Bob Barker, Dapper ‘Price Is Right’ and ‘Truth or Consequences’ Host and Animal Advocate, Dies at 99 

Bob Barker, host of the television game show 'The Price is Right', smiles near his birthday cake at CBS Studios in Los Angeles December 12, 2006. (Reuters)
Bob Barker, host of the television game show 'The Price is Right', smiles near his birthday cake at CBS Studios in Los Angeles December 12, 2006. (Reuters)
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Bob Barker, Dapper ‘Price Is Right’ and ‘Truth or Consequences’ Host and Animal Advocate, Dies at 99 

Bob Barker, host of the television game show 'The Price is Right', smiles near his birthday cake at CBS Studios in Los Angeles December 12, 2006. (Reuters)
Bob Barker, host of the television game show 'The Price is Right', smiles near his birthday cake at CBS Studios in Los Angeles December 12, 2006. (Reuters)

Bob Barker, the enduring, dapper game show host who became a household name over a half century of hosting “Truth or Consequences” and “The Price Is Right,” has died. He was 99.

Barker — also a longtime animal rights activist — died Saturday morning at his home in Los Angeles, publicist Roger Neal said.

“I am so proud of the trailblazing work Barker and I did together to expose the cruelty to animals in the entertainment industry and including working to improve the plight of abused and exploited animals in the United States and internationally,” said Nancy Burnet, his longtime friend and co-executor of his estate, in a statement.

Barker retired in June 2007, telling his studio audience: “I thank you, thank you, thank you for inviting me into your home for more than 50 years.”

Barker was working in radio in 1956 when producer Ralph Edwards invited him to audition as the new host of “Truth or Consequences,” a game show in which audience members had to do wacky stunts — the “consequence” — if they failed to answer a question — the “truth,” which was always the silly punchline to a riddle no one was ever meant to furnish. (Q: What did one eye say to another? A: Just between us, something smells.)

In a 1996 interview with The Associated Press, Barker recalled receiving the news that he had been hired: “I know exactly where I was, I know exactly how I felt: I hung up the phone and said to my wife, ‘Dorothy Jo, I got it!’”

Barker stayed with “Truth or Consequences” for 18 years — including several years in a syndicated version.

Meanwhile, he began hosting a resurrected version of “The Price Is Right” on CBS in 1972. (The original host in the 1950s and ‘60s was Bill Cullen.) It would become TV’s longest-running game show and the last on a broadcast network of what in TV’s early days had numbered dozens.

“I have grown old in your service,” the silver-haired, perennially tanned Barker joked on a prime-time television retrospective in the mid-'90s.

CBS said in a statement that daytime television has lost one of its “most iconic stars.

“We lost a beloved member of the CBS family today with the passing of Bob Barker,” the network said, noting that he had “made countless people’s dreams come true and everyone feel like a winner when they were called to ‘come on down.’”

In all, he taped more than 5,000 shows in his career. He said he was retiring because “I’m just reaching the age where the constant effort to be there and do the show physically is a lot for me. ... Better (to leave) a year too soon than a year too late.” Comedian Drew Carey was chosen to replace him.

Barker was back with Carey for one show broadcast in April 2009. He was there to promote the publication of his memoir, “Priceless Memories,” in which he summed up his joy from hosting the show as the opportunity “to watch people reveal themselves and to watch the excitement and humor unfold.”

“There hasn’t been a day on set that I didn’t think of Bob Barker and thank him. I will carry his memory in my heart forever,” Carey wrote in a post on X, the site formerly known as Twitter.

Barker well understood the attraction of “The Price Is Right,” in which audience members — invited to “Come on down!” to the stage — competed for prizes by trying to guess their retail value.

“Everyone can identify with prices, even the president of the United States. Viewers at home become involved because they all have an opinion on the bids,” Barker once said. His own appeal was clear: Barker played it straight — warm, gracious and witty — refusing to mock the game show format or his contestants.

“I want the contestants to feel as though they’re guests in my home,” he said in 1996. “Perhaps my feeling of respect for them comes across to viewers, and that may be one of the reasons why I’ve lasted.”

As a TV personality, Barker retained a touch of the old school — for instance, no wireless microphone for him. Like the mic itself, the mic cord served him well as a prop, insouciantly flicked and finessed.

His career longevity, he said, was the result of being content. “I had the opportunity to do this type of show and I discovered I enjoyed it ... People who do something that they thoroughly enjoy and they started doing it when they’re very young, I don’t think they want to stop.”

Barker also spent 20 years as host of the Miss USA Pageant and the Miss Universe Pageant. A longtime animal rights activist who daily urged his viewers to “have your pets spayed or neutered” and successfully lobbied to ban fur coats as prizes on “The Price Is Right,” he quit the Miss USA Pageant in 1987 in protest over the presentation of fur coats to the winners.

Among his activities on behalf of animals was a $250,000 donation to Save the Chimps, the Fort Pierce, Florida-based organization said in an emailed statement Saturday.

“Bob Barker’s kind spirit lives on at Save the Chimps, where we walk every day on the road named for him after his game-changing contribution,” said Save the Chimps’ CEO Ana Paula Tavares. At the time of the donation, Barker said that he hoped chimpanzees tortured “physically and mentally” for years when being used for research experiments would find “the first peace, contentment and love they have ever known at Save the Chimps.”

In 1997, Barker declined to be a presenter at the Daytime Emmy awards ceremony because he said it snubbed game shows by not airing awards in the category. He called game shows “the pillars of daytime TV.”

He had a memorable cameo appearance on the big screen in 1996, sparring with Adam Sandler in the movie “Happy Gilmore.” “I did `The Price Is Right’ for 35 years, and they’re asking me how it was to beat up Adam Sandler,” Barker later joked.

Sandler paid tribute to Barker on Instagram Saturday with a series of images of them together. “The man. The myth. The best. Such a sweet funny guy to hang out with.” Sandler captioned the post. “Loved talking to him. Loved laughing with him. Loved him kicking the crap out of me.”

In 1994, the widowed Barker was sued for sexual harassment by Dian Parkinson, a “Price is Right” model for 18 years. Barker admitted engaging in “hanky panky” with Parkinson from 1989-91 but said she initiated the relationship. Parkinson dropped the lawsuit in 1995, saying it was hurting her health.

Barker became embroiled in a dispute with another former “Price Is Right” model, Holly Hallstrom, who claimed she was fired in 1995 because the show’s producers believed she was fat. Barker denied the allegations.

Born in Darrington, Washington, in 1923, Barker spent part of his childhood on the Rosebud Indian Reservation in South Dakota, where his widowed mother had taken a teaching job. The family later moved to Springfield, Mo., where he attended high school. He served in the Navy in World War II.

He married Dorothy Jo Gideon, his high school sweetheart; she died in 1981 after 37 years of marriage. They had no children.

Barker was given a lifetime achievement award at the 26th annual Daytime Emmy Awards in 1999. He closed his acceptance remarks with the signoff: “Have your pets spayed or neutered.”



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)