(Bloomberg) -- Dubai’s financial district reported a record 25% increase in company registrations last year, helped in part to by a continuing influx of hedge funds that’s transformed the city into an emerging hub for the sector.

この記事では、離婚調停の弁護士費用について、相場や内訳、誰が負担するのかなどを解説していきます。弁護士費用を抑えるポイントも紹介しますので、離婚調停で弁護士に依頼するか迷われている方や、費用面に不安を感じていらっしゃる方、ぜひ参考になさってください。詳細は以下のリンクからご覧ください。

The real-life story behind the Olivier Award-winning musical “Operation Mincemeat” isn’t just stranger than fiction. It’s so strange that some parts of the story proved just too much for audiences to buy.

By Sara Rossi

Sunday night’s Oscar telecast started and ended with indelible moments: a stirring Wicked duet and a climactic pair of wins by Anora.

By Brad Heath and Tim Reid

Peacock is moving forward with a documentary about its late “Friends” star, Matthew Perry. “Matthew Perry: A Hollywood Tragedy” is set to premiere Feb. 25 on Peacock.

The Paley Center for Media/YouTube (2)

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

The Florida Panthers arrived in Boston feeling pretty good, and rightly so.

Across much of Canada, the long weekend brought terrible weather, including heavy snow, extremely cold temperatures, and a messy mix of ice pellets and freezing rain in parts of Ontario and Quebec.

Yahoo Sports’ great basketball columnist, Vincent Goodwill, summed up the vibe at the just completed — and mostly listless — NBA All-Star weekend as such: “You can’t manufacture soul.”

For years now, we've seen lackluster returns from NCAA free agents in the NHL.

The housing crisis will be a critical election issue for Canadians, who have little faith so far that any leader or party will be able to offer effective solutions, according to a new survey from Abacus Data and several national organizations.

Darwin Nunez fell into the arms of Arne Slot at the conclusion of a dramatic night that may yet come to define the spectacularly mixed bag that has been the Uruguayan's Liverpool career.

For Melanie Lynskey, playing cannibalistic crash survivor Shauna Shipman on “Yellowjackets” is about walking the line between comedy and drama.

Gas prices are 10 per cent higher year-over-year on average in cities across Canada, according to data from Kalibrate.

Tori Spelling doesn't drink water. The former 'Beverly Hills 90210' star, 51, has confessed she has an "aversion" to the drink and does everything she can to avoid it - revealing she opts for coconut water or soda instead and joking she's like a "cacti". During an appearance on her 'MisSPELLING' podcast, she explained: "I don't drink water. And when I say I don't drink water, I don't drink water. "How I'm still living, no one knows. I'm like a cacti. Just water me once in a while, and I somehow survive. But I have an aversion to it." She added: "I'm trying this new thing since I don't like water. I'm like, okay, I actually enjoy the taste of coconut water. "I can guzzle, like, a glass of wine in, like, two seconds. No problem. But I take a few sips of water and swallow gently, and all of a sudden, I'm like, 'I wanna puke.' " Tori - who is mom to five children with her ex Dean McDermott - went on to admit she did try drinking water during her pregnancies but it was tough. She said: "[I tried] because you have to hydrate the baby growing in you. But in my mind, I was like: 'I'm drinking for them, not myself'." The TV star also confessed she struggles with an "irrational" fear of being poisoned whenever someone hands her a drink -which baffled her ex Dean - and she joked it stems from her late father Aaron Spelling's dramatic TV shows. She explained: "I’m Aaron Spelling's daughter, hello. The creator of drama-rama storytelling ... "[Dean said] 'You're the mother of my children. Why would I want to poison you?’ And I was like: ‘Listen. It's not personal. I think this about everybody.’ " However, Tori is convinced the fear does stem from her childhood when her mom Candy would attempt to get her to take medicine by hiding it in a drink. She said: "I would say: ‘What'd you put in here? Like, what are you giving me?’ And she would say the same thing: ‘What, you think I'm trying to poison you?’ ” "This goes back to childhood. This crazy, irrational fear of handed over liquids from other people. I don't drink water. I don't call it a fear of water. I just like to say I hate water. I have an allergy to water."

“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.