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Maluma performed in Washington DC yesterday (October 19) as part of his Don Juan Tour, and one part of the show was particularly special: The Colombian superstar revealed he’s going to be a father.

On stage, he debuted his new video for “Procura,” which was later released at midnight last night and can be watched above. He watched the clip with his audience and at the end of the visual is footage of him and girlfriend Susana Gomez in the hospital, with the two and their families seeing a sonogram of their unborn child. Maluma was clearly emotional watching the video on stage as his audience loudly cheered behind him.

He teased the big moment ahead of the concert, writing on his Instagram Story (translated via ChatGPT), “Today is one of the most special moments in my life, and I want to share it with you live right here on our Washington show. You’ve been with us from the beginning, and you deserve to know as well.”

Maluma released his latest album, Don Juan, this past August, and it includes collaborations with Marc Anthony, Gordo, Rayvanny, Don Omar, J Balvin, Yandel, Ryan Castro, and Anuel AA. Learn more about the album here.

Watch the “Procura” video above.

Taylor Swift: The Eras Tour, the concert movie that captures Swift’s iconic tour, has been in theaters for about a week now. For those who haven’t been able to see an actual concert live, the film has been a terrific way to experience the show (also for those who caught a concert and just wanted to re-live it). The next step, though, is streaming. It’s not currently clear where or if the film will end up on a streaming platform, but new evidence suggests it could find itself on Amazon’s Prime Video.

Yesterday (October 19), a Swift fan took to X (formerly Twitter) to share a photo of their TV, on which is a Prime Video listing for the Eras Tour movie with the note, “This movie is currently unavailable.”

That said, a Prime Video page for the Eras Tour movie does not seem to be accessible by searching for it on the platform. Also, there has been no official confirmation regarding if, when, or where the film will be released on a streaming platform.

In terms of Swift movies on streaming, they’ve been all over the place. Taylor Swift: Reputation Stadium Tour and Miss Americana are on Netflix, Folklore: The Long Pond Studio Sessions was released via Disney+, and City Of Lover previously streamed on Hulu and Disney+ for a limited time. The Eras Tour movie is different in that it got a proper theatrical release, though, so it’s not clear what the streaming path looks like for this one.

As a working music critic, I have learned how to utilize (and monetize) the knowledge of artists, bands, albums, and songs that I have accumulated over the years as a fan. This is a requirement of the position, and it’s enabled me to fixate on matters that the average listener (who is forced by capitalism to spend most of their time earning money for themselves and their loved ones) can’t afford to think about even one-tenth as much. However, there is a lot of data stored in my brain that is worthless to me professionally. And yet I can’t force myself to forget any of it. That is because I am a hoarder, and like all hoarders I’m convinced my mind garbage will come in handy one day.

Fortunately for me, I have arrived at such a day.

There is a new Rolling Stones album out in the world. It’s called Hackney Diamonds, and it is garnering rave reviews. At least one of these reviews can be classified as borderline insane, but even the more measured responses have landed in the same general area of enthusiasm. Critics are saying Hackney Diamonds is their “most quintessentially Stonesy album in 40 years,” that “they haven’t sounded this brisk and focused in what feels like a half century,” and — inevitably — it’s “their best since Tattoo You.“ (That last one comes from AARP The Magazine, the definitive resource for takes on sleaze rock LPs made by octogenarians.)

I have mixed feelings about this. I agree with the consensus that Hackney Diamonds is a good late-period Stones record. About half of the album is composed of enjoyably solid songs (this includes the single and obvious standout “Sweet Sounds Of Heaven”) while the other half is made up of enjoyably stupid songs (this includes the other single and “convenient excuse to turn Sydney Sweeney into a video vixen” vehicle “Angry”). Another of the “enjoyably stupid” songs, “Live By The Sword,” is one of two tracks to feature the late Charlie Watts, and the only number since 1989’s Steel Wheels to also include original bassist Bill Wyman. (Though the real reason I can’t get “Live By The Sword” out of my head is that the melody is vaguely reminiscent of “The Diarrhea Song.”) The M.O. for primary producer Andrew Watt was to modernize the Stones while retaining their aforementioned “quintessentially Stonesy” quality, and he’s mostly succeeded. They sound muscular but not lumbering, catchy but not overly pandering to contemporary trends, and (most importantly) “admirably dignified” without appearing “terrifyingly old.”

They don’t approach their ’60s and ’70s prime, but by now only committed haters and delusional sycophants would hold Hackney Diamonds to that standard. Most people have instinctively applied the “late-period Stones” grading curve to this record, which is understood to mean anything released post-Tattoo You. This “late period” distinction makes sense in terms of their catalog (only eight out of their 26 U.S.-released studio albums have come out since 1981) even if it absolutely does not make sense as far as the calendar is concerned (their “late period” has lasted more than twice as long as the first part of their career). But no matter the technical accuracy of the classification, anyone who cares about this era of the Stones’ discography knows what “late period” is supposed to mean. What it means is that you’re looking for three things: Credibly insouciant vocals by Mick, some reasonably raucous guitar weaving from Keith and Ronnie, and the reliable backbeat of Charlie Watts (or, in lieu of Charlie, his capable replacement Steve Jordan). Hackney Diamonds delivers on all three counts. It is a good late-period Stones record.

Here’s what bothers me about the “Hackney Diamonds is their best since Tattoo You” talk: There are actually some pretty good records that get glossed over in this conversation! And if you dig into the press clippings of those pretty good records, you will find that critics at the time wrote about how revitalized the Stones were back then, too! So, while I like Hackney Diamonds, I don’t care for the backhanded dismissal of all those past (and apparently forgotten) Stones albums that the press once declared were also their best since Tattoo You.

But — as I alluded to earlier — I also see this as an opportunity. My knowledge of post-Tattoo You Rolling Stones albums has zero value in virtually every professional context … except for this one. Therefore, I would like to take advantage of the situation by walking through those seven other post-Tattoo You records in order to find out where exactly Hackney Diamonds falls in the Rolling Stones discography.

Hackney Diamonds vs. Undercover (1983)

Tattoo You was an international hit that spawned the iconic singles “Start Me Up” and “Waiting On A Friend.” It was also a collection of leftovers from the previous decade stitched together via the magic of Bob Clearmountain’s magical mixing ability. Therefore the next Stones album, Undercover, represented their first true music of the 1980s. It was also, crucially, the band’s first record to come out after Mick Jagger turned 40. More than anything else, this represents the truest definition of “late-period Stones” — there are the pre-“Mick is 40” albums, and the post-“Mick is 40” albums. Undercover marks the beginning of their middle age.

Critics generally hated Undercover upon release. Robert Christgau called it their worst studio album, unequivocally slamming it as a “murky, overblown, incoherent piece of shit.” As for me, I have a weird affection for Undercover. It is murky, and it is overblown, and it is incoherent. But I’m applying those adjectives as compliments, not as criticisms. Behind the scenes, Mick and Keith were locked in their usual cold war about whether to embrace trendy pop sounds (Mick) or shore up their blues rock bonafides (Keith), and Mick won that battle. (On Hackney Diamonds, Mick won again.) My defense of Undercover is that it’s their Sandinista! — it is weird and experimental and deliberately inconsistent, the song structures are often nonexistent, and the overall vibe is druggy and half-baked. This is typified by my favorite track “Too Much Blood,” in which Mick muses about whether to take his date to The Texas Chain Saw Massacre or An Officer And A Gentlemen over a lazy disco-rock rhythm. If you come in wanting conventionally good Stones music, “Too Much Blood” will sound like a mess. But if you accept that this album is subverting the very idea of “good Stones music” it becomes, actually, pretty good.

My favorite tidbit about the making of Hackney Diamonds is that Andrew Watt wore a different vintage Rolling Stones T-shirt to the studio each day. Apparently, this was intended to put Mick and Keith in a “classic” frame of mind. I suspect this was actually irrelevant to both men since it’s the kind of gesture that only a mildly edgy tech CEO would find to be “disruptive.” But it does illustrate the critical difference between these records. Undercover is a Stones album unlike any other, and that’s why I like it. Hackney Diamonds is a Stones album intended to remind listeners of other Stones records that they liked in the past. That’s not an unworthy goal for a Rolling Stones album in 2023. But it’s less interesting than the approach they took in 1983.

Advantage: Undercover

Hackney Diamonds vs. Dirty Work (1986)

Critics also hated Dirty Work. An exception, incredibly, was Christgau, who gave Dirty Work a solid A, his highest grade for a Stones record since Some Girls. This is so perverse that I wish I agreed with it. Alas, I do not. If Hackney Diamonds sounds a little safe next to Undercover, it feels assured and tasteful compared with Dirty Work, a record that is dated in the worst possible ways. The “Big ’80s” drum sound provided by producer Steve Lillywhite makes Charlie Watts seem like a sonically appropriate replacement for the timekeeper in The Cult. And the synths applied to “Winning Ugly” sound borrowed from the two shitty Eric Clapton solo records that Phil Collins produced in the mid-’80s. On the plus side: The title track is nasty fun and “Sleep Tonight” establishes one of the safest truisms for late-period Stones albums: Always bet on the Keith ballads. This is also true of Hackney Diamonds: Keith’s stripped-back, minor-key showcase “Tell Me Straight” spotlights his impeccably ragged vocals, which somehow sound smoother now than they did when he was croaking “Before They Make Me Run” in 1978. (He stopped smoking cigarettes in 2019, and his depleted phlegm reserves are palpable).

Advantage: Hackney Diamonds

Hackney Diamonds vs. Steel Wheels (1989)

Only three years separate Steel Wheels from Dirty Work. But at the time — after so much public sniping between Mick and Keith — Steel Wheels was commonly viewed as a “reunion” record. And that PR narrative was dutifully parroted in Rolling Stone’s four-and-a-half-star review, which praised Steel Wheels as an upgrade from “bad to ordinary” records like Undercover and Dirty Work, a.k.a. “their best since Tattoo You.” (Rolling Stone also put Steel Wheels at No. 87 on their Best Albums of the 1980s list, ahead of Jackson Browne’s Lives In The Balance and behind Bruce Springsteen’s The River.)

Nobody holds Steel Wheels in that kind of esteem today. It is now viewed as another “bad to ordinary” Stones record from this time period, which I think is a little unfair. Steel Wheels was the first Stones album I was aware of when it was brand new. I was 11 at the time; now I’m the same age as Mick Jagger when Steel Wheels dropped. Beyond my personal nostalgia, I still appreciate “Mixed Emotions” as the best late-period Stones single, and Mick’s most direct commentary on his relationship with Keith. (Keith joked that it should have been called “Mick’s Emotions.”) And the Keith ballad, “Slipping Away,” is probably the strongest song on the record. But beyond that, Steel Wheels is pretty boring, and the album cover is atrocious, setting a trend for late-period Stones records that continues with the atrocious art for Hackney Diamonds.

In terms of a one-to-one comparison, the best of Steel Wheels is slightly better than the best of Hackney Diamonds, but the latter record overall is more fun. It also feels like a record that the Stones actually wanted to make, rather than an album they made as an excuse to tour, because it’s understood in 2023 that the Stones don’t need an album as an excuse to tour. Nobody asked for this record. The only reason that Hackney Diamonds exists is that these guys care about late-period Stones albums almost as much as I do.

Advantage: Hackney Diamonds

Hackney Diamonds vs. Voodoo Lounge (1994)

A weakness of late-period Stones albums is that they usually include at least three to five too many songs. At just over 62 minutes, Voodoo Lounge is only five minutes shorter than Exile On Main St., an officially designated double LP. And this time they couldn’t blame the overindulgence on heroin. In that respect, Hackney Diamonds — which clocks in at a just-right 12 songs spaced out over 48 minutes — must be counted as an improvement. However, I can’t say I’m actually bothered that “Suck On The Jugular” and “Brand New Car” pad out Voodoo Lounge, even though those songs suck. Bloated or not, Voodoo Lounge is my favorite post-Tattoo You record, both for nostalgic reasons (my first time seeing the Stones was on this tour) and artistic ones (“Thru and Thru” is the one late-period song I would put with all of the unimpeachable classics from the before times). It was them blatantly trying to not sound modern, and instead write songs that recreated every micro-era of their glory years. There’s a song that’s kind of like “Ruby Tuesday” (“New Faces”), a song that’s kind of like “Angie” (“Out Of Tears”), and a song that’s kind of an amalgam of every horn-dog rocker on Some Girls (“Sparks Will Fly”). And it works, because Mick and Keith were locked in as songwriters. Meanwhile, on Hackney Diamonds, Andrew Watt is credited as a co-writer on three songs — including one of the better tracks, “Get Close” — which is odd given that Mick and Keith were reluctant to extend the same courtesy to Mick Taylor in the early ’70s. By the rules of the Rolling Stones, Andrew Watt shouldn’t warrant formal credit until he writes music that’s better than “Time Waits For No One.” And he definitely did not do that for Hackney Diamonds.

Advantage: Voodoo Lounge

Hackney Diamonds vs. Bridges To Babylon (1997)

You know what I don’t love about Voodoo Lounge? The dumb album cover. You know what I don’t love about Bridges To Babylon? The even dumber album cover. The cover for Bridges To Babylon is even worse than the cover for Hackney Diamonds. But in many other respects, I prefer Bridges, the most underrated record in the late-period Stones canon. The one song everyone remembers is the hit “Anybody Seen My Baby,” and the one aspect that they recall is that the Stones awkwardly shoehorned in a Biz Markie sample, a move that forever ties the song to the post-Odelay vibe of 1997. (In contrast on Hackney Diamonds they stick mostly with age-appropriate cameos by Paul McCartney, Elton John, and Stevie Wonder.) But the bulk of Bridges is made up of zippy rockers powered by Charlie’s swinging backbeat (“Low Down,” “Too Tight”) and an abundance of velvety Keith ballads (“Thief In The Night,” “How Can I Stop”).

In the review I wrote for my college newspaper, I’m pretty sure I said that Bridges To Babylon was their best since Some Girls. I was wrong, but not that wrong. But the more important question is: Why was I reviewing a new Rolling Stones album for a college newspaper in 1997? Was I already a 46-year-old man when I was 20?

Advantage: Bridges To Babylon

Hackney Diamonds vs. A Bigger Bang (2005)

This is the most recent late-period Stones album composed of original material before Hackney Diamonds. And guess what? Critics said it was their “best in years,” the”dirtiest, most homemade-sounding album since Some Girls,” and that “it certainly beats Tattoo You or anything else going back to Exile,“ except (of course) for Some Girls. Nobody remembers any of this, and they don’t remember A Bigger Bang. But speaking as someone who does remember this record, it … really is their dirtiest, most homemade-sounding album since Some Girls! And it has their best songwriting since Voodoo Lounge. “‘This Place Is Empty” is a fine Keith ballad in which he attempts to write a fine George Jones ballad. “Biggest Mistake” sounds like John Mayer in a good way. “Rain Fall Down” is an effective evocation of their disco-rock Emotional Rescue phase. The flaw, again, is that A Bigger Bang is 16 tracks long, which is too big of a bang. It’s like Hackney Diamonds with 20 extra pounds. But I like this fat bastard just the same.

Advantage: Push

Hackney Diamonds vs. Blue And Lonesome (2016)

A rough and rowdy collection of blues covers recorded in just three days, Blue And Lonesome is a record straight from Keith’s Id. As a creative endeavor, it pales next to Hackney Diamonds by default. But this is easily the best-sounding late-period Stones album. (My definition of “best sounding” in this context means “akin to the White Stripes.”) It’s also the record where the Stones come closest to “acting their age,” if that is something that a person might reasonably expect or want from this band. The songs are nearly as old as they are, and there is no attempt to hide this. But above all, Blue and Lonesome is the record that invites you to appreciate their chemistry as musicians, and revel in the alchemy that these ancient masters can still conjure when they simply gather in a room, plug in, and blast off. And that is a very special pleasure indeed. Particularly as it pertains to Charlie, the heartbeat of this album and every other Stones album that’s not Hackney Diamonds. For that reason alone, Blue And Lonesome is worth savoring as the last Stones album featuring these Stones.

Advantage: Blue And Lonesome

To review: Hackney Diamonds is equally good to the previous album of Stones originals. It’s not as good as their ’90s albums, but it is better than most of their ’80s albums. What this statement lacks in punchiness it makes up for in accuracy.

Dove Cameron‘s debut album is finally on the way. Tonight (October 20), the actress and singer has shared her new single, “Lethal Woman” from her upcoming full-length debut album, Alchemical: Vol. 1.

Set to a thrilling, string-driven instrumental, Cameron displays a mysterious confidence on her new single, dialing up the dark pop stylings of previous hits like “Boyfriend” and “Breakfast” to a whole new level.

“She walks like a saint, floats like an angel / Sharp like a knife under the table / Can’t feel my face, I should’ve stayed home / I know what she’s doin’, she’s a lethal woman,” sings Cameron on the song’s chorus.

Cameron first spoke of her upcoming two-part album Alchemical during the 2023 MTV Video Music Awards. Perhaps this arrives as a way to fit the several songs she recorded into a cohesive era.

Back in July, Cameron spoke with Variety, saying she had narrowed the tracklist down “from about 60 songs.”

“I’m trying to get the number of songs on the album really high, but Columbia [Records] is being reasonable,” she said. “I’m being unreasonable. I’ve got all my favorites and most of them have been sent to the mixer and finished and the ones that aren’t.

You can listen to “Lethal Woman” above and see the Alchemical: Vol. 1 cover art below.

Alchemical: Vol. 1 is out 12/1 via Columbia Records. Find more information here.

City Girls’ new album, RAW, is finally here. As with any City Girls project, RAW is packed with certified bangers, one of which is a new collab with Kim Petras, appropriately titled “Flashy.”

City Girls step into their pop bag, delivering a fun, punchy, anthem filled with girlish flair.

“Stylin’, shinin’ / I’m so flawless like my diamonds / I’m flashy / Big bags, price tags / You know all I wear is name brand / I’m flashy,” sings Petras on the song’s chorus.

Over the course of the song, the ladies allude to several luxury brands, as JT notes she can be spotted “Wearin’ so much diamonds, lookin’ like a ball,” as she dons “Louis and Gucci / Like three, four Prada, Murakami.”

Yung Miami vacations out “on an island, wilin’, smilin’ / A place where these hatin’ ass hoes can’t find me,” while dressed in “Fendi and Chanel.”

Since dropping their debut mixtape Period back in 2018, City Girls have remained a force in the rap game, and they continue to kill it through different avenues. Miami has pulled in millions of views with her talk show, Caresha Please, and JT has had an impressive solo run, with tracks like “No Bars” and her fire verse on Kali Uchis’ “Muñekita.”

But when the girls come together, you know they have a hit on their hands.

You can listen to “Flashy” above.

RAW is out now via Capitol and Quality Control. Find more information here.

Kali Uchis continues to be a certified hitmaker — in both English and Spanish. Tonight (October 20), Uchis has shared “Te Mata,” the latest single from her upcoming Spanish album, Orquídeas.

“Te Mata” features Uchis finding happiness after a breakup — to the chagrin of her ex. Still, if this makes her the villain in his story, she will happily bear that title — even if it kills him.

The song is entirely sung in Spanish, with Uchis on the chorus doubling down on living for herself, and herself only.

“Well that’s already over, that’s not me anymore / I’m finally happy, my days are no longer gray / I finally realized that I deserve much more / and that kills you,” sings Uchis.

Orquídeas marks Uchis’ fourth studio album, and her second within the course of a year. It will arrive after a promise she made to fans, that she would release one English album and one Spanish album within this year-long timeframe. Earlier this year, she released Red Moon In Venus, which contained the hit single, “I Wish You Roses.”

“Te Mata” follows Uchis’ hit single, “Muñekita,” which features fellow Latin artist, El Alfa, as well as City Girls rapper JT.

You can listen to “Te Mata” above.

Orquídeas is out 1/12/2024 via Geffen. Find more information here.

The ladies leave it all out on the court in The Golden Bachelor’s fourth episode. The pickleball court, that is.

Now, for those not in the know, pickleball is the cult-like pastime sweeping the nation, infecting our elder population and convincing men with bad backs and women with knee replacements that hard court surfaces are their friend. The producers, sensing an opportunity to entertain the masses via the threat of bodily harm, set up a tournament, hosted by Bachelor Nation ambassadors like Trista Sutter and so, the senior citizen Squid Games commence.

After some rigorous exercise — and a thrilling back-and-forth volley of insults between Kathy and Theresa — some of the girls retire to the house for a game of Never Have I Ever that turns dangerous for the digestive system. Meanwhile, one lucky woman gets to sit in a lukewarm tub of water out in the California desert with a man who is surprisingly confident showing off his fading big cat tattoo. We’re halfway through the season and some tough choices must now be made, but is Gerry the one to make em? We’ll see.

Winner – Absentee Moms

Unlike Joan, who dropped Gerry like a wheel of rotten cheese the second her daughter phoned with news of her tough pregnancy, Sandra is in this battle for a retired pickleball enthusiast’s affections for the long haul. Her dedication on the court, her willingness to sacrifice both her body and her relationship with one of her children, and her commitment to proving she can hang during a social game of truths and ice cream shots despite being lactose intolerant should tell us, and Gerry, all we need to know. Sandra’s not leaving this show unless it’s in a body bag — or, ya know, if she’s forced to consume more dairy.

Loser – Chicken Queens Everywhere

April never had much in common with Gerry but she stayed alive in this love game thanks to her instinctual ability to pull focus, command a room, and approach flirting like it’s an Olympic sport. She displays her skills during the group’s pickleball warm-up, dramatically falling to the ground the second her bird-like frame feels the touch of a light breeze. Her weak ankles may be sabotaging her hopes of impressing Gerry in a game of sweaty balls and unladylike grunting, but April is nothing if not selfless. She tells the girls to get back in there while she replenishes her strength by bodying up to the aging hunk of meat everyone wants a piece of. “Actually, I am totally fine” should’ve been April’s last words before she stole everyone’s man. Gerry just didn’t deserve her, or her chickens.

Winner – Theresa’s “I’m The Victim Here” Strategy

Theresa may play dumb, with her limp-limbed aerobic routines and her weaponized inability to read the room, but she continues to bring up her first date with Gerry every chance she gets. That, coupled with the fact that she’s constantly pulling Kathy aside to dredge up water supposedly under the bridge has us questioning whether she’s this season’s manipulative mastermind or just obtuse AF. The jury’s still out but her crocodile tears work on Gerry after she relays how forcefully Kathy cautioned her to “zip it” when it comes to the intimate details of her relationship with the man every woman in the house is falling for. Maybe it’s just us, but if a woman telling you to talk less causes you to melt into a puddle of raw emotions like that, maybe a reality romance competition is not the right environment for you.

Loser – Kathy’s Friendly Advice

Unfortunately for Kathy, she never had the kind of connection Theresa and the other girls have with this retired Captain America so lashing out at women who caught his eye was never going to end well for her. She’s too strong-willed and confrontational for a milksop like Gerry Turner, but she was also too sensitive to cohabitate with her romantic rivals which might be why discussions about solo dates and first-impression roses struck such an exposed nerve.

Winner – Crystals

In a surprise move, Gerry proved himself to be a crystal girlie by gifting Susan a rock of rose quartz in a gesture that felt surprisingly romantic and new age. Like his wife, her greatest qualities in his eyes are her empathetic nature and quiet strength — which is either the greatest compliment or the shadiest dig at her 7 a.m. chicken piccata.

Loser – Stress Fractures

Save for Ellen, none of the girls were particularly gifted in the art of pickleball-ing, but Sandra fared the worse, showing up for a cocktail hour in a mid-shin-reaching boot. She did what Gerry couldn’t do, calling out the imbalance in his feelings for her compared to the other women, eventually removing herself from the competition before the rose ceremony started. No man is worth a stress fracture, but especially not one whose idea of romance is a dirty ATV ride and a dip in a stock tank. Leslie can have him.

There weren’t especially high hopes for Thursday night’s game between the Jacksonville Jaguars, which were led by a hobbled Trevor Lawrence, and the New Orleans Saints, which have a relatively low-scoring offense. It even looked like the Jags would cruise to a win, as the team held a 24-9 lead after three and the Saints just could not find the end zone.

But a pair of touchdowns — one by Taysom Hill, one by Michael Thomas — got New Orleans right back in the game and tied things up at 24 with just over six and a half minutes to go. There seemed to be a real shot in the arm for the Saints, and even though Christian Kirk was able to score a touchdown with 3:08 left in the game to put the Jags ahead, New Orleans had real optimism they could make something happen.

It sure looked like they were going to find the end zone, as Derek Carr marched them down the field and got them into a goal-to-go situation from the 6-yard line. However, it started to get late early for the Saints, as Carr threw a pair of incompletions to set up a third down play. And while the call was perfect, and Carr couldn’t have thrown it much better, tight end Foster Moreau just couldn’t bring the ball in.

While you can argue Carr led him a little too much, this is one that Moreau absolutely wants back. And after Carr’s fourth down throw to Chris Olave fell incomplete, the cameras caught the tight end on the bench looking visibly distraught and getting consoled by his teammates.

Jacksonville went on to kneel this one out and picked up a 31-24 win to move to 5-2 on the season.

It’s been a hot minute since we’ve heard from The Kid Laroi. But the Australian pop sensation is back with new music, as he gears up for an impending new era. Tonight (October 20), Laroi has teamed up with global superstars Central Cee and Jung Kook for a new collaboration, “Too Much.”

On their promising new collab, the three international acts reflect on a past relationship, pondering on the idea of rekindling with their once-loves.

“If we had the chance / and the time to spend, would you do it again? / Would you do it again? Was it too much?,” sing Jung and Laroi on the song’s chorus, with Laroi’s vocals sounding more polished than ever.

The song’s accompanying video features the three on interactive covers of the fictional Too Much Magazine. On their respective covers, the three artists dance the pain away, as ladies find the magazines on newsstands. Laroi sports a shorter, bleached-blond do, signaling the beginning of a new season in his life. The three hitmakers prove to be as inescapable in the video as they are on the radio, especially as the magazine arrives to a young woman’s home.

You can see the video for “Too Much” above.

On the heels of his new album, Nadie Sabe Lo Que Va A Pasar Mañana, Bad Bunny is gearing up to host Saturday Night Live this weekend. Over the course of the past week, SNL has teased Bunny’s appearance with a picture of the Puerto Rican superstar at the table read. Tonight (October 19), SNL has shared the promo for Bunny’s upcoming appearance.

In the promo, Bunny and SNL cast member Heidi Gardner tease the episode. Gardner tells Bunny, “I’ve always wanted to go to ‘Porto Rico.’”

Bunny then corrects her, with the right pronunciation of Puerto Rico.

Gardner continues to mispronounce Puerto Rico, and in response, Bunny simply tells Gardner, “You know what? Don’t go, please.”

In another promo, Gardner tells Bunny how much she loves the message of his music. But she can’t quite explain why she does. Not because Bunny’s music is primarily in Spanish, but because the lyrics are too hot for TV. The final promo features Bunny pushing away a mosquito from a terrified Gardner.

You can see all three promotional clips above.

Bad Bunny’s episode of Saturday Night Live will air this Saturday (October 21) at 11:30 p.m. EST on NBC, and will also stream on Peacock.