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

Lemme guess: You're doing a deep dive on Doechii after her sickening Grammys performance (and historic win as the third woman to take home the award for Best Rap Album). You've already tapped into her gig on The Late Show with Stephen Colbert and know her NPR Tiny Desk Concert by heart, but you couldn't help but notice a certain accessory she pairs with all her iconic looks.

By Ankur Banerjee

Luka Dončić and the Los Angeles Lakers had no issues Monday night.

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

FREDERIC J. BROWN/AFP via Getty

Notre Dame went into Monday's game against Duke ranked as the nation's No. 1 team for the first time this season.

Olivia Munn is heartbroken after the death of her literary agent Tony Etz. The 'Newsroom' star has paid tribute to her agent, who died on Monday (10.03.25) aged 64 after battling Chordoma, a rare form of bone cancer. She wrote on her Instagram Story: "This makes me incredibly sad. This is my literary agent who passed away from cancer yesterday; but that's not how he deserves to be remembered. "He should be remembered as one of the good guys in our business. They didn't get better and kinder than Tony. "Rest in love, my friend. My thoughts are with his sweet family." In a second post, Olivia - who previously battled breast cancer - simply added: "We all love you, Tony. F*** CANCER." Tony spent three decades at the Creative Artists Agency (CAA), with his career seeing him represent several directors, actors, producers and writers, while he was also involved in shows like 'Grey's Anatomy', 'House' and 'Jackass'. Almost two years ago, he requested to write his own obituary, and summed up his career in two lines. As quoted by Deadline, he said: "Over 30 years as a packaging agent, I was foundational in the sale of 'Jackass', 'House', 'Lost', 'Rescue Me', 'Big Little Lies', 'Jury Duty' and 'Tracker' and dozens of other shows. “And I have been a proud citizen of the best city state in the business.” He married fellow TV agent Nancy Etz in 1999 during her time at ICM, and she would join him at CAA seven years later, while they went onto have son Alex together. In a tribute, Peter Tolan - who co-created 'Rescue Me' and 'The Job' - hailed him as "deeply mourned" and "irreplaceable". He added: "He defended those of us who were fortunate enough to be his clients with a ferocity most of our own mothers would be unable to duplicate.” While longtime client Paul Attanasio said: "He had the sensitivity to understand what was unique to me (which I would constantly doubt) but then the breadth of vision to understand how that fit in the larger world (which I didn’t understand at all). "That was the secret ingredient in whatever I was able to accomplish in television. I couldn’t have done it without him.”

Millie Bobby Brown wants to "shave her hair off" when she has her first baby. The 21-year-old actress - who is getting married to Jon Bon Jovi's son Jake Bongiovi - is keen to raise a family in the future, and she'd love to go back to her 'Stranger Things' look by getting rid of her locks in time for giving birth. She told the 'Call Her Daddy' podcast: "I always tell Jake, for my first baby, I want to shave my hair off. "I don’t know. It was really liberating, would suggest it for anyone. Any girl... Maybe [I would shave it] right before I’m about to give birth because I just think hair is such an ordeal anyway to deal with. "I’m gonna nurture my child. Why deal with my hair? And I think it’s such a liberating experience. "To be a woman is, and I felt like I had that experience as a girl, but I’d like to have that experience as a woman." Millie was just 12 years old when she was cast as Eleven in 'Stranger Things', but she had absolutely no qualms about shaving her head before filming the hit Netflix show. She recalled: "I honestly did not care and I’m saying that like I really did not care. I didn’t have anxiety, I wasn’t sad when they shaved it off. "I just thought, 'Cool. Now this is what I’m doing.' I think it started to hit me months and months in where you get to that age where you’re 11 now and you’re shaving it consecutively every three days because it cannot grow past a certain length because we’re filming, so continuity-wise you’re shaving it, so every time it started to grow and I’d get excited, we’d shave it again." She started to feel "insecure" once she and her friends were getting to the age where boys were getting interested in other girls. She added: "So, I think it became to the point where I was like 12, 11 or 12, where I was like, the boys started liking girls and I was kind of like maybe, 'Why are boys not liking me?' "And then I was like, 'I’m feeling insecure now,' so I would put wigs on and I did get really, really bullied. "In public, people would make comments and stuff but honestly, I still to this day loved the experience and I would do it again."

Denise Truscello/Getty

TOKYO (Reuters) -Two independent directors of Japan's Seven & i Holdings have resigned, the convenience store operator said on Wednesday, as it rejigs its management in the face of a $47 billion takeover bid from Canada's Alimentation Couche-Tard.

Nobody said it would be easy.

During tonight’s live broadcast of “The Late Show,” Stephen Colbert recapped President Donald Trump’s joint address to Congress and criticized many of the talking points made during the almost two-hour speech.

By Kanishka Singh

Bookie, the comedy series Chuck Lorre and Nick Bakay created, has been canceled at Max after two seasons.

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?

Gas prices were virtually flat across most Canadian cities over the past week, according to data from Kalibrate. Of course, the pause could be short-lived. Saturday is the earliest date given by U.S. President Donald Trump to hit Canadian imports with a 25 per cent tariff.

Canadian Natural Resources (CNQ.TO)(CNQ) shares were downgraded by TPH & Co. on Monday. At the same time, the Houston-based research firm joins a growing camp of analysts favouring Suncor Energy (SU.TO)(SU) and Imperial Oil (IMO.TO)(IMO) amid the risk of U.S. tariffs on Canadian crude.

Toronto police are responding faster to 911 calls now than they were a year ago in part because the service has hired more officers, according to the police chief.

“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.