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Screenwriter John McNamara to Receive WGAW’s 2016 Paul Selvin Award for Trumbo

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LOS ANGELES, CA (FNN NEWS) – The Writers Guild of America, West has named screenwriter John McNamara the recipient of the 2016 Paul Selvin Award for his screenplay Trumbo. Based on the biography by Bruce Cook, the film chronicles the turbulent career and life of Blacklisted screenwriter Dalton Trumbo, exploring issues of political freedom, censorship, civil liberties, and what it means to be an American.
McNamara, who is also a producer on the film, will be recognized at the 2016 Writers Guild Awards L.A. ceremony on Saturday, February 13, at the Hyatt Regency Century Plaza. He recently received a WGA Adapted Screenplay nomination for his script.
“The Paul Selvin Award honors ‘that member whose work best embodies the spirit of the constitutional and civil rights and liberties that are indispensable to the survival of free writers everywhere.’ Though we’ve given it since 1989, it might as well have been purpose-built for John McNamara’s Trumbo. In shining light on a dark corner of our history, while at the same time illuminating Dalton Trumbo from within, John McNamara has both illustrated and embodied the importance of courageous writing,” said WGAW President Howard A. Rodman.
“I want to thank the Writers Guild of America, West for stunning me with surprise and filling me with gratitude. This is an award shared by my band of brothers and sisters, we few, we happy few. More on those folks soon. The movie Trumbo exists mainly because I met several blacklisted screenwriters while I was a student at NYU. Arthur Laurents, Waldo Salt and Ring Lardner, Jr. eloquently and selflessly brought that dark time to life for me, while Ian McLellan Hunter painted a both ennobling and warty portrait of his good friend Dalton Trumbo,” said Trumbo screenwriter John McNamara. “In the same way I share this award with biographer Bruce Cook, ShivHans, Bleecker Street, director Jay Roach and the crew, Michael London and our fellow producers, Bryan Cranston and the whole cast, I share it with my four fellow writers whose words first convinced me this story needed telling. A story that obviously wouldn’t exist without Dalton Trumbo and the improbably brave stand he and his family took against a perfect storm of repression, fighting for that first American freedom: the right to be wrong in any political season, out loud, without fear and in glorious Technicolor.”
Having launched a successful screenwriting career in 1937, by the ’40s Dalton Trumbo had become one of the most sought-after and highest-paid screenwriters in Hollywood. But in 1947, as part of the “Hollywood Ten,” he found himself, along with other creative artists, targeted for their political beliefs by the House Un-American Activities Committee during its investigation into alleged Communist influences in the entertainment industry.
Refusing to name names of friends and colleagues to HUAC, Trumbo (who was a member of the Communist Party from 1943 to 1948) found himself out of work, blacklisted by the studios and producers. He ultimately served nearly a year in federal prison after being convicted of contempt of Congress.
Wielding his own words and wit to take on not only studio bosses but the U.S. government, Trumbo exposed the hypocrisy, absurdity, and sheer injustice of the Blacklist, which ruined many lives and careers. Shunned by Hollywood, he still managed to carve out a covert screenwriting career, often writing under various pseudonyms or using “fronts” so he could continue working to support his family. Ironically, he garnered two Academy Awards for screenplays he wrote while being blacklisted: the first for the classic romantic comedy Roman Holiday – credited to his “front,” fellow screenwriter Ian McLellan Hunter – and second for his screenplay for The Brave One (1956), originally credited to “Robert Rich,” Trumbo’s pseudonym. It was not until 1975 that the Academy formally recognized Trumbo for The Brave One and presented him with his Oscar statuette. In 1993 he was posthumously awarded his Oscar for writing Roman Holiday. In 2011, the Writers Guild formally announced that Trumbo’s screenwriting credit for Roman Holiday had been restored.
By 1960, the Blacklist had begun to lose credibility and was effectively broken by several key events that year. With the support of director Otto Preminger, Trumbo was officially credited for the screenplay of the hit film Exodus, adapted from the novel by Leon Uris; actor Kirk Douglas publicly announced that Trumbo was the screenwriter of Spartacus; and in show of solidarity, President-elect John F. Kennedy crossed a picket line of protestors to watch Spartacus in a Washington, DC theater.
In 1970, Trumbo received the WGAW’s Laurel Award for Screenwriting Achievement, a fitting coda to his indelible voice and inspiring career.
Trumbo, starring Bryan Cranston, Helen Mirren (who portrays infamous gossip columnist Hedda Hopper), Louis CK, Diane Lane, Elle Fanning, Michael Stuhlbarg, and John Goodman and distributed by Bleecker Street, has so far received numerous accolades this awards season, including three Screen Actor Guild nominations (Best Cast, Best Actor, and Best Supporting Actress) and two Golden Globe nominations (Best Actor and Best Supporting Actress, Drama). Cranston was recently nominated for an Academy Award for Best Actor, and earlier earned the Spotlight Award (Actor) at the 2016 Palm Springs International Film Festival.
In addition to his acclaimed screenplay for Trumbo, McNamara – a WGAW member since 1985 – recently created 2015’s NBC period crime drama series Aquarius, about a police detective (David Duchovny) on the trail of cult leader Charles Manson during the ’70s. He is also Co-Creator of the new SyFy series The Magicians (co-created by Sera Gamble), based on Lev Grossman’s best-selling book series. McNamara has also created the TV series Eyes and Profit (co-created by David Greenwalt).
Born and raised in Michigan, McNamara attended the University of Michigan and New York University. While attending NYU, McNamara authored two children’s books both published by Delacorte Press, as well as an original teleplay for the CBS Afternoon Playhouse. In 1982, his play “Present Tense” won the first annual Young Playwrights’ competition and was produced off-Broadway at the Circle Rep Theatre. With its companion piece, “Personal Effects,” it was later produced at the Manhattan Punchline Theatre and has been performed internationally ever since. He moved to Los Angeles in 1984 and began a career as a screenwriter, working for Disney, Warner Bros. and Paramount. In 1992, he became a staff writer on the Fox TV series The Adventures of Brisco County, Jr – and in 1993 joined ABC’s Lois & Clark: The New Adventures of Superman as a writer and producer.
His other TV writing and producing credits include Prime Suspect, The Fugitive, and Vengeance Unlimited.
Named after the late Paul Selvin, general counsel to the Guild for 25 years, the award is given each year to the WGA member whose script best embodies the spirit of the constitutional and civil rights and liberties that are indispensable to the survival of free writers everywhere and to which Selvin devoted his professional life. Previous recipients of the WGAW’s Paul Selvin Award include Tony Kushner, Dustin Lance Black, Tate Taylor, Eric Roth, Michael Mann, Larry Karaszewski & Scott Alexander, Robert Eisele & Jeffrey Porro, Anthony Peckham, Alex Gibney, and, most recently, Margaret Nagle.

Central Florida News

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

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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.

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How Orlando International Fashion Week Builds Confidence: A Belonging-Driven Casting Experience

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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.

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

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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.

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