Lil Nas X, Justin Bieber Top Star-Packed MTV VMAs

Justin Bieber accepts the award for artist of the year at the MTV Video Music Awards at Barclays Center on Sunday, Sept. 12, 2021, in New York. (AP)
Justin Bieber accepts the award for artist of the year at the MTV Video Music Awards at Barclays Center on Sunday, Sept. 12, 2021, in New York. (AP)
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Lil Nas X, Justin Bieber Top Star-Packed MTV VMAs

Justin Bieber accepts the award for artist of the year at the MTV Video Music Awards at Barclays Center on Sunday, Sept. 12, 2021, in New York. (AP)
Justin Bieber accepts the award for artist of the year at the MTV Video Music Awards at Barclays Center on Sunday, Sept. 12, 2021, in New York. (AP)

Lil Nas X won video of the year at Sundays MTV VMAs on a night that Justin Bieber triumphantly returned to the stage as a performer and as winner of the artist of the year.

“I do not take this for granted,” Lil Nas X said while accepting the night’s final award for the music video for his song, “Montero (Call Me By Your Name).”

Much of the early show belonged to Bieber, who for his first VMAs performance in six years rappelled from the ceiling of the Barclays Center at the start of the show for an energetic performance of “Stay” with Kid LAROI and then his single “Ghost.”

The VMAs celebrated MTV’s 40th anniversary, mixing moments between early network stars like Cyndi Lauper and show opener Madonna with high-octane performances by newer stars like Olivia Rodrigo, Lil Nas X, Camila Cabello and Chloe.

Bieber was the leading nominee going into the ceremony. He took home the best pop honor for “Peaches,” a song that featured Daniel Caesar and Giveon - who accompanied him onstage.

Sporting baggy clothes and a hoodie, Bieber showed his appreciation for the awards being in-person and thanked his wife, Hailey, for supporting him.

“As we know, there’s so much going on in the world as we speak,” Bieber said during his acceptance speech after winning artist of the year. “I know you guys have probably heard it a lot. We are in unprecedented times with this COVID thing that’s happening right now. It’s a big deal. Music is such an amazing outlet to be able to reach people and bring us all together. That’s why we are here right now. We’re all here together.”

Opening the show, Madonna told the screaming crowd: “They said we wouldn’t last. But we’re still here.”

Moments after Olivia Rodrigo performed her hit “good 4 u,” she collected the night’s first award for her massive hit song “Drivers License.” She later won best new artist.

“I feel so grateful that I get to write music, make stuff that I love and call it my job,” said Rodrigo, the first-time nominee. Earlier in the awards, the singer called this the “most magical year of my life.”

Jennifer Lopez, who three days earlier made her re-kindled romance with Ben Affleck official on the red carpet of his new film ““The Last Duel” at the Venice International Film Festival, presented Rodrigo her trophy.

Billie Eilish won the fan-voted video for good for her song “Your Power.” In her acceptance speech, she said Alicia Keys kissed her on the cheek, spoke about the satisfaction of writing the song and women empowerment.

“We need to protect our own women at all costs,” said Eilish, while her brother-producer Finneas applauded his sister from his seat. “We need to remember that we all have power. We have to remember not to abuse it.”

Lauper, who presented Bieber with his first award, advocated for equal rights for women.

“Girls still want to have fun,” said Lauper, known for classic melody “Girls Just Want to Have Fun.” “But we also want to have funds, equal pay, control over our bodies, you know, fundamental rights.”

Lil Nas X hit the stage with Jack Harlow, then he performed his controversial song “Montero (Call Me by Your Name).” Kacey Musgraves and Shawn Mendes also hit the stage.

Olympic gymnastic champion Simone Biles introduced Doja Cat — the show’s host — who went aerial during her performance. With wires holding her up, Doja Cat glided over the crowd and landed on stage as she performed “Been Like This” and “You Right.”

Before the show, Machine Gun Kelly got into a heated argument on the red carpet with UFC fighter Conner McGregor. Video showed McGregor being held back by security from Kelly who later won best alternative for his song “My Ex’s Best Friend,” featuring Blackbear.

Kelly said he initially didn’t want to release the song, but thanked his label for going against his wishes. He also gave thanks to the director of the song’s music video, despite their squabble on set.

“I haven’t talked to you since we did because we got into a fight on set, but it’s a great video and I’m so glad we won,” he said. “We won!”

Megan Thee Stallion entered the show as the second-leading nominee with six nominations. BTS, Doja Cat, Drake, Giveon, Lil Nas X and Rodrigo each had five nods.

The Foo Fighters performed and then accepted the Global Icon Award, an honor handed out for the first time at the VMAs. The award recognizes an artist or band “whose unparalleled career and continued impact and influence has maintained a unique level of global success in music and beyond.”

The prestigious award was previously presented at the annual MTV Europe Music Awards. Past recipients include Queen, Eminem and Whitney Houston.

The rock band – comprised of Dave Grohl, Taylor Hawkins, Nate Mendel, Chris Shiflett, Pat Smear and Rami Jaffee – performed several of their hits including “Learn to Fly” and “Shame Shame.” It was their first performance at the VMAs since 2007.

Eilish presented the Global Icon Award to the group, who thanked MTV veterans from Kurt Loder to Tabitha Soren.

“Thank you very much for this award,” Grohl said. “We’ll see you in another 26 years.”



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)