Star Trek: Picard Season Three—The TNG Finale Band-Aid

WARNING: This article contains spoilers for Star Trek: Picard Season Three, which as of this writing has been out for the better part of a year.

In the spring of 1994 Star Trek fans were treated to the wonderful TNG finale "All Good Things". It was a little technobabble-heavy, but it was still an affectionate send-off to the TV adventures of the Enterprise-D crew as they made the jump to the big screen.

And then the movies made a concerted effort to shed everything audiences liked about The Next Generation. The first movie unceremoniously disposed of the Enterprise-D, and the next one replaced it with a sharp-edged warship. First Contact also jettisoned the TV show's bright and peaceful ethos to go in a much darker, more violent direction. This seemed cool in the mid-90s, but it didn't really age well. Insurrection was the only movie that really felt like The Next Generation, but at the time it seemed like more of the Rick Berman risk-averse blandness that so infuriated us on Voyager. But the final insult, the nail in the coffin of The Next Generation era, was 2002's Star Trek Nemesis. Instead of a well-crafted farewell like The Undiscovered Country, we got a mean-spirited, cynical ripoff of The Wrath of Khan that ended on a depressing note with Data's pointless death.

It was as if the people in charge of making Star Trek: The Next Generation movies didn't really like Star Trek: The Next Generation. And that wasn't too far from the truth, because Sir Patrick Stewart had a tremendous amount of creative control on them. Sir Patrick spent most of the TV show's 7-year run complaining that his character didn't get to do enough action, and he was the driving force behind turning Movie Picard into a phaser-rifle-toting, dune-buggy-driving action hero who bore only a superficial resemblance to the character audiences enjoyed on TV.

But old-school TNG fans somehow forgot about this in 2018, when Star Trek head honcho Alex Kurtzman announced that that they were bringing back Patrick Stewart in a new streaming series called Picard. For some reason, we hoped that Sir Patrick would help to undo the damage that was caused by his own creative input on the movies. Unsurprisingly, our hopes were crushed like a Fudgesicle on a Florida interstate highway when Picard's first two seasons were (and here I am being diplomatic) a steaming pile of rhinoceros crap.  It turned out that Sir Patrick's number-one condition for reprising the role of Picard was that his character would not be sitting in the Captain's chair of a Federation starship and doing any Star Trek stuff that audiences might actually want to see. It was like if Peter Cullen would only voice Optimus Prime on the condition that the character not turn into a truck, say "Roll out", or fight any Decepticons.

But for Season Three, producer Terry Matalas was like "Hey, what if we put some Star Trek: The Next Generation in this Star Trek: The Next Generation sequel show?" and Sir Patrick amazingly went along with it. And the season was a hit. Even people who had been throwing nonstop tantrums since the Discovery premiere enjoyed it. But why? Was it because the show rejected tightly-serialized storytelling in favor of a more episodic approach, like TNG in the '90s? Actually no, it was basically one long ten-hour story. Ah, but was that story at least more straightforward, rather than the convoluted, contrivance-ridden storytelling of most other streaming shows? 

Again, no. It starts with our characters confronting a mysterious threat that turns out to be rogue Changelings who were captured during the Dominion War and subjected to cruel experiments by either Starfleet or Section 31 to turn them into the perfect spies. (Why they would agree to work for the Federation, especially after being horribly mistreated, is never explained)  But then, with only two episodes left in the season, it's revealed that the Borg Queen was behind it all as part of a plan to use Picard's heretofore-unknown son Jack to mind-control all Starfleet officers under the age of 25 so they'll destroy Earth.

So why did middle-aged Star Trek fans who have hated all the other new productions enjoy Picard's third season? I think it's because we finally got a Star Trek: The Next Generation thing that was made by people who actually like Star Trek: The Next Generation. It's the first TNG production in thirty years not made by people who were way up their own butts the whole time. Picard Season Three is basically a professionally-made fix-fic. A fix-fic is a piece of fan fiction written to "fix" a boneheaded creative decision made by clueless studio executives, producers, or actors with too much creative control who didn't like or understand the source material. And that's exactly what the season does. 

Right away it brings back Beverly Crusher and explains her absence from the show thus far. It brings Riker and Troi out of their retirement living in the woods and making pizza. It brings back Geordi and gives him a family, thus undoing the damage done to the character by the Leah Brahms episodes that made him look like a creepy incel. We get to see an older version of Worf doing cool Worf-related things, and his relationship with Raffi Musiker greatly enriches that character. We even get to see Ro Laren again, and we get some wonderful closure to her and Picard's relationship. Best of all, Data is finally rescued from years of breathtakingly stupid creative decisions and restored in a new form that's unmistakably Data, while finally giving him the humanity he'd been seeking all along. This leads to some wonderful moments between Data and Geordi, whose friendship was mostly ignored in the movies. Last of all, the season restores TNG's most horribly-treated character, the Enterprise-D. The beloved starship is finally depicted as something precious and worth preserving, rather than a boring old thing that the show can't wait to ditch in favor of something sleeker and pointier. The season ends on an "All Good Things"-inspired high note, with our beloved TNG family enjoying each other's company around the poker table.

At last, The Next Generation has gotten the well-crafted ending it deserved, and the fans are finally satisfied.

Ha ha! Obviously I'm kidding about that last bit. Fans are never satisfied. When we get something we like, we demand a never-ending stream of that exact thing to be continuously shoveled into our content-consuming orifices until the heat death of the universe. For his part, Terry Matalas whetted our appetites by using the last moments of the Picard finale to set up a potential new series called Star Trek: Legacy with Captain Seven of Nine, First Officer Raffi, and Starfleet Nepo Baby Jack Crusher-Picard on the Enterprise-G. I'm going into Bold Prediction Mode here to say it'll never happen.

As I write this in January 2024, the Internet Streaming Revolution is in a similar place as the dot-com boom in the late-90s. Back then, the Internet was this exciting new thing and there were tons of new Internet-related companies with the following business model:

1. Do something Internet related, with a website and stuff.
2. ???
3. Profit!

You know how that went. Streaming is the same thing. Hollywood has been trying to replace their old business models with streaming services, but no matter what they do the services can't make a profit. Even worse, when they try to attract subscribers with popular intellectual properties like Marvel or Star Wars, the streaming versions of those things tend to dilute and cannibalize the formerly-profitable films. This has led to studio executives like Warner's David Zaslav frantically throwing newly-completed films and older legacy productions into the shredder in a desperate attempt to stop the bleeding. Which is kind of like demolishing the entire east side of your house so it won't be damaged by the electrical fire on the west side. Eventually studio mergers are going to leave us with two or three streaming services that offer no TV shows or movies.

All this is to say that we'll be lucky to get any new Star Trek beyond the stuff that's in active production as I write this. And if the rumored Paramount-WB merger happens, there's no guarantee that even those things will see the light of day; David Zaslav might burn them down for the insurance money. 

So buy physical-media versions of all the stuff you love. And don't hold your breath for Star Trek: Legacy.

The Star Trek: Picard Dumpster Flambé

You may recall that I was a wee bit critical of Star Trek: Picard's first season on account of how the story didn't make any sense. Of course I wasn't angry at the show. It didn't hurt my feelings. I was just disappointed that I wasn't able to enjoy something I thought I was going to like.

Now, I'm going to talk a lot about story and character and all that stuff, but I should point out that I am a fairly nerdy Star Trek fan. I have all the tech manuals and I've read each of them cover to cover many times. I actually understand what all the technobabble means. I regularly pause episodes to scrutinize the LCARS panels. And I shared the disappointment of people who acted like Season One's main failing was that big fleet of identical, hastily-rendered Starfleet vessels in the finale. But ultimately those things are just minor details. Complaining about them would be like complaining that the flames shooting out of the Hindenburg were the wrong color.

But I'm not comparing Star Trek: Picard to the Hindenburg. The Hindenburg actually flew for a while before it burst into flames.

So, what's Season Two of Star Trek: Picard about? Isn't THAT the million-dollar question? Stories told in fairly compact chunks, like two-hour movies or one-hour episodes of older TV programs like Star Trek: The Next Generation (to pick a totally random example), always tell you what they're about pretty early in the story. But for some reason, people who write for this show think it's a really great idea to tease the actual point of the story for as long as possible. I'm not saying that nothing happens in Season Two, far from it. All kinds of things happen. So many things! But we don't understand the point of it all until the season is 90 percent over.

And what's the point?

Well, it's all about how Picard has never been able to settle down and commit to a woman because of a deep, dark childhood trauma. Now, you might think that being assimilated by the Borg or tortured by the Cardassians or getting his brain zapped by an alien probe that made him live an entire lifetime in 45 minutes would've messed him up way more than anything that could've happened to him growing up on a vineyard in France about two hundred years after war, poverty, and disease were eliminated on Earth. But that's because you watched Star Trek: The Next Generation, and whoever decided on this storyline obviously did not.

No, Picard's big trauma, which is endlessly teased and hinted at but not fully explained until episode 9 of a 10-episode season, is that his mom was mentally ill but refused all treatment, and one day after a particularly bad episode, his dad locked in her in her room until he could get her some help. But she pleaded with Jean-Luc to let her out, and since he was too young to understand what was going on he used a skeleton key to unlock her door, and she went to the atrium and hung herself.

But an unfocused time-travel caper to the year 2024 makes it all better, and before returning to the 25th century Picard deliberately leaves the skeleton key where his little-kid self will find it in the future so his mom can get out of her room and commit suicide. Unburdened of his trauma, he goes home to make out with his new girlfriend in the very room where his mommy killed herself! I mean, do I even HAVE to talk about how grotesquely sociopathic and horrible this is? 

I would truly love to find out exactly how this turd sandwich was made. We'll probably never get the whole story, but to me it has all the symptoms of an ego trip vanity project like the movies of Neil Breen (which he writes, directs, and stars in). If you sit through a Neil Breen film (or even a humorous Internet review of one) two things are clear:

1. Mr. Breen sincerely believes that he makes movies to communicate the Big Important Ideas in his brain.
2. None of his ideas are all that big or important, and he is not very good at using the medium of film to communicate them.

For example, in his movie Fateful Findings, Neil Breen's character gets hit by a car and gains incredible computer hacking powers, which he uses to make the shocking discovery that politicians take money in exchange for political favors, and big bank executives manipulate the financial system to make themselves very rich! Neil exposes their wrongdoing to the world, which somehow leads to a press conference scene where all the politicians and corporate executives take turns stepping up to the lectern, confessing to their crimes, and immediately committing suicide while Neil Breen stands off to the side and smiles like an idiot. Obviously Breen was trying to say something meaningful about societal injustice, but managed to do it a clunky, ham-handed manner that made him look like an awkward sociopath.

In the same way, this season of Picard was trying to say something meaningful about how grief and trauma can keep us rooted to a point in our past. But in the process they had Captain Picard deliberately enable the suicide of his mentally ill mother, and this was framed as a good thing! It's no less ghoulish than Neil Breen standing there with his creepy, vacant smile while a procession of people step up to a press conference and shoot themselves!

If anyone is to blame for all this I have a hunch it's Sir Patrick Stewart. Sir Patrick is a great actor. He's better at acting that I will ever be at anything. His success has earned him a hefty amount of clout, which translates into creative control over the projects he chooses to do. But here's the thing: he's only good at acting. 

All the other stuff that goes into a writing and producing a TV show call for several different skill sets. And just because someone is good at one or two of those things doesn't mean they're good at all of them. Patrick Stewart had little or no control over his character on Star Trek: The Next Generation, and it was a huge hit. But as soon as they started making movies, he got creative control, and his notes on the scripts almost always made things worse. Brent Spiner once joked that the main difference between the TV show and the movies was that fewer people saw the movies.

I'm willing to bet that even fewer people are watching Star Trek: Picard.

The Picard Plotting Problem

Way back in the prehistoric mists of 1999, the creative team behind Deep Space Nine closed out the show's seven-year run with a ten-episode finale arc. It was a ridiculous challenge, especially with the hectic pace of 1990s TV production. The writers had never done a ten-episode arc before, and this one had to not only be internally coherent but also wrap up all the threads from the previous seven years of storytelling. And while DS9's finale arc isn't 100% perfect, it's very well-executed. The story hangs together pretty well, and all of the character's actions flow naturally from their pre-existing motivations and personalities.

The writers of Star Trek: Picard were in a much better position. Their ten-episode arc was a standalone story, not the back half of a 26-episode season, and they had much more time to develop it. The majority of the series regulars were original characters, and the few regulars that came from previous Star Treks (i.e. Picard and Seven of Nine) hadn't been seen for years, which gave the writers some creative "wiggle room" in how they'd be portrayed.

So how would this new creative team tell the story of Jean-Luc Picard's twilight years? By giving us a very convoluted, mystery-box story full of flashbacks. Is it good? To help us answer that question, I created this list of all the show's major events in chronological order.

1. The planet Romulus is threatened by a supernova, so the Romulans ask the Federation for help to evacuate their solar system. The Federation agrees, somewhat unwillingly, and Admiral Picard oversees the construction of a fleet of transport ships at the Utopia Planitia shipyards on Mars.
2. The Utopia Planitia shipyards are using "synths" (i.e.mass-produced not-quite-sentient androids) as unpaid labor. Picard is 100% okay with this, even though he strenuously argued against using androids as slave labor in one of TNG's most pivotal episodes, "The Measure of a Man".
3. The head of Starfleet Security, Commodore Oh, is a secret Romulan spy and the leader of an ancient and very secret Tal'Shiar splinter group called the "Zhat Vash" whose sole purpose is to eliminate artificial lifeforms. Her assistant, Lt. Rizzo, is also a disguised Zhat Vash agent named Narissa.
4. Why do the Zhat Vash hate androids? It turns out there's a planet in an 8-star solar system that has this laser table thing left behind by a long-dead civilization, and when you touch it it puts images in your brain of an AI-induced holocaust very similar to the one they were trying to prevent in season 2 of Discovery. Anyway, going to the planet and receiving the laser table vision (which they call the Admonition) is part of the Zhat Vash initiation ceremony; those who aren't driven insane by it are left with a fanatical desire to wipe out all artificial life forms to keep them from destroying all the organic life in the universe.
5. At this moment of maximum peril for the Romulan people, Commodore Oh and the Zhat Vash decide it's time to scare the Federation into banning all synths. They do this by hacking the synth laborers on Mars to make them attack and destroy the Utopia Planitia shipyards, the very place where the fleet of ships to rescue their people are being built.
6. It's safe to say that the synths weren't manufactured overnight. There was probably a long R&D process, too. If the Zhat Vash really believe that the presence of any artificial life will inevitably lead to a universe-spanning Skynet, wouldn't they have sabotaged the project to keep the synths from being created in the first place? Why do they wait until a whole bunch of synths are already built, then hatch a plan that mainly just gets a bunch of Romulans killed? These are excellent questions that nobody (least of all the writers) seem to have considered.
7. As a result of the Mars attack the Federation Council immediately bans synths and never conducts an investigation into what caused them to go haywire in the first place. Even though the attack killed millions of people and led to the near-death of an entire race, no one but Picard's former attache Raffi is interested in figuring out why it happened, and everyone treats her like she's crazy. She even loses her Starfleet career. 
8. The Federation was never that crazy about helping the Romulans anyway, and now that the rescue fleet they were building is gone, they cancel the Romulan relief effort. Picard resigns from Starfleet in protest.
9. Since his life's work is now banned, Dr. Bruce Maddox leaves the Daystrom Institute on Earth and sets up shop on the remote world of Coppelius, where he starts building androids based on Data. At some point, Noonien Soong's hitherto-unknown twin son Altan joins him. The Soongs obviously have the same weird genetic condition as the McFly family that causes all male descendants to look exactly alike. 
10. Five years later the USS ibn Majid encounters two representatives from a unknown race of androids. When the Captain reports to Starfleet, Commodore Oh orders him to kill the androids immediately without trying to learn anything about their origins, threatening to destroy the ibn Majid unless he obeys. She then immediately classifies the incident. I guess the head of Starfleet Security has broad dictator-like powers that are never subject to review by any other Starfleet or civilian authorities. The location of the android's home planet remains a mystery.
11. Fifteen years after the attack on Mars, Bruce Maddox sends twin android sisters Dahj and Soji to discover the truth behind the attack and resulting synth ban. However, he erases their memories and implants false ones to make them believe they're human. Supposedly this is to protect them from whatever shadowy anti-synth forces orchestrated the ban, but because they closely resemble one of the androids encountered by the ibn Majid ten years earlier the Zhat Vash instantly recognize them. 
12. Commodore Oh and the Zhat Vash are suddenly very interested in finding Dahj and Soji's home planet, even though they've known about its existence for the last ten years and haven't bothered trying to find it before now.
13. After sending Dahj and Soji on their mission, Maddox leaves the safety of Coppelius and borrows a bunch of money from an underworld figure named Bijayzl (whose main business is chopping up ex-Borg and selling their implants) to set up a new lab on a different, easier-to-find planet.
14. The Zhat Vash agents on Earth attack Dahj and try to extract the location of the android homeworld from her brain, but this only serves to "activate" her and she kills them all thanks to her automatic defensive programming. However, this does not restore her memories of who she is, where she came from, and why she was sent to Earth. Instead it triggers kind of a post-hypnotic suggestion to seek refuge with Jean-Luc Picard, a 93-year-old retiree with no idea of what's going on.
15. Dahj shows up on Picard's doorstep. He quickly deduces that she's an android "relative" of Data, but because he's just an elderly retired civilian he's unable to stop the Zhat Vash from assassinating her.  
16. Meanwhile, Soji has been given a job as a guest researcher on a deactivated Borg cube in Romulan space. Maddox placed her here so she could hack into Romulan databases for clues about the truth behind the synth ban. Since a direct, brutal approach failed to get any information from Dahj, Zhat Vash agent Narek (Narissa's loser brother) decides to try a different approach with Soji: he'll use his penis.
17. A note about the Borg cube. Narissa and her aunt both underwent the Admonition, but it drove the aunt insane. She was on her way home to Romulus when a Borg cube assimilated her ship, but the effects of the Admonition caused the Borg cube to "break" and it was severed from the Collective. Now it's a dead artifact, and the impoverished remnant of the Romulan Empire makes money by harvesting and selling its tech. They also host research teams from other planets, and even administer a reclamation project where the drones are de-Borged, brought out of suspended animation, and helped to live normal-ish lives.
18. Picard learns that Dahj had a twin and resolves to save her from suffering the same fate as her sister. But there's just one problem: he doesn't know where she is. Somehow he figures out that Bruce Maddox may know, if only he can be found. He hires a civilian ship, the La Sirena, recruits his old attache Raffi, and is joined by former Maddox colleague Agnes Jurati.
19. The Zhat Vash destroy Bruce Maddox's new lab. He escapes and runs to the shady Borg-butchering criminal he owes money to. It doesn't go well for him.
20. Raffi discovers that Maddox is on the planet Freecloud.
21. Instead of going directly to Freecloud, Picard orders the La Sirena's Captain Rios to set course for the planet Vashti where a bunch of Romulan refugees live. You see, his motley crew has a traumatized ex-Starfleet pilot, a computer hacker, and a scientist lady, but since they're likely to encounter fanatical Zhat Vash agents who want to kill them with phasers, Picard decides they need a guy who's good with a sword.
22. On Vashti, Picard finds his sword guy: a Romulan named Elnor that he abandoned as a child. They also pick up Seven of Nine during a battle with a Romulan pirate ship.
23. Picard and friends rescue Maddox from Bijayzl, and Seven kills her in retribution for butchering Icheb years earlier in a horrible, torture-porny scene that has no place in Star Trek.
24. Maddox tells Picard where Soji is. When they're alone, Agnes kills Maddox. But she only did it because of a compulsion put into her head by Commodore Oh via mind meld, so she doesn't get in trouble. Apparently "Your Honor, my client only killed that guy because a Romulan mind-meld made her do it" is a valid murder defense in the 24th century.
25. Meanwhile, Soji is freaking out as she realizes she's not human. You think this would be a good time for her memories to come back, since full awareness of who she is and why she's on the Borg cube could help her protect herself and maybe even accomplish her mission. But that does not happen. Instead, the gaps in her memories and need for answers allow Narek to get the location of Coppelius from her before abandoning her in a death trap.
26. Fortunately, Soji's android abilities kick in and she escapes from the death trap, runs into Picard, and through an extremely fortunate series of events is able to escape with him to the Planet of Rikers.
27. After a warm and fuzzy TNG reunion, Picard and Soji rejoin the La Sirena for the trip to Coppelius.
28. Also en route to Coppelius: a 200-ship Romulan armada led by Commodore Oh. Up until this moment the post-supernova Romulan Empire has been portrayed as a loose assemblage of third-world refugees. How they were able to build 200 advanced warships isn't explained. It's like if Somalia suddenly had a huge navy of Virginia-class nuclear submarines. Also, if the crippled remains of the post-supernova Romulan Empire are able to build and crew a fleet of 200 giant warships, the full-strength pre-supernova Empire should have been able to build their own evacuation fleet. Why did they need the Federation's help at all? This excellent question is (surprise!) never addressed.
29. And now I need to back up a little, because while Picard and Soji were kicking it on the Planet of Rikers, Elnor and Hugh (formerly of Borg) were fighting Romulans on the Cube. Narissa kills Hugh, and then Seven of Nine shows up and leads Elnor to the Queen's chamber. Her plan? To plug herself into the cube and reactivate the dormant Borg drones. Finally, the thing that they've been teasing since the second episode! But it's a huge step. Will Seven be able to retain her humanity? Or will she again be consumed by the Borg? She makes her choice. She plugs in. And then Narissa opens a giant door and all the Borg are blown into space, so Seven just unplugs herself and there are no ill effects.
30. Meanwhile, the La Sirena arrives at Coppelius ahead of the Romulan armada, but they've been followed by Narek in a one-man fighter. They fight, and Narek has the upper hand until the Borg cube under Seven's control comes barreling out of a transwarp conduit. Suddenly all the ships are enveloped by giant space flowers and they crash on the planet.
31. Picard and friends walk to the android settlement (with a brief detour to the crashed Borg cube to say hi to Elnor and Seven) and meet Dr. Altan Soong and the android Sutra, who looks like a gold-skinned version of Soji and Dahj. Sutra mind-melds with Agnes to see the Admonition for herself and realizes that the Romulans had misunderstood it. They believed it was left by a society that had been wiped out by androids to warn others from suffering the same fate. But was actually left by a society of androids to warn future androids of the danger posed to them by organics, and to promise that an alliance of synthetic life from some extradimensional realm stands ready to rescue them from all organic oppressors. 
32. Picard wants to evacuate the Coppelius androids on the La Sirena, take them to the Federation, and give an impassioned Picard Speech to compel the government to protect them. Sutra wants to use the information encoded in the Admonition to build a giant antenna to send an SOS to the extradimensional AI alliance, even though there's a very real chance that the Super-AIs will exterminate all the organic lifeforms in the galaxy and maybe even the universe. Not surprisingly, the androids opt for Sutra's plan over the nonagenarian French vintner they just met five minutes ago.
33. Also, Picard's terminal disease that we learned about at the beginning of the show is finally starting to take its toll. Dr. Soong shows off a "golem"--basically a blank unfinished android body-- and mentions that he's working on a mind-transfer process. Gee, I wonder what'll happen with that?
34. Soji comes around to Sutra's way of thinking and helps her build the giant antenna thing. Meanwhile, Jurati helps Picard escape confinement and they hurry to the La Sirena to try to head off the approaching Romulan fleet.
35. On the Borg cube, Narissa is still alive and well. Her and Seven fight, and Seven knocks her into a bottomless pit. 
36. The La Sirena and the giant space flowers face off against the Romulan armada, and there's lots of flying around and phaser firing. Picard FaceTimes with Soji and gives her an inspiring Picard Speech about what it means to be human. Then a giant Starfleet armada made up of hastily-rendered low-resolution CGI ships warps in .
37. The androids briefly activate the antenna, and it shoots an energy beam into space, creating a sky hole through which evil robotic Doc Ock tentacles begin to emerge. But then Altan Soong deactivates Sutra by pressing the Off button on what I assume is a universal remote, and Soji has a change of heart provoked by Picard's "what it means to be human" speech. She turns off the antenna, and the sky hole collapses.
38. The Starfleet armada, led by Captain Riker, hails Commodore Oh and tells her to stand down or he'll kick her "treacherous Tal'Shiar ass". The Romulans warp away.
39. After Riker has a brief exchange with Picard, the Federation fleet also warps away. Not even one ship hangs around in case the Romulans come back. Picard finally succumbs to his illness and dies.
40. Everyone is super sad and depressed because Jean-Luc Picard, star of the show Star Trek: Picard, is dead. CBS has already announced that the show will have a second season, but obviously, season two of Star Trek: Picard will have no Picard in it, because Jean Luc-Picard is dead. Nah, they weren't setting up anything with that blank android body and the mind-transferring machine. We, the audience, are supposed to sit through several sad and weepy scenes with Raffi and Elnor and Seven and Rios as they give voice to the grief that we feel at the irreversible loss of this great man, and believe that his illustrious life has finally come to an end.
41. And then Picard wakes up in his study on Earth. Data is there too! A strange, uncanny-valley-looking Data that reminds me of the "young" Jeff Bridges in Tron: Legacy. Is this the afterlife? No, Data explains that it's a "quantum simulation". Drs. Jurati and Soong scanned Picard's brain and downloaded his consciousness here just before he died. As for Data, Dr. Maddox re-created his consciousness from the memories he downloaded into his less-advanced "brother" B-4 in the worst Star Trek movie ever made and he's been "alive" ever since, hanging out inside a futuristic Mr. Coffee on a table in a lab. This raises all kinds of fascinating story possibilities. Maybe Data could download into a new body and meet his "descendants" on Coppelius. Maybe his consciousness could be "rebooted" in the process, allowing the role of Data to be recast as a younger actor. We could see Data live again in one of the more humanlike bodies that Soji and Dahj had, experiencing the human condition instead of merely observing it. But instead, we go back to that old Star Trek trope that there's nothing more human than dying, and Data wants to die. He asks Picard to turn off his simulation when he gets back. He never asks about his best friend Geordi, or any of his other friends from the Enterprise. As far as this show's writers are concerned, Jean-Luc Picard was Data's best and only friend.
42. And then Picard wakes up again on Coppelius. Soong and Jurati modified the golem to look like him and then downloaded his consciousness into it. It's implied that Soong might have a terminal illness and had intended the golem for himself, which would mean he made quite a sacrifice for this guy he just met yesterday. But like most interesting plot threads in this show, it's not addressed at all. Now, if you or I were downloaded into an android body we'd want to be younger or better-looking. But not Picard! He still looks and feels like a 90-year-old man, and he likes it that way! No android superpowers or extended lifespan for him! Now reborn, Picard fulfills his promise to Data by turning off the Mr. Coffee that contains his consciousness. Inside the quantum simulation, we see Data grow old and die with Picard at his side.
43. We learn that the events on Coppelius have caused the Federation Council to rescind the synth ban. One wonders how, in the space of like two days, the entire Federation learned the whole truth about the events on Coppelius and the Zhat Vash's conspiracy, then went through all the political debate and drafting and passing of legislation necessary to reverse a longstanding policy. Of course, the writers did not wonder about this. They wanted the synth ban to be gone, and so it is with a magical dialogue handwave. What are the implications of this? Does it mean a resumption of android slave labor? And what about Commodore Oh? Will she be brought to justice? Is Starfleet going to conduct some kind of investigation to find out how a Romulan agent managed to worm her way to the top of their organization and find how much damage she did? None of these questions are addressed or even mentioned.
44. Picard and his cobbled-together crew are reunited on the La Sirena. Picard looks around appreciatively, and gives the order to "Engage!"
45. But wait, where are they going? This isn't a Starfleet vessel on an open-ended exploratory mission, it's a cargo ship for hire. The job Picard hired Captain Rios for is done, so everybody has to go their separate ways now, right? Like, are they just going to fly around and randomly do stuff until the ship runs out of fuel because Rios isn't doing jobs any more and couldn't afford a trip to the gas station?

I can't believe that professional writers are responsible for this horrible mess of a story. So many characters do so many nonsensical out-of-character things simply to move the plot along. If the answer to the question "Why did this character take this action?" is always "So the story can happen" then your story needs more work. 

The true behind-the-scenes story of how the first season of Picard was written and filmed may never be told. Heck, some of the behind-the-scenes stories from the Original Series didn't come to light until some of the people involved had died of old age. I strongly suspect that Michael Chabon came up with the final Picard-Data scene first, and then he and the other writers worked backward to construct a plot around it. You can see the needlessly-complex mystery-box plotting that Alex Kurtzman lifted from J.J. Abrams here, and I think it's very telling that Patrick Stewart had a measure of creative control, too. Stewart had significant story input on the TNG movies, too, and in almost every single instance it made the movie worse. Kristen Beyer is the only member of the writing staff I have any faith in; she established her Trek bonafides with a successful series of Voyager novels before CBS revived Star Trek for TV. The rest of them all claim to be Star Trek fans, but that's probably just publicity. Their work is proof that they don't understand the universe they're working in.

I'm rapidly approaching my mid-40s, and I've been a Star Trek fan all my life. But this may shock you: I don't care much about Star Trek canon. What I want is to see believable and compelling characters in interesting, well-told stories that stay true to the spirit of Star Trek. All in all, I think the best piece of advice ever given to Star Trek writers appeared in Gene Roddenberry's show bible for The Original Series:

AND SO, IN EVERY SCENE OF OUR STAR TREK STORY...

... translate it into a real life situation. Or,

sometimes as useful, try it in your mind as a scene

in GUNSMOKE, NAKED CITY, or some similar show.

Would you believe the people and the scene if it

happened there?

IF YOU'RE ONE OF THOSE WHO ANSWERS: "THE CHARACTER ACTS THAT WAY BECAUSE IT'S SCIENCE FICTION", DON'T CALL US, WE'LL CALL YOU.