Writer Spotlight: Alex “Alejandro” Ford, Award-Winning Entertainment Journalist and Senior Editor at BOSSIP
- The Melanin Mouse Club Team
- May 1
- 5 min read
Alex “Alejandro” Ford is an award-winning journalist, entertainment editor, pop culture junkie, and frequent Disney media event attendee whose career blends celebrity coverage, sharp humor, and a deep love for storytelling.
Currently serving as Senior Editor, Pop Culture at iONE Digital , Alex has spent more than a decade covering trending celebrity topics, entertainment events, and culture-shaping interviews. His work and headlines have appeared across major platforms, including The New York Times, BuzzFeed, Jezebel, WIRED, VH1, and BOSSIP On WeTV. Alex spoke with us about how he found his way into journalism, what makes Disney Dreamers Academy special from a media perspective, and why creators and journalists have more to gain by working together.
What drew you into entertainment journalism, and how did you carve out your lane within that space?
What drew me into entertainment journalism? Well, honestly, when I first started, I was not on that track. I mean, this is a long story, but I'll tell you the shortest version. So basically, I was playing sports. I was playing baseball. I didn’t think I was going to go to the league or anything—I just enjoyed playing sports. But I grew up in South Florida.
I grew up in Miami, so we always used to go to Orlando every year. I think everyone who grew up with me used to go there at some point in the year. It was Disney. It was Universal. It was Busch Gardens. And I think that’s what started my love for theme parks. As I got older, some of my teachers said, “You write a certain way, so maybe you should join the newspaper.” So that’s when I started doing that. It wasn’t something I sought out—it was more like they saw that in me. This sounds stereotypical, but it really was like, “We see something in you, and we want you to do this.” So that’s what happened. They told me I should do it, and that’s when I fell in love with journalism based on that recommendation.
I already had a love for Disney, so I ended up going to school for journalism. Even then, there was a push and pull with family. They didn’t think you can make it as a journalist, or they didn’t see it as a viable career compared to being an engineer—what my mom thought I was going to do. But my love for pop culture and Disney really bloomed once I started taking classes and working for the newspaper. Once I started working for the high school newspaper, that was it. I was all in. I became super into writing, and it changed the trajectory of my life—just being believed in.
From a young age, I wasn’t seen as gifted, but I was always writing in language arts.
That part was instilled early, but journalism didn’t come until high school. Everyone who knew me knew I loved pop culture. All of those things combined into the perfect path. I went to school for it, excelled at it, and now we’re here.
It was a long journey, though—convincing people you can do this and not struggle. Because when you start, it’s not about money. You become a journalist because you want to be the voice of the voiceless. You want to tell stories people can’t tell themselves. And that doesn’t always pay the bills at first. So you have to do it out of love. That’s the shortest version of a very long story.
You’ve attended multiple Disney Dreamers Academy events, year after year. What makes the experience unique from a media perspective?
This year was my—well, I keep saying seventh, but it might be my eighth. One of those. What makes it special is that it’s changed over the years, but what I loved when I first came was the opportunity to talk to talent in a way you probably never would otherwise. Imagine getting to interview Oprah—but at Disney World. The energy is different. The conversation is more personal. It can be whatever you want it to be.
I think it’s the best time to interview talent because they’re at ease. We’re at Disney. It’s magical. And the Disney staff puts you in a position to succeed. The schedule, the immersion in the culture—it all helps. If I were telling someone why to come, I’d say: this is the best time to do interviews. This is the best time to connect—with leadership, with people in publicity, marketing—everyone is there at the same time. If you want to branch out into different departments, you can. Food, Imagineering, career opportunities—it’s all there. You’re basically on the inside. To me, it’s the total package for journalists.
To date, who have been some of your most enjoyable interviewees at DDA?
A’ja Wilson, Kelly Rowland, Halle Bailey, Marsai Martin, Chloe Bailey, Sergio Hudson. It’s been a lot of great people—Ricky Smiley, H.E.R., Kelvin Harrison Jr., Steve Harvey, Ruth Carter. That was around 2018 or 2019, before she won two Oscars after that. I’ve had nothing but good experiences.
How can writers and creators show up in a way that earns long-term media opportunities?
For me, enthusiasm is key. You don’t have to redo your whole wardrobe, but they love enthusiasm for the brand. When I first started going, everything I wore was Disney-themed—hats, shirts, everything. I stood out. And when the higher-ups see that kind of enthusiasm, they’re more likely to invite you back. Like anything in life, you have to be enthusiastic. If you go to a sports game, you wear your team’s jersey. That energy matters.
So I always tell people: be enthusiastic, ask questions, listen, and reflect that in your coverage—your writing, your posts, everything. I never say anything negative about the brand because at this point, we’re partners. We’re pals. If you have feedback, build relationships with publicists and communicate it the right way. Show up, be on time, highlight what they gave you, and present it in the best light. That’s how I kept getting invited back. I love Disney, and they see that. And then you start leveling up. Parks are just the beginning—there’s cruises, Adventures By Disney, villas, global parks. There’s a whole ecosystem beyond just Disney World. That’s how it starts—you meet people, and then other teams notice you and want you on their trips.
What can creators and journalists learn from each other?
I’ve talked about this a lot. Funny story—someone mistook me for a creator once, and I ended up at their events. I wasn’t about to say no—I went to the party. That ties back to showing up [presentably] and being enthusiastic. You don’t need expensive merch—you can find great Disney pieces on eBay, Depop, Mercari, Amazon. The better your outfit and energy, the further you go. But I think the disconnect is that we don’t talk to each other enough. When we do, we realize we can help each other.
Journalists have connections—publicists, industry access. Creators have creative skills—visuals, production, storytelling formats. It’s an even exchange. We don’t get invited to everything they do, and they don’t get invited to everything we do. So why not collaborate? Be each other’s plus-ones. Share access. Work together. We’re always at the same events—we just have different credentials. So why not help each other?
Alex’s perspective is a reminder that media access is built through more than attendance. It comes through enthusiasm, professionalism, and consistency. Having a genuine respect for the brand, the people behind it, and the stories being told are also crucial.
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