Entertainment

Russell Crowe stars as Vatican’s ‘James Bond of exorcists’

Published

3 years ago

April 16, 2023

LOS ANGELES (AP) — The Rev. Edward Siebert’s journey with “The Pope’s Exorcist,” a film about arguably the most famous exorcist in the Catholic Church, began with an adventuresome visit to Milan about six years ago.

The Jesuit priest recalls sitting at a restaurant sipping wine and mulling the costly airline ticket he had purchased a day earlier. He also worried about the deal he had just closed with the Society of St. Paul to purchase the rights to the life story of the Rev. Gabriele Amorth — the late Pauline priest known as “the James Bond of exorcists.”

Siebert, who teaches film at Loyola Marymount University in Los Angeles and runs the college’s film production company, had no motion picture credits to his name and wondered at the time: “What have I gone and done?”

Today, he heaves a sigh of relief as a version of Amorth’s life unfurls on the big screen as “The Pope’s Exorcist,” starring Oscar-winner Russell Crowe in the titular role. It opens in U.S. theaters Friday.

Amorth was appointed chief exorcist of the Diocese of Rome in 1986 and remained there until 2016, when he died at age 91. In those three decades, Amorth claimed to have conducted over 60,000 exorcisms. The first of his books, “An Exorcist Tells His Story,” came out in 1990 and was an instant bestseller, translated into 30 languages. That same year, Amorth, who named “The Exorcist” as his favorite film, founded the International Association of Exorcists.

Siebert, one of the film’s executive producers, says he was an unlikely candidate to take on this project. But Michael Patrick Kaczmarek, a New Mexico-based filmmaker he had worked with previously, convinced him of the power of Amorth’s stories, he said.

Kaczmarek, one of the film’s producers, said he reached out to Amorth through his religious order’s publishing company in 2015 and was told by their executives that many had tried to secure film and television rights to the exorcist’s books, “but they were always denied.” But Kaczmarek’s persistence paid off.

“Through the use of translators, I sent Father Amorth detailed correspondence where I assured him of my religious devotion and sincere desire to respect his exorcism ministry,” Kaczmarek said, adding that his partnership with Siebert helped convince Amorth of his intent to preserve the story’s religious integrity.

https://apnews.com/b9c35f33baea47f0942a4f61c890606f

The real story behind ‘The Pope’s Exorcist’

Six years after Father Eddie Siebert bought the rights to the life story of the Diocese of Rome’s longtime chief exorcist, Russell Crowe is playing the titular role in “The Pope’s Exorcist.” (April 13)

Siebert said Amorth’s stories initially “frightened him,” but he was touched by the priest’s faith and determination to help people.

Amorth said 98% of the people who came to him needed a psychiatrist, not an exorcist, a detail Crowe’s Amorth clarifies in the film. When a cardinal asks him about the remaining 2%, he says: “Ah, the other 2% — this is something that has confounded all of science and all of medicine for a very long time.” He adds after a dramatic pause: “I call it evil.”

Like Siebert, Crowe has said during various media interviews that he is no horror movie fan, preferring “to sleep deeply at night.” But he said Amorth’s character fascinated him; he read the priest’s first two books and spoke with people who had watched him perform exorcisms. Crowe said two aspects of Amorth’s character hooked him — his “unshakable purity of faith and his wicked sense of humor.”

In the 2017 documentary “The Devil and Father Amorth,” the priest — before beginning an exorcism — can be seen thumbing his nose in the direction of the woman said to have been possessed. It was a gesture he made before each exorcism to let the demon know he wasn’t afraid.

In the “The Pope’s Exorcist,” set in 1987, Crowe’s Amorth heads to Spain with his apprentice, a younger priest, tasked with investigating a young boy’s possession. There he uncovers a “centuries-old conspiracy” that the Vatican has tried to cover up in a plot that appears to channel The Da Vinci Code, Indiana Jones and numerous buddy-cop movies.

Crowe and the film’s creators have taken liberal creative license with Amorth’s character and his stories. Crowe looks nothing like the priest, who was bald-headed, bespectacled and clean-shaven. On screen, Crowe knocks back double espressos and rides a Lambretta scooter through Rome, his cassock billowing in the breeze to the music of Faith No More. His scooter has a Ferrari sticker — a nod to Amorth’s hometown, Modena, where the luxury automaker is based.

Amorth’s convoluted road to the priesthood included fighting as a partisan in World War II, getting a law degree and working as a journalist. He didn’t become an exorcist until he was 61. He was no stranger to controversy, claiming Hitler and Stalin were possessed, that pedophile cults operated within the Vatican, and that yoga and Harry Potter were gateways to the demonic.

Amorth’s work as an exorcist has influenced and inspired many in the Catholic Church who came after him, said Monsignor Stephen J. Rossetti, a psychologist and exorcist in the Archdiocese of Washington who has over 76,000 followers on an Instagram account he started six months ago. Rossetti says there is an increasing and renewed appetite for information about demonic possession and exorcism.

“All of us owe a debt of gratitude to Father Amorth,” Rossetti said. “He kept this ministry alive when the church and society had pretty much ignored it.”

Though exorcism was a recurring part of Jesus Christ’s ministry, Catholic seminarians and priests are not being trained to do it, he said, adding that films like “The Exorcist” have raised awareness about the phenomenon of demonic possessions. Rossetti, like Amorth, maintains that “demonic influences” have increased amid declining faith, a surge in sinning and the practice of occult.

Exorcism when practiced correctly is “an act of healing and faith,” Rossetti said, adding that he has witnessed “darkness and evil” in 15 years as an exorcist.

“Demons do manifest in a session and the exorcist faces an incredibly evil visage that no human can mimic,” he said. “Things do fly across the room. Demons engage in antics like immature 12-year-olds trying to scare you.”

But with faith and God on his side, this has always been a “joyful ministry,” Rossetti said.

The International Association of Exorcists posted a statement on its website criticizing “The Pope’s Exorcist” based on the trailer. The association called it “a show aimed at arousing strong and unhealthy emotions, thanks to a gloomy scenography, with sound effects … to arouse only anxiety, restlessness and fear in the spectator.”

Joseph Laycock, associate professor of religious studies at Texas State University, said that despite protests from religious circles after the release of such films or television shows, “exorcists do benefit from media even when their portrayal is sensationalized.”

Laycock’s latest book, “The Exorcist Effect,” looks into the demand the 1973 film created for exorcism; he says the film had a role in shifting the Catholic Church’s attitude toward the practice. He describes Amorth as “the single most important priest in the revival of exorcism” after “The Exorcist” and predicts the rising interest in exorcism will continue.

“The kind of Christianity we had in America during the mid-20th century, emphasizing ethics over the supernatural, was an anomaly,” Laycock said. “Most of Christian history has emphasized the supernatural and spiritual warfare. This is Christianity returning to its supernatural roots.”

Siebert, who worked for nearly eight years to bring Amorth’s story to the big screen, says “The Pope’s Exorcist” has not changed his views about horror films or exorcism; both give him the chills. But it warms his heart to see a priest shown in a positive light after so many films and TV shows have vilified or belittled them.

“It’s good to see a priest talking about prayer, forgiveness, God’s love, and on top of all that, vanquishing demons,” he said. “It feels good to finally see a priest as a hero.”

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.