Category Archives: New Utopia

Karl Anderson and Doc Gallows, better known as The Good Brothers, appeared on Thursdays edition of SiriusXMs Busted Open Radio.

The duo had just returned from Japan after appearing at NJPW Wrestling Dontaku on May 1 in Fukuoka. The pair appeared and reunited with The Bullet Club. Karl Anderson disclosed just what it meant to them to return to Japan.

We went to Japan with WWE. We were lucky enough to go four times, we went every single year, Anderson said. Each time, it always brought back great memories, but nothing was like landing back in Tokyo, getting picked up by the New Japan office, the same office that picked me up six years ago, taking me over to the same hotel I stayed in back in the day, seeing all the same people.

I got to the hotel room, me and Gallows were texting back and forth, sending videos of all the drinks we got from the convenience stores and how excited we were. We felt like children. Gallows even sent me an emotional video. I dont know if it was because he was half-hammered coming off the plane, but it just felt right to be back in Japan, even before we got to the New Japan show in Fukuoka five days after landing.

Doc Gallows also added just how surreal it was to be back in the country, and stated that it couldnt have been any better.

Man, it was almost surreal, Gallows said. So cool, like you said, getting to see our old friends, guys we used to go out with and have dinner every night in different towns and stuff like that. I definitely missed the eating tour of Japan. [Tommy] Dreamer and I were talking about that after we were on Busted Open the last time, when he ate 86 pieces of sushi just to impress us. But yeah, all the way around, it couldnt have been better. And to get to go to the PayPay Dome in Fukuoka, run out there again with wrestling happiness. [Its a] wrestling utopia, brother.

One major notable observation from The Good Brothers appearance at Wrestling Dontakuwas that the New Japan fans gave them a reaction, even though legally, they were supposed to remain silent and wear masks due to current restrictions. Anderson says the NJPW fans were excited to see them.

You know what I like the most? It is that Japanese wrestling fans, and Japanese sports fans in general right now, legally, are not allowed to cheer, Karl Anderson said. Theyre not allowed to make noise. They have to wear their mask and no noise is allowed to come from their mouth. That was my first disappointment, was I said, man, were not gonna get a pop. So before we went out, I said, listen, we know we arent going to get a reaction, they have to be quiet, dont worry.

We run in there, we slide in, we beat him [Okada] up, I took my hat off, and I heard the pop. I thought that was an audible pop, theyre not allowed to cheer. Theyre illegally cheering for the boys.

The Good Brothers will be back in action this Saturday at IMPACT Wrestling: Under Siege 2022 when they team up with fellow Bullet Club members Chris Bey, Jay White & El Phantasmo to take on Honor No More consisting of Eddie Edwards, Kenny King, Mike Bennett, Matt Taven & Vincent.

If you use any quotes from this article, please credit SiriusXMs Busted Open Radio with a h/t to Wrestling Inc for the transcription.

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The Good Brothers Are Proud The NJPW Fans Illegally Cheered Them - Wrestling Inc.

The move, approved by the New York City Council, was years in the making.

The southwest corner of Utopia Parkway and Union Turnpike now bears a new name: St. Johns Way. The cross streets connect the St. Johns University campus to nearby businesses, such as Aquista Trattoria, Coldstone Creamery and TJ Maxx.

Members of the Universitys community including students and administrators gathered Monday, May 3 for the co-naming ceremony. The sign was originally scheduled to display in 2020 but experienced delays due to the COVID-19 pandemic and special council elections.

Councilmember James F. Gennaro and the New York City Council approved the new signage and attended the ceremony. Gennaro won a special election for his seat in 2021, after previously serving in the same position from 2002-2013. He has personal connections to the University, as his brother studied at the University and his late wife Joanne worked in the alumni department.

The bill was approved Dec.15, 2021 and included the co-naming of 199 streets and public places. Council members made requests for co-named streets within the district they serve New Yorks 24th district, which Gennaro represents, includes the St. Johns University campus. The bill included other names of people and organizations that have had an impact on New York Citys economic, cultural and political development.

This renaming pays homage to the enduring legacy of this 152 year-old Catholic Vincentian University and law school that has been a beacon to people of all faiths who strive to use their talents along lines of excellence, Gennaro said at the event.

The ceremony was complete with a bagpipes performance, a Reserve Officers Training Corps (ROTC) procession and the cheer and dance teams who encouraged the theme of spirit and the St. Johns way.

St. Johns Way, refers obviously to St. Johns, but also to the spirit of St. Johns. There is a St. Johns way, there is a way that we do things. It is a way predicated upon the original example of St. Vincent DePaul, said University president Brian Shanley at the co-naming. The Vincentians answered the call to come here to serve first generation Catholic students. And we have been faithful to that mission for over 150 years.

Throughout the ceremony, speakers Vice President of Government Relations Brian Browne, Chair of the Theology and Religious Studies Department Rev. Patrick Flanagan, Vice President of Community Relations Joseph Sciame and other University representatives spoke to the significance of the street naming for the St. Johns community.

Our community is what makes us so unique; the different backgrounds and walks of life that we come from bring a diverse amount of perspectives and combinations of brilliant ideas, stated Ethan Burrell, the president of Student Government, Inc. at the University. Ill be glad to visit my alma mater when I graduate and look at the sign as a representation of excellence in the St. Johns and Queens community.

The overwhelming support of bystanders was a visible sign of how the University is a staple of the local community.

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St. John's Way Unveiled at Corner of Union Turnpike and Utopia Parkway - Torch - St. John's University

Gabrielle Kannemeyer

This week marks a big week for husband-and-wife duoJean-Philip Grobler andPatti Beranek, together known as St. Lucia, with the release of their long-awaited Utopia I EP coming on Friday. And yesterday, they announced their first North American tour in four years.

The new music follows a whirlwind few years for the pair, having made the leap from New York City back to Beranek's home country of Germany after having their second childduring a pandemic, of course.

"We had a pandemic baby! Getting pregnant during the pandemic because like, what else are you going to do," quips Grobler, himselforiginally from South Africa, speaking with Variance over Zoom ahead of the EP's release. "We had lived in New York for 14 years, but to be perfectly honest, financially it was really difficult for us because, you can't play shows, no concerts. It was tough."

He says the idea of leaving New York had crossed their minds even prior to Covid, but after enduring all of 2020 in the city, they finally packed up and left at the beginning of last year.

"We had been in New York for so long," he explains. "And we kept catching ourselves asking, 'Why are we here?' Especially once you have kids. You're not going out like you used to in the city. And you're still paying these crazy, inflated prices, which you're happy to do when you're young and doing the whole thing. But it was different for us now. The idea of being closer to family. Having the kids being closer to their cousins, trying to live a slower paced life."

As the pandemic put all too manylives on hold and altered life for so many as well, Grobler and Beranek were feeling a similar struggle, and writing music in between the madness, which led to the creation of what is now Utopia, a wealth of electro-pop goodness in the middle of a world on fire, adance party at the edge of existence.

"'Utopia' is an ironic term, because it's like a heaven that's also a hell," says Grobler. "It's this idea that you can never truly achieve. Sometimes I feel, like as a society, that we're trying to create these utopias, whether it's a total socialist utopia or a free-market utopia, or whatever it might be, whereas to me, the magic of humanity and where the perfection lies is in the imperfection."

Grobler recalls making such observations especially during the pandemic. "I thought about how everyone became very germaphobic," he says. "Like we're somehow going to achieve this 'germ-free utopia.' Is that an achievable thing? Is that a healthy thing? I think sometimes we get caught up in these ideas, but ultimately I think it can be useful to have in the back of your mind, to be aiming for something good."

This welcome surge of new music from St. Lucia is only the start, as Grobler and Beranek have been busy writing and recording over the past two years. In fact, they had an album's worth of music written prior to 2020. But the shakeup around the globe and in their personal lives allowed them to reset. They've also parted ways with longtime label Columbia Records, having since joined Nettwerk.

"Packing up our apartment in the middle of Covid, and shipping it all to Germany, having our second kid, it was all so insane," says Grobler. "So to get here and to have our feet on solid ground a little bit, it was a relief. And we just felt positive about the future. And I think we made this decision to stop dwelling onall the negative of the year before and sort of look up, and make music that uplifts and makes people feel good."

He adds: "I know people who had a great pandemic though. Maybe they were working a job they didn't enjoy and they got to stay home or leave that job and do something better. And especially if you don't have kids, that's fucking amazing, to be able to take a break or just take stock of your life ... I will say, though, I don't know anyone who is doing the exact same thing or living the exact same way they were before the pandemic. I think a lot ofus have evaluated our life and tried to make positive changes, and that's really great."

One thing St. Lucia hasn't changed is their inclination to "fly by the seat of our pants," says Grobler, noting their upcoming fall tour, which he says they're ecstatic about.

"This is what we do; it's our main gig, our livelihood," he says matter-of-factly. "And we always strive to make the best records that we can. But playing showsbeing there with people who love your music and seeing their faces. There is nothing more powerful for us than that instant, immediate connection."

After the experience of the last few years, St. Lucia as a musical project as well as Grobler andBeranek as a real-life duo are in a great space, and Grobler credits their ability to come out on the other side partly to their ability to lean on each other, in good times and bad.

"When you don't know what the fuck is happening and you see the city you love having everything that's good about it ripped out from under it, wondering if this is how it'll always be," he says. "But I find myself so incredibly lucky to have someone like Patti by my side. I don't know how I would be able to do it if she wasn't doing it with me. We're very blessed."

[Updated with music below.]

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St. Lucia on leaving New York behind, and finding 'Utopia' in the middle of a world on fire - Variance Magazine

A new book by a UB historian examines the largely unexplored ways in which utopian thinking became a model for civil rights activists and provided the foundation for a worldview that informed the work of people who would later emerge as key figures in the long movement, including Martin Luther King Jr., Pauli Murray, Father Divine and Howard Thurman.

Living in the Future: Utopianism and the Long Civil Rights Movement (University of Chicago Press) by Victoria W. Wolcott, professor of history, College of Arts and Sciences, frames what is an otherwise incomplete picture of civil rights by investigating how the utopian activists, groups and institutions of the 1930s and 1940s created change in the social, economic and political fortunes of African Americans.

There is a refreshing optimism to the American utopian tradition, which is particularly appealing in our current historical moment of pessimism, says Wolcott, an expert in 20th-century and African American history. The groups I studied for this book envisioned a future different from their present in ways that helped shape society for the better.

That kind of thinking can be generative.

Sir Thomas More introduced the term utopia in his early 16th-century book of the same name. Utopia translates from Greek into English as no place. Utopia manifests itself through the practice of social dreaming. Utopianism is a constructive, progressive mindset that encourages a social imagination committed to seeing and creating a more perfect society.

The groups in Wolcotts book each had a nuanced view and their own history of utopianism, yet they all shared three central tenets in their united call for immediate social change: building cooperatives, interracialism and radical nonviolence.

This book is the result of questions raised while researching my previous book on recreation and segregation. I kept encountering these radical pacifists living in ashrams and other types of intentional communities. I wanted to learn more, says Wolcott. These cooperatives challenged competitive capitalism and were as equally focused on the means as the ends. They demanded revolutionary change in society and they lived in ways that reflected their goals.

These groups also practiced a form of Gandhian nonviolent direct action that was much different from the passive resistance promoted by traditional peace churches like the Quakers and Mennonites, according to Wolcott.

They are developing the kinds of tactics that will be central to the long civil rights movement, she says. These are radical pacifists involved in direct action, but just as importantly, they trained others in radical nonviolence.

And thirdly, Wolcott says, there was a sweeping interracialism to their activism.

They worked to desegregate American society, which is the process of challenging and dismantling Jim Crow, but by interracialism were talking about an established policy of equality that includes interracialism in organized labor through the Congress of Industrial Organizations; liberal interracialism, like the YMCA movement; and utopian interracialism, or the belief of race as a social construct.

Its these utopian ideas and practices, which are central to understanding the civil rights movements, that shouldnt be overlooked.

Utopian ideas fell out of fashion after World War II because they were associated with totalitarianism, the Cold War, and enforcing the will of the state, says Wolcott. The American utopian tradition is a way of thinking about community, cooperation and equality and there is a lot of attention today being given to utopian ideas.

Im glad this book arrives at a moment when theres interest in a broader discussion on the role of utopian societies.

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Book looks at unexplored impact of utopian ideas on civil rights movement - UB Now: News and views for UB faculty and staff - University at Buffalo

Based on box-office performance, it looks like theaters decided to take the week off for CinemaCon. With studios releasing a record low number of new films post-Covid, none wanted to face a week two against Disneys Doctor Strange in the Multiverse of Madness, which opens May 5. Its opening could triple the gross of all titles this weekend.

To be fair, thats a low bar to clear at $67 million the lowest for any April weekend in this century other than the past two Covid-affected ones. In terms of tickets sold (around 6 million), possibly the fewest for any weekend since the 1930s.

Doctor Strange is expected to open to at least $150 million; $200 million is possible. Strong initial reaction to Paramounts Top Gun: Maverick, both at CinemaCon and in early press screenings, suggest May could provide a one-two punch to launch a strong summer.

This weekend falls exactly three years after the late-April 2019 release of Avengers: Endgame and its record opening. By comparison, this weekend stands at 17 percent and reduces the ongoing four-week running comparison against 2019 to 68 percent. Silver lining: This weeks contrast is likely the worst we will ever see.

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Open Road Films

Memory (Open Road), the latest in the ever-declining returns for Liam Neesons genre titles, was the sole new wide release. Even lacking competition, it managed only #8 for $3.1 million. Ticket buyers favored holdovers, with the top seven titles repeating last weeks positions

At #1 is The Bad Guys (Universal), leading two more family-oriented titles with Sonic the Hedgehog 2 (Paramount) and Fantastic Beasts: The Secrets of Dumbledore (Warner Bros.) Sonic in particular is astounding at $161 million (and headed for close to $200 million); it has already surpassed the domestic hauls for No Time to Die and A Quiet Place, Part 2. That uptick clearly shows signs of theater comeback.

A24 smartly booked IMAX theaters for Everything Everywhere All at Once before Marvel grabs them next week. The result, combined with terrific word of mouth, was a two percent increase in its gross that added $5.3 million. $50 million remains in sight, a staggering result for the most unlikely success of the year.

Despite weekday signs of ongoing interest (it was the second biggest film for the four days), The Northman (Focus) stayed at #4. It fell 49 percent, normal for a second weekend. It should end up somewhere between $30 million-$35 million and could be a strong draw for home play.

Nicolas Cages The Unbearable Weight of Awesome Talent (Lionsgate) held to fifth place, off 45 percent with $3.9 million. Its home life will be similarly boosted by theatrical play.

Everything, Northman, and Unbearable are all offbeat, specialized-oriented original titles that found response in wide release. Specialized titles in limited play continue to struggle but showed some signs of life.

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Vortex (Utopia), Gaspar Nos tale of an elderly couple with dementia starring horror maestro Dario Argento, scored an impressive $17,000 at New Yorks IFC Center. It holds hope for future good returns from more rarefied arthouses.

Rialto reissued Jean-Jacques Beneixs 1981 Diva to a decent $9,300, also in New York. Two niche documentaries Hello, Bookstore (Greenwich) and Fiddlers Journey to the Big Screen (Zeitgeist) each grossed around $6,000 in similar dates. All will benefit from prime theaters hungry for fresh titles.

Roger Michells The Duke (Sony Pictures Classics), a prime candidate for older audiences, quickly widened its second week to 57 theaters to $122,000. The hope is word of mouth can kickstart it for an improved longer run.

Neon didnt report the second weekend of Celine Sciammas Petite Maman. Sources indicate it grossed a similar amount in 31 theaters for a better per-theater result.

The Top Ten

1. The Bad Guys(Universal) Week 2; Last weekend #1

$16,100,000 (-%) in 4,042 (+34) theaters; PTA: $; Cumulative: $44,440,000

2. Sonic the Hedgehog 2(Paramount) Week 4; Last weekend #2

$11,351,000 (-27%) in 3,801 (-8) theaters; PTA: $2,986; Cumulative: $160,926,000

3. Fantastic Beasts: The Secrets of Dumbledore(Warner Bros.) Week 3; Last weekend #3

$8,300,000 (-41%) in 3,962 (-283) theaters; PTA: $2,095; Cumulative: $79,553,000

4. The Northman(Focus) Week 2; Last weekend #4

$6,130,000 (-49%) in 3,234 (+50) theaters; PTA: $1,895; Cumulative: $22,806,000

5. Everything Everywhere All at Once(A24) Week 2; Last weekend #5

$5,543,000 (+2%) in 2,213 (+80) theaters; PTA: $2,505; Cumulative: $35,492,000

6. The Unbearable Weight of Awesome Talent(Lionsgate) Week 2; Last weekend #6

$3,925,000 (-45%) in 3,036 (no change) theaters; PTA: $1,293; Cumulative: $13,504,000

7. The Lost City(Paramount) Week 6; Last weekend #7

$3,900,000 (-10%) in 2,595 (-33) theaters; PTA: $1,503; Cumulative: $90,785,000

8. Memory(Open Road) NEW Cinemascore:; Metacritic: 41; Est. budget: $

$3,100,000 in 2,555 theaters; PTA: $1,213; Cumulative: $3,100,000

9. Father Stu (Sony) Week 3; Last weekend #8

$2,210,000 (-34%) in 2,476 (-229) theaters; PTA: $893; Cumulative: $17,554,000

10. Morbius(Sony) Week; Last weekend #9

$1,500,000 (-35%) in 1,726 (-580) theaters: PTA: $869; Cumulative: $71,457,000

Additional specialized/limited/independent releases

Vortex(Utopia) NEW Metacritic: 80; Festivals include: Cannes, New York 2021

$17,057 in 1 theaters; PTA: $17,057

Hatching(IFC) NEW Metacritic: 74; Festivals include: Sundance 2022

$140,000 in 186 theaters; PTA: $753

Firebird(Roadside Attractions) NEW Metacritic: 53; Festivals include: Frameline 2021

$55,310 in 90 theaters; PTA: $615

Hello, Bookstore(Greenwich) NEW

$6,000 in 1 theater; PTA: $6,000

Fiddlers Journey to the Big Screen(Zeitgeist) NEW Festivals include: Miami Jewish 2022

$6,218 in 1 theater; PTA: $6,218

Diva(Rialto) REISSUE

$9,300 in 1 theater; PTA: $9,300

Acharya (Prime) NEW

$(est.) 1,100,000 in 396 theaters; PTA: $(est.) 2,777

Petit Maman(Neon) Week 2

$ (est). 120,000 in 31 (+27) theaters; PTA: $3,871; Cumulative: (est.) $175,000

The Duke(Sony Pictures Classics) Week 2

$122,607 in 57 theaters; PTA: $2,151

Were All Going to the Worlds Fair (Utopia) Week 3; also on PVOD

$13,036 in 26 (-10) theaters; Cumulative: $74,875

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Theaters Will Be Back with Doctor Strange, but This Weekend Box Office Hits an All-Time April Low - IndieWire

The Agreement encompasses a suitable site in an EU Just Transition Fund region, potential access to an investment grade plastic feedstock supplier and the potential to agree offtake for the facilitys anticipated hydrogen and syngas outputs with a substantial customer whose covenant would be regarded as of a very high quality.

As part of the Agreement, HUI will invest 500,000 euros in TRL, a company in Co. Tipperary, Ireland in the Irish Midlands, with patented waste plastic to wax technologies that process plastic feedstock using an innovative pyrolysis process under low pressure to transform post-consumer plastic into high grade new slack wax and a fuel. The wax can be used in various applications such as rust proofing, moisture proofing, polishes and emulsions and is used around the world. HUIs hydrogen production process uses pyrolysis of plastics and the parties believe that the investment offers potential synergies and opportunities for both companies.

TRL occupies a site in Co. Tipperary, Ireland comprising approximately 2.64 hectares (c.6.5 acres) which is held on a long lease, with an option for the tenant to acquire the freehold. The site was a former railway locomotive repair shop and therefore has the necessary utilities, including a potential 3 MW power supply, to get a facility operating with the minimum of delay. It is also sufficiently large to accommodate both an HUI waste plastic to hydrogen facility and the operation of TRLs business. TRLs landlord has formally agreed that it would consent to the grant of a sub-lease of the site to HUI. The site has planning permission for TRLs plastic to wax pyrolysis business. HUI will apply for any necessary regulatory permissions required for its facility.

HUI and TRL have had extensive discussions regarding the site, the proposed HUI facility and TRLs business, including discussions with TRLs landlord. TRL, and its founder, Pat Alley, in particular, has connections in the waste industry in Ireland. As a consequence, HUI has had preliminary meetings with a potential investment grade waste plastic supplier that could provide all of the feedstock necessary to run an HUI facility and a potential substantial customer that could utilise the facilitys anticipated hydrogen and syngas output and whose covenant would be regarded as of a very high quality. HUI anticipates that this could lead to long term supply and offtake agreements at a suitable juncture.

Pursuant to the Agreement, HUI has agreed to subscribe 500,000 euros for new shares in TRL which will give it a minimum equity stake of 3.33 percent in TRL on a fully diluted basis and a seat on TRLs board. HUI and TRL have each committed to use their best endeavours to negotiate and enter into a full development and collaboration agreement (DCA) within the next 90 days, subject to TRL having procured all consents necessary for it to enter into the DCA on terms acceptable to HUI. The DCA will provide a detailed framework for developing both the HUI waste plastic to hydrogen facility and TRLs wax business, the grant of a license, sub-lease of the site or other appropriate use agreement acceptable to HUI, or a special purpose vehicle set up to own the HUI facility, with step-in rights to TRLs lease and the right to acquire the freehold. The Agreement also provides for HUI to provide TRL with further funding in the form of equity and a secured loan facility.

HUI is in discussions with a third party in relation to a joint venture to build the HUI facility in Ireland. It has also had indications of funding support for the shorter term funds likely to be required to move the project in Ireland forward.

My biggest ambition was to expand our plastic waste to hydrogen technology to as many European markets as possible, with the additional goal of delivering our first facility in the shortest possible time said Aleksandra Binkowska, CEO of HUI. Partnership with Trifol Resources in Ireland is an ideal stepping stone in turning this ambition and that goal into a reality. Trifols motto Giving Old Plastic A New Future and its ethos certainly chimes with Hydrogen Utopias own aims.

Pat Alley, Chairman and Founder of Trifol Resources Limited, added that HUIs investment is the initial part of a planned investment programme for the re-commissioning of Trifols plant at HUIs newly established facility at Lanespark, Littleton, Co. Tipperary and the establishment of a centre of excellence for the global outreach of the companys patented technologies.

For additional information:

Hydrogen Utopia International (HUI)

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Hydrogen - Hydrogen Utopia reaches agreement to develop plastic to hydrogen facility in Republic of Ireland - Renewable Energy Magazine

The measure of any entry in the Star Trek franchise should come down to self-sufficiency. An ability to stand alone, despite the weight of a film and television legacy which goes back decades. With Star Trek: Strange New Worlds, which launches on Paramount Plus May 5th, audiences are asked to put their faith in the franchise once more and journey back to the source. A time that predates the arrival of James T. Kirk and embraces a different kind of Captain in Christopher Pike.

From the outset, Anson Mount continues to build on his portrayal of this character, which is carried over from Star Trek: Discovery. He is intentionally isolated in an opening that comes on like a revisionist Western, with swathes of snowy tundra and tree-lined mountain ranges. Alex Kurtzman, Akiva Goldsman and Jenny Lumet, who spearhead this show, immediately make a statement about the separation between man and machine.

This Christopher Pike is disillusioned about his place in space, counting down the days until his demise is realized. In an introduction that follows some stunning opening credits, Mount depicts a man at odds with his environment, either in the ether or elsewhere. As a friction-filled exchange plays out in the log cabin and his Federation communicator relentlessly vibrates, this imagined utopia is disrupted by a shuttlecraft.

What follows is a series of character introductions which include Una Chin-Riley (Rebecca Romijn), Laan Noonie-Singh (Christina Chong) and Spock (Ethan Peck).What becomes apparent as Strange New Worlds progresses is how solid this ensemble feels out of the gate. Ethan Peck, who is another carry-over from Discovery, imbues his Spock with understated masculinity somehow lacking from the Leonard Nimoy portrayal and subsequently Zachary Quinto performance.

Re-introduced on his wedding night at a crucial moment, this Spock is pulled away on urgent business, leaving his loved one wanting. A fact that further defines this version as distinct to this particularStar Trek universe. As the scene plays out, it is apparent that duty and family go hand in hand with this man, creating an essential balance for this culturally conflicted character.

Elsewhere, Una Chin-Riley (Rebecca Romijn) plays a crucial role in propelling this series into action, by creating a pivotal narrative purpose. Not only unifying the captain and crew in a singular objective but concisely demonstrating a defining tenet for Star Trek fans. In a subtle sleight of hand which is made to look effortless, this first fifty minutes lays the groundwork for what proves to be a great opening season.

Not only does Strange New Worlds provide a platform to demonstrate Pikes diplomatic skills, whilst commenting on real-world concerns, but gives diehard fans some Easter eggs in the process. It also gives the filmmakers a chance to really immerse audiences in this universe, through some truly breathtaking production design. Employing environments either on board the Enterprise or elsewhere, Jonathan Lee grounds the drama,which in turn lends gravitas to everything else. As this series progresses and a number of escalating anomalies continue to plague this intrepid crew, that sense of reality only grows stronger.

Discussions about race and identity also play an important role in establishing each person onboard the Enterprise, whilst Kurtzman, Goldsman and Lumet utilize their individual skill sets in genuinely inventive ways. Not only serving the overall narrative arc of this show, which seeks to find Pike some peace within himself but hooks audiences early on into a show with limitless potential.

Stand-out performances from amongst the principal players include Celia Rose Goodings Nyota Uhura, while Jess Bush equips herself well as Christine Chapel. As this mishmash of complimentary cultures explores the far reaches of space, Star Trek: Strange New Worlds seamlessly blends nostalgic elements with more contemporary themes.

What is also self-evident, beyond the polished production visuals and solid ensemble cast, is a genuine love for the legacy. As befits this veteran tag team of Roddenberry law, Strange New Worlds feels like it was created by fans with other devotees in mind. In those first five minutes, even the most embittered Star Trek naysayers will be silenced, as something truly awesome is unveiled on screen.

With confirmation that a season 2 is already in the works andcasting conversations also taking place, Star Trek: Strange New Worlds seems to have made its mark. Early word prior to previews was strong enough to see Paramount Plus flashing its greenlight, while reviews have only confirmed that fact. A reaction that will only be compounded further when audiences welcome Captain Christopher Pike back into the fold on May 5th.

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Review: 'Star Trek: Strange New Worlds' Is a Bold Franchise Addition - We Got This Covered

Photo: Erin Schaff-Pool/Getty Images

That the Supreme Court seems poised to overturn Roe v. Wade, according to an opinion draft leaked to Politico, is horrifying in and of itself. But some of the outright lies and misleading arguments used to justify this decision further twist the knife, adding another layer of cruelty to a decision that could immediately strip women in 25 states of basic agency over their bodies.

The draft opinion was signed by Justice Samuel Alito, and according to Politico, four other conservatives on the Supreme Court have already voted in support of nixing federal protections for abortion. While the justices can still amend the opinion or change their minds entirely in the coming months, the leak portends a dire future for abortion rights. Here are some of the most egregious passages:

The centerpiece of Alitos argument is that since abortion is not enshrined in an 18th century document, it should not be protected by modern law. Do you know what else isnt in the Constitution? Womens rights of any kind. As others have pointed out, this logic presents a slippery slope for rulings that protect progress on other social issues like same-sex or interracial marriage. According to Alito, a right exists only if its been recognized for generations, as wrote one civil rights lawyer on Twitter. No room for constitutional change to match a more tolerant and enlightened society. On a more technical level, this rationale ignores the fact that the court has made plenty of allowances for rights that arent, in Alitos words, deeply rooted in the Nations history and traditions, and that abortion was actually legal in the US when the constitution was signed.

Heres a fun one: To bolster his case, Alito leans on one Sir Matthew Hale, a 17th century English jurist who was no fan of abortion but who did support martial rape, which was still legal in some states up until the early 1990s. The draft opinion quotes from The History of the Pleas of the Crown, a text in which Hale writes: For the husband cannot be guilty of a rape committed by himself upon his lawful wife for by their mutual matrimonial consent and contract the wife hath given up herself in this kind unto her husband which she cannot retract. And thats not all: Hale also had two women executed for practicing witchcraft and believed in capital punishment for teenagers.

In one of the most inflammatory and distracting footnotes Alito links early abortion rights advocates to the eugenics movement, weaponizing race to help dismantle a ruling that actually protects vulnerable women. It is beyond dispute that Roe has had that demographic effect, he writes. Some such supporters have been motivated by a desire to suppress the size of the African American population. While its true that Black women have the highest abortion rate, this statistic doesnt take into account the results of systemic racism that contribute to this statistic, like poverty or unemployment, nor the fact that stripping this group of their bodily autonomy isnt a solution to these underlying issues. It also ignores the fact that when giving birth, Black mothers face severe discrimination: their maternal mortality rate is three times that of white women and in some states, its much more dangerous to give birth than to have an abortion, especially for those in vulnerable groups.

In this passage, Alito regurgitates some pretty dubious anti-abortion myths that paint modern motherhood as a state-supported utopia. The reality is anything but: The opinion draft touts the guarantee of family leave, yet the U.S. is the only wealthy country in the world without a mandated national program, and almost 80% of new parents have no paid time off. If the costs of childbirth were covered, as Alito claims, a vaginal delivery wouldnt cost as much as $11,000 (thats with insurance), or $15,000 for C-sections.

The idea that the existence of safe haven laws and adoption mean mothers have little reason to fear that the baby will not find a suitable home if they carry an unwanted pregnancy to term is grossly oversimplified. They make it sound like this is an easy switch that women are making, Gretchen Sisson, a sociologist who studies abortion and adoption, told my colleague Irin Carmon last year of the anti-abortion movements support for adoption. I have encountered almost no women that are choosing between those two things and weighing one against the other. Safe haven laws, which are rarely used, exist as a last resort, while adoption is an emotionally complex process that can be both costly and discriminatory. Even if a woman did choose to give up a child, Alito elides the physical and psychological toll. People dont just drop a child off and go on with their lives, Anthony Michael Kreis, an assistant professor of law at Georgia State University, told the 19th*.

According to Alito, its no big deal that the opinions of five conservative justices can trample all over a basic human right, since on a state level, women can now seek to affect the legislative process by influencing public opinion, lobbying legislators, voting and running for office. Democracy! But any argument that paints the U.S. political system as a bastion of equality is made in bad faith: Women make up less than a third of all state legislators, and a similar gender gap appears in other levels of office. The idea that voting rights is a salve is especially rich coming from Alito, a man who has worked to erode them in two separate decisions and helped block efforts to stop gerrymandering. It will be hard to fight anti-abortion laws on a state level when the system is rigged to keep white, Republican men in power.

Theres a lot to chew on here. In this passage, Alito blames two rulings that have given women control over their bodies, Roe v. Wade and Planned Parenthood v. Casey, for sparking a national controversy that has embittered our political culture for a half-century. Hmmm. Some might argue the real controversy stems from the fact that male politicians and a fervent religious right have had outsized control over reproductive rights, despite the fact that the majority of Americans think the Roe decision should be upheld. Also adding to this deep division might be the fact that men like Alito have turnedhealth care and the right to choose into a moral lightning rod, forcing women to compromise their own safety and autonomy in the name of family values. If Alito thinks overturning Roe will unite these warring factions, he must really be living under a rock.

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Led by husband-and-wife duo South Africa-born Jean-Philip Grobler and Germany-born Patti Beranek, St. Lucia retreats from a fractured world on fire and into the glow of a rapturous synth-spiked electro-pop catharsis-like a dance party at the edge of existence. On the aptly titled Utopia I EP, St. Lucia beams out a light of its own and shines brighter than ever.

"In a way, this is my rebellion against the darkness of the world," states Jean-Philip. "From the beginning, the name St. Lucia came from me making escapist music. In South Africa, there's a place called St. Lucia, and it's similar to the island in the Caribbean because it's where you escape. It's utopia. There are many ideas of utopia, whether it means virus-free or a virtual tech utopia. It's easy to feel depressed these days, so I'm trying to bring something joyous to the world. I was sick of seeing stuff on the Internet, and I just wanted to feel good. That's what being human is about. We have to feel alive, no matter what is happening around us."

Patti adds, "I feel really proud of the EP. I think there is purity in it that you can't describe. You just have to listen and feel it. I think that this comes from having another child, being parents, and being thrown into a weird time in our lives. It unleashes things, and I think we did a good job capturing that."

Inspired by everyone from David Bowie, The Weeknd, Daft Punk, and Parcels, Jean-Philip wrote and recorded at a feverish pace. They enlisted the mixing talents of trusted collaborator Chris Zane [Passion Pit, The Walkmen] and buttoned up their first new music in four years. The opener "Separate World" rides shimmering keys, handclaps, and a propulsive groove, followed by the retro-pop track "Another Lifetime." Elsewhere on the EP is first single, "Rocket On My Feet, which hinges on high-register vocals underlined by neon-hued disco keys, and "Memory," the EP closer that unfurls like a dreamy night-time lullaby. To support today's EP release, the group shares a euphoric-pop single, "The Golden Age." "'The Golden Age' is always accessible to you," says Jean-Philip. "You can blame social media or politics. At the end of the day, we can all somehow find stillness within."

Watch The Visualizer For "The Golden Age" HERE:

Alongside today's EP release, St. Lucia shares details of their Fall 2022 North American tour, on sale today. The run begins in Boston on October 10 and ends on November 15 with a hometown show at Brooklyn Steel. Renowned for their energetic live shows, this six-week tour is St. Lucia's first full headline run in four years. See below for the full set of dates, more info, and tickets at stlucianewyork.com/live.

Equal parts colorful disco, 70s funk, and 80s pop, the EP is a luminous palette of synths, pulsating with vibrant sonics that has come to characterize their genre-defying career. Utopia I is available at all digital retailers HERE.

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Photo Credits: Ryan Miller.

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St. Lucia's Latest EP, 'Utopia,' Now Available for Streaming - Broadway World

Electricity is crackling in the sci-fi ether as anticipation mounts for the premiere of "Star Trek: Strange New Worlds" coming to Paramount Plus on May 5.

This "Star Trek: Discovery spinoff harkens back to the classic "planet of the week" format seen in the original "Star Trek" series from the 1960s and chronicles the intrepid adventures Captain Christopher Pike (Anson Mount), Number One (Rebecca Romijn), and Spock (Ethan Peck) as they go galaxy-hopping in search of exotic new destinations and alien civilizations.

To build upon the geeky revelry surrounding the launch of "Strange New Worlds," this bold new space opera series will receive its first official tie-in novel this fall from New York Times bestselling author John Jackson Miller and Gallery Press.

"Star Trek: Strange New Worlds - The High Country" finds Captain Pike and the valiant Enterprise crew marooned on a planet where their advanced 23rd-century tech becomes useless.

You can check out our Star Trek streaming guide to see where to watch "Star Trek: Discovery" online to catch up on the characters you'll meet in "Star Trek: Strange New Worlds."

Miller, a seasoned "Trek" novelist, penned "Star Trek: Picard: Rogue Elements," "Star Trek: Discovery: Die Standing," and the 2019 "Star Trek: Discovery" tie-in novel "The Enterprise War," which explained just where the Enterprise was located while the Klingon-Federation War erupted in "Discoverys" debut season. "The High Country" will showcase the entire current Enterprise crew as depicted in Strange New Worlds, including Cadet Nyota Uhura.

"When I was asked to write the first 'Strange New Worlds' novel, I knew I wanted to tell a story that offered Captain Pike and his companions a real challenge," Miller tells Space.com. "They're called upon to understand a place thats both bizarre and deadly and they have to do it without their technology, drawing instead upon their own talents and knowledge. Theyre completely immersed in the mystery of this place, and its my goal that readers of 'The High Country' will be, too!"

Here's the official synopsis from Gallery Press:

"When an experimental shuttlecraft fails, Captain Christopher Pike suspects a mechanical malfunctiononly to discover the very principles on which Starfleet bases its technology have simply stopped functioning. He and his crewmates are forced to abandon ship in a dangerous maneuver that scatters their party across the strangest new world they've ever encountered.

"First Officer Una finds herself fighting to survive an untamed wilderness where dangers lurk at every turn. Young cadet Nyota Uhura struggles in a volcanic wasteland where things are not as they seem. Science Officer Spock is missing altogether. And Pike gets the chance to fulfill a childhood dream: to live the life of a cowboy in a world where the tools of the 23rd century are of no use.

"Yet even in the saddle, Pike is still very much a starship captain, with all the responsibilities that entails. Setting out to find his crewmates, he encounters a surprising face from his pastand discovers that one people's utopia might be someone else's purgatory. He must lead an exodusor risk a calamity of galactic proportions that even Starship Enterprise is powerless to stop

"Star Trek: Strange New Worlds" debuts exclusively on Paramount Plus starting on May 5, with John Jackson Millers "The High Country" tie-in novel arriving on Nov. 8, 2022.

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'Star Trek: Strange New Worlds' scores its 1st tie-in book from veteran Trek novelist - Space.com