Zach Handlen, AV Club
excerpt
I wanted something memorably bad… What I got was just bad in the same way most of Star Trek: Picard has turned out to be bad; thoughtless, rushed plotting, meaningless twists, and bold decisions which are absolutely weightless.
They save the only real twist for the end. Last week, I was wondering how the show would continue with a second season, given how much of the emotional drama of the last few episodes has focused on Picard’s fatal brain problems. This week, I slapped my forehead halfway through the hour and realized they’d just dump him into the “golem” Soong was planning to move his own consciousness into. Which is of course what happens, albeit after the episode attempts to wring as much pathos as it possibly can out of a beloved fictional character’s “death.” It would be shameful if it wasn’t also hilarious; Picard gives his all to save the universe yet again, and in the end, dies in the arms of a character we met a few weeks back while a bunch of other characters we barely know stare on in distress. People get drunk about him dying, and then oh hey, turns out we’ve got a spare.
I think what really clinched it for me wasn’t just that the new body looks exactly like his old body, or that they’re careful to explain that he doesn’t have any super cool augmentations; it’s when Picard is horrified at the thought that he might be immortal, and Agnes handwaves the fear away by reassuring him that they’ve set it up so he should live about as long as he would’ve lived without the fatal brain problem. So after all that set-up, all that crying and sad looks and melodrama, in the end, it amounts to exactly nothing. The status quo is more or less restored. There’s no real triumph in this, no satisfaction of life snatched clear from the jaws of death. But then, if Picard had actually died in this episode, I would not have cared. That’s the worst possible thing I could say about this show: that it brought back one of my favorite television characters, threatened to kill him forever, and it somehow found a way to make that mean nothing.
And that’s the episode, really. People run around making decisions and forming alliances without any meaning or sense. The crew of La Sirena has a team up with Narek. Soong sees video evidence of Sutra’s duplicity and shuts her down, without any real complication or difficulty. Everybody forgets Agnes murdered a guy. It’s an old saying that limitations can make great art, but usually “limitations” means money or time or specific restrictions. There’s also the inherent limitation of obeying the internal logic of your own narrative; to make a promise to your audience that the choices you’ve made in telling your story matter, and then to follow through on that promise. The first season of Star Trek: Picard occasionally remembers to do this. But for the most part, it’s content to slide from one whiz-bang moment to the next with only the most tenuous of nods to what happened before, as though it wasn’t so much scripted as written via a particularly elaborate game of Telephone.
…… well, the badness had a certain efficiency I can appreciate. Just about every story beat is introduced and wrapped up in a handful of scenes, to the point where an entire Romulan armada just decides to up and leave after a single synthetic life form demonstrates it’s capable of backing down once. (I’m sure the Starfleet ships helped the decision along, but still.) After all that build up and death, all Soji had to do to change minds was to almost, but not quite, bring about the end of organic life. The fact that the real destroyers were just a bunch of robot tentacle arms was icing on the stupid, thoughtless cake.
https://tv.avclub.com/all-is-resolved-in-an-underwhelming-star-trek-picard-f-1842501152