Get Rich, Don’t Just Marry Rich – Ivy Ifeoma, Wife of Rudeboy, Advises Women

Ivy Ifeoma, wife of Nigerian singer Paul Okoye, popularly known as Rudeboy of the famed P-Square duo, has ignited a powerful conversation about financial independence for women, self-worth, and relationship goals after sharing her unfiltered views in a viral TikTok video.

The social media personality and mother of two directly addressed a question that has followed her for years: Did she marry the music star because of his wealth and despite their noticeable age gap? Her answer was swift and unequivocal. She declared that she was already a millionaire before she ever met Paul Okoye, and she urged women across Nigeria and beyond to stop making marriage to a rich man their primary life ambition.

“I was a millionaire before I met this man,” Ifeoma stated firmly in the video, anticipating criticism before it could arrive. She then delivered her core message: “Marrying a rich man should not be anybody’s primary goal. Why would you even want to have a primary goal of marrying someone because they are rich? At the end of the day, it is their money, not your money.”

While she acknowledged that marrying into a wealthy family has its perks, she insisted those benefits are merely an “add-on” and should never be the foundation of a woman’s life plan. “Don’t get me wrong, marrying rich is a very good add-on because it can open doors of opportunities for you. But what I will tell you to do as a woman is to get rich,” she emphasized.

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Ivy Ifeoma and Paul Okoye tied the knot in a traditional wedding ceremony on May 25, 2024, in Igbere, Abia State. Since then, their relationship has often attracted public attention, particularly due to the age difference between them, with critics frequently assuming her motives were financially driven. By revealing that she was already a millionaire before meeting the singer, Ifeoma sought to shut down the narrative that she needed his money for survival. She explained that her personal experience taught her the importance of financial independence, which gives a woman peace of mind and confidence regardless of whom she marries.

According to Ifeoma, financial independence should be a priority for women seeking long-term security and personal growth. She further noted that successful and wealthy individuals are often attracted to ambitious, hardworking, and industrious partners. She encouraged single women to focus on self-improvement rather than making wealth the main factor in choosing a spouse.

Ifeoma is not alone in this stance. Her views align with similar sentiments previously expressed by Lola Omotayo-Okoye, the wife of Paul’s twin brother, Peter Okoye. In past interviews, Lola emphasized that women must “add value” to their relationships and avoid becoming “greedy and lazy” after marriage, stressing that she could not imagine asking her husband for money to buy her children necessities.

Furthermore, Nollywood actress Blessing Jessica Nze recently shared a similar message, warning that “marriage is not a survival plan.” Speaking on Tope Olowoniyan TV, she revealed how she started selling products in university to become financially independent, noting: “If you bring nothing to the table and rely entirely on your partner, you risk being seen as mere property.”

Similarly, actress and food entrepreneur Didi Ekanem weighed in on the topic in March 2026, advising young women that the “best gift to give yourself after graduation is not a husband, it is power.” She warned that walking into marriage empty often leads to seeking happiness in someone else, whereas building financial stability allows for a true partnership based on collaboration rather than survival.

Ivy Ifeoma’s viral video has clearly struck a nerve, sparking widespread debate about gender roles, financial literacy, and the evolving definition of success for modern Nigerian women. Her core message is a direct challenge to traditional expectations: rather than searching for a wealthy partner to change your status, focus on becoming wealthy yourself.

As she succinctly put it, while having a rich husband is a “good add-on,” a woman’s primary goal should be securing her own bag.

Get Rich, Don’t Just Marry Rich – Ivy Ifeoma, Wife of Rudeboy, Advises Women

They Want To Kill My Movie — Fathia Balogun Laments ‘Efunroye’ Treatment

Nollywood actress and filmmaker Fathia Balogun has lamented over what she describes as unfair treatment of her latest movie, Efunroye, by cinemas across Nigeria, accusing some operators of deliberately frustrating the film’s performance weeks after its release.

During an emotional Instagram Live session, the actress complained that her movie was not getting adequate showtimes in several cinemas despite the huge investment and effort put into the production.

Fathia questioned why other movies appeared to enjoy better scheduling and visibility while Efunroye continued to struggle for favourable screening times in different cinema locations across the country.

Her debut cinematic project as a producer, ‘Efunroye: The Unicorn’ , hit cinemas nationwide on May 1, 2026. The historical epic about Madam Efunroye Tinubu has drawn major social media buzz and box office attention, but it has also thrust her into a wider, ongoing industry clash between Nollywood filmmakers and cinema exhibitors over screening schedules.

According to her, many cinemas could not give convincing explanations for the lack of showtimes allocated to the movie, a situation she said has greatly affected audience turnout and box office performance.

The actress explained that she expected stronger support from cinema operators, especially considering the cultural value, storytelling depth, and production quality of the movie.

Speaking during the live session, she said the situation had become painful because the film had not even spent up to one month in cinemas before talks of removing it from screenings allegedly began.

“I haven’t even made the money invested in this movie back and they are already trying to kick me out of cinemas,” she said during the session.

In a video released on Friday, May 29, 2026, on her Instagram page, Fathia called out cinema operators for not giving her movie a favourable time slot that would allow her fans to watch it.

She expressed deep disappointment, stating that cinemas appear to be pushing her film aside in favour of newer releases.

“Matvey Safonov my movie got to the cinemas, I have been complaining about this thing over and over. My fans come to the cinema to watch Efunroye and they find out the time slot is 12pm or 9pm. Which fans will come and watch movies at this time,” she said.

“We just celebrated Ileya and these holidays are the best time to showcase my movie but my fans were not allowed to watch the movie. I am sad about this. Later they will say your movie did not sell out when it’s the operators that did not give the movie a good time slot. I want my fans to note that I’ll continue to sound this out until we are done and they should come out and enjoy my movie,” she added.

The actress explained that the Ileya festive period is typically a time when many people save money specifically to watch movies, making the alleged scheduling issues particularly painful for her return on investment.

Fathia also disclosed that the poor scheduling had affected opportunities for the actors to meet fans and promote the movie physically. She expressed deep disappointment that cinemas were pushing her film aside because newer releases had entered the market.

“Some cinemas are not even giving me time at all,” she said. “By the time they give me stupid showtime and I cannot cope, I’ll leave. That’s what they want to do.”

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Fathia also alleged that some of her actors were turned away during planned meet-and-greet sessions at cinemas because of the film’s scheduling.

She warned that if the movie is eventually removed from cinemas, she may publicly reveal the person she believes is behind the situation.

“I suffered for that movie, I spent a lot on that movie,” she said. In another emotional appeal on Friday, she opened up further about the financial weight of the production.

“I’m heartbroken, and I have never done this before. But because this involves millions of naira, I have to cry out to my fans and ask them to plead on my behalf,” she said.

“I have been having issues with the showtime for my movie. Cinemas are trying to kill this movie, and I don’t know why. This is the Ileya period when people usually come out to watch movies, yet they are giving me poor showtimes.”

“I spent a lot of money on this movie. I borrowed money, and investors are involved too. They need to make their money back,” she added.

She further complained about the specific timings: “Because my movie is four weeks old, they are giving me terrible showtimes. Some movies just came out, and they want to push mine to the background. They give me showtimes like 12 noon. I don’t know who goes to the cinema by 12 noon. Then they give me 9 p.m. showtimes. I also don’t know who goes out to watch movies that late.”

This has not been the experience of Fathia alone, as filmmakers releasing independent or indigenous projects frequently encounter structural friction with cinema chains.

The core grievance centres around prime-time allocation. Instead of landing heavily trafficked afternoon and early evening slots (4:00 PM to 7:00 PM), independent producers often find their films pushed into dead zones, making it difficult for the average viewer to attend due to safety and transport constraints.

Producers argue that these unfavourable times create a self-fulfilling prophecy as poor time slots lead to empty halls, which cinema operators then use as an excuse to pull the movie from rotation entirely.

Ini Edo and Toyin Abraham, filmmakers, had openly accused cinema operators of deliberate sabotage and unfair showtime distributions during peak holiday windows, pointing out that being restricted to single, off-peak slots severely damages their return on investment.

Conversely, cinema executives and industry pioneers like Mo Abudu have pushed back against these complaints. The operators maintain that screen allocation is strictly a demand-driven, cold business decision. Running air conditioning and staffing a 100-seater hall for only two or three viewers loses money, meaning prime-time slots will always naturally gravitate toward the films pulling the highest immediate numbers.

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Speaking on Arise Television, Abudu explained, “When your film is in our cinema and it has no audience, and I am running air conditioning and paying staff, and you only have two or three people in a 100-seater cinema, by the next week we are going to have a conversation. That time slot can no longer really work.”

She stressed that these decisions are not personal, noting that even her daughter’s film was pulled due to low turnout.

“This is about return on investment. It does not matter who owns the film. If I, Mo Abudu, make a film and we are not able to fill up the seats, it’s going to give way to the next film that can,” she said.

“Efunroye: The Unicorn” is a Yoruba historical drama centred on the life of 19th-century businesswoman and political figure Madam Efunroye Tinubu. The movie features actors including Odunlade Adekola and Mercy Aigbe. The film is directed by the trio of Abbey Lanre, Adebayo Tijani and Tope Adebayo Salami, and tells the rise and peak of the 19th-century Yoruba legend who fought against Britain’s annexation of Lagos.

Starring alongside Fathia is an extensive ensemble cast such as Odunlade Adekola, Mercy Aigbe, Ibrahim Yekini, Foluke Daramola and Femi Adebayo.

The film reportedly opened strongly at the box office, earning about ₦29.5 million during its first weekend, coming second in its debut week despite facing stiff competition from other new releases.

Another report suggested the movie earned nearly ₦780 million within three weeks and emerged as one of the highest-grossing films of the period, drawing praise from movie lovers, critics, and cinema audiences for its powerful storytelling and rich cultural representation.

However, these figures have not been independently verified, and the actress’s complaints suggest that actual performance may vary significantly by location.

The emotional outburst has since generated heated conversations on social media, with many Nigerians expressing sympathy for the actress while criticising what they described as the unequal treatment of indigenous productions.

Some supporters argued that epic and culturally rooted movies often struggle for visibility compared to commercially driven productions, despite contributing significantly to the growth of Nollywood storytelling.

However, some social media users defended the cinemas, arguing that scheduling is based purely on demand. One user, @EmediongTG, commented: “Actually, Cinemas don’t sabotage movies, they only care about ticket sales. If a cinema keeps giving you midnight slots, it usually means your daytime shows were empty. Blaming people is just a distraction from low demand.”

Another user, @Beniwinn, offered a middle ground: “Midnight showtimes for a Nigerian movie is basically a silent burial… if what she’s saying is true then somebody in that industry is seriously playing dirty. Why not just give the film a fair shot and let audience decide?”

@mr_chiboi added: “Omo this industry no dey ever simple … but at the same time, these are serious allegations that deserve proper clarity, not just emotions. Hopefully everything gets addressed the right way, because audiences just want fair access to the movie and a clean system overall.”

The actress, however, did not name any cinema chain, but continued to promote the film on her social media pages since its release, describing it as one of the most important productions of her career.

Some Instagram users said they could not find the film showing in certain cinemas, even after trying to watch it, while others said the available screening times were too late and not convenient.

“Efunroye: The Unicorn” had already generated significant controversy before its cinema release. The film is based on the life of Madam Efunroye Tinubu, a 19th-century Yoruba merchant and political figure whose legacy remains widely debated in Nigerian history, particularly regarding her involvement in the transatlantic slave trade. The production attracted public discussion since its announcement because of how it portrays her life.

Some critics questioned the portrayal, and Fathia responded that the film was not intended to “glorify or whitewash” Efunroye Tinubu’s legacy, but to present a broader interpretation of her life and historical impact.

The award-winning actress described the movie as “a work of artistic interpretation and storytelling”.

Despite the challenges, Fathia remains determined to ensure the film gets a fair chance. “They’re pushing my film aside because there are new films. They’re saying there’s nothing special in me and I was selling. Now they’re giving me ridiculous showtimes that don’t allow people to watch.”

“If they don’t give Efunroye showtime because of this, I’ll come out with an interview,” she warned, adding that she would also invoke divine judgment on those allegedly working against her project.

They Want To Kill My Movie — Fathia Balogun Laments ‘Efunroye’ Treatment

Celebrity Divorce Is More Visible, Not More Common — Temi Kosoko

Nollywood actress Temi Kosoko has said that divorce is often unfairly linked to actors simply because celebrity relationships receive intense public attention, making marital breakups in the entertainment industry appear more common than they actually are.

Speaking during an interview with Oyinmomo TV, the daughter of veteran Nollywood actor Jide Kosoko explained that divorce is a normal occurrence in society and should not be viewed as something peculiar to actors or entertainers.

According to her, the major difference is the level of publicity attached to celebrity marriages.

“Divorce happens every month worldwide. It’s not a new thing that people get divorced. The problem is that when actors divorce, it becomes popular and very public,” she said.

The actress noted that many people are quick to conclude that the nature of acting or the demands of the entertainment industry are responsible whenever a celebrity marriage ends.

However, she stressed that marital breakdown can happen for many reasons that are often unrelated to profession.

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“There are so many reasons people divorce. It might not even have anything to do with their work,” she added.

Beyond her comments on celebrity divorce, Temi also opened up about the challenges of living under public scrutiny as the daughter of one of Nollywood’s most respected actors.

She admitted that despite working hard to build her own identity in the Nigerian movie industry, many people still attribute her success solely to her father’s influence.

“I work hard, and sometimes it hurts that people don’t see my hard work. They say it’s because of my father’s name. Yes, to be honest, it is my father’s name that has brought me this far,” she said.

Temi, however, acknowledged that having a famous surname comes with both opportunities and expectations.

According to her, one of the major misconceptions she has had to deal with is the perception that members of the Kosoko family are proud or unapproachable.

“A lot of people think we are proud. When we enter a room, even without speaking, they already assume we are proud. That was the beginning of the problem,” she explained.

Her remarks have since sparked conversations on Nollywood marriages, public scrutiny of celebrities, and the challenges faced by children of established stars trying to carve their own paths in the entertainment industry.

The actress’ comments also highlight growing discussions about how social media attention and public exposure often amplify private issues involving public figures, especially within the Nigerian entertainment space.

Celebrity Divorce Is More Visible, Not More Common — Temi Kosoko