‘The Osbournes’ Changed Ozzy’s Image from Grisly to Cuddly, and Changed Reality TV 

Metal-rock star Ozzy Osbourne holds a replica of his new star on the Hollywood Walk of Fame as he poses with his family during a ceremony on April 12, 2002, in Los Angeles. Pictured with Osbourne, from left, are Aimee, Sharon, Kelly, Jack and Louis. (AP Photo/Nick Ut, File)
Metal-rock star Ozzy Osbourne holds a replica of his new star on the Hollywood Walk of Fame as he poses with his family during a ceremony on April 12, 2002, in Los Angeles. Pictured with Osbourne, from left, are Aimee, Sharon, Kelly, Jack and Louis. (AP Photo/Nick Ut, File)
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‘The Osbournes’ Changed Ozzy’s Image from Grisly to Cuddly, and Changed Reality TV 

Metal-rock star Ozzy Osbourne holds a replica of his new star on the Hollywood Walk of Fame as he poses with his family during a ceremony on April 12, 2002, in Los Angeles. Pictured with Osbourne, from left, are Aimee, Sharon, Kelly, Jack and Louis. (AP Photo/Nick Ut, File)
Metal-rock star Ozzy Osbourne holds a replica of his new star on the Hollywood Walk of Fame as he poses with his family during a ceremony on April 12, 2002, in Los Angeles. Pictured with Osbourne, from left, are Aimee, Sharon, Kelly, Jack and Louis. (AP Photo/Nick Ut, File)

There was Ozzy before "The Osbournes" and Ozzy after "The Osbournes."

For much of his life, the Black Sabbath founder and legendary heavy metal frontman who died at 76 on Tuesday was known to much of the public as a dark purveyor of deeds.

Wild stories followed him. Clergy condemned him. Parents sued him.

But with the debut of his family reality show on MTV, the world learned what those who'd been paying closer attention already knew: Ozzy Osbourne was soft and fuzzy under the darkness.

During its relatively short run from 2002 to 2005, "The Osbournes" became a runaway hit and made stars of his wife Sharon and kids Jack and Kelly. But more than that, it made a star of the domesticated version of Ozzy Osbourne, and in the process changed reality TV.

In 2025, when virtually every variety of celebrity has had a reality show, it's hard to see what a novelty the series was. MTV sold it as television's first "reality sitcom."

"Just the idea of the Black Sabbath founder, who will forever be known for biting the head off a bat during a 1982 concert, as a family man seems strange," Associated Press Media Writer David Bauder wrote on the eve of "The Osbournes" premiere. But on the show, Osbourne was "sweetly funny — and under everything a lot like the put-upon dads you’ve been seeing in television sitcoms for generations."

Danny Deraney, a publicist who worked with Osbourne and was a lifelong fan, said of the show, "You saw some guy who was curious. You saw some guy who was being funny. You just saw pretty much the real thing."

"He’s not the guy that everyone associates with the ‘Prince of Darkness’ and all this craziness," Deraney said. "And people loved him. He became so affable to so many people because of that show. As metal fans, we knew it. We knew that’s who he was. But now everyone knew."

Reality shows at the time, especially the popular competition shows like "Survivor," thrived on heightened circumstances. For "The Osbournes," no stakes were too low.

They sat on the couch. They ate dinner. The now-sober Ozzy sipped Diet Cokes, and urged his kids not to indulge in alcohol or drugs when they went out. He struggled to find the History Channel on his satellite TV. They feuded with the neighbors because, of all things, their loud music was driving the Osbournes crazy.

"You were seeing this really fascinating, appealing, bizarre tension between the public persona of a celebrity and their mundane experiences at home," said Kathryn VanArendonk, a critic for Vulture and New York Magazine.

The sitcom tone was apparent from its first moments.

"You turn on this show and you get this like little jazzy cover theme song of the song ‘Crazy Train,’ and there’s all these bright colors and fancy editing, and we just got to see this like totally 180-degree different side of Ozzy which was just surprising and incredible to watch," said Nick Caruso, staff editor at TVLine.

Like family sitcoms, the affection its leads clearly had for each other was essential to its appeal.

"For some reason, we kind of just fell in love with them the same way that we grew to love Ozzy and Sharon as like a marital unit," Caruso said.

What was maybe strangest about the show was how not-strange it felt. The two Ozzies seemed seamless rather than contradictory.

"You’re realizing that these things are personas and that all personas are these like elaborate complex mosaics of like who a person is," VanArendonk said.

"The Osbournes" had both an immediate and a long-term affect on the genre.

Both Caruso and VanArendonk said shows like "Newlyweds: Nick and Jessica," which followed then-pop stars Jessica Simpson and Nick Lachey after they married, was clearly a descendant.

And countless other shows felt its influence, from "The Kardashians" to "The Baldwins" — the recently debuted reality series on Alec Baldwin, his wife Hilaria and their seven kids.

"'The Baldwins’ as a reality show is explicitly modeled on ‘The Osbournes,’ VanArendonk said. "It’s like you have these famous people and now you get to see what their home lives are like, what they are like as parents, what they’re eating, what they are taking on with them on vacation, who their pets are, and they are these sort of cuddly, warm, eccentric figures."



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)