This week, Chanté Joseph meets Rapman, the writer and director of Supacell, one of the most watched shows on Netflix, to discuss what it takes to make a hit series, how he’s redefining the superhero genre and what he plans to do next

Archive: TikTok (audiosavioursuk), X (thebrosgeekout), Shiro’s Story Part 2 (Link Up TV) Blue Story (Paramount Pictures), Supacell (Netflix), BBC Sport

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Two defendants sought recusal of Ural Glanville over meeting judge held with state witness and prosecutors

The judge overseeing the long-running racketeering and gang prosecution against Young Thug and others has been removed from the case after two defendants sought his recusal, citing a meeting the judge held with prosecutors and a state witness.

Fulton county superior court chief judge Ural Glanville had put the case in Atlanta on hold two weeks ago to give another judge a chance to review the defendants’ motions for recusal. Judge Rachel Krause on Monday granted those motions and ordered the clerk of court to assign the case to a different judge.

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Finsbury Park, London
With some regrettable absences and a premature close, the weekend is redeemed by explosive sets and starry surprise guests such as Central Cee

This year’s Wireless festival is instantly mired in controversy – a decision to finish Sunday’s outing two-and-a-half hours early, allowing fans to catch the European Championship final, sours the mood of the weekend. The disappointment is justified as the adjusted timeline feels convenient. Scheduled Sunday acts Digga D and Tyla were long expected to cancel due to their respective legal difficulties and injury, yet their absences are only confirmed on Friday, with no replacement acts announced. Friday also brings cancellations for Flo Milli and Veeze, pulling apart a promisingly stacked lineup.

Still, the army of Barbz who swarm Finsbury Park clad in pink skirts, bows and baby tees get everything they want from Friday headliner Nicki Minaj, whose fourth Wireless appearance brings the full, maximalist, world-building production of the Pink Friday 2 world tour . She runs the full course of her discography, from fulfilment anthem Moment 4 Life to that iconic Monster verse, and Minaj’s dramatics, rhapsodic delivery and visuals of assembly-line porcelain cyborg doppelgangers make for a playful and genuinely fun headline show.

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From Sabrina Carpenter to Kendrick Lamar, Guardian writers pick out the songs that will be soundtracking their barbecues for the summer

• Check out a Spotify playlist of the choices

No offense to the Lana del Rey and boygenius girls, but when it comes to music, I have a limited tolerance for languid, sad or woozy; during the heat of summer especially, it’s uppers only. Few do that better than Charli xcx, a premier practitioner of loud, high-BPM music, who captured the zeitgeist in June with her album brat . And no song embodies the album’s insouciant, candid, neon-green bold ethos – or the fuck-it heedlessness, headlong nights and chaotic mood swings of summer – better than album closer 365. The mutable track, essentially a version of album opener 360 on stimulants that blasts into full club mode over three minutes, wields the figure of the party girl as an enviable, imitable main character experience. It’s a glorious celebration of hedonism, of cresting a wave of reckless energy, whether or not you “do a little key, have a little line”. (This song has given me lucid dreams of doing coke.) Everything is a disaster, so why not aspire to pure, oblivion-chasing fun? I will be bumpin’ that all summer long. Adrian Horton

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This look at the hip-hop legends spares no effort in telling their tale exactly as it was, from substance abuse to their darkest hours. It’s intelligent, nuanced TV – even if it could be more open about Russell Simmons

Whether it’s a documentary or a biopic, the over-involvement of a subject can transform treasure into trash. Members of Queen turned themselves into blandly unimpeachable heroes by producing Bohemian Rhapsody – as did Ice Cube and Dr Dre by helping create 2015’s Straight Outta Compton. Meanwhile, projects such as Metallica: Some Kind of Monster and Anton Corbijn’s stylised Joy Division film Control didn’t give their subjects producer credits – subsequently crafting fascinating, complex portraits of the artists.

So a few moments into the Run-DMC documentary Kings From Queens, there is an unintentional jump scare when the words “executive producers Joseph ‘Rev Run’ Simmons and Darryl ‘DMC’ McDaniels” appear on screen. Thankfully, as we hear from the many talking heads who appear over the course of three hours, Run-DMC connected with people because of their commitment to honesty; even when telling their own stories, the surviving members of the group admit inadequacies, insecurities, substance abuse and how some of their greatest successes happened in spite of them. Perhaps more shocking than DMC’s candour around his alcoholism and thoughts of killing himself is that he admits to being a nerd who loves nothing more than the Canadian singer Sarah McLachlan and Spider-Man comics. Rather than psyching himself up to perform with hypermasculine posturing, the sweet-natured rapper asks: “What would Peter Parker do?”

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(Shady/Aftermath/Interscope)
The return of the rapper’s nihilistic alter ego makes his 12th album feel like a confused, conflicted attempt to recreate his 00s success – his flow is perfect as ever, but he can no longer provoke true outrage

The Death of Slim Shady is an album filled with memorable lines. Some are memorable because they display their author’s nonpareil skill as a rapper: they whiz past in a perfectly enunciated, rhythmically precise gust of homophones, references and wordplay. Some because their scabrous, nihilistic wit induces precisely the reaction their author presumably intends: a kind of horrified bark of laughter despite yourself, followed by a surge of guilt so overwhelming that you don’t want to highlight the line in question, lest you be damned by association. And some are memorable because they land with a dull, shrug-inducing thud, the unmistakable sound of an artist trying too hard to shock. The most telling line may come on Lucifer, which, with its Dr Dre-produced, bouzouki-sampling beat, has a strong claim to be the album’s strongest track. “But Marshall,” offers Eminem , addressing himself, as is so often his wont, “it’s like you came from 2000, stepped out a portal.”

It’s a lyric that seems to strike at The Death of Slim Shady’s raison d’etre. Eminem has cut a curious figure over the last decade. He’s still reliably chalking up incredible sales figures – every album he’s released has gone platinum in the US; his 2020 single Godzilla shifted something close to 10m worldwide – while apparently struggling to find a place for himself in a musical landscape that’s altered dramatically since his early 00s heyday. Is he the grumpy keeper of traditional hip-hop values discarded in an era of mumble rappers and Auto-Tune, as suggested by the indignant verbal assaults he launched at a younger generation of artists on 2018’s Kamikaze? Is he a noticeably different character to the twentysomething nihilist who sold 25m copies of The Marshall Mathers LP, deploying his splenetic lyrical approach against the “alt-right”, as a string of freestyles and guest appearances released in 2017 implied? Or is he simply the huffy middle-aged reactionary that his more foresighted detractors might have predicted he would become, decrying millennial snowflakes and wokeism like a Daily Mail columnist?

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Tottenham Hotspur stadium, London
The crowd-pleasing ham holds court to thrill his audience of ‘ragers’ with a combination of brawny bangers, force of will and a big box of fireworks

There are moments when tonight’s stop on Travis Scott’s Circus Maximus tour feels more metal gig than rap-show. It’s not just the numerous circle-pits (with the passion if not the ferocity of a Slayer crowd) or the boulder-strewn, prehistoric stage-set straight out of Masters of the Universe. It’s the blunt assault of the music – the buildup of tension and the cathartic relief, the puncturing, kinetic power of those drum-machine pulses – and how the tireless Scott commands this gargantuan stadium with sheer force of will, and a massive box of fireworks.

Sporting quarterback shoulder-pads, he bounds and pogos across the stage, the rich-guy ennui that sometimes fugs his records entirely absent. His energy is matched by his fans, whom he’s named “ragers”, and who jump when he says “jump!” and thrust their middle-fingers in the air when he asks them to do that. Little of the Dolby Atmos-ready, cathedral-of-sound aesthetic that made albums such as Astroworld and Utopia such psychedelic experiences survives the transition to this vast space. Instead, Scott leans on the pugilistic likes of Meltdown and No Bystanders, whose bold, bellowed hooks make Onyx sound like Clannad, and whose blitzing, acid-trap beats sound like early Schoolly D on steroids, coldly mechanical and raw.

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Irish language group granted leave to seek judicial review of government decision at full hearing in November

The Belfast hip-hop group Kneecap have obtained legal clearance to contest a government decision to withhold £15,000 in funding because of their political views.

The high court in Belfast on Thursday granted the Irish language rappers leave to seek a judicial review at a full hearing in November after they return to Northern Ireland from a US tour.

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Incident comes the day after a shooting outside the rapper’s home in which a security guard was seriously injured

A man has been arrested after trying to gain access to Drake’s Toronto mansion, the day after a security guard at the property was seriously injured in a shooting .

“Officers were called after a person attempted to gain access to the property,” Toronto police said in a statement. “The person was apprehended under the Mental Health Act, and they were taken to receive medical attention.”

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