Chicago Fire Season 12 Episode 6

Severide and Kidd

Where are you Severide?

Oh we’re lying. Okay.

HES HERE

I miss the cigar chats.

Nothing better happen to Severide in this vent.

Oh it was a fake explosion.

Brett and Casey

So you really just gonna get married in a fish store?!

Damn. Of course Casey walks in.

Y’all really just making out while she at work huh?

BRETT NO GO BACK I HABE A BAD FEELING

Told you I had a bad feeling.

Smart move Brett.

Not a fan of this bow tie Matt.

Oh yeah Amelia! Is she there?

Why is there only one Darden boy? Not enough in the budget?

Welp. That’s it for Brett.

Violet

Yes. Maid of Honor it up!

Why not just talk to Carver?

Oh this lady is a bitch. She has to go.

GOING TO GET HER PARTNER

Sam is so patient with her. I approve.

Gibson and Kylie

AWE COULD THEY BE CHOSEN SIBLINGS?! I’d be here for that.

IN CASE WHAT GIBSON?! YOU BETTER NOT BE GOING ANYWHERE!

But yes Kylie just tell them you want to transfer if there’s ever an open slot.

Miscellaneous

I keep forgetting to do this.

Rome Flynn is so fine.

LMAO Hermann has no shame.

Oooh it’s so pretty

JAVI AND OTIS

I wonder if the reason Rome Flynn is no longer on the show is due to a scheduling conflict. I listened to him on a podcast with the actor that plays Lennox the floater paramedic. He told him that he has a music career, ax, owns and manages a semi-professional basketball team

i thought about this too but based on the interview he gave to deadline, it didn’t sound like it could be a scheduling conflict. he said he was sad to see gibson go so it sounded like he wasn’t the expecting to be written out. and if rome had scheduling conflicts that made him leave, i feel like he’d have to know he’d be written out.

@pscentral event 17: vibrance

DANCING IN FILM: @rogerdeakinsdp birthday edition

A Life Less Ordinary (1997) dir. Danny Boyle, chgph. Adam Shankman Do The Right Thing (1989) dir. Spike Lee, chgph. Rosie Perez To Wong Foo, Thanks For Everything! Julie Newmar (1995) dir. Beeban Kidron, chgph. Kenny Ortega Clueless (1995) dir. Amy Heckerling, chgph. Mary Ann Kellogg Charlie's Angels (2000) dir. McG, chgph. Marguerite Derricks What's Love Got To Do With It (1993) dir. Brian Gibson, chgph. Michael Peters Barb Wire (1996) dir. David Hogan Mamma Mia! Here We Go Again (2018) dir. Ol Parker, chgph. Anthony Van Laast Legally Blonde (2001) dir. Robert Luketic, chgph. Toni Basil Flashdance (1983) dir. Adrian Lyne, chgph. Jeffrey Hornaday Gentlemen Prefer Blondes (1953) dir. Howard Hawks, chgph. Jack Cole 10 Things I Hate About You (1999) dir. Gil Junger, chgph. Marguerite Derricks Blade Runner 2049 (2017) dir. Denis Villeneuve, chgph. Viktória Jaross Billy Elliot (2000) dir. Stephen Daldry, chgph. Peter Darling Mamma Mia! (2008) dir. Phyllida Lloyd, chgph. Anthony Van Laast

Future's Passed

Apropos of a conversation I was having with my mate Bashford about his design visions, I dug up a couple of ramblings about futures past, from the WIRE, one from 2015 and one from 2016. More on this theme to follow....

👇🏻

Model 500

Digital Solutions

Metroplex LP / CD / Download

Can it be that a musician doing exactly the same as he was doing 30 years ago still sounds futuristic? Because for large sections of this album, Juan Atkins is making music that, bar a few aspects of finessing on the mixdown, could have come from the same sessions as 1985's Model 500 electro track “Night Drive (Thru Babylon)”. Though he has latterly shown he's still happy experimenting – take 2012's intensely psychedelic remix of Psychic Ills for RVNG Intl. – here, he is returning to the roots of his craft, much like his co-producer here Mike Banks, another Detroit originator who seems similarly satisfied with outsider status and immune to demands for aesthetic progression. And for large sections, it still sounds not like a capitulation but like visionary sonic fiction, and not in a kitschy way either. 

When, in 1990, the the film critic Philip French wrote that "nothing dates the past like its impressions of the future,” it was taken as a truism – and indeed by that year Atkins's early music was already starting to sound as archaic as Dr. Who in comparison to what was happening around it. I was in my mid-teens then, and to me electro as such meant the music of kids' TV soundbeds, or body-poppers in shopping arcades. With its robot voices and simple melodic hooks it sounded cute and silly, like a primitive prototype for the British rave music, the more serious-seeming and compositionally complex techno of Derrick May, or the more martial electro of Underground Resistance. The same applied when I discovered Kraftwerk and YMO soon after: in the white heat of the rave moment, they just sounded a bit rinky-dink, a bit novelty.

It took quite some time to start to understand the music's appeal. As I absorbed more of what came before and after those records – P-Funk and Throbbing Gristle, Drexciya and Wax Doctor – their place and their value became clearer. But I'd even go so far as to say that it wasn't until reading Kodwo Eshun's poetic analysis of “Night Drive” in More Brilliant than the Sun in 1998 and re-listening that I really felt the power of that track's modernity: the descriptions of “bachelormachines... rearing up on their hindquarters” and the voice as “a subliminal shadow that creeps along the skin, stalks you with its lightbreath” bringing it to life as a synaesthesic futureworld vision, not simply as a set of musical motifs or references. And once heard, that cyborg modernity couldn't be unheard: that track remains as startlingly capable of rewiring and rebooting the imagination now as ever. At that moment it became glaringly clear that the shock of the new doesn't actually have to be new. To use another popular statement, generally attributed to William Gibson, “the future's already here, it's just unevenly distributed”: and sometimes that future has to be winkled out from where it's folded into the past and present.

Since then, Detroit's 1980s electro has only become more contemporary as it is folded back in to the cultural fabric again and again from different directions: via the Glasgow hybrids spawned by the Club 69 and Rubadub hub via Rustie and the Numbers crew; via the ominpresence in 21st century culture of Daft Punk; via the electro diaspora of Miami bass, crunk, juke, jit, snap, baile funk, kuduro, hyphy, trap, club; via succeeding generations discovering the endless mysteries of Drexciya. Which leads us to a point where Atkins can deliver an album – his first in 16 years – that contains precisely no innovation, yet it can still sound like a distillation of modern elements from right across today's music, and like an elegant representation of a fast-changing technological society to boot.

Unlike Mind and Body, the last Model 500 album from 1999, which diverted into drum'n'bass and hip hop, everything from the classic Atkins sound is present and correct on every track: the robotic voices flatly intoning things about technology or consumer society (the Teutonic-sounding one on the title track being the most simultaneously hilarious and deathly serious example), the angelic vocoder voices in the background, the laser zaps and squacks as percussion, the syncopated 808 kickdrum subsonic foundation, the bulbous and shiny synth notes playing layered funk melodies in interplay with more discordant tone clusters. There are zippy tempos as on the opener “Control”, digital slow jams like “Electric Night” and “Encounter”, and one track that flicks between the two: “The Groove”, which provides the only obviously non-computerised sound of the album in the elegant prog rock guitar soloing in its half-speed sections. Rhythmically, even on the couple of tracks with a four-to-the-floor kick, it is always electro – which in fact means that it is always essentially funk.

It works not only because of its resonances in more recent musicians' work. It works because funk is still relevant to the proportions of the human body, to the speeds at which our limbs can move relative to one another. It works because a subsonic kickdrum still makes your innards tingle as it did whenever you first heard it. But it also works because that unevenly distributed future still needs visions like this for us to find it and parse it. It felt for a little while like the snowblindness of everything-available-all-at-once bitstorm information society meant that the future was on hold, and we were just immersed the infinite cultural past, and that the significance of different cultural movements was being eroded into a slew of undifferentiated nostalgia and marketing algorithm fodder. But as we barrel ever onward, precipitous inequalities and mind-frying volumes of information and all, it turns out that past visions of the future aren't so very dated at all. 

Gibson, McLuhan and the Detroit pioneers favourite Toffler can all look a bit silly, a bit naïve and jerry-rigged now – but they all can also be startlingly relevant, and you can still discover the shock of the new in them as in Atkins's music. In a time of cyborgs, drones, driverless cars and the infinite hall of mirrors of surveillance and social media, the future-shock thrill of taking a night drive through Babylon can be as bracing and ever, and so can the musical techniques for understanding what you see on that drive that were honed so long ago. While others might use vastly more complex computing power to try and musically interface with the present and future on a nano level, in fact that the simpler, clunkier, funkier patterns mapped out here might just have something even more profound to say about the fundamental relationships between us and our technological world, if you can feel and participate in their vision.

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Various Artists

Star Wars Headspace

Hollywood Records CD / Download

Space Dimension Controller

Orange Melamine

Ninja Tune 2LP / CD / Download

Bwana

Capsule’s Pride

LuckyMe LP / Download

“If we view it as a kind of sociology of the future, rather than as literature,” wrote Alvin Toffler in his 1970 book Future Shock, “science fiction has immense value as a mind-stretching force for the creation of the habit of anticipation. Our children should be studying [it], not because these writers can tell them about rocket ships and time machines but, more important, because they can lead young minds through an imaginative exploration of the jungle of political, social, psychological, and ethical issues that will confront these children as adults.” 

As is well documented – most vividly in Kodwo Eshun's conception of “sonic fiction” – music, and especially club music, can be science fiction too. Each new generation encounters the musical environment as technological-imaginative space outside the quotidian thanks to the visual/social/chemical/durational/sonic assemblage of the dancefloor and associated spaces – and that too can lead minds through exploration of past, present and possible futures. Of course there are waves and shifts in how styles and techniques facilitate this, but none completely replaces those before: past sonic fictions – past futures – retain functional value and are continually re-incorporated into the circulating library of usable forms. Always, too, from the Mothership to Metalheadz to Mumdance , there are explicit sci-fi signifiers woven into the sound and vision.

This is done in the most glaring possible way in the Rick Rubin-compiled Star Wars Headspace album. Sound design and dialogue from the Star Wars franchise are sampled liberally through 15 tracks that span a large chunk of what currently works for North American ravers, from the crassest martial trap-rap-derived beats through thumping house to subtler and more psychedelically dense grooves by Flying Lotus, Shlohmo and Bonobo. There's a conspicuous lack of the Ed Banger / dubstep-derived hyper-compressed aggro you'd have expected even two or three years ago: mainstream EDM is getting funkier and more genial. Combined with the thickly-layered chirps, whistles, animal grunts and the jaunty kitsch of the dialogue snippets, this creates a deliriously infantile playhouse of sound.

Star Wars was never about any future: it set “long ago”, and built on Saturday matinee westerns, Buck Rodgers and George Lucas's “Hero With a Thousand Faces”-derived belief in eternal narrative archetypes. And its sounds as much as its iconography have achieved a depth and breadth of penetration into the collective unconscious that goes way beyond modernism or retro: unless you have lived in extraordinary isolation for decades, noises like the chirrups of the R2-D2 droid which form motifs in this record are like Proustian keys to the fantastical. So the most fratboy-friendly rhythms here, from GTA and Baauer, take on a psychedelically transporting quality just as much as do the humid complexities of FlyLo; in this context Rustie's typically deranged “EWOK PUMPP” feels absolutely at home, even emblematic of the project. And among all this Rubin himself makes a deliciously naïve attempt at zippy techno in “NR-G7”, against all odds ending up sounding like Ozric Tentacles's rave offshoot Eat Static. It might be silly, but this album is much more than a cynical franchise tie-in: it's a explicit, deliberate opening up of 2016's most commercial rave music to mythic space.

Young Northern Irish producer Space Dimension Controller, as you'd probably guess from the name, is well versed in musical sci-fi, with Parliament, Drexciya, Jonzun Crew as standard reference points. His lo-fi Orange Melamine side-project, though, is about something far more esoteric. If the Star Wars album reaches to a collective mythic space shared by billions through decades, Orange Melamine opens up a tiny trapdoor to a cultish communal dreamworld around the turn of the millennium where internet and music culture first began to seriously create their own forms. It's the sound of third-generation copies of animes and UFO conspiracy VHS tapes (present here as sampled dialogue) arriving in the post after newsgroup discussions, of swapping obscurities by Team Doyobi, Req, Oval, MDK with strangers across the world on Audiogalaxy, of lo-res RealPlayer rips, of falling down rabbitholes on alt.culture messageboards. The braindance, illbient, outsider rap and indietronica evoked here was already humming with the broken rave nostalgia that would later be codified by Burial and hauntological thinking – as well as the shimmering dissipated data global collages of cloud rap, vaporwave and other waves of digital culture to come. Its reference points might be hyperspecific, but this too opens out into a wide imaginative world.

In the interzone between these two is Toronto techno producer Bwana's 43-minute love letter to Akira, the 1988 cyberpunk anime of psychic bikers and apocalyptic visions set in 2019 “Neo-Tokyo”. This movie sits in the midpoint between Orange Melamine's occulted cultural reference points and the near-universality of Star Wars: within club and rave culture, it's such a late-night staple that its sounds and rhythms – and the strange cadences of American actors dubbing their lines to Japanese speech rhythms – are woven into the very neurons of generations by repetition within the nightlife ritual. On this album which interpolates film dialogue and music, even the sound of the characters' names – Kay, Kaneda, Tetsuo, Akira – become incantations of, and ways into, the movie's fever-dream future. 

The music, which is realised in the highest definition, crisper and glossier even than the big-money EDM of the Star Warsalbum, has ripples of Rimini and Dusseldorf of the 1970s, Hollywood of the 1980s, London of the 2000s, Atlanta of the 2010s, but mostly it is just techno: not exactly ahistorical or from a non-place, but certainly cut loose from spatial-temporal specifics. Techno has never been about the future, it always pooled together futures past – P-Funk, Blade Runner, Toffler, Kraftwerk – to build a generalised future dreamtime into its sound: that Tofflerian “habit of anticipation” coded as rhythmic psychedelia. Techno as expressed on this album is no more retro or dated than watching Akira after a night out is rendered obsolete by Metal Gear Solid. We are now in Toffler's future – deep into the uncanny valley of laser surgery, virtual reality, gene editing, drones, machine learning, mind reading, microsecond-sensitive global trading, face transplants, our neighbouring planet being populated by robots, meme culture, Anonymous, Kanye West – and occasionally it's desirable, even essential, to revisit those old tools and “mind-stretching forces”.

NFL free agency a bonanza for running backs

The running back market during last year's free agency was so bad that the top backs in the league organized a Zoom meeting to discuss their options moving forward. A year later, the start of free agency was headlined by the running back carousel that took place on Monday. The top moves included Saquon Barkley (3-years, $37.75 million) to the Eagles, Josh Jacobs (four years, $48 million) to the Packers, D'Andre Swift (three years, $24 million) to the Bears, and Tony Pollard (three-year $24 million) to the Titans.

Las Vegas Raiders running back Josh Jacobs (8) is ranked as the No. 12 player on the NFL's Top 100 list going into the 2023 season. Photo by Melinda Meijer/News4usonline Austin Ekeler (two years, $11.43 million) leaves the Los Angeles Chargers to go to play for the Washington Commanders, Devin Singletary (three years, $16.5 million), Zack Moss (two years, $8 million), Antonio Gibson (three years, $11.25 million), and Gus Edwards (two years, $6.5 million) to the Chargers, are also on the move. It is finally a win for the running backs, as all nine players received multi-year deals, a far cry from what happened in 2023. Last year, the top three free agent backs, Barkley, Jacobs, and Pollard, were all slapped with the franchise tag. The decision by NFL teams led to training camp holdouts from Barkley, Jacobs, and Jonathan Taylor, who was set to become a free agent after the season. "I think if I wasn't able to get tagged, the negotiating process would have gone a lot differently. I would have a lot more leverage," Barkley said last offseason. "There are a lot of running backs out here that are key pivotal points to teams having success in this league. The way that we are getting devalued, I don't think it's fair at all, but life is not fair." No ball-carrier received a deal worth more than $6.25 million per year in 2023, and that number was set by Miles Sanders, who was coming off a 1,269-yard, 11-touchdown season. "There are average players in the NFL, but then there are outliers. Those outliers are the guys that are setting the new market and pushing the boundaries, and the reason they are doing that is because they are not the average. So, when we have these narratives coming out where they are comparing the outliers to the average, it really hurts us, and that is not fair to those guys," said Ekeler during last year's training camp. Already on the first day teams could discuss new contracts with players, four running backs have agreed to deals worth more than the $6.25 million threshold. Derrick Henry, Aaron Jones, and Joe Mixon could also surpass that once they find their new teams.

Philadelphia Eagles running back D'Andre Swift (0) rushed for 1,049 yards during the 2023 NFL regular season. Photo credit: Mark Hammond/News4usonline None of this would have been possible if teams had decided to abuse the franchise tag again. It is impossible to reset the market and determine the value of the top-tier players at the position when they are continuously tagged. It is likely that Barkley and Jacobs had verbal agreements in place that the organizations would allow them to become free agents if they returned from their holdouts last season. Jones and Mixon were both released in the wake of all the moves front offices made to acquire new talent at the tailback position. For a moment, it looked as if Green Bay would have arguably the best tandem in the league with the announcement they would be signing Josh Jacobs. At first, it was reported the Packers were working to restructure Jones' contract before the team ultimately waived him. "It is certainly one of the hardest decisions we've had to make in my time with the Packers and not one taken lightly. He has not only had a significant impact on the field and in the locker room, but he is one of the most beloved players in the community," said Green Bay general manager Brian Gutekunst on the decision to release the star running back.

After playing four seasons with the Washington Commanders, running back Antonio Gibson has signed a three-year deal with the New England Patriots. Photo credit: Mark Hammond/News4usonline One is left to wonder whether or not Jones saw the money being handed out to his counterparts and decided he could make more on the open market. He was willing to take a slight pay cut to stay with the team last year when the market was dry, but now that their value has been reestablished, it made sense for him to see what he is worth. The big loser during the shuffle is Ekeler. He was responsible for organizing the Zoom meeting last year. The former Charger saw his worth drastically depreciate after posting the lowest yards per attempt (3.5) of his career and recording his least amount of receptions (51) since 2018. In his previous season with the Los Angeles, he was ninth in Offensive Player of the Year Voting and was the NFL leader in touchdowns. Ekeler would have been one of the most sought-after backs and would have received much more than $5.7 million a year had his production not dropped off. Top Image Caption: Los Angeles Chargers running back Austin Ekeler tries to escape a Baltimore Ravens defender during a Sunday Night Football game on Nov. 26, 2023. Photo credit: Melinda Meijer/News4usonline Read the full article

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12x08 was honestly a good episode, looking past the fact that the Robinson storyline is another reused storyline and the fact that it was gibsons last episode, it was really good. So i thought i’d list things i really liked and some things i didn’t like about the episode.

Things I liked:

1. severide interacted with someone other then stella and boden. people who know me know i hate firecop so much is because it’s so isolating for kelly. so seeing kelly interact with violet was so nice. i loved how he reassured her that they all had her back. give me more of their friendship please.

2. the carver and stella academy backstory. i’ve only been waiting for this since carvers first episode. it’s crazy to me that carver was introduced as basically a rival of stella’s from the academy because they hated each other but we never got one story of their academy days until now. but please keep talking about their academy days. i love hearing about it.

3. violet and stella friendship. please more of this. stella teasing violet about carver was so funny. show me their friendship off shift too!

3. vulnerabilities from the character, gibson especially. i’ve always hated how everyone acts like everything is ok all the time. i absolutely loved seeing a vulnerable side to gibson because it was refreshing to see something different. that someone at 51 wasn’t ok like they all seemed to be. i loved that carver was able to connect with gibson by talking about how he had his own demons and gibson wasn’t the only one struggling with something. the scene of stella finding gibson in the shower really broke my heart. i also loved seeing stella vulnerable as a leader because when was the last time we a) saw a leader vulnerable and b) stella vulnerable in that way?

4. kelly playing husband of the year by comforting stella and bringing up his drug addiction!!! kelly talking about his drug addiction in 2024? who would’ve thought that was possible.

5. violet being a badass at that biker bar

Things i didn’t like:

1. repeated storyline with someone attacking 51

2. ritter was missing (please give him a storyline)

3. it was gibsons last episode (i could write an essay about why it was dumb to get rid of him)

4. we didn’t get a scene of the entire firehouse in the common room (when was the last time we saw this?)

Movie Review | Lethal Weapon 2 (Donner, 1989)

Spoilers in the last paragraph.

Decided to give this another go after rewatching the original last night. I do think is starts to settle into buddy cop action comedy cliches, but it retains some of the verve of the original and doesn’t quite play like the action sitcoms that the series would later turn into. In large part that’s because Richard Donner keeps things moving fast enough so that the stupidity or broadness of some of what transpires goes down a lot easier. Putting aside the comedic elements, which for the record continue to get big laughs out of me, it takes at least a third of the movie for them to realize that the accent on the Krugerrand smugglers is South African. So perhaps our heroes are not LAPD’s best and brightest. And the contrivances to keep Leo Getz hanging around are a bit obvious, although Joe Pesci brings an amusing puppy dog energy in the scenes he actually keeps his mouth shut.

And on that note, it helps that you’ve got some great and reprehensible villains in Apartheid South Africa. (Actually a South African diplomat using diplomatic cover to funnel drugs and/or Krugerrands, but close enough.) It’s interesting that unlike a lot of movies flirting with geopolitical elements, this one doesn’t try to distinguish the villains from the regime or compartmentalize them as bad actors. In an alternate universe, there’s a junkier Cannon Films version of this where Murtaugh and Riggs fly down to Cape Town to blow away P.W. Botha. As it is, they have to settle for some really juicy bad guys played by Joss Ackland and Derrick O’Connor. Anyway, Riggs’ indignation around the subject is a little jarring in light of… you know… so this might be the only time Mel Gibson has ever had good politics.

It probably says something that the parts I remembered best about the original were the more spectacular moments, like the jumper scene, the desert ambush, the foot chase and the final fight scene, while the ones I remembered best from this one were “They fuck you at the drive-thru!”, “Diplomatic immunity!”, Murtaugh making a scene at the embassy, and characters saying “Krugerrands” a billion times. (Take a shot with each utterance, die of alcohol poisoning.) Those moments are all great, but I should note that the action played a lot better this time around. I love how much of it is set at night and complemented by the steely blue lighting. And this one has, at least on a technical level, a much better climactic fight scene, that almost feels like shadow play as you see the fighters’ silhouettes from a distance. I also like that Murtaugh gets some of the juicier moments of violence. Obviously the great final kill, but also fucking up some bad guys with a nail gun. And any movie with cool helicopter shit is automatically a good movie, and this has a great nighttime helicopter attack.

SPOILERS: All that being said, I found the movie’s attempt to create personal stakes a little off putting. The reveal that the villains were responsible for the death of Riggs’ wife feels like an afterthought, and Riggs seems more bothered by their killing of a character he just met than of his wife. And there’s the fact that the killing of all the other members of their unit has little gravitas given how little time we spend with any of them. The bad guys are easy enough to hate already, I don’t think these additional gestures really help the movie.

Love to Kimberly, Yousef, Maxwell, Gabe, David, Gabby, Christy, Dontay, Jameo, Bre (work), Breloo, Lenora, Selma, Bashaar, Shareef, Emma, Tesia, Kenika, Juniper, Ursa, Sara, Andy, Kay, Tim, Desereé, Marcus, 4D, Process, DJ Black, Trenton, Jaymal, Yolanda, Ameir, Cody, Morga, Tyler, Courtney, Morgan, Clay, Justin, Kelsie, Benn, Creek, Vince, Ismael, Maddie, Alana, Willie, Greg, Bobby Trill, Gibson, Ian, Gretchen, James, Bradford, Elena, Derrick, Hannah, Mel, Jacob, Luke, Kiara, Eve, Jordan, osbVoren, Lal, Nisah, Diego, Logan, Barry, Michael, Elvis, Pita, Luna, Chief, Fish, Elijah, Harrison, Tryston, Kendrick, Iosif, Quinn, Julianna, Emma (dead), Kanye, myself.

Support Derrick Gibson !!!!!!!

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Cooper Kupp 3. Ja'Marr Chase 4. Tyreek Hill 5. Davante Adams 6. Deebo Samuel 7. Stefon Diggs 8. Terry McLaurin 9. Mike Evans CeeDee Lamb Brown Keenan Allen Michael Pittman Courtland Sutton Mike Williams DK Metcalf DJ Moore Amari Cooper Diontae Johnson Tee Higgins Brandin Cooks JuJu Smith-Schuster Michael Thomas Chris Godwin Allen Robinson Amon-Ra St. Jerry Jeudy Chase Claypool Brandon Aiyuk Gabriel Davis Adam Thielen Mecole Hardman Jaylen Waddle DeAndre Hopkins Kenny Golladay Darnell Mooney DeVonta Smith Treylon Burks Allen Lazard Rashod Bateman Marquise Brown Jarvis Landry Christian Kirk Drake London Tyler Lockett Elijah Moore Michael Gallup Chris Olave Robert Woods Hunter Renfrow Christian Watson DeVante Parker Tyler Boyd Skyy Moore DJ Chark Corey Davis Alec Pierce Marvin Jones Marquez Valdes-Scantling Garrett Wilson Green Terrace Marshall Randall Cobb Jameson Williams Robbie Anderson Jamison Crowder Jakobi Meyers Jahan Dotson David Bell Kadarius Toney Nico Collins Russell Gage Sammy Watkins Van Jefferson Byron Pringle Bryan Edwards Zay Jones Odell Beckham Jr. Parris Campbell Jalen Tolbert Kendrick Bourne Rondale Moore Joshua Palmer Devon Allen Sterling Shepard Donovan Peoples-Jones Julio Jones Curtis Samuel John Metchie George Pickens Marquez Callaway Cedrick Wilson Darius Slayton Nelson Agholor James Washington Romeo Doubs Tyquan Thornton Josh Reynolds Tre'Quan Smith. Travis Kelce 2. Mark Andrews 3. Kyle Pitts 4. George Kittle 5. Darren Waller 6. Zack Ertz 7. Dallas Goedert 8. Dalton Schultz 9. Hunter Henry Hockenson Pat Freiermuth Mike Gesicki Dawson Knox Gerald Everett Albert Okwuegbunam Noah Fant Logan Thomas Cole Kmet Austin Hooper David Njoku Robert Tonyan Tyler Higbee Evan Engram Cameron Brate Mo Alie-Cox Uzomah Jelani Woods Irv Smith Hayden Hurst Adam Trautman Howard Jonnu Smith Harrison Bryant Ricky Seals-Jones Donald Parham Trey McBride Will Dissly Dan Arnold Tommy Tremble Tyler Conklin Brevin Jordan Foster Moreau Blake Bell Isaiah Likely Drew Sample John Bates Greg Dulcich. Justin Tucker 2. Daniel Carlson 3. Matt Gay 4. Harrison Butker 5. Tyler Bass 6. Evan McPherson 7. Younghoe Koo 8. Ryan Succop 9. Matt Prater Brandon McManus Rodrigo Blankenship Jason Sanders Dustin Hopkins Greg Zuerlein Robbie Gould Jake Elliott. Buffalo Bills 2. San Francisco 49ers 3. Indianapolis Colts 4. New England Patriots 5. Tampa Bay Buccaneers 6. Los Angeles Rams 7. Denver Broncos 8. New Orleans Saints 9. Miami Dolphins Kansas City Chiefs Los Angeles Chargers Dallas Cowboys Cleveland Browns Green Bay Packers Pittsburgh Steelers Baltimore Ravens. Fantasy Football.