US airlines boost their 2030 SAF target from 2 billion to 3 billion gallons.
Clean energy has a diversity problem, a new study confirms.
UnderstandSolar is a free service that links you to top-rated solar installers in your region for personalized solar estimates. Tesla now offers price matching, so it’s important to shop for the best quotes. Click here to learn more and get your quotes. — *ad.
Sustainable aviation fuel
Major US airlines yesterday pledged to voluntarily make 3 billion gallons of sustainable aviation fuel available to US aircraft operators in order to reduce aviation emissions by 20% by 2030.
Airlines for America (A4A), an industry trade group that includes United Airlines, Southwest, Delta, American, and others, announced a 2030 goal of producing and deploying 2 billion gallons of sustainable aviation fuel in March.
The group will work with the US government and other stakeholders to achieve today’s higher goal. The new target is a 50% boost.
Sustainable aviation fuel (SAF) is made from feedstocks such as used cooking oil and animal fat and is, at present, rarely used.
At a White House roundtable on sustainable aviation yesterday, A4A CEO Nicholas E. Calio highlighted the need for:
[P]ositive government policy support – including a $1.50-$2.00 per gallon SAF blender’s tax credit; public-private SAF research, development and deployment programs, such as a new SAF and low emissions technology grant program under consideration by Congress; and other collaborative initiatives – to help enable the US aviation industry to reach its ambitious new 2030 SAF goal and its 2050 net-zero emissions goal.
The White House Fact Sheet on sustainable fuels in American aviation pointed out yesterday:
Aviation (including all non-military flights within and departing from the United States) represents 11% of United States transportation-related emissions. Without increased action, aviation’s share of emissions is likely to increase as more people and goods fly. That is why leadership and innovation in this sector is so essential if we hope to put the aviation industry, and the economy, on track to achieve net-zero greenhouse gas emissions by 2050.
Ultimately, the White House is calling for sufficient SAF to meet 100% of aviation fuel demand by 2050, which is currently projected to be around 35 billion gallons per year.
A new study, called “Help Wanted: Diversity in Clean Energy,” highlights the need for equity in clean energy:
Despite its broad range of businesses, including construction, utilities, manufacturing, professional services, and repair and maintenance, the clean energy sector is dominated by white men.
The study by BW Research Partnership was done in collaboration with E2 (Environmental Entrepreneurs), The Alliance to Save Energy, American Association of Blacks in Energy (AABE), Black Owners of Solar Services (BOSS), and Energy Efficiency for All (EEFA).
Here are the report’s key findings:
Black workers represent about 8% of the clean energy labor force, compared with about 13% of the nation’s total workforce.
Hispanic/Latino workers represent nearly 17% of the clean energy workforce, slightly less than the 18% they represent in the overall national workforce.
Racial and ethnic minorities account for nearly 4 in 10 US clean energy workers.
About 8% of clean energy workers are Asian, slightly higher than their presence in the national workforce, while Pacific Islanders and Alaska and other native Americans each make up about 1% of the clean energy workforce.
Women hold about 27% of clean energy jobs, compared with 48% of all jobs nationally.
Renewable energy employs the highest share of Hispanic or Latino workers in the US energy sector.
Black, Asian, Indigenous, and multiracial workers account for about 27% of clean energy jobs.
Nicole Sitaraman, policy committee chair of BOSS and vice president of strategic engagement at Sustainable Capital Advisors, said in a statement emailed to Electrek:
We are living in a climate crisis in which Black communities are suffering disproportionately. Clean energy industries often overlook the innovation, expertise, and insight that Black communities possess. It is time to change that. We will not reach our climate mitigation and adaptation goals without the full participation and leadership of people of color in the clean energy sector. This report presents important data showing the urgency of diversifying this space to achieve an equitable climate resilient future.
British star Lesley Manville and American actor John Lithgow have won the acting categories at this year’s Olivier Awards, which recognise excellence in London theatre.
Lithgow, 79, played Roald Dahl in Giant, which is about the children’s author wondering whether to make a public apology.
While accepting his award he appeared to reference the current controversy over Donald Trump’s second term as US president.
The Conclave star quipped: “It’s not always easy to welcome an American into your midst, and at this particular moment, it’s probably a little more complicated than usual.”
He also told the audience at the Royal Albert Hall that the “special relationship is still firmly intact”, despite Mr Trump imposing tariffs on British exports to the US.
His co-star, English actor Elliot Levey, took best actor in a supporting role.
Giant was also named best new play.
Image: Lesley Manville was best actress. Pic: PA
Manville, 69, was honoured for her performance in the Greek tragedy Oedipus at the Wyndham’s Theatre.
She said she felt “emotional” while accepting her statuette because it was a production she had “felt very strongly about being” in.
Manville, who played Princess Margaret in The Crown, added that she was taking an early flight to Dublin on Monday to do some filming, and would not be getting “much sleep tonight”.
Image: Romola Garai was best actress in a supporting role. Pic: PA
Best actress in a supporting role went to Romola Garai for her performance in The Years, based on a memoir by French writer Annie Ernaux.
Garai, whose film credits include Scoop and Atonement, was nominated in the same category for Giant.
Image: Elliot Levey was best actor in a supporting role. Pic: PA
Dame Imelda Staunton won a fifth Olivier, for best actress in a musical for the London revival of classic musical Hello, Dolly!
The Curious Case Of Benjamin Button won best new musical, a best actor musical award for Lark Rise To Candleford actor John Dagleish, and the outstanding musical contribution award.
The annual event was co-hosted by British singer Beverley Knight and Pose star Billy Porter.
Despite The Who’s Quadrophenia being set over 60 years ago, Pete Townshend’s themes of identity, mental health, and modern masculinity are just as relevant today.
The album is having a renaissance as Pete Townshend’s Quadrophenia A Mod ballet is being brought to life via dance at Sadler’s Wells East, and Sky News has an exclusive first look.
As Townshend puts it, the album he wrote is “perfect” for the stage.
Image: Pete Townshend
“My wife Rachel did the orchestration for me, and as soon as I heard it I said to her it would make a fabulous ballet and we never really let that go,” he tells Sky News.
“Heavy percussion, concussive sequences. They’re explosive moments. They’re also romantic movement moments.”
If you identify with the demographics of Millennial, Gen Y or Gen Z, you might not be familiar with The Who and Mod culture.
But in post-war Britain the Mods were a cultural phenomenon characterised by fashion, music, and of course, scooters. The young rebels were seen as a counter-culture to the establishment and The Who, with Roger Daltry’s lead vocals and Pete Townshend’s writing, were the soundtrack.
More on The Who
Related Topics:
Quadrophenia the album is widely regarded as an essay on the British adolescent experience at the time, focusing on the life of fictional protagonist Jimmy – a young Mod struggling with his sanity, self-doubt, and alienation.
Townshend sets the rock opera in 1965 but thinks its themes of identity, mental health, and modern masculinity are just as relevant today.
He says: “The phobias and the restrictions and the unwritten laws about how young men should behave. The ground that they broke, that we broke because I was a part of it.
“Men were letting go of [the] wartime-related, uniform-related stance that if I wear this kind of outfit it makes me look like a man.”
Image: Paris Fitzpatrick and Pete Townshend. Pic: Johan Persson
This struggle of modern masculinity and identity appears to be echoing today as manosphere influencers like Andrew Tate, incel culture, and Netflix’s Adolescence make headlines.
For dancer Paris Fitzpatrick, who takes on the lead role of Jimmy, the story resonates.
Image: Paris Fitzpatrick, who takes on the lead role of Jimmy in the ballet
“I think there’s a connection massively and I think there may even be a little more revival in some way,” he tells Sky News.
“I love that myself. I love non-conforming to gender norms and typical masculinity; I think it’s great to challenge things.”
Despite the album being written before he was born, the dancer says he was familiar with the genre already.
“I actually did an art GCSE project about Mods and rockers and Quadrophenia,” he says.
“I think we’ll be able to bring it to new audiences and hopefully, maybe people will be inspired to to learn more about their music and the whole cultural movement of the early 60s.”
In 1979, the album was adapted into a film directed by Franc Roddam starring Ray Winstone and Sting but Townshend admits because the film missed key points he is “not a big fan”.
“What it turned out to be in the movie was a story about culture, about social scenario and less about really the specifics of mental illness and how that affects young people,” he adds, also complimenting Roddam’s writing for the film.
Perhaps a testament to Pete Townshend’s creativity, Quadrophenia started as an album, was successfully adapted to film and now it will hit the stage as a contemporary ballet.
It appears that over six decades later Mod culture is still cool and their issues still relatable.
Quadrophenia, a Mod Ballet will tour to Plymouth Theatre Royal from 28 May to 1 June 2025, Edinburgh Festival Theatre from 10 to 14 June 2025 and the Mayflower, Southampton from 18 to 21 June 2025 before having its official opening at Sadler’s Wells Theatre, London on 24 June running to 13 July 2025 and then visiting The Lowry, Salford from 15 to 19 July 2025.
Russell Brand has been charged with rape and two counts of sexual assault between 1999 and 2005.
The Metropolitan Police say the 50-year-old comedian, actor and author has also been charged with one count of oral rape and one count of indecent assault.
The charges relate to four women.
He is due to appear at Westminster Magistrates’ Court on Friday 2 May.
Police have said Brand is accused of raping a woman in the Bournemouth area in 1999 and indecently assaulting a woman in the Westminster area of London in 2001.
He is also accused of orally raping and sexually assaulting a woman in Westminster in 2004.
Please use Chrome browser for a more accessible video player
1:59
Ashna Hurynag discusses Russell Brand’s charges
The fourth charge alleges that a woman was sexually assaulted in Westminster between 2004 and 2005.
Police began investigating Brand, from Oxfordshire, in September 2023 after receiving a number of allegations.
The comedian has denied the accusations and said he has “never engaged in non-consensual activity”.
He added in a video on X: “Of course, I am now going to have the opportunity to defend these charges in court, and I’m incredibly grateful for that.”
Metropolitan Police Detective Superintendent Andy Furphy, who is leading the investigation, said: “The women who have made reports continue to receive support from specially trained officers.
“The Met’s investigation remains open and detectives ask anyone who has been affected by this case, or anyone who has any information, to come forward and speak with police.”