Star Trek Picard, or just Picard, is a science fiction series streaming on Amazon Prime. Its premise is that the Romulan star threatens to go supernova and destroy the Romulan homeworld. The Federation offers to help and constructs a fleet of transports to resettle the populace. This offer would save the majority of Romulans and potentially heal the animosity between the Romulans and the Federation.

Of course, things go awry. The transport ships mysteriously attack the Federation shipyards on Mars, destroying the transport ships and means of production. 

So far, so good. It is a galaxy-impacting event worthy of the Star Trek brand and the eponymous now Admiral’s attention. The series also weaves in questions around the ethics of synthetic life, something suitably contentious.

However, the series immediately deviates from expectation. The galaxy blames the Federation for its woes. It forgot the supernova or that the Federation was also a victim of the attack. Far from showing its skill in diplomacy, compassion and problem-solving displayed during almost every Star Trek season and episode, the Federation turns inward and tacitly accepts the blame. 

Jean-Luc Picard sulks in his chateau for fourteen years rather than showing the stubbornness and ingenuity evident throughout Star Trek The Next Generation (TNG). Instead of getting a ship or helping, something that takes a single call at the series’ start, he abandons both his cause and crew.

Even when Jean-Luc Picard returns at the series’s start, he is oblivious to his charisma, unwillingly tormenting characters like Raffi and Elnor. He forgets to respect and be patient with others, even scoring points with Federation Admirals when the old Picard would think strategically, building a trusting relationship.

Perhaps the writers felt a seemingly perfect character needed a fall to develop. It is hard to improve perfection. However, Picard’s blinkered self-righteousness endangers any pathos.

Meanwhile, examining synthetic life’s ethics promised much. Star Trek has a history of exploring what makes us human. The original series contrasted emotional humans with Spock, the logical Vulcan. TNG had Data. However, the series reduces synthetic life to a MacGuffin. The series would have lost little by substituting an alien race or a unique technology.

Picard, the series, wants to be the gritty, dark Star Trek for the new millennium, where we see every leader and public institution in shades of grey rather than the more straightforward “black and white” of yesteryear. Heroes tire from the impossible standards to which others hold them, and their faults are laid bare. The hopeful patience of the Federation has waned, as seen in other series like Discovery.

By contrast, while the almost perfection of TNG characters was unrealistic, TNG presented an aspirational version of humanity. While TNG often dealt with ethical issues superficially, it introduced them to a broad audience. While humanity faced challenges, TNG’s underlying themes were always positive.

Instead, this series seems obsessed with fan service. It provides a touching farewell for Data. However, while seeing familiar characters helps rekindle parasocial relationships, their age also shows the thirty years since TNG finished. TNG and the subsequent movies were fun and much loved. However, time moves on.

When not lounging in nostalgia, the series gets endlessly sidetracked. Picard’s companions invent gravitas in each episode by a rushed flashback, then deal with it by boarding themselves in their quarters to brood. Of course, they briefly exit their stupor to perform plot-dictated tasks.

Each character deserves more screen time to develop organically and subtly. Alternatively, consolidate characters. The writers could have combined Rios with Raffi or Jurati, for example.

Despite the complaints above, the series is enjoyable. The plot weaves unpredictably, taxing the viewer just enough, and leads to a suitable climax. The acting and special effects are what you would expect for such a series.

Patrick Stewart portrays perhaps his most memorable role well. His deep, resonant voice and slightly-British accent give him a disarming, reassuring authority and grandfatherly charm. However, Stewart appears awkward when expressing genuine emotion, like during the Raffi and Elnor character arcs. Picard’s emotions are most impactful when understated.

The series is at its best when dealing with the psychology and ruthlessness of Romulans. The early, slow-burn mystery is enticing. The series finally shows the terrifying potential of the Tal Shiar, the Romulan secret police.

However, the test of a work is whether it stands on its own. Remove the fan service and nostalgia, and I wonder whether anyone would have produced Picard. Add potential misinterpretation of or disrespect to its source material, and you have a contentious, polarising series.

The trailers for season 2 appear to continue the nostalgia trip, revisiting the “fish out of water” time travel trope from the admired movie Star Trek IV: The Voyage Home. Perhaps I am old fashioned, but the producers are treading dangerous ground.