Star Trek Picard Season Three

Well, if you want to get really nitpicky the bridge of the D should include the expanded port and starboard stations seen when we last saw her in Generations…

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Not to mention that the turbo lift was clearly an adjoining room that they all walked out of.

But I forgive it all, as I was right back at 1987, an18 year old kid with Rick Astley red hair watching Encounter at Farpoint all over again.
 
They aren’t…. The TNG bridge is just a few pieces right now with the rest still in the planning stage.

The bridge set in the episode was rebuilt by the studio. It’s not Ticonderoga nor is it the Vegas set. It’s all new.

And… that was a freaking awesome episode!!
And I appreciate having the budget spent on this much more than trying to re-create Majel Barrett Roddenberry’s voice through AI.
 
And I appreciate having the budget spent on this much more than trying to re-create Majel Barrett Roddenberry’s voice through AI.

Yeah I believe that snippet of Majel talking was taken from “Chain of Command: Part II” from when Picard reassumed command of the Enterprise.
 
I have to hand it to Major Grin…he paid atttention to the writing and was nearly 100% correct. The fact that clues were scattered throughout the season—and paid off—is awesome storytelling.

This was posted a few days ago:

 
I have to hand it to Major Grin…he paid atttention to the writing and was nearly 100% correct. The fact that clues were scattered throughout the season—and paid off—is awesome storytelling.

This was posted a few days ago:

The fact that they used the First Contact theme for the end credits should have given it away, but we just didn't see it. Hidden in plain sight.
 
The fact that they used the First Contact theme for the end credits should have given it away, but we just didn't see it. Hidden in plain sight.
I called it about 4 weeks ago in a comment on a Youtube video and I haven't watched a single episode. I think a lot of people had seen it coming.
It's pretty easy to predict Kurtzman Trek, just go for the obvious and add in 90% nostalgia and easter eggs.
 
I called it about 4 weeks ago in a comment on a Youtube video and I haven't watched a single episode. I think a lot of people had seen it coming.
It's pretty easy to predict Kurtzman Trek, just go for the obvious and add in 90% nostalgia and easter eggs.
Makes sense though. They were the main big bad of TNG and Voyager kinda neutered them, plus the atrocious hippe-shenanigans they got up to last season... nice to have them back as the menace they once were.

Now, if you'll excuse me I need to get some more tissues... it's been an hour now and that ending is still wreaking havoc...
 
If set up properly, Species 8472 would have been a much bigger surprise and a more menacing threat, they already demonstrated their ability to disguise themselves as humanoids when they had the space station with the recreation Earth. Rather than a half arsed and unnecessary pantomime moustache twirler like Vadic who wasn't really key to the plot given the whole thing hinges on Picard having a child, something in 7 years of TNG, he never showed any interest in. The Borg plot seems to rely on a LOT of passive luck rather than active planning.
 
If set up properly, Species 8472 would have been a much bigger surprise and a more menacing threat, they already demonstrated their ability to disguise themselves as humanoids when they had the space station with the recreation Earth. Rather than a half arsed and unnecessary pantomime moustache twirler like Vadic who wasn't really key to the plot given the whole thing hinges on Picard having a child, something in 7 years of TNG, he never showed any interest in. The Borg plot seems to rely on a LOT of passive luck rather than active planning.

One of the things I really appreciate about the later seasons of TNG is how they went back from time to time and revisited characters and ideas from those rocky first two seasons (Moriarty, the Traveler, etc.). This helped give the series a sense of being a cohesive whole (despite the considerable shift in writers and style beginning with the third season), and also showed that you can revisit previous good ideas which had flawed execution and really draw out their potential, rather than just ignoring them.

I’m currently re-reading Frank Miller’s DAREDEVIL run from the 80s, and that’s another excellent example of how to do things right. An A-list superhero concept which drifted for many years with C-list treatment, until Miller came along and showed how it could and should be A-list.

There are no bad characters, only bad writers.



It doesn’t surprise me in the least that they’d go full “Best of Both Worlds” fanwank (which FIRST CONTACT had basically already done in the wake of GENERATIONS), instead of trying to really make something out of a far lesser-known villain like Species 8472. It would take a lot more work to rehabilitate a less-successful villain than it would to just bank on the preexisting audience recognition and love for the Borg.

The (now proven incorrect) fan-theories regarding the “Conspiracy” aliens also fall into this camp. They really could have done something with this long-unresolved plot thread. Instead, we get a mish-mash of the Borg and the Changelings to capitalize on goodwill/nostalgia for both TNG and DS9.
 
While Season 3 ain’t perfect, it’s lightyears beyond the first two seasons, IMHO. I think the series would have had much more success had it started this way instead of ending this way…

Hope they wrap the season appropriately!

Sean

Not even gonna lie, I bawled like a baby when they unveiled the Enterprise D. I grew up on TNG, and yes, all the nostalgia of the cast, the ship, the sound effects, the music… hit me hard…in a good way!
 
I don't think it's particularly important for the series writers to go spelunking through lesser-known alien threats in order to impress me with their imaginative prowess. If you'll pardon the pun, Star Trek is a commercial enterprise, and going for the popular choice is perfectly reasonable as long as they do it well. And they have certainly done that.

For example, I'm grateful that Picard himself is being far better treated this season than in past ones--he's an actual prime mover this season, as opposed to convincer-in-chief.

Do I like The Motion Picture better than Wrath of Khan? Sure. But TMP flopped, and WOK was a runaway hit. Would I love to see the Chinatown or Godfather version of Trek? Absolutely. But I'm not going to fault Paramount (the studio that made both of those) for making a commercial choice in a commercial endeavor with millions at stake. (Granted, Godfather was a smash hit, but it was so because it rode the coattails of the best-selling novel in history.) And I think P3 has been done very well, allowing for the fact that it's adventure-Trek rather than big-concept-Trek.

I will say this--after Rogue One and Andor, I would love to see a Tony Gilroy Trek...
 
I don't think it's particularly important for the series writers to go spelunking through lesser-known alien threats in order to impress me with their imaginative prowess. If you'll pardon the pun, Star Trek is a commercial enterprise, and going for the popular choice is perfectly reasonable as long as they do it well. And they have certainly done that.

For example, I'm grateful that Picard himself is being far better treated this season than in past ones--he's an actual prime mover this season, as opposed to convincer-in-chief.

Do I like The Motion Picture better than Wrath of Khan? Sure. But TMP flopped, and WOK was a runaway hit. Would I love to see the Chinatown or Godfather version of Trek? Absolutely. But I'm not going to fault Paramount (the studio that made both of those) for making a commercial choice in a commercial endeavor with millions at stake. (Granted, Godfather was a smash hit, but it was so because it rode the coattails of the best-selling novel in history.) And I think P3 has been done very well, allowing for the fact that it's adventure-Trek rather than big-concept-Trek.

I will say this--after Rogue One and Andor, I would love to see a Tony Gilroy Trek...

Yes, it’s an old trope: After a failure, Hollywood execs traditionally become risk-averse and go for the sure thing.
 
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