The New York Rangers left some critical points on the table once again as they lost 2-1 to the Winnipeg Jets on Tuesday night.

LeBron James was right when he intimated how toxic the discourse is around the game, and how it feels unlikely someone will step forward to become the face of the NBA when he finally walks away.

For the longest time, the Canadian players have been considered the top dogs of hockey, but that may be changing.

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

If West Virginia has a strong season in 2025, Rich Rodriguez may point to a lack of TikTok dancing as a reason why.

The South Pacific is on high alert as Cyclone Alfred makes an unprecedented U-turn towards Brisbane, Australia's third-largest city.

“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.

President Trump told Congress Tuesday he expects “a little disturbance” as he broadens his trade war, less than a day after imposing 25% tariffs on goods from Canada and Mexico.

Nothing captures the adventurous millennial spirit quite like packing up your life, loading a moving truck, and starting fresh in a new city. But relocating can be expensive—especially when crossing state lines. If you're looking for affordable housing, thriving job markets, and vibrant communities, these five states are attracting millennials in droves.

When LA Kings’ general manager Rob Blake signed winger Warren Foegele to a three-year deal last July, fans could be forgiven for asking, “who?” Among the many Oilers who have tormented the Kings the past three years in the playoffs, the name Foegele would probably come well after Bouchard, Draisaitl, Ekholm, Hyman, Kane, and McDavid.

Pickaway County Jail (2)

Ayo Edebiri, Keke Palmer and Jamie Foxx’s stand-up special Jamie Foxx: What Had Happened Was were among the winners on the first night of the 56th NAACP Image Awards.

Shares of Lightspeed Commerce (LSPD.TO)(LSPD) fell as much as 18 per cent on Thursday, after the company dropped plans for a potential sale and says it will remain public while introducing a $400 million share repurchase program.

Langley RCMP have lifted a shelter-in-place order issued Tuesday afternoon for residents in the 4400-block of 236 Street.

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.

A little more than two months have elapsed since the Rangers corpse was being examined. The question at the time: was the patient alive or not?

By Ankur Banerjee