Category: Viral

One of the most exhilarating performances at the 2025 Grammy Awards came courtesy of Doechii. The Best Rap Album winner’s set began with “Catfish,” a booming track from her Alligator Bites Never Heal mixtape, before a costume change led into Hot 100-charting single “Denial Is A River.” If the Swamp Princess wasn’t already a superstar, she is now.

Doechii and creative director C. Prinz worked with Los Angeles-based design studio See You Later to bring the captivating vision for her Grammys performance — the clones! the conveyor belts! the flashing lights! — to life.

Ahead of the ceremony, I spoke to See You Later co-founders, TJ Hoover and Darrius Medina, about how the collaboration came to be, the exciting pressure of working on an award show, and their favorite Grammys moments.

How did See You Later first connect with Doechii?

TJ Hoover: We were brought on to work alongside her creative director C. Prinz. We really vibed aesthetically, and kind of felt that we were on the same frequency for what this performance was envisioned to be. We got brought on in early January, right before all of this started getting kicked off.

I imagine that one-month timeline to prepare for the Grammys came with some challenges.

TH: [Most of the Best New Artist] acts are back to back, so there’s no longer a long break between all these performances. And so what this required our teams to do is figure out, how do we design something that gets in and off the stage in 10 minutes, and is able to be executed and brought in and built extremely quickly? The Grammys being such a massive stage and presence to perform on, that adds its own pressures as well. I think that was probably one of the biggest challenges. The timeline, a month, is pretty quick [laughs].

Darrius Medina: Like TJ said, there’s so many acts playing that we don’t have a lot of time at the Grammys stage. One thing that we do at See You Later is a lot of pre-visualization of the show. We build this whole thing out in 3D, which gives the artists a chance to really see their vision brought to life and understand what it’s going to look like for the performance, and be able to make choreo changes, content changes, and go over lighting and things like that. That’s something that helps us out a lot when we’re doing a live performance versus a tour or festival, when we have more time to do rehearsals. You know, the full package.

When is the first time you see the stage in its completed form?

TH: The day before.

DM: There’s kind of like three performance areas: the inner left, the inner right, and then the front. So we have one of the sections where some of the headliners get the full stage. That was another part of the constraint that we had to work in, as well. The shape of the area that we had to design in wasn’t symmetrical; it was curved on one side and not on the other. So part of it was figuring out what’s going to look good on camera with choreography and stage shape and different angles and things like that.

What were the initial discussions between See You Later and Doechii about the performance like?

TH: This project started out with a couple different ideas. I think the clones were always a rounding idea in the creative, and the world that the clones lived in was something that was up for discussion. We went through different ideas and concepts and worlds. A lot of the reason we ended up where we were at was also because of the changeover times being so short. We had to figure out, how do we create something that was impactful, but also doesn’t take up a lot of real estate? The process has been a great creative collaboration with Doechii. She’s super involved with world-building and what she wants. I think with Prinz as well, she’s a phenomenal creative director and really has an eye for what Doechii is looking for.

DM: They have been great at providing the vision, and our role and specialty on this is bringing that to life and making it realistic and possible within the timeframe. So it was a perfect collaboration between all of us to share our expertise and be able to help each other and really just provide the best show possible.

“Denial Is A River” is a deeply personal song about depression and addiction, but there’s also a playfulness to it. How did you channel Doechii’s humor into the performance?

TH: Like you said, the song itself has a humorous undertone to it, and we’re playing with that with an old Hollywood-esque vibe. So whereas the first half of the show has speaker setups, lighting rings, and things that are a little more, I would say, edgy and theatrical and dramatic, “Denial Is A River” is more fun. The choreography gets a bit more uplifting. The lighting, as well, gets brighter and less dramatic and moody. They’re kind of doing a Chicago-esque vibe.

DM: Yeah, the ending is Chicago, old Hollywood, a little more vintage and a little more playful.

What are some of the technical considerations for when the dancers are off stage in the crowd? Are you focused on the lighting, or is it more logistical to make sure that no one trips?

TH: With this particular performance, it’s a pure lighting thing. We don’t have any video walls or anything like that out there. It’s more about the tone of the dancers, you know, being at these guest tables in the crowd, interacting with the guests that are there before we move to the shot of Doecchi and the rest of the clones on stage. It acts as an element of surprise to keep the viewer on their toes in the first couple of seconds of the performance.

DM: I think as well, we’re looking a lot into cameras, and that’s something that working with Prinz and Doechii and really thinking of it from a viewer’s perspective. Most people are watching it on TV, obviously, and when we can incorporate some of those unique shots, it kind of breaks it up from the other performances. Like you were saying before, it’s almost a competition sometimes. How can we differentiate ourselves from some of these other performances and create unique shots and looks?

Do you have any personal favorite Grammys performances?

TH: There’s been quite a few. I think the Tyler The Creator one from [2020] was probably one of the best. I think it was from the album with “Earfquake,” and he did a death fall in the back. That was probably mine.

DM: I really liked, I believe it was last year, Dua Lipa where they had scaffolding and really used the entire room, which was cool, and really utilized cameras and content and creating different moments. That was very high energy, and one of my favorites that I’ve seen in recent years.

When you’re working on an awards show, is there a competitive element to come up with the “best” performance? The one that everyone is talking about the next day?

TH: That’s interesting, yeah. I mean, I think with any of these big shows, whether it’s Coachella or the Grammys or anything that has a lot of viewers, we all want to be the best, right? And so I think, when you’re on a stage with a bunch of other artists with time constraints and all these things that are going against you having the best performance that you can, the pressure is definitely there. It has to feel unique. There’s always those one or two performances that everyone’s talking about and becomes one of those historical Grammy shows. I think everyone involved wants to be one of those historic performances.

Very few around the NBA expected the Clippers to factor into the playoff race in the Western Conference this season. After seeing Paul George walk in free agency to Philadelphia, the Clippers spent their summer building out depth but did not make any particularly splashy signings. They entered the season projected to finish 12th in the Western Conference by win total, but as the All-Star break approaches, they find themselves sixth in the West at 28-21 and just two games back of a top-4 position.

They are in that spot thanks to that depth they built out, providing them with a raised floor and steady production, but also because of the individual excellence of a few players thrust into bigger roles. Norman Powell leads the team in scoring at 24.1 points per game on strong efficiency, making good on his offseason proclamation that George’s departure could be “addition by subtraction” by creating opportunity for others. Ivica Zubac is averaging 15.3 points and 12.7 rebounds per game, as he continues to be a steady presence inside.

And then there’s James Harden, who earned another All-Star selection from the coaches with his play leading the Clippers from the point guard spot. The veteran guard isn’t having his best shooting season, but is orchestrating the L.A. offense wonderfully, averaging 21.6 points, 8.4 assists, and 5.8 rebounds per game — and playing in 46 of 48 games so far. Harden, once maligned for his uncompromising heliocentric nature in Houston, has become something of a chameleon in this latest chapter of his career. He’s learned to adapt his game to his surroundings in a way that’s jarring to see after his time with the Rockets was marked by him bending the game to his will and forcing others to play his game.

Last week, just prior to his All-Star selection being announced, we got a chance to speak with Harden about that aspect of his game, how he would grade out the Clippers first half of the season, Powell and Zubac’s play, and more as he made the rounds as part of his new campaign with Pringles, as he is part of their Super Bowl ad.

Let’s start with this Pringles big game ad. What was the experience like shooting this with Adam Brody and Nick Offerman and what does it mean to be part of a Super Bowl ad campaign?

Phenomenal. You know, just obviously, first of all, Pringles is like in elite crisp, who’s been around for a very, very, very long time and still doing it at the highest level. So when the opportunity presented itself, it was a no brainer. So just — and the whole entire campaign, it made sense, it was funny. Then being part of that weekend, the Big Game weekend, you know, I was excited and still am excited about the opportunity, and I can’t wait for you guys to see it. But, you know, it was unbelievable. I had like a four or five hour shoot, and it was a lot of fun.

You’ve done ad campaigns and you’ve done things like that, but it’s such a different level when it’s kind of one of those Super Bowl ads, right? And kind of, how different was it for you as somebody who’s done these sorts of things before, to be in one of these? And kind of, did you feel a difference immediately?

It’s like, another level, you know, it’s another level. It’s like a playoff game, honestly. I mean, that’s the excitement around the whole shooting the campaign. So for me just to be a part of it and have the opportunity to be a part of it, was, i don’t know, it’s a blessing, honestly. Like I haven’t been in one of these spots in a minute, and I just brought all my personality out.

We’re talking before the matchup is set so I can’t ask for any game predictions, but I do want to ask you, you’re an LA guy, I know you’re a big music guy, how excited are you for the Kendrick halftime show? And when that got announced, what were kind of your thoughts on what he’s going to he’s going to bring to that stage?

That’s fire. I mean, he going to bring some excitement to, obviously, the game, the show, and then the city of LA, which is much needed right now. But Kendrick is on fire. You know, he’s always been one of the best artists, and I think the city of LA is going to embrace it and is going to appreciate it and I think the world is going to appreciate how talented he is. So I’m excited to see it.

I do want to talk about this Clippers season so far. And just to start, how would you grade the first half of the year for you guys?

Um, good. Good — not great, but good. And I feel like every team says this, but I feel like there’s a handful of games that we felt like we should have won that could have been better. But, you know, I think we’re in a good space. Getting Kawhi back and ramping him up and seeing where this team really can take it. I think we’re all excited about it. So for us, it’s just staying healthy. You know, we got, I think, nine or 10 games before the break, and then after the break, we really ramp it up and see where this team can take it. But I think we’re all excited. Like now, I think people are understanding how good we can be, or, you know, it’s not just, “Oh, the Clippers lost players last year so they’re not gonna be as good now.” No, we’re really good. So I think that’s what I’m excited mostly about, you know, within our organization.

You’ve been in a number of different kind of roster constructions and roster dynamics, and how does that allow you when you go from, last year this team plays differently with Paul George to this year without him. How do you lean on those past experience of playing with different stars and different groupings toallow you to adapt and kind of bring a team along quickly as the point guard?

Because I can do a lot of different things. I mean, I’m just not a shooter, I’m not just a scorer, I’m not just a playmaker. I can rebound, like I can fit in literally any system and play well. So, I mean, I think just looking overall, I see what this team needs, and whether it’s scoring, whether it’s play making, and then try my best to fulfill that role, along with doing other things as well, if that makes sense. So, you know, last year was a different role. This year is a different role, but not really, it’s the same James. I mean, I just get more opportunities. And honestly, it’s exciting. It’s like a game within the game. It’s like you got to really think and figure out. And some nights, you know, I ming score 30, some nights I might score 15, but have 15, 16 assists. So, you know, either way, we win I’m happy and life is good.

I want to talk a little bit about a couple of your teammates. First, Norman Powell is having a great year. What does it say about him that a guy nine yearsinto his career, he’s played a number of different roles, secondary roles, to be ready in this moment to step into that larger role and be the leading scorer on the team and do it efficiently?

It’s a testament of the work he’s put in. He put the work in, and he’s always had that mindset about he want to score, and he can score and shoot the basketball. And once again, like last year, he was limited. And I’m sure throughout his entire career, he felt like he was limited, you know what I mean? Whether it’s coming off the bench or not playing as many minutes, and now, you know, he’s having an opportunity to have a starting role, and be aggressive out there, which we look forward to. So, you know, I’m proud of how well he’s playing, the work he’s put in, and the result of that is he’s having a killer season.

And then Ivica Zubac inside, he’s a guy that’s really solidified himself as a really good center in the league. And what have you seen over these last couple years from him, because it seems like he brings a lot of stability on both ends of the floor for you guys?

Just smart. He’s not super athletic or fast, like as a big, but he’s just very intelligent. Knows how to like work angles and defensively knows where to be, sees plays before it happens. Offensively, got a very, very good post game. Like, he’s definitely gotten a lot better, since I’ve been here for a year he’s gotten a lot better. And I can only imagine, like, the confidence he’s built over his entire career. So — and, which he still has a lot more to get better at. And that’s the exciting part. He works his butt off every single day, too. And then, so I think as a team, as a whole, we just, we like growing together.

And then obviously a big story this year for you guys with the Clippers is the new building, the Intuit Dome. What has it been like to be part of starting, really, a new era for for Clippers basketball?

History. Unbelievable Like it’s a beauty to be in there. You can see it from the videos or outside, but once you’re in that space and it’s rocking in there, there’s lights and the screen, like, and you get that wall. It’s like an upgraded college arena, you know what I mean? Like on steroids. I don’t know, it’s crazy there, and I’m just happy to be a part of it and just be able to play in there and hoop every night.

Last thing for you, you’re gonna be on Starting 5 season two [on Netflix]. What are you excited for fans to get to know about you off the floor?

Everything. You know, for the most part I’m low key. I give you what I want you to see. Whether it’s my social media or just me personally in interviews or whatever. So I feel like this is an opportunity for fans, people to understand a little bit more about who James Harden is on a day-to-day base. Whether it’s, you know, off the court, family, business, just who I am a little bit as a person. And so I think it’s time for that and I’m excited about it.

Billie Eilish had a pretty good chance to win a Grammy last night (February 2), considering she was nominated for seven awards: Record Of The Year, Song Of The Year, Best Pop Solo Performance (all for “Birds Of A Feather”), Album Of The Year, Best Pop Vocal Album (both for Hit Me Hard And Soft), Best Pop Duo/Group Performance (her and Charli XCX’s “Guess”), and Best Dance Pop Recording (“L’Amour De Ma Vie [Over Now Extended Edit]”).

That said, by the time the show was over, Eilish didn’t get a single win. Her fans are presumably upset about this, but despite the disappointment, Finneas doesn’t want to see them getting into combative situations online.

In an Instagram Story shared after the show, Finneas wrote:

“Great grammys!!! So honored to have been nominated amongst so many amazing songs/albums. I don’t wanna see ANYONE with a photo of me or billie as their PFP gettin’ in fights with other artists fans in comment sections!!! Be at peace! Congratulations to all!!”

Regardless, Eilish had a good night at the Grammys: Being nominated, especially that many times, truly is an honor, and she got to perform, too.

Find the full list of nominees and winners at the 2025 Grammys here.

It has been years since I can remember a Grammy ceremony that wasn’t marred by some sort of controversy. Usually, these revolve around some form of recognizing diversity; whether it’s for women or people of color, the Recording Academy has a long track record of dropping the ball, even leading to some artists picking up stakes and swearing off the award show for good (or for a couple of years, in the case of The Weeknd).

Last night, for the first time in a long time, the Grammys got it right.

Starting with the Big Four, and working down the list of winners from the 67th Annual Grammy Awards, there were plenty of surprises — but the biggest one was that there were no grumbles online and little public outcry over another egregious snub or obviously missed picks.

Beyoncé won her first-ever Album Of The Year award for Cowboy Carter after being snubbed for each of her last four albums (the losses for Lemonade and Renaissance, were especially galling, even prompting protest from eventual winners like Adele). And, hey, look: It may have been one of the most “here, damn” awards ever given, but at this point, demanding honest intentions is a little like asking a cat to bark.

Even more shocking — for no one more than Beyoncé herself, apparently — the “II MOST WANTED” singer also won Best Country Album for Cowboy Carter, making her the first Black woman to win a country award in 50 years (the Pointer Sisters won in 1975 for “Fairytale”). She’s the first Black artist to win Best Country Album EVER. It should go without saying (but in a nation demanding the revocation of every stride made by Black people in the last 70 years, it apparently does not) that this was a massive disservice, considering the contributions Black Americans have made to the genre (including, depending on who you ask, inventing the damn thing).

Speaking of making history: Kendrick Lamar won both Record Of The Year and Song Of The Year for his Drake diss track “Not Like Us.” Again, it feels like there might be an edge of pettiness to the award from the Academy (directed at Drake rather than K. Dot for his years of non-stop sniping), but again, who cares? It was the right choice — and pettiness is pretty much bang-on theme given the song that won it.

Looking at the fields, there were no other songs as ubiquitous or as universally beloved (outside Canada, at least). That “Not Like Us” is only the second hip-hop song to win Record or Song Of The Year (after Childish Gambino’s “This Is America”) and Kendrick’s first ever win (which he could arguably have won in 2018 with “Humble”) should be a bit of an embarrassment to the Academy, and incentive to do better. It’s certainly an example of how to stop making the easy pick so dang complicated.

Another easy pick? Doechii’s win for Best Rap Album. Again, Grammys history is blemished when it comes to hip-hop — especially women in hip-hop — as only three women have ever won this award and neither of them is Missy Elliott (Doechii’s the third, after Lauryn Hill and Cardi B). That she won for a mixtape (her debut, Alligator Bites Never Heal) is a sweet cherry on top, recognizing the breadth and depth the genre has to offer, and acknowledging that it’s got its own rules. As Doechii pointed out in her acceptance speech, hopefully, this fully opens the door for more women to be recognized in the future.

Even outside hip-hop and Black History Month fodder, the Grammys managed to not flub the awards in other popular categories. In years past, you could have bet nearly sure money Khruangbin or somebody would have won Best New Artist over Chappelle Roan despite having been releasing music and touring since 2010 (how they were nominated in the first place, no one will ever know). And with that field, it’d have been tough to whiff (Doechii, Shaboozey, or Sabrina Carpenter could have all been acceptable), Chappelle should have been a lock — and the fact that she wasn’t just does to show how bonkers some of the Academy’s decisions have been in the past.

Carpenter, Charli XCX, Muni Long, SZA, NxWorries, Rapsody, and more won the awards for which they were nominated, proving that the changes the Grammys have recently made are starting to pay off. Whereas in the past, you could reasonably expect the picks to be stodgy, underground picks no one’s heard of — but who are in pretty cozy with the older… shall we say, sunshine-averse Academy establishment. This year, the picks were mostly more contemporary and justifiable (Chris Brown getting Best R&B Album notwithstanding). At least, you can make a case for each winner, even if your fave didn’t take home an award. And all of the above fields were filled with picks that wouldn’t ruffle most fans’ feathers, anyhow.

Still, while the veteran award season juggernauts like Billie Eilish and Taylor Swift didn’t take home any trophies, you get the sense they weren’t really expecting to, nor were their fans pushed to shout about any injustices. The 2025 Grammys ended with the optimal outcome: no one’s feelings were hurt, everyone had fun, and the show, while being long as ever, never flagged or flopped (a testament to Trevor Noah’s hosting acumen as much as anything). If this is what it looks like when the Grammys get it right, we should do this more often.

With Drake’s name trending all over social media as a result of Kendrick Lamar’s Grammy wins for the petty track, “Not Like Us,” Drake finally made a Drake-like move, turning the attention into easy promotion. The Boy announced his long-awaited joint project with PartyNextDoor, Some Sexy Songs, is dropping on Valentine’s Day (again, a very Drake-like move), sharing a short teaser clip of one of the songs on Twitter (never calling it X).

The song is vintage PartyNextDoor (although he appears to be doing a Future impression at first), blending thumping trap, moody R&B, a classic soul sample, and processed vocals about his lust for a woman from the club. The teaser video matches the song perfectly, doing a slow push through a strip club to zero in on Drake, sitting in a booth by himself looking maudlin, as usual. Should the project stick to this general vibe and avoid the overt misogyny of his more recent, red-pilled stuff, maybe this could be what he needs to regain his footing and begin repairing his tarnished image.

Certainly, fans couldn’t help pointing out how bad the Grammy ceremony looked for him on Sunday. Kendrick Lamar not only swept his nominations with the diss track, but watching superstars like Beyoncé and Taylor Swift dance along to a song calling his friends pedophiles couldn’t have been good for Drake’s ego (or his lawsuit against Universal Music Group, which was filed on shaky grounds in the first place). If he wants to take back control of the narrative, putting out a fan-favorite musical project would be a great start.

You can check out the teaser here.

In December, iconoclastic backpack rap pioneer Yasiin Bey teamed up with Los Angeles beat maker The Alchemist to release his first new music in five years via livestream. The success of the project led to the announcement that the duo had formed a group, Forensics, and were planning to release an album in 2025.

Today, they revealed the impending release date and details of the new album, which is named after the group. Like Money Christmas, FORENSICS will debut via livestream on the group’s Bandcamp page for $9.99 on February 7th at 9:00 PM CET (12:00 AM PST/3:00 AM EST). It’ll be available for replay for the next 48 hours; Vimeo will also host the replay for purchase. If you still have a hankering to play it after that, the duo expects to make it available for download toward spring, with a vinyl release after that.

According to the press release, FORENSICS marks a “new approach to delivering art, bringing together the experience of musical content with fashion, visual art, technology and community.” In addition to the stream, the group’s Bandcamp is selling merch featuring an NFC “Bump” tag, which fans can tap with their phones to unlock new album-related material, including an exclusive track, replay of the live stream video, and the album art, which was created by a friend of the group, Spanish-Moroccan artist Anuar Khalifi, titled The Weight of an Ant.

FORENSICS is out 2/7 via Bandcamp. You can purchase the stream and related merch here.

Keeping up with new music can be exhausting, even impossible. From the weekly album releases to standalone singles dropping on a daily basis, the amount of music is so vast it’s easy for something to slip through the cracks. Even following along with the Uproxx recommendations on a daily basis can be a lot to ask, so every Monday we’re offering up this rundown of the best new music this week.

This week saw The Weeknd precede the Grammys with one of the year’s biggest albums so far and Jennie make some noise of her own with a big collaboration. Yeah, it was a great week for new music. Check out the highlights below.

For more music recommendations, check out our Listen To This section, as well as our Indie Mixtape and Pop Life newsletters.

The Weeknd — “Open Hearts”

The Weeknd has some issues with the Grammys… or at least that was the case until he and the Recording Academy kissed and made up last night. His Grammy comeback weekend was made extra special with the recent release of his big new album, Hurry Up Tomorrow, and the new video for album highlight “Open Hearts.”

Jennie and Dominic Fike — “Love Hangover”

Between BTS and Blackpink, we’ve been in a bit of a golden age for K-pop group solo projects lately. The latter group’s Jennie has been among those getting after it, as she linked up with Dominic Fike last week on “Love Hangover,” a smooth track with a fun video.

Sasami — “In Love With A Memory” Feat. Clairo

Sasami has a big year looming: Her album Blood On The Silver Screen lands in March, then she kicks off a tour in April. Clairo certainly has her back, as the two collaborate on the Rostam-produced single “In Love With A Memory.”

Jamie xx — “F.U.” Feat. Erykah Badu

At an afterparty, Erykah Badu was having some equipment issues and went on a bit of a half-joking rant. Jamie xx took that lemon and made it into something sweeter, using the recordings as the basis of “F.U.,” a fun new collab with Badu.

Julien Baker & Torres — “Sylvia”

Everybody’s going country these days, and now that includes Julien Baker and Torres. They’ve been performing together and seemingly gearing up for something big in recent months, and last week, they finally confirmed a collaborative album and shared the breezy, dog-inspired “Sylvia.”

Zach Bryan — “Blue Jean Baby”

The Philadelphia Eagles made the Super Bowl this year and Zach Bryan is pretty darn psyched about it. In celebration, he want ahead and dropped a new song, “Blue Jean Baby,” which he sort of downplayed, but hey: new Zach Bryan is new Zach Bryan.

Will Smith and Big Sean — “Beautiful Scars” Feat. OBanga

Is Will Smith starring in a Matrix reboot? He’s not, no, but he did just leverage the fact that he famously turned down the role of Neo all those years ago, for his new Matrix-themed video for his Big Sean collab “Beautiful Scars.”

2hollis and Nate Sib — “Afraid”

2hollis is on the rise, as his recent signing with Interscope clearly indicates. He shared his first new music of the year last week, teaming with tourmate Nate Sib for the glitchy “Afraid.”

MIKE — “Man In The Mirror” and “Artist Of The Century”

The 2025 release calendar is coming into focus now, and an early highlight from the Q1 rap landscape is MIKE’s new one, Showbiz!. He got creative with his joint video for “Man In The Mirror” and “Artist Of The Century,” too, using the two markedly different tracks to show off his versatility.

Larry June, 2 Chainz, and The Alchemist — “I Been”

The Alchemist is among the busiest people in hip-hop, and now he has yet another endeavor on the way: He, Larry June, and 2 Chainz are teaming up for a new album, Life Is Beautiful. It’s out soon, on February 7, and last week, the trio shared “I Been,” which sees June and Chainz doing their thing on Alchemist’s soulful production.

So much for Jimmy Butler or De’Aaron Fox being the biggest name on the market ahead of the trade deadline, eh? In the early hours of Sunday morning — after the Saturday NBA slate had mostly come to an end — the Dallas Mavericks and the Los Angeles Lakers agreed to one of the most remarkable trades in the history of American professional sports. The long and the short of it: Luka Doncic is a Laker, Anthony Davis is a Maverick, the Utah Jazz got involved, and other pieces moved around outside of those two.

I’m still trying to wrap my head around it, and I assume you are, as well. Players of Davis’ caliber do not get traded in the middle of the season unless they force their way out. Players of Doncic’s caliber just don’t get traded. There are rumblings that Dallas had major reservations about handing Doncic a supermax extension this summer. Luka, AD, LeBron James, and Kyrie Irving all apparently had no clue this was coming. It’s a lot to wrap your head around, whether you got the first push notification from Shams Charania as the trade was announced or you woke up on Sunday to a flurry of texts from friends who were talking about the deal into the early hours of the morning.

Like any transaction, there are winners and losers in how all of this played out, and here, we’re going to break them down here.

WINNER: Luka Doncic

I really do not think we have ever seen a trade in any sport quite as fascinating as this. Doncic is, any way you slice it, one of the five best basketball players in the world, a guy that the Mavs have built their entire franchise around from the day that they acquired him during the 2018 NBA Draft. And yet, whether it’s due to his conditioning or whatever else, Dallas does not think that it is worth betting on Doncic anymore. Or, perhaps more accurately, they do not believe it is worth betting on Doncic over the life of the contract extension he was eligible to receive this summer, which would have kept him under contract until he was 32 — Tim Bontemps of ESPN compared this to “The Big Short.”

Giving up on guys of Doncic’s stature never happens, because the only way they go to a new team is on their terms. But doing it at this point in their careers? We’re talking about a once-in-an-ever type of move from the Mavericks. Now, Doncic is on a team that is going to have to build around him going forward, because while the Lakers got an absolute steal here, you can’t trade for a guy to be the face of your franchise and then just let him languish, especially when you are almost certainly going to give him a max contract extension the nanosecond you can this summer.

Above all else, Doncic is the guy who is going to take the baton from LeBron James and become the face of the Los Angeles Lakers whenever James decides his time in L.A. comes to an end, whether that’s because he retires or goes to play somewhere else. That’s a pretty special spot to find yourself in. And I, for one, am not going to miss a single game he plays against the Mavs between now and the end of his career, because while Doncic can be disengaged during regular season games, when he flips that switch, he will rip your heart out, and I expect him to be firing on all cylinders whenever he plays Dallas going forward. A constant theme of all the greats in recent NBA history is finding that extra motivation from people doubting you, and Doncic now has that in abundance thanks to the Mavs.

LOSER: Luka Doncic’s bank account

Ok, so this is semi-facetious, but Doncic can no longer sign what could have been the biggest deal in NBA history — it would have been a 5-year supermax worth $345 million. Instead, he can sign a 4-year deal worth up to $228.6 million that would go into effect in 2026-27. It’s one fewer year and less money, but still, I don’t think he’s going to be late on his rent or anything.

WINNER: Anthony Davis in his never-ending quest to play power forward

Last week, Davis made clear to Shams Charania of ESPN that he wants to get back to playing the 4, saying of the Lakers, “I think we need another big. I feel like I’ve always been at my best when I’ve been the 4, having a big out there.”

Davis has never been shy about how he prefers to play the 4 and let someone else handle the physical toll that playing the 5 takes on them. This is despite the fact, if you have watched AD over the last few years, he is clearly at his best when he is playing the 5 and impacting winning from that spot on both ends of the floor. His shooting has never been great outside of the Lakers winning a title in the Bubble, while his defense is more devastating when he’s around the rim.

But now, he’s going to a team where Daniel Gafford and Dereck Lively II have formed a pretty stellar center duo — I do wonder if, at some point, the Mavs look to get some help elsewhere by moving one of them (I’d assume Gafford, but also, I would have never assumed that they’d trade Doncic, so). For now, though, AD gets what he wants … although it’s safe to assume he would have preferred playing that role in L.A.

WINNER: JJ Redick

Here’s a fun clip from the Mind the Game podcast (remember that!?) where Redick and James discussed how difficult it is to defend Doncic. Redick specifically lumps Doncic and James together as part of a rare class of guys that can make any pass against a double team. He now has the two of them together on the team he is coaching, and while there is always a learning curve (for a coach getting a talent like Doncic, for guys who become teammates with LeBron, etc.), one line that Redick says in that clip seems especially prescient: “There’s just not good answers for the best players right now.” He’ll do some tinkering, surely, but once he figures out how to strike a balance between Doncic and James, it’s possible the Lakers offense ends up being a nightmare to deal with.

LOSER: The army of three-and-D guys the Mavs got in recent years specifically to play with Luka

Dallas won’t have to totally remake its roster, but if you assume Kyrie Irving is the point guard, Anthony Davis is the 4, and they’ll roll with the Daniel Gafford/Dereck Lively II duo at center, there’s suddenly a lot of guys all log jammed on the wing, like Klay Thompson, PJ Washington, Quentin Grimes, Jaden Hardy, and Naji Marshall. All of them but Hardy were acquired via trade or free agency with the idea of playing alongside Doncic, and now, he’s gone and the playmaking load will fall onto the shoulders of guys who are not on Doncic’s level, which isn’t a knock, he’s just an otherworldly talent. Davis figures to have the ball in his hands a ton, and while he’s not a bad passer, he’s not exactly the second coming of Bill Walton or anything.

What does the Mavs’ roster look like at the start of next year? Will they try to wheel and deal to build things out around Irving and Davis more, or do they think their army of wings fits well enough that a downgrade in playmaking is worth it? There’s a lot of pressure on Nico Harrison to figure that out, in large part because Irving turns 33 next month and has a player option in his contract for next year. Hey, speaking of Nico Harrison:

PROBABLE LOSER: Nico Harrison

I say probable because the bet Dallas seems to be making is that, at some point over the life of Doncic’s next deal, his body is going to break down because he is not focused enough on conditioning. If that happens, and if the Kyrie-AD duo works in perfect harmony over multiple years, then you can argue he’s a winner.

But still, to move a guy who is either in the beginning of or entering his prime and is universally considered one of the best basketball players on the planet because you’re making this bet is a move that general managers do not make. Obviously, you have to consider the bad outcomes before you do things, but the reward of having a guy who has carried your team to the heights Doncic has carried the Mavs outweighs the risk that he might not be “worthy” of a supermax deal by the time he’s 31 or whatever. Just the process alone here is not great.

And then, to reportedly only call one team instead of generating some sort of market and THEN get just one of the firsts that L.A. can send back in a deal — along with an excellent but frequently banged up player in Anthony Davis and an alright youngster in Max Christie — is shocking. Check back in in a few years, but my hunch is we’re going to have a pretty negative view of how Harrison approached the biggest trade of his life.

WINNER: Rob Pelinka

Credit where it’s due, Pelinka knocked this out of the park. He’s come under a ton of criticism for most of the moves he’s made since the Lakers won a championship in 2020, particularly since the team traded for Russell Westbrook and lost a lot of the shooting and defensive versatility that has tended to be the best fit alongside LeBron James. But he never gave into the pressure to rush into a trade with his valuable future first-round picks. Funny enough, the biggest move he made this year prior to the Doncic deal was bringing in Dorian Finney-Smith, one of Doncic’s best friends from their time in Dallas and a hand-in-glove fit next to both James and Doncic.

And then, you consider he got a once-in-a-lifetime deal for a player of Doncic’s caliber that only made him part with one of his remaining future picks, meaning he has one more first (and a few that can go via pick swaps) to play with on the trade market. The biggest question looming over everything the Lakers have been doing the last few years has been how do they position themselves for the post-LeBron era. Well, that’s solved and, even if there’s still work to do to build this year’s roster, they can realistically say they’re also trying to compete now by trading for a guy that just led a Finals run in Dallas. Really, incredible work by a guy who went out and got a top-5 player in the world to be the face of his franchise for the next 8-10 years for seemingly pennies on the dollar.

WINNER: Kyrie Irving

The Mavs are justifiably getting dragged over the coals for this trade, and it makes sense, because giving up Doncic and getting less future-facing stuff back than what, like, the Nets got for Mikal Bridges is nuts. But at least in the short-term, I’m very interested in watching Kyrie Irving with a bunch of long, rangy, athletic guys who can erase everything on the defensive end of the floor. Irving has been very good this year, and this is a pretty big bet on his ability to run the show full-time on the offensive end of the floor. As I mentioned a little higher up, he has a player option for next year, and it’s fair to wonder if the Mavs did this with a plan in place to keep him in Dallas beyond 2025-26.

Now, whether he can go blow-for-blow with someone like Shai Gilgeous-Alexander, Anthony Edwards, or another top-tier guard in the West come playoff time remains to be seen — frankly, I’m a little skeptical he can do it four times in a seven game series — but he’ll have every chance to do that alongside one hell of a pick-and-roll partner in Davis.

LOSER: The Lakers’ center rotation as it stands now

Currently, L.A. has Jaxson Hayes, Christian Koloko (on a two-way deal), and Trey Jemison (on a two-way deal) as its centers under contract. Guys like Maxi Kleber and Rui Hachimura have deputized as a small ball 5 over the years. For a team in the conference that has guys Chet Holmgren/Isaiah Hartenstein, Alperen Sengun, Jaren Jackson Jr., and Nikola Jokic currently sitting in the top-4 seeds, that’s untenable. They can dangle their 2031 first-round pick and guys like Hachimura/Gabe Vincent on the trade market, but regardless, they need help. Could the Wizards expect a call for Jonas Valanciunas? Would the Raptors be willing to move Jakob Poeltl? Is it possible that the Lakers package those two players, that pick, and Jarred Vanderbilt and try to get a guy like Deandre Ayton, or parts of that package for Robert Williams? Who knows! But boy, they better figure something out at the center spot this week.

WINNER AND LOSER: Jason Kidd

Kidd has always been a coach who tries to build stout defenses, and man, did the Mavs give him a fun guy to throw into the mix. Building a defense around Anthony Davis, Daniel Gafford, Dereck Lively, and a whole host of wings is legitimately terrifying, and I would not be stunned if Dallas has a top-5 defense over the rest of the regular season. As for the other side of the ball, well, if Davis does primarily play the 4, Kidd is going to have to build an offense that has him (a bad shooter) and Gafford/Lively (non-shooters) playing a ton, which is not an easy thing to do.

But even beyond that stuff, it is something to be the head coach of a team, not know your best player is about to get traded, and then get given a heads up at the very end of the process — he said he wasn’t away until the “11th hour,” according to Tim MacMahon of ESPN. He looked pretty miserable at the pregame presser with Nico Harrison on Sunday, and I can’t wait until we get his unfiltered thoughts on this trade at some point in the future once he’s no longer coaching in Dallas. It helps that he and Davis won a title together in L.A. during the 2019-20 season, but now, there’s gonna be a ton of pressure on Kidd to make this all work, and at least on the offensive end of the floor, Davis wanting to play the 4 is a structural issue that won’t be impossible to work around, but probably won’t be easy.

UNCLEAR: LeBron James

On one hand, Doncic is one hell of a running mate, and a pretty incredible guy to pass the baton to when the time comes. Plus he’s still a Laker, plans on continuing to be a Laker, plays on the same team as his son, and is LeBron James, so it’s very hard to ever complain about anything.

But at the same time, James and Davis were such an incredible pairing, and he was apparently blindsided by this move. For all the stuff about L.A. (and James specifically) wanting the Lakers to be Davis’ team, James was ultimately the conductor when the going got tough. How quickly will the Lakers want to get into the succession plan, where Doncic takes over as the guy for him? What does his role look like if that happens, and just generally, will he and Doncic play a ton of clunky, your turn/my turn basketball? Or will this truly be the part where he ages gracefully, lets someone else drive, and picks his spots where he can show there’s still some magic left in him? I’m probably more excited to watch this dynamic play out than anything else.

WINNER: The Utah Jazz

Few, if any, teams are as good right now at answering the phone and helping to facilitate a trade for a package of a young player (Jalen Hood-Schifino) and second-round picks (they got two of them) than the Jazz. Danny Ainge masterclass, he’s done it again.

One of the best defenders in the NFL is looking to change teams this offseason, as Myles Garrett issued a formal trade request to the Cleveland Browns on Monday. The All-Pro defensive end has been one of the most dominant forces in the league since he arrived in Cleveland as the No. 1 overall pick in 2017, recording 102.5 sacks in his first eight seasons.

However, Garrett’s patience with the Browns franchise has worn thin, and after another season nowhere near contention, he has decided he’s had enough. Garrett issued a statement on Monday noting his love for Cleveland and the fans there, but saying he can’t keep waiting on the organization to build a contender around him and is requesting a trade (via Ian Rapoport).

It’s hard to blame Garrett, who seems aware that staying in Cleveland could resign himself to the same fate as Joe Thomas, being an all-time great and Hall of Famer at your position but never coming close to the ultimate prize in the sport. Garrett wishes to go somewhere that gives him a chance to do that, and right now the Browns are not that team and with Deshaun Watson’s contract looming over everything they do, seem pretty clearly not close to competing for a championship.

The challenge, of course, is finding a trade that brings back the kind of value that can help the Browns reset. Garrett is the foundational piece of their defense and is such a consistent, dominant force on the line that the Browns won’t part with him without getting a massive return. Jonathan Jones of CBS Sports noted the starting point for any trade talks on Garrett would need to be two first round picks, which you don’t often see offered for non-quarterbacks. Garrett is a special case, though, as he’s a sure-fire Hall of Famer in his prime at a premium position, averaging 15 sacks per season over his last four years.

There will definitely be a market for his services, but it remains to be seen if anyone is willing to meet the extremely high price tag Cleveland (which has said it will not trade Garrett) will undoubtedly set.

Bob Dylan and Willie Nelson & Family are returning to the road this spring and summer to celebrate the 10-year anniversary of Outlaw Music Festival Tour.

The 34-date tour features a rotating group of guest openers, including Wilco, Sheryl Crow, and Waxahatchee. There’s also Billy Strings, Nathaniel Rateliff & The Night Sweats, Turnpike Troubadours, The Avett Brothers, The Red Clay Strays, Lake Street Dive, Charles Wesley Godwin, Lucinda Williams, Bruce Hornsby & The Noisemakers, Trampled By Turtles, and many, many more.

Tickets for the Outlaw Music Festival Tour go on sale on Friday, February 7, at 10 a.m. local time, while Citi card members have access to pre-sale tickets beginning Tuesday, February 4, at 10 a.m. local time until Thursday, February 6, at 10 p.m. local time. You can find more information here.

Check out the full tour dates and openers for each show below.

Outlaw Music Festival 2025 Tour Dates: The 10th Anniversary Tour With Bob Dylan And Willie Nelson & Family

05/13 — Phoenix, AZ @ Talking Stick Resort Amphitheatre *
05/15 — Chula Vista, CA @ North Island Credit Union Amphitheatre *
05/16 — Los Angeles, CA @ Hollywood Bowl #
05/18 — Wheatland, CA @ Toyota Amphitheatre *
05/20 — Nampa, ID @ Ford Idaho Center Amphitheater *
05/22 — Spokane, WA @ ONE Spokane Stadium *
05/24 — Ridgefield, WA @ Cascades Amphitheater ^
05/25 — Quincy, WA @ The Gorge Amphitheatre ^
06/20 — Clarkston, MI @ Pine Knob Music Theatre ~
06/21 — Cuyahoga Falls, OH @ Blossom Music Center %
06/22 — Cincinnati, OH @ Riverbend Music Center ~
06/25 — Franklin, TN @ FirstBank Amphitheater ~
06/27 — Memphis, TN @ Radians Amphitheater ~
06/28 — Maryland Heights, MO @ Hollywood Casino Amphitheatre ~
06/29 — Ridgedale, MO @ ThunderRidge Nature Arena ~
07/05 — Dallas, TX @ Dos Equis Pavilion !
07/06 — The Woodlands, TX @ The Cynthia Woods Mitchell Pavilion !
07/25 — Alpharetta, GA @ Ameris Bank Amphitheatre &
07/26 — Charlotte, NC @ PNC Music Pavilion &
07/27 — Raleigh, NC @ Coastal Credit Union Music Park &
07/29 — Virginia Beach, VA @ Veterans United Home Loans Amphitheater =
08/01 — Wantagh, NY @ Northwell at Jones Beach Theater ?
08/02 — Saratoga Springs, NY @ Broadview Stage at SPAC ?
08/03 — Gilford NH @ BankNH Pavilion ?
08/08 — Buffalo, NY @ Darien Lake Amphitheater $
08/09 — Hershey, PA @ Hersheypark Stadium $
08/10 — Syracuse, NY @ Empower FCU Amphitheater at Lakeview $
09/05 — Bangor, ME @ Maine Savings Amphitheater +
09/06 — Hartford, CT @ Xfinity Theatre +
09/07 — Mansfield, MA @ Xfinity Center **
09/12 — Camden, NJ @ Freedom Mortgage Pavilion +
09/13 — Holmdel, NJ @ PNC Bank Arts Center +
09/14 — Columbia, MD @ Merriweather Post Pavilion ***
09/19 — East Troy, WI @ Alpine Valley Music Theatre +

* with Billy Strings, Sierra Hull, Lily Meola
# with Billy Strings, Sierra Hull
^ with Billy Strings, Lake Street Dive, Sierra Hull, Lily Meola
~ with Nathaniel Rateliff & The Night Sweats, Trampled by Turtles, Myron Elkins
% with Nathaniel Rateliff & The Night Sweats, Bruce Hornsby & The Noisemakers, Myron Elkins
! with The Avett Brothers, The Mavericks, Tami Neilson
& with Turnpike Troubadours, Charles Wesley Godwin, Willow Avalon
= with Turnpike Troubadours, Willow Avalon
? with Wilco, Lucinda Williams, Waylon Payne
$ with Turnpike Troubadours, The Red Clay Strays, Waylon Payne
+ with Sheryl Crow, Waxahatchee, Madeline Edwards
** with TBA, Waxahatchee, Madeline Edwards
*** with Sheryl Crow, Madeline Edwards