Le Journal

Face à Toronto, Deandre Ayton a réalisé un match parfait et s’est offert une place dans l’histoire des Lakers grâce à une performance sans précédent.

Après le match NBA à Londres, Ja Morant s’est exprimé sur les rumeurs de transfert le concernant et a réaffirmé son attachement aux Grizzlies.

So far, the most notable thing about A Knight Of The Seven Kingdoms, HBO’s latest adaptation of the works of George R.R. Martin, is its patience. There are two possible explanations for its ambling gait. The cynical one is that, with The Hedge Knight, the first of three novellas following the exploits of Ser Duncan The Tall and his squire Egg, the network is quickly running out of A Song Of Ice And Fire material, which wrought the juggernaut Game Of Thrones and its prequel spin-off House Of The Dragon, and is slowing things down to luxuriate in Martin’s generously detailed Westeros. (After all, it’s better to meander than risk another late GOT-level misfire.) The more charitable and narratively satisfying explanation is scale. The adventures of Dunk and Egg are modest compared to Thrones, focusing exclusively on just two characters instead of the saga’s morally shifty coterie of kings, queens, brothel purveyors, and Hands. Set over ninety years before Bran Stark was pushed from a Winterfell tower, their story has a long road to travel before brushing up against dragons, direwolves, and White Walkers. In structure and cadence, A Knight Of The Seven Kingdoms more resembles medieval morality plays or samurai epics in the key of Lone Wolf And Cub, or, judging by the series’ Morricone-tinted soundtrack, a western. And not to be impolite, but here’s another explanation: Dunk is an exceptionally large fellow, overcautious about bumping into things (though bump into them he does) and therefore in no great hurry for realm-decimating battles. That unhurried ease is established immediately in the premiere, “The Hedge Knight,” with an impromptu burial under a gnarled tree and heavy rainfall. Manning the spade is Peter Claffey’s wonderfully humble Ser Dunk, laying to rest his mentor Ser Arlan of Pennytree with naught but three horses to bear witness. It’s a dramatic enough start—we’re seeing a squire ascend to his ser’s station, even if his knighthood leaves room for doubt (see the stray observations below)—but there’s no fanfare, not even a septon to give a final blessing. (Perhaps wary of the unchecked grandiosity that came before, the episode cheekily eschews Ramin Djawadi’s soaring theme for a torrent of diarrhea.) The burden of carrying the series and farewells falls to Dunk. In a delightful break from the franchise’s loquacious lords and ladies, eloquence is not his forte. We never meet Ser Arlan (Danny Webb) except in Dunk’s comic recollections, which are unflattering—he was fond of drink and cuffing his squire in the ear—but not unkind. Arlan looms large in Dunk’s formation; later, he encounters a young stable hand named Egg (an adorably inscrutable Dexter Sol Ansell) and threatens the boy with a clout for his insolence. Claffey delivers the threat without a hint of promise behind it. Arlan may have knocked his squire around, but he paradoxically instilled in him a sense of decency. A hulk like Dunk could have grown into a brute under the wrong teacher. Instead, his courtesy, especially when met with discourtesy, marks Dunk as a decent man in a cruel world. He even balks at the thought of selling Arlan’s horses for a proper meal; after all, how long would the coin last? “That road ends in outlawry or beggary,” he huffs. So which road will it be? The one that leads to a lord’s service, a circuitous journey that begins with Ashford Meadow in the Reach, where a tourney is to be held. It’s a hungry ride, broken by a stop at an inn where a feast of lamb and ducks (Dunk orders both, to the innkeeper’s delight) is forestalled by a drunk’s ominous ramble. “I dreamed of you,” he drools, producing what appears to be a dagger of Valyrian steel (again, see the stray observations below). “You stay the fuck away from me.” So far, hospitality in the Reach is a mixed bag. Dunk catches insults even in the stables, where Egg critiques his knightly attire. (“Your belt is made of rope!” he squeaks.) Despite Dunk’s grim aura—a bath later on fails to…

This week’s Industry plays like a funhouse mirror of the events in the third-season finale. Another birthday is the centerpiece at Sir Henry Muck’s (Kit Harington) ancestral home. But instead of a celebratory dinner announcing an engagement, relative newlyweds Henry and Yasmin (Marisa Abela) are already coming apart at the seams. It doesn’t help that Yas isn’t even allowed to open the drapes in her husband’s bedroom as he staves off another hangover. “You have to let her fulfill her function,” is Henry’s directive about letting the housemaid attend to said curtains. Everyone in this stately home lacks purpose, so what better time to throw a decadent, Versailles-themed costume party for Henry’s fortieth? Similar to how the premiere jumped in as Harper’s (Myha’la) fund fell apart, Industry creators Mickey Down and Konrad Kay waste no time building to the Mucks breaking point. There is zero drag in the storytelling, and this breakneck pacing is part of what makes Industry a deliriously compelling option amid wheel-spinning streaming slogs. And like the premiere, Kay and Down wrote and directed the excellent “The Commander And The Grey Lady,” and the time jump here isn’t a cheat code to circumvent plotting for fireworks. Instead, all the groundwork was laid last season, first in an intimate swimming pool in Switzerland, where Henry first confided in Yasmin about his father’s suicide and his own suicidal ideation. In this week’s episode, we learn that Henry didn’t share how the events actually unfolded on the morning of his father’s 40th birthday. The rewritten version speaks to how this trauma is reshaped to be more palatable without factoring in the permanent damage to Henry’s psyche. There’s nothing quite like the British stiff upper lip and its unique ability to brush the worst moment under an heirloom carpet. It would be easy to cast Yas in the Lady Macbeth role, whispering in her husband’s ear to benefit her own ambitions. While this archetype isn’t entirely off the mark, her scheme to get Henry a position within Whitney Halberstram’s (Max Minghella) “bank killer” Tender is as much about dragging Henry out of his debilitating funk as it is getting Yas back into the game. Yas has tried myriad approaches, including leaning into the Tory-wife cosplay in the opening flashback. Abela and Harington are both on top form, capturing desperation and loathing (in Henry’s case, self-loathing). First, there’s the saddest handjob perhaps ever committed to television, where we hear rhythmic splashing before Henry cuts it short. He has already stood to attention in his proverbial birthday suit for his wife when she asked him to stand in the bath. Yasmin just wants them to look at each other again properly, but Henry struggles to meet her eye and maintain an erection. She’s trying to give him a confidence boost before his pre-party meeting with Whitney. However, this only makes Henry feel like more of a “fraud touched by success.” Whitney is eager to find a partner who can open doors that money can’t buy. “Longevity in Britain is about access,” he tells Henry. What Whitney needs is connections that come from centuries of titles. Given that Yasmin told Whitney he could put his silver tongue to work on Labour MP Jennifer Bevan (Amy James-Kelly) in the last episode, he turns his attention to Henry, with Yasmin providing that particular entry point. It is this meeting that Henry views with suspicion, and the drugs in his system add to this notion. A subtle callback to “happier” times for the couple comes in the shade of blue sash worn by Henry that matches his bow tie when he announced his engagement to Yas at his uncle’s birthday dinner. Of course, that color links to King Louis XVI, but this visual tether to the past doesn’t read like a coincidence. Costume designer Laura K. Smith decks Yas out in a chartreuse and peach Marie Antoinette-inspired frock with an elevated, contemporary twist: stacked Vivienne Westwood platforms that cause Yas to…

Kawhi Leonard va manquer les deux prochains matches des Clippers à cause d'un problème au genou. Du déjà vu, malheureusement...