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Honoring both the 1998 classic and the upcoming sequel, the merchandise will include fashion, jewelry, home decor and more from partners including Hot Topic, Loungefly, Queen of Sparkles, Retrokid and BoxLunch. Products will roll out through August and September with more launches in the fall.

“‘Practical Magic’ has enchanted audiences since the film first debuted in theaters, and the Owens Sisters continue to captivate fans around the world,” says Robert Oberschelp, head of global consumer products at Warner Bros. “As we eagerly anticipate the release of the new film ‘Practical Magic 2,’ it is the perfect time to introduce the first-ever ‘Practical Magic’ collection. Inspired by both the original film and its spellbinding next chapter, each product captures the charm, mystery, and magic that have made ‘Practical Magic’ a lasting fan favorite.”

Highlights from the “Practical Magic” collection include a velvet shoulder bag from Hot Topic, a vintage sage green three quarter sleeve cardigan from Unique Vintage and a Midnight Margaritas Club apron from the official WB shop. Additionally, brand deals will bring to life a Midnight Margarita-inspired collaboration with SharkNinja, an Everyday Alchemy box from Flamingo Estate, a three-piece apparel collection from Cakeworthy, four character-inspired frames from DIFF Eyewear and a retro collection from Retrokid featuring hoodies, crewnecks and tees.

Fans can also purchase jewelry from Awe Inspired and Jessica de Lotz, including relics featuring the film’s symbolic vocabulary, spell books reimagined into carved gemstones and pendants. Exclusive merch will be available at the WB Studio Store located on the Warner Bros Studio Tour in Los Angeles.

The original film will be back in theaters for a one-night event on Aug. 11 with a 4K DCP print. “Practical Magic 2” releases in theaters Sept. 10. %!s()

The Flachbau name, otherwise known as the Slant Nose, comes from the iconic Porsche 930, which was a special customization of the 911 Turbo that came with redesigned front fenders and pop-up headlights. The design was shared with the 935 racer that racked up wins in the endurance racing world, finishing on the top step at Daytona, Sebring, Le Mans, and the Nürburgring. This one, however, is built from a “like-new” 2018 911 GT2 RS equipped with the Weissach package.

Neither Porsche nor the customer were all that interested in changing just the aesthetics of the donor GT2 RS—both parties wanted the Flachbau’s performance to match its racy looks. There are visual changes, of course, that mark the Flachbau RS apart from standard 911 GT2 RS models. The front fenders sit lower and feature slatted louvers to reduce pressure in the wheel arches. The bumper had to be redesigned as well, and it wears subtle canards from Weissach to help stick the front of the car to the road. The redesigns meant that the fuel-filler cap and its underlying components needed to be redesigned—as did the headlights, obviously. The high-beams, low-beams, and the daytime running lights now sit in thin horizontal tiers, one above the other.

The paint—Grand Prix White—comes right out of the Porsche history books as a color first added to the 911 in 1974. The color spreads across the majority of the bodywork and into the car’s interior. In a fun twist on the original, the hood sports a “U” of paint, leaving the middle section bare—the reverse scheme from the production car.

According to Porsche, the rear wing, with its S-shaped mounts, was inspired by the 911 GT3 R Rennsport, though the Flachbau’s wing sits nearly two inches higher. The wing also has three adjustable settings, with the high and low positions offering 3 percent more downforce than the Manthey package-equipped GT2 RS with the wing in the same positions. Porsche reports that the high-downforce setting is good for approximately 1221 pounds of downforce on the rear axle at the car’s top speed of 211 mph, which matches the stock car.

The powertrain, at the behest of the customer, was left untouched, but don’t go thinking that makes the Flachbau RS any less special. It’s still packing the beating heart of an apex predator over the rear axle. The twin-turbocharged 3.8-liter flat-six thumps out 700 horsepower at a lofty 7000 rpm and 553 pound-feet of torque, which arrives much earlier at 2500 rpm.

The real acceleration gains come from the weight reduction. The production GT2 RS was already a light affair. When equipped with the Weissach package, the car shipped without air conditioning and infotainment bits; hell, Porsche even ripped out the door handles and replaced them with fabric pull straps. And yet, the company still removed 70 pounds of weight from the car.

The niceties in the cabin survive as far back as the seats—at least, some of them. Alcantara, leather, and carbon fiber are still scattered throughout the car, but the Porsche Communication Management (PCM) system was pulled, as was the entire audio system. Sound deadening went too, as did the floor coverings, leaving the exposed surfaces to be finished in either bare metal or the same Grand Prix White as the outside of the car. Porsche went as far as removing individual wires that were no longer needed, leaving those that remain exposed save for some protective sheathing.

The project required collaboration from the Sonderwunsch team, the Style Porsche team, several Weissach-based development engineers, Manthey, and Porsche Motorsport. Even after digital validation testing, Porsche built three test cars to complete various development exercises over the course of three years.

Pricing for a one-of-one car from Sonderwunsch is one of those “if you have to ask” situations, which comes as no surprise given the amount of legwork required to pull it off. Depending on the scope of the project, they start around the $2 million. While Porsche declined to disclose the agreed-upon price of the Flachbau RS, we’re certain the figure was much higher than that.

➡️ Skip the lot. Let Car and Driver help you find your next car.

Jack Fitzgerald’s love for cars stems from his as yet unshakable addiction to Formula 1.
After a brief stint as a detailer for a local dealership group in college, he knew he needed a more permanent way to drive all the new cars he couldn’t afford and decided to pursue a career in auto writing. By hounding his college professors at the University of Wisconsin-Milwaukee, he was able to travel Wisconsin seeking out stories in the auto world before landing his dream job at Car and Driver. His new goal is to delay the inevitable demise of his 2010 Volkswagen Golf. %!s()

Decision-makers considering 3D printing for production need to look beyond its speed and flexibility and understand where it fits, what supporting capabilities it requires, and which traditional manufacturing practices may not translate neatly. Below, members of Forbes Technology Council discuss what leaders should understand as 3D printing moves deeper into industrial production and how they can approach adoption more strategically.

Production 3D Printing Requires Digital Thread Governance

3D printing changes the assumption that quality can be proven by inspecting finished parts. In production, the CAD file, material lot, orientation, machine settings, build history and post-processing are part of the product. Leaders need digital thread governance before scale. Without traceability, additive manufacturing turns flexibility into unrepeatable output. - Rishi Katdare, Amazon Web Services

Spare-Parts Inventory Is Shifting From Physical To Digital

Additive manufacturing is reshaping the economics of spare-parts inventory. Instead of storing thousands of components for years, manufacturers can produce parts on demand from digital files, reducing capital tied up in stock and eliminating long lead times. The tradeoff is clear: certification, material consistency and IP protection for digital files become critical. The bottleneck is shifting from logistics to quality assurance. - Hastimal Jangid, Coozmoo Digital Solutions, Inc.

Forbes Technology Council is an invitation-only community for world-class CIOs, CTOs and technology executives. Do I qualify?

Traditional Engineering Skills Don’t Fully Translate

The assumption that must change is that engineering teams already know how to design for additive manufacturing. Most were trained to design for what a mill or a mold could produce, and their instincts still narrow the design space before the print file is even opened. Leaders adopting production 3D printing should invest in retraining before they invest in machines. - Anna Drobakha, Groupe SEB

Design Freedom Still Requires Process Discipline

3D printing is challenging the belief that complexity always increases manufacturing cost. It enables parts that are lighter, consolidated and customized without traditional tooling. But leaders should understand that design freedom does not remove process discipline; material behavior, QA and repeatability become even more important in production. - Rohit Muthyala, ZoomInfo Technologies Inc.

3D Printing Economics Extend Beyond The Printer

3D printing is rewriting the old manufacturing rule: “Build more to make it cheaper.” Instead, companies can produce complex, customized parts only when needed, without costly molds or massive inventories. Leaders should look beyond the printer itself and assess material durability, repeatable quality, certification, workforce skills and full lifecycle economics. - Bindu Madhavi Mangalampalli, Cotiviti

3D Printing Can Reshape Supply Chains

3D printing changes the convention that manufacturing must be centralized and inventory-heavy. Leaders should rethink supply chains around digital inventories, localized production and quality governance. Success depends as much on process transformation as on the technology itself. - Sai Krishna Manohar Cheemakurthi, U.S. Bank

Faster Iteration Can Make Approvals The Bottleneck

3D printing is eliminating design freeze. When I visited our manufacturing partners in Shenzhen for our first hardware product, the cadence stunned me: printed parts in hand within a day, design changes absorbed mid-conversation, and iteration at software speed. When prototyping is nearly free, “Lock the spec, then tool up” becomes a self-imposed tax. Leaders should understand this: The printer isn’t the bottleneck—your approval process is. - Kiran Kodithala, N2N Services, Inc.

Certification And Repeatability Remain Critical

The biggest shift is in inventory itself: Companies can print spare parts on demand instead of stocking years of supply. Before adopting 3D printing, leaders need to understand material certification and repeatability are not yet where traditional manufacturing is, so critical parts still need rigorous testing before 3D printing replaces proven production methods. - Aruna Veerappan, Upwork

Engineering Imagination Can Drive Competitive Advantage

3D printing shifts competitive advantage from manufacturing speed toward engineering imagination. Companies able to redesign products around impossible geometries, internal channels or multifunctional structures gain benefits competitors cannot machine economically. Leaders should reward design experimentation, because the greatest returns often come from products traditional manufacturing could never create at all. - Jagadish Gokavarapu, Wissen Infotech

Mass Production Isn’t Always The Most Efficient Model

With 3D printing, mass production isn’t always the most efficient option anymore. For low-volume, highly customized or complex parts, 3D printing can reduce tooling costs, shorten lead times and simplify supply chains. Leaders should evaluate the total manufacturing process—not just print speed—because the greatest value often comes from design flexibility rather than faster production. - Irina Shymko, Langate Software

A 3D-Printed Part Is More Than Its CAD File

3D printing changes the assumption that a part is defined by its CAD file alone. In production, the product is the whole recipe: file version, orientation, machine settings, material lot, environment and post-processing. Govern that recipe like a controlled software release, with change approval and rollback. Otherwise, you may be shipping software updates disguised as hardware. - Mani Padisetti, Almost Magic Tech Lab

Not Every Part Is Suited To 3D Printing

One major shift that comes with 3D printing is from mass production to on-demand, distributed manufacturing. Instead of holding large inventories, organizations can produce parts closer to where they’re needed. Before adopting it, leaders should evaluate material performance, quality assurance, certification requirements and whether the economics fit production volumes—not every part benefits from 3D printing. - Venkata Kondepati, Ascentt

Mass Customization Requires More Than A 3D Printer

Mass customization is one of the biggest shifts enabled by 3D printing. Instead of optimizing for high production volumes, manufacturers can economically produce low-volume, customized parts with minimal tooling and inventory. However, leaders should understand that success requires redesigning products for additive manufacturing, rethinking supply chains and validating quality, rather than simply replacing traditional production with a 3D printer. - Nicola Sfondrini, PWC

A Successful Prototype Doesn’t Ensure Repeatability

Part qualification is the assumption 3D printing breaks first. A design that prints perfectly once must produce identical, certifiable parts across machines, batches and materials, and that repeatability is much harder than a working prototype. Before adopting 3D printing for production, leaders should invest in process monitoring, material traceability and qualification standards early. The tech is ready; the quality workflows around it usually are not. - Agung Dwi Sandi, rankpillar Group

Quality Control Is Shifting To Process Monitoring

Traditional quality control assumes identical parts, so you inspect a sample and trust the batch. Additive manufacturing breaks that assumption. Every build carries its own thermal history, which shifts trust from final inspection to in-process monitoring. Leaders should understand that data infrastructure matters as much as the printer. Every part needs a record of exactly how it was made. - Marc Fischer, Dogtown Media LLC

Predictive Analytics Can Catch Defects Earlier

One of the most interesting developments in 3D printing right now is the use of predictive analytics. Printers generate a lot of data throughout the process, like vibration and temperature, and AI can analyze it in real time to spot problems before the print is complete. Quality control is becoming less reactive and more predictive, with defects caught much earlier in the process. - Kostiantyn Gitko, Devox Software

3D Printing Can Extend Legacy Equipment Life

We can see that 3D printing is upending the assumption that discontinued or legacy parts must be scrapped or hoarded. Reverse-engineered, on-demand printing keeps aging equipment running indefinitely. Before adopting it, we leaders should start to build rigorous reverse-engineering validation, IP clearance and material equivalency testing—printing a lookalike part isn't the same as certifying one that performs identically. Not all parts certify the same. - Dan Sorensen, Nexus Security Advisors

Hyperlocal Production Raises The Stakes For Forecasting

As 3D printing moves into production, it creates the opportunity for just-in-time manufacturing and delivery at a hyper-localized level. Such capabilities change how companies manage supplies and inventory for hardware products, collapsing long lead times and changing the dynamics between players in the supply-chain ecosystem. With dispersed production capabilities, the importance of accuracy in demand forecasting increases. - Mark Francis, CaregiverZone

3D Printing Expands Design Possibilities—But Skills Matter

The assumption that 3D printing changes is that part geometry must conform to what traditional manufacturing can produce. For example, 3D-printed structural components can achieve up to a 55% weight reduction in aerospace applications. Leaders should know that the majority of companies report barriers to adoption, with workforce expertise being the top constraint. This is a design-first shift, not a machine swap. - Manas Chaudhari, Meta %!s()

There’s often plenty of chatter about whether the younger generation of pop stars has the appetite for the traditional grind of superstardom. Watching the machinery moving around the 24-year-old Nigerian singer suggests something more complicated. Despite being in recovery, Starr made time for our conversation, hosted listening parties in New York and Los Angeles, and still managed to do an early outing on the “Today” show. She has simply gotten very good at making the grind look effortless.

Starr’s third studio album, “Starrgirl,” is out today (Aug. 14), and poses some answers to questions like, What does it look like when you move to NYC, trust in yourself more, and remove the noise and expectations from yourself, your environment, and, most of all, the internet? The new collection of songs finds Starr experimenting with new sounds while keeping a foundation in the Afrobeats that brought her to global attention, and it’s her voice that is the throughline. The album is stacked with features from Zayn Malik, Leon Thomas, fellow Grammy nominee Wizkid, Kwn, Rema, Danny Ocean, Theodora, and more.

The album finds Starr at a junction in her career. Where does the Nigerian baddie go after racking up Afrobeats hits and cementing herself as a top contender in music with two Grammy nominations, touring stadiums while opening for Coldplay, and landing an upcoming debut role in the Gina Prince-Bythewood’s upcoming fantasy-adventure film “Children of Blood and Bone”? Third studio albums can often be a time for doubling down on sonic and visual identity or leaning toward a rebrand. “Starrgirl” finds Starr attempting both.

And as her sonic offering continues to expand, she still found ways to incorporate her Nigerian culture through the traditional Yoruba gele head wrap worn on the album’s cover art. Geles are typically worn at celebratory events, and Starr and photographer Axle Jozeph transform it into an Afrofuturist icon alongside sci-fi lasers. The choice shows that Starr’s evolution doesn’t require leaving her Nigerian identity behind. Instead, she is taking something traditional and pushing it into a new, futuristic context.

The move to New York was a catalyst for much of the change that was to come for Starr. Now, she only asks that listeners approach it with “a clean mind” and allow themselves “45 minutes of enjoyment.”

The last time we spoke, you told me that experience had taught you to become more patient with yourself. Two years later, do you feel like that has proven true?

Yes, definitely proven to be true. Because I’m so much more patient with my journey, even than I was before.

It’s easy to have these really high expectations of how things are supposed to be, and then you realize you didn’t really get to experience the moment, instead of living it.

At the same time, I feel like the internet and people do have a way of making you take your eyes off your own road. And if you believe the pressure and what they think your journey should be – you have to know yourself to know that this is not what you want.

Who is “Starrgirl”? Is she different from Ayra Starr? Is this an alter ego?

 I feel like I was a different person in New York than I was in any part of the world, and I just liked who I was. I liked going to parties with my friends, waking up around like noon [laughs]. I was acting my age. I’m living my age. I just liked experiencing life, and it wasn’t just about work, work, work. It was about enjoying all the work I’ve done and just allowing myself to be, you know? And seeing myself from the lens of complete, and “I am,” instead of “I have to be.”

And that’s what “Starrgirl” is. It’s not really an alter ego, but it’s a part of me that already is complete, does not have to perform, does not have to be.

Because being a Black girl and an African girl, we grew up with, “You have to be this.” There’s a certain type of anxiety that is deep, layers, layers, layers, layers within you, that you just feel like you have to unlearn. But when you remove yourself from that and go deep, deep you start to understand that you don’t need to be anything other than what you already are.

Have you noticed any changes in your POV or relationship with yourself and music since moving to New York?

This is my first time living alone. I’m spending a lot of time with myself, you know? I started to question things that I didn’t understand, I didn’t like. But I started to understand, “I don’t like being this. I don’t like doing this. Why do I have to do it? Who says I must?” You know? Things like that. And it starts to make you create from another output in life. You change your view on life.

Let’s discuss the purple gele on the album cover. Your fans have been attending the events in gele. There’s this unusual take on Afrofuturism going on. When bringing that vision to life, what were the conversations between you and your creative visual team?

I remember I had just gotten back from Lagos. And before the shoot, I was seeing a lot of ideas. When you grow up — especially, I started music so young — you grow up with a lot of opinions over your life and over your career and what you should be doing. A lot of comparisons and a lot of direction from people that have never been in your path.

The gele conversation was the day before the shoot. Literally a day before the shoot, I texted, I called everybody: “I want to wear a gele.” They were like, “What?”

I wanted to do something I’ve seen all my life. want girls from my state to see themselves in me. So I was like, okay, I want to add a gele to this because I feel like that’s the only thing I need to tie this together. We couldn’t find a gele artist, so one of the producer’s moms or aunties had to come and help tie it [laughs].

Thinking about the project sonically you really expanded the type of sounds that you were experimenting with. “Amazing” with Kwn, is probably the furthest departure from Afrobeats that you’ve ever done. When you listened to it back for the first time, did you go, “Wow, this is some new shit?”

Oh, definitely. I feel like when I made “Amazing,” it was one of those songs that was early [in the recording process].  And I didn’t understand where I was going, but I just knew I was going. People might not see the complete vision. But I just know I’m going somewhere, so let me land. I kept telling people, “Let me cook. Let me cook.”

In our last conversation you talked about having a vocal producer come in and really instruct you on how to emote and hit certain notes. How confident do you feel in terms of your vocal ability and vocal production now?

I got to be in the studio alone with just an engineer for the first time in a long time, since my first album. I was not with a lot of producers. After we made a demo, I would go back and record in a safe space. And I got to work with an engineer that just made me feel very comfortable, you know? I’d go from my house, I would dress up, wear heels. I was going to a nine-to-five. Go to the studio, have my blanket, have my shot of tequila, you know? That made me master it, and I became very free. You can hear a lot of personality in certain takes because I was having fun.

The making of this album was very, very fun for me.

You supported Coldplay on their “Music of the Spheres” tour. How did it feel interacting with an audience that’s so different from yours, but yet they still connect with your music?

Coldplay fans came to see Coldplay. Ayra Starr is opening. They’re getting to know Ayra Starr. So there’s no entitlement attached. There’s no expectations. It’s just me being an artist and entertaining them before Coldplay comes on. Mentally, it was quite a journey. After every performance, I’d go outside and watch Coldplay. [I realized] it wasn’t even about Coldplay. For Coldplay, it was about the audience.

You’ve now racked up two Grammy nominations. How does it feel going through that process and receiving that recognition, especially with the Best African Music Performance category only being three years old and you’ve gotten two nominations?

It’s crazy, right? Because I feel like anytime it happens, I’m just like, “Ayee.” I’ve come a long way, you know? Coming from where I come from, getting nominated for a Grammy is crazy. I’m lowkey pushing the goalpost. So even being there and being in that environment with all these great artists and allowing myself to experience that, it’s enough. %!s()

For the uninitiated, this is a sequel film to the hit series The Mandalorian, which is the show that launched the Disney+ platform. Both the series and the film follow the exploits of the titular Mandalorian bounty hunter and his cute and cuddly ward, a 55-year-old member of Yoda's species that presents as a baby. They age differently. It's a whole thing. 

The galaxy's favorite duo is bringing the adventure home.

Stream Star Wars: The Mandalorian and Grogu on @DisneyPlus September 2. pic.twitter.com/1FdjwklA1V

— Star Wars (@starwars) August 14, 2026

The Mandalorian was so successful that it spawned an entire interconnected Star Wars universe on TV. This led to direct sequel shows, like The Book of Boba Fett and Ahsoka.

The Mandalorian and Grogu received a fairly muted response from critics, with many saying it seemed more like a series of TV episodes stitched together than a proper movie. I saw it and tend to agree with that assessment, though it's a fun enough romp that's perfect for a Friday night Disney+ watch party.

As a matter of fact, it's likely to perform rather well on Disney+. It's a pretty decent flick for older kids and teens. The stakes are fairly simple and there isn't all that much dialog. That's because the two lead characters are a puppet and a guy in full body armor that barely speaks. Later, they are inexplicably joined by the muscular (?!) son of Jabba the Hutt. Like I said, it's a fun enough romp.

This could even help Disney+ with customer retention. Obviously, I'm not privy to what's going on over there, but it doesn't seem like the platform cares all that much about its two most popular IPs. There's only one big Star Wars show on the horizon and that's season two of Ahsoka.

We haven't heard that much about Marvel either. There's a show about Vision coming in October and the third season of Daredevil: Born Again next year, but that's about it. That said, it's possible the company is holding onto some cards until its big D23 presentation, which happens this weekend. %!s()