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Brian Wilson, Beach Boys visionary leader and summer’s poet laureate, dies at 82
Brian Wilson, the Beach Boys’ visionary and fragile leader whose genius for melody, arrangements and wide-eyed self-expression inspired “Good Vibrations,” “California Girls” and other summertime anthems and made him one of the world’s most influential recording artists, has died at 82. Wilson’s family posted news of his death to his website and social media […]

Brian Wilson, the Beach Boys’ visionary and fragile leader whose genius for melody, arrangements and wide-eyed self-expression inspired “Good Vibrations,” “California Girls” and other summertime anthems and made him one of the world’s most influential recording artists, has died at 82.
Wilson’s family posted news of his death to his website and social media accounts Wednesday. Further details weren’t immediately available. Since May 2024, Wilson had been under a court conservatorship to oversee his personal and medical affairs, with Wilson’s longtime representatives, publicist Jean Sievers and manager LeeAnn Hard, in charge.
The eldest and last surviving of three musical brothers — Brian played bass, Carl lead guitar and Dennis drums — he and his fellow Beach Boys rose in the 1960s from local California band to national hitmakers to international ambassadors of surf and sun. Wilson himself was celebrated for his gifts and pitied for his demons. He was one of rock’s great Romantics, a tormented man who in his peak years embarked on an ever-steeper path to aural perfection, the one true sound.
The Beach Boys rank among the most popular groups of the rock era, with more than 30 singles in the Top 40 and worldwide sales of more than 100 million. The 1966 album “Pet Sounds” was voted No. 2 in a 2003 Rolling Stone list of the best 500 albums, losing out, as Wilson had done before, to the Beatles’ “Sgt. Pepper’s Lonely Hearts Club Band.” The Beach Boys, who also featured Wilson cousin Mike Love and childhood friend Al Jardine, were voted into the Rock and Roll Hall of Fame in 1988.
Wilson feuded with Love over songwriting credits, but peers otherwise adored him beyond envy, from Elton John and Bruce Springsteen to Katy Perry and Carole King. The Who’s drummer, Keith Moon, fantasized about joining the Beach Boys. Paul McCartney cited “Pet Sounds” as a direct inspiration on the Beatles and the ballad “God Only Knows” as among his favorite songs, often bringing him to tears.
Wilson moved and fascinated fans and musicians long after he stopped having hits. In his later years, Wilson and a devoted entourage of younger musicians performed “Pet Sounds” and his restored opus, “Smile,” before worshipful crowds in concert halls. Meanwhile, The Go-Go’s, Lindsey Buckingham, Animal Collective and Janelle Monáe were among a wide range of artists who emulated him, whether as a master of crafting pop music or as a pioneer of pulling it apart.
An endless summer
The Beach Boys’ music was like an ongoing party, with Wilson as host and wallflower. He was a tall, shy man, partially deaf (allegedly because of beatings by his father, Murry Wilson), with a sweet, crooked grin, and he rarely touched a surfboard unless a photographer was around. But out of the lifestyle that he observed and such musical influences as Chuck Berry and the Four Freshmen, he conjured a golden soundscape — sweet melodies, shining harmonies, vignettes of beaches, cars and girls — that resonated across time and climates.
Decades after its first release, a Beach Boys song can still conjure instant summer — the wake-up guitar riff that opens “Surfin’ USA”; the melting vocals of “Don’t Worry Baby”; the chants of “fun, fun, fun” or “good, good, GOOD, good vibrations”; the behind-the-wheel chorus “‘Round, ‘round, get around, I get around.” Beach Boys songs have endured from turntables and transistor radios to boom boxes and iPhones, or any device that could lie on a beach towel or be placed upright in the sand.
The band’s innocent appeal survived the group’s increasingly troubled backstory, whether Brian’s many personal trials, the feuds and lawsuits among band members or the alcoholism of Dennis Wilson, who drowned in 1983. Brian Wilson’s ambition raised the Beach Boys beyond the pleasures of their early hits and into a world transcendent, eccentric and destructive. They seemed to live out every fantasy, and many nightmares, of the California myth they helped create.
From the suburbs to the national stage
Brian Wilson was born June 20, 1942, two days after McCartney. His musical gifts were soon obvious, and as a boy he was playing piano and teaching his brothers to sing harmony. The Beach Boys started as a neighborhood act, rehearsing in Brian’s bedroom and in the garage of their house in suburban Hawthorne, California. Surf music, mostly instrumental in its early years, was catching on locally: Dennis Wilson, the group’s only real surfer, suggested they cash in. Brian and Love hastily wrote up their first single, “Surfin,’” a minor hit released in 1961.
They wanted to call themselves the Pendletones, in honor of a popular flannel shirt they wore in early publicity photos. But when they first saw the pressings for “Surfin,’” they discovered the record label had tagged them “The Beach Boys.” Other decisions were handled by their father, a musician of some frustration who hired himself as manager and holy terror. By mid-decade, Murry Wilson had been displaced and Brian, who had been running the band’s recording sessions almost from the start, was in charge, making the Beach Boys the rare group of the time to work without an outside producer.
Their breakthrough came in early 1963 with “Surfin’ USA,” so closely modeled on Berry’s “Sweet Little Sixteen” that Berry successfully sued to get a songwriting credit. It was their first Top 10 hit and a boast to the nation: “If everybody had an ocean / across the USA / then everybody’d be surfin,’ / like Cali-for-nye-ay.” From 1963-66, they were rarely off the charts, hitting No. 1 with “I Get Around” and “Help Me, Rhonda” and narrowly missing with “California Girls” and “Fun, Fun, Fun.” For television appearances, they wore candy-striped shirts and grinned as they mimed their latest hit, with a hot rod or surfboard nearby.
Their music echoed private differences. Wilson often contrasted his own bright falsetto with Love’s nasal, deadpan tenor. The extroverted Love was out front on the fast songs, but when it was time for a slow one, Brian took over. “The Warmth of the Sun” was a song of despair and consolation that Wilson alleged — to some skepticism — he wrote the morning after President John F. Kennedy was assassinated. “Don’t Worry Baby,” a ballad equally intoxicating and heartbreaking, was a leading man’s confession of doubt and dependence, an early sign of Brian’s crippling anxieties.
Stress and exhaustion led to a breakdown in 1964 and his retirement from touring, his place soon filled by Bruce Johnston, who remained with the group for decades. Wilson was an admirer of Phil Spector’s “Wall of Sound” productions and emulated him on Beach Boys tracks, adding sleigh bells to “Dance, Dance, Dance” or arranging a mini-theme park of guitar, horns, percussion and organ as the overture to “California Girls.”
By the mid-1960s, the Beach Boys were being held up as the country’s answer to the Beatles, a friendly game embraced by each group, transporting pop music to the level of “art” and leaving Wilson a broken man.
The Beach Boys vs. The Beatles
The Beatles opened with “Rubber Soul,” released in late 1965 and their first studio album made without the distractions of movies or touring. It was immediately praised as a major advance, the lyrics far more personal and the music far more subtle and sophisticated than such earlier hits as “She Loves You” and “A Hard Day’s Night.” Wilson would recall getting high and listening to the record for the first time, promising himself he would not only keep up with the British band, but top them.
Wilson worked for months on what became “Pet Sounds,” and months on the single “Good Vibrations.” He hired an outside lyricist, Tony Asher, and used various studios, with dozens of musicians and instruments ranging from violins to bongos to the harpsichord. The air seemed to cool on some tracks and the mood turn reflective, autumnal. From “I Know There’s an Answer” to “You Still Believe in Me,” many of the songs were ballads, reveries, brushstrokes of melody, culminating in the sonic wonders of “Good Vibrations,” a psychedelic montage that at times sounded as if recorded in outer space.
The results were momentous, yet disappointing. “Good Vibrations” was the group’s first million-seller and “Pet Sounds,” which included the hits “Sloop John B” and “Wouldn’t It Be Nice,” awed McCartney, John Lennon and Eric Clapton among others. Widely regarded as a new kind of rock LP, it was more suited to headphones than to the radio, a “concept” album in which individual songs built to a unified experience, so elaborately crafted in the studio that “Pet Sounds” couldn’t be replicated live with the technology of the time. Wilson was likened not just to the Beatles, but to Mozart and George Gershwin, whose “Rhapsody in Blue” had inspired him since childhood.
But the album didn’t chart as highly as previous Beach Boys releases and was treated indifferently by the U.S. record label, Capitol. The Beatles, meanwhile, were absorbing lessons from the Beach Boys and teaching some in return. “Revolver” and “Sgt. Pepper,” the Beatles’ next two albums, drew upon the Beach Boys’ vocal tapestries and melodic bass lines and even upon the animal sounds from the title track of “Pet Sounds.” The Beatles’ epic “A Day in the Life” reconfirmed the British band as kings of the pop world and “Sgt. Pepper” as the album to beat.
All eyes turned to Wilson and his intended masterpiece — a “teenage symphony to God” he called “Smile.” It was a whimsical cycle of songs on nature and American folklore written with lyricist Van Dyke Parks. The production bordered on method acting; for a song about fire, Wilson wore a fire helmet in the studio. The other Beach Boys were confused, and strained to work with him. A shaken Wilson delayed “Smile,” then canceled it.
Remnants, including the songs “Heroes and Villains” and “Wind Chimes” were re-recorded and issued in September 1967 on “Smiley Smile,” dismissed by Carl Wilson as a “bunt instead of a grand slam.” The stripped down “Wild Honey,” released three months later, became a critical favorite but didn’t restore the band’s reputation. The Beach Boys soon descended into an oldies act, out of touch with the radical ’60s, and Wilson withdrew into seclusion.
Years of struggle, and late life validation
Addicted to drugs and psychologically helpless, sometimes idling in a sandbox he had built in his living room, Wilson didn’t fully produce another Beach Boys record for years. Their biggest hit of the 1970s was a greatest hits album, “Endless Summer,” that also helped reestablish them as popular concert performers.
Although well enough in the 21st century to miraculously finish “Smile” and tour and record again, Wilson had been diagnosed with schizoaffective disorder and baffled interviewers with brief and disjointed answers. Among the stranger episodes of Wilson’s life was his relationship with Dr. Eugene Landy, a psychotherapist accused of holding a Svengali-like power over him. A 1991 lawsuit from Wilson’s family blocked Landy from Wilson’s personal and business affairs.
His first marriage, to singer Marilyn Rovell, ended in divorce and he became estranged from daughters Carnie and Wendy, who would help form the pop trio Wilson Phillips. His life stabilized in 1995 with his marriage to Melinda Ledbetter, who gave birth to two more daughters, Daria and Delanie. He also reconciled with Carnie and Wendy and they sang together on the 1997 album “The Wilsons.” (Melinda Ledbetter died in 2024.)
In 1992, Brian Wilson eventually won a $10 million out-of-court settlement for lost songwriting royalties. But that victory and his 1991 autobiography, “Wouldn’t It Be Nice: My Own Story,” set off other lawsuits that tore apart the musical family.
Carl Wilson and other relatives believed the book was essentially Landy’s version of Brian’s life and questioned whether Brian had even read it. Their mother, Audree Wilson, unsuccessfully sued publisher HarperCollins because the book said she passively watched as her husband beat Brian as a child. Love successfully sued Brian Wilson, saying he was unfairly deprived of royalties after contributing lyrics to dozens of songs. He would eventually gain ownership of the band’s name.
The Beach Boys still released an occasional hit single: “Kokomo,” made without Wilson, hit No. 1 in 1988. Wilson, meanwhile, released such solo albums as “Brian Wilson” and “Gettin’ In Over My Head,” with cameos by McCartney and Clapton among others. He also completed a pair of albums for the Walt Disney label — a collection of Gershwin songs and music from Disney movies. In 2012, surviving members of the Beach Boys reunited for a 50th anniversary album, which quickly hit the Top 10 before the group again bickered and separated.
Wilson won just two competitive Grammys, for the solo instrumental “Mrs. O’Leary’s Cow” and for “The Smile Sessions” box set. Otherwise, his honors ranged from a Grammy lifetime achievement prize to a tribute at the Kennedy Center to induction into the Songwriters Hall of Fame. In 2018, he returned to his old high school in Hawthorne and witnessed the literal rewriting of his past: The principal erased an “F” he had been given in music and awarded him an “A.”
Sports
Brown, Labrosse to compete at Men’s U20 World Championships
Story Links World Aquatics Men’s U20 Water Polo Championships Tournament Central SANTA CLARA, Calif. — The Santa Clara University men’s water polo team will have two representatives competing in the 2025 World Aquatics Men’s U20 Water Polo Championships, starting Saturday in Zagreb, Croatia. […]

SANTA CLARA, Calif. — The Santa Clara University men’s water polo team will have two representatives competing in the 2025 World Aquatics Men’s U20 Water Polo Championships, starting Saturday in Zagreb, Croatia.
Incoming freshman Ashton Brown will compete for his home country of Australia, while soon-to-be junior goalie Harrison Labrosse will play for Canada. The tournament runs from Saturday through June 21. Brown and Australia will play in Group A with Colombia and Argentina. Labrosse and Canada will take on China and Singapore as part of Group F.
Brown enters next week’s World Aquatics Men’s U20 Water Polo Championships with a ton of international experience already under his belt. Brown competed at both the FINA (now known as “World Aquatics”) U16 and U18 World Championships in 2022 and 2024, respectively, and recently trained with Australia’s senior national team ahead of the 2024 Paris Olympics. His U16 Australian squad made the quarterfinals of that 2022 FINA World Championship in Greece.
Labrosse has been the Broncos’ primary goalkeeper for two years since joining the program in 2023, playing in 37 games. Labrosse has totaled 363 saves across two seasons. He also has 22 career steals. The native of Lafayette, Calif., has recorded 10 or more saves in 20 games through his first two collegiate campaigns. He’s also been a star in the classroom, being named West Coast Conference All-Academic Honorable Mention in 2024 while also earning “Bronze” Honors on the 2023-24 WCC Commissioner’s Honor Roll and ACWPC All-Academic “Superior” Honors after his 2023 freshman season.
Brown and Australia’s first game at the championships will be at 3 a.m. PDT / noon Central European Standard Time on Saturday versus Colombia. Labrosse and Canada will play 90 minutes later at 4:30 a.m. PDT / 1:30 p.m. CEST versus Singapore.
Sports
McManus Advances to Steeplechase Final at NCAA Championships
Story Links EUGENE, Ore. — Two Montana State men’s distance stars showed out on the big stage to open up the 2025 NCAA Division I Outdoor Track & Field Championships on Wednesday in Eugene, Oregon, with Rob McManus successfully carrying the ‘Steeple U’ legacy into the national final and Harvey […]

EUGENE, Ore. — Two Montana State men’s distance stars showed out on the big stage to open up the 2025 NCAA Division I Outdoor Track & Field Championships on Wednesday in Eugene, Oregon, with Rob McManus successfully carrying the ‘Steeple U’ legacy into the national final and Harvey Cramb earning honorable mention All-American honors in the 1,500 meters.
The evening did not go by without significant drama.
McManus qualified for Friday’s final in the 3,000 meter steeplechase by rebounding from a late fall on the last water barrier, popping back up after a hard crash to finish strong and place fourth in his heat with a time of 8:34.54.
McManus was leading going into the final water jump, but lost his footing and splashed down into the pit before quickly getting to his feet and passing a competitor on the home stretch to secure one of the five automatic qualifying spots to Friday.
The three-time All-American jumped out to a quick lead to start the race and never fell out of the top-five throughout the entirety of the seven-and-a-half laps.
“Rob was in control that whole race and looked really good,” head coach Lyle Weese said. “He seemed to be well within himself and seemed to be having as good of a steeple race as he’s ever run. Right through the end he was moving great until that last steeple barrier. That added a little bit of drama to the finish of that race, but overall it was a workman-like race where whenever he needed to react he did and whenever he needed to move forward he did. He ran that race like the vet he is.”
The senior from Cashmere, Washington, felt sweet relief in redemption after just missing out on qualifying for the final in each of the last two seasons—including by a single spot last year in Eugene, when he took 13th behind teammate Levi Taylor.
This year, there was no such disappointment.
With McManus’ qualification, it marks the fifth straight year that a Montana State man has made the national final in the 3,000 meter steeplechase, joining BYU and Eastern Kentucky as the only schools to put someone in the final each season during that span.
Duncan Hamilton finished sixth in 2021 before placing runner-up in 2022 and 2023. Levi Taylor represented the Cats in the final last year, finishing 12th.
Friday, McManus will look to leave his mark in the 12-man final slated for 5:24 p.m. PT/6:24 p.m. MT on ESPN2.
Earlier in the evening, Harvey Cramb closed out a memorable sophomore campaign finishing 17th in the 1,500 meters. The native of Brisbane, Australia, moved up and down throughout the race, keeping a hold of the top pack before fading in the final lap.
In a show of just how different the two heats played out, Cramb’s time of 3:44.57 was still seven seconds faster than the winner of the other section, where Bradley’s Jack Crull won in 3:51.96.
Cramb was competing as just the fourth-ever Bobcat to make it to the national championships in the 1,500 meters, joining Cristian Soratos (2015), Patrick Casey (2011) and Mike Feist (2000).
Cramb’s 17th place result is the third-best finish ever by a Bobcat in the event behind Soratos (7th) and Casey (8th).
“For Harvey to have raced at two NCAA Championships between indoors in the mile and outdoors in the 1,500, it’s really incredibly valuable experience,” Weese said. “He has come so far this year and improved so much, so this whole season was a gigantic step forward. There have been so many highlights for his season—it’s been a pretty special year. It was great for him to as a sophomore get into two NCAA Championships, and I think in future years he will benefit from those experiences.”
This season, Cramb placed 11th in the mile at the NCAA Indoor Championships to earn Second Team All-American honors, won the Big Sky title in the 1,500 meters, broke the school record in the 800 meters, and ran the second-fastest 1,500 in school history (3:37.31).
“It was special to have two guys competing in different events tonight,” Weese said. “Obviously we’ve had a lot of steeplechase entries in this meet over the last few years, but it was nice to get an entry in the 1,500 meters, where we haven’t had one in a while. I think it just speaks volumes to the strength of that entire men’s distance group.”
UP NEXT
The Montana State women take their turn at Hayward Field on Thursday, with multiple entries competing at the national meet for just the fourth time in program history.
Hailey Coey becomes the first Montana State long jumper ever to compete at the NCAA Championships, taking to the runway at 5:40 p.m. PT/6:40 p.m. MT. The junior from Billings will compete in Flight 1, with the entire event streaming on ESPN+.
Then, the first-ever relay in program history to compete at the national meet races at 7:36 p.m. PT/8:36 p.m. MT as the women’s 4×400 group of Peyton Garrison, Caroline Hawkes, Olivia Lewis, and Giulia Gandolfi lines up in Eugene.
The Cats will compete in the first of three heats, running out of lane two. The top-two teams from each heat advance to Saturday night’s final, plus the next three fastest time qualifiers.
#GoCatsGo
Sports
Photos: Day One of the NCAA Outdoor Track and Field Championships
Peyton Bair of Mississippi State celebrates after winning the men’s decathlon 100-meter dash in 10.25 seconds during the NCAA track and field championships in Eugene, Ore., on Wednesday, June 11, 2025. The junior posted a personal best and scored 1,035 points in the event. (Max Unkrich / Emerald) Link 0

Peyton Bair of Mississippi State celebrates after winning the men’s decathlon 100-meter dash in 10.25 seconds during the NCAA track and field championships in Eugene, Ore., on Wednesday, June 11, 2025. The junior posted a personal best and scored 1,035 points in the event. (Max Unkrich / Emerald)
Sports
Reynolds and Holtzen Earn All-America Honors on Day One of the NCAA Outdoor Championships – Mountain West Conference
EUGENE, Ore. (June 11, 2025) – Senior Daniel Reynolds and junior Ryker Holtzen earned All-America honors in the hammer throw and 3,000-meter steeplechase on the first day of the NCAA Outdoor Track and Field Championships at Hayward Field, Wednesday. FIELD EVENTS The first individual event of the National Championships kicked off with Reynolds in the hammer […]

EUGENE, Ore. (June 11, 2025) – Senior Daniel Reynolds and junior Ryker Holtzen earned All-America honors in the hammer throw and 3,000-meter steeplechase on the first day of the NCAA Outdoor Track and Field Championships at Hayward Field, Wednesday.
FIELD EVENTS
The first individual event of the National Championships kicked off with Reynolds in the hammer throw. Coming into the meet, he held the No. 9 qualifying throw in the country and was on the fringe for First-Team All-America status. As the last thrower in the second flight, Reynolds had all the competition ahead of him and would know what it would take to make the finals.
On his first toss, the Granby, Colo., native launched the hammer to 68.72 meters. This would be his best throw among his first three, placing him eighth to make the Top-9 final. With three throws left in his hammer college career, Reynolds had more work to do. Right out of the gates, he threw what would be his best of the event at 228’ 7” (69.68 meters), good for seventh overall. After a 66-meter toss and a foul, Reynolds solidified his spot in the Top 8 and earned First-Team All-America honors, the first Cowboy since Colton Paller in the 2021 outdoor season. Reynolds’ busy day was just starting, though, as he still looked to compete in the shot put.
In the shot, Reynolds landed his first and only put fair at 58’ 5 3/4″ (17.82 meters). He would foul on the next two attempts and miss out on the final, landing in 22nd.
Reynolds closed his Cowboy career as an NCAA champion, a two-time All-American and a three-time Wyoming school record holder.
TRACK EVENTS
Holtzen ran in heat one of the 3,000-meter steeplechase, fighting for a Top-5 spot to automatically qualify for Friday’s final. After falling from the top group to start, he found himself fourth with four laps to go. On laps five and six, Holtzen held close with his two fastest splits before falling back from the pack. Coming around the last straight and after crossing 27 obstacles, the Twin Falls, Idaho, native needed an all-out sprint if he hoped to earn a finals spot as a time qualifier.
Holtzen finished seventh. just 0.04 seconds ahead of the eighth-place finisher, in heat one with a time of 8:38.09, eagerly awaiting the results of heat two to see if he would run on Friday.
As fate would have it, heat two ran a much faster race, with its Top-5 finishers crossing the line ahead of the 8:30 mark. Junior Holtzen would finish in 15th overall and “settle” for Second-Team All-America honors, an achievement many athletes dream of, especially in their first appearance at Hayward Field.
Holtzen is the first Cowboy to earn the title of All-American in the steeplechase in Wyoming history, joining two Cowgirls, Audra DeStefano (2017, HM) and Katelyn Mitchem (2023, 2nd) to win the honor in the steeplechase.
In his junior season, Holtzen competed in both the cross country and outdoor track and field national championships and set two school records.
NEXT UP
Wyoming track and field will close the 2024-25 season on Friday when junior Jacob White runs in the 5,000-meter final. The gun will sound at 7:55 p.m. MT in Eugene and will be the second-to-last event at the men’s NCAA Outdoor Championships.
Stay up to date with Wyoming track & field by following @wyo_track on X and Instagram.
Sports
Hilary Duff’s ‘Lizzie McGuire’ Co-Star Jake Thomas On Revival Series “Falling Apart”: “It Was Bad Timing”
It’s been over five years since the Lizzie McGuire revival series was officially scrapped, and Jake Thomas is weighing in. The former Disney Channel actor who played Hilary Duff’s little brother Matt in the comedy explained why the sequel series didn’t move forward. More from Deadline “Sometimes that just happens,” Thomas told E! News. “It […]

It’s been over five years since the Lizzie McGuire revival series was officially scrapped, and Jake Thomas is weighing in.
The former Disney Channel actor who played Hilary Duff’s little brother Matt in the comedy explained why the sequel series didn’t move forward.
More from Deadline
“Sometimes that just happens,” Thomas told E! News. “It was bad timing with everything. It was right at the beginning of COVID.”
The sequel series was announced during the Disney D23 Expo in 2019 and was being developed for the new Disney+ streaming service. However, the original series’ creator, Terri Minsky, stepped down in January 2020. Duff took to social media to ask Disney to move the series to Hulu, allowing the character to live more authentically to her age.
Despite the series being canceled altogether, Thomas finds it “crazy how embedded Lizzie McGuire has become within a millennial culture as something that we’re still referencing today,” adding, “It blows my mind, and I’m thankful for that.”
The revival series would’ve brought back the original cast members, and in 2024, one of the writers of the series revealed that two episodes were filmed. Jonathan Hurwitz said in a TikTok video that the first episode found Lizzie living in New York City as an interior designer. Lizzie soon finds out her chef boyfriend is cheating on her with her best friend, which prompts her to return to her childhood home in California, where animated Lizzie is waiting for her.
Hurwitz noted that Episode 3 didn’t end up getting filmed, and believed this was the episode that Disney might have had some issues with.
“Episode 3 wasn’t filmed, but there was a script for it,” Hurwitz said. “Lizzie wakes up in Ethan’s bed, in his water polo t-shirt. Animated Lizzie pops up and she has this little checklist, like a to-do list, and Ethan is on the list and she checks it off.”
Hurwitz continued, “I think she says something like, ‘I checked that box –dramatic pause– twice.’ So if I had to guess, I saw another comment about certain storylines [about] why Disney wasn’t comfortable with it, my guess was… that moment was probably one of them.”
In an interview on Watch What Happens Live in 2023, Duff continued to be optimistic about the revival getting another shot, saying the show “lived up to her vision.” She added, “Disney+ was very new and I think they were figuring out their… and we were figuring out our… and I am optimistic.”
Since the launch of Disney+, the lines between Disney’s streaming platforms have been blurred. Subscribers of both services can see Hulu’s content within the Disney+ app. Shows not necessarily Disney+ friendly, like The Kardashians, The Handmaid’s Tale, and Only Murders in the Building, are available on the Disney+ platform for those with the bundle.
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