Entertainment

Review: All creatures great and small in ‘Guardians 3’

Published

3 years ago

May 2, 2023

When Peter “Star-Lord” Quill, while inspecting a murky extraterrestrial region, pressed play on Redbone’s “Come and Get Your Love” in the first “Guardians of the Galaxy,” it would have been hard to imagine that James Gunn’s space opera would ultimately lead to something as sincere, poignant and kinda cornball as the trilogy-ending “Guardians of the Galaxy Vol. 3.”

But as Gunn has showed over over the course of these increasingly soupy sci-fi spectacles, the genetically spliced DNA of his chaotic, cartoonish cosmic vision is a double helix of opposites. Breezy ’70s rock papers over extreme violence. Cynical exteriors cloak sentimental emotions. A ragtag group of outcasts, more so than even the cast of “Fast and the Furious,” talk a lot about “family” and “friends.” Against the odds, “Come and get your love” has turned out to be a legit invitation.

“Vol. 3” is a messy, overstuffed finale. But you rarely question whether Gunn’s heart is in it. Sometimes it spoils some of that effect by trying too hard to juxtapose tonal extremes, and show off its brash juggling act. Yet whatever this sweet, surreal sci-fi shamble is that Gunn has created, everyone here seems to believe ardently in it. And for even a movie that sends a golden-hued Will Poulter shooting through space to the tune of Heart’s “Crazy on You,” that earnest belief goes a long way.

The song, though, that kicks off “Guardians of the Galaxy Vol. 3” is not an upbeat one. Radiohead’s “Creep” casts a sour mood over the Guardians, who we find in a lethargic state of disarray in the spaceport Knowhere following their 2017 “Empire Strikes Back”-esque second chapter.

Whether “Guardians of the Galaxy” is best suited to strike these solemn notes, or reach for such last-chapter poignancy in “Vol. 3” is debatable. I’ve always liked these films at their most cartoonish. Donning a degree of self-importance is probably the most Marvel thing about this “Guardians.” Gunn’s films — which, unlike most of the comic-book studio’s releases, are both written and directed by him — have always stood out for their distinct lack of Marvel house style. “Guardians 3,” unfortunately, has contracted a touch of “Endgame” grandiosity.

The group — including Star-Lord (Chris Pratt), Drax the Destroyer (Dave Bautista), Nebula (Karen Gillan) and Groot (voiced by Vin Diesel) — is quickly sent into emergency mode. Adam Warlock (Poulter), an artificial being created by the High Priestess Ayesha (Elizabeth Debicki), comes careening into their lair, leaving Rocket (voiced by Bradley Cooper and played in motion capture by Sean Gunn) on his deathbed. To save Rocket, a cybernetically enhanced raccoon, the Guardians must hurriedly resuscitate him with his original programming.

This means traveling to the lab he was created in years before by the High Evolutionary (a sensational Chukwudi Iwuji, an all-time Marvel villain), a Doctor Moreau sort who’s been toiling to craft a “perfect” race of hybrid creatures to populate a copy of planet Earth. As the Guardians seek to infiltrate his realm, “Vol. 3” repeatedly flashes back to Rocket’s experience with the High Evolutionary: his transformation from raccoon, his joyful experience with other experimental creations and his harrowing escape.

It’s telling that in this “Guardians” swan song that Gunn centers Rocket and less so Quill, whose father-son drama dominated “Vol. 2.” (Here, he’s mostly in save-my-friend mode when not wrestling with the heartbreak of this version of Zoe Saldaña’s Gamora. Thanks to some “Avengers” events, she no longer even knows him.)

These are foremost epics of orphandom about distinctly un-superhuman characters. Mother and father figures float in and out, while the Guardians attract one forlorn figure after another. In “Vol. 3,” it’s both comical and even a little stirring just how far empathy reaches for all of God’s — and Marvel’s — creatures. Gunn has taken a woebegone B-team or C-team of comic book oddballs and cast them into a cosmic tapestry of weirdos and misfits, ranging wildly in size, shape, color and dancing ability.

In “Vol. 3,” Gunn really lets the freak flag fly, putting the Guardians in battle with not just the High Evolutionary but the notion of perfection. It’s not a coincidence that this “Guardians” film arrives, finally, in the suburbs — or at least some slightly warped version of it.

Gunn, a B-movie director at heart, fills these films with more sinewy than sleek worlds, full of florid beauty and opulent grotesquerie. (“Vol. 3,” more than the last two films, reminded me of “The Fifth Element,” a good thing.) It’s often clear that his ambitions are sometimes just a bit too much; this, like his DC film “The Suicide Squad,” “Vol. 3” could have used a firmer editor to corral some of Gunn’s impulse for excess.

This installment, of course, nearly didn’t happen after Gunn’s firing years ago. And partially because of that forced hiatus, he’s now ruling an even larger, more mainstream superhero cosmos at DC. That surely has something to do with the sense of parting that permeates the final act of “Guardians 3.” After so many speeches about friendship and togetherness, “Vol. 3” ends curiously elegiacally, and with one last dance.

“Guardians of the Galaxy Vol. 3,” a Walt Disney Co. release, is rated PG-13 by the Motion Picture Association for intense sequences of violence and action, strong language, suggestive/drug references and thematic elements. Running time: 159 minutes. Three stars out of four.

Central Florida News

FNN Honors Teen Reporter Isabella Schmitt as She Graduates and Pursues Communications Degree

Published

2 weeks ago

May 15, 2026

FNN NEWS

ORLANDO, 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 ago

May 9, 2026

Dr. Jessica Henlon

By 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

2 months ago

April 15, 2026

Willie David

160+ Bands, 5 Stages: Welcome To Rockville Returns to Daytona International Speedway May 7–10 with Expanded Fan Experience

DAYTONA 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.