“Love in Every Word” Has a Stereotype Problem

Before Love in Every Word even introduces Odogwu, played by Uzor Arukwe, his presence is foreshadowed, not as an individual but as an archetype. More than just a wealthy man, the Odogwu represents a cultural ideal: in Igbo tradition, the term signifies a man of great wealth, strength, and social influence. Historically, Odogwu connotes leadership and embodies generosity, wisdom, and responsibility within the community. However, Love in Every Word’s portrayal has flattened this figure, stripping him of his nuance and reducing him to a wealthy, domineering man whose power lies solely in his ability to provide.

In the film, Odogwu buys an entire building just to speak privately with Chioma (Olawunmi “Bambam” Adenibuyan). Money is his preferred tool for control, conflict resolution, and asserting dominance. But beyond his extravagance, the film subtly diminishes him through his exaggerated Igbo accent, which Chioma repeatedly corrects. This detail, while seemingly minor, plays into a troubling stereotype: the Nollywood Odogwu is often portrayed as unpolished, poorly educated, and emotionally detached. If the exaggerated accent is meant to be comedic, it suggests that the Odogwu character is inherently unsophisticated, that despite his wealth, he is still “less refined” than others. This treatment not only reduces the character to a punchline but also reinforces a harmful perception that Igbo men of means lack intelligence or cultural refinement. 

In reality, wealth alone does not make an Odogwu. However, Love in Every Word strips these qualities away, leaving a hollow caricature of a man who throws money at problems, lacks intellectual sophistication, and views women as extensions of his wealth rather than as equals. This is evident in the way Odogwu dictates Chioma’s wardrobe, ensuring her clothes are not too revealing because he refuses to “expose his property.”

A 2016 study explores the interplay between archetypes, stereotypes, and the importance of ensuring that media representations do not reinforce harmful biases. Archetypes are universally recognizable character models that serve as foundational frameworks for storytelling. Rooted in mythology, folklore, and psychology (like the Hero, the Mentor, or the Trickster), they help shape narratives in ways that resonate across cultures. According to Michael Faber and John Mayer, archetypal characters elicit emotional responses while being easily understood and widely recognizable. However, when an archetype is oversimplified, stripped of complexity, and reduced to rigid, exaggerated traits, it devolves into a stereotype. Walter Lippmann introduced the concept of the stereotype in 1922 to explain how media shapes public perception through generalized portrayals. Stereotypes rely on broad assumptions, often reinforcing biases and lacking the depth necessary for compelling storytelling.

The Odogwu in Love in Every Word is not a layered character but one whose wealth is synonymous with entitlement, and masculinity, rooted in material provision. This oversimplification has real consequences. For women, it shapes unrealistic expectations in relationships, promoting the idea that financial security should dictate romantic choices. Many young women internalize the notion that love is transactional, reducing their standards to wealth-based criteria while overlooking emotional compatibility or mutual respect.

In 2016, a group of anonymous men created an online community on Reddit known as The Red Pill. It was a space where users shared a deep-seated resentment toward women, opposed feminism, and spread misogynistic ideologies. Over the years, their ideologies have intensified, even drawing in younger audiences, including boys who eagerly participate in the spread of anti-feminist rhetoric. Figures like Andrew Tate have amplified these messages on a global scale, while local Nigerian counterparts—such as Twitter users Agba John Doe and Shola fuel similar narratives within their communities. This surge in Red Pill content aligns with harmful gendered expectations, particularly through the Odogwu stereotype. Within the Red Pill ideology, financial dominance is framed as the ultimate marker of masculinity, pressuring young men to chase money at any cost, even through unethical means. More than a personal ambition, this pursuit of wealth becomes a tool for exerting control, reinforcing a hierarchy where economic power translates directly into social dominance. Usually, this wealth pursuit comes at the expense of women’s agency. In this way, the Odogwu stereotype and Red Pill culture feed into each other, both promoting a version of masculinity that is rooted in the subjugation of women.

At a time when gender-based violence, online harassment, and economic disparities continue to put women at risk, it is critical to challenge and dismantle these harmful narratives. The normalization of these toxic ideals fosters a culture where women’s autonomy is undermined, and their safety is increasingly compromised. 

Additionally, the Odogwu stereotype reinforces what Chimamanda Ngozi Adichie describes as the danger of a single story in her TED Talk. She highlights how a singular, reductive narrative can erase complexity, leading to a distorted understanding of people and cultures. Similarly, when masculinity is presented in a rigid, one-dimensional way, it flattens the diverse realities of male identity and reinforces harmful norms. Rather than abandoning the Odogwu archetype, Nollywood has the opportunity to broaden its portrayal. Characters like Odogwu Malay in King of Boys and the Odogwu in Afamefuna already offer more layered representations of powerful men, who wield influence but are not solely defined by materialism or misogyny. This proves that Nollywood can explore themes of wealth without relying on outdated tropes. A well-rounded Odogwu could still be affluent, yet also emotionally intelligent, morally conflicted, or even challenged by his societal role. Expanding this archetype would enrich storytelling and also shift cultural perceptions, allowing for a more multidimensional depiction of masculinity.

If Nollywood wants to tell richer, more impactful stories, it must move beyond flattening the Odogwu into a one-dimensional figure. Reclaiming this archetype means embracing complexity, portraying men of wealth as more than providers, exploring their emotional depth, ethical dilemmas, and the true weight of leadership. Consequently, Nollywood can challenge outdated norms and shape a more progressive vision of masculinity and relationships. Now more than ever, media, educators, and society at large must push back against these stereotypes and advocate for healthier masculinity representations, ones that value respect, emotional intelligence, and mutual partnership rather than power and women subjugation.