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With the MLB Division Series in full swing, there are four teams in the American League and four teams in the National League looking to advanced to the Championship Series in their respective leagues.

Who’s Playing During MLB Division Series?

There are four series (best-of-five games) scheduled. All of these post-season games broadcast across Fox, FS1, TBS and truTV, and stream on Max.

Wednesday, Oct. 9:

Thursday, Oct. 10:

Where to Watch MLB Division Series for Free

For cord-cutters, there are a few ways to watch MLB Division Series on Fox, FS1, TBS and truTV if you don’t have cable. DirecTV Stream has a five-day free trial, while other streaming services, such as Hulu + Live TV, also offers a free trial, so you can watch games for free.

Keep reading for more details on how to watch MLB Division Series with DirecTV Stream, Hulu + Live TV and Fubo.

How to Watch MLB Division Series with DirecTV Stream

A subscription to DirecTV Stream — which comes with Fox, FS1, TBS and truTV for MLB Division Series baseball — gets you access to live TV, local and cable channels starting at $69.99 per month. The service even offers a five-day free trial to watch for free if you sign up now.

You can watch local networks such as NBC, CBS and PBS, while you can also watch many cable networks, including ABC, ESPN, Lifetime, FX, AMC, A&E, Bravo, BET, MTV, Paramount Network, Cartoon Network, VH1, Fuse, CNN, Food Network, CNBC and many others.

How to Watch MLB Division Series with Hulu + Live TV

The MLB Division Series on Fox, FS1, TBS and truTV is watchable with Hulu + Live TV too. Prices for the cable alternative start at $76.99 per month, while each plan comes with Hulu, Disney+ and ESPN+ at no additional cost.

Hulu + Live TV might be best for those who want all of these streaming services together in one bundle. It also features many other networks, including CBS, ABC, ESPN, Hallmark Channel, BET, CMT, Disney Channel, NBC, Fox Sports and more.

How to Watch MLB Division Series With Fubo

To watch MLB Division Series on Fox and FS1, Fubo starts at $59.99 per month (the streamer’s current deal) with nearly 200 channels — including local and cable — that are streamable on smart TVs, smartphones, tablets and on web browsers. And with a seven-day free trial, you can watch for free, if you act fast and sign up now. Fubo doesn’t include TBS and truTV with any of their plans.

The service even gets you live access to local broadcast networks including NBC, Fox and CBS, while it also has dozens of cable networks, such as ABC, ESPN, Bravo, CMT, ID, TV Land, VH1, TLC, E!, MTV, FX, Ion, OWN, Paramount Network and much more.

How to Watch MLB Division Series With Max

During the MLB Division Series, games that are broadcasting on TBS and truTV are also available to steam on Max via the B/R Sports hub. The services starts at $9.99 per month and features hit movies and TV shows, including Barbie, Furiosa: A Mad Max Saga, Dune: Part II, Civil War and more. It also features pro sports from leagues such as NBA, NHL, NCAA March Madness and others. Learn more about Max here.

MLB Division Series broadcast across Fox, FS1, TBS and truTV, while these post-season games are streamable with DirecTV Stream and Max.

Want more? For more product recommendations, check out our roundups of the best Xbox deals, studio headphones and Nintendo Switch accessories.

I’m not crying, you’re crying. In the case of Celine Dion and Kelly Clarkson, both things can be true. On Tuesday (Oct. 8) Dion posted a tear-stained video of her reaction to Clarkson’s moving Kellyoke cover of Celine’s iconic 1997 Titanic ballad “My Heart Will Go On” on the singer’s daytime talk show last month.

“I just saw you singing ‘My Heart Will Go On,’ and I’m crying again,” the Canadian star said in the clip where she was seen wiping away tears. “You were absolutely incredible, fantastic. I loved it so much. I hope we can see each other in person soon.”

“So, I got this video sent to me and and it all flooded… I was working with Jason [Halbert] my musical director here at the show… we were actually doing stuff for Kellyokes, and all of a sudden I get this thing from my manager and I cried,” Clarkson said while describing her reaction to Dion’s high praise in a two-minute video posted Tuesday night from what looks like her dressing room.

“Because it was Celine Dion saying that she saw my performance and she knows my name,” Clarkson, 42, explained with a beaming cat-swallowed-the-canary smile while casually swinging her arms and throwing an aw shucks look up at the ceiling. “So that’s cool.” Clarkson then rolled the Dion video and said that it blew her away, adding that there was one thing in particular that made the compliment extra special.

“Twenty-two years ago on American Idol I got laryngitis,” the OG Idol winner recalled, noting that everyone got sick at the time and despite her vocal struggles she had to take the stage to belt Dion’s equally challenging 2002 ballad “I Surrender All.”

“I bawled that night because I’m just mortified that Celine Dion is going to see this performance,” Clarkson, who was 19 at the time, said of her impressive take on the song, delivered while wearing an asymmetrical, one-strap black dress and bejeweled choker. “I could have cared less about votes at that point. I just didn’t want to see Celine Dion see or hear this because it was so bad, because I was so sick.”

Cut to 22 years later, and Clarkson said she finally got the Celine performance she’d always wanted. “And I felt like I sang it all right, you know?” she said. “I got to honor someone who is such a hero to me, vocally, like she is one of my main inspirations of why I’m a singer.” Clarkson said she’ll probably watch the video over-and-over, while also not-so-low-key, inviting Dion to come visit her on her show. “Like, I can quit now in life,” she gushed about checking off the ultimate career bucket list item.

Along with the video posted on X, Clarkson wrote, “@celinedion you have no idea how much you even noticing my existence means to me! Thank you so much for being such an amazing example of true passion and being one of the greatest vocalists of all time that I am still, to this day, inspired by [heart emoji].”

Check out Clarkson’s video below.

Attorneys for Sean “Diddy” Combs filed their opening salvo in an appeal of a judge’s ruling denying him bail, arguing the “sensationalism” of the case led a judge to rule based on “purely speculative” concerns about witness intimation.

In an opening brief filed late Tuesday, the rapper’s lawyers urge the U.S. Court of Appeal for the Second Circuit to grant him bail – their third attempt to secure his release from a Brooklyn jail while he awaits trial on racketeering and sex trafficking charges.

Combs’ attorneys argue that a lower judge had relied on “exaggerated rhetoric” and “speculation” when it ruled that Combs posed a flight risk and might threaten witnesses.

“The sensationalism surrounding his arrest has distorted the bail analysis,” writes Alexandra A.E. Shapiro and Jason A. Driscoll. “Mr. Combs is presumed innocent … and presented a bail package that would plainly stop him from posing a danger to anyone or contacting any witnesses.”

Combs, also known as Puff Daddy and P. Diddy, was once one of the most powerful men in the music industry. But last month, he was indicted by federal prosecutors over accusations of sex trafficking, forced labor, kidnapping, arson and bribery. If convicted on all the charges, he potentially faces a sentence of life in prison.

Prosecutors allege that Combs ran a sprawling criminal operation aimed at satisfying his need for “sexual gratification.” The charges detailed “freak offs” in which Combs and others would allegedly ply victims with drugs and then coerce them into having sex with male sex workers, as well as alleged acts of violence and intimidation to keep victims silent.

“For decades, Sean Combs … abused, threatened and coerced women and others around him to fulfill his sexual desires, protect his reputation and conceal his conduct,” prosecutors wrote in the indictment. “To do so, Combs relied on the employees, resources and the influence of his multi-faceted business empire that he led and controlled.”

A day after the indictment was unsealed, Judge Andrew L. Carter denied the rapper bail. Combs’ legal team offered to pay a $50 million bond and submit to strict monitoring to allow him to reside under house arrest at his Miami mansion.

But Carter (who has since been replaced by another judge) ruled instead that until trial Combs must remain at the Metropolitan Detention Center — a federal correctional facility long criticized for dysfunction and dangerous conditions. He was swayed by arguments from prosecutors that, if released, Combs would likely use his considerable wealth and power to obstruct the government’s case by pressuring witnesses.

In Tuesday’s brief, Combs’ attorneys argue that there was little hard evidence to support that conclusion. They say the government’s warnings had been based on “untested allegations” of contact with witnesses involved in the civil lawsuits against him, as well as his public denial of some of those claims.

“If denying accusations by civil plaintiffs could justify pre-trial detention, the liberty protections of the Bail Reform Act and the Constitution—not to mention the First Amendment—would be meaningless,” his lawyers write.

Read the entire brief here:

It was July 8, 2023, and the locals at the Oregon Country Fair were twirling.

Leah Chisholm had grown up attending the earthy music and arts festival with her parents and brother. Now she was onstage there, performing. The globally popular DJ-producer, better known as LP Giobbi, had recently performed at Coachella and would soon jet to Belgium to play dance megafestival Tomorrowland, but DJ’ing the fair — “my favorite place on the planet,” she says — meant more to her.

LP’s mother, father and other family and friends were in the front row, vibing to her blend of remixed Grateful Dead songs and house music, including tracks from the debut album she had released two months prior. The fair had hosted acts like the Dead, Bruce Hornsby and The Black Crowes in its more than 50-year history — but LP Giobbi was the first electronic artist to headline. This homecoming show could have been a peak moment. Instead, it was a wakeup call.

“I just felt so exhausted, and that was such a sad thing for me,” she says. “It was like, ‘I got it. This is not how I want to live my life.’ ”

Just from scrolling her Instagram, it had been evident that since rising to electronic world prominence circa 2021, LP had been Doing a Lot. She was hopping across time zones for gigs at clubs, festivals and afterparties. She released her album Light Places in May 2023 and launched her label, Yes Yes Yes (named after the unofficial motto of the Oregon Country Fair), the following September. She founded the organization Femme House, which works to create opportunities for women and gender-expansive people, people of color and LGBTQ+ creatives in music through education, scholarships and more. She was (and still is) the global music director for W Hotels. Raised by Deadhead parents (Mike and Gayle, who’ve been to more than 100 shows since first seeing the band in 1973), LP launched her Dead House party series — where she puts her dance music spin on the jam band’s songs, including at official afterparties for acts like Dead & Company — and officially remixed Jerry Garcia’s 1972 debut solo album, Garcia, in January 2023.

She was, as they say, killing it. And she was fried.

“I had put so much pressure on myself,” LP says today on a sun-drenched September afternoon in Laguna Beach, Calif. She has been working on music here in a friend’s backyard studio, where we’re barefoot and curled up on the couch drinking purple smoothies. “It was like, ‘This is an opportunity most people never get. You have to give your all into everything you do.’ That took over as me being a workaholic.” Amid the “extreme highs and extreme lows” of what effectively became a never-ending workday, it was hard to really show up for her family, friends, fiancé or “for the music, really.”

It wasn’t unusual for LP’s tour manager to catch her crying on flights while she listened to the Dead’s wistful “Brokedown Palace” on her headphones, feeling both closer to and farther away from her family as Garcia sang, “Mama, mama, many worlds I’ve come/Since I first left home.” “He’d be like, ‘You OK?’ And I’d be like, ‘I’m just trying to process!’ ” she says, breaking into her generous and terrifically oversize laugh.

Figuring out how to grow and enjoy her success while also staying connected to where she came from is why her new album is called Dotr. Out Oct. 18 on Ninja Tune, the project is named for how she signed notes to her parents when she was a kid and didn’t yet know how to spell “daughter.” She tears up several times while talking about them. “They’re everything to me,” she says.

While LP produced Light Places amid the swirl of a rising career, she made her new album as the road “kind of swallowed me whole” during a period of tremendous grief. Three of the album’s 17 tracks are named for significant women in LP’s life who died while she was making it. Her fiancé’s mother, Patricia Lynn, whom LP knew for more than a decade, died in March 2023. Her piano teacher since childhood, Carolyn Horn, died the next month. Then Susan Milleman, a professional singer and close friend of LP’s mother, died the month after.

“I was in the studio trying to finish songs,” she says, “and I was just like, ‘I don’t give a fuck about anything right now.’ ”

But she worked through the pain. Amid house tracks featuring artists like Brittany Howard and Portugal. The Man, there’s Lynn wishing her a happy birthday in a sampled voice message. A sample of Milleman singing centers a track named for her, and “Carolyn” opens with a stunning piano solo that LP recorded when she realized Alzheimer’s was starting to noticeably affect her teacher.

While making the music, a light bulb went off in LP’s head about her 20-hour workdays and infinite to-do lists. “Here I am promoting women and Femme House, and I was not tapped into any of my feminine energy,” she says. “It was all very like, masculine productivity ‘do do do’ energy that just got out of balance. With all these powerful women who passed away who I was honoring, it was just like, ‘Wake up.’ ”

Through “a lot” of therapy, she made adjustments. While her tour schedule and general output are the same, now “I’m just doing it differently,” she says. “I’m not sending as many emails, and I’m not making as many DJ edits.” Plus, the hard work has paid off. “I’m waking up to the idea that I don’t have to prep seven hours for every gig because I’ve become a pretty good DJ,” she says. “I can go to dinner with the promoter and friends and family instead of working in my hotel room until the second I step onstage. My life is still pretty unbalanced, but in that unbalance, I’m finding balance.”

For her aptly titled Way Back Home Tour, she’ll play 21 shows across the United States from October through December. Nearly all of them will be performed in the round, which makes “a really big difference” in how she connects with the audience. The tour will take her through standard U.S. dance hubs like Los Angeles, Chicago and Brooklyn, but also places like Asheville, N.C., and her native Eugene, Ore.

These B-markets have become familiar terrain for LP through her Dead House sets, where she plays Dead tunes crossed with electronic music. These typically more rural, hippie-friendly cities, and the audiences who see her play in them, are more her speed. “Those are my people,” she says.

She means this more literally than most in the sprawling Dead tribe. Mike and Gayle raised her in Dead culture even before she was born, attending the Eugene show of the band’s legendary July 1987 tour with Bob Dylan, when Gayle was eight months pregnant with LP. “I made it all the way to the front of the stage because the crowd just opened a path to let me through, I was so huge,” recalls Gayle, who adds that her unborn daughter was “particularly active in the womb during the ‘Drums/Space’ segment” of the show. Deadhead culture later helped LP — who found her stage wardrobe of vintage Dead T-shirts stashed in the crawl space of her parents’ house — orient her career around the sense of community that is the core of not just the jam world, but the dance world, too. While her parents see themselves in the fans coming together to lose themselves on dancefloors at their daughter’s shows, they’ve also worked to understand her career — Gayle reading up on foundational house music figure Frankie Knuckles, even going to see where he used to play in Chicago. (Now 37, LP listened mostly to jam bands and jazz until her boyfriend, and now fiancé, introduced her to electronic music when they got together 12 years ago.)

But while LP fits elegantly into the long-standing crossover between jam and electronic music, these facets of her career are still different enough to warrant separate teams. WME represents her for her global DJ career, getting her gigs in Ibiza, across Europe and beyond, while she works with Ben Baruch of 11E1even Group — the management firm that also represents jam acts like Goose, The Disco Biscuits and Dead & Company bassist Oteil Burbridge — for Dead House. With Baruch, she has taken her Dead concept to the source, playing Dead & Company’s Playing in the Sand Festival as well as afterparties during its 2023 summer tour and following one of its 2024 shows at Sphere in Las Vegas.

It’s naturally all been a mind-bending thrill for her parents, whom LP introduced to the Dead’s Bob Weir at a show. Gayle thanked Weir “for all the years of joy you’ve given my family.” Weir looked her in the eye and put his hand on his heart. “The pleasure,” he responded, “is all mine.”

“There are moments where I can be like, ‘OK, I’m aware of how cool this is,’ ” LP says, “and that was one of them.”

Another making-it moment came in 2023, when Taylor Swift asked LP to remix her song “Cruel Summer.” When Swift tagged her in an Instagram post about the edit, LP gained 1,000 new followers in 10 minutes. But she was also concerned the project might affect how she was trying to position herself in the underground dance realm. “I’ve been working hard to get the respect of the CircoLocos of the world,” she says, referencing the revered techno party based at Ibiza club DC10. The day the Swift remix came out, she got her first CircoLoco offer — and the team there complimented her on the remix.

“It legitimized me to people who have no idea what dance music is,” she says. “But what I didn’t see coming is that the cool kids were also like, ‘Wow, congrats!’ ”

Her grinding has also given her leverage and a platform. “It’s just so cool that the more I do or the bigger I get, I can use this power [for] the thing I care about most, which is empowering women in our industry.” She initially thought expanding Femme House, which she co-founded with artist management consultant Lauren A. Spalding in 2019, would be an uphill battle; instead, power players have been eager to get involved.

Spotify, Insomniac Events and New York promoter Jake Resnicow have been key Femme House supporters, with Insomniac working with LP on, among other projects, booking rising Femme House artists as openers for the promoter’s shows at the 2024 edition of the Amsterdam dance industry gathering ADE.

“There are so many people in positions of power who have come to me and been like, ‘How can we make our lineups more diverse? How can we release more diverse artists?’ What I’m learning is that people eat what they’re fed, and the industry is finally like, ‘Do we have a balanced meal on our plate?’ ”

Meanwhile, LP and her fiancé recently finished building a house in their home base of Austin. The space includes a studio and room to expand — because the album is called Dotr not only to honor her parents “but also because I want to call in my own daughter.”

With family so close to her heart, it makes sense that she wants to start one of her own. When it happens, she foresees “a time when I have to slow down even more.” But it’s OK, because as she has recently figured out, it’s less about doing the most than about being present for life as it happens.

“I’m not the best producer, the best piano player or the best DJ,” she says. “What my gift actually is is feeling good and whole in my body, finding my joy and being a reflection of that joy for other people so they can see it in themselves.”

When Hurricane Helene flooded the streets of Asheville, N.C., it forced the postponement of a Sept. 30 Gangstagrass show at The Orange Peel.

As a result, the band — a genre-busting hybrid of bluegrass and hip-hop — revised its itinerary and spent the previous night in Atlanta, creating a dinner menu of grilled salmon, beef, asparagus, mushrooms and sweet potatoes.

Despite the daunting weather and travel issues, the band was in a congenial mood. Just a week earlier, its new album, The Blackest Thing on the Menu, became its second project to reach No. 1 on Billboard’s Bluegrass Albums chart dated Sept. 28. The act’s previous No. 1, 2020’s No Time for Enemies, was the first atop the chart to feature two MCs. Neither No. 1 was originally on the career menu.

“It’s not like it was a goal from the start, or anything on the agenda,” founder Rench says. “Our aim is to make great music, put out our message and play awesome shows. Billboard charts aren’t really a part of that. It’s just kind of gravy on the mashed potatoes.”

The first Gangstagrass No. 1 occurred during the pandemic, and the members told themselves it was a fluky representation of their pent-up fan base’s support.

“Doing it again,” MC R-SON says now, “that’s extra special.”

So was the timing: It occurred as the International Bluegrass Music Association held its IBMA Awards and conference in Raleigh, N.C. Gangstagrass decidedly tests the boundaries of the genre. It fires up the traditional banjo and fiddle with unexpected beats and raps, fusing the sound of rural Kentucky with the music of urban New York.

On paper, the mixture probably shouldn’t work. But Gangstagrass is built on a belief that folks who ride tractors have more in common with people who ride the subway than might be expected. Bluegrass and hip-hop both represent working-class cultures, and both rely heavily on the music’s pulse, be it a rolling banjo or a syncopated drum machine.

“If you have poor folks anywhere, they’re telling their stories, and they’re building from that,” R-SON says. “It works better than people would ever have imagined, just because a lot of their existences are similar.”

Rench didn’t necessarily recognize that when he launched Gangstagrass as a studio experiment in 2006 from his home in Brooklyn. He made it available for free online, and the reaction quickly exceeded his expectations.

“It was getting downloaded so much, it was crashing the site, and so I could see that people really liked it,” Rench says. “I knew then that putting together a live band to actually do this, with instrumentalists, would take it in a much bigger direction.”

Adding to the plot, producers for the FX series Justified enlisted Gangstagrass for a theme song, “Long Hard Times To Come,” in 2010. The group’s diverse musical origins appealed to an eclectic audience, too, bringing together seemingly incompatible constituencies.

“We got little kids, middle schoolers, high schoolers, college kids, their parents, their parents’ parents, their parents’ parents’ parents,” MC Dolio the Sleuth says.

“We have New York hipsters, we have proud rednecks from Texas,” Rench adds. “It really is like kind of a little bit of everything.”

The fan base also includes some of the band’s professional peers. Dobro icon Jerry Douglas, who joined the Bluegrass Music Hall of Fame on Sept. 26, appears on “The Only Way Out Is Through,” the lead track on The Blackest Thing on the Menu. Dan Tyminski, the lead singer on The Soggy Bottom Boys’ “Man of Constant Sorrow,” joined Gangstagrass to perform that song at the end of the IBMA’s 2022 convention.

“The best players and these bluegrass legends, they really get it,” Rench says. “The bluegrass purists that are skeptical [of] us really don’t have much to stand on when they see all their favorite bluegrass players backing us up.”

Gangstagrass likely reflects larger cultural trends. Beyoncè’s Cowboy Carter debuted at No. 1 on Top Country Albums earlier this year. And Vice President Kamala Harris is the first female candidate of color to run for president on a major-party ticket. Polls and analysts suggest she has a good chance of winning. The Gangstagrass audience portends a possible future where people of disparate backgrounds can increasingly find commonality.

“We can see how crucial it will be for people to not be afraid of each other,” Rench says. “There’s a difference between being different and being divided, and if we can get them to not be divided and to be comfortable with each other and understand that they’re part of the same citizenship of the earth and of the country, that’s a huge step forward.”

That’s an ambitious goal, but one that’s delivered with a good helping of joy. The new album features a song, “Mother,” that explores economic disparities and a foreboding environmental outlook, but it’s followed by “Obligatory Braggadocio,” a comical self-celebration — “I got big wheels on my big truck” — over a rowdy Southern rock musical bed.

Even the album’s title is the result of an inside joke that stems from fiddler B.E. Farrow asking a waiter, “What’s the blackest thing on the menu?” When Rench suggested the title months later, the band broke into laughter, then grew quiet. The Blackest Thing on the Menu made a statement about the band.

“I kid you not,” Dolio says. “Two rainbows shot out from the sky, a double rainbow — double rainbow — right in front of us over New York City.”

It was a development as unlikely — and as hopeful — as the band itself. 

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