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Selena Gomez says that Wizards of Waverly Place is just as magical as it was when she left. In a recent sit-down interview with People, the 32-year-old singer-songwriter opened up about the process of bringing her breakout Disney Channel series back to life via a reboot slated to arrive this fall. “It was like a […]
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Although it’s been nearly a month since the Summer Olympics 2024 concluded with its Closing Ceremony, the 2024 Paralympic Games is set to begin, with more than 4,400 athletes from all around the world gathering in Paris.
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The Paralympic Games’ Opening Ceremony takes place at the Place de la Concorde and the Champs-Elysées. Check out a complete schedule of the events here.
When Do the Paralympic Games Start?
The Paralympic Games start on Wednesday, Aug. 28, at 2 p.m. ET/11 a.m. PT. It ends on Sunday, Sept. 8, at 2 p.m. ET/11 a.m. PT, or during NBC’s primetime coverage at 9 p.m. ET/PT, daily.
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Men’s and women’s Paralympic events are available to watch live and stream on-demand. The events broadcast across NBC, USA Network and CNBC, as well as streaming on the streaming service Peacock.
How to Watch Paralympic Games on Peacock
Can you stream the Paralympic Games on Peacock? Yes, Peacock goes for $7.99 per month for the Premium plan and $13.99 per month for the Premium Plus plan — both plans include coverage of all events.
Unfortunately, Peacock isn’t offering any deals at the moment, but you can get a discount if you subscribe to the annual plan starting at $79.99 per year (12 months for the price of 10). The streaming service also has discounts for students and teachers with prices starting at $1.99 per month.
Where to Watch the Paralympic Games for Free
If you’re a cord-cutter, then there are a number of ways to watch the Paralympics without cable — especially if you want to watch for free. DirecTV Stream has a five-day free trial, while others such as Fubo and Hulu + Live TV offer free trials too. This is a good way to watch E! and NBC without spending money up front.
Keep reading for more details on how to watch Paralympic Games on NBC, USA Network and CNBC with DirecTV Stream, Fubo, Hulu + Live TV and others.
How to Watch Paralympic Games on DirecTV Stream
A subscription to DirecTV Stream gets you access to live TV, local and cable channels, starting at $49.99 per month with the streamer’s current deals. The service even offers a five-day free trial to watch for free, if you sign up now.
You can watch local networks such as NBC, ABC, CBS, Fox and PBS, while you can also watch cable networks including E!, FX, AMC, A&E, Bravo, Cartoon Network, ESPN, FS1, VH1, Fuse, CNN, Food Network, Lifetime, CNBC, BET, MTV, Paramount Network and many others.
How to Watch Paralympic Games on Fubo
Fubo starts at $79.99 per month with nearly 200 channels — including local and cable — that are streamable on smart TVs, smartphones, tablets and on web browsers. And with a seven-day free trial, you can watch for free, if you act fast and sign up now.
The services gets you live access to local broadcast networks including NBC, ABC, CBS and Fox, while it also has dozens of cable networks, such as E!, FX, Bravo, TLC, ESPN, FS1, MTV, CMT, ID, Ion, OWN, Paramount Network, TV Land, VH1 and much more.
How to Watch Paralympic Games on Hulu + Live TV
The networks NBC, USA Network and CNBC are available to watch with Hulu + Live TV too. Prices for the cable alternative start at $76.99 per month, while each plan comes with Hulu, Disney+ and ESPN+ at no additional cost.
Hulu + Live TV might be best for those who want all of these streaming services together in one package. It also features many other networks, like E!, CBS, ABC, Fox, BET, CMT, Disney Channel, ESPN, Hallmark Channel and more.
More Ways to Watch
Viewers who want to stream the Paralympics internationally can use ExpressVPN, NordVPN and PureVPN to access several streaming platforms.
Meanwhile, if you’re an Xfinity subscriber, you can also save on Peacock. Subscribers to Xfinity’s StreamSaver and Internet plan and watch Peacock, Netflix and Apple TV+ bundled together for $35 per month. In addition, Xfinity Diamond and Platinum rewards members can get Peacock free of charge via rewards points.
Paralympic Games broadcasts on NBC, USA Network, and CNBC starting on Wednesday, Aug. 28, at 2 p.m. ET/11 a.m. PT. Peacock and DirecTV Stream are the best ways to watch the event.
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Maxine Lovell and her daughter Maati had an unexpected run-in with the Wu-Tang Clan‘s wild card Ol’ Dirty Bastard back in 1998. They tell the story in the documentary Ol’ Dirty Bastard: A Tale of Two Dirtys. Explore See latest videos, charts and news See latest videos, charts and news Maati, who was just four […]

All products and services featured are independently chosen by editors. However, Billboard may receive a commission on orders placed through its retail links, and the retailer may receive certain auditable data for accounting purposes. You can spend more than one short day in the Emerald City, as Lego has revealed a new set inspired by […]
Dubbed the “Voice of New York,” Angie Martinez has been a towering figure in New York City hip-hop radio for decades, being inducted into the Radio Hall of Fame in 2020. She also became a New York Times best-selling author when her 2016 memoir made the list. And now she can add director to her accomplished résumé: The hip-hop journalist will make her directorial debut with a documentary about the important, yet often overlooked, DJ Clark Kent.
In a statement to The Hollywood Reporter, Angie had this to say: “DJ Clark Kent is a rare gem whose influence is seen in nearly every era of Hip-Hop’s history books. With our 50-year-old culture susceptible to outside perspective and agenda, it’s important that we spotlight the heroes who push the art form with purity and authenticity. I am honored to help share Clark’s many truths with the world.”
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Born Rodolfo Franklin, the Panamanian-American DJ and producer was instrumental in the careers of Jay-Z, Foxy Brown and Shyne, among others. He’s produced tracks for the likes of Jay, Biggie and Mariah Carey, most notably “Brooklyn’s Finest,” “Sky’s the Limit” and “Loverboy (Remix),” respectively. Kent is also a well-respected figure within the sneaker community, collaborating with brands like Nike and Adidas, and owning upward of 3,000 pairs of sneakers.
“I’m honored to have Angie Martinez directing. Her entire career has been rooted in telling stories in a beautiful & meaningful way. Angie is a true icon of Hip Hop and we are very lucky to have her guiding this project,” Kent told the outlet.
The documentary will be called God’s Favorite DJ: The Story of DJ Clark Kent and the synopsis reads as follows: “[This doc] tells the story of a man who spent the last four decades uninterruptedly as an architect, teacher, and unsung hero within Hip-Hop. The world class DJ, producer and sneaker aficionado takes us back to watershed moments when he single-handedly altered history; like when he convinced Shawn Carter to believe in the future of Jay-Z or taught the Notorious B.I.G. to perform like a star and coached Lil Kim through her first studio session. Directed by award-winning media personality and creator of the IRL (In Real Life) Podcast Angie Martinez, the documentary illuminates how much Clark’s DNA appears in several corners of present pop culture — from the stars for whom he composes music (Kanye West, Mariah Carey, Rick Ross) to his 2024 sneaker collaboration with Nike that now resells for over $10K.”
Produced in partnership with Green Leaf Productions and Mark Sparks Productions, the documentary will feature friends and peers like Jay-Z, DJ Khaled, DJ D-Nice and more.
All products and services featured are independently chosen by editors. However, Billboard may receive a commission on orders placed through its retail links, and the retailer may receive certain auditable data for accounting purposes. “It’s showtime!” NYX wants to make sure fans have a perfectly morbid makeup collection to shop in celebration of the upcoming […]
Michael Bublé, Jelly Roll, Adam Lambert, Miranda Lambert, Teddy Swims, Keith Urban and Questlove are among the music stars booked for season six of The Kelly Clarkson Show, which is set to premiere on Monday, Sept. 23.
Other guests set for the new season include Kristen Bell, Halle Berry, Adam Brody, Jim Carrey, Colin Farrell, Anna Kendrick, Trevor Noah, Uma Thurman, Ali Wong, Kate Winslet and Zachary Quinto. In addition, the casts of Wicked (including Ariana Grande, Cynthia Erivo, Michelle Yeoh, Jeff Goldblum and Jonathan Bailey) and Emily in Paris (including Lily Collins, Ashley Park, Philippine Leroy-Beaulieu and Camille Razat) will appear in studio.
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Production is planning to kick off the new season with a 30 Rock rooftop party at the talk show’s iconic New York City headquarters. The premiere week event will feature Kelly Clarkson performing a Kellyoke medley with house band Y’All to an audience of New Yorkers, including The Kelly Clarkson Show Good Neighbors and Rad Humans, people who are stepping up for their local communities.
The Kelly Clarkson Show has been the top-rated afternoon talk show over the course of its five seasons. The show has aired 884 original episodes. Clarkson has covered more than 800 songs in the show’s popular Kellyoke segment, which has demonstrated that she can just sing about any kind of song. 2024 Grammy host Trevor Noah alluded to Clarkson’s skill in the segment when he joked at the ceremony that if winners went too long in their acceptance speeches, “We’re going to get Kelly Clarkson to cover one of your songs better than you ever could.”
Since its launch in 2019, The Kelly Clarkson Show has won 22 Daytime Emmy Awards, including multiple wins for outstanding daytime talk series and outstanding daytime talk series host. Clarkson has personally won eight Daytime Emmys over the course of the first five seasons of her show (compared to three Grammys over a much longer period of time). Impressively, she has won at least one Emmy in each of the five seasons.
In accepting the award for outstanding daytime talk series for the fourth consecutive year at the ceremony on June 7, Clarkson gave special thanks to NBC for listening to her concerns when she proposed moving the show from Los Angeles to New York.
“Thanks to NBC for believing in our show. … The fact that NBC, a huge company, took time and listened when I said ‘Hey, my life is not going super great. I don’t know if I can live here [in L.A.] anymore. I don’t know if I can do this.’ And they really wrapped their arms around us and they helped us move. And the move has been so great for not just me and my family but our whole show. It takes a lot of time and money and effort to do that. It is not unnoticed. I just want to say thank you for thinking of mental health as well as, you know, a product.”
The show averages 1.3 million daily viewers and has grown each season. Clarkson serves as executive producer with Alex Duda, who also serves as showrunner. Y’All is led by music director Jason Halbert. The series is produced by Universal Television and is distributed in national syndication by NBCUniversal Syndication Studios.
Watch the season six teaser below:
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Selena Gomez brings her A-game in a new teaser for Emilia Pérez, which dropped Monday (Aug. 26) ahead of the film’s arrival on Netflix this fall.
In the nearly two-minute visual, fans get glimpses of the 32-year-old singer-actress staring down the camera, breaking down in tears and lying on a blanket with her fictional family while watching the stars. All the while, someone — presumably leading lady Karla Sofía Gascón, who plays the film’s titular character — sings in whisper-soft Spanish.
“Half rich, half poor, half kingpin, half queen,” the voice croons, according to Netflix’s English subtitles, with a shot of Gomez strutting in slow motion coming onscreen at the word “queen.” “Half here, half there, half dead, half alive/ Half inside, half out, everything, nothing.”
After a fast-paced sequence of dance numbers led by Gomez and her costars, gunshots and blood, the teaser ends with a close-up shot of the Rare Beauty founder quietly exhaling, her eyes closed. Also starring Zoe Saldaña, who appears throughout the teaser, the movie follows a Mexican drug lord (Gascón) embracing her true identity as a woman.
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Following its premiere at the Cannes Film Festival in May — where Gomez and her castmates collectively won the best actress honors — Emilia Pérez premiered in French theaters Aug. 21. Viewers in the U.S., Canada and the U.K. will finally get to watch once the Jacques Audiard-directed musical drops on Netflix Nov. 13.
Ahead of the film’s French premiere, the “Love On” singer posted a throwback video on Aug. 19 of herself reacting to the news that she’d been cast in Emilia Pérez. “I can’t believe I got the movie, I’m so going to cry right now,” she says in the clip, barely holding back tears. “I don’t want to cry … This is going to be so cool.”
Watch the Emilia Pérez teaser above.
Before she was a Billboard Hot 100-topping artist, most people were introduced to Sabrina Carpenter through their television screens. After getting her start as a child actor taking small parts in various films and TV shows — including episodes of Law & Order: Special Victims Unit and Orange Is the New Black — the singer-actress […]

Whether he’s working with Oscar winners like Natalie Portman on hit streaming series or teaming up with pop icons like Beyoncé for bombastic comeback performances, composer and songwriter Marcus Norris enters every space with his entire self. And his understanding of himself is intrinsically tied to the vast expanse of Blackness.
Hailing from Jackson, MI — just outside Detroit – and having spent some years in both Chicago and Los Angeles, Norris honed his musical ear and compositional style in three key hubs of Black American music history. Hip-hop is his foundation, with FruityLoops providing him his first entry point into music production. The spirit of the genre courses through all of his projects, from the funky grit of his Southside Symphony to the ominous swagger of his work on Apple TV’s latest hit drama, Lady in the Lake.
Starring Portman, Emmy nominee Moses Ingram, Noah Jupe, Y’lan Noel, Wood Harris and David Corenswet, Lady in the Lake follows an investigative journalist (Portman) who leaves her abusive husband to solve the mystery of two separate murders that cause her to cross paths with a young woman working to advance Baltimore’s Black community (Ingram). Set in the 1960s, earthy jazz chords and echoes of the blues reverberate across his score, adding both gravity and levity to the series’ plot whenever necessary.
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Television is a new medium for Norris, but he approaches Lady in the Lake with the same consideration and verve that he brings to live concert orchestrations, like his work with WACO Theater’s annual Wearable Art Gala and Beyoncé’s 2023 Dubai performance. Often his work must balance joy with pain and pride with solemn self-reflection, and it’s a feat that he enjoys pulling off time and time again.
“Complex emotions and music aren’t difficult, because that’s how people work,” Norris says. “You’re never just one emotion. That’s just the way the human experience is. It’s never hard to translate that through music because that’s how our brains work.”
Billboard caught up with Norris to break down his Lady in the Lake score, his favorite rap beats and producers of the year, and how he helped Beyoncé’s stunning Dubai performance come to life.
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You started out producing rap beats on pirated software. What was the software you were using? Were you simply trying to recreate beats that you loved or were you already creating original pieces?
It was called FruityLoops at the time, [but] they rebranded to FL Studio. I was doing both original [beats] and trying to recreate things. It was kind of like a diary for me. I was just making beats and I wasn’t even showing anybody for a year or two. It was my way of processing things.
If I liked something, I would try to recreate it in FruityLoops to try to figure out how they made those sounds. How did how did Dr. Dre get his drums to sound like that? How did Lil Jon get his sounds to sound like that? I tell all the young producers, “We didn’t have YouTube tutorials back then, you had to just mess with things until you figured it out.”
What were you listening to when you were growing up?
My mom is a huge Mary J. Blige fan. I loved Dr. Dre, Tupac, West Coast G-funk. I lived in the South for a year, so UGK too.
Do you return to any of those touchpoints when you’re crafting new compositions?
100%. One of my mentors once told me that you are a synthesis of everything that you listen to. I absorb everything and then it kind of comes out as hopefully one cohesive language.
How did you transition into concert composition?
I grew up low income, so I had to piece together all of my early starts to music that we were talking about. I didn’t plan to go to college, but after high school, they gave us a two-year free scholarship to a community college. I scoured the Internet and found one that had anything related to music recording. While I was there, I went to Schoolcraft College in Livonia, MI, outside of Detroit.
While I was there, they made me take music theory and music history. I was exposed to whole styles of music that I had never really been exposed to before. I was bit by the bug I started, [and] studying every piece of music theory I could find, learning more about history and how to write and listen to music. When I was moving to Chicago, I was originally going to go for audio production, but at the last minute, I decided to go for composition, and I just kept doing it ever since.
Did you have any film or TV compositions that have stuck over the years?
When I was a kid, I would say the old Alice in Wonderland. There’s just constant music. I think it has the most musical numbers in any Disney film. And also The Nightmare Before Christmas with Danny Elfman. I would just watch those back-to-back. I know my mom was sick of it. [Laughs.]
What made you say yes to Lady in the Lake?
[Director] Alma [Ha’rel] and how specific her vision was. I always say I’m interested in the interesting and it’s such an interesting project. Sometimes in modern TV, music has to be very, very background. I joke that music has to be like wallpaper on some things where you don’t quite notice it, but Alma didn’t want that from the jump. She wanted something that was going to be interesting, and she kept using [the word] “iconic.” I’m attracted to these musical puzzles where there are very specific considerations that you have to balance.
The show is set in 1960s Baltimore. What artists and records did you use as reference points for that era?
A lot of Nina Simone. I think Cab Calloway is the best performer of all time. I model what I do with Southside Symphony a lot after Cab Calloway. Alma came to me with Nina Simone and talked about her a lot, so I knew that was a touchpoint for it.
When it comes to creating that eerie ambiance, are there any musical hallmarks you shy away from because they might be too cliché?
I just go on a case-by-case basis. Sometimes you can do a familiar thing in an unfamiliar context and that kind of helps. I think when you’re doing the same thing in the same way, that’s when it [becomes] an issue.
For this score specifically, we did try some weird things. We took a trumpet and put it underwater and that was cool. A lot of the sounds that people hear are actually familiar, like breathing or whistling. Usually, you might whistle a happy tune or something, but here it’s kind of creepy.
Ms. Tina Knowles selected you to music direct the 2022 Wearable Art Gala. What was that experience like, especially working with artists like Chloe x Halle and Andra Day?
It was amazing. Ms. Tina is another visionary. It was inspiring to help her bring that vision to life, and I’ve been working with the WACO theater family for some years. I was honored to have the chance to do this on the biggest thing that they had done at [the] time. Working with Chloe x Halle was amazing, [likewise with] Andra Day and Adrienne Warren.
You also got a chance to work with Beyoncé herself for her 2023 Dubai performance. If there were any challenges, what were the biggest ones with bringing that particular set to life?
Just the timing and how quick the turnaround is, but I’ve noticed that that’s all of the music industry. That’s the film and TV industry too, that’s just what being a professional is. It was a very quick turnaround.
Funnily enough, I didn’t actually get to go to Dubai! I did some work for them before they went over there, but the reason I couldn’t go to Dubai was because we were recording the Southside Symphony live mixtape at the same at Ms. Tina’s theater, and she had set it up for us. If it was any other thing in the world, I would have quit and [gone] to Dubai. But it’s like… her mom’s totally gonna know!
What specific orchestrations did you contribute to?
One that was really inspiring for me and kind of a full-circle moment was the arrangement I did for Schubert’s “Ave Maria.” In the [late] 2000s, she did a remix of “Ave Maria,” but she actually did Schubert’s “Ave Maria” in Dubai. I remember thinking, “What an amazing artist.” She’s doing this just to show you she can do it. She doesn’t have to do this, [she’s] already Beyoncé and could take her victory lap. But she’s still pushing it further.
As somebody who draws from so many influences, being able to orchestrate Schubert’s “Ave Maria” for Beyoncé just felt like I was in the right place at the right time. It was a Slumdog Millionaire moment for me.
When did you start working on the Dubai set?
I think [I started] in January of 2023. I was back in the Midwest for the holidays and at the same time, I’m finishing my PhD. I still had to do my defense, so I’m not even done with school. I was getting ready for the live mixtape recording and another film, and Ms. Tina called me directly and said, “Marcus, what are you up to these days?” Knowing all these things that I have going on, I just flat out lied like, “Nothing!” She’s like, “Beyoncé is working on this project and I told her I just really think she needs you on that.” She asked me if I would be interested, and I was like, “Of course!”
My part was very short. I got to sprinkle some things on top and I was just so honored to be a part of such an exciting and inspiring experience.
When did you first start working with Ms. Tina on the Wearable Art Gala?
I’ve been scoring plays at the WACO theater in North Hollywood since 2018. I remember the first time I talked with Miss Tina, we did the very first Southside Symphony concert there in 2020.
The first time I spoke with her more directly was about a little play [the theater] did. I loved working on it, we worked on the music for weeks and weeks. She came up to me afterward – this was when she didn’t direct, she just did the costumes or something for it – and she was like, “I just want you to know they did this play a few years ago, and it wasn’t as good without you.” I just remember thinking, “Ms. Tina, do you know who your children are?” [Laughs]. You can’t say that to people, it’s going to go to my head! At this point, the whole WACO theater is really like family.
What was the biggest challenge for you in composing a TV series versus a concert? What’s one upside that you weren’t anticipating?
I think the biggest challenge on a brand new TV series is that you’re still figuring out what the thing is. The composer’s job is to balance all of these different viewpoints and find a way to make them singular. There are studios, the director, writers, producers, and my musicians and engineers, and all of these different elements. I have to hear all of those and then put them into one singular idea versus the concert I just say, “Hey, this is going to sound great.” Bam, thumbs up.
Every composer who makes it to this point is really good at making music, that’s the easy part. It’s more about how you navigate all of these different personalities. And that’s also the upside, working in that collaborative way. Hopefully, when it goes well, it’s bigger than the sum of its parts. I definitely feel like I got a good workout on that muscle, and I’m excited to do more.
Who are your favorite rap producers or your favorite beats you’ve heard this year? Who are your favorite composers across mediums from this year?
I think Tay Keith has never made a bad beat. I really like Tricky Stewart, even though he’s R&B. I’m a big fan of him and The-Dream, those are some of my dream collaborators. I think they make timeless music. Bryan-Michael Cox is another R&B one. I love the “Euphoria” beat from Kendrick [Lamar]. It goes on these different journeys. My dream is to play “Euphoria” with Southside Symphony just for L.A.
For composers across the board, John Williams is our God. I really like Bernard Herrmann, I feel like I’m very influenced by him as far as my scores go. [Maurice] Ravel is probably one of my favorite orchestrators, I think he’s just a master. I kind of go through these phases where I’m obsessed with a composer or a genre, and I spend a lot of time with it. Right now I’m in a Rimsky-Korsakov phase. I said that Cab Calloway is my favorite performer of all time, a very close second is James Brown. I’ve been listening to Soul on Top right now, those horns are just magic.