Et in Arcadia Ego: What went wrong?

Spoiler Warning: There are spoilers ahead for Star Trek: Picard Season 1, in particular the two-part episode Et in Arcadia Ego.

With Star Trek: Picard Season 2 approaching, I wanted to take a moment to step back to the Season 1 finale. Et in Arcadia Ego was the two-part ending to the show’s first season, and after the preceding eight episodes had masterfully and slowly built up an engaging story, it unfortunately ended in a way that was, at best, underwhelming. On this occasion I want to look back at Et in Arcadia Ego and ask “what went wrong?”

I think we can summarise the finale’s issues in a single word: rushed. The two parts of Et in Arcadia Ego were overstuffed with plot, partly as a result of the deliberately slow pace of the rest of the season, but also in part because of the decision to introduce new characters, a new faction, and whole new storylines at the last minute. As a result, Et in Arcadia Ego had to rush through far too much narrative in far too little time, leaving significant chunks of it on the table by the time the credits rolled on Part 2.

The final scene of Et in Arcadia Ego, Part 2.

In my view, most of the damage was done in Part 1 and the first half of Part 2. By the time we got into Picard’s speech over Coppelius and his stint with Data in the digital afterlife, Et in Arcadia Ego picked up, and the issues with pacing and the editing of certain scenes abated. Those latter emotional sequences went a long way to salvaging the finale, and Picard’s time with Data – giving the character the proper send-off that he hadn’t got in Nemesis – meant that the story found a second purpose, one which I think many Trekkies appreciated.

There was also some fantastic acting in the second part of Part 2, with Evan Evagora, Michelle Hurd, Santiago Cabrera, and Jeri Ryan all putting in exceptional, deeply emotional performances as their characters dealt with the apparent death of Admiral Picard in different ways. The way Elnor broke down crying at the loss of his surrogate father figure is one of the most emotional moments in the entire season, and both Evagora and Hurd excelled in that moment.

A heartbreaking moment.

But as the credits rolled on Part 2, after Picard had laid Data to rest and been reborn in a new synthetic body of his own, I was left feeling that, despite the emotional high points as the finale drew to a close, the nicest thing I’d be able to say about Et in Arcadia Ego is that it was a mixed bag; an underwhelming end to what had been an otherwise excellent first season. At worst, I might even call the entire finale disappointing because of its underdeveloped characters and storylines that seemed to go nowhere.

The basic premise of Et in Arcadia Ego was interesting on the surface. After discovering that there are more synths than just Soji, we as the audience had been led to assume that they’re a peaceful civilisation who are being unfairly targetted by fanatical Romulan zealots. But instead we learn that the Zhat Vash were, in a sense, right. The beacon they discovered on Aia did warn of a powerful civilisation of super-synths who would murder organics, and not only that, but Soji’s evil twin Sutra planned to contact them. The synths turned from damsels in distress needing to be saved into a civilisation acting out of self-preservation, but nevertheless needing to be stopped from inflicting mass murder – or possibly even mass genocide – on the galaxy.

Soji’s “evil twin,” Sutra.

It fell to Picard to try to dissuade the synths, to show them that not every organic is hostile to them, and that if they would trust him – and trust the Federation to do the right thing – they would be safe. After a season in which the Federation was not painted in the best possible light this was a cathartic moment, and I understand what Et in Arcadia Ego was trying to do here.

Particularly in Part 2, Et in Arcadia Ego successfully hit some of those story beats, and the emotional high points surrounding Picard’s death, Data’s second death, and the desperate last stand over Coppelius felt great. In fact, I’d argue that the second half of Part 2 came close to rivalling the rest of the season in terms of the emotional side of its storytelling, and if we were looking at that part of the finale in isolation – or if the rest of the two-part story had been up to that level – we wouldn’t be having this conversation today!

Data in the digital afterlife.

On the technical side of things, before we get into story complaints, Et in Arcadia Ego was a very rushed, poorly paced episode. As a result of trying to cram several episodes’ worth of story into not enough runtime, there were some utterly ridiculous editing choices. At one point, Commodore Oh was stood on the bridge of her Romulan vessel, and appeared to speak a line to absolutely no one.

This line was very generic, too, and the entire scene – if we can be so generous as to call a clip that lasted a few seconds a “scene” – just came across as laughable, not intimidating or concerning. There were also a couple of places where two scenes were very poorly spliced together – at the beginning of Part 2, for example, a speech Picard made to Soji was heard only in voiceover, with Dr Jurati on screen silently watching the synths building their beacon.

Commodore Oh’s generic “evil villain” moment.

The gold makeup used for the Coppelius synths – Sutra in particular, as she was featured most prominently – was just awful. It looked like something out of The Original Series, and I don’t mean that in any way as a compliment. If I’d seen characters on The Original Series so poorly made-up I’d have written it off as a limitation of the medium at the time, and tried to get on with the story. Characters like Bele and Lokai from Let That Be Your Last Battlefield look similarly ridiculous by today’s standards, but with all of the improvements made over the last fifty years… I can’t excuse how poor practically all of the synths looked.

The problem of a lack of diversity in outdoor filming locations plagued Picard Season 1, but it came to a head in Et in Arcadia Ego because it was the finale. In short, the ten-episode season attempted to depict locations on Earth, including France and Japan, as well as the planets of Vashti, Nepenthe, Aia, and Coppelius using outdoor filming locations within a few miles of Los Angeles. And this was painfully obvious as the season wore on, leading Picard Season 1 to feel smaller and less visually interesting as a result. If Coppelius needed an expansive outdoor filming shoot, then other worlds could – and should – have been created on indoor sound stages if long-distance location shoots were out of the question.

Look, it’s California… oops, I mean Coppelius!

Both parts of Et in Arcadia Ego ruined the surprise appearance of a returning actor from The Next Generation. Brent Spiner’s role in Part 1 was telegraphed in the opening credits before his character had appeared on screen, but most egregiously the mistake was repeated in Part 2, where the return of Jonathan Frakes’ Acting Captain Riker was spoiled in the opening credits. The scene where Riker arrived at the head of a massive Starfleet armada to defend Coppelius was treated on screen like a huge surprise, but the fact that he was coming had been telegraphed in advance by the opening credits.

How difficult would it have been to credit special guest stars at the end instead of at the beginning? This also happened with Jeri Ryan’s Seven of Nine in the episode Absolute Candor earlier in the season – a character who appeared right at the end of the episode, in that case, and whose arrival was also treated as a surprise. For fans who don’t follow all of the ins and outs of Star Trek, the fact that any of these characters were coming back was supposed to be a total surprise, and both halves of Et in Arcadia Ego treated their returning guest stars in this way. But their unnecessary inclusions in the opening titles detracted from it. Riker’s arrival in particular felt far less impactful than it should’ve been; by the time the story reached the point of Picard standing alone against the Romulan armada, it was obvious that Riker was coming to save the day.

This shouldn’t have happened in the opening titles.

Speaking of the two fleets, the fact that both the Romulan and Starfleet armadas were comprised of a single starship design each seriously detracted from the way they looked. The copy-and-paste fleets were big, which was visually impressive at first glance, but the longer they remained on screen the more obvious it was that the CGI animators had literally copied and pasted each ship dozens of times.

Fleets seen in past iterations of Star Trek were almost always comprised of a variety of different starship types, and there was the potential to use this moment as fun fan-service, perhaps bringing back Romulan warbirds and scout ships from The Next Generation era, as well as Federation starship types like the Defiant-class, Sovereign-class, and Galaxy-class. Heck, Picard Season 1 had already made a brand-new CGI Galaxy-class model for the premiere, so it couldn’t have been too much extra work to include it here.

The Romulan and Federation fleets were copy-and-paste jobs and looked the worse for it.

As a final point on the technical side of things, I’m sorry to say that, despite a great performance as Soji across the rest of the season (and as Dahj in the premiere), Isa Briones was not convincing as Sutra, the central synth villain. Her performance was incredibly hammy, and while the character was written sufficiently well that her basic motivation – to protect the Coppelius synths from an outside attack – should have been understandable and even potentially sympathetic, the “I’m evil for no reason and I love it” performance was so bad that it detracted from the character.

Although Sutra being so easily shut down in Part 2 meant that the character as a whole felt like a waste, and was not the angle I would’ve wanted the show to take, in a way I was glad that we were spared too much more of what has to be the entire season’s single worst acting performance.

Sutra with Admiral Picard.

In terms of story, let’s talk about the big picture first of all before we get into smaller narrative complaints. The super-synths that Sutra and Soji planned to contact were so barebones as a faction that they don’t even have a proper name. Their “admonition” – i.e. the vision that the Zhat Vash encountered from their beacon – was superficially intimidating, and the mechanical tentacles that we saw approaching the beacon at the climax of the story likewise looked frightening… but without knowing more about this faction, it was difficult to remain invested in this story.

We didn’t know what the super-synths would’ve done had they arrived. Would they have sought to exterminate all organic life everywhere, or just in the vicinity of Coppelius? Having exterminated, would they have taken the super-synths to live with them in “dark space?” Was their offer to help even genuine or was it an elaborate trap to conquer the Coppelius synths and steal their technology? We have so many open questions, and because it seems that Star Trek won’t be returning to the super-synths any time soon, they’ll be left open and this aspect of the story will remain less than it could have been.

Some mechanical noodles were all we got to see of the super-synths.

In monster movies – which Et in Arcadia Ego’s super-synths were, to an extent, trying to emulate – we don’t always know everything about the monster. We might not know where Godzilla came from or why the Xenomorph in Alien is going on the rampage, but we at least have some perspective or frame of reference to understand why they should frighten or unnerve us – we’ve seen for ourselves how destructive and deadly the monster can be. The super-synths were barely glimpsed, and while their beacon was interpreted by the Zhat Vash as being dangerous, what we as the audience saw of it on screen was ambiguous at best. Because of that, the super-synths are more mysterious than frightening, and with no frame of reference to go on to showcase their level of technology, weapons, or danger, they’re less interesting and less frightening than they should’ve been.

During my first watch of Et in Arcadia Ego, I referred to the super-synths as the “Mass Effect Reapers” because of their similarities to a faction from the Mass Effect video game series. On re-watching the episodes, those similarities are really hammered home, even to the point where the vision contained in the Zhat Vash’s beacon and the beacon encountered by Commander Shepard in the first Mass Effect game contain striking visual similarities. I can’t believe that this is entirely a coincidence, and while I don’t want to accuse anyone of “ripping off” anyone else… it’s at the very least noteworthy that this aspect of the storyline of Et in Arcadia Ego – and thus of Picard Season 1 as a whole – is not original.

We could play a game called “Mass Effect or Star Trek: Picard?” with some of these sequences.

In the episode The Impossible Box, Narek walked Soji through a complicated series of steps to help her understand a dream she’d been having. His motive was to find out the location of her homeworld – Ghoulion IV or Coppelius. At the end of Soji’s dream, she looked up to the sky and saw two red moons and a lightning storm, leading Narek and Rizzo to conclude that they had enough information to locate Soji’s homeworld.

We subsequently learned that the Romulans had a fairly narrow search area and only needed to look within a few different star systems, so it seems reasonable that only a couple of pieces of information might be enough to go on if there aren’t that many possibilities. But when we finally reached Coppelius a couple of episodes later, the red moons were present – but where were the thunderstorms? This had been an absolutely essential part of the plot of The Impossible Box, yet the weather on Coppelius was sunlit and beautiful – some might say almost California-like. There were literally only two bits of information conveyed in The Impossible Box that Narek and Rizzo used to pinpoint Soji’s home planet… and one of them was completely disregarded in Et in Arcadia Ego.

This moment told us two things about Soji’s homeworld. Et in Arcadia Ego ignored one of them.

Speaking of being completely disregarded… what happened to poor Narek? I know Narek wasn’t everybody’s favourite character in Season 1, but I felt he was interesting as a character who didn’t fall into the obvious trap of being a clichéd “spy with a heart of gold” who falls in love with his target. Narek remained loyal to the Zhat Vash cause, even though his relationship with Rizzo was complicated and despite his feelings for Soji.

For Narek to simply be abandoned by the story of Et in Arcadia Ego is disrespectful – not only to actor Harry Treadaway, who had put in a great performance – but to us as the audience. We’d been following Narek’s story since the second episode of the season, and as he approached what should’ve been his moment of triumph, and then his moment of defeat, he just vanished from the story altogether.

This was the last we saw of Narek.

At the very least it would’ve been worth following Narek’s story to some kind of conclusion. I’d have liked to see how he reacted to Soji shutting down the beacon – would seeing that have finally broken his Zhat Vash brainwashing? Would he have tried to apologise to her and the rest of the synths? Or would he have stayed true to his mission even while being taken into custody by Starfleet or the synths?

We don’t know the answer to any of these questions, and while there is supposedly a scripted but unfilmed scene in which Narek was handed over to the Federation, that hardly seems like rock-solid “canon,” does it? Picard Season 1 didn’t actually feature that many characters in a big way, so for one of the principals to simply be dropped with no explanation midway through the finale is indicative of the fact that this two-parter had far too much narrative to cram into its runtime. It was poor, and whatever viewers might’ve thought of Narek and the earlier scenes and sequences in which he starred, getting some closure on one of the season’s most important characters was necessary.

Narek had been a major character throughout the season.

In an overstuffed story with some very serious themes, there were some very odd choices. Dr Jurati and Picard making jokes while launching La Sirena into orbit felt out-of-place, but thankfully that didn’t last very long. What did last a long time, though, in the context of the story, was the very odd campfire scene with Narek, Raffi, and Rios.

This scene was a complete waste of time. As the audience, we already knew what the Zhat Vash prophecy and philosophy was by this point, so re-telling it in a “ghost stories by the campfire” cliché was unnecessary fluff in an episode that simply didn’t have so much as a second to spare. Secondly, this scene messes with the timing of the entire episode. Narek seemed to be in a mad rush to attack the synths’ compound and stop their beacon, and if we’re to believe that Raffi and Rios had been persuaded too – which appears to have happened in a very short scene aboard La Sirena that really needed to be extended – then the characters themselves shouldn’t be wasting time camping out. It’s also the only scene in the entire episode to take place after dark, which was obviously done to make the campfire more visually dramatic… but the rest of the story seems to have taken place over the course of less than one day, so when did this night occur and why didn’t anyone else on Coppelius experience it? In short, it wasn’t just an unnecessary scene, but one that breaks the continuity of the whole story.

The campfire.

After the campfire scene we came to the poorly-scripted bomb plot. Using grenades donated by Narek and a football that Rios had aboard La Sirena, the trio planned to smuggle a bomb into the synths’ compound and blow up the beacon. I didn’t understand why the synths’ compound was suddenly being guarded as the group approached – except, of course, to ramp up the drama. From the synths’ point of view Raffi and Rios were no threat; they’d been on friendly terms when they parted, so why hassle them?

Dr Soong joined in after they arrived at Coppelius Station, but even he couldn’t salvage what was an illogical and stupid “plan.” Dr Soong had two aces up his sleeve: the video evidence that proved Sutra, not Narek, was responsible for murdering Saga, and his “magic wand” weapon that could apparently disable synths at the push of a button. He used the latter once, on Sutra, and then disappeared entirely from the plot until after Picard’s “rebirth.”

Dr Soong was able to “shut down” Sutra… but then made no further contributions to the plan to attack the beacon.

After the remaining trio made a stupid full-frontal attack against the much larger group of synths, it fell to Rios to try to throw the bomb-ball into position… but, naturally, Soji was able to clear it with seconds to spare.

This entire operation was so stupid, and was clearly written to ensure that the heroes’ plan would fail, meaning it would be up to Soji and Picard to save the day. And I won’t dismiss Picard’s speech and the emotional impact of Soji’s decision to stand down – both of those aspects felt great. But they were, unfortunately, sabotaged by this awfully-scripted bomb plot which made no sense, and the immediate disappearance of everyone involved in its aftermath.

Soji was able to easily stop the bomb plot.

Here are just a few of the questions this sequence raised: why didn’t Dr Soong show the footage of Sutra to the other synths? Why didn’t Dr Soong use his “magic wand” on Soji? Why didn’t Rios and Raffi try to talk to Soji and explain the dangers of the super-synths? There was so much wrong in this one sequence, and it was contrived in such a way as to skip over any and all of these points to get to the standoff between Soji and Picard, and Picard’s convincing speech. Unfortunately the route to that otherwise powerful moment felt so unnatural that it detracted from it.

After the bomb plot and the speech, things took a turn for the better, and much of the remainder of Et in Arcadia Ego hit those emotional high points, and as the rushed, almost panicked pacing and editing gave way to a slower-paced story of laying Data to rest and restoring Picard to life, things did improve.

Picard’s “death” marked a turning point in the story.

Unfortunately, though, Et in Arcadia Ego ended with many questions left on the table. Having arrived just in time to save the day, is the Federation now committed to leaving an entire fleet in the Ghoulion system to defend Coppelius? If not, it seems like there’s nothing to prevent the Romulans from returning next week and obliterating the synths from orbit. Or perhaps the synths will need to be evacuated and taken to a new, safer location. If so, we saw no indication that Starfleet plans to help with that.

There was also no attempt made to explain Bruce Maddox’s visit to Freecloud, which had been a huge story point in the first half of the season. Maddox’s lab on Coppelius clearly hadn’t been “raided by the Tal Shiar,” and if we’re to understand he set up a second lab somewhere else for some unknown reason, why didn’t he return to Coppelius if it was destroyed; why go to Freecloud instead? This opens up a pretty big plot hole in the entire season, as Maddox now has no reason to go to Bjayzl – a dangerous woman to whom he owed money – other than “because plot.” Maddox was there simply to allow the rest of the story to unfold, and that just isn’t satisfying at all.

Why did Dr Maddox go to Freecloud?

And this is just one way in which Et in Arcadia Ego damages the entire first season of the show. With so much rushing around in the final two episodes, with brand-new characters, new civilisations, new factions, new antagonists, and whole new storylines being dumped into the show with two episodes remaining, it makes going back and reflecting on the rest of the season somewhat difficult. Was the deliberately slow pace of episodes like Maps and Legends too much? Should the side-stories on Vashti and Nepenthe have been cut down… or skipped altogether?

Nepenthe was, for me, one of the most enjoyable episodes of Star Trek that I’ve seen in a very long time, and spending time with Picard, Riker, and Troi after so long felt absolutely magical. We caught a glimpse of their retirement, the family life that they deserved to have after their rollercoaster relationship and the tragedy of the loss of their first child. And it was wonderful. But in retrospect, all of that time with Kestra and Soji bonding and Picard catching up with his old friends, cooking pizza in an outdoor oven and hanging out in a cabin in the woods just feels wasted. There was too much plot left for Picard Season 1 to get through, so either stories like Nepenthe needed to be cut down or, realistically, the season needed to be extended. One of the advantages of streaming over traditional broadcast television is that things like schedules don’t mean much – it’s far easier to add an extra episode or a few minutes here and there if necessary. Discovery did exactly that in its first season… why couldn’t Picard?

Picard and Riker’s reunion in Nepenthe.

That’s the real tragedy of Et in Arcadia Ego: the way it makes eight genuinely wonderful episodes feel worse in retrospect. We aren’t quite at the level of something like Game of Thrones, where a truly awful ending has made going back to re-watch earlier seasons feel downright unpleasant, but we’re in the same ballpark.

The sad thing is that the synths’ storyline wasn’t bad. Dr Soong wasn’t a bad character, and if he’d had more time on screen I think we could have got more of a nuanced portrayal that showed us a man doing his best to work around the synth ban and keep his people safe. We could’ve learned why he wanted to build a golem for himself – was he dying? Was he trying to become immortal? What drove him to pick up his father’s work? All questions that Et in Arcadia Ego left on the table.

Coppelius Station – home of the synths.

Likewise with Sutra. Despite the crappy makeup and the poor, hammy performance, there was the kernel of an interesting character at Sutra’s core. Her presence turned the synths from a group in need of rescue into a potential danger, and that concept – had it been executed better over a longer span of episodes – could have been interesting.

The super-synths, despite their similarities to the Reapers from Mass Effect and their blink-and-you’ll-miss-it appearances on screen, had been the driving force for the entire season’s plot, and learning more about who they were and what drove them, whether their offer to help was genuine, and whether they had any connection to other Star Trek factions were all points that could’ve been explored. The super-synths, while hardly an original faction in a broader sci-fi environment, were something new to Star Trek, and as Trekkies I think we have a great curiosity about the Star Trek galaxy and the races present within it. Finding out more about the super-synths would have been fun.

I’d like to know more about the super-synths.

There was also the standoff over Coppelius itself. We’ve already covered how the copy-and-paste ships didn’t look great, but as a story beat this entire sequence was rushed. After Picard and Dr Jurati made their “last stand,” Acting Captain Riker showed up at the last second, positioning his fleet in between the Romulans and Coppelius. And then he opened hailing frequencies to talk to Commodore Oh.

Within moments, the zealous Zhat Vash commander had been convinced to withdraw rather than fight it out… and I think that fails as a convincing narrative beat. The Zhat Vash had been portrayed for the entire season as having an almost-religious zeal; a crusade against synthetic life born out of fear of total annihilation. And in mere seconds, Commodore Oh appeared to abandon that crusade. When faced with opposition, she chose not to fight but to withdraw.

Riker’s appearance – and the entire standoff – was too short.

The two fleets looked surprisingly well-matched, and I would have thought that Commodore Oh would have had a chance, at least, of going toe-to-toe with Acting Captain Riker. It wasn’t like the Federation armada had the Romulans horribly outnumbered. And all it would have taken, from her point of view, was for one ship to break through the blockade and fire on Coppelius Station – a single quantum torpedo would probably have done the job.

Commodore Oh and the Zhat Vash simply don’t seem like the types who would come this close to achieving their life’s ambitions – and remember that Oh had been embedded in Starfleet for literally decades – only to be scared away by a few Starfleet ships or convinced to change their lifelong aims by one speech and the beacon being shut down. At the very least, this was yet another sequence which needed much more time to unfold. Heck, I could have happily spent an entire episode on the standoff, with negotiations taking place between Federation and Zhat Vash representatives. The Zhat Vash needed to be talked into withdrawing; I don’t believe that seeing Picard’s speech and Riker’s fleet was anywhere near enough motivation for Oh to take her entire fleet and withdraw, and if it was, we needed to spend a lot longer getting to that point, seeing her agonise over the decision, perhaps facing down mutinous members of her own organisation, and so on.

Commodore Oh’s decision to withdraw was horribly rushed.

So we come back to the crux of why Et in Arcadia Ego didn’t succeed as a finale: it contained plenty of interesting characters and storylines, but didn’t have enough time to pay off most of them in anywhere close to a meaningful way. And as a result, it doesn’t feel like most of Picard Season 1’s storylines came to an end at all. Some, like Narek’s, were just completely abandoned; unceremoniously dumped with no explanation given. Others, like Dr Soong’s, were completely undeveloped, leaving him along with Sutra and several other characters feeling like one-dimensional plot devices instead of real people.

The disappointing thing, at the end of the day, isn’t that the ideas and storylines here were bad, it’s that none of them were allowed to play out in sufficient depth. With the possible exception of laying Data to rest, every single storyline that Et in Arcadia Ego brought into play or introduced for the first time were underdeveloped, cut short, and/or not sufficiently detailed. Some individual scenes and elements were less successful in their own right – like the performance of Sutra or the campfire sequence – but taken as a whole, what I wanted from Et in Arcadia Ego was more – more time for these characters, ideas, and narrative elements to play out. It feels like practically nothing in Et in Arcadia Ego saw justice done, and when I had been invested in the story, the characters, and this return to the 24th Century after such a long wait, that was disappointing.

Dr Soong.

As we approach Season 2 of Picard, which kicks off in just one week from today, I hope that the show’s writers and producers have taken on board the feedback that they surely received about Et in Arcadia Ego. The show’s second season can’t afford to repeat the mistakes made by the ending of its first, and if Picard is to end with Season 3, as some news outlets have been reporting, then it’s going to be even more important for the creative team to consider the problems of Et in Arcadia Ego and make sure that the series as a whole won’t end in such disappointing fashion.

There were successes along the way – great moments of characterisation with Admiral Picard, the “heroic last stand” story that always gets me no matter how it’s told, and of course saying a proper goodbye to Data after eighteen years. The emotional moments present in the latter half of Part 2 went some way to making up for earlier disappointments.

I can’t call Et in Arcadia Ego a failure. It brought together storylines that, even two years later, I find fascinating. The disappointment stems from the fact that those stories weren’t able to play out properly due to unnecessary time constraints, a rushed pace, and, in retrospect, eight preceding episodes that spent too long reaching this point. With Season 2 now upon us, I’m hoping for much better things from Star Trek: Picard!

Star Trek: Picard Season 1 is available to stream now on Paramount+ in the United States and on Amazon Prime Video in the United Kingdom and around the world. The Star Trek franchise – including Picard and all other properties mentioned above – is the copyright of Paramount Global. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.

Preliminary Star Trek: Picard Season 2 predictions

Spoiler Warning: There are spoilers ahead for Star Trek: Picard Season 1, Star Trek: Discovery Seasons 1-3, Star Trek: Lower Decks Season 1, and for other iterations of the franchise.

A couple of days ago I wrote up some preliminary predictions for Star Trek: Discovery Season 4, and now it’s the turn of Star Trek: Picard Season 2 to get the same treatment. Season 1 left several big mysteries behind, and while some may be addressed it seems as though Season 2 will see Picard and the crew move on to new adventures.

A significant portion of Season 1 was occupied by recruiting the crew, but after they came together basically to do one job – find Soji – and accomplished that objective, the big thing that Season 2 needs to do is find a truly convincing reason for keeping the crew together. Rios seemingly worked as a commercial pilot, and the others have lives of their own too. Now that Soji is safe and the super-synths have been called off, what exactly is preventing everyone from drifting back to their old lives?

The super-synths in the Season 1 finale.

Right now, I see that as perhaps the biggest challenge and point of interest. What will bind this disparate crew together after their mission is complete? Unlike a Starfleet crew they don’t have a new mission or new orders, and they aren’t just going to fly around aimlessly in La Sirena looking for adventure. So finding a convincing reason for keeping them together – or reuniting them if they’ve already separated as of the beginning of the season – will be key.

As I said last time, it’s very early in the process to be considering what may or may not be included in the upcoming season. At time of writing filming hasn’t even commenced; Picard is filmed in California, and while production is in theory able to resume it’s a slow process. There have been suggestions that February may be the goal for filming to begin – but it wouldn’t be the first time we’ve been given a timeframe that didn’t pan out, so watch this space. I’m not claiming any “insider information,” nor saying that anything on my list is certain to happen. This is guesswork at best – educated guesswork in some places, perhaps, but nothing more.

With those big caveats out of the way, let’s jump into the list.

Number 1: A Galaxy-class ship.

The Enterprise-D as seen in Season 1.

Season 1 showed us a beautiful CGI rendition of the Galaxy-class Enterprise-D. But this ship was only seen in Picard’s dream and didn’t make a real appearance – despite the Federation fleet in the season finale presenting a good opportunity to do so. One lesson I hope the team behind Picard has learned is that the two fleets we saw during the standoff over Coppelius looked less impressive for being comprised of only a single starship design each – and bringing more ships into the show would be something great to see.

Obviously Picard himself has connections with several different classes of ship: the Sovereign-class from his time aboard the Enterprise-E, the Constellation-class from the Stargazer, and we even saw him on a Deep Space Nine Danube-class runabout once. But no ship design is more greatly associated with Picard than the Galaxy-class, and while the Enterprise-D is gone, there were others, including those which served in the Dominion War.

Galaxy-class ships seen in Deep Space Nine’s Dominion War arc.

In an alternate timeline seen in the Voyager fourth season episode Timeless, Galaxy-class ships were still in use in the 2390s, which is close to the time in which Picard is set. An updated Galaxy-class Enterprise-D was also seen in The Next Generation’s finale All Good Things in sequences set in the 2390s.

In addition, Excelsior-class ships from the late 23rd Century were shown to be in use for decades, and the Galaxy-class ship seems like such a versatile vessel that it would make sense to see them still in use. La Sirena will clearly continue to be the home for Picard and his new crew, and I’m not suggesting they be given their own Galaxy-class ship somehow! But it would be wonderful to see Picard’s reaction to a real-life Galaxy-class ship, triggering memories of his time aboard the Enterprise-D.

Number 2: Confirmation of Narek’s fate.

This was the last we saw of Narek.

The two-part Season 1 finale had some issues. From my point of view, the biggest problem was that the final two episodes had far too much story to cram into a relatively short span of time; new characters, new antagonists, new storylines, and a whole new civilisation were all introduced right at the end of the season.

One of the consequences of this was the abandonment of some previously-important storylines. Narek, who was a major character across the rest of the first season, was symbolic of this, as his character was simply dumped without any explanation or resolution midway through the finale.

Soji with Narek aboard the Artifact.

I know that Narek wasn’t everyone’s favourite character in Season 1, but I found him genuinely interesting. He looked certain to play out a relatively common trope in thriller stories: the spy with a heart of gold who abandons his mission after falling in love with his target… but to my surprise – and great enjoyment – he didn’t go down that route and remained loyal to the Zhat Vash crusade.

There are several possibilities for what happened to Narek after his attempt to destroy Soji and Sutra’s beacon. He could have been recovered by the Romulans, he could have been handed over to the Federation, he could have remained a prisoner of the synths on Coppelius, or he could even have renounced his wicked ways and joined Picard’s crew. The latter may seem less likely, but as we didn’t see or hear anything about Narek after the beacon attack it would be great if Season 2 could give us the rest of the story – even if it’s just by way of a line or two of dialogue.

Number 3: Riker and Troi.

Riker and Troi have recently appeared in Star Trek: Lower Decks.

Though I believe Riker actor Jonathan Frakes will be returning to Picard in the director’s chair, we don’t yet know whether Riker and/or Troi will return in Season 2. However, I would argue that their post-The Next Generation storylines have more to give, and I would love to see them both back.

One thing I was very keen on in the run-up to Season 1 is for the show to avoid being The Next Generation Season 8, and by only including a few classic characters in a few episodes, I would say the show accomplished that goal. But there is still a lot of interest from fans about the fates of many characters we knew and loved in past iterations of Star Trek, and the already-established Troi-Riker family could be a stepping stone for telling some of those stories too.

The reunion between Picard and Riker was one of the highlights of Season 1.

It would also be interesting to see whether the events of Season 1 have brought either Riker, Troi, or both back to Starfleet on a permanent basis. Riker described himself as “acting captain” in the Season 1 finale, so perhaps he will return to his family home on Nepenthe. But maybe not!

If Season 2 is to feature Starfleet more significantly than Season 1 did, we will need at least one Starfleet character to be portrayed on screen. Someone Picard knew and can work with would be a good bet, as he could call on them to help out, cashing in favours. However, I did also like the way Raffi used her Starfleet contacts in Season 1, as well as the introduction of Admiral Clancy.

Number 4: Revisiting an event from Picard’s past – such as the Stargazer or the Borg.

Captain Picard first met the Borg while commanding the Enterprise-D.

Season 1 saw Picard confront his past with the Borg as he boarded the Artifact. But there’s scope to further explore his history with the Borg, especially if the faction were to come back in a major way. Nothing we saw in Season 1 suggested that the Borg threat has gone away, and the super-synths we met in the finale could possibly have a connection to Star Trek’s iconic cybernetic villains.

The inclusion of Seven of Nine and the ex-Borg could also contribute to a Borg story. Perhaps the ex-Borg would work together with Picard to use knowledge or technology from the Artifact to defeat another Borg threat. The Borg would also be a reason for Picard’s new crew staying together instead of going their separate ways.

The USS Stargazer.

Alternatively we could revisit an event from Picard’s past that The Next Generation hinted at but didn’t explore in detail. We know Picard commanded the USS Stargazer and that Jack Crusher – husband to Beverly and father to Wesley – was killed. But the specifics of that event have never been shown on screen.

The inclusion of Dr Benayoun in Season 1 connected to Picard’s time aboard the Stargazer, and a storyline looking back at this time could bring back this character. It would also be a way for Dr Crusher and even Wesley to be included – perhaps something that happened around the time of Jack Crusher’s death is going to be relevant to a new event or storyline.

Number 5: Development of Seven of Nine and Raffi’s relationship.

Seven of Nine and Raffi at the end of Season 1.

The Season 1 finale showed Raffi and Seven of Nine had become close, and the possibility for the two to enter a relationship would be something really interesting for Season 2 to look at in more detail. We know that Seven of Nine and Chakotay had a relationship toward the end of Voyager, and that Raffi has a son from a previous relationship. But this could be a great opportunity for some more LGBT+ representation – in this case, perhaps, bisexuality.

Both characters saw significant development in Season 1 – Raffi by finding her son and Seven of Nine by avenging Icheb. Seeing Seven of Nine finally break out of the repetitive, emotionally stifled character she was in Voyager was genuinely cathartic, and giving her even more opportunities to show off her humanity and emotional side would be fantastic.

Seven of Nine and Raffi with the crew of La Sirena.

Both characters have experienced the loss of either a child or child figure, and that could strengthen their bond. They’re different people, and having gone through very different life experiences have responded differently to loss – Seven by becoming obsessed with revenge, and Raffi by falling into addiction.

They could help each other overcome these issues. Seven of Nine could help Raffi through recovery from her drug and alcohol addictions, and Raffi in turn could help Seven move on from the loss of Icheb and the murder of Bjayzl. There’s a lot of scope for very interesting and emotional stories in this pair of characters.

Number 6: Foreshadowing of the Romulan-Vulcan reunification seen in Discovery Season 3.

Romulans, Vulcans, and Romulo-Vulcans seen in the 32nd Century.

Discovery’s third season confirmed that Vulcans and Romulans had managed to set their differences aside – for the most part – and come back together. Though Discovery said this happened “centuries” after Spock’s first visit to Romulus, perhaps we could see some movement in that direction in Picard.

The attack on Mars and its aftermath has arguably left Federation-Romulan relations – and by extension, relations between the Vulcans and Romulans – at an all-time low. However, the unmasking of the Zhat Vash and their role in the attack may have led ordinary Romulans to look upon the Federation less harshly, and if there have been reforms to Romulan society – as was hinted at by the use of the name “Romulan Free State” instead of “Romulan Star Empire” – maybe the beginnings of reunification have already been seen.

The emblem of the Romulan Star Empire in the 24th Century.

Picard had a heavy focus on the Romulans in Season 1, and at least one Romulan character – Elnor – will return in Season 2. Thus the show is the perfect vehicle to show the path forward, bridging the gap between the secretive Romulan Empire of The Next Generation’s era and the reunified Ni’Var of Discovery’s 32nd Century.

The return of a character such as Tuvok could also be a part of this; seeing Elnor working closely with a Vulcan could set up his character for a future role in the reunification process, for example. With Seven of Nine already confirmed to be coming back, bringing one of her Voyager colleagues on board would be great to see.

Number 7: Spend more time with Starfleet.

Acting Captain Riker.

Season 1 made good on its promise of taking Picard away from Starfleet. While two members of the new crew are ex-Starfleet officers – as well as Picard himself – they operate outside of the organisation. I wouldn’t want to see that change; Picard has done what no other Star Trek show ever really did by focusing entirely on a non-Starfleet crew and that’s been fantastic. But there is scope to see more of Starfleet at the beginning of the 25th Century.

After Season 1 saw Picard and his crew largely working against Starfleet, from him being denied access to a Starfleet ship to Raffi and Rios breaking all the rules to gain access to the Artifact, it would be great to see some cooperation. The Season 1 finale gave us a taste of that with Riker and his armada, but there are more ways Picard and La Sirena could work with Starfleet while still remaining separate.

Riker’s Federation fleet stares down a Romulan armada in the Season 1 finale.

Alternatively – or perhaps additionally – we could see more of the story of Season 2 unfold from Starfleet’s point of view. Admiral Clancy was our major Starfleet character in Season 1 and she could certainly return. But this could also be how another legacy character is introduced, and Picard could work alongside them for some reason.

Having at least one major character being a Starfleet officer, and depicting events within Starfleet, would be something I think I’d like to see Season 2 do, provided it could balance that with keeping La Sirena on the outside. Starfleet and the Federation have always been a huge part of Star Trek, and while it was great to see that they’re still the “good guys,” spending more time with them next season would be fantastic.

Number 8: Consequences for Dr Jurati.

Dr Jurati killed Bruce Maddox in Season 1.

Though she did so under the influence of a mind-meld, Dr Jurati still murdered Dr Maddox in Season 1. Star Trek has done some great courtroom drama stories over the years, and I think it would be really interesting to see Dr Jurati arrested and even stand trial. Would the mind-meld be a suitable defence in the eyes of the law? We’ve never seen such a case in Star Trek.

This is another storyline that the finale rushed and ultimately failed to do justice to. At the beginning of Et in Arcadia Ego, Part 1 Dr Jurati is still expecting to turn herself in and be arrested for murder, as Picard insisted she would be. However, by the end of Part 2 she seems free to remain aboard La Sirena and has even formed a relationship with Rios.

Dr Jurati after realising what she did.

The question of Dr Jurati’s culpability is potentially interesting. Despite still being under the influence of the mind-meld she refused to try to harm Soji, pushing through Commodore Oh’s brainwashing. If she could stop herself from harming Soji, how did she harm Dr Maddox – someone with whom she was intimate?

Even if the legal side of things is only briefly addressed, such as a line of dialogue telling us that the charges were dropped, Dr Jurati may suffer psychological effects from what she did. She murdered someone she was very close to, and threatened to sabotage Picard’s mission. Even if he and the others have forgiven her, will she be able to so easily forgive herself? She has already attempted suicide once, and this is an angle the show could look at in more detail as well.

Number 9: The return of Dr Soong.

Dr Altan Inigo Soong.

Even if Season 2 takes Picard away from Coppelius for the most part, it would be great to catch up with Dr Soong – a character who felt underdeveloped in the Season 1 finale. We never learned why Dr Soong wanted to transfer his mind to a synthetic body, nor what the consequences are for him of giving that body to Picard.

I picked up a hint or two in Season 1 that Dr Soong may be sick or dying, so perhaps donating the synthetic body he planned to use to Picard has condemned him to death. Alternatively, however, he may simply be able to build a new one now that he understands the mind-transfer process.

Dr Soong in the Season 1 finale.

A story on Coppelius could also show us what impact the loss of Data’s neurons may have on Dr Soong. Without them, is he able to build new synths, or build another golem for himself? The finale left these questions unanswered, and while I don’t expect Season 2 to spend all of its time tying up loose ends, it would be nice to see some of these points addressed.

Dr Soong is of course played by Data actor Brent Spiner, and welcoming him back to Star Trek was wonderful in Season 1. It would be great if a role could be found for him in Season 2, even if it was only for a single episode.

Number 10: Guinan.

Guinan with Picard in Star Trek: Generations.

This is a total cheat since we already have confirmation that Guinan is coming back, but I wanted to include it anyway. Sir Patrick Stewart invited Guinan actress Whoopi Goldberg to join the show for its second season months ago, so it seems like Guinan will have a significant role in the season. Whether she’ll be a recurring character or make an appearance in a single episode isn’t known at this stage, but she will certainly be back.

Picard and Guinan’s relationship was touched on in The Next Generation, but never fully explained. There’s certainly scope to learn more about how they came together, why their relationship goes “beyond friendship, beyond family,” as well as what the impact of Picard’s reclusion had on Guinan. What has Guinan been doing since we last saw her? We simply don’t know – so it will be interesting to find out!

Number 11: Foreshadowing the dilithium shortage seen in Discovery Season 3.

The dilithium planet from Discovery Season 3.

This is the second “foreshadowing Discovery” entry on this list, and I don’t expect (or want) Picard Season 2 to spend all of its runtime doing that. However, this is another way that we could potentially see a connection to the events of Picard’s sister show.

For some unknown reason, by the 28th or 29th Centuries dilithium supplies in the galaxy were beginning to run low. This is what prompted Starfleet to begin seeking out new sources of the important fuel, ultimately culminating in the Burn, as well as the people of Ni’Var withdrawing from the Federation believing their alternative propulsion experiments caused the Burn.

A dilithium crystal aboard the Enterprise-D.

Though the dilithium shortage depicted in Discovery’s recent season is centuries away, the beginnings of it could be seen in Picard… somehow. Perhaps dilithium supplies were already beginning to run low but the Federation was keeping it quiet, or perhaps they discovered a major cache of dilithium similar to the Verubin Nebula’s planet some time in this era which kept them going for centuries.

Even a single line of dialogue noting that a starship is on a mission to seek out new sources of dilithium would be a subtle nod to fans of Discovery, and a minor way in which the two shows could be connected.

Number 12: A broader look at the galaxy as the 25th Century dawns.

A Klingon general in Lower Decks.

Despite bringing back a few legacy characters – not all of whom survived – and spending a lot of time with the Romulans, Season 1 didn’t paint a very broad picture of the state of the galaxy. We know that the Federation is doing well, despite the attack on Mars and the effects of the Dominion War years earlier. But what of other factions? And is all well in Starfleet?

There are so many races and factions that Season 2 could look at that I don’t know where to begin. But rather than a repetition of Season 1, with its relatively narrow focus on one faction and a handful of events, it would be great if Season 2 could expand the map and look at a few different places and peoples – even if that means doing so in less detail.

What happened to the Dominion after the Dominion War?

Right now, Picard is the only Star Trek production set in this post-Nemesis era. I wouldn’t be surprised if more shows, miniseries, and films were announced, but for the foreseeable future we only have Picard to show us the galaxy and what’s been going on in the years since Nemesis. Obviously the attack on Mars was a significant event, but there must be other things that happened in that twenty-year span.

As I mentioned in my last piece, a personal favourite story arc of mine is Deep Space Nine’s Dominion War, so I would be fascinated to learn anything about Bajor, Cardassia, DS9, the Gamma Quadrant, or the Dominion. But given Picard’s lack of connection to those events (except for a link to Bajor via Ro Laren) perhaps that isn’t on the agenda this time. Still, anything we could get to look at the bigger picture of the galaxy would be wonderful.

Number 13: Looking at current events.

Will Star Trek: Picard Season 2 discuss current events?

One thing Picard Season 1 did very well was show how Picard’s mental health was suffering as a result of his rejection by Starfleet. I think a lot of people who’ve been through almost a year of lockdowns and isolation could watch the Season 1 premiere, Remembrance, and empathise much more with the isolated, lonely Admiral Picard than they could when it was first broadcast.

Star Trek has never shied away from using its sci-fi setting to tackle real-world issues, and the biggest right now is of course the pandemic and its associated effects. Season 2 may have had a complete draft written before the pandemic hit – production was meant to take place last year, after all – but there has been plenty of time to change things up and include contemporary themes. Not every series has to use the pandemic as inspiration, and in many ways people come to sci-fi and fantasy to escape the real world – something that’s arguably even more necessary right now – so maybe this won’t happen.

Number 14: The return of Laris and Zhaban.

Laris and Zhaban in Season 1.

Laris and Zhaban – Picard’s Romulan assistants – served a fairly typical adventure story role in Season 1. They were the safe reminders of home that Picard had to leave behind when setting off on his quest; a role filled by the residents of Hobbiton in The Lord of the Rings, for example.

But they were also more than that. The decision to make them Romulans did serve a purpose – without them, Picard would never have learned of the Zhat Vash, for example. But given Picard’s complicated history with the Romulans after abandoning his efforts to help them evacuate their homeworld, the question of why these two ex-Tal Shiar operatives were so steadfastly loyal to him raised its head.

Picard with Laris, shortly before he left Earth.

Maybe this is simply a minor plot contrivance, but I don’t want to just overlook it and say it’s fine. What did Picard do to win their trust and loyalty so strongly that they’d follow him to isolation on Earth? And why did they choose not to follow him into space when he set out to help Soji? It wasn’t to attend to the grape harvest, surely.

Some further development of these two characters would be welcome, and while I know they did feature in a novel, most folks don’t read those and it arguably isn’t canon – Star Trek, unlike Star Wars, has always drawn a line between what happens on screen and what happens in apocryphal works. So their backstory in relation to Picard is still, in my opinion at least, an open question that Season 2 could address.

Number 15: The Artifact will come under Federation control.

The Artifact’s resting place on the surface of Coppelius.

Though parts of it have been picked over by the Romulans for decades, the opportunity to study a largely-intact Borg vessel does not present itself every day. Unless the Borg have somehow been defeated off-screen between the events of Nemesis and Picard – which I very much doubt given their popularity among fans – the Federation will surely want to avail itself of this opportunity.

The Artifact crash-landed on Coppelius at the end of Season 1, but with the planet designated a Federation protectorate they now have access to the wreck. Who knows what Federation scientists could learn about the Borg if not constrained by the Romulans. The Artifact may not play a big role in Season 2, but I would argue it is incredibly important to the Federation. That may even be the cynical reason why they chose to send a fleet to defend Coppelius.

Number 16: The appearance of Section 31.

A black Section 31 combadge as seen in Discovery Season 2.

If you followed my reviews and theories during Season 1, you may remember that I thought of numerous ways that Section 31 could’ve been included. This stemmed from the production side of Star Trek: Section 31 had recently been a major part of Discovery, and there’s an upcoming Section 31 series in development. For those reasons, Section 31 seemed like a way that all three Star Trek projects could’ve had a familiar theme.

It didn’t happen in Season 1, of course, and with Discovery completely ignoring Section 31 in its third season perhaps you could argue that it’s less important this time around. But I don’t necessarily agree. The Section 31 series is still coming, with pre-production having already begun and Michelle Yeoh’s departure from Discovery setting the stage.

Georgiou’s departure has teed up the Section 31 show.

In addition, Discovery introduced us to the enigmatic Kovich in Season 3, played by famed director David Cronenberg. If you followed my Discovery theories, you’ll know I’ve posited the idea that he is an operative of Section 31 – or maybe even its leader in the 32nd Century.

As a result, Section 31 remains one way that many of the ongoing Star Trek projects can find common ground, despite being split up along the timeline. It would remind fans of each series that they’re watching one part of a greater whole, and connecting the Star Trek franchise together will hopefully help fans of one show jump over to others that are currently in production. I know of many people who have either watched Discovery or Picard – but not both. Finding more ways to connect the shows and bring the franchise together will be important to Star Trek’s future – and vital to its ongoing success.

Number 17: Fallout from Picard’s newfound synthetic status.

The android F8 during the attack on Mars.

There had been a widespread ban on synthetic life for over a decade as a result of the attack on Mars. Though we learned in Season 1’s closing moments that the ban has been rescinded, the attack, its aftermath, and the ban may have lingering effects on non-synthetics. Will Picard face discrimination and hate as a result of his synthetic nature?

Perhaps, given the reaction in some areas of the fandom to Picard becoming a synth and the whole death-and-rebirth narrative, Season 2 will seek to downplay Picard’s status. But it would be interesting to explore the ramifications. We’ve talked about Riker, Troi, and Guinan possibly being major characters in the story – how will they react to Picard being synthetic? Can Troi read synthetic minds? Would Guinan feel he’s no longer the same person given her sensitivity to such things?

Picard reawakens in a synthetic body.

There are real-world analogies that anti-synthetic discrimination could be used to show. Star Trek has, on many occasions in the past, looked at the complex issues of race relations in the United States, and in the wake of the events of 2020 and ongoing efforts to ensure racial justice and equality, this could be something the synthetic storyline highlights.

There are also interesting legal and ethical questions that the show could address. Most significantly: is Picard the same person as he was, or is he legally and morally a distinct person now that he has a synthetic body? Will Starfleet, for example, consider him to be the same retired Admiral, or will he no longer have those privileges?

Number 18: Making peace with the super-synths.

Soji contacted the super-synths in Season 1.

Although she stood down and turned off the synths’ beacon on Coppelius, Soji did nevertheless contact the super-synths (the villains I nicknamed the “Mass Effect Reapers” for their similarity to that video game faction). There may yet be consequences for having done so, because the super-synths might not simply return to dark space to wait for another faction to contact them – they may already be en route to the Milky Way galaxy.

Even if the super-synths themselves don’t initiate a conflict, from Starfleet’s point of view it makes sense to reach out and tell them what happened. By explaining Starfleet’s position – that they value synthetic life and will not seek to harm the Coppelius synths – perhaps a conflict could be avoided. Making the attempt seems like something Starfleet would do, at least.

The super-synths almost arrived at Coppelius before Soji broke off contact and shut the portal.

There’s a lot of potential to make the super-synths more than a plot device and one-dimensional incomprehensible villain. They could, as previously suggested, connect to the Borg. They could also be expanded upon as we learn more about them, their name, their motivations, and so on. We know precious little about the super-synths right now, and it would be great to learn more. Was their offer to help the synths genuine – or was it a trap?

Soji, as the instigator of contact with the super-synths, could be just the person to help pacify them if they turn out to be on the warpath. That could be why she needs Picard and the crew of La Sirena: to seek out the super-synths and prevent a war.

Number 19: Shutting down the beacon on Aia.

The beacon on Aia.

Now that the Zhat Vash have been exposed, we don’t really know what will become of their anti-synthetic crusade. The decision to have Commodore Oh withdraw so quickly in the Season 1 finale is not one I particularly liked; the Zhat Vash were presented as zealots who would stop at nothing to achieve their goal of wiping out synthetic life, and despite Soji closing the portal, from Oh’s point of view she could just open another one.

However, criticisms aside, it makes sense that Starfleet – or at least Picard – would want to find the octonary star system and shut down the beacon on Aia. Not only would this prevent the Zhat Vash from continuing to use it, but it would also avoid the possibility of other synths accidentally finding it and using it to contact the super-synths.

The planet Aia.

This should be a priority for Starfleet, at least in my opinion! Though we may not see it for ourselves, this could be something communicated in a line or two of dialogue, just noting that the beacon has been shut down.

Alternatively it could be a major storyline, with Picard and La Sirena setting out to find Aia and continue their fight against the Zhat Vash. I’m not sure if this would be the right way to go – it feels like an epilogue to Season 1 rather than the main event for Season 2. But it could make for an interesting episode!

Number 20: The return of Dr Crusher (or another major character from The Next Generation era).

Dr Crusher in The Next Generation Season 1.

Dr Crusher was the only major character from The Next Generation who wasn’t confirmed to be alive in Season 1. We saw Troi and Riker, of course, and thanks to Zhaban we heard about Worf and La Forge too. But despite how close Picard and Dr Crusher were – they had even married in an alternate timeline – no mention was made of her.

The question of what became of their relationship is an open one. In the aftermath of Picard’s resignation and retirement, did Dr Crusher visit him? Were they married, or romantically involved? If so, could the wedding of Troi and Riker (that we saw in Nemesis) have been the prompt for them to revisit their relationship?

Captain Picard and Dr Crusher in The Next Generation.

Picard was clearly single in Season 1, so if he and Dr Crusher had been romantically involved it’s clearly something that has already ended. But his new lease on life – thanks to a new body and overcoming his depression – could mean he wants to renew things or at least contact her.

Alternatively we could learn that Dr Crusher has died, or that she and Picard never got together. They could even have had a major falling-out and may not have spoken in over a decade. Such a storyline could see them coming back together, moving on from whatever caused the fight.

So that’s it. I didn’t plan to write this at first, but writing up some preliminary guesses for Discovery Season 4 was so much fun that I wanted to do the same thing for Picard Season 2 as well!

Picard Season 2 will – fingers crossed – begin filming some time soon. I wouldn’t bet on seeing it on our screens in 2021, though, just because of how much time post-production will take. So it may be a while before we see Picard, Raffi, Elnor, Rios, Dr Jurati, and Seven of Nine! But that doesn’t mean speculating and guessing about what may be coming is any less enjoyable.

These are not even theories – I want to call them guesses rather than anything else. So please, please don’t get carried away thinking that any of these are destined to happen. We all need to remember to take such theories and predictions with a pinch of salt at the best of times, and guesswork this far out when we know less than nothing about the upcoming season is almost silly! So as fun as this was to put together, let’s all try not to get too excited about anything listed above.

Star Trek: Picard Season 1 is available to stream now on CBS All Access in the United States, and on Amazon Prime Video in the United Kingdom and elsewhere. The Star Trek franchise – including Picard and all other titles mentioned above – is the copyright of ViacomCBS. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.

Has Star Trek: Picard’s first season finale set up the plot of Discovery’s third season?

Spoiler Warning: There are spoilers ahead for Star Trek: Picard, Star Trek: Discovery, and the trailer for Discovery’s upcoming third season.

Ever since we first caught a glimpse of Star Trek: Discovery’s third season setting, I’ve been wondering what’s going on. According to everything we know at this stage, Burnham and the ship will successfully complete a 930-year time jump into the far future. That future looks pretty bleak, and perhaps could even be described as post-apocalyptic. If it’s true that Discovery plans to tell a story set in an era where the Federation is defeated or in decline, figuring out how that happened – and reversing it – is surely going to be the overarching story.

For now we’re going to have to set aside reservations about how a post-apocalyptic or otherwise bleak setting will work with Star Trek from a storytelling point of view. Instead, let’s look at things from an in-universe perspective and try to figure out what may be going on. I have already covered this theory back in March when I was wrapping up my Star Trek: Picard theories, so if you’re a regular reader it may be familiar to you.

In short, here’s how the theory goes: the race of super-synths from Star Trek: Picard are the cause of Discovery’s post-apocalyptic setting. Let’s break it down, look at why it could be a possibility, and explore it in more detail.

This shot of a planet being destroyed by powerful synthetic life-forms was used in both Discovery Season 2 and Picard Season 1.

So although I said this would be an in-universe explanation of the theory, there is one production-side reason we need to look at too. One thing that modern Star Trek shows lack is a relationship to each other. Discovery did a pretty good job of tying itself to The Original Series, and both Picard and Lower Decks have connected themselves to The Next Generation, but there’s essentially nothing beyond a couple of throwaway lines linking Picard to Discovery right now. That would have been unthinkable during the 1990s, where The Next Generation, Deep Space Nine, and Voyager all shared characters, settings, locations, factions, and themes.

Modern Star Trek is hampered by its shows being split up along the timeline, and this makes it harder for new fans to transition smoothly from one series to another. There are no threads of consistency running between the different series, and while they are semi-independent productions they are all being produced by one overall team of people under the Star Trek Universe umbrella.

If we were to learn at some point in Discovery’s third season that the events depicted in Picard were directly related to the Federation’s decline or defeat, suddenly there would be a reason for Discovery fans who missed Picard to go back and watch it, and for Picard fans who haven’t seen Discovery to jump over and watch that show too. There would be the strong feeling that both shows genuinely take place in the same universe and the same timeline, which right now is lacking. This would help the Star Trek brand stay cohesive, and be a frame of reference for casual viewers, all while allowing both shows to provide each other a boost.

The Federation official from the Discovery Season 3 trailer.

So that’s on the production side of things. But I promised you an in-universe look! First let’s very briefly recap, in case you forgot the events of the final few episodes of Picard. While investigating Soji’s origins, Picard and the crew of La Sirena came to realise that there are a race of synthetic life-forms – created by Bruce Maddox – living on a planet called Coppelius. The Romulan faction known as the Zhat Vash were searching for the synths too, because they believe that the synths will trigger an apocalyptic event. This apocalypse was revealed to them by a beacon left behind by an ancient race on a world they called Aia, and when we got a clearer look at the message the beacon contained, it was less a warning to organics than a message to the synths themselves, offering aid. A faction of super-synths that I nicknamed the “Mass Effect Reapers” exist somewhere beyond the galaxy, and they have promised aid to any synthetic race that calls on them. Sutra and Soji planned to contact them, and to open a portal that would have allowed the “Mass Effect Reapers” to travel to the Milky Way galaxy. They successfully built the beacon, but at the last second Picard convinced Soji to shut it down, closing the portal and preventing the arrival of the “Mass Effect Reapers”.

Did I miss anything? I hope not! I nicknamed this faction the “Mass Effect Reapers” because they have noteworthy similarities to another race of super-synths in the Mass Effect series of video games.

I think that the most important thing to note is that in the finale, Soji and Sutra were successful in opening the portal. Thus, the “Mass Effect Reapers” are aware of the existence of a race of synths in the Milky Way galaxy, and also of the existence of the Federation. While Picard was able to convince Soji to stand down and close the portal, questions remain.

Soji working on the beacon in Et in Arcadia Ego, Part 2.

Now that the “Mass Effect Reapers” know of the existence of the Romulans, Federation, and synths, will they be content to go back to sitting still, waiting for another race of synths to contact them? Or did Sutra and Soji set into motion a chain of events that can no longer be stopped? Closing the portal may have prevented the imminent arrival of the “Mass Effect Reapers”, but it’s totally unclear what they will choose to do next.

The “Mass Effect Reapers” were presented as hyper-intelligent, arguably far beyond the Federation and Romulans in terms of technology, and thus their motivations and actions can be difficult to predict. This may be an oversimplification, but at the moment Soji closed the portal and shut down the beacon, she didn’t seem to communicate to the “Mass Effect Reapers” why she was doing so. From their point of view, a portal was opened – through which they could see a race of synths threatened by an imposing fleet of starships – then before they could take action the portal was closed. If I were the “Mass Effect Reapers”, I’d want to know why. And if I were paranoid, I might be thinking that the synths who tried to contact me were under attack and that the beacon had been forcibly shut down.

If the “Mass Effect Reapers” followed this line of thinking, and their motivation is still to provide help to any synthetic race that asks for it, the logical next step would be for them to set off to the Milky Way as fast as they can. Depending on how far away they are – and the show never really explained that – it could take years, decades, or even centuries for them to travel, even if their technology is more advanced than anything we’ve ever seen in Star Trek. That’s assuming they set off immediately – there may have been a debate or discussion about what to do that could have lasted years or longer.

This is basically all we saw of the “Mass Effect Reapers” in Et in Arcadia Ego, Part 2.

In any case, it’s not inconceivable that this extra-galactic threat could take centuries to arrive. I like to assume that Picard and/or Starfleet will travel to Aia and disable or destroy the beacon to prevent not only the Romulans from using it, but from other synths finding it in future. Even shutting down the beacon on Aia may be too late, though, because of the events of Et in Arcadia Ego, Part 2.

The “Mass Effect Reapers” are perhaps the only faction other than the Borg who could be capable of waging a successful war against the Federation. Even if all of the powers of the Alpha and Beta quadrants were to band together, it still might not be enough against the superior technology of these super-synths, and we could certainly expect any such conflict to be long and catastrophically costly. Even if the Federation survived it would be seriously weakened. Furthermore, a large-scale attack on the Federation would result in far-flung colonies being cut off, and any news or information might be hard to come by.

This is where the trailer for Discovery’s third season comes in. We see a setting best described as bleak, as Burnham and the crew arrive in a part of the galaxy that seems far away from Earth. The Federation seems to be in decline, Starfleet is described as a “ghost”, and we’re left wondering what happened to cause all of this. We’ve seen the Federation in the far future before, both in Voyager and Enterprise, and certainly 100-200 years before Discovery’s far future setting, the Federation and Starfleet seemed to be doing pretty well, even furthering their mission of exploration to include time as well as space. Reconciling that image of the future with Discovery’s setting is something Season 3 will need to do.

The crew of the USS Relativity in the 29th Century – around 300 years before Discovery’s third season is supposedly set.

As a faction we know essentially nothing about – not even their name – the “Mass Effect Reapers” are ripe for exploring in more detail. Discovery could do so in such a way that doesn’t interfere with anything Picard set up, providing not only the next part of the story, but also some background. We could learn about their leadership, motivations, and level of technology in much more detail. And it would still be a practically blank slate for Discovery’s team to use to set up the third season’s bleak and dark setting.

The question of the “Mass Effect Reapers” motivation comes into play again. There are two broad possibilities for their actions in Picard – either they were genuine in their offer to help synthetic races, or the beacon on Aia was part of an elaborate trap. Neither option bodes well for the Federation, assuming that the “Mass Effect Reapers” are now aware of their existence. If it was a trap, and the “Mass Effect Reapers” were waiting to be contacted by synths simply because that would mean advanced civilisations are present, they may now have a new target. If it wasn’t a trap and their desire to help was genuine, they may be motivated by concern for the Coppelius synths or even anger at the Federation and Romulans for intruding before communication could be established. While it’s hard to say what this faction could be planning or thinking based on such a small amount of information, these possibilities seem reasonable, and if they decided they wanted to attack or investigate, the events of Et in Arcadia Ego, Part 2 could have set that in motion.

Because Picard Season 1 wrapped up in the immediate aftermath of the standoff over Coppelius and the closing of the beacon, we don’t know what happened next. However, I consider two things to be somewhere between possible and likely: the synths on Coppelius would be relocated (in order to keep them safe from the Romulans), and Starfleet would make some attempt to contact the “Mass Effect Reapers” to explain what happened.

The Romulan and Federation fleets engage in a standoff over Coppelius in Et in Arcadia Ego, Part 2.

Relocating the synths feels like a necessity. Commodore Oh may not have wanted to risk war with the Federation when staring down a massive armada, but there’s no indication that she changed her mind on the necessity of exterminating synthetic life. From her perspective, Soji and Sutra building the beacon was a culmination of her worst fears, and although Soji may have been convinced to stand down, again from Oh’s point of view what’s to stop her changing her mind? Or one of the other synths building a new beacon? Leaving the synths on Coppelius would be very dangerous for them, unless Starfleet plans to permanently base a fleet in the system, so the easiest option for everyone would be to relocate them to a safer place.

However, in the context of our theory, this could be problematic. Suppose it takes the “Mass Effect Reapers” a long time to arrive in the Milky Way galaxy, and they don’t manage to travel to Coppelius for several centuries. What do they find when they arrive? No synths, but several massive interstellar civilisations and empires of organic beings. Put the two things together and it’s not unreasonable to assume that the organics wiped out the synths – especially if the last thing the “Mass Effect Reapers” saw before the portal closed was two massive fleets approaching the planet. They may take the missing synths as proof of an attack and go on the rampage.

Even if Starfleet were able to contact the “Mass Effect Reapers”, there’s no guarantee a successful dialogue could be opened. Setting aside other theories like the “Mass Effect Reapers” actually being the Borg, a race of super-synths that considers themselves light-years ahead of organic beings in every respect may look at humans the way humans look at ants or bacteria, and consider any attempt at communication unworthy of their time. That’s assuming Starfleet could find a way to make contact without opening another portal – it may simply not be possible, though I expect the Federation would want to try.

The “Mass Effect Reapers” make their way to the portal in Et in Arcadia Ego, Part 2.

Taken together, all of these different factors make at least a plausible argument for Discovery taking this story beat and expanding it for the basis of its third season. It could certainly be done in such a way that wasn’t confusing and didn’t make Picard essential viewing to understand what was happening – just like Discovery did with Pike, Vina, and the Talosians in Season 2. The Cage certainly provided extra details and informed what was going on, but viewers didn’t miss anything important for not having seen it. I’m sure the same could be done here, especially if the attack by or war against the “Mass Effect Reapers” was already over. It would exist simply as backstory; an encouragement to hop over and watch Picard without making doing so a necessity.

While this theory remains a possibility, at least in my opinion, it’s hardly a certainty and I wouldn’t be at all surprised to learn Discovery is going in a wholly different direction. Many of my theories during Picard Season 1 didn’t pan out, and this may simply be another that falls by the wayside! Nevertheless, it’s fun to craft theories and speculate, and at the end of the day that’s all this is: a bit of fun, and a chance to spend more time thinking about Star Trek. So please take everything I’ve said today with a healthy pinch of salt.

Star Trek: Picard Season 1 is available to stream now on CBS All Access in the United States, and on Amazon Prime Video in the United Kingdom and other countries. Star Trek: Discovery Season 3 will air beginning on the 15th of October on CBS All Access in the United States and Netflix in the United Kingdom and elsewhere. The Star Trek franchise – including all series and films discussed above – is the copyright of ViacomCBS. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.

Star Trek: Picard review – Season 1, Episode 10: Et in Arcadia Ego, Part 2

Spoiler Warning: There will be spoilers ahead for Et in Arcadia Ego, Part 2, and for the entirety of Star Trek: Picard Season 1. There may also be spoilers for other iterations of the Star Trek franchise.

I’m in two minds about Et in Arcadia Ego, Part 2. On the one hand, the entire second half of the episode was incredibly emotional, with hit after hit after hit that left me in tears. But on the other hand, much of the first half of the episode followed on directly from Et in Arcadia Ego, Part 1 and was a waste of space.

I think overall, I stand by what I said in my review last week: that many of the story points in this two-part season finale were rushed and underdeveloped. Et in Arcadia Ego, Part 2 had, at points, the same issue of blitzing through potentially interesting story beats, and the disappointing thing isn’t that any of the storylines were bad, it’s that they had potential to be so much more than they were. Despite the second half of the episode going a long way toward redeeming the entire two-part finale, I think when the dust settles and I’m thinking more clearly and less emotionally, the overall picture will be, at best, mixed. There just wasn’t enough time remaining for many of these points to be fully explored, and realistically that meant that either some story threads needed to be cut entirely, or the season needed another couple of episodes to explore them fully.

Where the second half of Et in Arcadia Ego, Part 2 succeeded was that it slowed down, and the rushed pacing, the jumping between storylines, and the obviously-cut down scenes did largely abate. This gave way for a more emotional story to develop and play out over several slower, touching sequences, which brilliantly played on elements of the story that had been spread out over the preceding nine episodes – beginning right back in the first episode of the season, and indeed the first sequence of the first episode.

But we’re getting ahead of ourselves. Et in Arcadia Ego, Part 2 begins right where Part 1 left off last week, where Sutra let Narek escape and locked Picard up. Narek travels to the Artifact’s crash site and manages to sneak aboard, passing Seven of Nine, Elnor, and a handful of xBs who seem to be working on repairing the crashed vessel. The establishing shot of the Artifact was actually really pretty, and the closest the planet of Coppelius or Ghoulion IV came to not looking like California for the whole episode.

This shot of the Artifact was great.

Narek is searching for something on the Artifact when Rizzo appears from nowhere and surprises him. I’ve mentioned several times that Rizzo has grown on me as a character in her appearances over the course of the season. Her transformation from an uninteresting and one-dimensional villain into an actual fleshed-out character has been great to see, and it’s hard to imagine the story of Star Trek: Picard’s first season without Peyton List’s occasionally over-the-top performance. Seeing Rizzo and Narek reunited showed us that they were real people underneath it all, and given it was almost sure to be Narek’s last meeting with his sister, their hug was strangely touching. After being attacked by the xBs at the end of Broken Pieces, I’d assumed Rizzo had beamed over to one of the Romulan ships near the Artifact, but it seems that she remained aboard during its short-lived mission to Coppelius and survived the crash-landing. I hadn’t expected that – partly because it wasn’t communicated clearly, it must be said – so it was a surprise to see her. But we did get to see a brief moment of vulnerability and emotion from Rizzo – in that moment, she was genuinely relieved, happy, and even slightly overwhelmed to see Narek, and that moment played out perfectly.

The next scene has to be one of my least-favourites. Not for its dialogue, which was a conversation between Picard and Soji as he tries to convince her to try things his way instead of following Sutra, but for the editing. The best moments with Picard, both in this series and in his previous Star Trek appearances, have been a combination of what he said and his presence while saying it. With this scene cutting away from Picard and Soji in large part, with what should’ve been one of his trademark speeches heard only in voiceover, something significant was missing that made the words he said far less impactful to us as the audience. We needed to see Picard as well as hear him for his speech to have its full effect. And back to what I said at the beginning, this feels like a consequence of both parts of the finale having just too much to cram in to two episodes. Before the opening titles, the episode needed to show this conversation, as well as convey – through Dr Jurati seeing it firsthand – the construction of the beacon that Sutra planned to use to contact the “Mass Effect Reapers”. Instead of there being enough time for both scenes, they ended up smashed together, with the voices of Picard and Soji on top of Dr Jurati silently watching the beacon. For me it simply didn’t work, and both scenes were the worse for being amalgamated.

The opening titles once again ruined the surprise appearance of a character. For the third time this season, an actor’s name was included which telegraphed the arrival of a character whose appearance was supposed to be unexpected: this time it was Jonathan Frakes, who reprised his role as Riker. What was the point of that? In all three cases where this has happened – Seven of Nine in Stardust City Rag, Dr Soong in Et in Arcadia Ego, Part 1, and Riker this time – the appearance of the character was treated in the episode as a surprise. Everything from the camera work to the music built up the suspense of who we were about to meet – yet the opening titles had already spoilt it. Riker’s appearance at the head of Starfleet’s armada was supposed to be something that would make the audience go “wow!”, but instead it was telegraphed ahead of time, so the arrival of his fleet and then seeing him in person when he hailed the Romulans had lost the crucial element of surprise. I just do not understand this decision. How hard would it have been to credit Jonathan Frakes at the end and leave Riker’s appearance a genuine surprise? It was poor, and it detracted from what should’ve been one of the episode’s more powerful moments. It was still nice to see Riker on screen and back in uniform – we’ll deal with that scene in more detail later – but it was such a shame that it wasn’t the surprise it should’ve been.

This shouldn’t have happened.

After the opening titles we see why Narek went to the Artifact – among the many things the Romulans didn’t have time to evacuate were a set of bombs, and he plans to use them to destroy the orchid-ships before the Romulan fleet arrives. This is a pretty tense scene in contrast to his reunion with Rizzo, as we see that there’s still tension between them and they’re of unequal status – despite being very shaken by recent events, Rizzo is still the superior officer. She really doesn’t have a choice in letting Narek go, as there are two jobs to do – destroying the orchids and activating the Artifact’s weapons – and two of them. Narek called himself a “Zhat Vash washout”, and clearly his history with the secretive organisation is complicated. We’d seen a couple of hints at that in earlier episodes, but nothing as major as what we got here. Unfortunately, as with many points across the two-part finale, it was left undeveloped. Narek has had multiple appearances across Star Trek: Picard’s first season for this aspect of his background to be explored, and given that we’re less likely to see him return for Season 2 than anyone else at this point, I would have thought that if the series wanted to properly explore his Zhat Vash background that this would’ve been the last opportunity. As it is, we got a couple of throwaway lines about Narek and Rizzo’s family: their parents, apparently, died as a result of working for the Zhat Vash, but again, how or why is not explained in any detail. Narek and Rizzo part for what would be the final time.

Out of all of Star Trek: Picard’s villains, the dynamic between Rizzo and Narek was by far the most interesting. As brother and sister there’s always going to be an element of sibling rivalry to what they’re trying to do, and Rizzo made clear in every scene together where the power lay in that dynamic. They played off each other well, with Rizzo pushing Narek to the brink of mutiny at times. But throughout it all, his commitment to the cause never wavered, and was stronger than both his fear of and disdain for Rizzo, as well as his clear feelings for Soji.

Narek and Rizzo at the Artifact’s crash site.

Technology in Star Trek has always been flexible to suit the needs of the story, and I appreciate that’s something that has happened going back to The Original Series. Even with that caveat, I didn’t like like the magical do-anything macguffin that’s used in the next scene by Raffi and Rios to fix La Sirena’s engine. It strayed too far into the realm of magic for me, especially with its “just believe it will work” spiel. While we’ve seen similar things in Star Trek before, and perhaps in some contexts it could’ve worked, it just felt forced at this moment; a way to send Raffi and Rios on a mission to La Sirena so they could be there for other story elements to unfold, but done in such a way that they didn’t need to spend more than thirty seconds fixing the engine – which they went back to do.

In fact, at several points in Et in Arcadia Ego, Part 2 did I get this feeling that the story was being forced down a particular path. Scenes would be included not because they fit the natural flow of the story, but because they either looked “cool” from a visual standpoint, or because they moved characters around to get them to be in the right place for other things to happen. In this example, Raffi and Rios had to leave Coppelius Station – under the guise of fixing La Sirena, they were moved out of the way so Picard could be apprehended, and placed in the right location for Narek to find them later, so they could plan their (stupid) attack on the synths’ beacon. It all felt just a little too much like it was driven by a room full of writers, and not a natural way for the characters to go. We’d also see the attack I mentioned be done in a very stupid way to get the plot to a specific climax, as well as the campfire scene with Narek which will come later as other examples of characters being forced into specific situations which didn’t really make sense in the context of the episode. It was constructed in such a way as to allow the plot to unfold, and unfortunately we’re supposed to just brush off some of the contrivances to make it happen.

Rios with the magical macguffin.

While we’re talking about contrivances, I can’t wait any longer to talk about Star Trek: Picard Season 1’s big plot hole. I’ve been flagging this up for several weeks as a potential issue, and unfortunately it was left unresolved at the end of the season. So a plot hole is what it’s become: why was Maddox on Freecloud? Finding Bruce Maddox was the driving force behind the first half of the season’s story, and when Picard finally encountered him on Freecloud, he made it very clear that the reason he was there, and had put himself in danger by contacting Bjayzl, was because his lab had been destroyed by the Tal Shiar. With nowhere else to go and no one to turn to, he went to see Bjayzl as a last resort – and ended up paying for it with his life. Yet Maddox’s lab clearly wasn’t destroyed. He wasn’t kicked out by Dr Soong and the synths, who continued to speak very highly of him. If he’d set up a lab elsewhere that had been destroyed, he could’ve returned to Coppelius. And as it sits right now, there’s no reason for Maddox going to Freecloud other than “because plot”. And that’s a mistake – Maddox was such an important figure, especially in those early episodes, that the reason he put himself in danger should have been given a proper explanation. It’s disappointing that the story and the season have ended with this gaping hole left unexplained.

After Raffi and Rios have used the magical macguffin, we get a scene with Dr Jurati and Dr Soong. At the end of last week’s episode, Dr Jurati had promised to aid the synths – but this was clearly a ploy to avoid being locked up and to be able to help Picard. I liked the dynamic between Soong and Jurati – he clearly hates her for killing Maddox, yet he needs her help. And his barely-contained loathing breaks the surface in the way he talks to her, as Brent Spiner delivers the lines in a style not dissimilar to how he portrayed Lore in The Next Generation. Again, though, as with too many points in the finale, this didn’t really have time to properly develop, and this scene between them, and one brief moment last week, is all the time they had alone together.

Dr Jurati.

Both Brent Spiner and Alison Pill delivered amazing performances with the limited material they had – I especially liked Dr Jurati’s “I’m not their mother, asshole” line – but I would have liked to have seen more of this relationship. There was the potential for it to go from bad to worse, then for the two of them to form a hate-filled unlikely alliance, before finally coming to terms with what happened. Dr Jurati had been essentially brainwashed by Commodore Oh, and they had both lost someone they cared about in Maddox – I would have liked to see that explored some more, especially because the on screen presence and chemistry the two actors had was definitely one of the finale’s high points.

Back at La Sirena, Narek has arrived and is trying to get the attention of Raffi and Rios by throwing rocks. He shows off his grenade collection and insists on meeting with them. At the meeting, Elnor arrives – we’d seen him following Narek as he left the Artifact. Speaking as we had been of two characters who loathe one another, Elnor and Narek feel that even more strongly. Elnor’s anger at Hugh’s death was on full display, but everyone had to stow their feelings as they discussed the synth problem. Narek is still in Zhat Vash mode, seeking out allies for his mission to blow up the synths’ ships. Staying with the theme of parts of the story being rushed, Raffi and Rios’ decision to believe him almost straightaway wasn’t great. While it was nice to see Narek finally interacting with someone other than Soji or Rizzo – the only two characters we’d seen him spend any significant time with – it came too late in the story to really have much impact, and like other points in the finale, was rushed. Narek really didn’t have to do much at all to convince the others that the synths – who they’d just met and were on friendly terms with – were a galaxy-ending threat, and they didn’t consider any other possibilities for why they couldn’t contact Picard at Coppelius Station other than Narek’s reasoning that the synths were jamming their commuications. It’s just another part of the finale where more time was needed – time to allow the three non-Zhat Vash characters to come around to Narek’s way of thinking. As it is, it felt like an instant turnaround – 180 degrees from trying to save the synths to trying to blow up their ships and beacon.

Narek finally got a chance to talk to other characters.

At the beginning of Stardust City Rag, we got a fairly brutal scene where Icheb has his eye torn out. The graphic sequence was shown in full, and it was grotesque but at the same time it was something that as the audience, we couldn’t look away from. In the next scene in Et in Arcadia Ego, Part 2, Dr Jurati takes the eye out of Saga, the deceased synth from last week, in order to use it to unlock a door and spring Picard from his captivity. But we didn’t get to see the eye removal, as the camera instead cut to Dr Jurati’s face for the majority of the scene. And unfortunately, this didn’t look great. Alison Pill undoubtedly gave it her best shot, trying to look both disgusted and like someone who was trying to figure out how to disconnect sensitive electronics, but it would’ve been better to either see the entire process or to jump-cut from her starting the procedure to having the eye successfully removed. As a story point I did like using the eye, and I liked the eyeball prop when we saw her use it later, but the removal itself was just a bit of a waste in my opinion.

The campfire scene where Rios, Raffi, and Elnor sit and listen to Narek’s Zhat Vash stories wasn’t great. In principle it was good to have them together, but by this point in the story, we as the audience are familiar with the Zhat Vash prophecy. And ghost stories around the campfire is just such a cliché that the scene felt so forced. And it didn’t make sense in context. The ship had been fixed – why sit around outside it? And with such urgency to get to Coppelius Station to destroy the beacon, couldn’t they have talked en route? Or flown La Sirena closer to the synths’ compound? It was just so obvious that the director or creators of the show had decided that a campfire scene would look cool that they shoehorned it in, even though doing so made little sense.

This scene made no sense.

The campfire story itself was fine, but as I said there wasn’t much in there that we as the audience didn’t already know. In an episode with so much story left to conclude, and thus where every minute matters, a lot of this campfire scene was really just wasted time. Conversely to that, the next scene with Commodore Oh – which barely even qualifies as a “scene” because of how short it was – had been very obviously and badly edited down to just a few seconds, and simply fell flat in the moment. Who was she supposed to be talking to when she said “At last, our great work is nearly at an end”? There was no one else present in the scene, she was just standing on the bridge of her ship in her evil villain cloak doing an evil villain pose spouting a generic evil villain line. Given how tightly it was cut, there was almost certainly more to this scene that didn’t make it into the final episode, but this line simply did not work on its own.

The visual effect of the Romulan fleet at warp was good, however, and I did enjoy seeing that. The design of the new style of Romulan vessel was great, and I could see it being a natural evolution of the Romulan Warbirds from The Next Generation and the advanced warship used by Shinzon in Nemesis, and the fact that some elements of those designs made it into the new Romulan ships was good and shows that the show’s creators were paying attention to past iterations of Star Trek. However, one thing I didn’t like – and this also applies to the Federation fleet that we see later in the episode – was that all of the ships were identical. Past fleets that we’ve seen, while arguably smaller in scale, were almost always comprised of multiple classes of ships, and the fact that the animators and CGI artists had essentially copied-and-pasted the ships meant that the large fleet was less visually impressive that it could’ve been. It was good to see the number of Romulan ships en route, though.

The Romulan fleet.

Narek is back in the next scene, a mere few seconds later, showing off the bombs he retrieved from the Artifact. While the episode hasn’t communicated this very well, it seems that a significant amount of time has passed. When Narek arrived it was daylight outside La Sirena, but then the campfire scene seemed to take place after sunset. Yet this scene is in daylight again – and as I said before, considering the urgency of the mission to stop the synths bringing about the end of the galaxy, which everyone seems to agree on, they don’t seem to be moving very fast toward that goal as they’re still talking aboard La Sirena.

I did like the creative way that they were able to sneak the bombs into Coppelius Station; that was a fun story beat, especially when Rios seemed to be playing with the ball in front of the synths. There was a second where it felt like he might kick it too hard and it would explode! The scene a few episodes ago where Rios had been kicking a ball around on La Sirena also paid off here. And if I’m not mistaken, at least one of the synths on guard duty looked like F8 – the synth from the flashbacks to Mars that we saw earlier in the season. However, the next part of this is yet another example of a plot contrivance – the guards let Raffi, Elnor, and Rios into their compound with Narek, but then seem to leave them alone to do their own thing instead of following them or taking Narek back into custody. It would’ve been better to skip the part about hiding the bombs in the football and have them sneak in another way, or leave the compound unguarded altogether (who are they guarding it from, after all?)

I’ve already mentioned that the eyeball was a neat prop, and the way Dr Jurati figured out how to use it to access Picard’s room and spring him from custody was great. Picard is clearly suffering here from the unnamed brain condition that we saw the first real indication of last week. And while I liked that this had been set up way back in the second episode of the season, it was really only in the two parts of the finale that Picard goes from experiencing no symptoms to full-on dead in a matter of hours or a couple of days. And while we have no frame of reference for how futuristic diseases might run their course, as a story point I feel this would’ve worked better if we’d seen a couple of other instances of his health starting to fail in previous episodes. I know we’ve seen him snap and seem to be quicker to anger at a couple of points, and that we saw his PTSD-breakdown when he first arrived aboard the Artifact, but for the most part Picard has seemed in good health for his age – until the finale, when his condition seemed to rapidly accelerate from nowhere.

Rios with the bomb-ball.

Dr Soong learns, in the next scene, that it was Sutra and not Narek who killed Saga, and is visually shocked and heartbroken at the revelation. I’m glad that Dr Soong turned out to be someone who was on Picard’s side in the end. Brent Spiner can portray villains wonderfully, as he did with Lore and another Dr Soong in Star Trek: Enterprise, but as a fan, seeing his new character at odds with Picard wouldn’t have been my preference, given that it’s been so long since we saw the two actors together in Star Trek.

The guards of Coppelius Station seem to have just allowed Raffi, Rios, Elnor, and Narek free rein inside the compound, and they’re planning their attack on the beacon when Dr Soong intervenes. For a moment they thought they’d been caught, but Dr Soong plans to help take down the beacon having learned of Sutra’s betrayal.

Picard and Dr Jurati made it back to La Sirena – though how the two groups managed not to cross paths or spot each other isn’t clear. I mean, there can only be one direct route to the ship after all. But that is a minor nitpick compared to others in the episode. This scene, between Picard and Dr Jurati, was very powerful, and the first point in the episode where I really started to feel things turn around. I loved Picard’s line that “fear is an incompetent teacher”, and their plan – to launch La Sirena into space and make a last stand against the Romulans as a way to show Soji and Sutra that not all organics are evil is a good move – perhaps their only possible plan under the circumstances short of using La Sirena’s weapons to destroy the beacon. They’re banking their hopes on Starfleet having received Picard’s message and already being en route, because at best they’ll be able to stall the Romulans for a few minutes. This is basically a suicide mission, and they both know it. The genius of putting these two characters together, as opposed to say, having Picard teamed up with Rios or Elnor, is that they both have nothing to lose. Picard’s at death’s door, and Dr Jurati is facing a lengthy spell in prison, so of all the characters who could try to make a last stand, it makes sense for them more so than any others – except perhaps Raffi.

Picard and Dr Jurati back aboard La Sirena.

The Romulan fleet is only seven minutes away, so Picard launches La Sirena and shakily leads the ship into orbit, with Dr Jurati along for the ride. The action then cuts to Coppelius Station, where the rest of the crew are planning to attack the beacon.

Attacking the beacon makes sense in the story, but the way it was executed was so bad, and the plan was clearly designed to fail. They storm in and make a huge fuss, then Dr Soong uses another macguffin to deactivate Sutra, but because the other synths are still all-in on using the beacon and summoning the “Mass Effect Reapers”, the rest of the crew scramble around, punching and kicking before being wrestled to the ground. Dr Soong, having deactivated Sutra with his magic wand, doesn’t do anything. He stands motionless in the background while Rios makes a desperate throw to get the bomb into position, but Soji catches it and throws it away.

So many things wrong here, but the overall problem is this – the fight was clearly written in such a way that the “heroes” lose. And that was painfully obvious in the way it was carried out on screen. But let’s break down some individual failings. Why did Dr Soong not show the assembled synths the video of Sutra killing Saga? That single piece of evidence would have swayed most of them to his side. Why did he not use his magic wand on Soji after disabling Sutra? Why did the crew launch a full-frontal attack against a force of massively superior synths instead of sneaking around or causing a distraction? Why try to fight the synths at all? And finally, probably my biggest complaint about the synth storyline in the finale as a whole: what was the point of Sutra?

Sutra was shut down.

Don’t get me wrong, I’m not arguing that we should’ve seen more of Sutra this episode. The awful makeup and hammy performance meant I wanted to see as little of her as possible – in that sense I got my wish – but for an antagonist who’d played such a large role last week, and who did have, as I pointed out, a motive that was at least partly understandable, she was just completely sidelined by a story that raced through far too many points and left her completely undeveloped. Sutra had the potential to be interesting, at least in theory. Her presence turned the synths from damsels in distress needing to be saved to antagonists needing to be dissuaded or defeated, and that concept, if executed better, could have been interesting. Unfortunately, as I’ve already said, it would’ve needed several more episodes to work effectively – and a better performance from the central synth villain.

Given that Star Trek: Picard has been at least as much Soji’s story as Picard’s, I feel it would have been better on the whole to ditch Sutra and simply have Soji and Dr Soong be the principle drivers behind contacting the “Mass Effect Reapers”. It would have cut an extraneous character, allowed more time for some of the others to be explored, and we wouldn’t have had to sit through that awful performance last week. Soji did need someone to guide her turnaround last week, to allow her to convincingly side with the synths. But I don’t think that needed to be Sutra, and with a few tweaks here and there the story could’ve arrived at the same place without her – and it would have been better for it, especially considering she did nothing whatsoever this week.

Soji working on the beacon.

The next scene with Dr Jurati and Picard was hit-and-miss for me. The jumps in tone from deadly serious suicide mission to cracking dumb jokes just didn’t work, and while Dr Jurati has occasionally provided moments of comic relief throughout the season, this was not the moment for humour and it just ended up detracting from what could’ve been a much more powerful scene. I did like, however, that La Sirena was not flying smoothly in the exterior shots we saw, indicating that Picard is still getting back into the swing of things. We have seen him pilot spacecraft before – shuttlecraft most often, but also the Enterprise-D itself in the episode Booby Trap from the third season of The Next Generation – so we know he’s at least basically capable and should understand the principles involved.

Seven of Nine and Rizzo fight aboard the Artifact as Rizzo has tried to bring the Cube’s weapons online. She’s targeting La Sirena, which does raise the stakes somewhat, and the fight itself was decently exciting. There was never any real doubt as to who the victor would be, however, and Rizzo finally gets her comeuppance for killing Hugh as Seven of Nine sends her falling to her death with a well-placed kick. The two traded barbs during the fight, and we really saw Rizzo in a way that I talked about a couple of weeks ago: as a racist. That aspect of the Zhat Vash and Romulans – that their actions are a veiled analogy for hating another group of people because they’re different – is something the show found a balance between hinting at and overplaying, and I think, taken as a whole, the balance was probably about right.

Rizzo and Seven had a fight.

The visual effects and CGI in the episode were great, as we’ve already discussed, and the sight of the orchid ships launching to meet the Romulans, and overtaking La Sirena, was visually impressive. I still feel that the way the orchids operated last week was pretty dumb, but this time they don’t seem to be dragging intact ships to the planet’s surface; what exactly they’re doing in the fight other than getting shot at and serving as a huge distraction isn’t really clear.

The magical macguffin is back; Rios and Raffi apparently left it aboard La Sirena. Dr Jurati figures out that it can be used to produce holographic duplicates of the ship, which they can use to distract the Romulan fleet. Again, I really didn’t like this tool, and the fact that it seems to be magical and can be used for anything one’s heart desires was not great, even by the standards of Star Trek technobabble. While in principle what Dr Jurati hoped to do was a good idea, and I did like the name-check of the Picard manouvre from The Next Generation, the macguffin spoilt it really. And I felt that the moment where it created holo-duplicates of Dr Jurati’s face was a rare miss in the episode’s visuals.

However, Picard’s conversation with Soji, in which he explains that he’s basically laying down his own life to defend the synths was incredible and very powerful – the first of those emotional hits I mentioned at the beginning of the review. There’s something about a noble last stand that always gets to me, and this was a great example of it! It was an absolute desperation play, as Picard hopes against hope that Starfleet will arrive in time. If Starfleet didn’t get there, the “Mass Effect Reapers” would be the synths’ only hope of survival.

Picard speaks to Soji and asks her to reconsider.

The shot of La Sirena standing alone against the Romulan fleet was incredibly powerful too – part of that last stand feeling that I mentioned. The next part of the story has hits and misses, though. And I know this is kind of a nitpick, but what were the other synths and Dr Soong doing while Soji was activating the beacon? Did no one try to stop her or at least question what she was doing – especially given that they all heard what Picard had to say – nor try to contact the Romulans and reason with them? Several of the next few scenes played out as if Soji were the only one there, yet there were a dozen or more synths plus all of the other main characters.

Soji succeeds in activating the beacon just as the Romulans finish dealing with Picard and Dr Jurati’s last stand. The timely arrival of Starfleet – led, as the opening credits made clear, by Riker – prevented them from attacking the planet, and the two fleets enter a tense standoff. It was great to see Riker back in uniform again, and the last-minute arrival of the fleet saved Picard as well as the synths. However, as with the Romulan fleet earlier, all of the ships were the same type and I do feel that the copy-and-paste look detracted somewhat from the otherwise-impressive sight of so many Starfleet vessels – which, I believe, are based on a design from the Star Trek Online video game (but I could be mistaken in that). Until we’d seen his name in the credits, I wasn’t sure if we’d see Riker back in action this season. I was pleased that we did, and it definitely felt good to see Starfleet as the good guys again, after Picard had been forced to work around their obstinance for the majority of the season.

Acting Captain Riker, back in uniform.

Though this moment had been telegraphed ahead of time and sadly was robbed of some of its impact as a result, the musical score as the ships emerged from warp, coupled with Riker’s appearance a few moments later, did still feel good – just not as good as if it had been a genuine surprise.

We got to see a better look at the command variant of the new Starfleet uniforms – which still have that Starfleet logo pattern in the coloured section – and again, as I said at the start of the season I do like the new uniforms. Especially compared to Star Trek: Discovery’s all-blue look I think they look great, and the combadges complement the look nicely.

Commodore Oh, throughout her appearances this season, hasn’t seemed like someone who would listen to reason. The Zhat Vash have been presented as the most committed of all Romulans to the anti-synthetic cause; both she and the organisation are zealots. And zealots seldom back down, even when facing significant opposition. Picard uses what is basically his dying breath to talk Soji down from summoning the “Mass Effect Reapers”, who hadn’t yet emerged through the aperture created by the beacon. This speech was really the climax of the episode, and the emotional hit of the words Picard spoke, combined with knowing he was suffering greatly as he spoke them, matched the high points other episodes of the season hit. It was the kind of speech Picard could’ve given at any time in The Next Generation as he focused on the rights of all life to exist, and for the need to demonstrate that the synths aren’t what the Zhat Vash feared them to be.

Commodore Oh decides to withdraw.

It was enough to sway Soji, who closes the aperture before the “Mass Effect Reapers” could come through or even send a message. Their mechanical tentacles did look menacing, but that’s all we go to see of them. Faced with Soji having stood down and Riker staring her down with a large fleet, Commodore Oh withdraws, and this is something which I feel was out of character. Are we supposed to believe Picard’s speech swayed her? Or simply seeing Soji stand down one time would be enough to override years of Zhat Vash indoctrination? Even if it was good enough for Oh, did everyone on the fleet agree? From her point of view, what is there to prevent the synths rebuilding the beacon in twenty years – or twenty minutes? While Picard’s climactic speech was beautiful, Commodore Oh’s decision to withdraw, like so many other points in the finale, felt rushed. And no sooner had he arrived than Riker, too, was gone – warping out of the system accompanying Oh’s fleet. Couldn’t they have left a ship or two behind? Considering what came next, Riker’s presence would have been incredibly emotional.

Picard bids Riker a solemn “adieu”, before succumbing to the effects of his condition – perhaps combined with whatever medication he was given earlier by Dr Jurati.

Picard’s death – or rather, his “death” – in this moment was the emotional climax of the story, after the plot had reached its own zenith a moment earlier. And it was a very powerful sequence. Soji transports Picard and Dr Jurati to the synths’ location, and Picard dies, surrounded by his crew and knowing that he did right by Soji and her people. His final act was one of sacrifice – making a last stand to defend the synths, righting a wrong from fourteen years ago where he had been unable to prevent the ban or aid the Romulans. The emotion on the faces of the characters – especially Raffi, as Michelle Hurd put in her best performance of the season – was heart-wrenching to witness. Surrounded by his friends, and with a few last words to (most) of them, he passes away, killed by the nameless condition that we assume to be Irumodic Syndrome.

Picard succumbs to his condition.

Of all the characters we’ve met across the season, Rios and Seven of Nine arguably had the least connection to Picard on a personal level. Aside from a few scenes when they first met, I can’t recall a significant moment with Rios and Picard together. While there’s always sadness when someone passes away, especially under such circumstances, putting Seven of Nine and Rios together wouldn’t have been my first choice in the immediate aftermath, simply because they didn’t have the connection that, say, Raffi or Soji had with Picard. Nevertheless, the scene between them was touching, and they both spoke highly of the fallen Admiral. I liked the idea of sharing a bad drink because it was all they had access to, and it emphasised that they’re both a long way from home and that this is, for the moment at least, the end of the journey.

The real heartbreaking scene was when Elnor broke down and was comforted by Raffi. Elnor, who had been so strong and powerful, was weak and vulnerable having regained and then lost his surrogate father figure, and Raffi, who was devastated too, trying to comfort him was just incredibly emotional. Both actors put in amazing performances here, and as sad as this scene was, I loved it.

Raffi and Elnor grieve for Picard.

When Picard awoke, for a moment I was half-expecting to see Q! That was never going to happen, of course – it would be a complete bolt from the blue for anyone who hadn’t seen The Next Generation, for one thing – but it would have bookended Picard’s story in the Star Trek franchise if this had been his final appearance and he was to stay dead, tying into themes from Encounter at Farpoint. Instead, Picard finds himself sat opposite Data. And I know there will be criticism of Data’s appearance given Brent Spiner’s age, but a combination of lighting, makeup, and what I assume are digital effects made him look decent here, and I didn’t find the way he looked offputting, especially when compared to the way the gold synths had looked last week.

At no point was I convinced that Picard would stay dead, but that in itself didn’t rob any of the scenes surrounding his death of any of their drama or emotion. As a story point, though, killing a character in such a dramatic and emotional way only to immediately revive them can end up feeling like a bit of an anticlimax, and there was an element of that here I’m afraid. Not in the moment, and not in Picard’s scene with Data in the digital afterlife, but certainly after his revival there was part of me left thinking “well, what was all that for?” In a sense, restoring Data’s mortality and finally providing him with the closest thing to humanity that he could get, Picard did have a reason to travel to the digital afterlife. No one could have known that Data was trapped in a kind of purgatory, nor that saving parts of his mind from the information transferred to B4 would mean that some essence or facet of his personality would be forever entombed in this realm. That action – saving Data and finally laying him to rest – gives Picard a reason for this temporary death, and as a story it was, overall, a success.

Shutting down Data.

Data takes on the role of what I guess you’d say was a god or grim reaper figure from classical literature, explaining to Picard that he’s in the afterlife and that he died. This was another incredibly emotional scene, as Picard got to express twenty years’ worth of sadness and regret to his long-lost friend. Maybe I’m seeing what I want to see, but I seemed to get hints at Data’s study in the set design, notably the room he occupied in All Good Things, the finale of The Next Generation, in which he was still alive and working as a professor. In fact, while we’re talking about set design, I felt that this room was one of Star Trek: Picard’s best and most evocative. I’ve written before that the outdoor filming scenes, supposedly taking place in France, in Japan, and on several alien worlds, all looked suspiciously like California, and that has been a let-down at points. But the interior sets have been fantastic. I love the way La Sirena looks – inside and out, in that case! – and the Troi-Riker cabin was everything it needed to be. The Artifact is something I really haven’t written about as often as I should’ve, because the subtle updates to the Borg vessel have been fantastic. I loved the shifting walls that were present at times, and the way that, despite being claimed by Romulans and some area being declared “safe”, it was still definitely a Borg vessel. Bjayzl’s club on Freecloud was maybe a tad cliché, but it still did a great job feeling like a futuristic, alien club. The nunnery on Vashti was incredibly reminiscent of something from Japan, and I loved that style when it appeared in Absolute Candor. And finally, Coppelius Station and the Daystrom Institute both conveyed the look of being futuristic in a similar but not identical way to locations in previous iterations of Star Trek.

Data in the digital afterlife.

In this case, the room was clearly artificial, but in a way that conveyed a sense of limbo or purgatory. By the furniture and decor being greyed out, there was the sense that, like in a computer when a file or programme is inaccessible, things weren’t quite right. And the fact that the only colour came from the two figures of Picard and Data, our focus as the audience was drawn to them and all attention focused on them – in the same way as you might expect if seeing a very minimalist stage production.

Part of the criticism of Star Trek: Nemesis at the time it was released surrounded how Data’s death was handled in the story. Aside from the criticisms of the story beat itself, the main ones were that he didn’t really get a chance for any goodbyes, and that in a relatively short space of time, Picard and the crew were laughing and joking on the way to their next adventures. We saw earlier in the season – indeed, from the very beginning – that Data’s loss weighed heavily on Picard, and that his friends Riker and Troi remembered him fondly and held his legacy dear, but in this moment, the second criticism was addressed, as Data got to say goodbye properly. Partly this was to Picard, but partly it was to the audience – to us. In a way, this righted what some fans had considered an eighteen-year wrong.

Data’s final goodbye.

The conversation they had about dying was interesting – and it did, in a way, capture that elusive sense of “Star Trek-ness” that Star Trek: Picard has been so keen to restore to the franchise in the aftermath of Discovery and the JJverse films. Both of those, despite what some have argued, had moments where they “felt like Star Trek”, but not every moment. For all my criticisms of the plot and various scenes in Star Trek: Picard’s finale, it did always feel like Star Trek – and this scene with Data, talking about life and death, was just one part of that, but it was a particularly powerful part.

Picard walks out of the room into a bright white light, and awakens in a new synthetic body, donated by Dr Soong. I wish we’d seen more of Dr Soong and learned why he built himself a synthetic body. There seemed to be hints last week that he was sick or possibly dying, but these were vague and underdeveloped – like many points in the finale – so we don’t really know the stakes or what kind of sacrifice Dr Soong may have made. Did he condemn himself to death by giving Picard the “golem”, or will he just build another one next week now he knows how to do the mind-transfer?

Picard is reborn in a new synthetic body.

Soji, Dr Soong, and Dr Jurati explain to Picard a number of caveats – his new body is the same as his old one, he won’t have any enhanced strength, speed, brainpower, or anything that would change him in any way. He’ll be identical to how he was, just without the terminal brain condition. And it was around here that the sense of “well what was the point of all that?” kicked in. The Data storyline was great, and I loved that Picard got to say goodbye, that we as the audience got to say goodbye to Data, and that Picard got to do his friend a final favour of letting him die properly. But for Picard’s own character, the death-and-rebirth story didn’t really do much of anything. He’s back to how he was before he died a few minutes later, and all of the emotion from his goodbye to Riker to the reaction of all of the characters was, in retrospect, at least slightly wasted.

We get a touching sequence as Picard fulfils his promise, unplugging Data and letting him finally die. Data prepares his room in the digital afterlife, and lies down to await the inevitable. Picard appears to him in his old uniform – whether Data was imagining him or dreaming isn’t clear, but it is clear that his final thoughts were of his friend. Getting a proper goodbye with Data wasn’t even something I knew that I wanted – but now that I’ve seen it, I can see how it was missing from Nemesis and that it really was something cathartic and beautiful to see. Picard’s speech, the music, the change in lighting in the digital afterlife, and finally Data fading away were all amazing to see, and it was another deeply emotional moment. Picard may have come back to life, but Data won’t – he can’t. This marks the final goodbye to a character we first met in 1987, and who we spent a lot of time with.

The crew reassembles aboard La Sirena – and they’ve had to find extra chairs for the bridge. Seven of Nine seems to have joined the crew, though whether that’s temporary isn’t clear at this stage. They set off to destinations unknown, and we learn that the ban on synthetic life has been overturned. The season ends with Picard giving the order to “engage!”, and La Sirena jumps to warp. The familiar Star Trek music sting kicked in at this moment, making the final scene of the episode another stirring and emotional moment.

The assembled crew of La Sirena – ready for Season 2!

Taken as a whole, the episode was certainly mixed. There were high points which equalled or even went beyond the heights reached by other episodes of the season – even Remembrance right at the beginning. And there were some beautiful, deeply emotional moments which still pack a punch on a third, fourth, and fifth viewing. But there were some mistakes and disappointments too, and too much undeveloped story that was left behind as La Sirena warps off to a new destination and – presumably – a new story in Season 2.

There are key points left hanging as of the end of the episode. The first is: what happened to Narek? He obviously wasn’t present aboard La Sirena at the end, but he’d been a major character who we’d spent a lot of time with and he just seems to have been abandoned by the story about halfway through the episode. It’s not clear if he returned to Romulus, remained in captivity with the synths, was handed over to Starfleet, or even if he joined La Sirena but just didn’t sit with the others on the bridge. I don’t expect to see him return for Season 2 at this point, but just ditching him with no goodbye and no end to his story was just a bit strange.

Narek disappeared after this point in the story.

Obviously I’ve already mentioned the Bruce Maddox plot hole that was left unresolved, but that’s a major annoyance so it’s worth bringing up again. There’s also Dr Jurati – she did still murder someone, so why is she free to go with Picard? Was her conviction expunged? Is she a fugitive? Will this come back to haunt her in future? It would have been nice to see some resolution to that point – unless, of course, it’s something planned for next season, in which case I’m content to wait.

Next are the “Mass Effect Reapers”. The Zhat Vash were right, in a roundabout way. The relic on Aia does tell of a race of synthetic monsters from far beyond the stars. That race are out there – is Starfleet going to try to contact them and make peace? Will the synths from Coppelius contact them and tell them not to hurt anyone? Are the “Mass Effect Reapers” content to just go back to waiting for someone else to contact them, or are they now aware of Starfleet, the Romulans, and the Milky Way galaxy’s various species? What steps will everyone have to take in case they return? What’s to stop another synthetic race from contacting them, or even the Coppelius synths changing their minds and asking for their help after all? Building a beacon didn’t look too hard or time-consuming. And what of the relic on Aia? Is it still active? Will it be shut down? Are the Zhat Vash still hell-bent on killing other synths, even if they leave Coppelius alone?

The “Mass Effect Reapers” are still out there.

Finally, we have Dr Soong and the synths. They’re under Federation protection now, but what will happen to them? Will they stay on Coppelius? Will they continue to make more copies of themselves? Without Data’s neurons, can they make more synths? And without Dr Maddox and Dr Jurati, can Dr Soong continue to work? What’s to stop the Romulans coming back next week and nuking their settlement from orbit? Are they protected in any way? Will they have to leave Coppelius and settle somewhere safer? I didn’t expect every single one of these points to be addressed, but some hint and what’s to come next for the synths would’ve been nice given how they were such a large part of the finale and the story of the season overall.

If I had been tasked with salvaging the story of the finale, the first thing I’d have done would have been to get at least one more episode for the season – perhaps two. Then I’d have interspersed some of the storylines present on Coppelius with the other active stories much earlier in the season, allowing more time for the development of characters like Dr Soong, Sutra, and even Saga. Beginning with perhaps episode six or seven – roughly the halfway point of a twelve-episode extended season – I’d have introduced the audience to Coppelius and everyone resident there. I’d have done more to build up the stakes by exploring the “Mass Effect Reapers” in more detail, too. A name for the faction would have been good, but also a basic motivation as well as some indication of their level of technology. Finally, I’d have spent more time on the climactic stand-off between Commodore Oh’s fleet and Riker’s Starfleet armada, and tried to find a convincing way to end the Zhat Vash threat, like having other Romulans mutiny against Oh when the synths deactivated the beacon. I think that by spending some more time with some of the characters, and by introducing them earlier, the finale would have been more enjoyable. But there’s no salvaging that awful gold makeup. That would have to go!

A group of synths.

I guess what I’d say about the two parts of Et in Arcadia Ego is this: it did provide a satisfactory conclusion to many parts of the story of Star Trek: Picard’s first season, but it left a lot on the table and it was rushed, poorly paced, and incomplete. When I think about the season as a whole, Et in Arcadia Ego, Part 1 is by far the worst episode, and while Part 2 went some way to rectifying that, and did manage to pull out a passable end to the story, it wasn’t an especially great episode either, with some definite low points to counteract the emotional highs.

Star Trek: Picard Season 1 stumbled across the finish line, scraping together the bare bones of a conclusion, but leaving a lot of unanswered questions and at least one gaping plot hole. That doesn’t mean that Et in Arcadia Ego, Part 2 was a failure; it did manage to elicit some powerful feelings and bring together some of the dangling story threads. But I don’t think we can call it a rousing success either, and a story that started out incredibly strongly ten weeks ago has finished with a weaker and less enjoyable pair of episodes than I would’ve wanted.

All that being said, I’m satisfied with the season as a whole. My gripes about specific points in both parts of the finale don’t detract from what has been, overall, a wonderful story and a great return to the Star Trek universe as the 25th Century is about to begin. I hope that Star Trek: Picard can now serve as a jumping-off point for other Star Trek shows set in and around the same era, moving the franchise forward into the future – where it should always have been trying to go.

Soji in the episode’s closing moments.

Stay tuned for the conclusion to my Star Trek: Picard theories for Season 1, as well as later in the year when I hope to do a retrospective look at the season. When some time has passed and the dust has settled, it should be a good to go back and take a second look. Rewatching earlier episodes while keeping in mind some of the story elements from the finale should be an interesting experience, and I will undoubtedly see more hints and foreshadowing that I missed when I first saw them.

Now that Star Trek: Picard has concluded, don’t think that the blog is going away! There will be lots more to come as I have numerous articles in the pipeline. I half-expected to see a release date for Star Trek: Discovery Season 3 announced, but despite all the hype around Star Trek: Picard, ViacomCBS have chosen not to take advantage of this opportunity to plug Discovery. Even if the release date isn’t for a couple of months, putting it out there now would have been a great move. Regardless, whenever it airs, I hope you’ll come back to see me review and break down those episodes too.

See you next time!

All ten episodes of Star Trek: Picard’s first season are available to stream now on CBS All Access in the United States, and on Amazon Prime Video in the United Kingdom and other countries and territories. The Star Trek franchise – including Star Trek: Picard – is the copyright of ViacomCBS. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.