They grew up Disney. Meg Donnelly and Kylie Cantrall are ready to take it from here.
Disney Channel has long been a pop culture springboard, minting stars like Miley Cyrus, Selena Gomez, Zendaya and the Jonas Brothers. But being a Disney star in 2025 looks different from the Hannah Montana and Camp Rock days.
Back then, the formula was clear: Land a hit show or movie, make crossover appearances in other Disney projects, release music through the Disney machine and maintain a carefully curated, wholesome image.
Global stardom came with perks, but being a young person navigating that world without a roadmap made for a high-stakes balancing act, especially in a culture quick to pick apart Disney stars. The lucky few, often backed by strong support systems, broke out beyond their early success.
Today's Disney stars benefit from the legacy but face new hurdles. Thanks to social media, they're always on the clock — expected to perform, share and present perfection 24/7. They're brands within brands before they're old enough to drive.
Kylie Cantrall, 20, and Meg Donnelly, 25 — who lead the network's biggest ongoing properties, Descendants and Zombies, both musical fantasy films — represent the modern blueprint for Disney stardom.
They talk to Yahoo about growing up Disney, from dreaming about mouse-eared stardom as girls to movie- and music-making. But they're also pushing back against labels, steering their careers and trying to avoid the inevitable 'Disney star gone wild' headlines.
'Nobody really knows what I can do'
Disney Channel was Donnelly's 'everything' growing up. A theater kid from New Jersey, she started auditioning for roles on the network at age 8. Being cast in the ABC sitcom American Housewife in 2016 opened the door to Disney. A year later, at age 15, she landed Zombies, after many auditions. The movie was an instant hit when it premiered in 2018, catapulting Donnelly to Disney stardom, powered by an army of tween fans.
Zombies' hit soundtracks, with punchy pop anthems, have gone hand-in-hand with their success. 'Someday,' which Donnelly sang in the original film, has 109 million streams on Spotify. Fans who search for that may discover her original songs too. That includes her 2019 album Trust.
'When I was a kid, it was really hard for me to stand up for myself,' she tells Yahoo. 'A lot of the music I put out — even though it's still special to me, and I know a lot of people listen to it and they like it, so I'm not trying to discredit that at all — definitely wasn't 100% me.'
Looking back, it felt like a bit of a runaway train.
'I definitely was doing what I thought I had to do, or listening to the people I thought I had to, because I was scared to speak up,' she says. 'I'm still learning how to do that. I'm not 100% good at that.'
Feeling more in control, Donnelly released her new EP, Dying Art, in June, on the heels of showcasing her talent as the youngest finalist on The Masked Singer. She calls the project a 'stepping stone' to more ownership of her career.
'I did exactly what I felt comfortable with and what I wanted to put out there,' she says. 'It's a lot different than the music I put out in 2019, because … not that I know who I am now, but I really didn't know then.'
While Donnelly is optimistic about her music career, figuring out what's next in acting has been trickier. The latest Zombies movie — another hit, drawing 9.3 million views on Disney+ in its first 10 days after its July 10 premiere — marked a turning point. She'll stay on as a producer for a potential Zombies 5 and make cameos if called on, but she's ready to let the next generation take the spotlight.
Transitioning into post-Disney roles hasn't come automatically — and it's something she's still learning to navigate.
'With acting, it's a bit harder,' she says. 'In my own insecure brain, I'm like: 'People only know me as a Disney actress. They don't see the behind-the-scenes of all the [audition] tapes I'm sending in and the acting work I'm doing. No one's ever seen me act outside of kids' television or [the] sitcom world.' That gets in my head a lot. I think: 'Nobody really knows what I can do.''
She's working to show her broader range. Outside of Disney fare, Donnelly played the lead in the CW Supernatural spin-off The Winchesters, from 2022 to 2023. More recently, she was very close to landing the lead in the upcoming live-action Supergirl film, a part that went to Milly Alcock.
Donnelly also struggles with the expectation of having to be on social media all the time. She calls it 'a really hard thing to navigate' and says 'it can be very isolating.'
With 3.1 million TikTok followers and 2 million on Instagram, she's deeply aware of the role model label she carries, responsible to young fans still in single digits as well as adult women her own age.
'It's daunting, especially since the [Zombies] movies are still happening,' she says of the balance between role model and being a human being. 'I am always aware of my kiddos who are fans of Zombies and watching me, and whatever I post and do and say is taken to heart... My social media presence is a bit more sheltered than I would be in real life.'
Donnelly, who lives with her Winchesters costar turned boyfriend Drake Rodger, says a lot of the pressure she feels actually comes from outside the Mouse House. The public wants to see Disney stars as one thing: kids.
'I feel like Disney never really puts people in a box — like these child actors are child actors forever — it's the public that tends to do that,' she says. 'No matter what I do — if I say a curse word or whatever — it's like 'Disney star goes wild' and that's just kind of the narrative until you end up being able to break out of it.'
She adds, 'We're all gonna grow up. We're all gonna make mistakes… We're not going to be children forever.'
Riding the Disney wave to pop stardom
Cantrall started making YouTube videos of herself reviewing Disney shows at age 8 and, before long, she was appearing in the shows, including Gabby Duran & the Unsittables and High School Musical: The Musical: The Series.
'I was always a Disney girl, practicing the wand ID in my room in front of my mirror at 5 years old,' she tells Yahoo. 'I looked up to Zendaya and Selena Gomez and Miley Cyrus. I wanted to be that.'
When Descendants stars Sofia Carson and Dove Cameron moved on in 2019 after successfully launching post-Disney careers, making movies and music, Cantrall was part of the new generation taking over. To land the lead in Descendants: The Rise of Red, she auditioned over Zoom for more than 40 Disney executives.
When the film came out in July 2024, it drew a record-breaking 6.7 million views in three days on Disney+. For comparison, Taylor Swift: The Eras Tour concert movie had 4.6 million views over the same period when it streamed that year.
With a fifth film, Descendants: Wicked Wonderland, recently wrapped, Disney banked on Cantrall to headline the Descendants/Zombies: Worlds Collide tour this summer across 43 cities at venues like Madison Square Garden.
Onstage, she performs not just Disney hits — like the title track 'Red,' which has drawn 58 million Spotify streams in one year — but also original songs from her debut EP, B.O.Y., which dropped in May. It's all a lead-up to her first full-length album, due next year — timed to maximize exposure around the next Descendants release.
While Cantrall knows her Disney fan base is young, her ambition extends beyond that.
'Of course, a lot of little kids know me as Red,' she says, 'but it's cool seeing [the] siblings of those kids who are a bit older discovering me and my own personal music.'
Cantrall is clearly aiming beyond the Disney bubble. While she embraces her role in Descendants — 'as long as they want to keep hiring me, I'll make I'll make myself available,' she says — she's focused on building a music career that also appeals to older teens and young adults. That's an audience she's steadily growing through her more mature songs and pop aesthetic — and she's not shy about where she wants that to go.
'Hopefully I'll go on the Kylie tour next,' she says, referring to her goal of headlining like fellow Disney alumnae Olivia Rodrigo and Sabrina Carpenter, who went from small screen to pop stardom.
Unlike Donnelly, Cantrall's all in on social media. She has 8.2 million TikTok followers and 1.4 million Instagram followers and feels that showing them her day-to-day is a key way of connecting with her fans.
'The biggest difference between being a Disney star now vs. then is that we have social media, and [fans] can get to know us on such a deeper level,' says Cantrall, whose fandom even has a nickname: the QTs. 'I'm able to connect with so many people, [and] I think people … have gotten to know me.'
Cantrall says she often thinks about that younger version of herself — the girl pretending to be onstage, now that she's performing for thousands.
'I get so emotional thinking about the little version of me,' she says. 'All I did was perform — dance and sing around my house — and that's all I've ever wanted to do. [Sometimes I imagine her sitting] in the crowd watching … me on stage. I think she would be so proud.'
Hashtags

Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
Yahoo
4 minutes ago
- Yahoo
'Night Always Comes': Vanessa Kirby, Benjamin Caron Netflix thriller unfolds in a single night of desperation
Kirby's characters races through Portland, Oregon overnight to find $25,000 in this gritty new film Following their work together on The Crown, director Benjamin Caron and actor Vanessa Kirby have collaborated again on the Netflix film Night Always Comes, a thriller based on the book by Willy Vlautin. Set in Portland, Oregon, the movie takes place over one night as Lynette (Kirby) tries to secure $25,000 to buy her family's home, alongside her brother Kenny (Zack Gottsagen). "We had been looking for a project for a few years, and there were a couple that nearly happened, but for various reasons they didn't quite get over the line," Caron told Yahoo Canada. "I think [Vanessa] ... felt that the character of Lynette was something she wanted to play. ... I really wanted to make a stressful movie, and I thought this had the mechanics of that." Caron previously worked on the Apple TV+ series Sharper, a show that really utilized its New York location as a tool to tell a story that blended classic rom-com elements with a thriller. In Night Always Comes, the filmmaker tapped into the unique elements of working-class Portland. "I'm sort of well travelled in terms of the more recognizable cities in [the U.S.], and whether that's Los Angeles, whether that's Chicago or New York or Miami, and I'm also very familiar with those cities on screen. ... I was less familiar with some of the more mid-sized American cities, and Portland being one of those," Caron said. "I always think, as a filmmaker, it's great to come into somewhere and sort of look at a city through an outsider's perspective. But I don't think this story was necessarily unique just to Portland, ... the gentrification, the homelessness, it's something that I'm seeing happening all over, certainly the Pacific Northwest of America, and also not just America, but across the world." Caron added that he found Portland to be a particularly "filmic" city. "I loved all the bridges, I loved the river that ran through it," he said. "There was the fabric of this sort of old city, and then from the sort of middle of it ... you could see this urban gentrification that was starting to push out from the middle. So filmically, it felt like a really good city to put on screen." 'We believe that they exist before and after the film' A distinct element in Night Always Comes is that the film is told trough Lynette's perspective as we really take every step with her on her desperate journey to get her hands on $25,000. But with each character that Lynette meets, it feels like they have their own interesting experiences and histories they bring into this story. "I think in many ways, the entire film is not just Lynette, I think it's full of desperate people who are trying to get by, by doing desperate things," Caron said. "And I think that as a allegory for the whole film is really important." "I know it's really important to me, and also I know to actors, that I really want to take care of the characters and their journeys within the moments they are on screen. So we invited all of the actors to come in and work with us on making sure that these lives that they inhabit, ... they burn brightly. Not just in the film, but that we believe that they exist before and after the film." One of those characters is Scott, played by Randall Park, a wealthy former escort client of Lynette's who she reconnects with early in the film, hoping he would give her the money she needs to buy her family's home. "He wanted to make sure that the character wasn't just a two dimensional cheating husband, that there was a sort of an understanding about the pressures that character has in his life, ... even if it feels unfair to what we're seeing happening to Lynette," Caron said. "[Randall] relished that opportunity of bringing that character onto screen and it's a moment in the film where your heart just breaks. ... [Lynette] is so desperate in that moment where she's asking for something [that] probably isn't a huge amount of money to him. And he's sort of got the wrong end of the stick. He thinks she's come for something else. And ... when he just laughs it off, it just absolutely crushes your heart in that moment." Mother-daughter relationship 'you just don't see enough of' Another key relationship for Lynette is with her mother Doreen, played by Jennifer Jason Leigh. While Lynette had been coordinating with the property's landlord about the buying the home, she needed her mother to cover the downpayment. But Doreen ends up spending that money on a new car, which is what sets Lynette off on her quest to get the funds herself. "What I love about what Jennifer brought to that part is that, even at the beginning, you sort of feel that there's a mother there that has ... a 38-year-old daughter still living at home with her. And there's that sort of unspoken tension, energy in the air," Caron said. "I love the fact that she's not even able to really say these words to Lynette, that I just don't think we can together anymore, that the only way that she can do that is as a form of self-sabotaging herself by going out and buying the car." "But those two were just brilliant to watch as dancing partners on screen together. I think they brought a really unique mother-daughter relationship to screen that you just don't see enough of." 'A unique, modern tragedy' But at its core, Night Always Comes reflects larger concerns around economic challenges that many people face, including in Canada, from housing affordability issues to other cost of living challenges. "The idea of someone that's basically doing two or three jobs and not able to afford their own home is such a unique, modern tragedy," Caron said. "And I really wanted Lynette to represent the many Lynette's out there who are one paycheque away from collapse." "We did a lot of work at the beginning to try and establish the sort of economic pressures that were on Lynette, ... but also just understanding the bigger economic, social issues that were happening in and around Portland, and also across America. ... It felt like, yes, a story of Lynette, but also a story of that American working class. ... It was a story of those single moms. It was a story of those nurses, or those caregivers that were being priced out of the cities that they were helping to run."
Yahoo
4 minutes ago
- Yahoo
Margaret Qualley awkwardly answers Taylor Swift album question
Margaret Qualley awkwardly answers Taylor Swift album question originally appeared on The Sporting News If you want new information on Taylor Swift's upcoming album, The Life of a Showgirl, you're not getting it from Margaret Qualley. The Maid star gave an awkward answer to whether she knew any details about her close friend's new project. "I don't know anything," Qualley said during an Aug. 14 appearance on the Today show. She took a long pause, seemingly to gather her thoughts, and added, "But we'll all be excited to listen to the music.' Qualley's husband, Jack Antonoff, is a frequent collaborator of Swift's as they worked on her albums: 1989, Reputation, Lover, Folklore, Evermore, and Midnights. However, for The Life of a Showgirl project, she worked alongside producers Max Martin and Shellback. All three musicans previously worked together on hit records for Swift, including "Blank Space," "We Are Never Ever Getting Back Together," and "...Ready For It?" Swift spoke about how the album came together on her boyfriend Travis Kelce's New Heights podcast which he co-hosts with his brother, Jason Kelce. "When I was on tour in Stockholm, I had Max Martin come out to the show," Taylor explained during an Aug. 13 appearance. "I was talking to him and I was like, 'I just feel like we could knock it out of the park if we just went back in.'" "We've never actually made an album before where it's just the three of us," she continued. "It felt like catching lightning in a bottle, honestly." In addition to the production process behind the project, Swift shared that she wrote the album while she was on her record-breaking Eras Tour and was inspired by how she felt. 'This album is about what was going on behind the scenes of my inner life during this tour, which was so exuberant and electric and vibrant,' she said. 'It just comes from the most infectiously joyful, wild, dramatic place I was in in my life, and so that effervesence has come through on this record. And like you said, bangers." The Life of a Showgirl Tracklist 'The Fate of Ophelia' 'Elizabeth Taylor' 'Opalite' 'Father Figure' 'Eldest Daughter' 'Ruin the Friendship' 'Actually Romantic' 'Wi$h Li$t' 'Wood' 'CANCELLED!' 'Honey' 'The Life of a Showgirl' ft. Sabrina Carpenter While 13 is the singer's "lucky number" she shared that there will only be 12 songs and no bonus tracks. 'With 'Tortured Poets Department,' I was like here's a data dump of everything I thought, felt, experienced in two or three years. Here's 31 songs. This is 12,' she said. 'There's not a thirteenth, there's not other ones coming. This is the record I've been wanting to make for a very long time. I also wanted it to be every single song is on this album for hundreds of reasons, and you couldn't take one out and it be the same album, you couldn't add one and be… It's just right. 'That focus and that kind of discipline with creating an album and keeping the bar really high is something I've been wanting to do for a very long time,' she continued. 'I tend to write lots and lots of music, so it's a temptation to release lots of music. But oftentimes, I wanted to do an album that was so focused on quality and on the theme and everything fitting together like a perfect puzzle that these 12 songs for my 12th album, I feel like we achieved that and I'm really happy about that.' The Life of a Showgirl is out on Oct. 3. MORE LIFESTYLE NEWS Taylor Swift reportedly looking at Las Vegas venues amid 'The Life of a Showgirl' announcement Livvy Dunne reacts to Taylor Swift's take on male sports fans Gisele Bündchen claps back at Tom Brady's parenting shade Karol G to headline Chiefs-Rams halftime show in Brazil Azzi Fudd reveals when she and Paige Bueckers realized they had 'chemistry'

Associated Press
6 minutes ago
- Associated Press
The last dance? Organizers of North America's largest powwow say 2026 will be the event's final year
ALBUQUERQUE, N.M. (AP) — For decades, tens of thousands of people have descended upon Albuquerque for what is billed as North America's largest powwow, a celebration showcasing Indigenous dancers, musicians and artisans from around the world. Organizers announced Saturday that 2026 will be the last time the cultural event is held, saying via email and social media that it will end after 43 years without providing details on the decision. 'There comes a time,' Gathering of Nations Ltd. said in a statement. The official poster for the 2026 event features the words 'The Last Dance.' Organizers did not immediately respond to phone and email messages seeking comment. The New Mexico fairgrounds have hosted the powwow since 2017, but it's unclear whether the venue would be available for future events given that the state is considering redeveloping the site. There also has been criticism over the years by some Native Americans who said Gathering of Nations organizers were capitalizing on Indigenous culture. Organizers dismissed those claims, saying the money raised goes toward the expenses of putting on the event. While offering spectators a glimpse into Indigenous cultures, large powwows like the one in Albuquerque have become more commercialized events with prize money for dancing and drumming competitions. For some Native American leaders, it can be a struggle to keep traditional cultural practices and commercial powwows from being lumped into the same category. There have been efforts to focus on promoting smaller powwows that are held in tribal communities. At Gathering of Nations, the signature event is the grand entry, in which a colorful procession of dancers spirals into the center of an arena. Participants wear elaborate regalia — some with jingling bells and others with feathers — and dance to rhythmic drumming. The event also features the crowning of Miss Indian World, as well as horse parades in which riders are judged on the craftsmanship of their intricately beaded adornments or feathered headdresses and how well they work with their steeds.