Iconic TV and Radio Interviewer Larry King Dead at 87

Larry King speaks at ceremonies unveiling comedian Bill Maher's star on the Hollywood Walk of Fame in Hollywood, California, Sept. 14, 2010. (Reuters)
Larry King speaks at ceremonies unveiling comedian Bill Maher's star on the Hollywood Walk of Fame in Hollywood, California, Sept. 14, 2010. (Reuters)
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Iconic TV and Radio Interviewer Larry King Dead at 87

Larry King speaks at ceremonies unveiling comedian Bill Maher's star on the Hollywood Walk of Fame in Hollywood, California, Sept. 14, 2010. (Reuters)
Larry King speaks at ceremonies unveiling comedian Bill Maher's star on the Hollywood Walk of Fame in Hollywood, California, Sept. 14, 2010. (Reuters)

Larry King, who quizzed thousands of world leaders, politicians and entertainers for CNN and other news outlets in a career spanning more than six decades, has died aged 87, his media company said in a statement on Saturday.

King had been hospitalized in Los Angeles with a COVID-19 infection, according to several media reports. He died at Cedars Sinai Medical Center, Ora Media, a television production company founded by King, said in a post on Twitter.

“For 63 years and across the platforms of radio, television and digital media, Larry’s many thousands of interviews, awards, and global acclaim stand as a testament to his unique and lasting talent as a broadcaster,” it said.

Millions watched King interview world leaders, entertainers and other celebrities on CNN’s “Larry King Live”, which ran from 1985 to 2010. Hunched over his desk in rolled-up shirt sleeves and owlish glasses, he made his show one of the network’s prime attractions with a mix of interviews, political discussions, current event debates and phone calls from viewers.

Even in his heyday, critics accused King of doing little pre-interview research and tossing softball questions to guests who were free to give unchallenged, self-promoting answers. He responded by conceding he did not do much research so that he could learn along with his viewers. Besides, King said, he never wanted to be perceived as a journalist.

“My duty, as I see it, is I’m a conduit,” King told the Hartford Courant in 2007. “I ask the best questions I can. I listen to the answers. I try to follow up. And hopefully the audience makes a conclusion. I’m not there to make a conclusion. I’m not a soapbox talk-show host... So what I try to do is present someone in the best light.”

Presidents and prime ministers
King’s guests included US presidents dating back to Gerald Ford, international leaders such as PLO Chairman Yasser Arafat, Israeli Prime Minister Yitzhak Rabin, British Prime Minister Tony Blair, and Soviet President Mikhail Gorbachev, and entertainers ranging from Bob Hope to Snoop Dogg.

King never hid his old-fashioned proclivities and liked to reminisce about performers such as Frank Sinatra and Arthur Godfrey. In 2006 he admitted to a guest that he had never searched the internet, saying: “What do you do - punch little buttons and things?”

But by 2012 King was on the internet himself with his “Larry King Now” show on Ora TV, and later Hulu’s streaming service. He also was a regular presence on Twitter, promoting his interviews and tossing out random thoughts - “I have no desire to eat an artichoke,” “My favorite flavor of Jell-O is lime” and “I love to say ‘sacre bleu!’” - in what was essentially an online version of the column he had once written for USA Today.

King was an established radio talk-show host when he made his first television broadcast for CNN from Washington on June 3, 1985, five years after Ted Turner started the network.

“Larry King Live” would become one of CNN’s highest rated shows. He left CNN amid falling ratings in 2010 after 25 years with the news network, but stayed busy with his Ora TV show.

“I’ve known a lot of people who were experts in six or 12 things but Larry seems to be an expert in everything,” Don Hewitt, creator of “60 Minutes”, told the Hollywood Reporter. “He’s also never confrontational, which is majorly important. In an age when so many people are miserable, he seems to be one of the happy ones.”

Miami radio beginnings
King was born Lawrence Harvey Zeiger on Nov. 19, 1933, in the New York City borough of Brooklyn. He said at age 5 he knew he wanted to be on the radio and in 1957 he moved to Miami, which he had been told had a burgeoning radio market.

King started doing odd jobs at a Miami station and one day was asked to fill in for an announcer who walked off the job. Before he went on the air, the station manager urged him to change his last name to King because it was easier to pronounce and less ethnic than Zeiger.

King became a fixture in Miami but as his reputation grew, so did his troubles.

In 1971 he was arrested on a grand larceny complaint filed by Miami financier Lou Wolfson, who had been in trouble with the Securities and Exchange Commission. Wolfson allegedly paid King in hopes of gaining influence on the administration of then-US President Richard Nixon.

The charge against King was dropped because the statute of limitations had expired, but the scandal knocked him off the air for some three years. He did public relations work for a Louisiana racetrack until station WIOD in Miami hired him.

King rebounded and the Mutual radio network gave him a nationwide audience in 1978. He relocated to Washington, a move that led to the CNN job.

He suffered a heart attack and had bypass surgery in 1987, prompting him to start the Larry King Cardiac Foundation a year later. He had surgery in 2007 to clear a blocked artery, was treated for prostate cancer in 2010 and said in 2017 that he had been treated for lung cancer.

King was married eight times to seven women, most recently to singer Shawn Southwick, who was 26 years younger. He had five children, two of whom died in 2020.



Movie Review: Stephen Curry's Animated Basketball Movie 'GOAT' Is a Disappointing Air Ball

 Stephen Curry attends a premiere for the film "GOAT", in Los Angeles, California, US, February 6, 2026. (Reuters)
Stephen Curry attends a premiere for the film "GOAT", in Los Angeles, California, US, February 6, 2026. (Reuters)
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Movie Review: Stephen Curry's Animated Basketball Movie 'GOAT' Is a Disappointing Air Ball

 Stephen Curry attends a premiere for the film "GOAT", in Los Angeles, California, US, February 6, 2026. (Reuters)
Stephen Curry attends a premiere for the film "GOAT", in Los Angeles, California, US, February 6, 2026. (Reuters)

You'd expect an animated basketball movie with four-time NBA champion Stephen Curry in the producer's chair to be an easy lay-up. So why is “GOAT” such a brick?

Despite a wondrously textured, kinetic world and some interesting oddball characters, the movie is undone by a predictable, saccharine script. It’s as easy to see the steps coming as a Curry three-pointer arching into the net.

The movie has the kind of lazy, thin writing that feels like it all could have derived from a Hollywood happy hour gettogether: “Bro, bro. Wait. What if the GOAT was an actual goat?”

It centers on Will Harris, a goat with dreams of becoming a great baller, voiced by “Stranger Things” star Caleb McLaughlin. Undersized and an orphan — again with the orphans, guys? — Will is a delivery driver for a diner and late on his rent. He's a great outside shooter but a liability in the paint, unless he learns, that is.

He lives in Vineland — a hectic urban landscape with graffiti and living vines that choke the playgrounds — and is a rabid supporter of the local franchise, the Thorns. His idol is veteran Jett Fillmore, a leopard who's the league's all-time leading scorer, nicely voiced by Gabrielle Union. The Thorns are a bit of a mess, despite Jett's brilliance.

The game here is called roarball, a high-intensity, co-ed, multi-animal, full-contact sport derived from basketball with a hollow ball that has small holes. It's a “Mad Max” sport — ultraviolent, unofficiated and the dangers lurk not just from the beefy opponents but from the arena itself. The championship award is called the Claw.

The best part of the movie may be the environments for the other arenas — lava in one, a swamp with stalagmites and stalactites in another, plus an ice-bound one and another with desert sandstorms and rocks. Homefield advantage is a big thing in this league.

There seem to be only two kinds of points scored here — blazing windmills, cutting tomahawks and spectacular alley-oop dunks or slow-mo threes from so far downtown they might as well be in a different zip code. No mid-range jumpers, bro.

This universe is divided into “bigs” and “smalls” — rhinos, bears and giraffes on one side, gerbils and capybara on the other — and Will is deemed a small. “Smalls can’t ball,” he is told, condescendingly.

But Will — thanks to a viral video — improbably gets signed to the Thorns by the team's owner (a cynical warthog voiced wonderfully by Jenifer Lewis). It's seen as a shameless publicity stunt that no one wants, especially Jett, who needs a winning season after being taunted by “All stats, no Claw.”

Now, predictably, in Aaron Buchsbaum and Teddy Riley script, comes the bulk of the movie, giving a steady “The Karate Kid” or “Air Bud” vibe as it charts Will's steady rise to honored teammate and franchise future, despite Jett insisting she's not ready to go: “I’m the GOAT. I’m not passing the torch.”

The lessons are good — the importance of teamwork and believing in yourself — but the testosterone-fueled violence on the courts is WWE extreme. There are unnecessary plugs for Mercedes and Under Armor, and hollow slogans like “Dream big” and “Roots run deep.”

Some of the most interesting characters end up on the Thorns, a fragile, somewhat broken team that includes a rhino (voiced by David Harbour), a delicate ostrich (Nicola Coughlan), a gonzo Komodo dragon (Nick Kroll) and a desultory giraffe (Curry).

The Komodo dragon, named Modo, is the best of the bunch, an insane, unpredictable creature full of electricity. “If Modo was any more of a snack, he’d eat himself,” he declares. Could he get his own movie?

Directed by “Bob’s Burgers” veteran Tyree Dillihay and Adam Rosette, “GOAT” is targeted to Gen Alpha, leveraging cellphone screens and online likes, virality and diss tracks. It's not as funny as it thinks it is and tiresome in its overly familiar redemption arc.

Another potential basketball GOAT — Michael Jordan — gave us a clunker of a live-action- animated basketball movie in “Space Jam” exactly 30 years ago and “GOAT,” while not as bad as that mess, is an air ball none the same.


Music World Mourns Ghana's Ebo Taylor, Founding Father of Highlife

Ebo Taylor, who kept performing into his 80s, was instrumental in introducing Ghanaian highlife to international listeners. Nipah Dennis / AFP
Ebo Taylor, who kept performing into his 80s, was instrumental in introducing Ghanaian highlife to international listeners. Nipah Dennis / AFP
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Music World Mourns Ghana's Ebo Taylor, Founding Father of Highlife

Ebo Taylor, who kept performing into his 80s, was instrumental in introducing Ghanaian highlife to international listeners. Nipah Dennis / AFP
Ebo Taylor, who kept performing into his 80s, was instrumental in introducing Ghanaian highlife to international listeners. Nipah Dennis / AFP

Tributes have been pouring in from across Ghana and the world since the death of Ghanaian highlife legend Ebo Taylor.

A guitarist, composer and bandleader who died on Saturday, Taylor's six-decade career played a key role in shaping modern popular music in West Africa, said AFP.

Often described as one of the founding fathers of contemporary highlife, Taylor died a day after the launch of a music festival bearing his name in the capital, Accra, and just a month after celebrating his 90th birthday.

Highlife, a genre blending traditional African rhythms with jazz and Caribbean influences, was recently added to UNESCO's Intangible Cultural Heritage list.

"The world has lost a giant. A colossus of African music," a statement shared on his official page said. "Your light will never fade."

The Los Angeles-based collective Jazz Is Dead called him a pioneer of highlife and Afrobeat, while Ghanaian dancehall star Stonebwoy and American producer Adrian Younge, who his worked with Jay Z and Kendrick Lamar, also paid tribute to his legacy.

Nigerian writer and poet Dami Ajayi described him as a "highlife maestro" and a "fantastic guitarist".

- 'Uncle Ebo' -

Taylor's influence extended far beyond Ghana, with elements of his music appearing in the soul, jazz, hip-hop and Afrobeat genres that dominate the African and global charts today.

Born Deroy Taylor in Cape Coast in 1936, he began performing in the 1950s, as highlife was establishing itself as the dominant sound in Ghana in the years following independence.

Known for intricate guitar lines and rich horn arrangements, he played with leading bands including the Stargazers and the Broadway Dance Band.

In the early 1960s, he travelled to London to study music, where he worked alongside other African musicians, including Nigerian Afrobeat pioneer Fela Kuti.

The exchange of ideas between the two would later be seen as formative to the development of Afrobeat, a political cocktail blending highlife with funk, jazz and soul.

Back in Ghana, Taylor became one of the country's most sought-after arrangers and producers, working with stars such as Pat Thomas and CK Mann while leading his own bands.

His compositions -- including "Love & Death", "Heaven", "Odofo Nyi Akyiri Biara" and "Appia Kwa Bridge" -- gained renewed international attention decades later as DJs, collectors and record labels reissued his music. His grooves were sampled by hip-hop and R&B artists and helped introduce new global audiences to Ghanaian highlife.

Taylor continued touring into his 70s and 80s, performing across Europe and the United States as part of a late-career renaissance that cemented his status as a cult figure among younger musicians.

Many fans affectionately referred to him as "Uncle Ebo", reflecting both his longevity and mentorship of younger artists.

For many, he remained a symbol of highlife's golden era and of a generation that carried Ghanaian music onto the world stage.


'Send Help' Repeats as N.America Box Office Champ

Canadian actor Rachel McAdams and US actor Dylan O'Brien pose upon arrival on the red carpet for the UK premiere of the film 'Send Help' in central London on January 29, 2026. (Photo by CARLOS JASSO / AFP)
Canadian actor Rachel McAdams and US actor Dylan O'Brien pose upon arrival on the red carpet for the UK premiere of the film 'Send Help' in central London on January 29, 2026. (Photo by CARLOS JASSO / AFP)
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'Send Help' Repeats as N.America Box Office Champ

Canadian actor Rachel McAdams and US actor Dylan O'Brien pose upon arrival on the red carpet for the UK premiere of the film 'Send Help' in central London on January 29, 2026. (Photo by CARLOS JASSO / AFP)
Canadian actor Rachel McAdams and US actor Dylan O'Brien pose upon arrival on the red carpet for the UK premiere of the film 'Send Help' in central London on January 29, 2026. (Photo by CARLOS JASSO / AFP)

Horror flick "Send Help" showed staying power, leading the North American box office for a second straight week with $10 million in ticket sales, industry estimates showed Sunday.

The 20th Century flick stars Rachel McAdams and Dylan O'Brien as a woman and her boss trying to survive on a deserted island after their plane crashes.
It marks a return to the genre for director Sam Raimi, who first made his name in the 1980s with the "Evil Dead" films.

Debuting in second place at $7.2 million was rom-com "Solo Mio" starring comedian Kevin James as a groom left at the altar in Italy, Exhibitor Relations reported.

"This is an excellent opening for a romantic comedy made on a micro-budget of $4 million," said analyst David A. Gross of Franchise Entertainment Research, noting that critics and audiences have embraced the Angel Studios film.

Post-apocalyptic Sci-fi thriller "Iron Lung" -- a video game adaptation written, directed and financed by YouTube star Mark Fischbach, known by his pseudonym Markiplier -- finished in third place at $6.7 million, AFP reported.

"Stray Kids: The Dominate Experience," a concert film for the K-pop boy band Stray Kids filmed at SoFi Stadium in Los Angeles, opened in fourth place at $5.6 million.

And in fifth place at $4.5 million was Luc Besson's English-language adaptation of "Dracula," which was released in select countries outside the United States last year.

Gross called it a "weak opening for a horror remake," noting the film's total production cost of $50 million and its modest $30 million take abroad so far.

Rounding out the top 10 are:
"Zootopia 2" ($4 million)
"The Strangers: Chapter 3" ($3.5 million)
"Avatar: Fire and Ash" ($3.5 million)
"Shelter" ($2.4 million)
"Melania" ($2.38 million)