All it takes is a fellow vigilante to get Matt Murdock back into action–unofficially, that is, and not yet in his firetruck red suit. The second episode of the Disney+ series Daredevil: Born Again starts out very much like a legal procedural. Nothing to see here! No crazy violence or anything. Just a regular crime show, like Law & Order: MCU.

“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.

留学を希望する日本人学生にとって、国内奨学金は経済的負担を軽減する重要な手段です。このガイドでは、短期コース、大学院コース、博士課程など、日本人学生が利用できる主な奨学金の種類、申請方法、そして競争力を高めるためのポイントをご紹介します。

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.”

Stefanie Keenan/Getty

(Reuters) -French IT consulting firm Capgemini reported a 2% drop in its annual constant currency sales on Tuesday, but narrowly beat market expectations, helped by sustained demand for its cloud and AI services.

The Canadian team at the 4 Nations Face-Off faced a must-win scenario against Team Finland Monday afternoon in Boston -- and under intense pressure, the Canadians emerged with a 5-3 victory to set up a championship showdown agaist Team U.S.A. Thursday. But the win wouldn't have happened were it not for another terrific game from Colorado Avalanche superstar Nathan MacKinnon; the Canadian forward had a two-goal performance against the Finns, and he and linemate Sidney Crosby made magic once again.

移民弁護士にはいくら費用がかかるのか？米国に移住するための移民弁護士サービスの値段はいくらなのか？その値段はかなりのものなので、目を丸くして驚くことでしょう。その一方で、移民は独自の “法的 “落とし穴と深刻な契約ですので、費用は簡単に正当化されます。詳細は以下のリンクからご覧ください。

Looking to study in Singapore but confused about the student visa process? Don’t worry – getting a student visa (Student Pass) can be straightforward if you follow the right steps.