Twenty years later: Short of timeline shenanigans more convoluted than Stewart’s role in the X-Men movies, the chances of seeing a future Picard that resembles the version in “All Good Things” are probably zero.
This past weekend at Star Trek Las Vegas 2018, Patrick Stewart made a surprise appearance and gradually built to the announcement that he will return to the Star Trek franchise to reprise his role as Jean-Luc Picard for an upcoming series to be produced for CBS All Access.
After telling a story about how he had encountered fans for which Star Trek had greatly affected them, and how that played into his mind about returning, he went on to offer up some details of what is currently known about the new endeavor — which is to say, not much so far.
“We have no scripts as of yet,” Stewart said, adding that the show’s developers have so far just been talking in terms of broad story outlines. “He may not be a captain anymore,” he said of Picard. “It may be a very different individual, someone who has been changed by his experiences. Twenty years will have passed.”
He added, “It will be — I promise you, I guarantee it — something very, very different.” But, he said, the new show will come with the same passion and love of the material as The Next Generation.
So what should we make of this? (Read more…)
I didn’t set out to post my long-delayed review of Star Wars: The Last Jedi on May the Fourth. It actually was a complete coincidence. But I’ll take the coincidence in the spirit of appropriate fun nonetheless.
What is most striking about Star Wars: The Last Jedi, is that it has larger themes and aspirations that venture outside the space opera roots typically explored in this franchise. In that regard, it goes above and beyond perhaps any Star Wars movie to date and, in its very Star Wars way, moves into the thematic realm of — well, Star Trek. And, for that matter, also Battlestar Galactica.
Taken in its broad strokes, this entire film is a series of Star Wars takes on the Kobayashi Maru no-win scenario. It’s not clear until the very end of The Last Jedi, but this entire film is actually about what heroes do when faced with a number of limited options that continues to shrink until there are almost no options at all. These scenarios force impossible decisions that are born from utter desperation, huge individual sacrifices for the greater good, and pyrrhic victories that are crucially symbolic — because otherwise, in practicality, they are crushing defeats.
Ah, to be a fly on the wall in the writers’ room of Star Trek: Discovery. What really happened there? How much of this show grew from Bryan Fuller’s original ideas, and how much of it was scrapped or retooled? Did the writers change the fundamental course of the season midway through, and were they justified in doing so? Did they have to fix things on the fly and figure out ways to fit a patchwork narrative together into something supposedly coherent? Or was this the plan all along? I’m somehow guessing not the latter, at least for some of it.
I ask these questions after having watched "Will You Hold My Hand?" take a season-long arc about Starfleet’s war with the Klingons and solve it in five minutes with a plot device that brings new definitions to the word "contrived." I had hoped this finale would be more resolution than cliffhanger. It was. That’s a blessing, albeit a very mixed one.
“The War Without, The War Within” ends with the Mirror Universe version of Philippa Georgiou being named the captain of Discovery by Admiral Cornwell as an act of desperation to try to turn the tide of the war with the Klingons, which Starfleet is badly losing. It’s yet another episode-ending WTF moment in a season awash in them.
The problem with always dialing up the crazy to 11 is that the audience becomes conditioned to the environment until an 11 just starts to feel like a 5. Making MU Georgiou the captain — in a scene that goes out of its way to make clear that none of the other characters were aware this was happening until it happened (for no good reason except to keep it hidden until the final reveal to the audience) — is surprising, sure. But it’s surprising for perhaps the wrong reasons. We’ve reached the point where we expect some sort of last-minute episode-closing “shock” and the number of available variables in this episode seems to inevitably bring us to this conclusion. Rather, the reason it’s surprising is because it’s so ridiculous that this is alleged as the solution to Starfleet’s war problem.
“What’s Past Is Prologue” is an apt title given all that has happened on this season of Discovery. It’s ironic when considered in the meta-context of this season’s twists and turns, which render entire characters as discarded prologues. The more I look at this season, the more I think the whole thing must be a prologue to a more normalized second season, because this level of crazy just can’t be sustained. This episode is proof of that; after having spent 10 to 12 episodes setting up the pieces that lead here, we promptly close the book on a number of them, for good and ill.
This episode is simultaneously better and worse than I had expected. It makes a mockery of my concept of episodic star ratings, because serialized mysteries and deferred payoffs, while intriguing, are hard to grade from week to week with any sort of consistency. I enjoyed watching this episode probably as much as or more than any this season — and at the same time I was also more annoyed by it. Discovery has shown itself to be a compulsively watchable nuts-and-bolts plot-moving vehicle. And the writers surprise here with a visceral hour that burns through the rest of the Mirror Universe arc at an almost stunningly furious pace, leaving the last two episodes of the season to deal with other business. The writers should be commended for not prolonging this needlessly. It’s an efficient job, and frequently exciting.