t see Daniel; I just want to have a good time. How many times have I given you criticism like ‘this movie was not sweet.’

I don’t even watch all your movies, so there’s this assumption that they probably have that I’m obsessed and I sit watching everything you’re doing. Or I mark the faces of your co-stars, no! With Bolaji I was even asking her how much she’d pay me to promote. Outside is outside and you’re my husband; my God-ordained husband. Any kiss you want to kiss does not change that.”

WOW.

Nollywood is a sobriquet that originally referred to the Nigerian film industry. The origin of the term dates back to the early 2000s, traced to an article in The New York Times. Due to the history of evolving meanings and contexts, there is no clear or agreed-upon definition for the term, which has made it a subject to several controversies.

The origin of the term “Nollywood” remains unclear; Jonathan Haynes traced the earliest usage of the word to a 2002 article by Matt Steinglass in the New York Times, where it was used to describe Nigerian cinema.

Charles Igwe noted that Norimitsu Onishi also used the name in a September 2002 article he wrote for the New York Times. The term continues to be used in the media to refer to the Nigerian film industry, with its definition later assumed to be a portmanteau of the words “Nigeria” and “Hollywood”, the American major film hub.

Film-making in Nigeria is divided largely along regional, and marginally ethnic and religious lines. Thus, there are distinct film industries – each seeking to portray the concern of the particular section and ethnicity it represents. However, there is the English-language film industry which is a melting pot for filmmaking and filmmakers from most of the regional industries.