All of Marvel’s Netflix series have been cancelled, with Jessica Jones and The Punisher getting the axe

In the past few months, the Netflix arm of Marvel’s film and TV empire has clearly been winding things down. Whether it’s because of Disney’s forthcoming streaming service, or simply because the pop culture mega-conglomerate is trying to bring all of its properties in-house from now on, Netflix previously announced that DaredevilLuke Cage, and Iron Fist have all been cancelled.

Now the last dominoes have fallen, as Deadline reports that The Punisher and Jessica Jones have been axed. The former leaves just after its second season debuted on the streaming service, while the latter will air its already completed third season before ending its run. There’s no current release date for the final season of Jessica Jones, but it will mark the conclusion of a five-year run on Netflix for the far more adult side of Marvel’s output.

Here’s Netflix’s statement to Deadline about the cancellations:

Marvel’s The Punisher will not return for a third season on Netflix. Showrunner Steve Lightfoot, the terrific crew, and exceptional cast including star Jon Bernthal, delivered an acclaimed and compelling series for fans, and we are proud to showcase their work on Netflix for years to come. In addition, in reviewing our Marvel programming, we have decided that the upcoming third season will also be the final season for Marvel’s Jessica Jones. We are grateful to showrunner Melissa Rosenberg, star Krysten Ritter and the entire cast and crew, for three incredible seasons of this groundbreaking series, which was recognized by the Peabody Awards among many others. We are grateful to Marvel for five years of our fruitful partnership and thank the passionate fans who have followed these series from the beginning.”

Marvel released its own statement on the cancellations as well, complete with an intriguing final note:

“It had never been done before. Four separate television series, each with different super-talented showrunners, writers, directors, cast and crew, coming out months apart and then… they would meet in a single event series all set in the heart of New York City. We called them The Defenders.

And together we were thrilled by stories of Daredevil, Jessica Jones, Luke Cage, Iron Fist and even the Punisher joined in! They said it couldn’t be done. But Marvel assembled amazing teams to write, produce, direct, edit, and score 13 seasons and 161 one-hour episodes. Take a moment and go online and look at the dazzling list of actors, writers, directors, and musicians who graced us with the very best of their craft.

We loved each and every minute of it.

And we did it all for you — the fans — who cheered for us around the world and made all the hard work worth it.

On behalf of everyone at Marvel Television, we couldn’t be more proud or more grateful to our audience. Our Network partner may have decided they no longer want to continue telling the tales of these great characters… but you know Marvel better than that.

As Matthew Murdock’s Dad once said, ‘The measure of a man is not how he gets knocked to the mat, it’s how he gets back up.’ To be continued…!”

Punisher star Jon Bernthal also weighed in via Instagram:

While the shows always shared a great deal of continuity, none of the grittier Marvel stars have yet to make it into the silver screen side of the Marvel Cinematic Universe, but who knows. What happens with the characters, or their respective series, remains to be seen. But for now, the Netflix era of the MCU has come to its end.

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Police release Jussie Smollett attack suspects without charges

In the latest in a string of bizarre twists, police have released two Nigerian men from custody just hours after arresting them on suspicion that they were involved with the attack on Empire actor Jussie Smollet.

“Due to new evidence as a result of today’s interrogations, the individuals questioned by police in the Empire case have now been released without charging and detectives have additional investigative work to complete,” Chicago police spokesman Anthony Guglielmi said in a tweet Friday night.

The men — identified by TMZ as Olabinjo and Abimbola Osundairo — are brothers from Nigeria. At least one of them — Olabinjo — previously appeared as an extra on Empire. Police raided the brothers’ home on Thursday, where they found several bottles of bleach.

Smollett initially told police that he was attacked by two men outside a Subway restaurant in Chicago during the early morning hours of January 29th. The 36-year-old actor, who is openly gay, described the assailants as white men wearing ski masks, who asked Smollett if he was “that f***ot Empire n*****?” before attacking him with a rope and bleach. As they fled the scene the men yelled, “This is MAGA country!” according to Smollett.

Yesterday, police ruled out local media reports that Smollett staged the attack himself.

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Madlib and Oh No Share Video for New Song “Big Whips”: Watch

Madlib and his younger brother, the rapper Oh No, have shared a new song called “Big Whips.” It arrives with a music video directed and edited by David James. Watch below (via Complex).

“Big Whips” is set to appear on All City Records’ forthcoming Gangster Doodles Vol. 1 compilation—out March 1. Each track on the comp will come with an original drawing by Marlon Sassy aka Gangster Doodles. Along with Madlib and Oh No, the compilation features Quelle Chris, Kaytranada, Father, Chester Watson. Check out the album cover below.

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HOUSE Magnetic Magazine Premiere: NØISE (Lowtempo Mix)

I’ve been a die–hard music fan since my youth, but I began to understand the structure of music when I learned to DJ 12 years ago. After a few years of DJing with vinyl, a program called Serato was introduced that allowed me to DJ using MP3’s with the same control I had with vinyl. As a bonus though, unlike vinyl, MP3’s can be edited and remixed. My first production endeavors were simple re-edits of songs for improved mixing.

The post HOUSE Magnetic Magazine Premiere: NØISE (Lowtempo Mix) appeared first on Franchise.

18 photos from Cocoon’s masterful Printworks London opening party

Printworks London‘s latest series began with a bang last weekend as Sven Väth took his Cocoon party to the industrial spot.

Patrick Topping, Grainger, Dana Ruh, Dubfire, Ilario Alicante joined the main man on September 29, putting on a show for the capital’s heads.

Printworks continues this weekend (October 6) with Maceo Plex’s Mosaic. He’s joined by Len Faki, Ellen Allien, Danny Daze and loads more. Nina Kraviz, Mount Kimbie, Anastasia Kristensen, The Black Madonna all play later in the season.

See how it went down below.

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Miranda Lambert dumps salad on woman in heated restaurant altercation

Some celebrities throw punches, others hurl expensive heels. For Miranda Lambert, her weapon of choice is… a fresh salad. The country music star was involved in a heated altercation this past Sunday that ended in Lambert dumping a salad on a woman’s lap.

As TMZ reports, the incident took place at Stoney River Steakhouse in Nashville. It all began with an exchange about millennials between Lambert’s friend and older male customer.

Their tense convo apparently escalated to the point that Lambert and the older male got into a screaming match with one another. The musician — who was described as being “in a fit” and actually needing to be held back — retaliated by targeting the man’s wife, who was also dining at the restaurant. Lambert reportedly walked over to the couple’s table, picked up the wife’s salad, and proceeded to dump the dish on her lap in front of everyone.

That’s one way to get tableside service.

Police eventually responded, but when they arrived Lambert and her friend were long gone. An official police report hasn’t been filed.

TMZ obtained video footage of the salad-dumping aftermath, which can be seen below. There also photos over on TMZ’s website.

Lambert and her country supergroup Pistol Annies released their acclaimed Interstate Gospel album last year.

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REVIBE’s energy gel fueled 50,000 ravers all summer long

In August, we covered REVIBE energy gel and how its caffeine and alcohol-free formula can keep ravers going without dreaded hangovers.

It launched headfirst into clubland this summer, making appearances at Cocoon in the Park, SW4 Festival, Full Moon Europe, MTV Calling and Bassfest, saving 50,000 weary ravers across the UK.

The brand shows no signs of slowing down with new partners, venues and countries all being discussed for release in these up-and-coming colder months.

More information can be found here.

See images from this summer below.

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Ladies and Gentlemen, The Beatles: When the Fab Four Met Ed Sullivan

The Beatles on The Ed Sullivan Show, Courtesy of the Smithsonian National Portrait Gallery

“Struck by lightning.” That’s how my father describes the sensation of watching The Beatles’ first appearance on The Ed Sullivan Show on February 9, 1964. “I had never been so excited by any musical group or performance like that.”

It’s a definitive event from his childhood — as it was for millions of other Americans — as monumental as the assassination of President John F. Kennedy or the Apollo 11 Moon landing. The next day at school, it was all he and his classmates (and their teachers) wanted to talk about; in the days that followed, he remembers spinning his copy of “I Want to Hold Your Hand” while he and his sisters pretended to be The Beatles, playing along on broomsticks as if they were guitars.

Listening to him talk about his memories of that performance 55 years ago, I realize that it can never happen again. The world’s gotten smaller, but the culture’s gotten larger; TVs have more than three channels, and “rock music” is no longer synonymous with “pop music.” It’s impossible now for any musical act, let alone a rock band, to have the cultural dominance that The Beatles once had. This isn’t to say that they were the last to reach that level of superstardom: Michael Jackson had it, Madonna had it, and it’s possible that Kanye West has it, though he’s losing his hold on it. But to see John, Paul, George, and Ringo playing “I Want to Hold Your Hand” while the audience whips itself into a frenzy — to hear the girls in the crowd shrieking from the song’s opening notes to its final chord — is to witness a kind of magic that doesn’t exist anymore.

It had only been a year, almost to the day, since The Beatles recorded 10 of the 14 tracks on their debut, Please Please Me, in 13 hours. Building on the momentum of smash singles “Love Me Do” and the title track, Please Please Me was a hit in the band’s native England, but most American listeners had no idea who The Beatles were. Capitol Records, the North American subsidiary of EMI (who also owned Parlophone, to which The Beatles were signed), refused to release the band’s early singles in the United States; the American press was similarly indifferent to the burgeoning Beatlemania across the pond. In fact, The Beatles’ weren’t covered by a stateside publication until October 29, 1963, when a writer for The Washington Post described the Fab Four as “four wide-eyed, wacky boys […] they look like limp, upside down dust-mops.”

Two days after that report, The Beatles were returning home from a short Swedish tour. Halloween was a stormy day over London, but that didn’t stop over a thousand young fans from waiting in the rain to greet the band at Heathrow Airport. It just so happened that Ed Sullivan and his wife were due to fly back to the US out of Heathrow at the same time. Sullivan asked who the crowds were eagerly awaiting, expecting it was a member of the royal family. Looking back in an interview with The New York Times years later, Sullivan compared what he saw at Heathrow to “the same sort of mass hysteria that had characterized the Elvis Presley days.” In the moment, however, Sullivan said: “Who the hell are The Beatles?”

Variety shows don’t really exist anymore — the closest contemporary analogue would be a late-night talk show, à la Jimmy Fallon — so it can be difficult to convey just what appearing on The Ed Sullivan Show could do for one’s career. Sullivan, simply put, was a star-maker. (To his great credit, Sullivan was an early supporter of racial equality, inviting on literally dozens of black musicians and comedians, including The Supremes, The Jackson 5, Stevie Wonder, and Richard Pryor.) Years before, Sullivan had refused to book “Elvis the Pelvis,” wishing to maintain a clean and family-friendly program, only to recant when it became impossible to ignore Presley’s rising celebrity. Sullivan wasn’t eager to get caught flat-footed again, but he hadn’t the faintest idea who The Beatles — the cause of such pandemonium at Heathrow — were.

Fortunately, Sullivan’s European talent coordinator, Peter Prichard, did. Prichard was close with The Beatles’ manager, Brian Epstein, and facilitated a meeting between his boss and his friend upon the latter’s next trip to New York in November. Sullivan initially offered Epstein $10,000 for one appearance, but Epstein shrewdly asked for the sum to be split over three episodes, where the band would be given top billing and perform at the open and close of the show. Sullivan agreed.

But Capitol still wasn’t sold on The Beatles’ success and likely wouldn’t have been convinced if not for a fortuitous series of events. On Dec. 10, 1963, with the US still grieving President Kennedy’s death, Walter Cronkite of CBS Evening News decided to run a story that was meant to have aired on November 22 — the day the president was assassinated. The story, a bemused look at Beatlemania, was seen by 15-year-old Marsha Albert of Silver Spring, Maryland, who wrote to her local radio station, WWDC, asking: “Why can’t we have music like that here in America?” A week later, WWDC DJ Carroll James had acquired an import copy of “I Want to Hold Your Hand”, which immediately went into heavy rotation as listeners called in to hear the song again and again. After WWDC rebuffed Capitol’s cease and desist letter, the label saw the light, releasing “I Want to Hold Your Hand” on December 26, nearly three weeks ahead of schedule. Within two weeks, one million copies of the single were sold in the US.

By the time The Beatles landed at the recently renamed John F. Kennedy Airport on February 7, 1964, American Beatlemania had reached a fever pitch. Nearly 30 million Americans tuned in to The Jack Paar Program on January 3 to watch footage of a Beatles concert purchased from the BBC. (This infuriated Sullivan, who considered cancelling on the band before thinking better of it.) Vee-Jay Records pounced on Capitol’s early dismissals of The Beatles, releasing Introducing…The Beatles — the first Beatles album available in the US — 10 days before Capitol’s own Meet The Beatles! When The Beatles landed at JFK, they found more than three thousand new Beatlemaniacs waiting for them; listen to footage of their arrival, and the crowd sounds like it could drown out a jet engine.

Two days later, a record 73 million Americans — roughly two-fifths of the population — watched as The Beatles took the stage for their Ed Sullivan Show debut. The numbers are one way of explaining what a spectacle that this was, but the best way for you to understand that is to watch it yourself. If you were lucky enough to see it when it happened, it probably still elicits the same feeling of rapture as it did then; if this is your first time seeing it, you’ll understand why Beatlemania was called Beatlemania. There’s really nothing I can say about the performance that it doesn’t say for itself.

The Ed Sullivan Show would feature The Beatles two more times in the next two weeks. By the time of the band’s fourth and final in-person performance on August 14, 1965, the “British Invasion,” as it was called, was well underway. Following The Beatles’ lead, countless British rock bands — The Rolling Stones, The Who, The Kinks, and Cream, to name a few — would go on to achieve commercial success in the US. Some of these bands would look to black American musical genres, such as the blues and R&B, for inspiration; on the other side of the coin, American artists like The Byrds and Jimi Hendrix tried to emulate a British rock sound. (Hendrix’s career, it’s worth noting, didn’t take off until he moved to London.)

The Beatles’ first Ed Sullivan Show performance didn’t just alter the band’s trajectory, but that of rock music as a whole. It built a bridge between the two realms of rock music, giving British artists a new audience and American artists new sonic influences. Without it, you still have Highway 61 Revisited, The Velvet Underground & Nico, and The Doors, but there is no Rubber Soul, Pet Sounds, or Are You Experienced — or any of the countless records that owe their existence to the syncretism of American and British music. Writ large, rock history is full of what-ifs and unhappy endings: plane crashes, substance abuse, breakups (between musical partners or romantic partners — and sometimes, both). For once, it’s nice to look back on a moment when everything went right.

Buy It: Get copies of classic Beatles LPs at Reverb LP. Click here for more.

For a much more in-depth look at the series of events that led The Beatles to The Ed Sullivan Show, read Steve Greenberg’s The Billboard Cover Story – How The Beatles Went Viral, which was a vital reference for this piece.

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Grammys Producer Ken Ehrlich Responds to Ariana Grande Tweets: “It Was a Surprise”

Earlier this week, Ariana Grande spoke out publicly about her decision not to attend or perform at the 61st Grammy Awards, which will take place at the Staples Center in Los Angeles tomorrow, Sunday, February 10. She called out Grammys producer Ken Ehrlich, who had given an interview about her absence and said that the singer “felt it was too late for her to pull something together.” Ariana tweeted that he was “lying”: “I can pull together a performance over night and you know that, Ken. It was when my creativity & self-expression was stifled by you, that I decided not to attend,” she said.

Now, Ehrlich has responded to Ariana in an interview with Rolling Stone. “I saw those tweets and what she said. I guess it was a surprise,” he said. “I will say this, and they don’t want me to say it but I’m going to say it: The thing that probably bothered me more than whatever else she said about me is when she said I’m not collaborative.”

He also stated that he “usually does not have this happen,” and that he never spoke with Ariana directly, instead corresponding with her management team. “I don’t know if I’m good at anything else, but I understand artists and I can hear other artists in an artist,” he told Rolling Stone. “I don’t say to people, ‘This is what you should do.’ I approach it casually and say, hey, this might be a good idea, let’s find something in the middle.”

Ehrlich went on to describe other instances in which he has coordinated Grammy performances with artists such as Ricky Martin and Mary J. Blige. The full quote reads:

The fact of the matter is — and I actually wrote a little thing in the
middle of the night that I’m not going to do anything about, but, I
mean. You can ask Christina Aguilera, who I asked to do “It’s a Man’s
World” for James Brown. You can ask Melissa
Etheridge, who finished her cancer treatment and I put her out on
stage, bald, doing Janis Joplin. You can ask Ricky Martin who
overnight became the creator of the Latin music revolution. Ask Mary
J. Blige, who was scared shitless to go out there and do “No More
Drama.” I basically worked with her to mold it. Ask H.E.R. who’s in
this show.

Pitchfork has reached out to representatives for Ken Ehrlich for further comment. Follow all of Pitchfork’s coverage of this year’s Grammy Awards.

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Kanye West sued by family of little girl sampled in “Ultralight Beam”

One of the many joys of Kanye West’s The Life of Pablo single “Ultralight Beam” is hearing the sample of that little girl praying in the very beginning. Unfortunately for Yeezy, that heavenly voice is now sending him into legal hell.

As TMZ reports, Andrew and Shirley Green, the legal guardians of Natalie, the then-four-year-old whose prayer went viral in early 2016, claim that Kanye asked the wrong parents for permission to use the sample.

In court documents obtained by TMZ, the Greens, who adopted Natalie in December 2012, claim that Kanye cleared the sample through Natalie’s biological mother Alice Johnson, who has no authorization.

What’s more, they state that Johnson never received a written license or payment in the aftermath, and are now currently seeking profits from the single in addition to other unspecified damages.

Revisit the track below, followed by the original viral video..

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