I can't hide the fact that I'm a huge Trek fan. Imperfect as the franchise has sometimes been since its inception (and occasionally outright problematic in retrospect), it's also been terrifically entertaining at every turn, and filled with fabulous variety. Awe-inspiring visuals, thrilling action, truly great acting (and, okay, some questionable acting), fun comedy, and increasingly rich, deeply compelling storytelling have been the hallmarks of 'Star Trek' from Day One, not to mention a yearning to inspire with progressive ideals, dreams of what could be, and substantial themes that are very relevant to real life. When I learned that Sir Patrick Stewart was participating in a brand new series, reprising Jean-Luc Picard, I knew I would eventually have to watch. As soon as I sat down to do so, I was immediately swept away. I can't necessarily speak to the experience for those who aren't already Trekkies, though given the new series' very high quality I can only trust that folks among the general audience would enjoy it, too. What I can say is that 'Picard' represents everything we've loved about Gene Roddenberry's flagship creation for the past fifty-plus years, and it wouldn't be unreasonable to argue it could be the best entry in the franchise to date.
Though they are few and ultimately minor, it's worthwhile to discuss some issues that are not necessarily abject flaws, but possibly barriers for those who are not already enamored of this universe, and marginal blemishes that prevent the series from achieving perfection. Chief among these is that in each season it simply feels that the story is just too big to be told within the allotted ten episodes, and that a full, once-typical production schedule of more than twenty episodes, if not multiple seasons, would have been preferable. We get this sense somewhat in the first season, but definitely in the second as a bounty of narrative ideas, which in past series would have been restricted to one per episode, are smashed together into one massive, interconnected weave; the third season, in no small part feeling like one of the most epic, impactful ST stories in the franchise's history, needed more room to breathe. In turn, these tales that are so exciting and absorbing, and these characters that are so beloved - written with great depth, complexity, and personality, and portrayed with equal nuance, range, and gravitas - feel ever so slightly shortchanged. Case in point, it was surprising to me how some supporting characters are introduced as seeming integral figures of the series, only to later vanish. Moreover, instances of outright fan service are gratifying in some measure, yet there are facets that feel less like judicious storytelling, and more like a direct appeal to nostalgia and emotion. And while I appreciate that these are not matters exclusive to 'Star Trek' but common to all television writing, the neatness with which some plot elements are resolved, or the "wishful thinking" logic of science fiction that others require, do test the limits of our suspension of disbelief every now and again.
Be all that as it may, when you get down to it 'Picard' is nothing less than a stupendous success, and it's even better than I ever could have hoped. It's true that some aspects are included with pointedly draw from previously established canon, and episodes of past series - but then, given the focus on one of the most famous figures in Starfleet history, that's rather to be expected. Even more to the point, there is no inclusion or nod which is not meaningful. It's readily evident how much care and intelligence the writers were pouring into this new creation, and all this is also tied into how each season more or less focuses on different parts of who Jean-Luc is. I think the overarching theme for each is a matter of individual perspective, and we can toss around words like redemption, legacy, reflection, remembrance, and so on; one way or another, what it comes down to is that there is significant focus on hearty drama here, and introspection, and rumination. We still get everything we want out of 'Star Trek,' including both action (possibly the most violent and thrilling in the franchise to date) and humor (some downright silliness, but mostly fun bits borne of warmth, camaraderie, and tremendous wit), but all told much of the weight here is carried by ponderous themes and story ideas, dour concepts, dark topics, and a somber tone. These, too, we've seen in Trek before, sometimes in television and definitely in the full-length feature films, but it seems to me that as 'Picard' adopts a more serious, realistic tenor, shedding much of the bright hues and theatricality of prior iterations, the heavier portions of the storytelling are more pronounced this time around.
All this is further bolstered by the very best of modern production values, for everything here is top-notch. While practical effects and tangible creations will always be preferred, with rare exceptions my personal opinion is that the computer-generated imagery in these thirty episodes is the best I've ever seen, and as believable as digital wizardry could be. The violence is more visceral, including blood and gore; the scripts do not shy away from profanity that has been decisively absent heretofore. The narrative trades in ideas that we can relate to in real life, for better and for worse, and ports them to a massive futuristic universe with characters that we wish we could call friends and family. Informed by past contributions but not beholden to them, everyone operating behind the scenes turned in superb, wonderfully sharp work: fantastic sets, costume design, hair, makeup, props, and weapons, let alone stellar cinematography, editing, and direction. Even Jeff Russo's score, taking cues from other 'Star Trek' fare,' composed new themes that are all his own, and which lend to the feel of this series that is both sprawling, cinematic, and adventurous, but also intimate, thoughtful, and sincere. And as much as all involved deserve congratulations for all their terrific labor, including marvelously shrewd writing, the show plainly could not have accomplished all it did if not for the very best of casts. It's well established that the actors of 'The next generation' - Stewart, Frakes, McFadden, Spiner, Burton, Sirtis, Dorn - have such a strong rapport that for all intents and purposes they are, truly, a family, even off-screen. That readily comes across on-screen, too, as much because of the players as for the writing; to my pleasure, the same vibes extend to everyone else. I could not be more pleased with just how effortlessly Orla Brady, Evan Evagora, Santiago Cabrera, Alison Pill, and especially Jeri Ryan and Michelle Hurd have fit into the big picture, and I'm only remiss, once again, that they all didn't get even more time together. From one to the next all embody their characters with impeccable fidelity, making it easy for us as viewers to forget that in reality there's a separation between part and player.
As much as I've loved every previous 'Star Trek' series (and movie - yes, even the fifth one), it seems evident to me that everyone participating in 'Picard' went above and beyond to make it the very best it could be. There are characters appearing here that irrefutably receive better treatment than they have at any point in the past; it's hard to imagine that anyone appearing on-camera could some day look back on their careers and not say that this was one of the best projects they ever took on. It may be solemn and grim, but it's not without its lighthearted moments, and from top to bottom the purpose is true and heartfelt and oh so earnest. Since the original series premiered Trek has had its ups and downs, including portions of 'Voyager' and 'Enterprise,' some silver screen flicks that were weaker than others, and some story ideas that were ill-considered and haven't aged well. At its best, however, there is nothing else like it in the world, and I'm overjoyed that watching this new series feels like a long-awaited homecoming. The feelings that 'Picard' elicits cannot be denied. I suppose it bears repeating that while Trekkies will be on board without hesitation, esteem may vary among general audiences; again, however, the sum total is so brilliant and engrossing that I think most anyone who is open to sci-fi will really enjoy themselves. For my money 'Star Trek: Picard' is nothing less than exemplary, and I'm happy to give it my very highest, heartiest, and most enthusiastic recommendation. Bravo!
Though they are few and ultimately minor, it's worthwhile to discuss some issues that are not necessarily abject flaws, but possibly barriers for those who are not already enamored of this universe, and marginal blemishes that prevent the series from achieving perfection. Chief among these is that in each season it simply feels that the story is just too big to be told within the allotted ten episodes, and that a full, once-typical production schedule of more than twenty episodes, if not multiple seasons, would have been preferable. We get this sense somewhat in the first season, but definitely in the second as a bounty of narrative ideas, which in past series would have been restricted to one per episode, are smashed together into one massive, interconnected weave; the third season, in no small part feeling like one of the most epic, impactful ST stories in the franchise's history, needed more room to breathe. In turn, these tales that are so exciting and absorbing, and these characters that are so beloved - written with great depth, complexity, and personality, and portrayed with equal nuance, range, and gravitas - feel ever so slightly shortchanged. Case in point, it was surprising to me how some supporting characters are introduced as seeming integral figures of the series, only to later vanish. Moreover, instances of outright fan service are gratifying in some measure, yet there are facets that feel less like judicious storytelling, and more like a direct appeal to nostalgia and emotion. And while I appreciate that these are not matters exclusive to 'Star Trek' but common to all television writing, the neatness with which some plot elements are resolved, or the "wishful thinking" logic of science fiction that others require, do test the limits of our suspension of disbelief every now and again.
Be all that as it may, when you get down to it 'Picard' is nothing less than a stupendous success, and it's even better than I ever could have hoped. It's true that some aspects are included with pointedly draw from previously established canon, and episodes of past series - but then, given the focus on one of the most famous figures in Starfleet history, that's rather to be expected. Even more to the point, there is no inclusion or nod which is not meaningful. It's readily evident how much care and intelligence the writers were pouring into this new creation, and all this is also tied into how each season more or less focuses on different parts of who Jean-Luc is. I think the overarching theme for each is a matter of individual perspective, and we can toss around words like redemption, legacy, reflection, remembrance, and so on; one way or another, what it comes down to is that there is significant focus on hearty drama here, and introspection, and rumination. We still get everything we want out of 'Star Trek,' including both action (possibly the most violent and thrilling in the franchise to date) and humor (some downright silliness, but mostly fun bits borne of warmth, camaraderie, and tremendous wit), but all told much of the weight here is carried by ponderous themes and story ideas, dour concepts, dark topics, and a somber tone. These, too, we've seen in Trek before, sometimes in television and definitely in the full-length feature films, but it seems to me that as 'Picard' adopts a more serious, realistic tenor, shedding much of the bright hues and theatricality of prior iterations, the heavier portions of the storytelling are more pronounced this time around.
All this is further bolstered by the very best of modern production values, for everything here is top-notch. While practical effects and tangible creations will always be preferred, with rare exceptions my personal opinion is that the computer-generated imagery in these thirty episodes is the best I've ever seen, and as believable as digital wizardry could be. The violence is more visceral, including blood and gore; the scripts do not shy away from profanity that has been decisively absent heretofore. The narrative trades in ideas that we can relate to in real life, for better and for worse, and ports them to a massive futuristic universe with characters that we wish we could call friends and family. Informed by past contributions but not beholden to them, everyone operating behind the scenes turned in superb, wonderfully sharp work: fantastic sets, costume design, hair, makeup, props, and weapons, let alone stellar cinematography, editing, and direction. Even Jeff Russo's score, taking cues from other 'Star Trek' fare,' composed new themes that are all his own, and which lend to the feel of this series that is both sprawling, cinematic, and adventurous, but also intimate, thoughtful, and sincere. And as much as all involved deserve congratulations for all their terrific labor, including marvelously shrewd writing, the show plainly could not have accomplished all it did if not for the very best of casts. It's well established that the actors of 'The next generation' - Stewart, Frakes, McFadden, Spiner, Burton, Sirtis, Dorn - have such a strong rapport that for all intents and purposes they are, truly, a family, even off-screen. That readily comes across on-screen, too, as much because of the players as for the writing; to my pleasure, the same vibes extend to everyone else. I could not be more pleased with just how effortlessly Orla Brady, Evan Evagora, Santiago Cabrera, Alison Pill, and especially Jeri Ryan and Michelle Hurd have fit into the big picture, and I'm only remiss, once again, that they all didn't get even more time together. From one to the next all embody their characters with impeccable fidelity, making it easy for us as viewers to forget that in reality there's a separation between part and player.
As much as I've loved every previous 'Star Trek' series (and movie - yes, even the fifth one), it seems evident to me that everyone participating in 'Picard' went above and beyond to make it the very best it could be. There are characters appearing here that irrefutably receive better treatment than they have at any point in the past; it's hard to imagine that anyone appearing on-camera could some day look back on their careers and not say that this was one of the best projects they ever took on. It may be solemn and grim, but it's not without its lighthearted moments, and from top to bottom the purpose is true and heartfelt and oh so earnest. Since the original series premiered Trek has had its ups and downs, including portions of 'Voyager' and 'Enterprise,' some silver screen flicks that were weaker than others, and some story ideas that were ill-considered and haven't aged well. At its best, however, there is nothing else like it in the world, and I'm overjoyed that watching this new series feels like a long-awaited homecoming. The feelings that 'Picard' elicits cannot be denied. I suppose it bears repeating that while Trekkies will be on board without hesitation, esteem may vary among general audiences; again, however, the sum total is so brilliant and engrossing that I think most anyone who is open to sci-fi will really enjoy themselves. For my money 'Star Trek: Picard' is nothing less than exemplary, and I'm happy to give it my very highest, heartiest, and most enthusiastic recommendation. Bravo!