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It’s been 24 years since Matt Damon and Ben Affleck won Best Original Screenplay for Good Will Hunting, a surprise hit that also won Robin Williams his only Oscar. The actors have worked together in the two decades since, including in Dogma, Jay and Silent Bob Strike Back, and Jersey Girl (and occasionally even non-Kevin Smith projects), but not as writers — until The Last Duel, Ridley Scott’s historical drama that comes out next month (they co-wrote it with Academy Award nominee Nicole Holofcener).

Why did it take them so long? Besides the whole “getting together with Jennifer Lopez, then breaking up with Jennifer Lopez, then getting back together with Jennifer Lopez years later” thing.

“I would attribute a lot of it to the fact that Good Will Hunting took us so long to write because we didn’t really know what we were doing,” Damon told EW. “We had no deadline; it’s not like anyone was waiting for it. We were unemployed. We hadn’t ever taken a class on how to structure a screenplay, so structure was definitely not our strong suit. What we really understood were the characters, so we ended up writing thousands of pages of scenes where we’d just make up a scene idea. We’d write that scene and then we crammed it all together into something that looked like a screenplay. Both of us thought it would be so consuming to write together again, we just didn’t bother.”

Affleck added that Damon is “one of the few people I really trust and believe has my best interests at heart and gives good feedback. We’ve often talked about movies and collaborated in that way.” It’s fine, guys. You can give the real reason it took so long to write a follow-up to Good Will Hunting: lengthy trips to Dunkin.

The Last Duel opens on October 15.

(Via EW)

Disney+ is currently filling the post-Loki gap between Marvel Cinematic Universe series with What If…?, which presents alternate realities in animated form, but a semi-realistic passing of the torch might be going down in the trailer for Hawkeye, which will premiere on November 24. In the few-minute trailer previewed so far, we see Hailee Steinfeld making her MCU debut as Kate Bishop, who’s learning the ropes as the two battle through some sort of Christmas hellscape that feels awfully surreal, including a Captain America-themed musical and the entry of Vera Farmiga into the MCU.

Kate (who will presumably help lead the Young Avengers) apparently gets sucked into this show because of a mixup that’s related to Clint’s snap incarnation, Ronin, so there’s a whole lot of backstory-related fallout at work. Well, the trailer generated plenty of interest on Twitter, but more than that, there’s one major complaint that people have about this trailer. That would be the absence of Florence Pugh’s Black Widow character, Yelena Belova. As revealed earlier this year in that movie’s post-credits scene, Countess Valentina Allegra De Fontaine (Julia Louis Dreyfus) planted a hit on Hawkeye by telling Yelena that Hawkeye was “the man responsible for your sister’s death.”

Thus, Hawkeye is Yelena’s “next target,” which not only confirmed how Yelena had joined the squad of new “heroes” that also includes John Walker, but also that Yelena would appear in Hawkeye, and Clint Barton is apparently in some deep sh*t. Regardless of the promise of seeing Yelena in this show, she did not surface in this week’s trailer. People definitely noticed, and they’re airing their disappointment.

Also, here’s a horror movie matchup for you.

Hawkeye premieres November 24, 2021 on Disney+.

Rihanna recently announced the third edition of her Savage X Fenty show, coming to Amazon Prime Video on September 24. Now she has offered more info about it, noting that it will feature performances from Nas, Daddy Yankee, BIA, Jazmine Sullivan, Ricky Martin, Normani, and Jade Novah.

Announcing the news with a teaser on her socials, Rihanna also shared a star-studded lineup of special guests: Adriana Lima, Aleali May, Alek Wek, Alva Claire, Behati Prinsloo, Bella Poarch, Eartheater, Emily Ratajkowski, Erykah Badu, Gigi Hadid, Gottmik, Irina Shayk, Jeremy Pope, Joan Smalls, Jojo T. Gibbs, Leiomy, Lola Leon, Lucky Blue Smith, Lauren Wasser, Mena Massoud, Nyjah Huston, Precious Lee, Princess Gollum, Raisa Flowers, Sabrina Carpenter, Soo Joo Park, The Symone, Thuso Mbedu, Troye Sivan, Vanessa Hudgens, and many more.

According to a press release, the Savage X Fenty Show Vol. 3 “will combine fashion, dance, music, and iconic architecture, highlighting the newest assortment of Savage X Fenty styles through subtle-yet-impactful scenic elements, lighting, and filming techniques.” Check out the teaser above.

The first Savage X Fenty show memorably took place in 2019 and was shot in front of a live audience at Brooklyn’s Barclays Center. The second, titled Vol. 2, was filmed over a few days in September 2020 in an empty Los Angeles Convention Center. “Being in lockdown, all you have is really yourself — your mind, your own thoughts, your imagination — and it forces a lot of creative out of a lot of people,” Rih told The New York Times last year about prepping a pandemic fashion show. “You come up with incredible material because you’re forced to be with yourself.”

Rihanna’s Savage X Fenty Show Vol. 3 streams on Amazon Prime Video 9/24.

In 2018, Gang Of Youths was making a significant international breakthrough. One of Australia’s most popular rock bands, they made in-roads on American radio with their outstanding second album, Go Farther In Lightness, and played their biggest stateside concerts yet as the opener on a Foo Fighters arena tour. The next year, they crisscrossed Europe with Mumford & Sons.

But privately, David Le’aupepe, the band’s loquacious and charismatic frontman, was hurting. His beloved father Teleso, known to friends and family as Tattersall, was diagnosed with cancer in 2017, and died of the disease the following year. Le’aupepe, who refers to his dad as “my best mate in the whole world,” was devastated. But he was also inspired to give the family patriarch a voice on the next Gang Of Youths record.

Several years later, that record has not yet seen the light of day. Surely the most ambitious and experimental Gang Of Youths album to date, it has the added stakes of being their first big release with new label Warner Records, which signed them to a worldwide deal in 2019. (They’ve also had to contend with the loss of founding guitarist Joji Malani, who exited the band that same year.)

The pressure is on to make something great, and Le’aupepe admits he’s felt the heat. If not for a nasty case of writer’s block that’s kept him from finishing lyrics, the album might already be out. The band has already re-recorded the songs three different times while integrating a new set of influences into their usual anthemic rock stew. Specifically, Le’aupepe has embraced indigenous music native to his father’s Samoan and Māori cultures, as well as the hip-hop and dance sounds that he grew up on.

“I started looking for Samoan music and Pacific music and Māori music, stuff to collect for my own,” Le’aupepe says with trademark passion, “because I knew I wanted to make fucking something with this.”

You can hear a bit of this reinvention on the recent Total Serene EP, which was released last month as a stop-gap as Gang Of Youths slowly but surely near completion of the new LP. (The album has a title, but Le’aupepe asked to keep it off-the-record. “I had the title in my head before I had the music and the lyrics and the concept,” he says.) The three-song EP includes the single “The Angel Of 8th Avenue,” a rousing revival of the Springsteen-meets-The National indie of Lightness, and a cover of Elbow’s “Asleep In The Back.” The final song, “Unison,” is something else entirely, however — a chamber pop epic that morphs into an ecstatic rave marked by joyous chanting, drawn from a sample of pioneering composer David Fanshawe’s library of indigenous Pacific music recorded in the 1980s.

Based on unreleased songs that Le’aupepe shared with me, “Unison” is a good indicator of where Gang Of Youths are headed on LP3. But how much longer will take it to get there? I checked in with Le’aupepe over Zoom from his home in London to find out.

Was the new EP conceived as a standalone release, or are you cherry-picking tracks from the upcoming album?

Do you want the actual, honest truth?

Of course.

I have no fucking idea. I think we did it to prolong the amount of time that we have to record the album. And maybe I just needed to clear people’s palettes from the fucking shit that we’ve been making for eight years, to say, “This is where we were, this is where we’re going.”

It’s an interesting release, because while there’s only three songs, it does capture the arc of your career. “The Angel of 8th Avenue” just seems like a prototypical Gang of Youths song. If you loved the early records, you’re going to love that song.

Yeah, if you love Alligator, then you’ll love “The Angel Of 8th Avenue.”

But then you get to “Unison,” and I know from the music you’ve shared with me that that seems like a pretty telling taste of what you’re going to be doing on the next record.

I remember, we were talking fucking years ago in Minnesota, we were playing at 7th St Entry, and we were just talking about bands that had our trajectory. And I won’t name the band we’re talking about — because it’s one that people most often associate us with — but I kind of had that feeling of, yeah, this is like our Achtung Baby. It is that frame of mind I’m trying to work with here because, sonically at least, it’s a way for us to dive into something completely un-Gang of Youthsy, if that makes sense. That isn’t just another swirling indie-rock anthem that hits a climax towards the end, with meaningful lyrics and everything’s philosophical but it’s all kind of surface level to keep the writer detached enough from his audience from showing real emotional vulnerability. I could give you formulas for how I do it. But this isn’t that.

I grew up listening to a lot of hip-hop, so sampling was a big deal to me. There was this amazing man named David Fanshawe who was a composer and explorer. That’s what he liked to be called, a composer/explorer, and I think that’s really sweet. But he recorded probably the most extensive library of music indigenous to the Pacific anywhere in the world. And our co-producer and part-time sound engineer, Pete Hutchings, introduced me to his music, because I was looking for shit that was reminiscent of my dad and reminiscent of my heritage, and he pointed me to all this incredible Pacific music. I’d had writer’s block for so fucking long that a light went on and I just started fucking around with samples and we started diving into all this stuff. And then we got in touch with his family, and his wife and his daughter have been really amazing, helping us with all the music.

But that was like, a light bulb went on. I just want to take things that are meaningful and then give them air to breathe.

This is also your first album since guitarist Joji Malani left the band.

Joji’s living a beautiful life in Australia now doing his own thing, and you can’t replicate what he gave. How do you replace Paul Scholes, you know? Or what’s an American [sports analogy]? How do you replace Mike Trout? Can you?

So, we had to just figure out something else and that was it. And I realized, what Achtung Baby is is an album that both reinforces everything that U2 are about but also strips away everything they’re about. This contrasting, fucking evolving, multi-cellular organism, fucking thing, it is Achtung Baby. It’s U2 at their most cocky but also their most vulnerable. Their most flash, but their most real. It’s the constant tensions between two kind of antithetical equations. Production-wise, it’s slick, but it’s not so slick. It was them nullifying but reinforcing all the stereotypes, and them playing up to the rock star thing, making fun of it. And I’m always drawn to characters like that.

I always say, the stuff I’m wearing while I’m on stage and in video clips, it’s like trust-fund gambling addict chic. Because I’m fascinated with winners who lost. And maybe that’s because deep down I feel like a Pagliacci clown, the sad Italian clown. That’s the archetype.

I just think being that mess of contradictions in my life and career probably informs a lot of my neurosis about who I am and maybe that’s why I’m trying to be this trust-fund gambling addict who owes the mob 50 grand and has 24 hours to come up with the goods and then goes on a ragtag adventure with a homeless guy in Las Vegas, and Dave’s going to write a screenplay about this and he’s going to sell it to 20th Century Fox.

Is this “trust-fund gambling addict” thing a persona for this record?

I don’t know, man. Is it? I fucking don’t know. Because onstage I’m really different to who I am offstage. But then I worry, does it take away from the nuances and, I guess, the earnestness of the songs? Because I want these songs to be mawkish. Let’s not fuck around. Someone called us “the Ted Lasso of music,” and I can’t figure out if that’s a compliment or a diss but I fucking loved it. It’s one of my favorite explanations, because that TV show, you either fucking hate it because it’s mawkish or you love it, and I’m cool with that.

This album is about your relationship with your late father. How well did you know him?

He was my best mate in the whole world. I didn’t find this out until he died, but he was born in Samoa, he moved to New Zealand, then he came to Australia, and he met my mum in Sydney. My dad was part of the Polynesian migrant workers scheme, which was a very exploitative scheme to rebuild post-war New Zealand. They basically got very cheap or indentured labor from the Pacific Islands under the guise of a work permit or a worker’s visa, and they basically went and rebuilt New Zealand for cheap. So, my dad was part of that generation of Islanders who went. Moved to Australia, met my mum and then they got married, and he was the single most important, decent, flawed, brilliant fucking human being I’ve met in my life, and we were homies until the day he died. Best friends.

But you didn’t know much about his past until after he died?

Fuck all. Knew absolutely fuck all. I didn’t know his fucking family, didn’t know nothing. But that kind of made him cool to me, because my dad was just … he was a bloke, you know? He never let his issues with his past or his secrecy get in the way of him loving the shit out of my sister and me. He was absolutely outstanding, big kiss and a hug every day. He was not someone who withheld affection from his children. He was magnificent.

And after he passed, you started learning more about his background?

Yeah. I mean, I found out I had two brothers, who I’ve become really close with. They were born in New Zealand.

I got to meet my dad’s family and got to dive into what it is to be Samoan. I always had an affinity for indigenous identity. When I was still really involved with church when I was young, I used to look after a lot of the indigenous kids. I always felt kindredness, because obviously, being Pacific Islander, we’re a heavily colonized and exploited group, by the Spanish, the Portuguese, the French, the Germans, the English obviously.

So, yeah, I feel an affinity but I never explored it because I think my parents wanted to raise us in a working class, lower-middle class Australian dream. I didn’t really hang out with people who were Pacific Islander, because I think my dad wanted me to not be like them or whatever fucking internalized bullshit that that generation went through, because they had it hard, man. Both my parents had really, really difficult lives, comparative to me especially.

I guess the record is about the discovery of or the rebirth of this identification I now have with Polynesian, Melanesian, Micronesian people. Pacific people. Māori identity was always significant to my father. When he lived in New Zealand, he fell in love with the Māori concept of family and faith. He was really in love with it. My oldest brother, Matthew, was adopted by a Māori family, and so he considers himself Māori. He speaks te reo, which is the indigenous language there.

And so, having now just warped into my late 20s with all these new discoveries, I just wanted to capture them or hold them for posterity in order to give my dad something up there in the fucking stratosphere, wherever he is. It’s about that, I think. It’s also about allowing him to air his past through me in a way. I don’t know that he hasn’t consented to that, but it’s also my past and my history, so I think it’s about me maybe reclaiming that stuff for me, my sister, and my brothers.

One of the unreleased songs you shared with me is called “Brothers,” which is about these brothers you didn’t know you had. It’s this long — probably about seven minutes — piano ballad, and I think it’s one of your greatest songs.

In Māori they call it “whakapapa.” It’s a genealogy or a story that connects us with our parents, grandparents, and then our ancestors. And this song, “Brothers,” is kind of like that, for me at least. It gives a language to the pain and the difficulty my brothers felt, I hope, in some way. I can’t speak for them, fuck knows I can’t speak for fucking anyone, nor my father. But it gives a language to that, and I like that. I think maybe the thing that might keep me going in this business is the thought that I can do that. Not for any reason, it’s not going to change anyone’s fucking life, just because I want to make things I like, and I enjoy that.

I wrote it at 5:30 in the morning, you know, a bit drunk. I came up with that when I was in New Zealand when we were recording a bunch of these drummer guys from the Cook Islands. And my cousin was there, and everyone had left the room. I sat down on the piano and just really wanted to write a song about my brothers, who are just fucking great lads and absolute physical giants. Magnificent beastly specimens, and they’re just good lads who I love a lot. I’m a self-centered, fucking cocky motherfucker most of my life, but if there’s something I can at least try and give them it’s airtime.

You mentioned earlier that you had writer’s block.

Still got it.

Still got it?

Still got it, yeah. This is probably the third iteration of most of these songs. It started out being kind of a rock album and it was a bit snoozy, and then we flew in Peter Katis, my beloved fucking mentor. He tried to help us, and he was really helpful and he did a lot of work. But I was bored of it. The sampling thing was always kind of part of it. I knew I wanted to do it. but I didn’t know how. And then I just realized, what’s the shit that made me want to feel something? I just wanted to make electronic dance music for a bit, just to get my mind off, and then it kind of started working, working with that stuff.

There was an alchemy happening, and the five of us — just me, Tommo, Maxy, Donnie, and Jungy — we get on. It felt like we were a bunch of marauding pirates taking shit, stealing shit, just going on Splice and building songs out of shit we’d fucking find there. There was a thievery about it. It was fun as shit, and it’s been fun as shit. I took chords that I believed in and chords that I cared about when they were put together, and then we laid it down, and we just went H.A.M. on finding things to work around, and it brought a weird snifter of joy back to my career.

But then, I don’t have lyrics that are worthy of the work that the four other guys put on to these songs. That’s the challenge. They worked fucking hard on these tracks, and if I fuck them up with terrible lyrics then I’m a big old-fashioned penis.

You’re very critical of yourself. I’m sure you’ve written some good lyrics that you don’t think are good because you’re excessively self-critical.

I think the music is fantastic, don’t get me wrong. And this is the first time in my career I’ll ever go on the record as saying this, but I’m enjoying it, holy shit.

But the lyrics are my thing. They have to be because I’m a fucking controlling asshole when it comes to that side of it. I don’t think I’m being critical. Because people took a punt on Gang Of Youths. They took a fucking risk when we started out. They really did. There are people who’ve liked us for 10 fucking years. 10 fucking years! Shit. I don’t want to let them down. You put all this time and energy into giving a shit about this stupid band that has no right to exist, generally, on paper. I don’t want to be a dick and just be like, “Here’s some throwaway bullshit that I came up with because I desperately want the money.”

I know you’ve been hanging out with Adam Durtiz lately. Has he been an advisor for this album?

He’s just been there. I love him. He’s been a mentor because he’s actually someone I really respect. He was unfairly critically maligned for most of the ’90s by fucking annoying, bespectacled Northeastern liberal art graduate fucking types for no other reason than he was popular. He’s just someone who wrote fantastic songs, has an iconic voice, and is just a fucking good guy. I always loved Hard Candy because that album was absolutely fucking huge in Australia. I just love the guy, man, honestly.

I think Adam’s experience in the limelight and his grace gave me hope for a future that I could build maybe in this business. But I don’t ever want to be as popular as he was, because it sounds excruciating.

Is there anything specifically that Durtiz has told you that stands out as good advice?

“You can’t listen to them.”

Gang Of Youths is a Warner Music artist. Uproxx is an independent subsidiary of Warner Music Group.

It was way back in 2019 that Dua Lipa first announced plans to tour in support of her album Future Nostalgia, but naturally, she hasn’t been able to yet. Now, though, it’s finally happening: Lipa shared new dates for her tour, which kicks off in North America in February. She’ll be joined by Megan Thee Stallion, Caroline Polachek, and Lolo Zouaï.

Lipa excitedly shared the news on social media today, writing, “it’s finally happening!!!! We kick off the FUTURE NOSTALGIA TOUR in the US. I’m so excited to see you guys there and i’m bringing the ultimate girl gang with me @theestallion @carolineplz @lolozouai.”

Find the full list of tour dates below.

02/09/2022 — Miami, FL @ FTX Arena # !
02/11/2022 — Orlando, FL @ Amway Center # !
02/12/2022 — Atlanta, GA @ State Farm Arena # !
02/14/2022 — Nashville, TN @ Bridgestone Arena # !
02/16/2022 — Charlotte, NC @ Spectrum Center # !
02/18/2022 — Boston, MA @ TD Garden # !
02/19/2022 — Philadelphia, PA @ Wells Fargo Center # !
02/22/2022 — Montreal, QC @ Centre Bell # !
02/23/2022 — Toronto, ON @ Scotiabank Arena # !
02/25/2022 — Detroit, MI @ Little Caesars Arena # !
02/26/2022 — Columbus, OH @ Schottenstein Center # !
03/01/2022 — New York, NY @ Madison Square Garden # !
03/02/2022 — Washington, DC @ Capital One Arena # !
03/04/2022 — Newark, NJ @ Prudential Center # !
03/05/2022 — Buffalo, NY @ KeyBank Center # !
03/08/2022 — Minneapolis, MN @ Target Center # !
03/09/2022 — Chicago, IL @ United Center # !
03/12/2022 — Houston, TX @ Toyota Center # !
03/13/2022 — Dallas, TX @ American Airlines Center # !
03/15/2022 — Denver, CO @ Ball Arena * #
03/17/2022 — Tulsa, OK @ BOK Center * #
03/20/2022 — Phoenix, AZ @ Footprint Center * #
03/22/2022 — Los Angeles, CA @ The Forum # !
03/25/2022 — Las Vegas, NV @ T-Mobile Arena # !
03/27/2022 — San Jose, CA @ SAP Center # !
03/29/2022 — Portland, OR @ Moda Center # !
03/31/2022 — Seattle, WA @ Climate Pledge Arena # !
04/01/2022 — Vancouver, BC @ Rogers Arena # !

# with Caroline Polachek
! with Lolo Zouaï
* with Megan Thee Stallion

Some artists covered here are Warner Music artists. Uproxx is an independent subsidiary of Warner Music Group.

Curb Your Enthusiasm fans got a pretty nice treat this weekend as Larry David showed up to not one, but two public events where he was in prime Larry David form. (No, he didn’t yell at Alan Dershowitz this time. Sorry.) The Curb creator was spotted at New York Fashion Week where you could tell he was absolutely thrilled to be there by the way he covered his ears and visibly hated everything that was happening around him.

The clip of David giving zero f*cks went immediately viral on Sunday as people loved the pure Larry vibes in the video:

David was also present for Emma Raducana‘s win at Saturday’s US Open. Just like the Fashion Week video, David was seen covering his ears, but he also switched things up by making some very nonplussed Larry faces during the match.

Before going viral for covering his ears, David was coming off another Curb-like moment after being disinvited from Barack Obama’s 60th birthday party back in August. While that might seem like an awkward and embarrassing event, David revealed to the New York Times that he couldn’t have been more relieved because he was terrified that he’d have to perform for the celebration.

“I was pretty glum when I finally called back his assistant,” David told the Times. “When he told me I was eighty-sixed from the party, I was so relieved, I screamed, ‘Thank you! Thank you!’ He must have thought I was insane. Then I hung up the phone, poured myself a drink, and finished my crossword puzzle.”

A few days ago, it was revealed that Josh Homme’s two sons, 10-year-old Orrin and 5-year-old Wolf, had filed (through their mother and Homme’s ex-wife, Brody Dalle) for restraining orders against their father, alleging emotional and physical abuse. Multiple requests on that front were denied. Now, though, Homme’s daughter, 15-year-old Camille Homme, has filed for and been granted a restraining order against her father.

TMZ reports that Camille filed for the restraining order in Santa Monica and had a judge sign off on it. She requested the same protections be applied to her brothers, a request that was denied. Now, Homme is legally required to stay 100 yards away from her.

According to documents obtained by TMZ, Camille backs up the claims made by her brothers, that they were abused physically and emotionally, with Orrin accusing his father of “flicking his ears, hitting his head, poking his chest and throwing things at him — while calling him fat and allegedly making threats about murdering Brody’s boyfriend.”

Homme’s attorney offered a response to the restraining order, saying, “We believe that this DV, which was prepared by Brody, in her handwriting on the forms, was filed in retaliation for Josh obtaining a TRO against Brody for her physical abuse of Josh, among other things involving the children.”

The 2021 NFL season is in full swing after a pretty wild Week 1 that saw a number of underdogs spring upsets or, at the very least, outperform expectations.

The first week of the season is of particular interest for fantasy football players because after months of projections and analysis on who should get touches and opportunity, we learn the real roles some of these players will have this year. While we still have the Monday Night game to come, the list of top fantasy performers features a number of names you’d expect, like Christian McCaffrey, Amari Cooper, Tyreek Hill, Patrick Mahomes, and Kyler Murray, but also some surprising names that many leagues have just sitting there in available free agents.

Here we will look at the best Week 1 performers still out there in most leagues, where you might be able to scoop up a key contributor off the waiver wire.

Wide Receivers

Corey Davis, Jets (26.7 points, rostered in 73.6% of NFL.com leagues): Davis might be available in your league, depending on how down everyone was on the Jets. It’s not a surprise that Davis was Zach Wilson’s favorite target given how often he looked for the veteran in the preseason, but Week 1 confirmed that Davis is going to be the guy for Wilson this season and if you’re in one of the 26% of leagues where he’s available, it’s time to fix that.

Sterling Shepard, Giants (24.3 points, 69.6% rostered): Like Davis, Shepard is Daniel Jones’ safety blanket at the receiver position and, while the G-Men aren’t exactly a high-flying passing attack, Shepard gets ample targets and opportunity. He’s available in nearly a third of NFL.com leagues, and looks the part of a strong pickup option.

Christian Kirk, Cardinals (24 points, 2.6% rostered): Maybe, just maybe, this is the Christian Kirk breakout year some of us have been hoping for since he was at Texas A&M. He’s a dynamic slot guy and with all the attention DeAndre Hopkins commands, Kirk sees some favorable matchups over the middle as safeties tend to be peeking to the outside to make sure Nuk isn’t taking the top off the defense. He’s available in just about every league and there’s certainly potential that this was an aberration, but if you’re in need of receiver depth you could do worse.

Zach Pascal, Colts (20.3 points, 0.6% rostered): Indianapolis did not look great offensively, but Pascal seemed to have a strong connection with Carson Wentz and that’s all that matters in fantasy. If he’s going to be the guy Wentz is most comfortable finding, it doesn’t matter how good the offense is overall, he’s worth picking up and given he’s available in over 99 percent of leagues, he’s worth a flier.

Quarterbacks

Jameis Winston, Saints (29.62 points, 34% rostered): Jameis lit up the Packers on Sunday and for all the concern about whether he had the weapons around him, we were reminded of how he can absolutely pile up the stats. This shouldn’t be a surprise, but he’s available in two-thirds of NFL.com leagues and that will change very soon. If you can snag him, he’s probably an upgrade unless you have Kyler Murray or Patrick Mahomes, because, while five TDs a week probably isn’t likely, he can very much sustain some big time production.

Jared Goff, Lions (28.92 points, 2.8% rostered): You may say “well he piled up points in garbage time,” but let me counter that with, think about how often Detroit is going to find itself in garbage time. Detroit is dreadful as a football team, but they had some huge fantasy performers (we’ll see another later), led by Goff. It probably won’t be quite like this every week, but in a two-QB league, particularly, he’s got some value because there will be a lot of games where he’s just chucking it late when the other team doesn’t care much.

Tyrod Taylor, Texans (23.64 points, 0.5% rostered): Maybe the least believable performance in terms of sustainability, but I do want to shoutout Tyrod for a tremendous showing in Week 1. It comes with the giant asterisk that is “played the Jaguars” but he was, genuinely, very good against a very, very bad team. I wouldn’t be running to the free agent pool to pick him up, but maybe more illustrative is the point that if you can get literally anyone who plays the Jaguars this year for a one-week rental, you should consider it.

Running Backs

Jamaal Williams, Lions (25 points, 56.9% rostered): Speaking of Lions who piled up the stats, Detroit let everyone eat in the second half, including their second running back. D’Andre Swift also had a great fantasy day, but Williams got plenty of touches and opportunity as well to raise some eyebrows and, with him being available in almost half of the leagues, he’s going to be a popular pickup this week.

Eli Mitchell, 49ers (16.4 points, 0.3% rostered): When Raheem Mostert got hurt, Mitchell became the feature back and looked very good. The extent of Mostert’s injury will likely determine just how valuable a fantasy pickup Mitchell could be, but he’s probably earned playing time and touches no matter what — particularly if they feel the need to try and protect Mostert a bit.

Tight Ends

Dallas Goedert (14.2 points, 51.6% rostered): Zach Ertz is the bigger name in the Philly tight end room, but Goedert got the most targets and catches in Week 1. It’s always a bit scary to take a guy at that position who splits snaps with someone else, but Hurts was clearly looking his way a good bit and felt comfortable with him.

Juwan Johnson, Saitns (17.1 points, 0.3% rostered): Johnson feels like a big time boom/bust guy from week-to-week as his productivity is going to be reliant on whether he gets a score as Jameis’ preferred red zone target. He got two TDs against Green Bay, as the 6’4 big body is clearly an early favorite of Jameis in the scoring area, but there will probably be games where he’s a no-show. Still, he is available almost everywhere and, at the very least, could be a good bye week addition.

Dalton Schultz, Cowboys (10.5 points, 2.4% rostered): Taking anyone on the Cowboys seems like a fairly good idea, because they are going to throw it a lot and pile up some stats and points. Schultz had six catches in the Week 1 loss to Tampa and while he didn’t have any touchdowns, it wouldn’t be a surprise to see him find paydirt on a number of occasions this year. Dak will spread the love around in Dallas and Schultz being available in as many leagues as he is feels like an easy pickup for a team without one of the elite tight ends.

As promised by Jeremy Renner, the first trailer for the new Hawkeye series hits its mark on Monday morning. (He never misses.) The holiday-themed adventure will officially introduce Hailee Steinfeld to the Marvel Cinematic Universe as Kate Bishop, whose young hero may just take on the mantle of Hawkeye by the time the series is done.

Like all things Marvel, details about the series have been kept closely under wraps, but the trailer offers a surprising look at the story’s direction. While the creators have hinted that the show will address Hawkeye’s time as the deadly vigilante Ronin in Avengers: Endgame, the trailer reveals the sword-wielding anti-hero will pop up in a very interesting way. We also get a peek at Vera Farmiga’s character as Renner’s Clint Barton tries to keep Hailee Steinfeld’s overly-enthusiastic Kate Bishop alive for the holidays. Although, by the end of the trailer, she doesn’t seem to need much help.

Here’s the official synopsis:

Former Avenger Clint Barton has a seemingly simple mission: get back to his family for Christmas. Possible? Maybe with the help of Kate Bishop, a 22-year-old archer with dreams of becoming a Super Hero. The two are forced to work together when a presence from Barton’s past threatens to derail far more than the festive spirit.

Hawkeye premieres November 24, 2021 on Disney+.

It was a big night for The Kid Laroi yesterday, as he joined Justin Bieber to open the VMAs. Well, he’s parlaying that into a significant morning, as he has announced the dates for his 2022 world tour, his first global trek. The shows kick off in North America in late January before heading to Europe in March and Australia in May.

He also reflected on his VMAs experience, tweeting, “Just opened the VMA’s. What the f*ck is life. I love you family. Thank you for everything. NONE of this sh*t would be possible without you. I’m forever in debt to you all. I’m forever grateful for the opportunity to do what I love and support the people I love most around me. There’s no way I will ever be able to repay you.”

Check out the list of tour dates below.

01/29/2022 — Phoenix, AZ @ Arizona Federal Theatre
02/01/2022 — Los Angeles, CA @ The Novo
02/03/2022 — San Francisco, CA @ The Warfield
02/05/2022 — Seattle, WA @ Showbox SoDo
02/07/2022 — Salt Lake City, UT @ The Complex
02/08/2022 — Denver, CO @ The Mission Ballroom
02/10/2022 — Austin, TX @ Stubb’s Waller Creek Amphitheater
02/11/2022 — Houston, TX @ Bayou Music Center
02/12/2022 — Dallas, TX @ The Bomb Factory
02/15/2022 — Kansas City, MO @ Arvest Bank Theatre at The Midland
02/16/2022 — Minneapolis, MN @ Fillmore Minneapolis
02/17/2022 — Milwaukee, WI @ Eagles Ballroom
02/19/2022 — Chicago, IL @ Byline Bank Aragon Ballroom
02/21/2022 — Detroit, MI @ The Fillmore Detroit
02/23/2022 — Toronto, ON @ HISTORY
02/24/2022 — Montreal, QC @ MTELUS
02/27/2022 — New York, NY @ Manhattan Center Hammerstein Ballroom
03/01/2022 — Boston, MA @ House of Blues Boston
03/02/2022 — Philadelphia, PA @ The Fillmore Philadelphia
03/04/2022 — Columbus, OH @ EXPRESS LIVE! Indoors
03/05/2022 — Pittsburgh, PA @ Stage AE Indoors
03/06/2022 — Washington, D.C. @ Echostage
03/08/2022 — Miami, FL @ The Fillmore Miami Beach at Jackie Gleason Theater
03/09/2022 — Orlando, FL @ House of Blues Orlando
03/10/2022 — Atlanta, GA @ Coca-Cola Roxy
03/28/2022 — Copenhagen @ VEGA Main Hall
03/31/2022 — Oslo @ Sentrum Scene
04/02/2022 — Stockholm @ Fryshuset
04/04/2022 — Berlin @ Columbiahalle
04/05/2022 — Offenbach @ Stadthalle
04/06/2022 — Munich @ Muffathalle
04/08/2022 — Milan @ Fabrique
04/10/2022 — Zurich @ X-Tra
04/11/2022 — Cologne @ E-Werk
04/13/2022 — Esch-Sur-Alzette @ Rockhal Mainhall
04/14/2022 — Paris @ Elysee Montmartre
04/16/2022 — Amsterdam @ Melkweg Max
04/17/2022 — Tilburg @ Poppodium 013
04/18/2022 — Brussels @ La Madeleine
04/20/2022 — Manchester @ Victoria Warehouse
04/22/2022 — London @ O2 Academy Brixton
04/23/2022 — Birmingham @ O2 Academy
04/27/2022 — Glasgow @ Academy
04/28/2022 — Dublin @ Olympia
05/26/2022 — Sydney @ Qudos Bank Arena
05/30/2022 — Perth @ RAC Arena
06/01/2022 — Adelaide @ Entertainment Centre
06/03/2022 — Melbourne @ Rod Laver Arena
06/06/2022 — Brisbane @ Riverstage
06/10/2022 — Wellington @ TSB Arena
06/11/2022 — Auckland @ Spark Arena