Entertainment

Review: In ‘Wakanda Forever,’ an empire mourns and rebuilds

Published

4 years ago

November 16, 2022

Made in the wake of tragedy, “Black Panther: Wakanda Forever” reverberates with the agony of loss, piercing the usually less consequential superhero realm. Like someone going through the stages of grief, Ryan Coogler’s movie is at turns mournful and rootless, full of rage and blessed with clarity. In the fantastical Marvel Cinematic Universe where mortality is almost always a plaything, wrestling with the genuine article, in the death of T’Challa star Chadwick Boseman, makes for an unusually uncertain, soul-searching kind of blockbuster-scale entertainment.

It’s a fine line, of course, between paying tribute and trading on it. I did cringe a little when the Marvel logo unspooled with images of Boseman within the letters: Eulogy as branding. That “Black Panther,” a cultural phenomenon and a box-office smash, would get a sequel, at all, was momentarily in doubt after Boseman’s unexpected death from colon cancer in 2020. Radically reworked by Coogler and co-writer Joe Robert Cole, “Wakanda Forever” pushed ahead in hopes of honoring both Boseman and the rich Afrocentric world of the landmark original. In its admirably muddled way, it succeeds in both.

Part of the profound appeal of Coogler’s first “Black Panther” resided in its deft channeling of the real world into mythology. It fed centuries of colonialism and exploitation into a big-screen spectacle of identity and resistance. In an invented African nation, Coogler conjured both a fanciful could-have-been history and emotional right-now reality.

“Wakanda Forever,” which opens in theaters Thursday, expands on that, weaving in a Latin American perspective with a similar degree of cultural specificity in the introduction of the Aztec-inspired antagonist Namor (Tenoch Huerta), king of the ancient underwater world of Talokan. At the same time, Boseman’s death is poignantly filtered into the story from the start, beginning with off-screen death throes.

Danai Gurira in a scene from “Black Panther: Wakanda Forever.” (Marvel Studios via AP)

“Time is running out,” we hear whispered while the screen is still black. Shuri (Letitia Wright), T’Challa’s tech-wiz sister, is frantically trying to craft something in her AI lab to save her brother. But in a moment, their mother, Queen Ramonda (Angela Bassett), informs her: “Your brother is with the ancestors.” He’s laid to rest in a glorious, celebratory procession, carried through a multi-tiered channel of white-clad, singing-and-dancing Wakandans. It’s as stunning as anything Coogler has shot.

After this prologue, “Wakanda Forever” shifts to a year later. “Black Panther” took some of the spy-thriller shape of a Bond movie, and the sequel carries that on in a new geopolitical context. At the United Nations, the United States and France are pressuring for access to vibranium, the rare metal that Wakanda has built its empire on. Soon after, a U.S. military expedition discovers vibranium at the bottom of the ocean. But just as they’re celebrating, a mysterious tribe of blue underwater people, led by Namor, a pointy-eared monarch in green short-shorts with wings on his ankles, ruthlessly wipe out the entire expedition.

You can feel “Wakanda Forever” searching for a way forward in these early scenes. After such an anguished beginning, how much care can we summon for the whereabouts of magical ores? And more blue people? “Avatar,” you might think, has already laid claim to them. What steadies the film is Bassett. Her awesome presence leads “Wakanda Forever” through grief with a staunch defense of Wakanda that rebalances the newly king-less kingdom. She carries on.

This image released by Marvel Studios shows Danai Gurira, left, and Letitia Wright as Shuri in a scene from "Black Panther: Wakanda Forever." (Marvel Studios via AP)

Gurira, left, and Letitia Wright as Shuri in a scene from “Black Panther: Wakanda Forever.” (Marvel Studios via AP)

What follows is a globe-trotting plot that draws the film away from perhaps its greatest asset in Wakanda but uncovers new places of latent power among historically exploited people. Shuri and Okoye (Danai Gurira), the Dora Milaje general, travel to Cambridge, Massachusetts, to seek the student (Dominique Thorne) who created a vibranium detector. In the Washington D.C. area, Wakanda’s friendly CIA officer (Martin Freeman) experiences new scrutiny from his boss, played by an unannounced comic actress familiar to Beltway politics.

But, mostly, a series of exchanges draw Wakanda and Talokan closer. Are they friends and foes? They are, at least, a captivating tweak to the mythology of Atlantis. Talokan, dark and watery, is no Wakanda, though, and there’s less hint this time of a larger society. Still, Huerta brings a magnetism to Namor. In many ways, he’s a corollary to Michael B. Jordan’s Killmonger, a non-villain whose fury is in many ways justified. His anger appeals to the still-grieving Shuri who finds herself ready, after T’Challa’s death, to “burn the world.”

(Marvel Studios via AP)

As in the first “Black Panther,” the question again hangs in the balance of whether, in a pain-ridden and prejudiced world, rage is the answer. This time, it applies to another powerful civilization, too. “Wakanda Forever,” where the role of Black Panther is passed down, is in more ways than one about the transfer of power.

Wakanda and Talokan are brought together a little haphazardly in conflict, as Namor pressures the African nation to join his brewing surface war. “Wakanda Forever” proceeds as a murky, middle-act film that may ultimately serve as a bridge to future “Black Panther” chapters. But along the way, there are countless marvels that Coogler conjures with returning magic-workers like production designer Hannah Beachler and costume designer Ruth E. Carter. How the Talokan are flung into the air by whales. The fierce friendliness of Gurira’s performance. Lupita Nyong’o is unfortunately less central here, but every time her Nakia (who has been laying low in Haiti) is present, she graces the film.

“Wakanda Forever” is overlong, a little unwieldy and somewhat mystifyingly steers toward a climax on a barge in the middle of the Atlantic. But Coogler’s fluid command of mixing intimacy with spectacle remains gripping. He extends the rich detail and non-binary complexity that distinguished “Black Panther” in sometimes awkward but often thrilling ways. “Wakanda Forever,” grappling in the aftermath of loss, ultimately seeks something rare in the battle-ready superhero landscape: Peace.

“Black Panther: Wakanda Forever,” a Walt Disney Co. release, is rated PG-13 by the Motion Picture Association of America for sequences of strong violence, action and some language. Running time: 161 minutes. Three stars out of four.

Entertainment

USF Credit Union Named Presenting Sponsor of ‘Rainbow To Your Door’ With $5,000 Challenge Match Grant

Published

23 hours ago

June 1, 2026

FNN NEWS

ORLANDO, Fla. (FNN) — The production team behind Rainbow To Your Door announced that USF Credit Union has joined the upcoming theatrical production as its Presenting Sponsor, accompanied by a $5,000 Challenge Match Grant aimed at encouraging community support and helping fully fund the project.

The partnership reflects a shared commitment to arts, education, and community engagement across Central Florida. Organizers say the challenge grant will match community contributions dollar-for-dollar up to $5,000, helping expand public access and educational opportunities connected to the production.

Original Play Celebrates Florida’s Artistic Legacy

Rainbow To Your Door is an original stage production written by Los Angeles-based playwright Kenneth Brown. The play is inspired by the historic friendship and artistic exchange between acclaimed author and anthropologist Zora Neale Hurston and artist Jules André Smith.

Set in 1938 at the historic Maitland Art Center, the production explores the challenges, triumphs, and purpose of artists navigating a rapidly changing world while preserving their creative voices.

“This partnership represents more than sponsorship. It is an investment in storytelling, culture, and preserving the legacy of artistic voices that helped shape Florida’s creative identity,” Brown said. “We are incredibly grateful to USF Credit Union for believing in this vision and helping us create meaningful community impact through the arts.”

Challenge Match Campaign Aims to Fully Fund Production

As part of the sponsorship, USF Credit Union will provide a $5,000 Challenge Match Grant to encourage community participation and charitable giving. Production organizers say that once the matching goal is reached, Rainbow To Your Door will be fully funded.

Donations generated through the campaign will support expanded accessibility initiatives, educational programming, community outreach, and audience engagement efforts associated with the production.

“USF Credit Union is proud to support initiatives that enrich the communities we serve,” said Rick Skaggs, CEO of USF Credit Union. “Rainbow To Your Door reflects the power of culture, education, and the arts to inspire meaningful conversations and strengthen community connections.”

Production Scheduled for October 2026

Media relations and promotional efforts for the production are being coordinated by Fierce Entertainment.

Rainbow To Your Door is scheduled for Oct. 10–11, 2026, at the Timucua Arts Foundation in Orlando.

Additional information regarding ticket sales, sponsorship opportunities, and the community challenge campaign will be announced in the coming weeks.

Media Contact:
Rob Henlon
Fierce Entertainment
rob@alwaysfierce.com

For sponsorship information and production updates, visit Rainbow To Your Door.

Central Florida News

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

Published

3 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.