The aspect of evolution in terms of idealism or perhaps in moderation of experiences had has been part of the duality of “Picard” as a series. It began with an incomplete matriculation of Data’s last iteration in “Nemesis” (what is interesting for the reviewer is that I am fairly certain I interviewed Brent Spiner, Stewart and director Stuart Baird for that film for TV back in 2002 – the interviewed likely buried on some digital tape somewhere). Wrapping those strands of psychology from that film is what gnaws on both sides of the season finale (“Et In Arcadia Ego – Part II”) here. While the thrust of the narrative when it finally arrives at its end point seems sounds, it also seems too neatly put together. This is not a criticism overtly since it makes totally sense and works within the existential nature of the project overall.
As it moves in the final hour of the season, it brings into focus the nature of Picard but creates it on a very large scale. While it is not integrated as a space battle per se (without giving anything anyway) there is a sense of breath to it, especially when the viewer sees who is at the helm. The brother Soong is an interesting quandary since one is not quite sure the mythology behind it. It actually ends in a way that is more hopeful than where it began which I gather is part of the point of this specific journey. The coda per se that leads towards the epilogue is what really fans came to see all season and rivals some of the specific moments when Picard reunites with Riker and Troi on their planet.
It makes complete sense though that it feels like an adjusted addendum but it very much plays within the Shakespearean elements that Stewart so loves. There is sort of a paradoxical take on “The Tempest” within its walls. As it continues into the meaning of its conclusion, it dovetails into those ideas that sometimes change in path, much like Spock’s in earlier transgressions (even before the reboot), which again reverts back to the Romulan conflict and also their sense of identity. All works well. The final shot however tries to infer too much when it was not necessary and could have been done with more subtlety. While it did offer a slight hiccup, it doesn’t heavily diminish what the episode achieves.
By Tim Wassberg
The last time the “Stumptown” vision undertook this reviewer was the pilot after which I did an interview with the two leads played by Colbie Smulders & Jake Johnson. Through the trajectory of the season, the pace seems like it has been fairly consistent but the season finale “All
Hands On Dex” seems to filter in the idea of a little bit more melodrama than would have been expected. The music, which made the first episode of the series so textured, is still there with correct context. The humor itself though seems a little more sparse as if it is just moving the
needle to keep up. Dex, played by Smulders, is trying to uncover a murderer which has been dogging her from earlier in the season. But the character truly seems to have its wings when she is not overly pushing with episodic plot elements.
Granted this is the season finale so it needs to wrap certain elements up. However “Stumptown”, even the one I read in the graphic novel, had more of a “Rockford Files” element to it. The structure of the series always reflects back to family which in certain more bare moments, Dex seems to forget. This is part of the beauty of the character but it has to be balanced in check. Certain scenes bring it back into focus including one set in a church with the perfect music accompaniment. But the more textured one is in the opening scene which reflects more in the subconscious of Dex than anything else. The tenure of the series is based more in reveals but looking at the beginning and the end, it is simply good if the character simply is. Her own life and not her extended drama is enough to make the show effective.
By Tim Wassberg