Spoilers An argument that the problem with the first two seasons was...

[Tuskin38]

So?

The writers know better than you. They wrote the damn show.
There is no metaphor here.

 

[Weyoun 251]

Season 1 had very good ideas. The only downpoints were killing Data again and Picard's synth resurrection body. Data should've been immediately resurrected at the end of Season 1 minus makeup like now, and resurrected Data with his android intellect cures Picard of his irumodic syndrome (or whatever it is)

Season 2 should've then been spent with Data, the new gang, Picard, and Rios on the Stargazer exploring the dimension of the evil synth worms. They time travel to the synths' past (not 2024 Los Angeles) and experience firsthand what prejudices the synths endured that turned them evil (and here's where Patrick can put all the immigrant/refugee etc. standins he wants, in the form of the persecuted synths). The kicker at the finale of Season 2 is the revelation that synth scouts have *already* been in the prime galaxy for decades if not centuries, and that Dr. Noonien Soong was in league with the synths and used their knowledge to build Data (thus explaining why he's so special)

Season 3 then deals with the changeling infiltration, with the revelation that the changelings were in league with the evil synths after the end of the Dominion War. The role of Jack falls on Soji, who as Data's daughter must decide once and for all if she will help the synths, the Federation, or find a third option.

I actually really like that - could be a pretty cool alternate version.

 

[CorporalClegg]

The writers know better than you. They wrote the damn show.
There is no metaphor here.

Tell that to all the people who've spent the last four centuries debating the significance of the ghost in Hamlet, despite Billy probably not intending it to be anything more than the apparition of the dude's dad. There's a reason "death of the author" (Something to which I admit I only partially subscribe.) is a thing.

You don't have to agree with a person's interpretation of a work, but saying "The writer's said... blah blah blah." isn't going to get you very far, especially in cases where the writers were probably just trying to push-through at 2am.

Personally, I don't agree with it. Not because it's wrong, but because it implies an attention to detail and level of creativity attributed to the subtext that certainly doesn't exist anywhere in the text.

 

[Bad Thoughts]

You don't have to agree with a person's interpretation of a work, but saying "The writer's said... blah blah blah." isn't going to get you very far, especially in cases where the writers were probably just trying to push-through at 2am.

JK Rowling would fight you on this.

More broadly speaking, the persons credited on a screenplay aren't authors in the classical sense as a novelist. They have objectives and goals s3t by the producers. The characters and their trajectories have been set. The outcomes have been predetermined. Any number of rewrites could have been done by uncredited people, meaning we would not know who is responsible for what. Writing for screen is more of a corporate endeavor, and the intentions of the credited writers probably aren't fully being represented.

ETA : we should all remember how Harlan Ellison is the only name of the script of City on the Edge of Forever.

 

[Danja]

More broadly speaking, the persons credited on a screenplay aren't authors in the classical sense as a novelist. They have objectives and goals s3t by the producers. The characters and their trajectories have been set. The outcomes have been predetermined. Any number of rewrites could have been done by uncredited people, meaning we would not know who is responsible for what. Writing for screen is more of a corporate endeavor, and the intentions of the credited writers probably aren't fully being represented.

Sister Act went through a half dozen uncredited rewrites (including from Carrie Fisher and Nancy Meyers). The script was finally credited to the collective pseudonym "Joseph Howard."

Over fifteen writers worked on X-Men (including Laeta Kalogridis, Joss Whedon, and John Logan).