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Selena Gomez Returning To ‘Wizards Beyond Waverly Place' As Season 2 Guest Star

Selena Gomez Returning To ‘Wizards Beyond Waverly Place' As Season 2 Guest Star

Yahoo27-06-2025
Fans haven't seen the last of Alex Russo in Wizards Beyond Waverly Place.
Selena Gomez will return to guest star in Season 2 of the Disney Channel sequel series, the star announced on social media Friday.
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'Just feels right…' she wrote in her post, which features her sitting on the iconic set holding a wand.
Gomez is an executive producer on Wizards Beyond Waverly Place and she made a few guest appearances in the first season, introducing her brother Justin Russo (David Henrie) and his family to Billie (Janice LeAnn Brown), a wayward wizard-in-training who needs his help safeguarding the future of the Wizard World.
The only problem? Justin has chosen to lead a normal, mortal life with his family, Giada, Roman and Milo. Billie's arrival makes Justin realize he'll need to dust off his magical skills and get to mentoring.
The first episode of Wizards Beyond Waverly Place became Disney Channel's most-watched series premiere ever on Disney+ with 3.2M global views in the first 12 days.
In addition to Henrie, Wizards Beyond Waverly Place stars Janice LeAnn Brown (as Billie), Alkaio Thiele (as Roman Russo), Max Matenko (as Milo Russo), Taylor Cora (as Winter) and Mimi Gianopulos (as Giada Russo).
Jed Elinoff and Scott Thomas serve as writers and executive producers, along with executive producers Gary Marsh, Jonas Agin, Selena Gomez and Henrie. Wizards of Waverly Place was created by Todd Greenwald.
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Selling ESPN streaming: Disney marketing push to saturate L.A. and New York
Selling ESPN streaming: Disney marketing push to saturate L.A. and New York

Los Angeles Times

time2 minutes ago

  • Los Angeles Times

Selling ESPN streaming: Disney marketing push to saturate L.A. and New York

People in L.A. and New York better get ready for a sea of ESPN red on their morning and evening commutes. Walt Disney Co.'s is backing the Thursday launch of its sports media unit's direct-to-consumer streaming app with a major advertising campaign aimed at captive audiences in their cars and on the railway tracks. The aggressive four-week push is aimed at telling consumers that ESPN — long one of the pillars of the cable television business — will be available for the first time without a pay TV subscription. The service, a major initiative since ESPN Chairman Jimmy Pitaro took over the Disney unit in 2018, is a response to the growing number of consumers who are bypassing cable and satellite for streaming video platforms. The trend has decreased the number of pay TV homes receiving ESPN, which is a major source of revenue for the company. Consumers can subscribe to the new ESPN streaming app for $29.99 a month. Households already paying to receive ESPN channels through cable or satellite can sign up at no additional cost, enabling up to five people to stream the service on mobile devices and internet-connected TV sets. 'We designed our campaign exactly as we designed our product, which is to serve sports fans anytime, anywhere,' Jo Fox, executive vice president of marketing for ESPN, said in a recent interview. 'So we want to make sure we are showing up in as many places as possible.' The advertising campaign that starts Thursday will feature Lyft-operated Cadillac SUVs wrapped in the company logo and the promotional campaign's tagline 'All of ESPN. All in One Place.' The vehicles will be concentrated in high-traffic areas near sporting events in Los Angeles and New York, where the U.S. Open tennis tournament will soon begin. The ESPN brand name and logo will also appear on the Lyft app and maps. Mass transit users won't be left out, as ESPN will take over the E Line of the New York City subway that travels from the World Trade Center to Queens. The exterior of the train cars will be covered with logos while more specific ad messages will appear on the inside. The public address announcements at the Spring Street subway station — located near Disney's downtown Manhattan headquarters — will be delivered by ESPN's voluble $20-million-a-year man Stephen A. Smith, the co-host of 'First Take.' Signage will also take over electronic screens in New York's Moynihan Train Hall and Port Authority Bus Terminal and billboards along L.A.'s Sunset Boulevard and adjacent to SoFi Stadium in Inglewood. ESPN's campaign will go beyond the major media centers on the coasts. The streaming service will be featured on TV screens in the home entertainment sections in 4,000 Walmart stores across the country. ESPN also has a deal with Samsung, which will offer free yearlong subscriptions to the streaming service to customers who purchase a QLED 4K TV at Best Buy or Best Buy stores will feature the ESPN app in stores as well during the promotion. ESPN has already been touting its streaming service on air and in paid TV media buys with commercials featuring actor and WWE star John Cena. Cena will soon be an ESPN fixture as the streaming service becomes the new home of major WWE events such as WrestleMania and Royal Rumble, starting in 2026. The ESPN app will include a number of features that will complement the live sports offerings. Fans will be able to create their own personalized 'SportsCenter,' which will use artificial intelligence to provide a short personalized highlight program geared to the user's favorite teams and events. NBC Sports pioneered the customized highlight show on its Peacock streaming platform during the 2024 Summer Olympics, using the voice of Al Michaels. The voices of ESPN 'SportsCenter' hosts will be used on 'SportsCenter for You.' The app will also offer stats, betting, commerce and fantasy sports information alongside the live game coverage shown on ESPN channels.

The Sensational True Story That Inspired ‘The Twisted Tale Of Amanda Knox'
The Sensational True Story That Inspired ‘The Twisted Tale Of Amanda Knox'

Elle

time3 minutes ago

  • Elle

The Sensational True Story That Inspired ‘The Twisted Tale Of Amanda Knox'

It was one of the defining legal battles of the 2000s, when a young American student was accused of murdering her British roommate in a case that captivated global audiences and sparked debates about justice, media coverage and the complexities of international law. Now, Amanda Knox's story returns to our screens in Hulu's The Twisted Tale of Amanda Knox , an eight-episode series that premieres on Disney+ today. The series, which has been executive produced by Knox herself alongside her husband Christopher Robinson and Monica Lewinsky, spans from Knox's 2007 arrival in Italy as a hopeful student to her return in 2022. It's worth noting that the family of murdered British student Meredith Kercher was not involved in the production of this series, adding another layer of complexity to how this story that impacted so many continues to be framed and retold. 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The second trial, an appeal that began in 2010, introduced new forensic evidence that cast doubt on the prosecution's case. Independent experts questioned the reliability of DNA evidence that had been central to the original conviction. In October 2011, Knox and Sollecito were acquitted, with Knox breaking down in tears as the verdict was read. After serving four years in Italian prison, she was free to return to Seattle. But Italy's complex legal system wasn't finished with them. The third trial came when Italy's highest court overturned the acquittal in 2013, sending the case back to a lower court. In 2014, Knox and Sollecito were convicted again in absentia — Knox remaining safely in Seattle while the legal proceedings continued without her physical presence. This conviction carried a 28-year sentence that Knox vowed never to serve. Andrea Miconi Finally, in March 2015, Italy's Supreme Court definitively exonerated both Knox and Sollecito, ruling that the evidence was insufficient for conviction. The court's reasoning was scathing, describing the investigation as plagued by 'stunning flaws' and 'sensational failures'. Knox and Sollecito were declared innocent, their legal nightmare officially over after eight years of uncertainty. Rather than Knox's return to freedom in 2011 marking an ending, it instead was the start of a complicated beginning. After four years in Italian prison, she found herself back in Seattle, attempting to reconstruct a life that had been interrupted at its most formative moment. The world had moved on; she had to catch up while simultaneously processing trauma that defied comprehension. Her path back to normalcy took deliberate steps. She completed her creative writing degree at the University of Washington in 2014, reclaiming the educational journey that had been so violently derailed. Her 2015 memoir Waiting to Be Heard became both catharsis and clarification — an attempt to wrestle her narrative back from years of media speculation and legal proceedings. But Knox's legal troubles proved as persistent as her determination to move forward. Her acquittal was annulled and the case sent to lower courts, leading to re-conviction in 2014 before the Supreme Court's final exoneration in 2015. Even then, shadows remained. In 2024, she returned to an Italian courtroom to face a slander conviction related to statements made during her original interrogation. Ida Mae Astute Knox's relationship with Italy remains complex and ongoing. She has returned multiple times since her exoneration, including a poignant 2022 trip with Sollecito to Gubbio — the city they had planned to visit the day Kercher was found dead. 'It was bittersweet to go back as we were supposed to go there in such different circumstances,' Sollecito observed in a 2022 interview, 'but it was just nice for us to be able to talk about something that wasn't the case.' Today, Knox lives in the Seattle area with her husband Christopher Robinson, whom she met in 2015 at his book launch. 'I was probably the only person at the party who didn't really know who she was,' Robinson later recalled in a 2017 interview. They married in 2020 in a space-themed ceremony and share two children: daughter Eureka, born in 2021, and son Echo, born in 2023. As an ambassador for the Innocence Network, Knox channels her experience into advocacy for others caught in similar legal predicaments. The couple co-hosts the Labyrinths podcast, while Knox hosts several others on her own including Hard Knox With Amanda Knox . Her latest book, Free: My Search For Meaning , was published earlier this year. 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Revisiting The Inferno Of ‘The Acolyte,' A Year Later
Revisiting The Inferno Of ‘The Acolyte,' A Year Later

Forbes

timean hour ago

  • Forbes

Revisiting The Inferno Of ‘The Acolyte,' A Year Later

The Acolyte was an experiment for Disney, a first attempt to take its live-action projects fully outside the Skywalker era in a meaningful way, flinging the timeline back a hundred years to The High Republic. Disney had mined that period in print since it bought Star Wars, but live-action was the next step. It failed. Like the show or hate it, it failed. Despite ending with many loose ends and huge implications for the Star Wars universe, Disney cancelled it. And that was a year ago this week. Looking at just the math alone, it's hard to argue this wasn't inevitable. The Acolyte cost an absolutely absurd $230 million, making it one of the most expensive per-episode shows on TV. That A) was not very visible onscreen B) it was the lowest-viewed Disney Plus Star Wars series at the time and C) it was ridiculous for Disney to believe a show in a new era starring all new characters could put up any viewership that would justify that cost. I'm more than convinced that the also-expensive, also little-watched Andor (at least in season 1), would have possibly been cancelled had they not secured a two-season deal up front. All this said, it sucks this happened. And everything that followed. The Acolyte was an okay show that ended pretty well and in the middle you could glimpse some true greatness. I will maintain that episode 5 of the series, one which The Stranger butchers an entire platoon of Jedi, including a number of characters that in no way seemed at risk, is a top 3 lightsaber fight in the history of Star Wars. The rest was just alright. I was never able to fully get on board with the 'Force Twins' concept, even as it would end up hinting as to how Anakin Skywalker was conceived. You could very much see the enormous wastes of money like a starfighter chase that did not need to exist in a show where its best moments were a lightsaber fight in the woods or two people talking in a cave. It's hard to imagine a second season would need to cost anywhere close to that. It would have been creatively interesting to see more, at any price. Manny Jacinto's The Stranger, in particular, was one of the best original villains we've seen appear in Star Wars in the entire Disney era, and now he's lost to the sands of time with no Acolyte, and no more confirmed High Republic projects coming. We cannot get through this without mentioning the absolutely insane hate the show, its star and its showrunner got. At one point it became an entire industry to print out YouTube videos positively bathing in bile about the show, ranging from thousands of views to hundreds of thousands. It completely drowned the conversation about the show on social media, as even mentioning The Acolyte would quickly devolve into shouting about wokeness and ruining canon. Upon closer inspection by people who actually understood Star Wars, it was in fact the case that each thing brought up never actually broke canon, something showrunner Leslye Headland worked to make sure was the case. At a certain point, none of it made sense unless you dug into the ugly side of it, as no one took more hate than Amandla Stenberg, the star who visibly and self-admittedly took an immense amount of racial harassment during the course of the show, to which critics said 'no she didn't,' as if that was some sort of counter. The Acolyte was the most-hated Star Wars project I've ever seen, and this is a world where The Last Jedi exists. I think debates about The Last Jedi are more widespread because a lot more people watched that movie. But per capita in terms of Acolyte viewership, it's not especially close. The Acolyte is no better or worse than half of Disney-era productions, and yet it was treated like it was turning George Lucas to ash where he stood. In the wake of cancellation, there was in fact a 'Save The Acolyte' movement from the fans who fought valiantly against the hate campaigns and just wanted more. If anything, they were more mad at Disney than anyone, and believed they caved to those groups and shelved the show. Is that the case? I mean, I don't think Disney was deaf to all this, but if this was a cheap show putting up big numbers, I don't think any of it would have mattered. Instead, Disney allowed a colossally bloated budget to feed into a show that needed its first season to find its legs. It was set up to fail. Again, that could have been true with Andor, the no-name characters, the massive cost, the low viewership, but the show had a two season deal and, more importantly, was the single best Star Wars content ever produced short of (I would argue) two of the three OT movies. The Acolyte, even if you liked it, wasn't anywhere close to that, clearly. Disney seems paralyzed with Star Wars right now. The only movie that we are 100% seeing soon is The Mandalorian and Grogu, the show spin-off and possible finale. Ahsoka will get a second season three years(!) after the first. Andor is over. The Acolyte is dead and I think most people forgot or didn't realize Skeleton Crew existed (which is a shame). It feels like Disney is not going to take any creative risks for the foreseeable future. Hopefully that changes with Dawn of the Jedi, an upcoming movie that will take place 25,000 years in the past, but I will believe that will make it to the finish line when I'm sitting in theaters. Fool me eight times, and all that. The Acolyte was a strange, short chapter in Star Wars history. I think it's worth watching once. I think it's a shame we won't get to see where it was trying to go. I think the hate it got was so wildly out of proportion it's hard to take anyone who participated in that seriously again. But I think it was always going to die like this with that kind of budget and an impossible viewership demand to match Disney's idiotic expectations. Follow me on Twitter, YouTube, and Instagram. Pick up my sci-fi novels the Herokiller series and The Earthborn Trilogy.

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