Actress Nichelle Nichols, ‘Star Trek’s’ Trail-Blazing Uhura, Dies at 89

In this file photo taken on March 2, 2003, US actress Nichelle Nichols attends the 2003 TV Land awards at the Palladium Theater in Hollywood, California. (AFP)
In this file photo taken on March 2, 2003, US actress Nichelle Nichols attends the 2003 TV Land awards at the Palladium Theater in Hollywood, California. (AFP)
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Actress Nichelle Nichols, ‘Star Trek’s’ Trail-Blazing Uhura, Dies at 89

In this file photo taken on March 2, 2003, US actress Nichelle Nichols attends the 2003 TV Land awards at the Palladium Theater in Hollywood, California. (AFP)
In this file photo taken on March 2, 2003, US actress Nichelle Nichols attends the 2003 TV Land awards at the Palladium Theater in Hollywood, California. (AFP)

Nichelle Nichols, whose portrayal of starship communications officer Lieutenant Uhura in the 1960s sci-fi TV series "Star Trek" and subsequent movies broke color barriers and helped redefine roles for Black actors, has died at age 89, her family said.

Nichols, whose fans included Martin Luther King Jr. and a young Barack Obama, "succumbed to natural causes and passed away" on Saturday night, her son, Kyle Johnson, wrote on Facebook.

"Her light however, like the ancient galaxies now being seen for the first time, will remain for us and future generations to enjoy, learn from and draw inspiration," Johnson wrote.

The series, which became a pop culture phenomenon, shattered stereotypes common on US television at the time by casting Black and minority actors in high-profile roles on the show.

In 1968 she and "Star Trek" star William Shatner broke a cultural barrier when they engaged in US television's first interracial kiss.

She had planned to quit "Star Trek" after one season, but King, the 1960s civil rights leader, convinced her to stay because it was so revolutionary to have a Black woman playing an important senior crew member at a time when Black people were fighting for equality in American society.

Nichols also helped break color barriers at NASA, whose leaders were "Star Trek" fans. After she criticized the space agency for failing to pick qualified women and minorities as astronauts, it hired Nichols in the 1970s to help in recruiting.

Her efforts helped attract, among others, the first woman US astronaut, Sally Ride; the first Black woman astronaut, Mae Jemison; and the first Black NASA chief, Charlie Bolden.

Nichols "symbolized to so many what was possible" and "inspired generations to reach for the stars," NASA said on Twitter.

Nichols' portrayal of the competent, level-headed Uhura also helped inspire future Black actors, including Oscar winner Whoopi Goldberg. Nichols recalled Goldberg telling her of watching "Star Trek" as a 9-year-old, seeing her playing Uhura, and yelling out to her mother: "Come quick! There's a Black lady on television and she ain't no maid!'"

The original "Star Trek" series, tracking the adventures of the crew of the starship USS Enterprise in the 23rd century, ran for only three seasons on the NBC network from 1966 to 1969. But it became hugely popular in syndication in the 1970s, inspiring first an animated series that reunited the cast from 1973 to 1975 and then a succession of feature films and shows.

Nichols appeared in six "Star Trek" films ending with "Star Trek VI: The Undiscovered Country" in 1991.

Uhura deftly handled the starship Enterprise's communications with allied spaceships and alien races while interacting with Captain James T. Kirk (Shatner), Vulcan first officer Mr. Spock (Leonard Nimoy) and the starship's helmsman, Sulu (George Takei).

Takei wrote on Twitter that he and Nichols "lived long and prospered together," describing her as trailblazing and incomparable. "(My) heart is heavy, my eyes shining like the stars you now rest among."

Nichols' best-known scene featured the first scripted interracial kiss on US television, although it was not a romantic one. In an episode called "Plato's Stepchildren," Uhura and Kirk were compelled telekinetically to smooch by aliens toying with the feeble humans. In real life, Nichols disliked Shatner, who she considered arrogant.

"She was a beautiful woman & played an admirable character that did so much for redefining social issues both here in the US & throughout the world," Shatner said on Twitter.

She felt differently about "Star Trek" creator Gene Roddenberry, who cast her after she had acted in a previous show he produced. Nichols had a romance with him in the 1960s and sang a song called "Gene" at his 1991 funeral.

Visit to the White House

Obama, the first Black US president, who was 5 years old when the "Star Trek" series made its debut, also was a fan. Nichols visited him at the White House in 2012 and posed for a photo in the Oval Office, with the president smiling and putting his hand on her shoulder while both made a "Star Trek" Vulcan hand gesture meaning "live long and prosper."

In a 2011 interview with Smithsonian magazine, Nichols recalled meeting King at a civil rights group's fundraiser.

Nichols said she was approached by one of the event's promoters, who told her, "There's someone who wants to meet you and he says he's your biggest fan, so I'm thinking of a young kid. I turn around and standing across the room, walking towards me, was Dr. Martin Luther King with this big smile on his face."

After Nichols told King she planned to quit "Star Trek," she said he implored her to stay.

She said King told her: "This is a God-given opportunity to change the face of television, change the way we think. We are no longer second-class, third-class citizens. He (Roddenberry) had to do it in the 23rd century but it's the 20th century that's watching.'" She rescinded her resignation.

Like other "Star Trek" cast members, she had a hard time finding work due to typecasting after the original series ended. It was during this time when she played a foul-mouthed madam in the film "Truck Turner" (1974) starring Isaac Hayes. She was a recurring character on the television show "Heroes" in 2007.

She was born on Dec. 28, 1932 in Robbins, Illinois, trained as a singer and dancer and toured with jazz greats Duke Ellington and Lionel Hampton before her acting career took off.

Nichols, who was married twice and had one child, suffered a mild stroke in June 2015.



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)