'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.

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"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.

Dreary 'Saturday Night Live: UK' is dead on arrival



It took less than a minute. Not for the show to find its rhythm — that never arrived — but for viewers to reach for the remote.

A more generous critic would say "Saturday Night Live: UK" stumbled out of the gate. Someone actually grounded in reality would say it arrived DOA, was resuscitated by optimism, flatlined again during the opening credits, and spent the rest of its run time as evidence that nobody in the commissioning process had ever actually watched British television.

The live format, in particular, punishes British reserve. The Brits, much like the Irish, don't do collective euphoria on command.

The opening sketch — a Downing Street caricature so limp that it needed medical attention — felt like it was written by people who had heard of the place the way most people have heard of Uzbekistan: aware that it exists, entirely unclear on the details. Keir Starmer reduced to a bed-wetting schoolboy: accurate enough, but executed with all the surgical precision of a drunk toddler.

Satire requires stones. This was neutered at conception

Fey's lemon

The host was former "SNL" head writer Tina Fey — parachuted in to anchor the spin-off in the history of television's most durable comedy franchise.

Rather than evoking "Saturday Night Live," however, her appearance called to mind "30 Rock" — Fey’s own sitcom about a sketch comedy show flailing within an absurdly corporatized NBC.

She stood there less like a master of ceremonies than like a faintly embarrassed consultant, as if tasked with explaining why this seemingly gratuitous product was actually a masterstroke of synergy and brand extension. You could almost hear the Jack Donaghy pitch behind it: familiar logo, international rollout, scalable format. Somewhere between the greenlighting and the greenroom, the only premise that mattered — making people laugh — had been quietly lost.

The audience noticed immediately. They always do. Forty seconds. One minute. Five, if you were feeling charitable. The reactions weren't angry. They were worse. They were bored. There is no harsher verdict for comedy than indifference.

Stupid and sublime

It wasn’t always this way, of course. "Saturday Night Live" was once genuinely great. Not good. Not fine. Great. Belushi, Aykroyd, Eddie Murphy — dangerous, deranged, alive. Bill Murray doing a sort of dollar-store Sinatra. Chris Farley destroying every piece of furniture within reach. Phil Hartman doing impressions so precise that the subjects should have taken it personally. They probably did.

These were performers who understood that live television was a dare, not a format, and they took it every single week. Comedy that felt like it could go wrong at any moment, and sometimes did, and was better for it. Sharp, stupid, sublime in equal measure.

Those days are long gone — the show swallowed by Trump derangement syndrome and the passive-aggressive ritual of swiping at conservatives until the writers' room mistook a political position for a punch line.

In its prime, it was still political, but at least it was anchored in something real — American culture, fast, furious, and occasionally brilliant. If today's "SNL" is but a degraded facsimile of the show in its prime, this transatlantic fiasco is a facsimile of that facsimile: edges blurred, ink fading, soul entirely absent.

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CBS Photo Archive/Monika Graff/Getty Images

Fawlty hour

The failure here is structural, not superficial. British comedy is built on irony, understatement, and a very specific species of darkness. "Fawlty Towers." "Brass Eye." "The Office." "I'm Alan Partridge." Comedy that watches you squirm and enjoys it. Comedy that finds the precise point of maximum discomfort and builds a home there. Comedy forged in restraint and bad weather, in class anxiety and institutional distrust, in the particularly British conviction that authority is always, at some level, ridiculous. You cannot import that.

If British comedy runs on slow-burning cringe and the precise calibration of discomfort, the "SNL" format runs on volume — loud, broad, relentlessly American, built around celebrity cameos and political impressions that reset with each news cycle and evaporate by Sunday morning.

Hiring Lorne Michaels doesn't transplant the institution any more than putting a McDonald's in a country farmhouse makes it rural. The live format, in particular, punishes British reserve. The Brits, much like the Irish, don't do collective euphoria on command. They do collective embarrassment, the kind that makes you leave the room on someone else's behalf, change your name, and book a one-way ticket to the aforementioned Uzbekistan.

Nothing much

Crucially, nobody asked for this. Nobody petitioned. Nobody wrote in. Sky's decision to commission eight episodes before a single one had even aired suggests the company was already nervous — hedging against failure by pretending it was a plan.

The deeper problem is one of fundamental incompatibility — a cultural mismatch so obvious that it's almost impressive that no one in the commissioning process named it aloud. Or perhaps they did and were overruled by someone with a spreadsheet. Comedy, at its best, feels dangerous. This felt focus-grouped. Safe. Sanitized. A show that promised the sun, moon, and stars but instead delivered, with full confidence and considerable expense, a urine-scented underpass.

Of course, the next episode could be great. Revelatory. The best television in years. But judging by the first, almost anything else would have been better. Including nothing. Nothing would have been better. Nothing, at least, doesn't waste your Saturday night.

‘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.

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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.

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'Juvenile war porn': Halo voice actor wants out of Trump administration hype video



Actors are getting a taste of the social media game as the White House is dropping hype videos about its foreign policy.

After the administration released a video that included clips from "Top Gun," "Iron Man," "Breaking Bad," "Deadpool," and "Gladiator," actors are demanding the content be taken down.

'I demand that the producers of this disgusting and juvenile war porn remove my voice immediately.'

First, writer and actor Ben Stiller took issue with a clip from his movie "Tropic Thunder" being included in the compilation, saying "We never gave you permission and have no interest in being a part of your propaganda machine."

"War is not a movie," he added.

System of a Downes

Much stronger verbiage was used by voice actor Steve Downes, who played the iconic Master Chief character in the beloved Halo video game series.

Downes said on X that "at least one propaganda video" was circulating that uses his voice to support the war in Iran.

"Let me make this crystal clear: I did not participate in nor was I consulted, nor do I endorse the use of my voice in this video, or the message it conveys," Downes wrote. "I demand that the producers of this disgusting and juvenile war porn remove my voice immediately."

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Music to his ears

Downes wasn't the only Halo alumnus to comment on the video though. Marty O'Donnell, the original Halo score composer turned congressional candidate, did not exactly share the same sentiment.

"Just want you to know that, unlike Ben, I TOTALLY approve of the use of my music at the [end] of this. Finish the fight!" O'Donnell wrote.

He also responded to Stiller, calling him a "sensitive artist."

"I, on the other hand, approve" of the video, O'Donnell added.

RELATED: Legendary Halo composer unravels the video-game industry’s woke collapse

Fair use

The actors are seemingly facing a harsh lesson in social media fair use, in that most platforms, such as X and YouTube, allow brief usage of copyrighted materials so long as they are being used for analysis, commentary, or are not taking profit away from the content creator.

In this instance, it is likely the latter at play since "government entities" are not included in X's revenue sharing program.

In December, musicians Sabrina Carpenter and SZA both took issue with the White House using their music in videos that depicted illegal immigration raids.

SZA wrote, "White House rage baiting artists for free promo is PEAK DARK ..inhumanity +shock and aw tactics ..Evil n Boring," while Carpenter responded to a video that has since been deleted.

Carpenter said, "This video is evil and disgusting. Do not ever involve me or my music to benefit your inhumane agenda."

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Actor Ryan Reynolds' Wrexham AFC — the world's 3rd-oldest soccer team — to play its biggest game of all time



Ryan Reynolds has made an almost 50X return on a tiny Welsh soccer team.

When Reynolds and fellow actor Rob McElhenney, best known for "It's Always Sunny in Philadelphia," bought Wrexham AFC in 2021 for about $2.6 million, it played in England's fifth-tier soccer league and placed eighth. Now, it is knocking on the door of the country's top league and is worth around $130 million.

'Home! Chelsea! Yes!'

It did not take long for the Hollywood owners to bring the team out of obscurity, even though Wrexham is known as being the third-oldest existing professional soccer team in the world. Wrexham was founded over 161 years ago, in October 1864.

Five years of success after success has brought the stars' team to the fifth round of the FA Cup, the final 16 teams of England's biggest tournament and the oldest national soccer competition in the world.

Wrexham plays Chelsea FC, a team from England's top-flight English Premier League, on Saturday at 12:45 p.m. ET. Chelsea is one of the wealthiest teams in the world and would typically crush lower-tiered teams. However, Wrexham has had magic surrounding it lately.

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Photo by Oli SCARFF / AFP via Getty Images

It already defeated Premier League team Nottingham Forest in the third round of the FA Cup (3-3, won on penalties) and Ipswich Town, a team ahead of Wrexham in its own division, in the fourth round (1-0).

"Home! Chelsea! Yes!" Reynolds said in an X video after learning about his team's opponent.

While Wrexham has played both Chelsea and world-famous Manchester United in exhibition games, this is by far the biggest team it has played in real competition since Reynolds took the helm. His time as owner has been nothing short of a fairy tale for supporters over the last five years.

In 2022-2023, Wrexham won the National League, gaining promotion to the fourth tier, English League Two. Finishing in second place in consecutive years has garnered Wrexham a promotion to the EFL Championship, England's second-highest league, where the team currently sits.

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Photo by Robbie Jay Barratt - AMA/Getty Images

After Saturday's match, Wrexham will continue its push to make the Premier League. As it stands, the team is in sixth place with 11 games remaining. The top two teams in the league will gain automatic promotion to the Premier League, while third through sixth will play in a four-team, single-elimination tournament with the winner getting promoted.

Wrexham would likely have to beat other giant clubs after Chelsea to win the FA Cup, though, which seems an unlikely outcome.

However, a win against the Blues would still be the biggest in its history in a year in which bigger upsets have happened. In January, Macclesfield FC shocked Crystal Palace 2-1. Macclesfield is a sixth-tier team with part-time players, while Crystal Palace was the defending champion and is in the Premier League.

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God of War creator dumps on first image from Amazon series: 'Looks like he's s***ting in the woods'



Amazon MGM Studios and Sony Pictures Television are so confident in their upcoming "God of War" adaptation that they’ve already ordered two seasons.

But their initial marketing push has drawn sharp criticism from the man who created the video game franchise.

'It's just a dumb f**king image.'

Bathroom break

Last week, Amazon unveiled the first image of Kratos — the Spartan warrior at the center of the massively popular games. In it, Kratos crouches in the woods, leaning on his haunches as he watches his son Atreus draw an arrow.

The photo was meant to stoke excitement for the live-action take on one of gaming’s most iconic characters.

For God of War creator David Jaffe, however, it caused an entirely different reaction.

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“Could you find a picture that doesn’t look like he’s s***ting in the woods?" asked Jaffe. "Because that’s what the picture looks like.”

Potty mouth

Jaffe made the comments in a video posted to his YouTube channel. In the clip, he says he's "a little worried" about the first impression the show was making. "What the f**k is this?” he said. “It’s just a dumb f**king image.”

While Jaffe stressed that he was still confident in the show's creative team — saying he had “absolutely no doubt it is going to be a good show" — he refused to soften his stance on the squatting Spartan.

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“Two things can be true [at once]," he said. "This can be a terrible image — and it is. It’s so bad in so many ways.”

Photo by Michael Loccisano/Getty Images for Tribeca Film Festival

Flush with success

God of War is not the first of Jaffe’s properties to make the jump to television. Paramount+ recently renewed its "Twisted Metal" adaptation for a third season. As co-creator of the game (with Scott Campbell), Jaffe directed four Twisted Metal games between 1995 and 2012.

Amazon has increasingly bet on video game adaptations in the streaming arms race. That strategy has delivered at least one breakout hit — "Fallout" — while several other high-profile projects remain in development.

God Requires You To Agree With Democrats, Democrats Announce

People who live by the assumption that all faith is a meaningless and expedient surface posture can't speak to people who have actual faith.