Judd Apatow & Ben Stiller Celebrate 30th Anniversary Of ‘Heavyweights’: “I Don’t Think This Will Be At The Head Of The Disney+ Queue Ever”

The Montreal Canadiens didn’t trade anyone at the deadline, and some believed that if GM Kent Hughes didn’t move, it was because nobody was willing to pay the price he had set for his assets, even though he stated he had decided to keep the team together as requested by captain Nick Suzuki.

The inclusion of Nikolas Matinpalo for Finland's Four Nations Faceoff entry raised some eyebrows around this city.

Hershey Bears forward Hendrix Lapierre has been named AHL Player of the Week for the period ending Feb. 16.

Canada's annual inflation rate slowed to 1.8 per cent in December after rising 1.9 per cent in November, as the temporary GST tax break brought down the price of restaurant meals, alcohol and toys. Economists polled by Reuters had expected inflation to remain unchanged at 1.9 per cent last month.

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A man allegedly shot at his next-door neighbors and then fatally shot himself on Monday, March 10, in Berkeley Township, N.J., the Berkeley Township Police Department (BTPD) said in a Tuesday, March 11 news release.

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2025年4月から年金支給額が1.9%増額されることが決定しました。しかし、物価高騰が続く中で、この増額だけで生活が楽になるとは言い切れません。特に問題となるのが、年金から自動的に差し引かれる税金や社会保険料の存在です。これらの金額は年々増加傾向にあり、実際に手元に残る金額を圧迫しています。

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."

By Selena Li and Scott Murdoch

Cameco (CCO.TO)(CCJ) shares dropped as much as 14 per cent on Monday amid a wider sell-off linked to the Chinese artificial intelligence (AI) chatbot DeepSeek.

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(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.

(Bloomberg) -- Follow Bloomberg India on WhatsApp for exclusive content and analysis on what billionaires, businesses and markets are doing. Sign up here.

The Ottawa Senators got a grand total of two shots in the third period on Tuesday night and scored on both of them to defeat the Philadelphia Flyers 5-2 at Wells Fargo Center.

“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.

Think supermoon, but the opposite!

(Bloomberg) -- Chinese stocks in Hong Kong gained after a meeting between President Xi Jinping and prominent entrepreneurs signaled Beijing’s endorsement of the private sector.

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