Happy Easter, a great day to remember what the true news is about:

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Early on the first day of the week, while it was still dark, Mary Magdalene went to the tomb and saw that the stone had been removed from the entrance. ² So she came running to Simon Peter and the other disciple, the one Jesus loved, and said, “They have taken the Lord out of the tomb, and we don’t know where they have put him!”

³ So Peter and the other disciple started for the tomb. ⁴ Both were running, but the other disciple outran Peter and reached the tomb first. ⁵ He bent over and looked in at the strips of linen lying there but did not go in. ⁶ Then Simon Peter came along behind him and went straight into the tomb. He saw the strips of linen lying there, ⁷ as well as the cloth that had been wrapped around Jesus’ head. The cloth was still lying in its place, separate from the linen. ⁸ Finally the other disciple, who had reached the tomb first, also went inside. He saw and believed. ⁹ (They still did not understand from Scripture that Jesus had to rise from the dead.) ¹⁰ Then the disciples went back to where they were staying.

Jesus Appears to Mary Magdalene

¹¹ Now Mary stood outside the tomb crying. As she wept, she bent over to look into the tomb ¹² and saw two angels in white, seated where Jesus’ body had been, one at the head and the other at the foot.

¹³ They asked her, “Woman, why are you crying?”

“They have taken my Lord away,” she said, “and I don’t know where they have put him.” ¹⁴ At this, she turned around and saw Jesus standing there, but she did not realize that it was Jesus.

¹⁵ He asked her, “Woman, why are you crying? Who is it you are looking for?”

Thinking he was the gardener, she said, “Sir, if you have carried him away, tell me where you have put him, and I will get him.”

¹⁶ Jesus said to her, “Mary.”

She turned toward him and cried out in Aramaic, “Rabboni!” (which means “Teacher”).

¹⁷ Jesus said, “Do not hold on to me, for I have not yet ascended to the Father. Go instead to my brothers and tell them, ‘I am ascending to my Father and your Father, to my God and your God.’”

¹⁸ Mary Magdalene went to the disciples with the news: “I have seen the Lord!” And she told them that he had said these things to her.

Jesus Appears to His Disciples

¹⁹ On the evening of that first day of the week, when the disciples were together, with the doors locked for fear of the Jewish leaders, Jesus came and stood among them and said, “Peace be with you!” ²⁰ After he said this, he showed them his hands and side. The disciples were overjoyed when they saw the Lord.

²¹ Again Jesus said, “Peace be with you! As the Father has sent me, I am sending you.” ²² And with that he breathed on them and said, “Receive the Holy Spirit. ²³ If you forgive anyone’s sins, their sins are forgiven; if you do not forgive them, they are not forgiven.”

Jesus Appears to Thomas

²⁴ Now Thomas (also known as Didymus^[a]), one of the Twelve, was not with the disciples when Jesus came. ²⁵ So the other disciples told him, “We have seen the Lord!”

But he said to them, “Unless I see the nail marks in his hands and put my finger where the nails were, and put my hand into his side, I will not believe.”

²⁶ A week later his disciples were in the house again, and Thomas was with them. Though the doors were locked, Jesus came and stood among them and said, “Peace be with you!” ²⁷ Then he said to Thomas, “Put your finger here; see my hands. Reach out your hand and put it into my side. Stop doubting and believe.”

²⁸ Thomas said to him, “My Lord and my God!”

²⁹ Then Jesus told him, “Because you have seen me, you have believed; blessed are those who have not seen and yet have believed.”

The Purpose of John’s Gospel

³⁰ Jesus performed many other signs in the presence of his disciples, which are not recorded in this book. ³¹ But these are written that you may believe^[b] that Jesus is the Messiah, the Son of God, and that by believing you may have life in his name.

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Now to relate this to many of our topics on here. Here’s what J.R.R. Tolkien says of the resurrection:

"The Resurrection was the greatest 'eucatastrophe' possible in the greatest Fairy Story – and produces that essential emotion: Christian joy which produces tears because it is qualitatively so like sorrow, because it comes from those places where Joy and Sorrow are at one, reconciled, as selfishness and altruism are lost in Love.

Of course I do not mean that the Gospels tell what is only a fairy-story; but I do mean very strongly that they do tell a fairy-story: the greatest. Man the story-teller would have to be redeemed in a manner consonant with his nature: by a moving story. But since the author if it is the supreme Artist and the Author of Reality, this one was also made to Be, to be true on the Primary Plane. So that in the Primary Miracle (the Resurrection) and the lesser Christian miracles too though less, you have not only that sudden glimpse of the truth behind the apparent Anankê of our world, but a glimpse that is actually a ray of light through the very chinks of the universe about us."

Have a great day and God bless all of you!

Sixty years ago, two episodes of Doctor Who aired on the BBC and then, as far as anyone knew, ceased to exist. This week they came back.

The charity Film is Fabulous!, which works to preserve cinema and television history, found the two episodes in film cans wrapped in plastic bags among a water-logged collection of films at a private collector’s estate. Despite the condition of the surrounding materials, both episodes were in pristine condition.

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The episodes are “The Nightmare Begins” and “Devil’s Planet,” the first and third installments of the twelve-part 1965 serial “The Daleks’ Master Plan,” written by Dalek creator Terry Nation and featuring William Hartnell’s First Doctor alongside companion Steven Taylor, played by Peter Purves. The second episode of the arc had already been found previously, meaning the first three episodes are now complete. The serial is one of the longest in the show’s history, and only five of its twelve total episodes have now been recovered.

The first three episodes are particularly significant because they contain the first appearance of actor Nicholas Courtney in Doctor Who. He would go on to play the beloved Brigadier Lethbridge-Stewart across decades of the show’s run.

Film is Fabulous! screened the recovered episodes for Purves himself before the public announcement, inviting him to a local cinema on a pretext. He sat down to watch footage he had almost certainly assumed was gone forever. “Twenty-seven of mine still are missing, but I’m delighted that two have been found,” the 87-year-old Purves told the BBC. “It’s rather sad, but it’s great when some turn up.”

Both episodes are now available to watch for free. UK viewers can find them on BBC iPlayer. International viewers, including those in the US, can watch them on the Doctor Who Classic YouTube channel at the links below:

How the BBC Lost Its Own History

The story behind these missing episodes is one of institutional carelessness on a scale that is difficult to comprehend in retrospect. Between 1967 and 1978, the BBC routinely deleted archive programmes for practical reasons including lack of storage space and scarcity of materials. As a result, 95 of the first 253 episodes of Doctor Who are currently missing, primarily from seasons three, four, and five.

The mechanics of how it happened involve a failure of communication between two BBC departments that each assumed the other was handling preservation. The BBC Film Library had no responsibility for storing programmes that had not originated on film, while BBC Enterprises wiped their own reels without coordination. As each body believed it was the other’s responsibility to archive the material, both destroyed their own copies.

Stories like “The Daleks’ Master Plan” were particularly vulnerable because international censors declined to pick up the serial for broadcast due to its violence, which included the first onscreen death of a companion. With those international broadcast reels having become a key source for hunting missing episodes over the decades, it was presumed for years that the Master Plan episodes kept only in the UK were likely gone forever.

A Sixty-Year Hunt

The search for lost episodes has produced remarkable finds over the decades, almost always from the most unexpected corners of the world.

In 1978, eleven episodes were located from various overseas sources, marking the start of organized international searches. The BBC had been selling syndication rights to foreign broadcasters since the 1960s, and those 16mm film copies sent abroad sometimes survived long after the British originals were destroyed.

One of the more notable recoveries came in 1992 when the entirety of “The Tomb of the Cybermen” was found in Hong Kong, returning a complete Second Doctor serial to the archives.

The largest single haul came in October 2013, when archive television recovery expert Phillip Morris located nine complete episodes at a television relay station in Nigeria: five episodes of “The Enemy of the World” and four episodes of “The Web of Fear.” That discovery made worldwide news and raised hopes that more material remained to be found. Those hopes were justified, though it took another twelve years.

Justin Smith, chair of trustees of Film is Fabulous!, said after the current discovery: “We know that other episodes are in existence. We don’t know where they are or who’s got them, otherwise we’d be knocking on doors. But I think there are more. The only question is when and where they will come to light.”

BBC archivist Paul Vanezis has stated that the two recovered episodes were “bonus” discoveries on top of episodes he is already aware exist but have not yet made their way back to the archives.

Ninety-five episodes remain missing. The search continues.

What do you think about the recovery of these lost Doctor Who episodes? Let us know in the comments.

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Survival of the fittest just became a lot more dangerous. Space Fleet Academy Year Two delivers the hard sci-fi action Paramount refused to give you with Starfleet Academy. That’s why we’re still here while the show is gone. Read it today!

NEXT: Crusade: The Show That Never Got to Tell Its Story (Part Three of Three)

Over the past two weeks we’ve examined the first two of three unproduced Crusade scripts that J. Michael Straczynski wrote after TNT cancelled the show. “To the Ends of the Earth” established the shadow hybrid mythology and introduced the concept of an “opposite number” mirroring the Excalibur’s mission. “Value Judgements” brought back Alfred Bester and forced the crew into a moral compromise that revealed how far they’d go when the plague clock was ticking.

This week we close out the series with “End of the Line”—the third unproduced script, written by Straczynski himself. If the first two scripts were about establishing threats and testing the crew’s ethics, this one is about consequences. Everything the season has been building toward arrives at once, and the result is the most ambitious of the three scripts—and the most revealing about where Crusade was ultimately headed.

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Mike S. Miller has been recognized by many fans as one of the best artists to emerge from the comic industry in the modern era. His work on DC Comics’ Injustice, as well as George R.R. Martin’s The Hedge Knight (known now as A Knight Of The Seven Kingdoms), has been a major accomplishment in the field. After a decade of being blacklisted for his outspoken Christian beliefs, Miller has teamed with Rippasend to produce a wordless gospel comic meant to reach people regardless of language. It’s a true monumental moment for Christian art.

The book is available on Rippasend here, and fans have shown great enthusiasm for this beautiful project.

You have a long history in mainstream comics, working on titles for both Marvel and DC as well as high-profile licensed properties like Game of Thrones. At what point did you realize the mainstream industry had fundamentally changed, and what was the moment that made you decide to chart your own course?

When I got blacklisted for sharing a Christian perspective on the DC comics forums, back in 2000. I already knew there was a blacklist; my former editor, the late Bryan Augustin, who himself was a liberal but was happy to work with conservatives, told me point-blank that there was a blacklist at DC, and that some editors just LOVED blacklisting creators. I wasn’t the first, but I was probably in before the snowball effect took place. That was still a ‘hush hush’ time about blacklisting, they pretended it didn’t happen, it just so happened that I went from being on their flagship title to being persona non-grata. I’m sure it was all coincidence. Except then a gay friend of mine in the industry (irony, right?) told me that his boyfriend heard from higher ups that I was blacklisted at DC and at Marvel. So, I was sort of forced to chart another course into the indy market.

You served as the artist on the A Game of Thrones graphic novel adaptation. George R.R. Martin’s A Knight of the Seven Kingdoms recently became an HBO series. Did your work on that graphic novel property open any doors, bring renewed attention to your career, or did the industry’s current gatekeeping ensure that the mainstream largely moved on without you regardless of your body of work?

Ironically, even though I was blacklisted at Marvel, when George worked out a deal with them to publish the second book, The Sworn Sword, they HAD to work with me. George is a loyal guy, and made sure it was my project to draw. After that, I did end up back at DC through the circumstance of DC having bought out Wildstorm, my old alma mater. They didn’t have the sway in the Wildstorm editorial office to blacklist me, and so I started picking up work there, which ultimately landed me on INJUSTICE, which has been the other big project that people know me for. But since then, I started doing my own projects, and my connections at DC have died or retired... mostly.

Tell us about the worldless Bible comic. What was the creative vision behind making it wordless, and why did you feel that format was the right vehicle for bringing Scripture to as broad an audience as possible?

I had a vision, or an idea, while at church, of a white canvas representing Heaven, and dirt on that canvas making it imperfect, which is why sin cannot exist in God’s presence. Imperfection cannot exist within perfection. Then the image was of men covered in the filth of their sin visibly, meanwhile Christ is there sinless and clean. But when he’s on the cross, he takes all of our sin on himself, which can be visualized by the dust and dirt and muck on our bodies being transferred to him on the cross, making us clean instead. I just thought, ‘I have to visualize this’, but I couldn’t just do it in a drawing, it would have to be the entire gospel. And to reach as many people as possible, I’d have to do it in a style that appealed to everyone. Hence the ‘Calvin and Hobbes’ style illustrations.

A wordless format means the art carries everything. What were the biggest artistic challenges in communicating the depth and weight of Biblical narrative through image alone, without any text to anchor the reader?

There are clearly portions of Jesus teaching that get left behind, because it’s impossible to express in just pictures, but I tried to tackle all of the events of the 4 gospels that can be visualized. You’ll see that my references bounce around from book to book, because I was using a chronologized list of gospel events to tell the tale.

This project has an explicitly evangelical purpose in that it is designed to reach readers across every language barrier on earth. How do you think about the relationship between your faith and your craft, and has that relationship changed over the course of your career?

I believe we all have gifts granted from God. We all have time, talent, and treasure. Some of us have more time, some more talent, some more treasure, but whatever it is you’ve been blessed with, it should be purposed toward building the kingdom of God. Bringing people to faith. Changing the culture to reflect God’s purpose. Since I became a Christian, I have always tried to find ways to use my talents to that end. Unfortunately, sometimes you just have to pay the bills, and be an example of Christ as a servant to an employer, but having this gift to use to reach people in this unique way is certainly the highlight of my career.

You are publishing through Eric July’s Rippaverse. Eric has built one of the most successful independent comics operations in the industry specifically by refusing to bow to the mainstream gatekeepers. What drew you to Rippaverse as the home for this project, and what does that partnership mean to you?

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The fallout from the embarrassment of Starfleet Academy continues, as now Mike from Red Letter Media claims that less than 40,000 people watched Starfleet Academy per episode in a new episode of re:View.

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Starfleet Academy had notoriously low ratings, failing to chart in Nielsen’s top 10 overall and also failing many weeks even to make the top 10 inside the Paramount Plus app. Despite Paramount releasing the first episode of the show on YouTube for free to get people to attempt to check it out, the gambit didn’t work, and the show was pronounced canceled after its first season, even though the second season had already been filmed and was in post-production.

The actors for the show have been doing a press tour, lashing out at fans and playing victim over the last week. The heat from fans became so bad, Robert Picardo announced he would be taking a break from X, saying, “Still blocking the rude, crude, hateful and stupefyingly stupid which are never in short supply here. [And, of course, all of the bots] It's a full-time job and I need a break. See you soon! - - I am confident that you will keep the hate-fires burning while I'm gone !”

Despite announcing this, he kept posting about Trump angrily every single day since then, but he stopped mentioning the Starfleet Academy show in which he starred as the emergency medical hologram.

Meanwhile, on Red Letter Media’s new re:View episode, where they talk about the first season of Star Trek: Voyager, Mike reveals he has an insider talking about the ratings for the show after Rich announced, “Star Trek is dead.”

Mike replied, "I heard from my source. Do you want to know the numbers? The entire first season of Star Trek: Starfleet Academy, not individual episodes, the entire season total views, about 400,000. Not per episode. Cumulatively, the entire series. About 400,000 views. Which is an average of maybe 40,000 views per episode."

If this is true, the level of viewership is even lower than people could have possibly thought. Those levels are completely dismal, especially as the show is rumored to have had a budget of anywhere from $10-20 million per episode. Even on the low end of teh curve, it would have cost Paramount nearly $2,500 per viewer, something subscriptions could never recoup.

It’s no wonder they announced the cancellation before the second season even airs, completely writing off this show, as most fans have.

What do you think about this viewership numbers rumor?

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Survival of the fittest just became a lot more dangerous. Space Fleet Academy Year Two delivers the hard sci-fi action Paramount refused to give you with Starfleet Academy. That’s why we’re still here while the show is gone. Read it today!

NEXT: ‘Severance’ Actress Patricia Arquette Makes Bizarre Claim That Americans Are “Losing Our Fundamental Civil Rights”

Matt Dinniman appears to have been rewarded for taking the ticket with Dungeon Crawler Carl, as his series is now being adapted by Seth MacFarlane’s company into a streaming show at Peacock.

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J.J. Abrams is downsizing Bad Robot. The production company he founded in 1999 is closing its Los Angeles office, moving operations to New York, and cutting staff across the board. At its height the Bad Robot building had hundreds of people working inside it, including members of its in-house visual effects company, Kelvin Optical. The company sold its longtime Santa Monica headquarters for $31 million in November and had been shedding employees for years already. What remains is a smaller outfit working under a diminished deal with Warner Bros.

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In 2019, WarnerMedia won a bidding war for Bad Robot with a five-year overall deal estimated at $500 million, structured to allow Abrams to sign other writers to overall deals and position Bad Robot as a mini studio that would incubate the next generation of storytellers. Five and a half years later, Warner Bros. does not have much to show for it. Bad Robot failed to reach the financial and output benchmarks that would have triggered the full $500 million value. The deal dropped from that rich overall agreement to a more modest first-look pact at the last renewal in December 2024.

This is the closing chapter on a creative philosophy that did measurable, lasting damage to two of the most valuable science fiction franchises in history.

Abrams got his hands on Star Trek in 2009 with the reboot that raced through lens flares and nostalgia bait while hollowing out everything that made the original series worth caring about. The 2009 film was a fun action movie wearing a Star Trek costume. Into Darkness misunderstood Khan so thoroughly it suggested nobody in the room had actually watched The Wrath of Khan with full attention. The reboot trilogy chased spectacle while Roddenberry’s foundational premise, that a hopeful, rational, diverse humanity could solve its problems through intelligence and cooperation, sat in a drawer. Abrams did not make Star Trek films. He made Star Trek-flavored action films, and the distinction matters enormously.

Then came Star Wars. The Force Awakens was a structural remake of A New Hope dressed in new character suits. Abrams got audiences back in the seats on the strength of 30 years of goodwill and returned nothing in exchange except the promise of answers he had no intention of delivering. When he came back for The Rise of Skywalker after Rian Johnson’s The Last Jedi had burned the sequel trilogy’s internal logic to the ground, the result was a film so desperate to please everyone simultaneously that it pleased almost no one. “Somehow Palpatine returned.” Four words that summarized an entire filmmaking approach built on spectacle over structure, mystery boxes over payoff, and franchise exploitation over storytelling craft.

The deeper damage was institutional. Abrams brought Alex Kurtzman with him as a writing partner on the 2009 film, and when Bad Robot moved on from Star Trek, Kurtzman stayed behind. CBS Studios signed Kurtzman and his Secret Hideout production company in 2016 to run the Star Trek franchise, a relationship that eventually grew into a nine-figure overall deal running through 2026. He was Abrams’s protege, trained in the same school of thought, and he applied those lessons to ten years of Star Trek television with predictable results. Dark aesthetics, serialized storylines with no satisfying resolution, characters defined by trauma rather than competence, and an unbroken hostility to the optimistic adventure premise that built the franchise’s audience over five decades.

Every show Kurtzman produced is now canceled, ending, or wrapped. Discovery is done. Picard is done. Lower Decks is done. Prodigy bounced off a cancellation at Paramount and found refuge at Netflix. Starfleet Academy got canceled before its second season aired. Strange New Worlds, the one entry in the Kurtzman era that most closely resembled actual Star Trek, is filming its final season. According to reporting from Tachyon Pulse Podcast, Paramount formally withdrew the offer previously on the table for Secret Hideout following the disastrous reception of Starfleet Academy, effectively pulling the tentative deal that was never particularly generous to begin with.

The contract runs at least through July for post-production obligations, so Secret Hideout has not formally exited yet. Sources indicate Skydance has had no conversations with Secret Hideout about renewing the deal, with one source noting: “They’ve not asked for any projections or had any sort of conversations with Secret Hideout about renewing the deal. I’m told they’ve had none.” The silence is the answer.

The pattern connecting Bad Robot’s collapse to Secret Hideout’s likely exit is not coincidental. Both operations were built on the same bet: that intellectual property recognition could substitute for storytelling discipline, that audiences would keep coming back to beloved brands regardless of what was actually on the screen. Warner Bros. paid nine figures to find out that bet was wrong. Paramount paid a similar price over a decade of declining viewership and franchise erosion.

The era Abrams built is ending. The question for both Star Trek and Star Wars is whether the studios understand why it failed, or whether they will hand the keys to the next version of the same approach and wonder why the audience does not return.

What do you think the future of Star Trek looks like under Skydance without Kurtzman? Let us know in the comments.

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Survival of the fittest just became a lot more dangerous. Space Fleet Academy Year Two delivers the hard sci-fi action Paramount refused to give you with Starfleet Academy. That’s why we’re still here while the show is gone. Read it today!

NEXT: ‘Severance’ Actress Patricia Arquette Makes Bizarre Claim That Americans Are “Losing Our Fundamental Civil Rights”

John Wayne saw the path that downward path that Hollywood was on all the way back in 1971 when he blasted the studio executives as “high class whores.”

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When asked how he felt about the state of the motion-picture business today, Wayne shared in an interview, “I'm glad I won't be around much longer to see what they do with it. The men who control the big studios today are stock manipulators and bankers. They know nothing about our business. They're in it for the buck.”

“The only thing they can do is say, 'Jeez, that picture with what's-her-name running around the park naked made money, so let's make another one. If that's what they want, let's give it to them.' Some of these guys remind me of high-class whores,” he observed.

He went on to add, “As much as I couldn't stand some of the old-time moguls—especially Harry Cohn—these men took an interest in the future of their business. They had integrity.”

“There was a stretch when they realized that they'd made a hero out of the goddamn gangster heavy in crime movies, that they were doing a discredit to our country,” he explained. “So the moguls voluntarily took it upon themselves to stop making gangster pictures. No censorship from the outside. They were responsible to the public.”

In contrast, he noted how the executives of his day had no problem pushing immorality on moviegoers, “But today's executives don't give a damn. In their efforts to grab the box office that these sex pictures are attracting, they're producing garbage. They're taking advantage of the fact that nobody wants to be called a bluenose.”

Finally, he predicted, “But they're going to reach the point where the American people will say, "The hell with this!" And once they do, we'll have censorship in every state, in every city, and there'll be no way you can make even a worthwhile picture for adults and have it acceptable for national release.”

When asked if the ratings system would prevent the spread of this immorality, Wayne accurately noted, “Every time they rate a picture, they let a little more go.”

Next, he shared how the rating system in general is ridiculous and would not even be necessary if moral men were still in charge, “Ratings are ridiculous to begin with. There was no need for rated pictures when the major studios were in control. Movies were once made for the whole family. Now, with the kind of junk the studios are cranking out—and the jacked-up prices they're charging for the privilege of seeing it—the average family is staying home and watching television. I'm quite sure that within two or three years, Americans will be completely fed up with these perverted films.”

Wayne was not the only one to make such criticisms. It’s A Wonderful Life director Frank Capra made similar comments in his book The Name Above the Title, which was also published in 1971.

Capra wrote:

The winds of change blew through the dream factories of make-believe, tore at its crinoline tatters... The hedonists, the homosexuals, the hemophiliac bleeding hearts, the God-haters, the quick-buck artists who substituted shock for talent, all cried: ‘Shake ’em! Rattle ’em! God is dead. Long live pleasure! Nudity? Yea! Wife-swapping? Yea! Liberate the world from prudery. Emancipate our films from morality!’ ... Kill for thrill—shock! Shock! To hell with the good in man, Dredge up his evil—shock! Shock! Practically all the Hollywood film-making of today is stooping to cheap salacious pornography in a crazy bastardization of a great art to compete for the ‘patronage’ of deviates and masturbators.

Fandom Pulse is reader-supported independent journalism. Paid subscribers get exclusive scoops and investigative reporting daily.

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Dive into The Immortal Edge by Jon Del Arroz where Imperial Special Agent Ayla Rin uncovers a deadly conspiracy tied to a revolutionary immortality spore held by ruthless space pirates, forcing her into a high-stakes race across the stars to stop sinister forces from erasing humanity forever.

NEXT: 'Forbidden Fruits' Actress Lola Tung Threatens To Curse A Director

Patricia Arquette, who plays Harmony Cobel in Severance and recently starred in They Will Kill You as Lily Woodhouse, made the bizarre claim that Americans are “losing our fundamental civil rights.”

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In an interview with TMZ, Patricia Arquette shared, “We have things that seem to be really incredibly corrupt going on in government. No accountability. No transparency.”

“And my family, on my Dad’s side, fought in the Revolution and in the Civil War for the North and we’re losing our fundamental civil rights. We are losing freedom of speech. People are now getting on government lists. We’ve seen this with tyrants all over the world throughout history. And this is a very dangerous time.”

“It doesn’t matter if you consider yourself a Republican or a Democrat, real Americans know these are our civil rights and they are being taken away and there is no accountability and I’m not sure if we’re going to really have an election. So it’s dangerous,” she concluded.

Arquette is no stranger to making such claims. In the middle of March, she said, “One of our rights in our Constitution is freedom of speech. And as an artist I don’t think you need to divorce yourself from who you are as a person.”

She later claimed the so-called “trans community” was under attack, “Right now we’re looking at a real attack on the trans community. We’re seeing people lose their driver’s licenses suddenly with no way to get to even the DMV. We’re seeing people not allowed to go to the bathroom even though they clearly present the way that they are, who they are. But they’re forcing them to go to the bathroom in the non-corresponding bathrooms.”

“We’re seeing people having to flee the country,” she continued. “We’re seeing people lose their passports. We’re seeing people talk about their pharmacies no longer offering their lifesaving HIV medications. We’re talking about pharmacies that are no longer offering PrEP so that HIV doesn’t spread. We’re seeing Planned Parenthood, the number one healthcare provider in the country, being shut down. Which was the number one testing service for all sexually transmitted diseases. … And we’re just here to say no matter what the government says, we disagree. We love you. We’re here.”

Fandom Pulse is reader-supported independent journalism. Paid subscribers get exclusive scoops and investigative reporting daily.

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Step into the dying deserts of Barsoom like never before. In Guns of Mars by Chuck Dixon, a thousand years after John Carter’s legendary arrival, a hard-bitten survivor named Kal fights for his life across a savage, crumbling Mars, where honor clashes with betrayal, ancient weapons meet desperate grit, and every step could be your last.

If you crave classic Edgar Rice Burroughs adventure with a raw, unflinching edge straight from the master of action comics, this pulse-pounding tale is your next must-read. Grab your copy today and ride the red sands!

NEXT: ‘Forbidden Fruits’ Actress Lola Tung Threatens To Curse A Director

X has had a lot of problems with banning accounts for falsely claiming suspicious activity after its AI took over moderation on the site. However, now that an account has been legitimately hacked, comic artist Billy Tucci finds himself with zero recourse as his hackers antagonize and blackmail him.

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Billy Tucci is a legendary comic artist, devout catholic, and creator of the pop culture sensation, Shi. He’s been well known in independent comic circles for decades for his great work and lately, incredible success in the crowdfunding spaces.

It began on April 1st, an auspicious day for getting an account hacked, since people might believe it’s an April Fool’s prank. However, Tucci’s account began sending out suspicious messages to mutuals:

Since Tucci is active in the podcasting world, doing livestreams for his books and the comic industry, it seems like a reasonable ask, though Tucci is not known to speak in emojis as a rule. The link goes to a site that is clearly a phishing scam, prompting people to put in their passwords for various socials to vote.

Tucci has an alt account as Billy_Tucci on X and posted about how he’s attempted to contact support to no avail:

The screen shot shows clearly that they got his phone number in an attempt to extort him:

Not only that, but soon after, the hackers followed his new account from his main to add insult to injury:

Soon after Tucci began complaining about it on X, the main account then blocked his new one to try to dampen his reach:

This is clearly beyond any ordinary scam as it’s gone to a point where it’s malicious.

This is particularly harmful to a creator as it hurts the ability for someone like Tucci to reach his audience and update them on new books and projects. Fandom Pulse is boosting the signal in hopes his account gets restored.

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Three free books. No spam. Just new releases, deals, and the occasional update from the front lines of independent publishing. Sign up for the Jon Del Arroz newsletter and start reading today.

NEXT: Chuck Dixon’s 1989 Graphic Novel Adaptation Of “The Hobbit” Cracks #1 On The Amazon Charts In 2026

April Fools ' Day has become one of the most insufferable things on the internet. Going on social media and looking for any news for the day, and then the day after, is a complete trainwreck because there’s a full day of people posting complete lies, thinking they’re clever about it, and then not even mentioning it’s a parody post as if it’s supposed to be some kind of gotcha for the viewership.

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Last week sparked a lot of discussions about Tolkien and what The Lord of the Rings meant in the wake of the news that Stephen Colbert would be writing the next movie. As such, we are going to do a deep dive into the rise in prominence of Tolkien in culture and show how this overtly Christian and right-wing work was popularized by the left, then claimed by the right after deep study, but is now being corrupted by the left again, quite intentionally. It’s a long story, but it’s immensely fascinating.

Here’s part one, our introduction:

In 2024, MSNBC host Rachel Maddow warned America about the vice presidential nominee’s reading habits.

JD Vance had named his venture capital firm Narya, after one of the three Elven rings of power in J.R.R. Tolkien’s The Lord of the Rings. Maddow told her audience the name was suspicious. “He called it Narya, N-A-R-Y-A, which you can remember because it’s ‘Aryan,’ but you move the N to the front.”

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Lola Tung, who plays the character Pumpkin on Forbidden Threats, threatened to curse an unnamed director over an acting note he gave to her co-star Lili Reinhart.

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During a segment for Cosmopolitan to promote the show, Reinhart was asked, “What is one acting note that you took personally."

She answered, “When I had a male director come up to me and silently lean over and go, 'Just suck in your stomach a little bit."

Tung reacted saying, “Time for a hex! Time for a hex!"

@cosmopolitanTrust, we will all be hexing whoever this man is @Lili Reinhart! #AlexandraShipp #LolaTung #VictoriaPedretti #ForbiddenFruits

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Father Chad Ripperger, one of the preeminent exorcists, recently noted how dangerous curses are and how they work

He shared on the Shawn Ryan Show, “The way curses normally work is there has to a vulnerability on our part for the curse to actually take place. And that can be anything from, you know, you’re committing some seriously sinful act and that’s your opening door and the demon gets in from the curse, or it can also be some minor defect that we particularly have, or some failing that we do.”

From there he detailed how he was affected by a curse by a woman who was possessed by a demon. Specifically, he was affected by gout. He went on to share that he overcame by doing a minor exorcism over himself and it instantly went away. However, he also shared that he was vulnerable to the curse because he failed to pray a prayer of protection that he typically does, “I just walked in thinking, ‘Well, I can talk to her and size this up without having to depend on Christ for my protection. Not that that was consciously going on, but that was the upshot of it.”

From there he shared that when he went back to visit this woman he prayed through the intercession of St. Michael as well as the following prayer:

Jesus, if this person tries to curse me, I ask you that if it’s your holy will, it be sent back from whence it came. But in either case, keep me protected.

Next, he shared that a week after he visited her she ended up in the hospital. He explained, “People who are very high up in the occult arts, generally speaking do no like getting involved in cursing other people because they know they can become subject to the curse that they do.”

“The second part of it is is that Christ hears our prayer. He honored that prayer,” he added.

Additionally, in his Deliverance Prayers: For Use by the Laity, he recommends the following prayer for Protection Against Curses, Harm and Accidents:

Lord Jesus, I ask Thee to protect my family from sickness, from all harm and from accidents. If any of us has been subjected to any curses, hexes or spells, I beg Thee to declare these curses, hexes or spells null and void. If any evil spirits have been sent against us, I ask Christ to decommission you and I ask that you be sent to the foot of His Cross to be dealt with as He will. Then, Lord, I ask Thee to send Thy holy Angels to guard and protect all of us.”

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Step into the dying deserts of Barsoom like never before. In Guns of Mars by Chuck Dixon, a thousand years after John Carter’s legendary arrival, a hard-bitten survivor named Kal fights for his life across a savage, crumbling Mars, where honor clashes with betrayal, ancient weapons meet desperate grit, and every step could be your last.

If you crave classic Edgar Rice Burroughs adventure with a raw, unflinching edge straight from the master of action comics, this pulse-pounding tale is your next must-read. Grab your copy today and ride the red sands!

NEXT: 'Supergirl' Actress Milly Alcock Puts Up Feminist Victim Shield During Film's Press Tour

God of War director David Jaffe doubled on his accusation of antisemitism against Crimson Desert and specifically its depiction of goblins.

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Jaffe originally made the accusation in a post to X. He wrote, “Loving Crimson Desert. But...come on, Crimson Desert …this is some anti-Semitic [expletive] or at least it sure feels as such. Which hey, that’s your right. I support your right but I don’t gotta like it.”

“The nose, the job, the mission name, and Goldleaf may as well be Goldberg,” he added.

In a subsequent post, he wrote, “I understand twitter is the new 4chan, so I don’t really know what I expected when so often any comment beyond ‘THIS ROCKS!’ or ‘THIS SUCKS! is like discussing algebra with a Sea Monkey.”

“I also understand I didn’t say they should CANCEL Crimson Desert. I said I am LOVING it. And I am. It’s wonderful,” he continued. “But I also think their portrayal of the Goldleaf folks plays hard into antisemetic tropes. Agree, don’t agree. But it’s my take. And I don’t imagine it is intentional. But maybe it is. Who knows. Not me.”

“But even if it is intentional, that’s their right. I don’t agree with it and I don’t like it, intentional or not. But I support their right to express their views in their art. And that’s all I will say about it,” he concluded.

Alongside this, he shared Jon Stewart’s attack on Harry Potter and the depiction of goblins in the book.

Stewart infamously said back in 2021, “Here’s how you know Jews are still where they are. Talking to people, here’s what I say: Have you ever seen a Harry Potter movie? Have you ever seen the scenes in Gringotts Bank? Do you know what those folks who run the bank are? Jews! And they’re like, ‘Oh, that’s from Harry Potter.’ And you’re like, ‘No, that’s a caricature of a Jew from an anti-Semitic, piece of literature.’ J.K. Rowling was like, ‘Can we get these guys to run our bank?’ It’s a wizarding world… We can ride dragons, you can have a pet owl, but who should run the bank? Jews. Yeah, they look like Jews, but what if the teeth were sharper?”

He later added, “It was one of those things where I saw [the goblins] on the screen and I was expecting the crowd to be like, ‘holy shit, she did not in a wizarding world just throw Jews in there to run the [expletive] underground bank.’ And everybody was just like, ‘Wizards.’ It was so weird. Even Dobby was like, ‘That’s [expletive] up. Those are Jews.”

In a YouTube livestream he doubled down saying, “I’m just point out that, to me, that this kind of checks a lot of the boxes of [antisemitism].”

“And people, which I thought was so interesting, because this is kind of the narrative that you know when somebody has watched a streamer like an Asmongold or maybe even a JTSmash guy or whatever that has a decent enough following,” he continued. “You know that they’ve watched them because you get into these situations where they’re just parroting back the same thing. And what these guys are parroting back to me ad nauseum is that, ‘You’re the anti-Semitic, guy, because you see [a goblin as a Jew]. ‘I don’t see a Jew there. I just see a goblin. The fact that you would see that in a goblin is ridiculous. That means you are anti-Semitic.’”

“And so to that, I will say this: Certainly, to a guy who was raised Jewish and had a bar mitzvah, I’m not Jewish. I haven’t been Jewish since I was 7. But I was raised in a Jewish household. A lot of people will tell you that I am culturally Jewish, which is fine. My Dad was Jewish. My Mom was Baptist. She converted,” he went on. “But regardless, though, I can tell you that I’m not ignorant to the ways of anti-Semitism and certainly not where we are at in the culture right now.”

After going on a tangent about the state of Israel, Benjamin Netanyahu, and Kingdom Come: Deliverance II, he said, “The fact that some of these guys are like, 'Dude, it's a [expletive] goblin,' I'm sorry, you're just not smart enough to have a conversation with me. And I don't mean to be condescending about it.”

”Yes, I know it's a goblin. I understand it's a goblin,” he said. “And I also understand that there's a very high chance that people in Korea have just simply -. This has been inundated and this has been sort of concretized into our culture and they don't even know what the anti-Semitic tropes are about the goblin character.”

He later added, “Do I think they need to change this? No. But do I think this is a reflection of those antisemitic stereotypes? Yea, I do. So what? I don't like it. The more you know better, you do better. So maybe don't do it again if you have a problem with it. But people have to make something out of everything."

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Dive into The Immortal Edge by Jon Del Arroz where Imperial Special Agent Ayla Rin uncovers a deadly conspiracy tied to a revolutionary immortality spore held by ruthless space pirates, forcing her into a high-stakes race across the stars to stop sinister forces from erasing humanity forever.

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Leslie Jones, who played Patty Tolan in the awful Ghostbusters 2016 film, recently shared why she believes “marriage is legalized slavery.”

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In an interview with Ziwe, Jones was first asked whether she could be a trad wife.

Jones answered, “Trad wife meaning like I’d be at home and take- Nah. … Absolutely [expletive] not. Because that’s not who I am. And my daddy didn’t raise me like that. … To be anybody’s wife. My dad used to literally say that to me, ‘I didn’t raise you to be somebody’s wife.’ … I don’t know if it’s brave or smart.”

“Most of the people that I know that’s gotten married are divorced now,” she added.

Ziwe then asked, “An so really, that’s an indictment of the institution?”

Jones replied, “Yea, I think marriage is legalized slavery.”

“I don’t know how you don’t. A man, especially if he expecting you to be a trad wife, might as well pull out a whip and a chain,” she continued.

Jones then described Ziwe as crazy, but when Ziwe countered that she was the one who described marriage as legalized slavery, Jones retorted, “I don’t believe in the marriage. … And I don’t think it’s beneficial for a woman at all.”

Later in the interview when she was asked if she hated men, Jones replied, “No, I don’t hate men, but I am disappointed in them because they’re not stepping up to the plate.”

“While we sat and grew and got our [expletive] together, they sat on the couch and played their Sega Genesis. … They didn’t try to grow. They didn’t try to grow. They didn’t try to better themselves. We invented Oprah so we can get better,” she added.

Jones is completely wrong about marriage. The Catechism of the Catholic Church teaches, “The vocation to marriage is written in the very nature of man and woman as they came from the hand of the Creator. Marriage is not a purely human institution despite the many variations it may have undergone through the centuries in different cultures, social structures, and spiritual attitudes.”

It adds, “Holy Scripture affirms that man and woman were created for one another: ‘It is not good that the man should be alone.’ The woman, ‘flesh of his flesh,’ his equal, his nearest in all things, is given to him by God as a ‘helpmate’; she thus represents God from whom comes our help. ‘Therefore a man leaves his father and his mother and cleaves to his wife, and they become one flesh.’ The Lord himself shows that this signifies an unbreakable union of their two lives by recalling what the plan of the Creator had been ‘in the beginning’: ‘So they are no longer two, but one flesh.’”

It also states, “The marriage covenant, by which a man and a woman form with each other an intimate communion of life and love, has been founded and endowed with its own special laws by the Creator. By its very nature it is ordered to the good of the couple, as well as to the generation and education of children. Christ the Lord raised marriage between the baptized to the dignity of a sacrament.”

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Dive into Space Fleet Academy: Year One, the bold, unapologetic sci-fi epic that’s the real answer to woke Starfleet Academy nonsense! Humanity’s future hangs by a thread and Earth’s elite Space Fleet Academy trains the next generation of officers to defend civilization against cosmic threats, alien dangers, and internal decay. The book explores high-stakes space battles, rigorous training, and timeless values of duty, honor, and human excellence.

If you’re tired of sanitized reboots and craving a fresh, no-holds-barred academy adventure that actually respects heroism and exploration, grab this book now.

NEXT: Andy Weir Apologizes To Alex Kurtzman, But He Didn’t Backtrack On The Low Quality Of New Star Trek

I picked up The Skylark of Space because you cannot understand where science fiction came from without reading it. This is not a book I expected to love as a reading experience, and it’s not one I did love, but it is one every serious fan of the genre owes a debt to, and the history behind it is as interesting as anything between the covers.

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Edward Elmer Smith was born in 1890 in Sheboygan, Wisconsin, and spent his professional life as a food engineer specializing in doughnut and pastry mixes. That background matters because the man writing the first true space opera was doing it between shifts as a chemist, not as a professional author with a literary support system. He began the novel in 1915 with his neighbor Lee Hawkins Garby, who contributed the romantic sections Smith felt he could not write himself. He finished the manuscript around 1920, spent years collecting rejection letters, and finally sold it to Amazing Stories in 1928 for $125. The magazine serialized it across three issues and requested a sequel before the second installment had even run.

Hugo Gernsback appended “PhD” to Smith’s name for his contributions to Amazing, which is how he became “Doc” Smith to generations of readers. He went on to write the Lensman series from 1937 to 1948, which many consider his best work. But The Skylark of Space is where it all started, and critics have recognized it as the first example of space opera. Isaac Asimov called it “the first great ‘classic’ of American science fiction” while also admitting “as literature, it was a total flop.” That is about right.

The plot moves from an Earth-bound inventor story into full interstellar adventure. Government chemist Dick Seaton accidentally discovers that combining copper with a mysterious element he calls “X” produces propulsion on a staggering scale. He partners with millionaire Martin Crane to build a spherical spaceship. His ruthless former colleague Marc DuQuesne steals the plans, builds his own vessel, and kidnaps Seaton’s fiancée Dorothy and her friend Peg to force a trade. Seaton and Crane chase them across the galaxy, rescue the women after DuQuesne’s ship runs out of fuel near a dead star, and eventually reach the alien planet Osnome, where two warring civilizations are fighting over copper-rich territory. Seaton and company ally with Prince Dunark of Kondal, help defeat the treacherous Mardonalians, get their ship rebuilt into the more powerful Skylark Two, hold double weddings blessed by the Kondalian monarchy, and fly home loaded with treasure while DuQuesne escapes by parachute.

On paper that sounds like a wild ride. In practice the first two thirds of the book are a slog. The Earth-based sabotage plot, the kidnapping, and the initial chase drag on past the point of usefulness. The prose is rough pulp, the technical descriptions of power bars and object compasses pile up without building tension, and the pacing lurches. Smith was writing this in serial installments between 1915 and 1920, and it reads that way.

Then the crew lands on Osnome and the book comes alive. The alien cultures, the planetary warfare, the copper oceans and jeweled palaces, the sheer scale of discovery: this is what Smith was building toward, and it delivers. You can see directly why it inspired everything that followed. Mike Ashley called it “the seminal space opera,” and Damon Knight praised its “fast, lean plot, an air of excitement, four characters who are comfortingly bigger than life, and the feeling that adventures are waiting everywhere.” Knight was writing about the Osnome half of the book.

I read this for the history, and the history is real. Smith appeared in Amazing Stories in the same August 1928 issue as Philip Nowlan’s “Armageddon 2419 A.D.,” the story that introduced Buck Rogers. That single magazine launched two of the most influential franchises in science fiction. Everything from Star Wars to The Expanse traces a line back to what Smith was doing here, a lone genius inventor taking a handbuilt starship out into a universe full of alien civilizations and coming back changed. That idea was new in 1928. It has never stopped being used since.

The Skylark of Space is not an easy read. The writing is unpolished and the first act tests your patience. But the Osnome sequences alone justify the trip, and the book’s place in the lineage of the genre is impossible to argue with. If you love science fiction and want to understand where it came from, this is required reading. Just be ready to work for it.

What classic science fiction have you read to understand the history of the genre? Let us know in the comments.

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Survival of the fittest just became a lot more dangerous. Space Fleet Academy Year Two delivers the hard sci-fi action Paramount refused to give you with Starfleet Academy. That’s why we’re still here while the show is gone. Read it today!

Well, two major trailers came out today: Masters of the Universe and Supergirl. Surprisingly, there wasn’t as much virality to them as you might have thought. I actually liked Masters of the Universe and talked about it here:

Fandom Pulse costs $5.99 a month. For that, you get daily exclusive reporting, insider scoops, and honest entertainment journalism that doesn’t exist anywhere else at this level. No ads. No sponsors. No corporate handlers telling us what we can and can’t say. You either value that or you don’t. If you do, subscribe. We’ll keep earning it every day.

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The oldest continuously published science-fiction roleplaying game is crossing over to the world’s most popular ruleset, and tabletop gamers are showing up in force.

Mongoose Publishing announced Traveller 5E in November 2025, and the BackerKit campaign launched in late March 2026 under World’s Largest RPGs. As of March 31, the numbers tell the story: $76,949 raised from 237 backers against a $1,977 goal, roughly 3,890% funded with 45 days still on the clock.

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Traveller first launched in 1977 when Marc Miller and Game Designers’ Workshop released the original little black books. It stood apart from fantasy RPGs immediately: no levels, no traditional classes, and a hard science-fiction universe where characters could die during character creation through its lifepath system. The game ran through Classic Traveller, MegaTraveller, Traveller: The New Era, Marc Miller’s Traveller, and the 2013 Traveller 5th Edition. Mongoose Publishing has held the license since 2008, and their 1st and 2nd Edition runs remain fan favorites. Now, nearly fifty years after launch, the game is being rebuilt for 5E.

GDW and TSR veteran Timothy Brown is heading the project alongside a team of Traveller and 5E designers, working in full coordination with Mongoose. The campaign is not a straight rules conversion. The team is reimagining the core Mongoose line as a new 5E-compatible product line packaged as a four to five book slipcase set running potentially over 2,000 pages.

The core box delivers lifepath character creation, a new Psion class, nine subclasses, 14 career backgrounds, gear, over 100 robots including playable androids and cyborgs, 65-plus starships, full ship creation and combat rules, world generation, 45-plus alien animals, and over 85 vehicles. Stretch goals add a deck-plan book, metal dice, a magnetic referee screen, miniatures, and special-edition metal slipcase versions. Digital versions are headed to DriveThruRPG, with physical shipping slated for October 2027.

For longtime fans of the game, this is exactly what it looks like: a portal to bring 5E players into the Traveller universe without asking them to learn an entirely new system first. Whether it converts them into Mongoose Traveller players down the road is the real question, and a good one. Traveller rewards the players willing to go deep with it.

The campaign is live now at backerkit.com. Forty-five days remain and it’s already made nearly a quarter of a million dollars, showing fans’ enthusiasm for the game is still very well alive.

Are you backing Traveller 5E? Let us know in the comments.

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Survival of the fittest just became a lot more dangerous. Space Fleet Academy Year Two delivers the hard sci-fi action Paramount refused to give you with Starfleet Academy. That’s why we’re still here while the show is gone. Read it today!

NEXT: Andy Weir Apologizes To Alex Kurtzman, But He Didn’t Backtrack On The Low Quality Of New Star Trek

Actress Milly Alcock, who plays Supergirl in the upcoming film, did what so many actresses have done before in the woke era of Hollywood by painting themselves as victims in the lead up to their film’s release.

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In an interview with Vanity Fair, Milcock was asked how her time on House of the Dragon prepared her for any potential backlash for the Supergirl film.

She answered, “It definitely made me aware that simply existing as a woman in that space is something that people comment on. We have become very comfortable having this weird ownership of women’s bodies.”

“I can’t really stop them,” she added. “I can only be myself.”

Elsewhere in the interview, Alcock provided more information on what to expect from her character in the Craig Gillespie directed film, “She’s given this incredible responsibility and doesn’t know how to deal with it.”

“So she kind of suffocates herself and goes on a journey of self-discovery,” she said.

Alcock also shared, “She’s not trying to save the world—she’s just trying to save her own.”

“This film is an excellent reminder that the world can be crumbling around you, but you can be the hero of your own story,” she added.

The film’s director Craig Gillespie previously shared that the film is “an anti-hero story.”

As part of a press event in Manhattan back in December he also added that Supergirl has “got a lot of baggage and a lot of demons coming into this, which is very different from where Superman is in his life.”

Additionally, DC Studios CEO James Gunn indicated it would be chock full of feminism, “So many times female superheroes are so perfect. She’s not that at all. She’s very imperfect, like male superheroes have been allowed to be for a while.”

Finally, he added, “This movie is not just a female clone of Superman. It’s its own thing entirely with a character who is equally worthy of this treatment.”

Fandom Pulse is reader-supported independent journalism. Paid subscribers get exclusive scoops and investigative reporting daily.

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In a gritty interstellar sanctuary teeming with 1,462 exiled governments, hard-nosed military policeman Chief Warrant Officer Graven Tower—a man who hates aliens—teams up with a beautiful xenocriminologist and his sharp-witted AI partner to solve the savage murder of an alien royal heir.

Packed with explosive military-SF action, noir intrigue, and politically incorrect edge, Quantum Mortis: A Man Disrupted delivers a fast-paced whodunit that will keep you turning pages until the final twist. If you crave old-school sci-fi thrillers with zero apologies, this is your next addiction.

NEXT: ‘Star Trek: Starfleet Academy’ Actor Karim Diane Promises “Season 2 Is GAY AF”

Star Trek: Starfleet Academy actor Karim Diane promised that the second season of the show will be “GAY AF.”

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Diane made his promise in a comment on Instagram as part of his reaction to the show being cancelled by Paramount Skydance.

He wrote, “season 2 is GAY AF, and I have SOOOOO much bts content coming your way. Please prepare to be sick of me.”

“im going to be EVEN LOUDER and more annoying about this beautiful gay Klingon. we going out IN FLAMES,” he concluded.

In a video that he also shared to Instagram, he said, “Season 2 will be our last season. That is really hard for me to say because I love this show so much.”

“I got the chance to create 20 episodes within one of the most iconic sci-fi franchises of all time alongside some of the most experienced and talented artists in this entire industry,” he continued. “And there is 10 episodes left.”

Next, he declared, “Season 2 is basically Season 1 turned all the way up.”

Diane’s character Jay-Den Kraag was at the center of a number of controversies in the first season including the emasculation of the Klingons as well as the promotion of homosexuality and polygamy.

Additionally, Diane himself claimed the show was a vehicle for LGBTQ+ propaganda. In a previous post to Instagram he wrote, “Meet Star Trek’s first gay Klingon: Jay-Den Kraag. I won’t pretend that I wasn’t scared to take on this role. Part of me still is. Not because of the character himself, but because I knew the reaction that could come with it. I knew there would be people who would blur the line between who I play on screen and who I am in real life, and that much of that response would be rooted in homophobia, racism, bigotry. I knew that by stepping into this role, a lot of that heat would come directly to me.”

“But what matters more is this: over the past few weeks since this show premiered, I’ve received countless messages from LGBTQ+ people around the world… people who feel seen, validated, and inspired by Jay-Den. Those messages outweigh every bit of negativity. Every single time,” he added.

Next, he claimed that the entire franchise is about pushing woke ideology, “From its very first episode nearly 60 years ago, Gene Roddenberry’s vision was never about preserving the familiar. He imagined a future that expanded who gets to be seen, heard, and valued. A future where diversity isn’t merely tolerated, but celebrated. Jay-Den doesn’t exist outside of that tradition. He exists because of it.”

“‘Infinite Diversity in Infinite Combinations’ isn’t just a catchy phrase Roddenberry tossed around. I believe he truly meant it,” he concluded. “Feeling incredibly lucky to be part of a show that still believes in saying something meaningful.”

Fandom Pulse is reader-supported independent journalism. Paid subscribers get exclusive scoops and investigative reporting daily.

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Dive into Space Fleet Academy: Year One, the bold, unapologetic sci-fi epic that’s the real answer to woke Starfleet Academy nonsense! Humanity’s future hangs by a thread and Earth’s elite Space Fleet Academy trains the next generation of officers to defend civilization against cosmic threats, alien dangers, and internal decay. The book explores high-stakes space battles, rigorous training, and timeless values of duty, honor, and human excellence.

If you’re tired of sanitized reboots and craving a fresh, no-holds-barred academy adventure that actually respects heroism and exploration, grab this book now.

NEXT: Andy Weir Apologizes To Alex Kurtzman, But He Didn’t Backtrack On The Low Quality Of New Star Trek