'Infinite diversity': Actress in canned 'Star Trek' series warns against 'whitewashed' sci-fi



The most notably progressive "Star Trek" series will be canceled by CBS Studios and Paramount+, prompting one of its actors to demand the show's lore nevertheless become more "woke."

Studios were so supportive of "Star Trek: Starfleet Academy" that Paramount+ picked it up for a second season before the show even aired; but that will be all.

'The world is still not ready to hear the message of love, peace, [and] infinite diversity.'

The show's demise began when it launched for free on YouTube — an already bad sign — garnering just over 85,000 views in the first 24 hours; not good for a show with an estimated budget of $10 to $20 million per episode.

Nothing could prepare audiences for the show's trajectory though. The new series boasted polyamorous refugee Klingons, Stephen Colbert, and gender activist Tig Notaro playing a teacher pushing DEI ideology on cadets.

Progressivism certainly flowed through the series' actors. Case in point, Gina Yashere, who played Lura Thok.

Yashere took to Instagram after the show's cancelation to declare that audiences aren't ready to hear about love and tolerance and that future iterations must avoid becoming too white.

RELATED: New 'Star Trek' DEI disaster flops despite airing for free: A 'huge, gay, glee club middle finger'

"Obviously, the world is still not ready to hear the message of love, peace, infinite diversity, acceptance, the eschewing of violence and senseless wars," she said in a video, first reported by Fandom Pulse.

She added, "And 'Star Trek' will be back stronger than ever. And preferably with the same message and not completely whitewashed."

In her written caption, Yashere made it abundantly clear she was proud of the show's woke ideology as well.

"Be safe out there peeps. Stay woke. Wokeywoke. Wokest of the woke. Wokeyliscious. A cacophony of woke."

The show's messaging was never left for interpretation either. Its actors and showrunners will have to come to terms with the fact that they fully presented their intent, and it was not viewed favorably.

RELATED: Polyamorous refugee Klingons: New 'Star Trek' writer makes 'three-parent household' a priority

Photo by Michael Tullberg/Getty Images

When the show first aired, series creator Alex Kurtzman said he was "not slowing down on representation in any way," while characterizing "representation" as being the "beating heart" of the show.

Karim Diane, who played the aforementioned Klingon who wore a skirt and dress, said back in January that his character would have his sexuality "explored."

This manifested in a Klingon/human love story the character had with an allegedly "nonbinary" person.

Diane has since promised the second season is "basically just Season 1 turned all the way up."

In a statement to Variety, both CBS and Paramount said that while they were "incredibly proud of the ambition, passion, and creativity" the series showcased, it will not receive a third season.

Variety also reported that "Starfleet Academy" failed to secure a significant audience and did not rank among Nielsen's Top 10 charts for streaming viewership.

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Watch 'The Last Whites of the East End': The BBC documentary they want you to forget



The British East End has long stood as the beating heart of London’s working class — famous for its docks, bustling markets, pie and mash shops, and the unbreakable Cockney spirit.

That all changed during the ten years of Tony Blair’s government, which, driven by a zealous doctrine of multiculturalism, threw open Britain’s borders. As Blair’s own former speechwriter bluntly put it, this was designed to "rub the right’s nose in diversity." The result has been a demographic upheaval so swift and far-reaching that today the traditional East Ender is often spoken of as an endangered species.

The most visible sign of this transformation is in local schools. In many East End primary schools, white British children are now a minority.

The 2016 BBC documentary "Last Whites of the East End" brought that shift into public view. A decade on, it plays less like reportage than elegy — a stark record of a culture on the brink of disappearance.

Wholesale displacement

It is telling, if not entirely surprising, that the documentary is no longer available to stream on BBC iPlayer, as if the establishment would rather erase this uncomfortable chapter and its role in it. For this is not a case of natural urban evolution, but the direct result of policy-driven mass immigration, the emergence of parallel societies, and the wholesale displacement of the native population.

The numbers tell part of the story. According to the 2011 Census, white British residents became a minority in London for the first time. Writer David Goodhart noted that between 2001 and 2011, London’s white British population fell by more than 600,000. London has always absorbed newcomers — but the speed of change, he argued, was something different.

In boroughs like Newham, the shift is especially stark. By the time the documentary was filmed, white British residents made up just 16.7% of the population. For those interviewed, these figures are not abstract — they map onto the disappearance of institutions that once anchored daily life: working men’s clubs, markets, churches.

Cockney migration

Cockney identity was never just an accent. It was a dense web of family ties, shared references, and a particular way of navigating life in the city. For Americans, the closest analogue might be the “Old Brooklyn” archetype — a tight-knit, working-class culture forged in proximity and sustained over generations. Today, much of that culture has migrated outward, into Essex towns like Romford and Basildon.

Politicians often frame this movement as upward mobility — a sign that people are leaving for bigger homes and better prospects. But that explanation only partially captures what residents themselves describe. For many, the change is less like opportunity than dislocation. It is not aspiration that drives so-called "white flight," but the recognition that the neighborhood has become unrecognizable.

Walk through Whitechapel Market today, and the shift is unmistakable. The rhythms of Cockney traders — the coster cries that once defined the place — have largely faded. In their place, the call to prayer from the nearby East London Mosque carries across the market five times a day, an audible sign of how profoundly the area has changed. When pubs are converted into mosques or community centers, and when English is seldom heard on the street, the social glue that once held a working-class community together begins to dissolve.

Socially engineered segregation

The rapid demographic changes in East London are not an accident of history — they are the result of intentional government policy. Decades of uncontrolled immigration, combined with imported antiquated customs that discouraged assimilation, have led to the formation of ethnic enclaves. Rather than socially engineering a liberal utopia, these circumstances have produced segregated communities where different ethnic groups live side by side but rarely interact.

In some migrant communities in East London, consanguineous (cousin) marriage remains prevalent, leading to serious public health problems that mainstream media often ignore. In areas like Newham and Tower Hamlets, rates of infant mortality and congenital disabilities are much higher than the national average.

A 2023 study found that British Pakistanis, who make up about 3% of all U.K. births, accounted for nearly one-third of all British children born with genetic disabilities — a direct result of intra-family marriage. A 2017 report revealed that one in five infant deaths in the east London borough of Redbridge was linked to marriages between first cousins or closer. This practice reinforces loyalty to the biraderi (clan) rather than the nation and seriously slows integration.

RELATED: Pakistani cousin marriage has no place in UK

Bloomberg/Getty Images

Tongue-tied

The most visible sign of this transformation is in local schools. In many East End primary schools, white British children are now a minority. In Newham they make up just 5% of students — the lowest in the region.

The documentary features parents like Leanne, who ultimately chose to move her family to Essex. She explained that her daughter was one of only a few white children in her class, making it hard for her to find friends who shared her cultural background.

English is no longer the main language spoken at home for many families in these boroughs. In Newham alone, over 100 languages are spoken, and in many schools, most students speak English as an additional language. While policymakers often praise such diversity, for the remaining white working class, it creates a sense of profound alienation. The everyday sounds of the street have changed, and for elderly residents interviewed in "Last Whites of the East End," not being able to speak to their neighbors is the final blow to their sense of belonging.

Strangers at home

Ten years on, "Last Whites of the East End" no longer looks like a snapshot of a community in transition. It reads as an early record of a transformation that has only accelerated.

As the last white British families move to the edges of Essex, they take with them centuries of London’s heritage, leaving behind ethnic enclaves that, while geographically in England, have become culturally and socially detached from the nation that hosts them.

This is not simply "change." A specific culture — rooted in place, memory, and continuity — is being displaced. What emerges in its place may be called diversity, or progress, or modernity. But for the people who once defined the East End, it is something else entirely: the experience of becoming strangers in what was, until recently, their own home.

Comedian Mark Normand crushes woke studio execs who wanted Muslim joke removed: 'On one condition ...'



Stand-up comedian Mark Normand believes in making fun of everyone, equally.

When asked about his latest Netflix special, Normand said he wanted to be "inclusive," meaning he wanted to make fun of people from all walks of life.

'I want you to admit on this call that they're a dangerous people.'

Normand told podcaster Shannon Sharpe recently that he gave "equal opportunity" mockery to every group, including "trans, Mexican, black, gay, Muslim, everyone."

It was one of those specific groups that executives confronted Normand about and wanted it removed from his hour-long set. The comic revealed a phone call he received from top brass recently, and while most would assume he was referring to Netflix — given that his "None Too Pleased" special was just released on the platform — a Normand voiceover told audiences multiple times it was actually Hulu he had the conversation with.

On the podcast "Tuesdays with Stories," the New Orleans native recalled, "About a week ago or two weeks ago, they said, 'Send us a couple jokes you like. We'll chop them up and use that as promo on social media.'"

A week later, representatives allegedly asked the comedian to have a conference call, which he was not looking forward to because it's "18 Jews on there with a speakerphone and my Jews," Normand joked with co-host Joe List.

"They go, 'Yeah, we got some bad news there. We reviewed the special again. We'd like to take out the Muslim joke.'"

Normand explained that staff told him that the last time "a comic did a Muslim joke," they got bomb and death threats. But the 42-year-old said he refused to take it out.

RELATED: Comic's hellish Ellen DeGeneres gig: How one word made her blow her top

"I like the joke. It kills. It's a hot joke," Normand said, adding, "And you know, no one touches 'Muzz,'" referring to Muslims.

The comic said he fought for his joke, telling the platform, "You approved it. Now you're going back."

The platform allegedly then focused its battle on not removing the joke from the special itself but rather getting Normand to agree that it would not appear in social media promotions. The platform apparently believed social media was where most of the turmoil and backlash spawns from, not from people actually watching the special.

In response, Normand then gave the reps an ultimatum:

"OK. I don't love it, but OK. I will take it off on one condition," he recalled saying. Normand then said he told those on the call that he would only approve the social media plan if they admitted Muslims are dangerous.

"I want you to admit on this call that they're a dangerous people. And they were like, 'What? No. What, are you crazy?' And I'm like, 'You got to admit it, or I'm keeping it, or I'm posting it.'"

Normand said he could hear the commotion through the phone, until he was eventually told they would not adhere to his request, chiefly because it's "offensive."

That's when Normand called out the studio's hypocrisy.

RELATED: 'There's supposed to be freedom of speech': 'Saturday Night Live's' Kenan Thompson says movie studios suppress edgy comedians

Photo by Valerie Terranova/Getty Images for Bob Woodruff Foundation

"That's what the call is!" Normand remembered. "You're calling about this, and I just need you to say it out loud."

Remembering his phone call had Normand up in arms on the recent podcast, as he mocked the executive class for "signaling" about their beliefs but not standing behind them.

"You can say, 'Hey, I love this group.' But then you don't live near them. You know, we're all talk. We're all signaling. We're all virtuous, but you don't actually act that way."

"So they admitted it," Normand said to his surprise; and while he did reveal he was "half joking" when he made his request, the comedian had a good time getting "a group of HR homos" to say, "All right, they're dangerous. We'll see you later," before hanging up the phone.

As for which platform Normand spoke to, Netflix did not respond to a request for clarification; Hulu did not reply either. Normand seemingly had one special on the latter platform, "Out to Lunch" (2020), but it appears to no longer be available.

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The military’s secret language had a name: Chuck Norris



We measure influence in the U.S. military by rank, command, sacrifice, and decorations. Another kind of influence never shows up in an evaluation report or an after-action review. It lives in barracks humor, in whiteboard scrawl, and in the jokes told seconds after a blast, when nobody knows what else to say.

For more than four decades, that language included Chuck Norris, who died Thursday at 86.

In a culture that trains people to suppress fear and keep vulnerability under lock and key, humor becomes one of the safest ways to admit the stress everyone carries.

To most Americans, Norris was a martial artist and action hero. To generations of service members, he also became the centerpiece of a strange, durable mythology. The Chuck Norris jokes — absurd, hyperbolic, endlessly recycled — turned into more than throwaway lines. They became part of the emotional vocabulary of military life.

My combat deployment was no exception. Chuck Norris jokes covered bathroom walls, T-barriers, and whiteboards. They showed up during rocket attacks, after sniper fire, and in the lulls between incoming mortar fire. In a world built on danger and uncertainty, those ridiculous one-liners delivered something surprisingly useful: familiarity, laughter, and a brief reminder of invincibility.

That mattered more than civilians might think.

Humor in combat rarely counts as trivial. It works as a pressure valve. It functions as resilience. In a culture that trains people to suppress fear and keep vulnerability under lock and key, humor becomes one of the safest ways to admit the stress everyone carries. A joke can cut the tension without breaking bearing.

The Norris myth worked because it exaggerated what warfighters hope to find in themselves and in each other: strength, competence, endurance, and an almost supernatural refusal to lose. “Chuck Norris doesn’t do push-ups. He pushes the Earth down.” The line was silly on purpose. The more impossible the joke, the better it mocked the impossible situations young Americans were asked to endure.

Over time, the jokes became a kind of oral tradition. They passed from senior NCOs to new enlisted troops, from one unit to the next, from one deployment cycle to another. Like much of military culture, they traveled informally. They still carried meaning. They created continuity between those who served before and those serving now.

RELATED: Here are some of the funniest ‘Chuck Norris facts’ memes fans have shared to honor his memory

Frederic J. Brown/AFP/Getty Images

That’s how military culture often works. Doctrine and discipline matter, but shared rituals, symbols, and humor hold people together under pressure. The public tends to focus on the formal parts of service — uniforms, medals, salutes, speeches. The glue usually looks less official and more human.

It may sound odd to credit a pop-culture figure with shaping the inner life of the armed forces. Anyone who has deployed knows morale survives on unexpected things: coffee, music, dark humor, inside jokes, nicknames, and familiar reference points that make hardship feel survivable.

Chuck Norris became one of those reference points.

Warfare changes. Technology changes. The human side changes slower than people like to admit. Young Americans still deploy far from home. They still face fear, boredom, grief, and danger. They still need shared ways to absorb the psychological shock that comes with those experiences.

Whether the next generation inherits Chuck Norris jokes or builds a new mythology misses the larger point. Cultural touchstones endure because they give people a common language for courage. They turn anxiety into laughter. They remind troops that toughness isn’t only physical; sometimes toughness means smiling in the middle of chaos.

Norris did not shape strategy or write doctrine. But for a remarkable span of time, he held a small, steady place in the culture of the people who carried America’s wars.

That’s a real legacy.

Rest in peace, Chuck Norris.

Should Christians watch Netflix’s ‘Stranger Things’?



Netflix’s five-part sci-fi series “Stranger Things” — a twisted tale of undercover government experiments, evil supernatural creatures, and a sinister parallel dimension — is one of the streaming service’s most successful and profitable shows in its history.

Despite its heavy supernatural horror elements, occult-adjacent references, and gory violence, “Stranger Things” has been popular among some Christian audiences that appreciate its spiritual warfare parallels, good vs. evil themes, and subtle nods to biblical concepts like sacrifice and resurrection.

But are these Christians just inventing a loophole to participate in sinful entertainment?

On this episode of “Strange Encounters,” BlazeTV host Rick Burgess addresses this controversial subject.

The answer to whether Christians should watch “Stranger Things” is a complicated one.

“Is the show satanic or demonic? Not really, because the separation of good and evil seems to be there pretty clear,” Rick says, “but it can be troubling because there are some scary things in it.”

Additionally, the show includes profanity and language that takes the Lord’s name in vain.

“But do they mock Jesus? Not really,” Rick says. “There’s actually an episode when they discuss getting the church involved against this evil force that they’re fighting against.”

But even if the show leans more into sci-fi than true paranormal horror and uses secular language without overtly blaspheming Christ, does that mean Christians should watch it?

For younger kids, Rick’s answer is no.

“If the kid is younger than 15, probably not,” he states.

For one, the show features characters and concepts that could be deeply unsettling and terrifying to a younger audience — “monsters ... that could cause nightmares,” he warns.

Second, there are LGBTQ+ themes, as two of the main characters are homosexual and embraced for their lifestyles.

Third, “astral projection” — the occult belief that a person’s consciousness or spirit can intentionally separate from their physical body and travel through an astral plane or other dimensions — is part of the “Stranger Things” plot line.

For these reasons, younger audiences are better off keeping their distance from the show, according to Rick.

But what about older kids and adults? Can they watch this popular series without opening themselves up to demonic forces?

“I would say it should be under a yellow flag caution more than a red flag,” Rick says, suggesting that participation or avoidance should be determined by personal conviction.

Citing Brent Crowe’s book “Chasing Elephants,” he says, “When dealing with what entertainment we allow in our lives from a spiritual standpoint, there’s questions to ask,” the most important being: “Does it have any redeeming quality?”

“You have to be careful being really legalistic about, ‘If it’s R, I'm not watching it.’ Well, then you wouldn’t have watched ‘The Passion of the Christ.’ Why is it rated R would be kind of the road you would go down,” he advises.

To hear more of Rick’s biblical wisdom regarding what kinds of entertainment Christians should and should not partake in, watch the full episode above.

Want more from Rick Burgess?

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UNCANNY VAL: Val Kilmer makes creepy AI 'comeback' one year after death



Call it "Hearts of Darkness 2."

“Lost in Translation” director Sofia Coppola gave us on update on her next film, which was supposed to be a fact-based period drama with regular collaborator Kirsten Dunst. It's not looking so good.

Harris said Nicki Minaj suffered from a severe case of misinformation, suggesting the hip-hop star may not know simple things, like '2+2=4.'

Coppola's dad famously dealt with everything from typhoons, hookworm parasites, and rampant drug abuse on set to the near-fatal heart attack of his leading man while shooting "Apocalypse Now."

Now his daughter faces something even worse: life in 2026.

"It felt too sad," said the Hollywood scion, daughter of "Godfather" director Francis Ford Coppola. "It’s confusing in these dark times. I want to offer some hope and beauty in the world, but then you also don’t want to do something shallow, because it feels like a time for deep things."

We don’t have much information on the shelved project, but we can guess a working title: “Orange Man Really, Really Bad" ...

Spidey sense

We still love Spidey.

The just-released trailer for “Spider-Man: Brand New Day” racked up an impressive 718 million views in just a day. The film, once again starring Tom Holland as the web-slinger, finds our hero trying to reconnect with his former squeeze M.J. (Zendaya).

That’s a rare blast of good news from Superhero Central. Those men in tights haven’t been scoring at the box office like they once did, but Spidey remains untouched by woke nonsense. In fact, “Spider-Man: No Way Home” overdelivered on everything, from fan service to pure fun, to score nearly $2 billion worldwide.

If they can keep Dylan Mulvaney away from the set, this could be the super rebound Hollywood craves …

RELATED: ‘The Faithful’ puts focus on Bible’s female figures

Fox Broadcasting Company

Minaj's math

At least she didn’t mention Venn diagrams.

Former Vice President Kamala Harris took a swipe at one of the few black female celebrities to embrace President Donald Trump. Empowering, no?

Harris said Nicki Minaj suffered from a severe case of misinformation, suggesting the hip-hop star may not know simple things, like “2+2=4.”

“I think that one of the things about mis- and disinformation is we have to — when we disagree with someone — take that into account in understanding that we may just not be working with the same information.”

To be fair, that might just be the wine talking …

Whoopi's whoppers

Facts often die of loneliness on “The View.” Or they’re snuffed out with a pillow.

Earlier this week, Whoopi Goldberg got a crash course in Trump Accounts, money set aside for babies that will not only grow but teach them the wonders of our capitalistic system.

That’s called a win-win.

Not for Goldberg, who did the equivalent of putting her hands over her ears when guest co-host Sara Eisen brought up the topic. First, Goldberg complained that the panel wasn’t talking enough about solar energy.

Later, when bombarded with more information about the accounts, Goldberg waved the white flag.

“I'm sorry. For me and until he realizes how this affects all of us as citizens, it's not enough. But we're done talking about it,” Goldberg said.

Usually the show’s incessant cross-talk cancels out good information. This time, Goldberg personally saw to it that their audience would come away a little dumber …

ChadGPT

Val Kilmer is making a “comeback” one year after his passing.

A new project, purportedly with the blessing of some of Kilmer’s kin, will feature an AI version of the actor. The upcoming movie, dubbed “As Deep as the Grave” (a little on the nose, no?), will use generative AI to bring Kilmer back to the big screen.

The actor had wanted to star in the project several years ago, but his health complications prevented him from appearing on set.

Problem solved? And it could get creepier. A Swedish company just bought more than a majority share of the late Tina Turner’s musical catalog. According to the New York Post, Pophouse Entertainment also secured her “name, image, and likeness rights.”

And yes, the company in question has dabbled in digital avatars. Who can’t see what’s coming next?

They better be good to her …

Transwominae veritas!

Journos almost hounded John Lithgow out of one of the juiciest gigs possible.

The veteran actor will play Professor Dumbledore in the upcoming “Harry Potter” TV series for HBO Max. Lithgow is 80, an age when steady work isn’t easy to come by for an actor. And here’s a role he’s guaranteed to play for several years.

Perfect! Not so fast.

Reporters have been hounding him for months about the show, demanding that he defend working on a J.K. Rowling project. She famously created the “Harry Potter” series and doesn’t agree with the leftist shibboleth that "trans women are women."

For that, she has been relentlessly punished. And now it’s Lithgow’s turn.

So many reporters have hounded him over the connection that he nearly quit the series. The subject has and will come up “in every interview I will ever do for the rest of my life.”

He still took the gig. Looks like the left's favorite spell — transwominae veritas! — no longer holds the power it once did.

Chuck Norris dies at 86: 'He lived his life with faith'



Action movie star Chuck Norris has passed away, his family revealed online Friday.

The 86-year-old burst onto the film scene in the late 1970s and had a major influence on the boom in martial arts movies of the 1980s and 1990s.

'To us, he was a devoted husband, a loving father and grandfather.'

Norris' family wrote on his Instagram page that the star passed away Thursday morning, but wanted to keep the circumstances surrounding the death private.

"To the world, he was a martial artist, actor, and a symbol of strength. To us, he was a devoted husband, a loving father and grandfather, an incredible brother, and the heart of our family," the caption read.

The family added, "He lived his life with faith, purpose, and an unwavering commitment to the people he loved. Through his work, discipline, and kindness, he inspired millions around the world and left a lasting impact on so many lives."

RELATED: 'Walker, Texas Ranger' gets woke reboot, to star 'gay, conservative' character

CBS/Getty Images

The family went on to say that they were grateful for Norris' life and the "unforgettable moments" they were "blessed to share with him." They thanked his fans and his friends and said they were "truly grateful" for offers of prayer and support they received during Norris' recent hospitalization.

Norris hit it big with films like "Good Guys Wear Black" in 1978 and "A Force of One" in 1979. He was a mainstay on television as well with "Walker, Texas Ranger," which had more than 200 episodes during its 1993-2001 run.

RELATED: Netanyahu says Israel is 'indestructible' with Chuck Norris supporting it

Paul Drinkwater/NBC via Getty Images

Norris was involved in politics in recent years, such as endorsing Israeli Prime Minister Benjamin Netanyahu in 2017.

In 2016, Norris was reportedly set to attend a rally for Sen. Ted Cruz (R-Texas) but ultimately did not attend, and a spokesman said any presidential endorsement from the action star at the time was only a rumor.

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‘The Faithful’ puts focus on Bible’s female figures



Rene Echevarria broke into show business by penning episodes of “Star Trek: The Next Generation” in the ’80s.

Now, the versatile writer/director is putting his Christian faith front and center with a limited series unlike any other.

‘Play it like you don’t know you’re in the Bible.’

“The Faithful: Women of the Bible” debuts at 8 p.m. March 22 on FOX and airs the next day on Hulu. The three-part saga explores the book of Genesis through the eyes of consequential women.

Think Sarah (Minnie Driver), the wife of Abraham and mother of Isaac, whose infertility gave way to a spiritual miracle. Or Rebekah (Alexa Davalos), mother of Jacob and Esau and wife of Isaac.

In the beginning

Echevarria’s production partner, veteran TV producer Carol Mendelsohn, came up with the show’s angle.

“She knew I was a believer and loved the Bible,” Echevarria tells Align. “She’s a seeker, with a restless curiosity about spiritual matters.”

The veteran storyteller wasn’t initially convinced that the project would be the perfect fit for him.

“I was a little skeptical ... [asking], ‘Is that too limiting?’” he says of the concept, adding that his initial fears were unfounded. “The experience has been great; it opened my eyes to understanding these timeless stories.”

Deeper truth

Echevarria, who has worked with James Cameron (“Dark Angel”) and Steven Spielberg (“Terra Nova”) throughout his expansive career, says he took care to balance creative license with both his faith and the source material.

“I’ve been blessed to have worked in this business a long time. mostly making up stories. interpreting stories,” he says. Not this time.

“I always have to check myself, and sometimes I wish that little piece of Scripture wasn’t there. It would be so much easier,” he says from a dramatic perspective. “I found that if I didn’t try to avoid the challenges but steer into them, ... you’ll find something deeper, a deeper truth, ... things that I didn’t think of.”

“The Faithful” was shot in Italy, giving the creative team access to lush landscapes, including expanses of olive trees, that created a reasonable facsimile to biblical times. The team decided early in the production to work with mostly British actors and use their vocal cadences in the process.

A new light

The son of Cuban immigrants says making “The Faithful” impacted his personal faith.

“It re-invigorated my love of Scripture. ... I’m seeing things I thought I knew in a completely new light,” he says.

Some cast and crew members didn’t necessarily share his faith, which added nuance to the production.

“There’s a lot of downtime on set. So many times, people shared with me stories about why and how this project came to them at the right place in their lives,” he says. “Like people struggling with having lost a parent or having troubles with their kids.”

Others were skeptical about doing a Bible-based project.

“One actor shared that he found himself drawn in and said, ‘Yes, I want to do that,’” he recalls after the performer’s initial reluctance.

RELATED: 'Last Days' brings empathy to doomed Sentinel Island missionary's story

Vertical

No 'unearned piety'

Still, he turned having actors who didn’t know Scripture into a positive development. It made the humanity of the core players pop.

“Play it like you don’t know you’re in the Bible,” he says of his advice to the cast. That allowed them to avoid an “unearned piety” that brought the figures down to earth. “It’s just ordinary people in extraordinary circumstances.”

Echevarria wouldn’t mind telling more tales from the “Faithful” perspective. He cites the book of Ruth and the Samaritan woman at the well as stories ripe for future “Faithful” installments. That’s assuming viewers flock to the show, set to wrap on Easter Sunday.

“That’s my fondest hope, that the show finds an audience,” he says. Those chances are better than ever given the current pop culture climate. Shows like “The Chosen” and “House of David” have connected with Christians the world over, and the first part of Mel Gibson’s “The Resurrection of the Christ” series could be one of 2027’s biggest movie events.

“There’s a hunger out there for this kind of storytelling,” he says. “They’re resonating. People are taking notice.”

And he hasn’t forgotten how he entered show business several decades ago. He dreams of rejoining the “Star Trek” universe after penning 30-plus episodes across “The Next Generation” and “Deep Space Nine.” He’s been noodling with an idea “out of left field” to share in that franchise.

“I’m waiting for the right moment to bring it over there,” he says.