This is coming after police revealed that investigation into the case shows the actor did not defile the victim.
The police said via a statement, “The CCTV footage has been assessed and nowhere was it captured that Baba Ijesha defiled her. The footage only showed him touching the victim’s body but it never showed him having any sexual intercourse with the girl. The girl also confirmed the same thing.”
“So, in law, it is a case of indecent assault and not sexual harassment, and it is open to bail. So, can we continue to keep him when the offence is subject to bail and when there is no court sitting? That is against his fundamental human rights and the police do not work on sentiments. Directives have been given out for his release on bail.”
Reacting, Tonto revealed that she knew the actor was going to be released in the end, and this was why she kept pushing for the case to be transferred to Abuja.
Her words, “BUT YOU KNOW WHAT “WHAT GOD CAN NOT DO DOES NOT EXIST…
LAGOS STATE @lagosstategovt YOU ARE FAILING YOUR DAUGHTERS, YOUR SONS…”
“@lagosstategovt THAT 7YEAR OLD GIRL NOW 14 IS YOUR DAUGHTER,
@lagosstategovt DID YOU EXPECT A MOTHER TO WATCH UNTIL PENETRATION TOOK PLACE BEFORE SHE STEPS IN TO STOP THE SEXUAL ASSAULT ACT?”
“@lagosstategovt DID HE NOT CONFESS REPEATEDLY AT YOUR STATION AND THE HOME HE WAS CAUGHT?”
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.
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