Related: ‘Wizards of Waverly Place’ Cast: Where Are They Now?
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David DeLuise, David Henrie, Selena Gomez and Maria Canals-Barrera. Courtesy of Maria Canals-Barrera/Instagram
What’s that, a hat? No, it’s a Wizards of Waverly Place cast reunion!
“The Russos coming back,” David DeLuise and David Henrie, who played father and son on Wizards of Waverly Place, captioned a joint Instagram post on Friday, January 26.
DeLuise, 52, and Henrie, 34, were all smiles as they posed alongside former costars Selena Gomez and Maria Canals-Barrera.
Wizards of Waverly Place — which launched Gomez, now 31, to fame — originally aired on Disney Channel between 2007 and 2012. Henrie, Gomez and Jake T. Austin played the three Russo siblings, who were secretly wizards-in-training while balancing normal teen lives in New York City. News broke earlier this month that Henrie and Gomez, who played the eldest Russo siblings Justin and Alex, would reprise their roles in a new TV pilot.
“You guys are gonna LOVE the new Wizards show!” Wizards mom Canals-Barrera, 57, gushed via Instagram on Friday.
Several former Wizards guest stars commented on the sweet reunion pics.
“This makes me soooo happy,” Bailee Madison, who briefly played a gender-swapped version of Austin’s Max on the final season, wrote via Instagram comment.
Josh Sussman, for his part, added, “The best TV family! .”
Henrie and Gomez announced on January 18 that they were producing a spinoff of Wizards of Waverly Place that will revolve around a grown-up Justin (Henrie) and his family. Justin, who ended the OG series finale as a full-wizard and the headmaster of wizarding school WizTech, has since given up his powers. In the pilot, he will return to the world of magic when he meets a young wizard named Billie (Janice LeAnn Brown) in need of a mentor. It is not yet known what Alex (Gomez) has been up to in the new series.
Gomez and her former TV family have frequently stayed in touch since the show wrapped. She and Henrie have even been perfecting their reboot pitch for years.
“Nothing has happened yet, but there’s a lot of talk [of a revival],” Henrie told Access in August 2020. “We all talk about it for fun. Everyone would be down, but it’s just a matter of time, I think. We’ve talked about it: Gregg [Sulkin], Selena, me, Jake. I think, what we said [about] what made the show special was that we were a family and that the family stuff together was like a family unit.”
David Henrie, Maria Canals-Barrera, Jake T. Austin, David DeLuise and Selena Gomez. WireImage
He continued at the time: “I think a great place to start the [potential new] show would be the opposite version of that, so you have somewhere to go throughout the series. So, if you started the show where the family’s divided, and not united.”
Henrie further speculated that Gomez’s Alex would be a major fashionista, like “the Meryl Streep of the wizard world,” while Austin’s Max would own a chain of sub shops. (While Max lost the wizard competition in the OG series finale, Jerry gave him the keys to the family’s sandwich restaurant.)
What’s that, a hat? No, it’s a Wizards of Waverly Place cast reunion! “The Russos ❤️🪄coming back,” David DeLuise and David Henrie, who played father and son on Wizards of Waverly Place, captioned a joint Instagram post on Friday, January 26. DeLuise, 52, and Henrie, 34, were all smiles as they posed alongside former costars
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Starkville, Mississippi — The viral rise of 4-year-old LaR’iyah Jesireé, better known as “Ms. Shirley,” has captivated millions on TikTok and Instagram. But as her fame grows, so too does a wave of public concern—particularly over her appearances at meet-and-greet events attended by adults, including grown men, raising urgent questions about child safety, parental responsibility, and the blurred boundaries of social media stardom.
Ms. Shirley’s infectious line dances, especially her signature “Boots on the Ground” routine, have made her a household name in the world of social media. With over a million followers and appearances on national television, she’s become a symbol of youthful talent and joy.
But behind the viral videos lies a controversy that has split public opinion. Critics argue that the very events fueling her fame—public meet-and-greets, often at venues not designed for children—expose her to adult environments and attention that are inappropriate for someone her age.
Latisha Tucker, Ms. Shirley’s mother, has not shied away from the criticism. She maintains that her daughter’s appearances are carefully managed and that the backlash is fueled by outsiders who misunderstand their intentions. Tucker has publicly stated that any earnings from Ms. Shirley’s fame will be set aside for her future, and insists that her daughter is simply “being a kid like any other kid.” Still, she acknowledges that the scrutiny comes with the territory of internet celebrity.
The uproar over Ms. Shirley’s meet-and-greets is part of a larger debate about the responsibilities of parents who share their children’s lives online, the adequacy of social media safeguards, and the potential for exploitation in the pursuit of viral fame. As platforms like TikTok continue to blur the lines between childhood and celebrity, the story of Ms. Shirley stands as a flashpoint—one that forces parents, platforms, and audiences alike to confront uncomfortable questions about where to draw the line.
Issue | Description |
---|---|
Adult Attendance at Events | Grown men and other adults present at meet-and-greets, sparking safety concerns |
Parental Oversight | Debate over whether Ms. Shirley’s mother is protecting or exploiting her child |
Child Safety | Reports to CPS and public calls for better safeguards for young social media stars |
Online Division | Fans celebrate her talent, critics warn of long-term risks and inappropriate exposure |
As Ms. Shirley’s star continues to rise, so does the scrutiny. For now, her story remains a cautionary tale at the intersection of childhood, celebrity, and the unpredictable power of the internet.
Nicki Minaj has once again set social media ablaze, this time targeting Jay-Z with a series of pointed tweets that allege he owes her an eye-popping $200 million. The outburst has reignited debates about artist compensation, industry transparency, and the ongoing power struggles within hip-hop’s elite circles.
In a string of tweets, Minaj directly addressed Jay-Z, writing, “Jay-Z, call me to settle the karmic debt. It’s only collecting more interest. You still in my top five though. Let’s get it.” She went further, warning, “Anyone still calling him Hov will answer to God for the blasphemy.” According to Minaj, the alleged debt stems from Jay-Z’s sale of Tidal, the music streaming platform he launched in 2015 with a group of high-profile artists—including Minaj herself, J. Cole, and Rihanna.
When Jay-Z sold Tidal in 2021, Minaj claims she was only offered $1 million, a figure she says falls dramatically short of what she believes she is owed based on her ownership stake and contributions. She has long voiced dissatisfaction with the payout, but this is the most public—and dramatic—demand to date.
Minaj’s Twitter storm wasn’t limited to financial complaints. She also:
She expressed frustration that mainstream blogs and platforms don’t fully cover her statements, especially when they involve Jay-Z, and suggested that much of the coverage she receives is from less reputable sources.
Minaj’s tweets took a satirical turn as she jokingly blamed Jay-Z for a laundry list of cultural grievances, including:
She repeatedly declared, “The jig is up,” but clarified that her statements were “alleged and for entertainment purposes only.”
Minaj also criticized Jay-Z’s political involvement, questioning why he didn’t campaign more actively for Kamala Harris or respond to President Obama’s comments about Black men. While Jay-Z has a history of supporting Democratic campaigns, Minaj’s critique centered on more recent events and what she perceives as a lack of advocacy for the Black community.
Adding another layer to her grievances, Minaj voiced disappointment that Lil Wayne was not chosen to perform at the Super Bowl in New Orleans, a decision she attributes to Jay-Z’s influence in the entertainment industry.
Despite the seriousness of her financial claim, many observers note that if Minaj truly believed Jay-Z owed her $200 million, legal action—not social media—would likely follow. As of now, there is no public record of a lawsuit or formal complaint.
Some fans and commentators see Minaj’s outburst as part of a larger pattern of airing industry grievances online, while others interpret it as a mix of personal frustration and performance art. Minaj herself emphasized that her tweets were “for entertainment purposes only.”
Nicki Minaj’s explosive Twitter rant against Jay-Z has once again placed the spotlight on issues of artist compensation and industry dynamics. Whether her claims will lead to further action or remain another dramatic chapter in hip-hop’s ongoing soap opera remains to be seen, but for now, the world is watching—and tweeting.
YouTube’s latest policy update, effective July 15th, has sent shockwaves through the AI and faceless channel community. Social media is buzzing with claims that “AI channels are dead,” while others express relief or confusion. If you’re a YouTube creator using AI, you might be wondering: Is this the end, or just another evolution? Here’s what you need to know—and how you can adapt to thrive in this new landscape.
YouTube’s update targets mass-produced, repetitive, and low-effort content—not AI itself. The company clarified that these rules are not new but are being enforced more strictly with improved detection tools. The main focus is on content that:
YouTube’s response to creators’ concerns emphasized that AI is not banned, but unoriginal, spammy content is—and always has been—ineligible for monetization.
Channels most affected by this update typically:
Examples include “revenge story” channels or those uploading unedited compilations and meditation tracks without original contributions. Such channels are now more likely to lose monetization or face removal.
YouTube aims to:
This approach aligns with long-standing YouTube Partner Program policies and legal doctrines like fair use, which require transformative use of source material.
YouTube is not against AI. In fact, Google (YouTube’s parent company) invests heavily in AI tools. The key is to use AI as a creative assistant, not a replacement for originality. Here’s what successful channels do:
This policy update isn’t the end of AI channels—it’s the end of low-effort, easily automated content. If you’re committed to creating genuine value, using AI as a tool (not a crutch), and building a real brand, you’re not just safe—you’re set up for long-term success on YouTube.
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