Emma Bunton and Mel B 'reunited in South Korea'

Canadians and other foreign nationals who plan to stay in the U.S. for 30 days or longer will soon be required to apply for registration and fingerprinting with the Department of Homeland Security.

(Updated with more details) Democrats may have been hushed in their response so far to Donald Trump’s second administration, but for a brief turn tonight at least one Democrat was not so silent as the 47th President addressed a joint session of Congress.

As the times have changed, the kinds of foods that we have readily available have expanded exponentially. From being able to buy certain fruits and vegetables year-round to being exposed to foods from other cultures, older adults on Reddit shared the foods that they once thought of as very special and exotic that you can get in any supermarket now, and it's pretty darn eye-opening. Here are some of the top comments:

Al Green, a U.S. representative from Texas’ 9th congressional district, was removed from President Trump’s Tuesday night joint session of Congress after repeatedly interrupting the president’s speech.

The National Weather Service issued “increased fire danger” alerts for North and South Carolina on Tuesday as firefighter crews continued to battle more than 170 wildfires across both states since last weekend. The fires have prompted evacuations in certain areas and a state of emergency declaration.

Team Canada defeated Team Finland by a 5-3 final score on Feb. 17. With this, they will officially face off against Team USA in the 4 Nations Face-Off Final. This will, without a doubt, be an incredible game.

More Canadian CEOs say their business may not be viable in a decade, according to PwC’s latest global survey of top executives.

Analysts expect that Canadian companies would adapt to higher costs of tariffs by hiking prices for consumers, with Loblaw (L.TO) and Dollarama (DOL.TO) best positioned among food and discretionary retailers when it comes to the trade spat. Loblaw's CEO has vowed that the company would take action to minimize the impact of tariffs on consumers.

Gal Gadot thinks social media has made the world feel "very confusing". The 39-year-old actress' four daughters - Alma, 13, Maya, eight, Daniella, three, and Ori, 12 months - are all growing up in a social media-obsessed society, and Gal believes the ever-increasing reliance on platforms like Instagram and TikTok is actually unhealthy for young women. The Hollywood star - who has been married to businessman Jaron Varsano since 2008 - told DuJour magazine: "I always tell my kids that for me, growing up was so much easier than it is for you. "They grew up with all these filters. With curated postings. They think it’s real, not knowing that it’s been totally filtered and retouched. "I tell them, ‘Whatever you see out there, it’s false, not true.’ It’s a very confusing world for a girl." Gal's family home was "very, very quiet" during her own childhood. But the actress has joked that her home life is now "mayhem". She explained: "I wanted to have a messy home with mayhem and all that." Gal actually relishes the noise and energy created by her children. The actress said: "If you come to my house, they laugh, they fight, they cry. It’s a whole range of emotions, and I love it. Yes, it’s a lot. I juggle. I do my best and we have help and my husband does the best job as a dad. I don’t sleep a lot." Gal previously admitted that it's not easy to balance her acting career with her family life. The 'Wonder Woman' star told Glamour magazine in 2020: "You have to balance between having a career and having a family. It's something that is always a handful and my career takes a lot."

The following contains full spoilers from the series premiere of Daredevil: Born Again, now streaming on Disney+.

(Bloomberg) -- Top US and Russian officials are to meet in Saudi Arabia on Tuesday to discuss how to end the war in Ukraine, without anyone from Kyiv taking part and as Europe struggles to respond to the rapid pace of events.

GLENDALE, Ariz. — It’s not too often a sellout crowd is in attendance to see a pitcher who's not starting, but that was the case Tuesday as the world waited to finally watch Japanese phenom Roki Sasaki make his spring training debut for the Los Angeles Dodgers against the Cincinnati Reds. It’s been a slow ramp-up to game action for Sasaki, who signed a minor-league deal with the Dodgers this winter. And after pitching in a simulated game last week, he got his first take of game action under the lights at Camelback Ranch.

By Heekyong Yang and Byron Kaye

A Winnipeg food importer and distributor says the cost of food brought in from every part of the world will go up for Canadian consumers and businesses in the wake of U.S. Donald Trump's 25 per cent tariffs.

It’s taken eight seasons, but I’m finally doing it: I’m publicly sticking up for a Love Is Blind man. (I know, I know — but hear me out!)

“Nothing in his life became him like the leaving it.” OK, that’s the wrong play since it’s a line from “Macbeth,” but it best sums up Jonathan Bailey’s performance in the new London production of “Richard II”: The actor cranks up several gears the moment his character is forced by usurper Henry Bullingbrook to give up the throne of England for a life of imprisonment in the second half of director Nicholas Hytner’s staging of Shakespeare’s history play. But the fact that Bailey takes time to catch fire is not entirely his fault, since neither Shakespeare nor Hytner make life easy for him. Given that the play is set at the close of the 14th century, it’s no surprise that Hytner believes the play, which depicts the ushering in of a nation’s decades-long succession crisis, needs contemporary reference points. That explains composer Grant Olding’s doom-laden, grinding, low strings that herald a driving rhythm and a light-touch, bitter piano melody opening the production, a clear hat-tip to Nicholas Britell’s Beethoven-tinged theme to “Succession.” It also governs Bob Crowley’s crisp men-in-black-suits design. The antithesis of the exuberantly colored “Guys and Dolls,” the last show to play at Hytner’s physically versatile Bridge Theatre (and which ran almost two years), this limited run of “Richard II” is stripped-down and stern. Gone is the expected heraldry and splendor of the English court in which King Richard traditionally basks. Instead, the audience is arranged in the round observing a traverse-style black runway staging with changing, minimal locations being lifted up through the floor on hydraulics. It makes for welcome fluidity, highly useful in a play that, for the first half at least, moves through an uncomfortable number of locations and a load of exposition.This is a story about the threat to the kingdom and, specifically, Richard, who ruled neither wisely nor well with absolute power by ancient Divine Right. The nation is torn apart by the plots and counterplots of men and their forces loyal to the crown and those backing Henry Bullingbrook, the Duke of Hereford who, successfully as it turns out, puts his eyes on the ultimate prize and steals it.That the tussle for dominance between the men is so potentially dramatic is illustrated by the fact that around fifty years ago, Richard Pasco and Ian Richardson, two leading Shakespeareans of their day, alternated the roles when they led the play in a celebrated RSC production. Here, alas, the balance is uneven. Royce Pierreson is nicely forthright and determined but his performance is unvarying. The wonderfully character-driven abdication scene between the two men is the production’s highpoint, but elsewhere Pierreson’s determination is too one-note. Anyone questioning the wisdom of the star-casting of “Bridgerton” and “Wicked” talent Bailey should bear in mind that he played Cassio in Hytner’s riveting “Othello” at the National Theatre back in 2013 and followed that with an arresting Edgar/Mad Tom opposite Ian McKellen’s King Lear for director Jonathan Munby. As a result, his handling of the language and, crucially, the intent behind it, is entirely easeful. His king is self-satisfied and perfectly petulant, dispatching orders, and often men’s lives, with gleaming disdain. He’s even better when he’s calmly and quietly coming to understand himself and the nature of his previous selfishness in the play’s highly reflective and tender final scenes.But between those extremes of temperament, the living center of the character remains unseen, robbing the production of strength. That’s partly because he has to energize scenes that here lack force. Hytner is unquestionably one of the great directors of Shakespeare, but this production is uncharacteristically undercast in places. Some of the acting proves more proficient than powerful.

By Helen Reid