Mother and Son Ignored Repeated Warnings About Aggressive Pit Bulls Before They Mauled Elderly Neighbor to Death

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After a battering parts of the Deep South with deadly tornadoes, a potent system is hitting parts of the East Coast with a barrage of wintry weather.

Ke Huy Quan recently told The Guardian that one of his most fond memories of making “The Goonies” was an unforgettable prank producer Steven Spielberg played on Harrison Ford, Quan’s “Indiana Jones and the Temple of Doom” co-star who visited the set during production.

By Laurie Chen

The VIX, which spent much of January and February at or below its long-term average of about 19.5, leapt to 27.1 Monday. Key levels to watch for.

“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.

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Canada’s population growth likely slowed at the end of 2024, but the government remains “far from achieving” the trimmed targets it set last year, economists at Desjardins Group say.

Editors note: Dan Neely is a serial entrepreneur who was recently named to the Time 100 list of the most influential people in AI. He is CEO of Vermillio, a company that uses AI tools to identify and eliminate unauthorized content for clients that include public figures, performers, creators and IP owners. He advocates for greater IP protection and monetization standards around AI.

By Heekyong Yang and Byron Kaye

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.

OTTAWA — U.S. President Donald Trump's tariffs on Canada and Mexico kicked in at midnight, triggering a North American trade war.

The Florida Panthers are working their way through a tough stretch.

An ugly mess of weather is on the way for portions of Manitoba and northern Ontario as we head into the weekend, all thanks to a powerful Colorado low lifting north.

The 2024-25 WHL season is heating up, and fast. One playoff seed has been claimed (courtesy of the Everett Silvertips) and on Monday's Family Day, three more are eligible to punch their ticket- with a few stipulations.

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

Florida Attorney General James Uthmeier said Tuesday his office launched a criminal investigation into the self-proclaimed misogynist influencer Andrew Tate and his brother, Tristan, after they returned to the U.S. last week.

Aurora Cannabis (ACB.TO)(ACB) shares climbed over 50 per cent on Wednesday, after the Canadian pot producer booked a nearly 40 per cent annualized jump in net revenue in its third quarter.

Elton John counts himself as one of Chappell Roan’s earliest fans. He became aware of the singer before her debut album, “The Rise and Fall of a Midwest Princess,” was released in 2023.