Overall, the controversy about the portrayal of Èyò is not where the film’s irreverence even lies. Its impudence is its brazen politics.
that featured masquerades, Chinua Achebe noted that the masked spirits that were summoned to litigate in public trials represented the spirits of the community’s ancestors. As his narration mentioned, the people of Umuofia knew that those under the masks were the living elders of the community, but they still treated the egwugwu as their dead fathers who have returned.
Not to give away the story for those yet to watch it, but this end that leads to fortuitous and productive genesis is the underlying—and subversive message—of the film. Those who have watched the film will note that the story revolved around a “king” whose interminable reign since 1999 had become oppressive. This king had been sucking the life out of the “Obalolas.
So, how do you end the reign of this “king” who has all the mechanisms of power generation at his behest? You bring out the sacred symbol of Èyò to trigger the end of his era overdue for death. Yes, a king dies for the Adámú Òrìsà ritual play to be staged, but the Gangs of Lagos’ subversion of realistic details to generate new meanings is precisely what makes art powerful.
This is not the first time in recent times that a television drama will link the crime underworld of Lagos with its political establishment. We saw it indid not expressly indicate “Lagos,” cinema action spoke louder than words. The association was so strong that some observers conflated the infinity symbol on Bola Tinubu’s caps with the inscription on a similar cap worn by Chief Dacosta Fernandez, a drug lord and crime kingpin .
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