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 proliferation of a journey resides in the impact of the ending point and the lessons learned in its transgression. “Picard”, as it continues in “Et in Arcadia Ego – Part 1” as a man is a continually flawed character, one we could not have likely seen back in the Next Generation phase. He is a man blinded in certain ways by his altruism and ego. He has a mortality that he doesn’t want to face but also an ambition that basically he can’t cash. He wants to be a savior but is stuck in the certain visage of a false messiah. This of course is not his fault. It is simply the crux of the story he finds himself in. The pilgrimage of sorts to a lone planet led by Soji opens both answers and more questions. The reality is that the motivation of humans as the predominant force in the universe is the crux of the conversation at the heart of the series. Even going back to “Star Trek: The Motion Picture” and even into the original series with “I, Mudd”, this reflects on the idea of what it means to be a synthetic being. The discussion also resides in the idea of what has happened before will happen again.
The Romulans, in many perceptions have the right idea but the progressions of the series is based in a false assumption. It is the idea of ego and assuming what something or a certain vision might mean, and not what it actually is. The introduction of an offspring of a certain positronic scientist is an interesting one but also an imbalanced introduction, though certain details point to an interesting construct. When it comes down to it an apocalypse is coming but what is interesting is that the deliverance, in all seriousness, might come down to those who exist halfway between worlds. It will reside in those that understand both the sides of pure machine intelligence and a bit of humanity. These decisions can only be made by those with views on both sides which encapsulates a couple different characters, so the narrative push could go in a variety of different ways. But that is what makes the adventure worth exploring, especially if a certain redemption is in the cards.
By Tim Wassberg
The intention of character is based within the ideal of who a person is destined to be, what they are willing to show the world and the intentioned basis of what they believe their overall goal to be. The essence within the 8th episode of “Star Trek: Picard” aptly titled “Broken Pieces” reflects this in the ideals of the people involved in this tome, specifically the ones specifically on a ship heading for a Starbase then another specific destination. The main one of course is Soji, as her life has been upended and she is still coming to terms whether her life is tangibly real or not. She is finding certain balance points which are interesting especially when it comes to the captain of her new ship. The show, in this episode, is focusing on the nature of duality. As it progresses at one point Picard is sitting across from Soji asking a very pertinent question, and Picard almost sidesteps it until she brings him to task instinctually but unknowingly. It is a very big character moment for Picard. But it reflects backs too in Raffi and the Captain’s interactions which also take on a very existential point which oddly enough brings to mind issues of tendency from The Doctor on “Voyager”. It is dynamic and unusual and perhaps the first time we have seen this kind of progression in quite this way on Star Trek (in a case where it didn’t involve a holodeck).
On the flip side there is a Seven Of Nine issue which plays into duality within a method of control or perhaps tendency. It is a hard reflexive moment which interestingly enough is not even her own and yet in the moments seen speak volumes. Alison Pill’s doctor character is the McGuffin here because she is intelligent enough to be believed but scared enough to do anything, especially with the crazed look in her eyes around Soji. The ideas of mental stability but also trangression are themes that are interestingly diametric here from scene to scene. And so the changing perspective within the series continues.
By Tim Wassberg