Star Trek Picard Season Three
- Thread starter NakedMoleRat
- Start date
That's probably it... That Burnham/Red Angel or her mum got Everywhere!
asalaw
Master Member
Well, I have to say--when the reveal first happened, I was disappointed. But they developed it so well, and the episode ended so beautifully, that I'm incredibly impressed. I'm really looking forward to next week's conclusion.
In retrospect, after the buildup since last week, anything would have been disappointing because nothing could live up to the expectation...
In retrospect, after the buildup since last week, anything would have been disappointing because nothing could live up to the expectation...
Additionally:
Are these the Borg under Borg Queen Jurati, a splinter faction, or are the first two "splinters" and there's a main Borg group that has entered into working with changelings?
NakedMoleRat
Legendary Member
I thought Agnes had re-created the kinder, gentler, volunteer collective.
And how could it have been 10 years since the last time Starfleet encountered the Borg, but it happened just last season, which was not 10 years earlier.
And how could it have been 10 years since the last time Starfleet encountered the Borg, but it happened just last season, which was not 10 years earlier.
NakedMoleRat
Legendary Member
They must have used Cawley’s sets in NY.
Don't bother trying to apply any logic or continuity to modern Trek, we know the writers don't. They just pump up the volume on the music, crank up the nostalgia to 11 and flash a load of easter eggs to paper over the rehashed stories and plotholes.
I didn’t think they were anywhere near completed?
NakedMoleRat
Legendary Member
Not sure. It COULD have been the sets from Star Trek The Experience from the Las Vegas Hilton during the day.
I went dozens of times when I lived there.
The whole experience was bought by a fan and kept in storage for over ten years.
I know that some of the stuff was sold off years ago, but there were two complete bridge sets in the experience.
I saw a clip of the big scene everyone’s talking about. While it certainly hits me in the feels, it also exemplifies what’s gone wrong with nerd culture, at least in terms of nostalgia and navel-gazing.
Plot contrivances force the characters into a situation that purely and shamelessly serves as nostalgia-fodder. While something like this can be done well, wasting a full five minutes of screen time with the characters themselves being all nostalgic and making mediocre jokes and comments and oohing and aahing does not serve the plot.
Over the years, I’ve often gone back and forth on whether or not the TOS movies went too far in redesigning the Enterprise/uniforms/equipment. Whether or not we were cheated by never seeing the Real Deal on the big screen. How cool would it have been if TOS had lasted five seasons, then gotten a movie right afterward, a la TNG? With the existing TOS sets and whatnot spruced up for a theatrical film? Without that decade in-between serving as time to rethink the look and the concepts of STAR TREK?
That said, TOS’ leap to the big screen was an evolution. They were looking forward, not back. You can count on one hand the number of direct references to TOS proper in the movies. And most of them are oblique (like the slingshot around the sun bit in STAR TREK IV—“We’ve done it before”—referencing “Tomorrow Is Yesterday”).
THE MOTION PICTURE—the triumphant return of STAR TREK after a full decade—did not reuse a single prop, costume, model, or sound effect from TOS (contrary to myth, Uhura’s earpiece in TMP is clearly not the one from TOS). And Jerry Goldsmith had to get his arm twisted to include the Alexander Courage theme. There were no references to specific episodes. No wink-wink in-jokes or meta moments. Willard Decker being intended as the son of Matt Decker was never even mentioned onscreen, and could only be inferred. The movie was laser-focused on the story it was telling.
And so it was with the rest of the TOS movies, aside from Khan’s return. And even that was used as a springboard for new ideas and new stories. None of the films stopped to revisit old moments, old sets, or unresolved plot points (except for the whole Khan thing, of course). There were never loving recreations of iconic sets/costumes/props, and the characters didn’t stop the story dead to marvel at them.
To sum up? The TOS movies continued doing what STAR TREK does (while also acknowledging the passage of time, yet still respecting the characters), while PICARD both wallows in and emulates past glory, because it can only play with what’s already there, instead of innovating and moving forward. Almost every positive comment I’ve heard about this season revolves around callbacks to previous music, ships, characters, relationships, shows, and episodes.
Plot contrivances force the characters into a situation that purely and shamelessly serves as nostalgia-fodder. While something like this can be done well, wasting a full five minutes of screen time with the characters themselves being all nostalgic and making mediocre jokes and comments and oohing and aahing does not serve the plot.
Over the years, I’ve often gone back and forth on whether or not the TOS movies went too far in redesigning the Enterprise/uniforms/equipment. Whether or not we were cheated by never seeing the Real Deal on the big screen. How cool would it have been if TOS had lasted five seasons, then gotten a movie right afterward, a la TNG? With the existing TOS sets and whatnot spruced up for a theatrical film? Without that decade in-between serving as time to rethink the look and the concepts of STAR TREK?
That said, TOS’ leap to the big screen was an evolution. They were looking forward, not back. You can count on one hand the number of direct references to TOS proper in the movies. And most of them are oblique (like the slingshot around the sun bit in STAR TREK IV—“We’ve done it before”—referencing “Tomorrow Is Yesterday”).
THE MOTION PICTURE—the triumphant return of STAR TREK after a full decade—did not reuse a single prop, costume, model, or sound effect from TOS (contrary to myth, Uhura’s earpiece in TMP is clearly not the one from TOS). And Jerry Goldsmith had to get his arm twisted to include the Alexander Courage theme. There were no references to specific episodes. No wink-wink in-jokes or meta moments. Willard Decker being intended as the son of Matt Decker was never even mentioned onscreen, and could only be inferred. The movie was laser-focused on the story it was telling.
And so it was with the rest of the TOS movies, aside from Khan’s return. And even that was used as a springboard for new ideas and new stories. None of the films stopped to revisit old moments, old sets, or unresolved plot points (except for the whole Khan thing, of course). There were never loving recreations of iconic sets/costumes/props, and the characters didn’t stop the story dead to marvel at them.
To sum up? The TOS movies continued doing what STAR TREK does (while also acknowledging the passage of time, yet still respecting the characters), while PICARD both wallows in and emulates past glory, because it can only play with what’s already there, instead of innovating and moving forward. Almost every positive comment I’ve heard about this season revolves around callbacks to previous music, ships, characters, relationships, shows, and episodes.
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"To Boldly Go Where We've Already Been..."
Modern “storytelling” now boils down to Easter Egg hunts and stoking the flames of fan-theories.
I can almost imagine a youthful, modern-day viewer going back to watch the TOS movies and being utterly stunned that there aren’t freeze-frame Easter Eggs and references on every single console display screen.
(Well, except for the use of the Franz Joseph blueprints in the first three films. But that was clearly done just to save money and time by using something which already existed, and had been endorsed by Roddenberry.)
Coincidentally, the logical scene to compare this one to is in “Relics”, where Scotty visits the holodeck recreation of the Enterprise. While there is a certain fannish glee that Ron Moore clearly took when writing the episode, that scene in particular is actually well-integrated into the plot. Scotty is feeling melancholic and nostalgic, and so he creates the simulation of his beloved ship. Most importantly, he realizes that it IS just a recreation, a hollow fantasy, and that he needs to move forward and find a new sense of purpose.
That scene actually works. It serves both the character and the story being told, and isn’t just an excuse to wallow in nostalgia. The whole point of it, in fact, is how one should NOT wallow in nostalgia.
That scene actually works. It serves both the character and the story being told, and isn’t just an excuse to wallow in nostalgia. The whole point of it, in fact, is how one should NOT wallow in nostalgia.
NakedMoleRat
Legendary Member
Except, in real life, Scotty would have recreated the engine room, not the bridge.
kalkamel
Master Member
"Computer, lights!"
That powering up scene was amazing. I was grinning wide and misty eyed. Call it memberberry all you want but it hit me right in the feels.
Last time I felt something close was when Luke Skywalker came to the rescue in the season 2 finale of The Mandalorian. It was pent up emotion; the joy of seeing your childhood hero finally done right after his humiliation in the Sequel Trilogy. In the same way, seeing that powering up scene in this Picard episode is the sensation of joy, after seeing the Star Trek brand name dragged through mud since 2009 by people who don't understand it, and to see it restored, not to its former glory of course, but to a point I can actually call it Star Trek again.
Of course, that's just me. Your mileage may vary.
