Thoughts on Season Three.

Picard and the crew of Star Trek: The Next Generation, back on the bridge of the Enterprise-D.

THOUGHTS ON SEASON THREE:

In its first two seasons, Star Trek: Picard carefully balanced TNG-era nostalgia against being a new show with an identity of its own. I had my issues with the series, specifically with Season Two, but this balance was something the writers handled extremely well.

In Season Three, Picard goes in a different direction. This season is less the conclusion to Picard and more Star Trek: The Next Generation - Epilogue. In theory, this should leave me feeling a bit disgruntled. I can always re-watch TNG, and I sometimes do rewatch the better episodes. In theory, I far prefer to see something new.

In practice, however, Season Three turns out to be by far the best season of what's been a rather uneven series.

Fears for his family make Geordi reluctant to help his old captain.

AN ENSEMBLE PIECE:

In my Season Two overview, one of my top wishlist items was a hope that the returning TNG characters would not be exactly as they were when that series wrapped up. Happily, I get my wish. The characters are recognizably the same people, but the passage of time and the lives they've led have changed them in ways that are believable and often interesting.

Geordi is a father, and his protectiveness toward his two daughters informs his actions. Riker is more confident in his own decision making; while he respects Picard, he no longer automatically defers to him. Worf has taken a philosophical turn; he's not quite a pacifist (he's literally introduced killing bad guys), but he's more thoughtful than in the past. Beverly Crusher has transformed the most, her twenty years of protecting Jack having made her fierce and assertive in a way that wasn't often true in TNG - and Gates McFadden seems to thoroughly enjoy playing this new side to her personality.

Inevitably, some characters get more focus than others, but everyone gets something significant to do. It helps that the season re-introduces the cast gradually. Beverly and Riker appear as early as the first episode, and Worf enters the action in Episode 2. It isn't until the second half of the season that Geordi and Data receive anything more than a name-check, though, and it isn't until the final three episodes that Deanna gets more than a cameo. This allows each returning regular to get a reasonable amount of focus when they appear without leaving them competing for attention. It also helps to keep the narrative fresh, with the overall dynamics changing with each reintroduction.

Finally, I have to applaud the story making a plot point out of Picard's synthetic body, with the corpse of his original body forming a major part of the changelings' plan. It's not quite what I wanted to see. I still think it was a missed opportunity to not explore Picard's feelings about being transferred to a synthetic body. His greatest fear and shame was his past assimilation by the Borg, and now he's ever-so-slightly not quite human; that remains something that both he and the other characters should have reacted to.

But at least this season uses that misjudged plot turn as a major part of its story. I continue to wish more had been done with it... but I fully expected Season Three to just repeat Season Two in making one or two references and nothing more, so I was glad to see something of substance done.

Vadic (Amanda Plummer) harbors hatred that can't be reasoned with.

THE KID, THE VILLAIN, AND THE DIP**** FROM CHICAGO - NEW CHARACTERS:

Season Three offers three significant new characters: Jack, Picard's son; Vadic, the changeling leader, and Liam Shaw, captain of the USS Titan. All three characters end up working, though not to the same extent.


JACK:

The well-worn "reunion movie" tropes of the old lead having a son/daughter ready to take the mantle is one that rarely works. It's never been what viewers want. They didn't tune into a revival of an old series to watch the son or daughter of the character they loved. It doesn't help that, in most cases, the kid characters are either insufferable or faded carbon copies of the old leads.

Jack largely sidesteps this trap. First, he's a genuinely well-written character. He's not a carbon copy of Picard, but neither is he self-consciously different. His swagger carries an echo of the young Picard who got into a near-fatal brawl with a Naussican. However, the surface cockiness is convincingly mixed with just the right amounts of both resentment and insecurity.

Also, Jack is an important part of the season, but he's firmly part of the supporting cast. His frank conversations with Picard develop him as a character, but the focus is kept on Picard and his reactions. Because of this, Jack's screen time never feels like it's coming at the expense of the old regulars. It helps that actor Ed Speleers does an excellent job of bringing the character to life.


VADIC:

Amanda Plummer's Vadic is the most prominent villain for the bulk of the season. When she's introduced, she is in a position of power, her ship clearly outmatching Picard and the Titan. She presents a genial front, speaking softly in an exaggeratedly sweet Southern drawl, even as it's clear that she revels the thought of violence. She seems to be having great fun pursuing the starship, and she plays with the humans like a cat with a mouse, letting the Titan run free just enough to enjoy the thrill of pouncing on it all over again.

This is all enjoyable villainy, and Amanda Plummer has a whale of time chomping on scenery, but there doesn't seem to be much depth beyond "villain." Episode 7, Dominion, changes that, with a well-scripted and wonderfully acted confrontation between Vadic on one side and Picard and Beverly on the other. In this scene, Vadic reveals all the hatred she's fostered for humanity - and as we glimpse her backstory, that hate becomes understandable. At that point, we comprehend why she is so sadistic and angry.

None of which makes her less villainous, it should be noted. In fact, once Picard knows what drives her, he gives up on trying to negotiate. Vadic's hatred runs so deep that reason is impossible.

Capt. Shaw (Todd Stashwick) takes great pleasure in pointing out
a few less-than-shining moments of Picard's and Riker's careers.

CAPT. SHAW:

I hated Shaw on sight. With the benefit of hindsight, it's clear that the writers wanted me to have that reaction. Shaw was meant to come off as a typical "pompous bureaucrat," with later revelations changing that perception. Even in hindsight, though, I think his early scenes are overwritten. The Shaw of the season premiere is pointlessly antagonistic and punchably smug. Rudeness and smugness are present in the rest of the season, but never again to that same extent.

Starting with Episode Two, he emerges as a three-dimensional character. He's still adversarial to Picard, but his points have validity. Once Picard reveals that Jack is his son, Shaw stops arguing, resigning himself to the battle to come. Episode Four is both the season's and the series' best installment - and its single best scene belongs to Shaw, as he recalls his brush with "Locutus of Borg" during the Battle of Wolf 359. The scene explains his initial disdain for Picard, and it also shows the survivor's guilt that's left him entirely willing to be seen as the jerk by his own crew.

By the second half of the season, he has become a full ally to Picard. He continues to argue with the regulars, but it's mostly to point out inconvenient truths, from the unintended consequences of some of Picard's and Riker's past heroics to the potential need for Seven of Nine to sacrifice people for the greater good: "You are a Starfleet officer. You don't have the luxury to only make choices that feel hunky-dory."

Actor Todd Stashwick leans fully into the character's abrasive nature, but (Episode One aside) he also shows the character's intelligence and the emotional turmoil from his past. A layered performance combines with good writing, making Shaw into the most memorable of all of Star Trek: Picard's original characters. I'd happily watch a full series about the self-described "dip**** from Chicago."

Picard is reunited with Ro Laren (Michelle Forbes).

ARCS WITHIN A BIGGER STORY - SEASON STRUCTURE:

One reason why Season Three works better than the previous two seasons is its structure. Instead of pulling a single story across ten episodes, the story is divided into smaller arcs. This keeps the story from feeling overstretched, a common problem with seasons of streaming shows, by allowing the overall focus to change regularly.

The first four installments form a Star Trek action thriller, with the Titan evading Vadic inside a nebula. I worried that this setup couldn't sustain a full season. Then Episode Four did something I hadn't expected: It resolved the situation, ending that arc in an entirely satisfying manner while still leaving loose ends for future episodes.

This continues through the rest of the season. The middle episodes shift to a conspiracy story, with the changeling presence within Starfleet leaving the crew with no allies. Episodes Seven and Eight form a two-parter that's dominated by a hostage crisis. Episodes Nine and Ten end the story with another two-parter, this one pitting Picard and his crew against the Borg (again).

The structure works well. Each smaller arc feeds the overall story, so it always feels as if the season is building. At the same time, each arc receives some form of resolution, so that it rarely feels as if the show is just wheel-spinning.

Which isn't to say that every element works perfectly...

The Enterprise targets the heart of the Borg Cube.

A BAIT AND SWITCH THAT DOESN'T ENTIRELY SATISFY:

The season does an excellent job of establishing the changelings as a threat. The tension between Picard and Ro is partially because of their past, but each is also testing the other, wondering if they are who they claim to be. This is echoed later in the season, in the outstanding Seven/Tuvok scene, with Seven uncertain if her old Vulcan friend can be trusted.

The season consistently shows that the changelings' infiltration of Starfleet is significant. The result is that Picard and his crew have almost nobody they can actually trust, leaving them on the run and with no allies as the culmination of the enemy plan draws near.

...And then the final two episodes drop the changelings almost entirely in favor of Borg Invasion Attempt #360. Once the Borg are reintroduced, the changelings cease to be relevant to the story at all. Yes, Vadic is defeated - but by this point, we've already seen that changelings have enough control in enough places to be formidable without her. Where did all of those changelings go, and why don't they do anything after the Borg attack fails?

I don't actually mind the show bringing the Borg back. Overused though they are (the Borg are invoked in three out of three Picard seasons), they're still the TNG villain with the greatest personal connection to Picard, and their connection to Jack is nicely set up and revealed. But the show needed to keep the changelings active in the final two parts. Alternatively, they could have just made this a Borg story from the start... something that could have been entirely doable by replacing the changeling infiltration with Borg assimilation. Season Two already showed Jurati being assimilated pyschologically, with no immediate physical signs; that could have used as a template for an "invisible" Borg infiltration in Season Three.

As it stands, the changelings are built up as a threat, and then they're transformed into little more than an afterthought - something I can't help but feel disappointed by.

Picard and his old crew enjoy a final game of poker.

IN CONCLUSION:

My frustration with the dropped changeling arc notwithstanding, this season is an excellent ending, both as the final season of Star Trek: Picard and as a postscript to Star Trek: The Next Generation.

The season makes good use of its cast, including finding strong roles for characters who weren't well used by TNG, and it features fine performances all around. It also benefits from solid structure, with the mini arcs maintaining freshness and energy throughout - something that I was extremely happy to see after the structural/pacing mess that was Picard's second season.

I doubt we'll see these characters again beyond a potential cameo or two, and I would be very surprised if we saw them all together again. So, most of all, I'm happy that Picard's third season gives a satisfying close to the TNG crew members' respective stories.


Previous Season: Season Two

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3-10. The Last Generation.

Picard and the Enterprise save the Earth one last time.

Original Air Date: Apr. 20, 2023. Written by: Terry Matalas. Directed by: Terry Matalas.


THE PLOT:

The Borg have taken control of Starfleet!

With Jack in the Borg Queen (Alice Krige)'s clutches and acting as a transmitter, the Borg have remotely assimilated every Starfleet officer under age 25, granting them total control over all the starships assembled for Frontier Day. Earth's Spacedock is managing to hold off the assault, but Riker grimly observes that their defenses won't last long.

Seven and Raffi retake the Titan, using the ship's cloaking device to evade the Borg signal. Seven launches a series of sudden, short attacks on the assimilated starships to buy additional time. Meanwhile, Picard and his team take the reconstructed Enterprise D to the Borg Cube to confront the Queen directly. For Picard, it's a last chance to face his greatest enemy - and to rescue his son.


CHARACTERS:

Picard: It's clear that he doesn't expect to come back. The first half of the episode sees him making a series of farewells - to his old crew, to Riker specifically, and to Beverly. He not only forgives Beverly for keeping Jack's existence a secret, he acknowledges her choice in prioritizing the protection of their son: "You thought of Jack from the beginning, shielding him from danger. You did everything right." He faces his greatest fear - reassimilation by the Borg - in order to connect with his son. But first he directly gives Riker command of the mission: "I can no longer be your captain. I now have to be a father."

Riker: He is instantly nervous when they beam to the Borg Cube and discover no drones waiting for them. He observes that in all his years, he never had a "too quiet" moment that turned out well. As a father himself, he understands Picard's priorities completely. When the Enterprise tells him that time is growing short and that the ship will have to take action, Riker refuses to beam out without Picard, even knowing that this decision might mean his death.

Worf: "There was a moment today where I was worried we might actually survive." Worf has been awesome all season, and that carries through to the finale. He doesn't hesitate to join Picard and Riker in beaming to the Cube, even though he seems fatalistically resigned to their likely fate. He also acknowledges his friendship with Raffi with a particularly well-judged gift.

Data: Admits that he is having some trouble adjusting to having full emotions. Not, thankfully, in the manner of Star Trek: Generations' annoying "emotion chip" subplot, but rather in the way ordinary people sometimes struggle with strong emotions: an image that evokes nostalgia, such as a crew member petting a cat, or a strong feeling of hatred for the Borg over the misery they cause. This is generally well written, getting just enough attention to convince as part of Data's journey without being allowed to distract from the main plot.

Seven of Nine: The script wisely focuses on the TNG crew, splitting Seven and Raffi off in their own subplot on the Titan. Seven improvises like mad to disrupt the Borg plan as much as she can with the limited resources available. She is left with a very small crew that includes a nervous cook with some past piloting experience. She deals well with this, encouraging the man without coddling him. The implications of a modification she and Raffi make to their phasers is something that I'd love to see future Trek projects address, by the way.

Jack Crusher: It's made clear why his capture was so essential to the villains, as the Borg need him to transmit their assimilation signal. This does mostly make him more a plot device than a character in this episode: the mechanism of the Borg plan and the object of Picard's attempted rescue. Still, he gets a decent character moment within the Collective, where he finds the sense of belonging that's always eluded him - which is what Picard has to argue and urge against when he connects with him near the end.

Others: This season has a large ensemble, and it's inevitable that some characters will be moved to the background. To writer Terry Matalas's credit, every regular gets at least one moment. Geordi is left in command of the Enterprise, and he trusts Data with a near-impossible task. Dr. Crusher shows remarkable competence at tactical, surprising the others; as she explains, she hasn't exactly been idle over the last twenty years, which have involved a lot of running from various adversaries. Deanna's strong connection to Riker plays a critical role at the end. Meanwhile, on the Titan, Raffi provides unwavering support to Seven - though her best character scene comes opposite Worf. None of them are the focus of the episode, but they all get a moment or two to shine.


THOUGHTS:

Season Three of Picard has revolved, in large part, around themes of family and connection. The Last Generation does an excellent job of folding these into both the story and its resolution. Picard and Jack have awkwardly attempted to connect as father and son all season. By contrast, Jack's assimilation by the Borg sees him feeling an instant and effortless connection, one that Picard attempts to persuade him is illusory.

The Borg Queen describes the Cube as Picard's "true family." Picard reaches Jack through sacrifice: surrendering his command to "be a father" and facing his greatest fear in order to reach him. Deanna's link to Riker (her family) plays a major role in the climax. Even the epilogue carries the theme through, from Raffi's reconciliation with her son to the final scene of the old TNG crew sitting down for a hand of poker as the credits roll.

While I find myself somewhat missing the standalone storytelling of older Trek series, a well-paced season arc offers a big advantage: If previous episodes have done their jobs properly, the finale can hit the ground running. Previous episodes of this season established the overall relationships, as well as the situation and the stakes. That leaves this episode free to zip right into the action. The threads are quickly established: Seven on the Titan, trying to delay the Borg attack; Picard, Riker, and Worf on the Borg Cube; and the Enterprise crew. The episode moves quickly, with plenty of action and incident, but it never feels rushed or overstuffed. As a result, in addition to thematic unity, The Last Generation benefits from being extremely enjoyable to watch.

Complaints are relatively minor. The Seven/Raffi strand feels a bit disconnected from the rest of the episode; it would not be difficult to rewrite this script to remove them entirely. The worry I expressed in the previous review, that the Borg would render the previous changeling threat into an afterthought, ends up being fully realized. Exposition tells us that the changelings were important to the Borg plan. Still, after previous episodes made the changeling infiltration all encompassing, leaving Picard and his crew with nowhere to turn for help, in this episode the changelings are suddenly unmentioned and irrelevant. I could charitably posit that, after the failure of the plan, the infiltrators decided to pull out and wait for another opportunity... but it does feel as if the changelings went from practically omnipotent in previous episodes to borderline irrelevant at the end.


OVERALL:

Despite my gripe about the treatment of the changelings, this was an overall excellent finale. It uses themes established throughout the season in a way that connects both to the overall threat and to the characters. It finds important things for every character to do. It also moves fast and is highly enjoayble to watch.

I'll put more thoughts together about the season as a whole for my season overview. Ultimately, though, Picard's best season ends on a strong note. It's not quite the season's best episode - but it's a good episode, and a worthy finale.


Overall Rating: 8/10.

Previous Episode: Võx

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3-08. Surrender

Data faces oblivion at the hands of his evil "brother," Lore.

Original Air Date: Apr. 6, 2023. Written by: Matt Okumura. Directed by: Deborah Kampmeier.


THE PLOT:

The Titan is now under the control of Capt. Vadic and the changelings. She immediately uses that control to cut off the Starfleet crew members' access to sensors and communications - which, as she observes, deprives them of both their eyes and their ears. She has a single demand: That Jack Crusher turn himself over to her. If he does not, then she will execute one member of the bridge crew every ten minutes, a threat she is positively giddy about enforcing.

There is only one way to wrest control back: Data, who remains locked in a battle for control against his brother, Lore. Only the partition between personalities is keeping Lore at bay. With no other options, Geordi reluctantly agrees to remove the partition. The hope is that Data will find the strength to prevail.

It quickly becomes apparent that the plan is failing. Lore begins taking Data's memories away, one by one. "I'm overpowering you, brother, as I always could. One lifeform replacing another. Evolution." And faced with his own extinction, Data doesn't even seem to be fighting back...


CHARACTERS:

Picard: Jack's instinct is to turn himself in, hoping that Vadic will spare the crew if she gets what she wants. Picard's conversation with her has left him knowing the exact opposite: That Vadic's hatred of solids is so all-consuming that once she has Jack, she is certain to kill everybody. He has a father's instinct to protect his newfound son; but as a commander, he understands that Jack can buy time for Data, and that ends up winning out.

Riker: Reunited with Deanna, Riker reveals one of the major reasons that he left: Deanna used her telepathic abilities to dampen his grief over his son. "Our son died, Deanna, and I needed to feel the grief! ...It was my last connection to him, and you tried to erase it." I like the way this is played. By this point, Riker has had the chance to deal with his own emotions. There's less overt anger in his voice and more a sense of lingering disappointment. He also listens to her point of view and reconciles with her fairly quickly.

Deanna: Her actions were in part motivated by self-defense. Riker was numbed by his own grief. Deanna was stuck feeling her grief, his grief, and their daughter's, all at the same time. Readers of my TNG reviews know that I wasn't the biggest fan of Deanna Troi - but Marina Sirtis is extremely good here. It helps that the script gives Deanna a sense of humor that was too often missing from TNG, particularly when she laments their house on Nepenthe: "We went there for Thad, but it's not really my cup of tea... That house, it's like it was designed by a cabal of retro prairie hipsters."

Seven of Nine: Everything about who she is makes it impossible for her to just stand by while Vadic prepares to execute crew members, but everything about the situation makes it impossible for her to actually do anything. She tries to direct Vadic's attention toward her instead of the crew - an effort doomed to failure, since it allows Vadic to be cruel to her as well as the bridge officers, all while demonstrating her own total control. Once the balance of power changes, Seven responds with a very Janeway-like ferocity.

Data/Lore: The episode's best moments belong to Brent Spiner in his familiar dual role. After Geordi lifts the partition, Lore is free to directly attack Data's very existence. He describes Data's memories as "meaningless memorabilia," while expressing resentment that he was abandoned while Data was showered with friendship, recognition, and respect. In the face of Lore's viciousness, Data seems to surrender and accept the inevitable - though I don't think it's a spoiler to say that there's more to it than that. The scenes between the two brothers are smartly written, with not only cleverness but some real emotional weight, and it's all wonderfully played by Spiner.

Jack Crusher: As he confessed last episode, he feels responsible for Riker's capture, and he does not want to be responsible for crew deaths. He attempts to use his newfound abilities to break Vadic's control by taking control of a bridge crew member to enter Picard's access code. The attempt fails, of course, or else this episode would be only about twenty minutes long, but it still shows Jack's resourcefulness. He wants to know what's happening to him and what that red door in his visions means. However, he admits to Troi that he's also terrified by what he might find.

Capt. Shaw: He and Seven are paired throughout the episode - again - and he comes across as the latest (and easily most cynical) of her series of mentors. This episode sees him continuing his season-long role of saying true things that the other characters don't want to hear. He's absolutely right when he tells Seven that she should have blown the turbolift when he and Vadic were inside it. When she protests that she's not willing to trade lives, he scoffs: "You are a Starfleet officer. You don't have the luxury to only make choices that feel hunky-dory."

Capt. Vadic: With Vadic in full control, actress Amanda Plummer gets to properly chew some scenery. Vadic is practically a child at play as she takes the bridge. She waves her hands in a ghastly mimic of an orchestra conductor as she pipes in the sounds of the crew screaming. She treats her execution threat as a game, demanding names and then personal details from her potential victims before finding a way to inflict as much cruelty as she can to as many people as possible in a single action. Bizarrely, though, when she's face-to-face with Jack, she seems genuine in saying that she wants to help him... though I'm quite certain that her definition of "help" is something no sane person would want. Oh, and her final line is particularly memorable.


THOUGHTS:

The previous episode was mostly setup, maneuvering the characters into position. Well, Surrender pays it off with a tense and well-paced hour of television.

This is structured around a time-honored TV format: The hostage episode. Vadic has control of the ship, holding the bridge crew literally at gunpoint. A nice variation on the usual setup, though, is that there's no negotiation. Vadic despises solids and has no interest in talking to them. She announces to the ship that she wants Jack, and she announces that she'll kill crew members every ten minutes until she gets him - all one-way communication. The only response that can be given is for Jack to appear in the turbolift.

Amanda Plummer is terrific here. Vadic has fully embraced her mania, reveling in her own sadism, but she's still calculating. She attacks Jack's conscience by making the hostages reveal personal details, pushing Jack into turning himself in. Then, once Jack comes to her, she's suddenly sincere, and it doesn't come across as an act. A weak performance would make all of this feel fractured, but Plummer keeps it unified. Vadic is as smart as she is damaged, a one-time victim who has become a monster.

As good as Plummer is, Brent Spiner is even better. At his worst, Spiner has sometimes leaned into ham. That doesn't happen here. Lore may sneer archly, but - much like Vadic - script and performer show us the emotional pain at his core. TNG viewers understand that Lore was deactivated because he became dangerous. To Lore, however, he was rejected in favor of an inferior clone, one who was more obviously robotic than him. Meanwhile, Data just accepts Lore's anger, something that seems meek until the final pieces fall into place. Spiner gives us, to all intents, three different performances within the episode, keeping all three variations distinct and at the same time related to each other. It's impressive work that I would rank among his best in the franchise.

Matt Okumura's script is very good at tying both threads together. There are the obvious plot links: Vadic's control of the ship prompts Picard and Geordi to risk lowering the partition between Data and Lore. There is also the thematic link, that Vadic and Lore are both motivated by resentment against those they believe wronged them. There's even an echo of this in the Riker/Deanna scenes, with Riker having been legitimately wronged by his wife. Unlike Lore and Vadic, however, Riker listens to Deanna's explanation and forgives, making their interactions a healthier counterpoint to the villains.

As was true of No-Win Situation, this episode offers viewers a proper ending. The situation set up last episode, that dominates this episode, is resolved. The ending teases what's coming in the final two installments - but this scenario is closed out in a way that is (again) entirely satisfying. The willingness of Season Three to resolve its threads is one of the biggest ways in which I think this season has improved on Season Two.


OVERALL:

Surrender juggles multiple threads while still finding something for every member of the cast to do. It's tense, it moves along nicely, and it even offers some strong emotional scenes in the exchanges between Data and Lore. Overall, this stands as a strong episode in a very strong season.


Overall Rating: 9/10.

Previous Episode: Dominion
Next Episode: Võx

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3-06. The Bounty.

Geordi (LeVar Burton) is wary about helping Picard.

Original Air Date: Mar. 23, 2023. Written by: Christopher Monfette. Directed by: Dan Liu.


THE PLOT:

After picking up Worf and Raffi, Picard directs the Titan to Daystrom Station, the source of the theft that kicked off the changelings' plan. They know that the portal gun was stolen from there... but they also know that something else was taken, and they need to get a look at the manifest to determine what that was.

Riker, Worf, and Raffi beam over, but Starfleet patrols force the Titan to flee. They go to the Fleet Museum at Athan Prime, which is overseen by Picard's old friend, Geordi LaForge. Picard is hoping for help in rescuing his Away Team before they are discovered. Geordi is sympathetic, but he draws the line at putting his family in danger... much to the annoyance of his daughter Sidney, the Titan's navigator, who hatches her own plan with the help of Jack Crusher.

At Daystrom, Riker, Worf, and Raffi evade a complex AI that is controlled by an old adversary - one that has a particular song stuck in its head...


CHARACTERS:

Picard: Dr. Crusher lets him know that Jack has inherited Irumodic Syndrome from him, which sets him to reflecting about how parents cannot choose which parts of them find their way into their children. This makes him more receptive to Geordi's worries about Sidney than he otherwise might have been, and so he doesn't argue when his former chief engineer hesitates to offer direct aid. There's an amusing moment when the plan hatched by Jack and Sidney comes to light. Picard initially starts denying that he has deceived Geordi, only for both men to realize in the same instant that their respective children are responsible.

Riker: There's a callback to Encounter at Farpoint when Riker recognizes the song their AI adversary is wrestling with. I'm sure some complained about the scene invoking nostalgia, complete with archive footage of Farpoint pasted in. In my opinion, it's actually a good scene. Nostalgia is not a bad thing in itself; it's only bad when the only purpose served is nostalgia for its own sake. The moment in question builds mystery before advancing the story, the song paving the way to a major reveal. It also allows Riker to show his cleverness.

Worf: When he observes the awkward reunion of Seven and Raffi, he starts to speak philosophically about the "therapeutic" value he found in completing missions with lovers. Seven interrupts, telling him that she's not going, at which point Worf drops the act and admits: "That is a relief." Michael Dorn's delivery makes this simple line extremely funny. When Riker teases him about recoiling from a tribble, he grouses about the other man still "finding humor in other people's discomfort." I like this brief glimpse at attributes of Riker that he doesn't much like, particularly since it remains clear that he absolutely respects him in spite of that.

Raffi: I had hoped her dialogue in the premiere about breaking up with Seven (again) was just part of her cover. After all, Season Two spent a fair chunk of its running time making them work as a couple, so it would have seemed odd to just discard all that. In addition, I think there would be value in showing the otherwise ridiculously baggage-laden Raffi in an easygoing and healthy relationship. No such luck. So here's my new wish: Just keep them broken up, please. I don't dislike Raffi, and I think Michelle Hurd is good in the role. But I grew weary of the character's seemingly infinite stores of "drama" a while ago.

Jack Crusher: His hallucinations from the last episode are explained away as the medical condition he inherited from Picard. It's a handwave, and I seriously doubt this thread is over with. Still, it allows actor Ed Speleers to give a more relaxed performance. I rather enjoyed the scenes featuring him plotting (and flirting) with Sidney LaForge, and he and Ashlei Sharpe Chestnut make for a cute screen couple.

Sidney LaForge: She has slowly emerged from the background to become an engaging character in her own right. She's charmed by Jack, something that Geordi doesn't much appreciate. She also chafes at her father's overprotectiveness. There's some strain in their relationship because she became a navigator instead of an engineer. As she tells her father: "You built amazing things... I just wanted to fly them."

Geordi: LeVar Burton makes a welcome return. He plays Geordi's dilemma well. He doesn't doubt Picard for an instant, and old instincts cry out for him to help. At the same time, he has a family to protect, and he sees that as his primary responsibility. When circumstances change, however, he doesn't hesitate to jump in with his expertise.


THOUGHTS:

The Bounty is a good episode. It advances the overall plot. It features two threads, both of which work: The infiltration of Daystrom and Picard's efforts to seek help from Geordi. These two plots are well connected. Picard goes to Geordi because he was forced to leave Riker's team on Daystrom, and he hopes his old friend will help him rescue them.

The Away Team plot also lends urgency to the Picard/Geordi scenes. The script has already established that Riker, Worf, and Raffi have a limited window before they're detected. Picard needs to get back to them, both to rescue them and to find out answers, so a ticking clock runs through the episode. The Jack/Sidney scenes are fun on their own, but they also mesh with the larger situation. At the same time, Geordi's strained relationship with Sidney and Picard's worries about Jack allow for a certain thematic unity, with two fathers both concerned about the ways they have and haven't influenced their children.

Though I enjoyed this, I do think it's a step down from the previous three episodes. There's a fakeout with an old adversary, but it doesn't end up coming to much. This figure appears just long enough to evoke some nostalgia and for his presence to cover up the big reveal. I would have liked a little more, and the lack of that feels like a missed opportunity.

That's made up for by the big reveal, which is handled well. Complications are set up for the next episodes, but it never feels as if those complications are the whole point. Contrast with Season Two, in which multiple episodes seemed to exist only to set up the following installment. Thus far, almost every episode of Season Three has worked as its own entity, even while setting up future events, which makes the viewing of the individual pieces a lot more satisfying.


OVERALL:

The Bounty is another good episode in what's shaping up to be easily Picard's best season. It's not quite up to the standard set by the last few shows - but it's still entertaining, with a number of good character moments.


Overall Rating: 7/10.

Previous Episode: Imposters
Next Episode: Dominion

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3-04. No-Win Scenario.

Capt. Vadic receives her orders.

Original Air Date: Mar. 9, 2023. Written by: Terry Matalas, Sean Tretta. Directed by: Jonathan Frakes.


THE PLOT:

The Titan is dead in space, sinking into the nebula and ever closer to its lethal "gravity well." The bridge crew desperately reroutes power to keep life support functional, but Riker knows that all they're doing is buying a few extra hours of life.

Picard uses that time to try to get to know Jack, if only just a little bit. Riker starts to compose a message to Deanna; but he can't find the words and leaves it unfinished. Meanwhile, Seven reluctantly turns to Capt. Shaw for help in tracking the changeling infiltrator - something they both know may not even matter as the ship keeps being rocked by the energy waves emitted from the center of the nebula.

In sick bay, Dr. Crusher notices a pattern in those waves - a pattern that just might give them a chance to escape!


CHARACTERS:

Picard: The episode has a tried-but-true frame device: Picard, at the bar Ten-Forward, is approached by eager young Starfleet recruits while sitting down to eat lunch. He's initially caught off guard at these young people turning to him for stories or advice, but he soon enjoys holding court as he shares his experiences and what they've taught him. A direct parallel to this is his attempt to bond with Jack, in a holodeck recreation of Ten-Forward, with him even sharing the same story of being caught in a (rather plot convenient) hopeless situation with the young man's namesake, Jack Crusher. When Jack asks about the name, Picard states that he would have selected the same name.

Riker: He chooses not to reinstate Seven because her current status puts her in a better position to quietly investigate the changeling. He emphasizes that the changeling's presence needs to be kept secret for the sake of the crew's already dwindling morale. The loss of his son hangs heavy on him. He recalls his son's burial, how immense the six feet into which the coffin was lowered seemed, and he urges Picard to spend the little time they have remaining getting to know Jack.

Seven of Nine: Being stripped of her rank leaves her free to show her disdain for Shaw - something he perversely responds quite well to. She doesn't like confiding in him, but he knows the ship and crew better than anyone else. His advice proves to be spot-on, and their interactions throughout the episode are enormously entertaining.

Dr. Crusher: She spends most of the episode as the designated "problem solver," counting the gaps between energy waves and figuring out the pattern. When Picard and Jack try to convince Riker of their plan, she ends up being the most persuasive voice, reminding him of the things they accomplished in the past by trusting each other.

Jack Crusher: He insists that he doesn't need to share time with Picard, but he goes along with it. He observes of the Ten-Forward holoprogram: "This fake place is as good as any to die in." For all his protests, he seems to genuinely enjoy listening to Picard describe his youthful misadventure with his namesake, and he becomes aggrieved when Capt. Shaw reminds them of Picard's past as "Locutus," with Picard having to stop Jack from responding. He and Picard work well together during the escape, with Picard trusting in Jack's instincts at a critical moment.

Ensign LaForge: Geordi's daughter, Sidney LaForge (Ashlei Sharpe Chestnut) is the Titan's helm officer. I haven't mentioned her before because she's mostly been in the background, but both character and actress have worked well all season. She gets a bit more screen time here, playing a major role in the ship's escape and also being an important (if unwitting) part of Seven's search for the changeling.

Capt. Shaw: After a very bad start, Shaw has slowly climbed the ranks of my favorite characters this season. His interactions with Seven are fun, and I love how openly amused he is by her labeling him "a dick." His best scene comes in Ten-Forward, however, when he interrupts Picard's nostalgic tales by telling the memory that haunts him the most - of being a survivor of Wolf 359. Shaw's story is well-written, and actor Todd Stashwick sells every bit of it as he stares off into space, seemingly reliving the events as he flatly narrates them.


THOUGHTS:

"No matter how bleak or unwinnable a situation, as long as you and your crew remain steadfast in your dedication, one to another, you are never, ever without hope."
-Picard, in happier times, holds court to a group of Starfleet cadets.

No-Win Scenario is the first episode of Picard that I would label as excellent with not a single qualifier. Its script is expertly judged, balancing great character scenes with major plot advancement. The cast rises to meet the writing quality with uniformly strong performances, including Patrick Stewart's best work so far this season.

There are no wasted scenes and no "spare" characters. Unanswered questions remain for the rest of the season, but there really isn't anything here that exists purely to set up the next installment. Everything that exists in this episode is used by this episode.

A major strength is that the script remains focused on the Titan. There are no cutaways to the Worf/Raffi subplot. Save for a couple brief scenes with Vadic, which are part and parcel of this story, we spend the entire episode on the damaged ship.

The first half is dedicated to character scenes. Picard is nostalgic and occasionally humorous as he recalls his misadventures to Jack. A funereal atmosphere hangs over their interactions, with both men aware that they are likely to die soon. Riker attempts to compose a message to Deanna, only to abandon it when he can't find the words. Both of these scenes are kept generally low-key, with both script and direction choosing just one character reflection - Shaw's memory of Wolf 359 - to go all-in on. It's a good choice, with the Wolf 359 scene the highest point in an episode filled with summits.

The latter half shifts to the escape, which is also well scripted. Every character gets something to do. Dr. Crusher makes the major observation that leads to the plan and persuades Riker. Jack suggests the general course of action. Picard and Riker direct the escape, while Ensign LaForge steers the ship. Meanwhile, Seven and Shaw work together, first in the changeling hunt and then in helping with the escape. It all ends up fitting together, the different threads strengthening each other rather than competing for attention.

If it stopped there, No-Win Scenario would already be an excellent episode. The tag scenes take it just a bit further. Picard's frame ends as he makes a sudden realization, with words from his past - which have been encouraging him all episode - suddenly returning to haunt him. Then Riker's message to Deanna gets completed in a way that's entirely satisfying, while also reminding us of the many open threads.

Oh, and one more strength of this episode, one that is promising for the rest of the season: It has a real ending! The big questions remain open. We don't know what the changelings are planning, or why they are interested in Jack, nor do we know Vadic's full role - active participant or mere hired gun. But instead of dragging the Titan/Shrike standoff across ten episodes, that situation ends, with the loose threads carrying over to whatever the next Act will be. This seems likely to avoid a repeat of Season Two's midseason pacing issues.


OVERALL:

No-Win Scenario is the best episode of Picard to date. Every character is utilized. Every scene advances either the characterizations or the plot. The ending even makes use of what seemed to be a simple frame device in a way that grants additional meaning.

The end result is the first Star Trek: Picard episode to earn full marks from me. My hopes are now raised that this final season will actually end up being a worthy sendoff.


Overall Rating: 10/10.

Previous Episode: Seventeen Seconds
Next Episode: Imposters

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3-03. Seventeen Seconds.

Riker (Jonathan Frakes) clashes with Picard.

Original Air Date: Mar. 2, 2023. Written by: Jane Maggs, Cindy Appel. Directed by: Jonathan Frakes.


THE PLOT:

The Titan flees into the nebula, with Vadic's massive Shrike on its tail. Capt. Shaw's plan is to hide inside the nebula until Engineering is able to repair the warp engines. Before that can happen, Vadic finds them. Shaw is injured in the ensuing attack, and he places Riker in command before being taken to sickbay.

Jack and Seven are able to discover how the Shrike keeps finding them, which leads to a disagreement between Picard and Riker. Riker wants to create a false trail to buy time for them to run for safety. Picard thinks they should lay the same trail - but use it to lure Vadic's ship into an ambush, something Riker believes would amount to suicide!

Meanwhile, Raffi meets her secretive handler: Worf (Michael Dorn). He tells her that he isn't with Starfleet but is instead "freelance." He believes that the terrorist attack on Starfleet was a prelude for something even more devastating. Fortunately, he has a lead - and following it leads him and Raffi to a startling discovery!


CHARACTERS:

Picard: Though he tells Riker to start calling him "Number One," he refuses to accept that he's not in command. The problem is not that he argues with Riker about the correct approach. As Decker pointed out to Kirk in The Motion Picture, presenting alternatives is part of a First Officer's role, and there is strategic merit in his suggested course. But he openly bickers with Riker in front of the crew even after Riker has made his decision, and he doesn't seem to recognize how wildly inappropriate that is.

Riker: So far this season I've been more impressed with Jonathan Frakes's Riker than I have been with Picard himself, and this episode is his best showcase so far. Frakes dominates every scene he's in, balancing the character's humor and caution to good effect. He also plays a new note here: anger. After half an episode of being browbeaten by Picard, he flares up and reminds his old friend that he is the one in charge. This is effective - and his cold anger a little later is even more so.

Worf: "I am Worf: son of Mogh, House of Martok; son of Sergey, House of Rozhenko; bane to the Duras family; slayer of Gowron. I have made some chamomile tea. Do you take sugar?" The end of Disengage revealed Raffi's handler to be none other than Worf. This signals an important shift for the season - mainly, that I will no longer mind so much when the action cuts away to the Raffi subplot. Michael Dorn slips seemingly effortlessly back into the role, and his dry line deliveries are enormously entertaining. Critically, Worf has changed in the intervening years (which actually checks off one of my wishlist items). He's still ready for action, but he now prefers to think before acting. "A fight is rarely worth dying for," he proclaims - which marks a pretty big shift from, "Today is a good day to die!"

Raffi: She is experiencing withdrawal after taking a narcotic in front of the Ferengi gangster. This puts her even more on edge than usual, and I'll give actress Michelle Hurd credit in that there is actually a difference between "withdrawal Raffi" and normal Raffi. It's amusing to see her bicker with Worf, with him now having to be the voice of restraint for a hothead. Worf compliments her by telling her that she has the heart of a warrior - though I half expected him to add something about also having the brain of a Pakled.

Dr. Crusher: She doesn't flinch when the ship's doctor is dismissive toward her, ignoring the disrespect - right up until the doctor's lack of experience almost costs Shaw his life. When that happens, she all but elbows the younger woman out of the way to take over the captain's care. She meant to tell Picard about Jack, but multiple attempts on Picard's life convinced her not to. As she says, being Picard's son would have put a target on Jack. "As a mother, your whole being is about protecting your child. I thought I could protect mine. I didn't know if I could protect yours."

Capt. Shaw: I really wish his belligerence hadn't been so overdone in the first episode, because he's been nothing but well-written ever since. Once they have a temporary respite from the Shrike's assault, he tells the officers who have spent too many hours on duty to rest while they can, indicating that his concern for his crew's welfare is no act. After he's injured, he doesn't hesitate to put Riker in command. Even in sickbay, he still is thinking about his ship and the situation, asking Jack exactly how Vadic keeps finding them inside this nebula.

Jack Crusher: Shaw's question sets him to thinking. He looks at the bloody footprints on the floor of sickbay, and he reaches a realization: Vadic is finding them because they are leaving traces behind them. When he's denied access to the bridge, he goes to Seven with his suspicions, which leads directly to the episode's major revelation.


SEVENTEEN SECONDS AND THE VISUAL ELEMENT:

Seventeen Seconds returns Jonathan Frakes to the director's chair. Can he direct the rest of the season? He doesn't change the lighting style, but he makes it work. In this episode, the frame isn't just dark - Attention is given to where the light in a given shot is coming from, and the light sources are used in such a way that the focus of each scene is clearly visible even when the bulk of the frame is in shadow. The tone created by the darkness is maintained, but in a way that grants importance to whatever on screen isn't in darkness.

Frakes also uses the space between characters to good effect. When Picard talks to Beverly about Jack, they are on opposite sides of the frame, with the bulk of the shot being the empty space between them. Picard and Riker are also distanced within shots during their disagreements, this time less by proximity than focus. The focus shifts from one to the other, not only according to who is speaking but also to showcase their (particularly Riker's) reactions. Eventually, Riker loses his temper (not without reason) - at which point he is left alone in the frame in lighting that's both cold and diminishing as the shot ends.

All of this is highly effective, the visuals maintaining the style and tone of the season while also connecting to the characters and their relationships. The result is that a visual palette that I've been fairly vocal in disliking is suddenly made to work - though there's no saving the heavy-handed Blade Runner planet of the Raffi subplot. At least this episode ends with an indication that she's finally going to leave for a hopefully less derivative setting.


OTHER MUSINGS:

Beyond the excellent directing, Seventeen Seconds finally delivers a Season Three episode that I thoroughly enjoyed! The episode benefits from a good script that delivers strong character moments even as it moves the plot forward. The Raffi/Worf thread gets connected to the main story, mainly in that Worf and Raffi reach the same realization that the Titan crew do about the nature of the threat. This revelation also raises the potential for new directions.

It's well structured. The first Act allows the characters room to breathe as the Titan hides from the Shrike. Then the enemy ship finds them, Shaw is injured, and Riker is put in charge. Further complications ensue: The nebula is more than it seems, making it "ill-advised" to just try flying through it. Vadic seems prepared for their every move, even though it should be impossible for her to track them. Picard and Riker are at odds over strategy; critically, both present valid arguments, making the viewer uncertain which of them is right (though there's little question that Picard's behavior is inappropriate).

These and additional complications build and combine to strong effect. The reason Vadic can find them is linked to episode's major revelation, which itself feeds the Picard/Riker conflict. This is intercut with Worf and Raffi reaching the same realization, connecting the two strands even though they have yet to fully converge. Most importantly, every new development puts the heroes in a weaker and more perilous position, which makes for a gripping hour of television.


OVERALL:

Seventeen Seconds is easily the best episode yet of Picard's third season. Up to this point, I haven't been particularly gripped by Season Three. This episode changes that, and it does so right out the gate. For the first time this season, I find myself fully looking forward to the next installment.


Overall Rating: 9/10.

Previous Episode: Disengage
Next Episode: No-Win Scenario

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3-01. The Next Generation.

Picard receives a message from an old friend.

Original Air Date: Feb. 16, 2023. Written by: Terry Matalas. Directed by: Doug Aarniokoski.


THE PLOT:

Just past the edge of Federation space, Dr. Beverly Crusher is hiding from an unknown enemy. Despite her best efforts, the enemy finds her. Before she has a chance to warp to a new area, her ship is boarded. She fends off the attack but is wounded in the process.

Desperate, she sends a coded message to Jean-Luc Picard. The retired admiral is preparing to accompany Laris, who has taken a job setting up diplomatic security on Chaltok IV. It will give him a chance to relax, drink wine, and begin his memoirs. But Beverly's message puts paid to those plans, with Laris telling him that he has to go. There's one additional complication - Beverly tells him to trust no one, including Starfleet.

Picard turns for help to Will Riker, his former first officer. Riker bluffs his way onto his old ship, the Titan, on the pretext of an inspection. Captain Liam Shaw (Todd Stashwick) is a believer in obeying rules, following orders, and doing things by the book. But Shaw's first officer is Seven of Nine, who is entirely willing to make sure Picard reaches his destination.

Meanwhile, Raffi is working with Stafleet Intelligence, tracking weapons that were stolen from the Daystrom Institute. She finds information connecting the theft to "the Red Lady," though her contact doesn't know whether that refers to a person or organization, or to a buyer or seller. The more Raffi looks into it, the grimmer the connection looks - particularly when she realizes just what "Red Lady" is being referred to...


CHARACTERS:

Picard: Is determinedly trying to "prove" that he learned his lesson from Q, but he's overcorrecting. He starts ordering mementos from his past boxed up and given away, and he loudly insists that he does not need "a legacy." He also isn't keeping up with current Starfleet protocols, which ends up biting him when he begins his mission. Seven catches him on this in a small way as the Titan leaves the dock, but this foreshadows a larger gaffe. When Riker is trying to persuade Capt. Shaw to take the ship off course, he seems well on the way to convincing the younger man - right up until Picard interjects by proposing a final inspection at a space station that's been out of service for more than a year. Seven tries to cover for him a second time, but the moment is lost and Shaw flatly refuses the request.

Riker: He seems to have hit a rocky patch in his marriage, telling Picard that he thinks Deanna will enjoy a break from his company. He doesn't elaborate, and Picard knows not to press. He makes cracks about his and Picard's age, but he seems as sharp as ever. When he's held at gunpoint, he only needs a second's distraction to turn the tables. He's mostly jokey with Picard. When Seven questions Picard, however, we see a flash of the "hard ass Riker" who was sometimes glimpsed in TNG. Jonathan Frakes is terrific throughout, and I suspect one of the pleasures of this season will be seeing him in a more active role.

Seven of Nine: Has finally joined Starfleet. She's already First Officer on the Titan; it's unspoken, but I suspect her years of experience on Voyager, her time with the Rangers, and her missions with Picard allowed her to leapfrog the ranks. She's not happy with her current situation, though, to the point that she doesn't much care when Capt. Shaw threatens her career. She hates serving under a captain whom she clearly doesn't respect and who doesn't seem to respect her, and she complains to Picard that things were simpler and clearer when she was a Ranger.

Raffi: Is off in subplot-land, working for Starfleet Intelligence to track down stolen weapons connected to someone or something known as "The Red Lady." Michelle Hurd does well with what she's given, and I have no doubt that this strand will eventually connect with the adventure Picard and Riker are on. Still, even with a surprise end turn, I found her scenes to be the least interesting part of this episode.

Dr. Crusher: She cut ties with everyone twenty years earlier, and she hasn't even spoken to her former shipmates since. We first see her behaving in a way that's very different than TNG's Beverly usually did, engaging in a firefight with enemies and not hesitating to use lethal force. When Picard and Riker find the signs of that fight, they remark on how unusual that is for her, though any answers as to what's actually going on are withheld for later episodes.

Laris: Senses that Picard is trying a bit too hard to embrace the present and ignore the past, and she does her best to keep him from giving away possessions that she knows are important to him. When she views Dr. Crusher's message, she gives her honest assessment as an ex-Intelligence officer: Crusher is genuinely and rationally afraid, and Picard has to help her. Though Picard insists that he'll only be gone for a few days, Laris doesn't believe him. She leaves open the possibility for otherwise, giving him a place where they can reconnect, but she treats their parting as a final goodbye.

Pompous Space Bureaucrat of the Season: Capt. Shaw (Todd Stashwick) fits this category to a "T." He prides himself on being perfectly by the book, to the point that he disdains Picard's and Riker's past exploits as "irresponsible." Apparently, he missed the part where he'd be either dead or a Borg drone without those past exploits. He takes pleasure in such petty acts as assigning them to bunk beds in cramped quarters or refusing to refer to Seven as anything other than "Hansen."


THOUGHTS:

"Your hands are stiff, and my knees are killing me. So long as we don't have to move or shoot, we should be fine."
-Riker, reflecting to Picard that both of them may be getting a bit old for these adventures.

Fan-pandering episode title aside, The Next Generation does a pretty good job of picking up from Picard's second season. Picard, Seven, and Raffi have all moved on in ways that make sense for where their characters were at the end of that season. Seven is in Starfleet; Raffi is working with Intelligence; and Picard is trying to embrace Q's lesson and focus on a future with Laris - though even Laris can see that he's pushing it.

As the first episode of a modern television season, The Next Generation is tasked with introducing the characters' current situations and setting up the season arc. It does a good job. The teaser establishes the threat, while still leaving a mystery as to the exact nature of this enemy. Picard, Riker, and Seven are placed on a ship whose captain is hostile to them. Raffi is established as investigating a weapons theft that leads her to something larger - and though that isn't linked to the main plot in this episode, I have no doubt that it will be.

Compared to the previous two Picard premieres, I think this is better than Remembrance, avoiding the rushed pacing that plagued that episode. The Picard/Riker material is a joy to watch, with Patrick Stewart and Jonathan Frakes falling right back into their old chemistry. Riker's wryness and downright eagerness to jump into a new adventure is a perfect balance for the more serious and reflective Picard.

I don't think it's as good as The Star Gazer was, however. Capt. Shaw is drawn in almost cartoonishly broad strokes. It would have been entirely possible to create a character who had sound arguments for refusing Picard and Riker. In my opinion, creating a good captain whose belief in the chain of command puts him in opposition to them would be much more interesting. Instead, we get a "pompous space bureaucrat" who seems designed to be hated, and who appears to have the respect of no one; his own bridge officers smirk when Seven violates his orders. If he sticks around, I hope the writers give him a bit more depth. At the moment, he seems likely to become unbearable.

The single worst thing about the episode is the lighting - or the lack thereof. In contrast to the first two seasons, many scenes are so dimly lit that it's difficult to make out backgrounds. Dr. Crusher dispatches her ambushers in dim lighting. Picard receives her message in his office, and I keep wondering why he doesn't switch a light on before he trips over something. Picard and Laris talk in front of his fireplace, and you can see so little of the room around them that they may as well be on a bare stage with spotlights. It's far from the worst example of this style that I've watched, and maybe I'm just getting old and grumpy... but when I watch something, I kind of like to be able to see it!


OVERALL:

The Next Generation is a decent start to the final season, establishing the characters' new situations and setting up the story. I'd be lying if I said I felt compelled at this point, but I enjoyed it well enough. I didn't love a few of the choices (such as Cartoon Capt. Jerk-face), but I'm at least interested to see where the story goes.


Overall Rating: 7/10.

Previous Episode: Farewell
Next Episode: Disengage

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2-06. Two of One.

Jurati gets a little too comfortable with the Borg Queen...

Original Air Date: Apr. 7, 2022. Written by: Cindy Appel, Jane Maggs. Directed by: Jonathan Frakes.


THE PLOT:

Tallinn assists Picard and his crew with the infiltration of an exclusive gala that will be the last public appearance of Renée Picard before her mission. If they can keep her from dropping out until the end of the event, then it will be much less likely that Q can get to her.

The first part of the plan calls for Jurati to get caught on purpose. When she's brought to Security, she'll be able to open the way for the others. However, no one expects her to be handcuffed. She has to allow the Borg Queen, now implanted in her subconscious, to take control in order to break free.

Tallinn monitors Renée's text messages, discovering that Q is still trying to convince the young woman to quit the mission. Picard decides to talk to her, to persuade her otherwise - which is when Dr. Adam Soong steps in, working on orders from Q to stop him!


CHARACTERS:

Picard: The episode's best scene is his conversation with Renée, in which he guides her toward her courage. Patrick Stewart is terrific in moments such as this, showing wisdom and kindness as he tells her that fear isn't an indication that she's not ready. "Fear is fear... Fear means you're smart, you understand the risks." When Renée tries to turn his words against him, demanding to know what he's afraid of, he simply chuckles and tells her that his own fears are too numerous to even list.

Dr. Jurati: Like the last episode, much of the script involves Jurati giving openings to the Borg Queen. Unlike the last episode, she doesn't come across as an idiot while doing so. The first time she cedes control, in the security office, there's no real option. Picard's plan is failing thanks to the handcuffs; if she doesn't allow the Queen in, then the mission is over. After that, circumstances keep making it convenient to give up control just one more time, as she grows a little too comfortable with her invisible companion and trusts a little too much in the assurance that she's the one in charge.

Capt. Rios: Seems to be enjoying himself a little too much, remarking to Raffi about how good the food and drink is while showing off a "real" cigar and a box of actual matches - things available only in blander, replicated format in their sanitized future. Raffi sees right through this, zeroing in on the source of his giddiness: his encounter with Teresa. He doesn't particularly deny this. It takes only the mention of the pretty young clinic doctor for him to start enthusing about her.

Raffi: Gets a couple of nice character beats in the scene at the bar. The script remembers her addiction issues, as she has to force herself to order a club soda when she really wants to order whiskey. She watches Seven, who is mingling effortlessly with the crowd, and admits to Rios that it's nice to see her relaxed in the absence of the Borg implants. She also has another split-second hallucination of Elnor.

Tallinn: She observes how Picard's voice changes when he talks about Laris. When he denies that Laris is of any importance, she thanks him with full sincerity: "Now I know what it looks like when you lie." She briefly echoes my own speculation from last episode, that maybe Q is right and Renée really isn't ready. Picard senses Tallinn's own maternal anxiety, urging her to believe in the job she's already done protecting Renée and to let the young woman go.

Adam Soong: I'm genuinely impressed with Brent Spiner's acting this season. When he confronts Picard, there are multiple levels to his urgings for Picard to stay out of the way. There's the surface level arrogance, the assumption of power by a man of influence. But we can also sense the desperation just below the surface. Then there is the scene in which Kore, his daughter, goes through his video logs. Each log is short as we track the arc of his life's work, and each of these excerpts sees him in a different emotional state. Spiner nails every shift in Adam throughout these logs, lending weight to what might have been a scene of pure exposition.

Teresa: When the episode opened with a flash-forward of Picard in need of medical treatment, I knew right away that she was going to be brought back into the story. Yes, the off-the-books clinic for patients who gasp, "No hospital," is where they take an injured Picard. Teresa helps him, but she knows that Rios and the others are concealing the truth from her. Rios tries to assure her that they are "the good guys" - something that life has taught her that actual good guys never say.

Borg Queen: Her manipulations of Jurati continue - and now that she's inside Jurati's head, there's no way for the other woman to just walk away. It goes without saying that the Queen is working toward her own agenda even as she helps with Picard's plan. Even her most impulsive action, as she pulls Rios in for a kiss, is given a new context at the episode's end, when we learn exactly what she needs to seize full control.


THOUGHTS:

Two of One is a short episode, clocking in at less than 40 minutes including credits. This is one benefit of streaming, that episodes neither have to be cut or padded to fit a timeslot. That said, I think this episode is a little too short, with elements that seem underdeveloped and some rather abrupt transitions.

One problem is that roughly half the crew is given nothing to do in the actual mission. Jurati gets them in; Tallinn tracks Renée's communications; Picard talks to Renée. Meanwhile, Raffi, Rios, and Seven are... present. The episode seems to be trying to echo Mission: Impossible and/or Ocean's Eleven - but those series always made sure that every member of the team had at least one important thing to do. A couple of good character bits aside, half of Picard's team amount to spare parts.

While I wish the plotting was a little sharper, the character material is excellent. I expected a fun plot-based episode. I was surprised to find it to be one of the series' better character episodes. There are several strong moments for the cast: Picard's confrontation with Soong, his sternness here a contrast with his gentler interactions opposite Tallinn and Renée; the conversations between Rios and Jurati, and then Rios and Raffi; Raffi balancing her stress and guilt about Elnor against the enjoyment of watching Seven genuinely enjoying herself; the Borg Queen's manipulations of Jurati; and Teresa's refusal to simply accept Rios's assurances at face value.

The episode excels at making the show's characters feel properly alive. If only the script had been given another pass to make the plot mechanics as sharp as the character scenes!


SHADOWS OF THE NIGHT:

The episode's big set piece comes when Soong tries to have security eject Picard. Jurati and the Borg Queen create a distraction, shutting down the lights and then drawing all eyes to Jurati while she performs the early 1980s song, Shadows of the Night.

I know this scene drew mixed reaction from Trek fans. For the record, I like it. A degree of goofiness has always been part of Star Trek's appeal for me, and stopping a caper episode for a musical number definitely fits that description. The song is well chosen, with the lyrics fitting the Borg Queen/Jurati relationship quite well. "It's a cold world, when you keep it all to yourself... You can't hide on the inside, all the pain you've ever felt." That sounds an awful lot like a musical version of the Queen's repeated statements that, without the Borg, Jurati will always be alone; and the chorus of "surrender all your dreams to me tonight" could just about be the Borg assimilation theme song.

Like other moments in this episode, though, the scene feels both abrupt and underdeveloped. The orchestra seems too happy to just play along. This could have been easily written around: had the episode inserted a shot with the Borg Queen sending the music to the orchestra, it would explain why they go along with this unscheduled performance and at the same time would show the Queen's growing influence.

As it stands, we go into the performance too quickly and cut out of it too abruptly. I think it's a good bit; but it's not as well integrated into the story as it should have been.


OVERALL:

Director Jonathan Frakes delivers some strong individual scenes, and I found Two of One to be enjoyable overall. It's briskly paced, and with all threads focused on the gala, it's never at risk of feeling fragmented.

The episode suffers from a sense of being rushed and underdeveloped. The regulars all get good character moments, but half of them never get any plot material. If Seven, Raffi, and Rios weren't at this event, the mission wouldn't be affected at all. 

Still, the brisk pace and short running time leave no opportunity for boredom. I had fun watching this. I just can't help but feel that it could have been and should have been a lot better.


Overall Rating: 6/10.

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