Fan Film Factor

AND FOR MY FINAL TRICK: SPOILERS!

As I mentioned in last week’s blog review, the final two episodes of STAR TREK: PICARD‘s first season left me feeling quite disappointed and ended things on a distinctly bad note for me (and many others).

As season two drew to a close, a strong series of early episodes stumbled as the show approached the finish line, with episodes 7 and 9 (as opposed to 7 of 9) significantly missing the mark for me. So going into the final, 10th episode, “Farewell,” I was ready for either a second-in-a-row disappointment or else a triumphant salvation. What I got was…

…a little bit of each.

On the good side, there were several powerfully emotional moments, elegantly acted with touching music, that left me tearing up. There were also some fun easter eggs thrown in for the hard-core Trekkers to cheer (or complain) about. And of course, everyone got their happy ending…except Adam Soong, who got a more ominous ending (but perhaps happy for him).

The scene with Taillinn finally talking face-to-face with Renée was beautiful. The exciting sequence trying to stop Soong’s drones and get Renée safely onto the rocket was textbook action and suspense (even if it was super-obvious that the Renée who came out of the ready room was really Taillinn in disguise). And the scene with Picard and Q was masterful, even though it left way more questions frustratingly unanswered (more on that later). But seeing these two accomplished thespians (SIR PATRICK STEWART and JOHN DE LANCIE) playing off each other as Q prepares for his final farewell was simply a treasure and pleasure to watch…campy though it was, I didn’t care.

On the bad side, the episode was a bit of a hurried mess. Having let every storyline slowly percolate for most of the season, the final episode needed to…

1. Wrap up the Renée Picard storyline in some exciting way;
2. Include the sacrifice of at least one character (more on that shortly);
3. Get Raffi and Seven back together;
4. Resolve the Rios/Teresa romance plotline;
5. Give Kore a final confrontation with her “dad”;
6. Leave Soong defeated;
7. Wrap up the storyline with Q and answer any lingering questions;
8. Get the team back to the future to finally pay off the scene at the end of episode one that got them there;
9. Reveal the masked Borg Queen as Agnes Jurati;
10. Establish that Elnor is alive;
11. Include a scene with Whoopi Goldberg to explain why she didn’t clue-in Picard way back in episode one about what was to come ;
12. Get Picard and Laris together;
13. Leave an opening for a plot element that could continue into next season.

ATTACK OF THE SPOILERS!

Man, I really wanted to like this latest episode of STAR TREK: PICARD. I remember how, in season one, I was generally enjoying things until the final two episodes when things got…well, “messy” is a good word. Those last two episodes left a bad taste in my mouth.

Up until now, season two has intrigued and entertained me. With the exception of episode 7, “Monsters,” which left me thoroughly unimpressed, I’ve actually had some really positive things to say about this season. So I was really hoping the trend would continue and that episode nine, “Hide and Seek,” would break the curse of season one.

Sadly, the curse remains firmly in place.

This was essentially an action episode with sprinkles of character “development” added in an almost checking-the-boxes kind of way. The action kinda worked, but mostly in a sloppy mess sort of way. I’ll go into that aspect shortly, but let’s start with something I usually reserve for my reviews of DISCOVERY: criticizing the writing.

MAYBE NOT THE BEST TIME TO HAND THE KEYBOARD OVER TO THE ROOKIES?

If you look at IMDb, MATTHEW OKUMURA doesn’t have many writing credits. In fact, he has one (in addition to this episode of Picard), and that was a story for the TV series Smallville back in 2003. What he’s done in the meantime is serve as story editor for a TV series in 2021 and then story editor and executive story editor for Picard during season two. In other words, he typically pitches stories, edits scripts, and hangs out on the writers room with the team. But he doesn’t write scripts; he edits them.

The other credited writer CHRISTOPHER B. DERRICK, is a staff writer on season two of Picard. What does a staff writer do? According to this website, “Staff writers are the idea generators of the writers room. They constantly collaborate with other staff writers to come up with story ideas, workshop scripts, or supply various plot lines for a single episode. They are often under-credited until they work their way up to becoming a story editor. While staff writers might come up with the foundation of a script, they rarely write the final draft of the episode.” And as it happens, this was Christopher’s first-ever script for television! Hooray for Chris…not hooray for viewers.

But wait, it gets worse.

Not only were both of the writers rookies at scriptwriting, but director MICHAEL WEAVER was tackling his first-ever Star Trek episode. In fairness to Michael, he is only a Star Trek rookie. He’s actually been a director for ten years and was a cinematographer for the decade before that. But was it really wise to put the penultimate episode of Picard into the hands of three relative newcomers?

SOME HUMANS ARE STUCK IN THE SPOILERS!

Sometimes when a Star Trek episode begins, you just know in the first few seconds (maybe minutes) that it’s either going to be really good or not. Last week, I kinda felt a disturbance in the force as soon as we were halfway through the interminably long 5-minute scene of Picard taking to the Starfleet shrink (whom we later discover is really his father). Despite watching two brilliant British thespians (SIR PATRICK STEWART and JAMES CALLIS) linguistically duel in trying to psychoanalyze Jean-Luc Picard, as the scene dragged on, I found myself not buying what they were selling…even though I should have. And things didn’t get much better for me from there.

Now, I understand that many people actually enjoyed last week’s episode—and man, did they let me know how “wrong” I was on Facebook! Next to global warming, war, overpopulation, pollution, the pandemic, and reality television, I think the greatest threat to our species is vanishing civility! But I digress…

Whether last week’s episode of STAR TREK: PICARD was truly bad or good, the fact remains that this week’s eighth episode, “Mercy,” was unquestionably amazingly wonderful from the very first moment. (And with that, I am sure a whole bunch of Facebook warriors will again let me know in as nasty a way they can how wrong I am!)

Actually, I always read through a number of reviews before writing mine—as I don’t like to just repeat what everyone else is saying—and while most reviewers agreed with my critical response to last week’s episode, this week a large number of reviewers weren’t nearly as impressed as I was. (Although one was totally on the same page.)

Many of them felt this episode was mainly filler, moving the subplots along toward the inevitable final two episodes and the “big finish.” Some felt like this whole season was caught between wanting to tell a cohesive story while simultaneously throwing in so much extraneous stuff that many scenes dragged or felt like time that could have been spent on other things.

I might talk about this more in my final review of the season, but I suspect people are—sadly, because of the reality Paramount+’s schedule—watching season two in the wrong way: one episode at a time. What I’ve noticed about season two (even more so than season one) is that this appears to be an 8-hour “movie.” There’s a lot of those on streaming TV these days, but the problem is that watching an 8-hour movie over ten weeks is a completely different experience than binging it…and I think Picard was written to binge-watch.

That said, as a self-contained 47-minute viewing experience, “Mercy” was a very well-done episode. It also provided us with the overarching theme of this season, which I’ll get to shortly. But first…

MR. SPOILER RISING!

I’ve spent six episodes in a row applauding season two of STAR TREK: PICARD. To me, with the exception of a few minor stumbles, it seemed the latest season of this series could do no wrong. But the seventh episode, “Monsters,” didn’t only stumble, it fell flat on its face…at least in my opinion. There was some good scattered among the bad—including the usual stellar performances (especially guest star JAMES CALLIS, of Battlestar Galactica fame, as Picard’s therapist/father).

But for the most part, “Monsters” was a bit of a train wreck in many different ways. Let me count them…

IT STARTED IN THE WRONG PLACE…

A cliffhanger ending makes a “deal” with the viewer: you come back next episode, and we’ll show you how your heroes will get out of this mess. It doesn’t always have to be the very first scene of the next episode, but it’s usually pretty close. Think about the cliffhangers we’ve seen already this season—all but one, episode four, started moments after the end of the previous cliffhanger. (Episode three ended with Rios getting arrested by I.C.E. agents. Episode four began with Picard and Jurati, but twenty second later, we see Seven and Raffi entering the clinic where Rios was taken into custody.)

Episode six ends with Queen/Agnes walking the night streets of Los Angeles, up to…well…something. But what? But then episode seven begins with Picard in his tuxedo talking to some Starfleet counselor. Of course, since episode six also left us with Picard in a coma and Tallinn about to do a techno-mind-meld, that scene is kind of okay to start off with. But it’s a 5-minute scene, which is kinda long to wait for a follow-up to the main Queen/Agnes cliffhanger.

But then we have a second non-Agnes scene—this one 3 minutes—of young Jean-Luc Picard as a little prince and his maman as a queen painting windows. Okay, so we’ll have to wait until after the opening credits to see where Queen/Agnes went. But no again! In fact, it isn’t until 35 minutes into the episode that we see what Queen/Agnes did after the cliffhanger. And that was WAY too long.

This was, in my opinion, a poor editing choice by director JOE MENENDEZ, who has a long 30-year directing career, but this is his first time directing any kind of Star Trek episode. And indeed, the Queen/Agnes storyline kinda went nowhere in this episode. But the scene where a partially-assimilated cyberneticist walks into a bar could and should have either appeared first (before Picard and the shrink) or, at latest, after the opening credits.