Entertainment
Oregon Blockbuster outlasts others to become last on Earth
Published
7 years agoon
BEND, Ore. (AP) — There are challenges that come with running the last Blockbuster Video on the planet.
The computer system must be rebooted using floppy disks that only the general manager — a solid member of Gen X — knows how to use. The dot-matrix printer broke, so employees write out membership cards by hand. And the store’s business transactions are backed up on a reel-to-reel tape that can’t be replaced because Radio Shack went out of business.
Yet none of that has kept this humble franchise in an Oregon strip mall from thriving as the advent of on-demand movie streaming laid waste all around it. When a Blockbuster in Australia shuts its doors for the last time on March 31, the Bend store will be the only one left on Earth.
“It’s pure stubbornness, for one. We didn’t want to give in,” said general manager Sandi Harding, who has worked at the franchise for 15 years and receives a lot of the credit for keeping it alive well past its expiration date. “We did everything we could to cut costs and keep ourselves relevant.”
The store was once one of five Blockbusters owned by the same couple, Ken and Debbie Tisher, in three central Oregon towns. But by last year, the Bend franchise was the last local Blockbuster standing.

A Blockbuster Video in Bend, Oregon, is the last one on the planet after the only other Blockbuster, in Australia, announced it’s closing this month. (March 18)
A tight budget meant no money to update the surviving store. That’s paying off now with a nostalgia factor that stops first-time visitors of a certain age in their tracks: the popcorn ceilings, low fluorescent lighting, wire metal video racks and the ubiquitous yellow-and-blue ticket stub logo that was a cultural touchstone for a generation.
“Most people, I think, when they think about renting videos — if they’re the right age — they don’t remember the movie that they went to pick, but they remember who they went with and that freedom of walking the aisles,” said Zeke Kamm, a local resident who is making a documentary about the store called “The Last Blockbuster” with a friend.
“In a lot of towns, the Blockbuster was the only place that was open past nine o’clock, and a lot of them stayed open until midnight, so kids who weren’t hoodlums would come here and look at movies and fall in love with movies.”
The Bend store had eight years under its belt as a local video store before it converted to a Blockbuster in 2000, a time when this high desert city was still a sleepy community with a small-town feel to match.
Customers kept coming back, drawn by special touches like staff recommendations, a “wish list” for videos to add to the rental selection and even home delivery for a few special customers who couldn’t drive in. Dozens of local teens have worked there over the years.
Then, in 2010, Blockbuster declared bankruptcy, and by 2014, all corporate-owned stores had shuttered. That left locally owned franchises to fend for themselves, and one by one, they closed.
When stores in Anchorage and Fairbanks, Alaska, shut down last summer — barely outlasting a Redmond, Oregon, store — Bend’s Blockbuster was the only U.S. location left.
Tourists started stopping by to snap selfies, and business picked up. Harding ordered up blue-and-yellow sweat shirts, T-shirts, cups, magnets, bumper stickers, hats and stocking caps from local vendors emblazoned with the words “The Last Blockbuster in America,” and they flew off the shelves.

A sign advertising locally made souvenirs from the last Blockbuster store on the planet sits in the store in Bend, Ore., in this Tuesday, March 12, 2019 photo. When a Blockbuster in Perth, Australia, shuts its doors for the last time on March 31, the store in Bend, Ore., will be the only one left on Earth, and most likely in the universe. (AP Photo/Gillian Flaccus)
Then, this month, she got a phone call: The world’s only other Blockbuster, in Perth, Australia, would soon close its doors. A new T-shirt order went out — this time with the slogan “The Last Blockbuster on the Planet” — and the store is already getting a new wave of selfie-snapping visitors from as far away as Europe and Asia.
On a recent weekday, Michael Trovato of Melbourne, Australia, stopped by while visiting his twin sister in Bend.
After posing for a photo, Trovato said he misses a time when choosing a movie meant browsing hundreds of titles and asking a video clerk for insight instead of letting a movie-streaming service recommend one for him based on a computer algorithm.
“I miss quite a bit being able to walk into a Blockbuster or CD store and have that social experience and see people looking at stuff and talking to people,” Trovato said. “It’s something you don’t get from the slick presentation of a music service or, you know, from the internet.”
The Bend store doesn’t seem to be in danger of closing anytime soon.
Its newfound fame has been a shot in the arm, and customers stream in to buy $40 sweat shirts, $20 T-shirts and even $15 yellow-and-blue beanies hand-knit by Harding herself. The store pays Dish Network for the right to use the Blockbuster logo and has several years left on its lease.
People regularly send the store boxes of old VHS tapes and DVDs. They also donate Blockbuster memorabilia: a corporate jean jacket, key chains and old membership cards.
Employees always send a thank-you note, store manager Dan Montgomery said.
Recently, Harding has noticed another type of customer that’s giving her hope: a new generation of kids dragged in by their nostalgic parents who later leave happy, holding stacks of rented movies and piles of candy.
Jerry Gilless and his wife, Elizabeth, brought their two kids, John, 3, and Ellen, 5, and watched with a smile as the siblings bounced from row to row, grabbing “Peter Pan” and “The Lion King” and surveying dinosaur cartoons.
“How could we not stop? It’s the last one,” said Gilless, of their detour to the store while on vacation from Memphis, Tennessee. “They need to see that not everything’s on the iPad.”
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Central Florida News
FNN Honors Teen Reporter Isabella Schmitt as She Graduates and Pursues Communications Degree
Published
2 weeks agoon
May 15, 2026ORLANDO, Fla. (FNN) — Florida National News proudly celebrates Isabella Schmitt as she marks an important milestone with her high school graduation and prepares to begin an exciting new chapter pursuing Communications in college.
Over the years, Isabella has represented the next generation of young voices with professionalism, creativity, determination, and passion.
Through reporting opportunities, community involvement, and media experiences, she has continued to shine both on and off camera while inspiring others through her dedication and work ethic.
Jenny Rosario, Vice President of Florida National News, praised Isabella’s accomplishments and bright future ahead.
“Watching Isabella grow both personally and professionally has been truly inspiring,” Rosario said. “She represents the future of journalism, communications, and storytelling. Her passion, confidence, and commitment to making a positive impact through media are remarkable, and we are incredibly proud of all she has accomplished.”
Rosario added that Isabella’s decision to pursue Communications in college is a natural next step for someone with such strong talent and determination.
“The world of media and communications needs more young voices like Isabella’s,” Rosario said. “We know this is only the beginning of many great accomplishments to come.”
Florida National News congratulates Isabella Schmitt and the entire Class of 2026 on this exciting achievement.
“Keep dreaming big and telling stories that matter,” Rosario added.
Entertainment
How Orlando International Fashion Week Builds Confidence: A Belonging-Driven Casting Experience
Published
3 weeks agoon
May 9, 2026By Dr. Jessica Henlon | Education Contributor for Florida National News
At Orlando International Fashion Week (OIFW), the runway does not begin on show day. It begins at casting.
Over two weekends this April, OIFW welcomed hundreds of aspiring and experienced models to CityArts Gallery in Downtown Orlando for official casting calls ahead of the June 6 runway shows. What unfolded was more than an audition process. It was a carefully designed experience rooted in a powerful truth: when people feel seen, supported, and welcomed, they are more likely to show up with confidence.
From first-time participants to returning talent, families, creatives, and industry professionals, the casting experience reflected what makes OIFW different. It was not just about selecting models. It was about creating a space where people felt confident enough to try.
Belonging First, Performance Second
In educational psychology, belonging is not a soft concept. It is a driver of motivation, persistence, and self-efficacy. Research in postsecondary education has consistently linked students’ sense of belonging to academic outcomes, engagement, and persistence (Fong et al., 2024; Gopalan & Brady, 2020). While OIFW is not a classroom, the same human principles apply. People perform differently when they feel safe, valued, and connected.
This also aligns with my doctoral research on online first-generation college students. In that study, participants described virtual extracurricular activities as affirming spaces that supported leadership development, motivation, self-efficacy, and belonging (Henlon, 2025). The findings affirmed that engagement spaces are not “extra.” They can be essential to how people build identity, confidence, and persistence.
OIFW reflects this same principle in a creative industry setting. People come back because of how they are treated.
Designing a Confidence-Building Experience
The atmosphere inside CityArts Gallery was intentional.
Models of all ages and backgrounds moved through the casting process in a space that felt structured, supportive, and human. Team members gave clear direction, answered questions, and offered encouragement in real time. Families felt comfortable. First-time participants felt included. Returning models felt valued.
Those details matter.
Social Cognitive Theory suggests that individuals build confidence through observation, encouragement, and successful participation in meaningful environments (Bandura, 1986). When a model sees others walk, receive feedback, and try again, the room becomes a learning space. Confidence is not simply demanded. It is modeled, practiced, and reinforced.
That approach also connects to the modeling and fashion curriculum I developed for youth and emerging talent, where self-esteem, work ethic, body language, preparation, and reflection were built directly into the learning experience. The curriculum framed self-esteem as confidence in one’s own worth and abilities, while encouraging participants to celebrate success, develop talents, practice positive self-talk, and treat themselves well. That same foundation was visible at casting: confidence grows when people are given structure, encouragement, and room to develop.
A Creative Ecosystem in Motion
Casting weekends brought together more than models.
Photographers, videographers, designers, media professionals, artists, families, and community members shared the same creative space. More than 20 photographers and videographers were present capturing content, building portfolios, and documenting the energy of the experience. Florida National News was also on-site, conducting interviews and helping tell the story of the event.
This kind of creative ecosystem matters because learning and confidence often grow through participation, not observation alone. Research on connected arts learning emphasizes the importance of linking creative practice to supportive relationships, cultural relevance, and opportunity pathways (Peppler et al., 2022). In other words, creative spaces become more powerful when they connect people to each other and to what comes next.
At OIFW, casting is not hidden behind closed doors. It is visible, collaborative, and alive. This is where relationships are built.
Inclusion as Strategy, Not Statement
OIFW continues to prioritize an inclusive casting approach that welcomes models across ages, sizes, backgrounds, and experience levels. This is more than a value statement. It is part of the structure.
Research on organized activities shows that participation in supportive group settings can help young people build social capital, strengthen relationships, and develop confidence through meaningful interaction (Boat et al., 2024). Similarly, studies of extracurricular activities have found that participation can strengthen self-efficacy, identity, and skill development when activities are structured with purpose and support (Griffiths et al., 2021).
That is why inclusive casting matters. When a young person, a first-time model, or a returning participant sees a range of people welcomed into the process, the message is clear: there is room for you here.
For families, this creates trust.
For designers, it creates range.
For sponsors and media, it tells a deeper story.
For participants, it builds confidence.
Safety, Structure, and Trust
With a strong presence of youth participants, OIFW maintains clear expectations around professionalism, age-appropriate presentation, and safety. Families can trust that the environment is monitored, structured, and designed with care.
That trust is part of why participants return season after season.
In youth development research, positive experiences in organized activities are strongest when young people experience supportive relationships, clear expectations, and opportunities to build skills (Boat et al., 2024; Heath et al., 2022). OIFW’s casting model reflects that kind of intentional design. The goal is not only to prepare people for the runway. It is to help them feel prepared to step into the room.
More Than a Casting Call
What happened over these two weekends was not only about who made the runway.
It was about creating a space where people felt confident enough to try, supported enough to grow, and inspired enough to return. It was about helping participants move from nervousness to possibility. It was about making sure that the first step toward the runway felt welcoming, not intimidating.
Creative participation can support well-being, identity development, and self-expression, especially when the environment is inclusive and relational (Mak & Fancourt, 2019; Peppler et al., 2022). OIFW’s casting experience shows how arts and fashion spaces can function as confidence-building environments when they are designed with care.
That is the OIFW difference.
Confidence is not built through pressure alone. It is built through belonging, visibility, preparation, and meaningful interaction.
Looking Ahead
Orlando International Fashion Week continues to build toward its summer season:
May 16, 2026: Avant Garde Showcase at Orlando Fringe Festival
June 5, 2026: VIP Mixer at Morse Code Lounge
June 6, 2026: “626 Euphoria” Runway Shows at Winter Park Events Center
Tickets are available at www.OIFW.org.
Entertainment
160+ Bands, 5 Stages: Welcome To Rockville Returns to Daytona International Speedway May 7–10 with Expanded Fan Experience
Published
1 month agoon
April 15, 2026By
Willie DavidDAYTONA BEACH, Fla. (FNN) — Music set times have been released for the 15th anniversary of Welcome To Rockville, Florida’s largest rock, metal and punk festival, set for May 7–10, 2026 at Daytona International Speedway.
Produced by Danny Wimmer Presents, the four-day event will feature more than 160 bands performing across five stages, marking the festival’s largest lineup to date.
HEADLINERS AND DAILY LINEUP
This year’s festival will be headlined by Foo Fighters, My Chemical Romance, Guns N’ Roses and Bring Me The Horizon.
- Thursday, May 7: Guns N’ Roses, Five Finger Death Punch, Godsmack, Staind
- Friday, May 8: Foo Fighters, Turnstile, The Offspring, Parkway Drive
- Saturday, May 9: Bring Me The Horizon, Breaking Benjamin, Motionless in White, Lamb of God
- Sunday, May 10: My Chemical Romance, A Day To Remember, Rise Against, Yellowcard
FESTIVAL EXPANSION AND NEW FEATURES
Organizers announced several enhancements for 2026 aimed at improving the fan experience. A new “Pit Stop” fan zone near the Apex Stage will feature artist interviews, special performances and interactive experiences.
In addition, the Garage Stage will be fully tented for the first time, offering expanded shade coverage and upgraded production for attendees.
SPECIAL EVENTS AND EXPERIENCES
Festivalgoers can kick off the week with a pre-party on May 6 featuring performances by Fuel, Local H and others.
A new crossover event, “Blood4Blood,” will also take place at the Ocean Center, combining live music with bare-knuckle fighting, including a headline bout featuring Alex Terrible of Slaughter to Prevail.
TICKETS, ACCESS AND ATTENDANCE
Festival gates will open daily at 11:30 a.m. Organizers are offering a range of ticket options, including single-day, weekend, VIP and camping packages. A new Camp to Coast shuttle will provide transportation between the speedway and nearby beaches.
With expanded attractions, including rides, themed bars and interactive zones, Welcome To Rockville 2026 is expected to draw tens of thousands of fans to Daytona Beach, reinforcing its role as a major driver of Florida’s tourism and live entertainment economy.