Star Trek: Picard – Page 2

Why ONE SCENE from the PICARD season 3 premiere lets us know that STAR TREK IS REALLY BACK! (editorial review)

OF COURSE THERE ARE SPOILERS! ARE YOU NUTS???

Let’s not kid ourselves, the reviews from fans for the premiere of Season 3 of STAR TREK: PICARD have been stratospherically euphoric with a teensy-tiny percentage trying to find something to complain about. In fact, one of the complaints I saw was that yet another Picard season storyline starts with “Help me, Jean-Luc, you’re my/our only hope!” Of course, Star Trek II starts that same way with a message from Carol Marcus; Trek III has McCoy/Spock saying, “Help me, Jim;” Trek V begins with “I need Jim Kirk;” Trek VI has “Only Nixon could go to China” (Kirk is Nxon); and so on. In other words, the criticisms I’ve seen so far are reaching deep, folks, and nearly all of them include, “I liked it, but…”

Yeah, you loved it. You know you did.

But WHY did we love it so much (or at least “like it, but…”)? With so many reviews already out there, I’ve decided that, rather than going through everything or most things that were great about this season premiere, I am going to look at just ONE THING, and it is a very important thing! Do you remember the movie City Slickers with Billy Crystal and Jack Palance? In it, the latter’s character of Curly holds up his index finger and says, “One thing.” Imagine me doing that right now…

Oh, there’s way more than one thing to love in this first episode. But for me, there was one 3.5-minute sequence that encapsulated everything that was oh-so-right about this new season, and what’s been missing from ALL of the other CBS-produced Trek series so far. Literally. It’s one scene that made me confident that writer and showrunner TERRY MATALAS is a fan who gets what Star Trek is and wants to give us other fans what we’ve been clamoring for these past six years.

Ladies and gentlemen, my “one thing”…

Goosebumps, anyone?

Actually, I can already hear the (very few) complainers out there saying, “Yeah, but we’ve seen a ship leave spacedock SOOOOOOO many times before!” And it’s true. Variations of that same launching sequence appeared in Star Trek: The Motion Picture, Star Trek II, Star Trek III, Star Trek VI, and even Star Trek Generations (plus twice in Star Trek: Enterprise). But that’s the point of this sequence. It is, in many ways, the quintessential Star Trek scene. And y’know what?

CBS STUDIOS HAS NEVER GIVEN US A PROPER LAUNCH SCENE!!!

Oh, they’ve included a few launch scenes across their various series, but those sequences—for various reasons that I’ll get to in a bit—didn’t feel quite right. But this one did.

Why? Well, let’s take a look at what characteristics mark a “proper” Star Trek starship launch scene like the ones we saw in those Trek movies I just listed and in the pilot episode and fourth season of Enterprise.

5 reasons why TREKKIE GRIEVANCE is just plain DUMB! (editorial)

“Tellarites do not argue for reasons. They simply argue.”

I thought about that Sarek quote from the TOS episode “Journey to Babel” as I pondered what I like to call TREKKIE GRIEVANCE SYNDROME. Those who suffer from TGS (or make the rest of us have to suffer THEM having it) say things like:

Star Trek is dead! CBS/Alex Kurtzman killed it!
The crap that CBS is putting out is NOT Star Trek!
I’d rather there be NO Star Trek than what’s on Paramount+!
Alex Kurtzman/CBS/JJ Abrams/Bad Robot doesn’t care about us longtime fans; they just want to destroy real Star Trek and replace it with Star Wars!
Anyone who likes these new shows is living in denial and not a true fan!
The ratings/viewership for Star Trek is way down, which is why Alex Kurtzman was/is about to be/has been/is being fired!
We fans have been loyal to Star Trek through these many decades, and we deserve better than this drivel they have the gall to make us pay for!

It’s that last item that led me to dub this Trekkie GRIEVANCE, as the fans complaining seem to take it quite personally that new Star Trek isn’t living up to their expectations. Fan “deserve” better! And maybe we do—but I gotta say, some of us are not acting very deserving!!!

Y’see, there’s a difference between critiquing, criticizing, and just plain bashing. Critiquing is what I do in many of my blog review editorials. There are things I don’t personally like in some Trek series and certain episodes, and so I analyze why something isn’t working—whether it’s STAR TREK: DISCOVERY‘s storytelling pace being too fast and not giving the characters a chance to breathe and develop or PICARD’s plot dealing with the suicide of Jean-Luc’s mother not feeling particularly compelling to me. I critique in a mature, measured way…nothing wrong with that.

I also criticize. Discovery‘s new Klingon make-up was a total misfire, and even the show’s creators realized it by season two. The last two episodes of STAR TREK: PICARD‘s first season were a rushed mess with a Federation fleet made up forty of the same class of starship and Romulan bad guys who would have twirled their mustaches with an evil cackle if they actually had mustaches to twirl. Some creative choices are atrocious enough that you don’t need to “analyze” in a mature and measured way. If there’s something you don’t like, you can certainly gripe about it. That’s fine, too. Fans have been doing that since TOS was first airing in the 1960s.

But there’s a difference between griping/criticizing and outright bashing. Bashing looks like this…

10 reasons why STRANGE NEW WORLDS feels like “REAL” Star Trek while DISCOVERY and PICARD don’t… (editorial review, part 2)

In part 1, I pointed out how many, many Trek fans have warmly and enthusiastically greeted STAR TREK: STRANGE NEW WORLDS in a way they didn’t for DISCOVERY and PICARD. It’s not that those other two CBS Studios-produced series have been universally panned—in fact, a good number of fans (including me) enjoy both series much of the time.

But from reading reviews and comments on social media and websites, fans seemed to feel almost immediately that SNW felt like “real” Star Trek. I put “real” in quotation marks because “real” likely means very different things to different people. But in general, “real” Star Trek seems to be anything produced by Paramount prior to 2005, with the stuff debuting on CBS All Access (now Paramount+) from 2017 onward seemed to miss the mark. And I’ve decided to exclude the J.J. ABRAMS Star Trek movies in to avoid turning this into a three-part blog!

Anyway, I wondered what is what about SNW that made it feel like “real” Star Trek…which is such a vague and undefined term. So I decided to list some very specific reasons—obviously in my personal opinion. Here were my first five items (counting down from ten) from Part 1…

10. THE MAIN TITLE SEQUENCE
9. ESTABLISHING SHOTS ALLOW YOU TO SEE THE SHIP
8. NO SEASON-LONG STORY ARCS
7. A TRUE PREQUEL
6. MUCH LESS OF A “MANIC/DEPRESSIVE” PRESENTATION

Now let’s move up to the “top” five…

10 reasons why STRANGE NEW WORLDS feels like “REAL” Star Trek while DISCOVERY and PICARD don’t… (editorial review, part 1)

ONE TEENY-TINY SPOILER FROM THE SEASON FINALE

After writing 23 non-stop weekly reviews for the latest seasons of STAR TREK: DISCOVERY and PICARD, I took a break for the first season of STAR TREK: STRANGE NEW WORLDS. Why? Because nearly everyone appeared to love each episode…and so did I. It seemed silly to just write about how great each episode was every week.

Not that every episode was perfect. I had a few complaints here and there, like turning the Gorn into the xenomorph monsters from Aliens and killing off my favorite character just nine episodes into the series (you bastards!).

But overall, I have been loving this new series right out of the starting gate in ways I haven’t loved Discovery and Picard. And it seems from social media and online reviews that most fans feel the same way about Strange New Worlds (with the exception of those who are still counting the days until ALEX KURTZMAN is fired for the seventeenth time!).

“The show just FEELS like real Star Trek,” seems to be the general consensus among fans. But WHY does it feel more like “real” Star Trek? What does “real” Star Trek even mean?

Some have said, with a certain amount of vagueness, “Well, it’s more optimistic.” Yeah, kinda. But some episodes have been a bit sad, too. The one where Dr. M’Benga has to part with his daughter in order for her to have a guaranteed chance at life…man, that was a downer! Another episode ends with the sacrifice of a child in order to keep a planet of floating cities from crashing down. (Man, it’s tough to be a kid on this chow!) And don’t get me started on Hemmer’s death-dive! So I’m not sure that “optimistic” is the secret sauce of this show.

“Well, it’s episodic, not serialized…” say others, and yes, that’s true—although character arcs like Spock’s marriage, Uhura’s doubts, and M’Benga’s dying daughter carried over through multiple episodes. But is “real” Star Trek simply defined as one-story-per-episode? The Dominion War lasted through multiple seasons of Deep Space Nine, and Enterprise devoted an entire season to finding and dealing with the threat of the Xindi. Were those NOT “real” Star Trek?

So rather than writing a review, I’d like to instead attempt to answer the question of what mades this series feel like “real” Star Trek—and so quickly gain the support of the vast majority of fandom—while Discovery and Picard have struggled to achieve that same reception.

Wanna play…?

STAR TREK: PICARD wraps up season with a nice, tidy bow…but was it worth untying? (editorial review)

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…

Wrap up the Renée Picard storyline in some exciting way;
Include the sacrifice of at least one character (more on that shortly);
Get Raffi and Seven back together;
Resolve the Rios/Teresa romance plotline;
Give Kore a final confrontation with her “dad”;
Leave Soong defeated;
Wrap up the storyline with Q and answer any lingering questions;
Get the team back to the future to finally pay off the scene at the end of episode one that got them there;
Reveal the masked Borg Queen as Agnes Jurati;
Establish that Elnor is alive;
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 ;
Get Picard and Laris together;
Leave an opening for a plot element that could continue into next season.

The penultimate episode of STAR TREK: PICARD season two was…well…um…NOT very good… (editorial review)

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?

We now know the TWO THEMES of STAR TREK: PICARD’s second season… (editorial review)

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…

STAR TREK: PICARD’s latest episode, “Monsters,” swings for the fences…and MISSES! (editorial review)

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.

STAR TREK: PICARD gives us a “quiet” episode for a change…but did it work? (editorial review)

WE’RE RUNNING WITH THE SPOILERS OF THE NIGHT…

The sixth episode of STAR TREK: PICARD‘s second season, “Two of One,” had the shortest runtime of the entire series so far. Not counting the recap and closing credits, there were only 35.5 minutes of actual episode (most episodes run in the high 40- to low 50-minute range).

On the other hand, this episode also the longest “Previously on…” recap (2 minutes and 15 seconds). Even DISCOVERY‘s recaps usually time out at 90 seconds—and by the end of their seasons, there’s typically a LOT to remind viewers of.

There’s nothing particularly wrong with a long recap, but it does hint that the show might be juggling a few two many plates at the same time. And it’s true that Picard has quite a bit going on right now…

Q has sent then to an alternate authoritarian future, and they have traveled back in time to 2024 trying to prevent it.
The watcher/supervisor Tallinn is tasked with protecting Picard’s ancestor, a famous astronaut.
Agnes has killed the Borg Queen (their only way back to the future) in order to save a French cop.
Dr. Adam Soong is a noted geneticist whose daughter has an incurable genetic disease and who has just lost his license and funding for running forbidden experiments.
Q is offering to help Soong…but Q requires a favor in return.
Renée Picard will launch with the Europa Mission in three days, but she’s having doubts about herself. If she doesn’t go, the future will be irrevocably changed for the xenophobic worst.
The team needs to keep her from quitting the Europa program for the next 15 hours until pre-launch quarantine, but Renée will be at a gala that evening with very tight security.
Agnes will sneak inside, get detained by security, and then hack into their systems to get the rest of the team inside.
But Agnes has been compromised; the Borg Queen injected her with nanoprobes before dying.

Whew, that IS a lot to keep track of! And that doesn’t even touch on the Guinan encounter two episodes ago, Rios’ injury and infatuation with Dr. Teresa, his capture by I.C.E. agents, subsequent rescue, or the death of Elnor.

So the episode’s all a big mess, right? It’s cluttered with way too many story elements and characters and storylines?

Not at all!

Instead, this was a relatively “quiet” episode, simple, and quite elegant. In fact, many of the ongoing plot elements were barely touched upon—like Seven-of-Nine (almost none of her in this episode), Raffi’s being haunted by Elnor’s death (just a teensy bit of that), Q (almost nothing of him in the episode for the first time this season), and Tallinn’s uncanny resemblance to Laris (only a quick mention of that).

So with all that they DIDN’T do, what DID they do? Well, let me tellya…

PICARD just did something that NO Star Trek TIME TRAVEL story has EVER done before! (editorial review)

SPOILERS, SPOILERS EVERYWHERE!

I really LOVE this show…or more specifically, the current season of this show. STAR TREK: PICARD is now halfway done with its second season, and I thought that episode 5, “Fly Me To The Moon” was one of its best offerings yet…although they all have been excellent, in my opinion.

Why was it so good? Several reasons. And if you’re wondering when I’m going to pay off that blog title above, you can either skip down to the bottom of this blog or else just enjoy the journey of getting there. I’m going to enjoy the journey.

MEET THE NEWCOMERS…

The first reason I thought this episode was so strong is because of the main challenge it had to overcome, and which I believe it did very effectively: introduce four completely new characters AND make us care about them…

Supervisor Tallinn – This Laris-look-a-like (technically introduced in the previous episode) was actually the least developed new character of the four, but she’s still intriguing. She is now officially from the same organization as Gary Seven from the TOS episode “Assignment: Earth,” and that was just fun from a fanboy standpoint, as it’s nice to see CBS Studios do a tie-in with TOS continuity that doesn’t mess around with canon and, in fact, actually honors it. Tallinn wasn’t developed much as a character this episode on purpose, methinks, in order to 1) let us get to know and care about the other new characters first, and 2) give Tallinn her own episode or episodes to develop a little bit more later.

Adam Soong – BRENT SPINER returns to play yet another Soong ancestor! This is the 7th character Spiner has played in that “family,” the others being Data, Lore, B-4, Noonian, Arik, and Altan Inigo. My suspicion is that we will discover that this earliest Soong, a geneticist, will inject his daughter Kore with something that will make future Soong offspring all resemble him, but we’ll see. Either way, Brent has given us a new character, similar to other Soongs but different enough to be fresh and intriguing. While Adam is arrogant (a Soong staple!), he also deeply and truly loves his daughter…and we feel that love.

Kore Soong – This explains why ISA BRIONES has been missing for the first half of this season—they’ve been saving her to play Adam Soong’s daughter. And this “girl-in-a-bubble” is so pure and filled with hope and light that she’s almost impossible not to care about and root for.