Alright, let's discuss. Some reviewers - all very friendly to this new season of #StarTrekPicard - have bristled at Picard using an F-bomb. Fair reaction. Everybody's entitled, certainly. But I've been genuinely curious as to why. This article makes a few points worth exploring.
Picard being too eloquent, too sophisticated for such language. First, it's important to move past the accent. It's easy to hear that elevated British tone escaping the mouth of a gentlemanly Shakespearean actor and assume some elevated intellectualism.
The mistake everybody makes (myself included) when first writing for Picard is to spin ornate monologues full of Oxford poetics & Dickensian witticisms. Part is the temptation to write toward Patrick's abilities. Part is in how we culturally remember Picard vs. the actual man.
When you really dial into the character - what you discover is that Picard isn't so much eloquent as poised. He's educated, yes. Reflective, self-aware. Guardedly emotional. But he's direct. He chooses his language purposefully.
So whether the F-bomb was a choice -- to communicate to Jack the gravity of the tale -- or a human moment of fear and uncertainty -- or both -- it's a dropping of that facade. An expression of vulnerability to somebody he hopes to trust. Not remotely gratuitous or ill-considered.
Underscored by the fact that it was an improv from Patrick himself -- who guards JL's dialogue fiercely -- moved to use that word in a moment of raw honesty. Also. Side-note. The best, most brutal curses I've ever heard have come from Dames, Sirs and West End, award-winning Brits
Next : Star Trek is about a more advanced humankind 400 years in the future. You know when "fuck" first became a word? 500 years ago. Several Golden Ages and Industrial Revolutions hence. And after five centuries of enlightenment, it's still alive & well. It's a Swiss-Army word.
If anything, wouldn't further social advancement only continue to defang and colloquialize it? As we did to "damn" -- a favorite of Kirk's. We have any number of phrases we use today that would've gotten us shunned from High Society centuries ago.
And if the argument is that humans then would converse at a higher level -- that's not born out by the rest of the dialogue. By that measure, every Trek series should have been written in iambic pentameter by a thesaurus with some new, made-up phrases included for good measure.
Folks in Trek have always talked how humans talk. They've always exhibited the same virtues & flaws as we do today. In fact, the franchise has ever been about characters struggling with the same societal questions & isms that humanity supposedly mastered --only in space.
I'd argue that the best reason that F-bombs are new to the franchise isn't because its early writers and creators were above the word -- but because the censors were. That word will still be around in 2400, as lazily wielded in ignorance as powerfully used to make a point.
That said, criticism of its use is fair even if it just strikes a personal nerve - or if you've equated Trek with more broader, family-friendly storytelling. But regardless, cursing in the show is carefully debated & discussed in the room or on set. We don't take it lightly.
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It may be time to recalibrate “fan service” as a critique. Our JOB is to service the fans. To give them the very best version of what they came for, what they love. Sometimes, that involves elevating the familiar while evolving the story or world into something new by degrees.
Honoring history is important. Tonal, mythological, visual touch points are important. It’s necessary to challenge expectations, to move the story in dynamic ways — but within the context and creative language of the thing you’ve been tasked with safeguarding.
This is especially true in franchise storytelling. If you’re creating something new, by all means, push the form, press the genre to its limits. But when given something with a deep, shared history, your job is neither to impulsively redefine it nor pander to its simplest ideas.
Heading into tonight’s premiere of #startrekpicard there are a lot of people to thank. Our cast, our crew. Editors and composers. I’m deeply grateful. But I’d like to take a moment to thank the writers — my friends and colleagues who worked tirelessly to make S3 so terrific.
They elevated everything. Brought their A-game into battle. Gave their hearts to every scene. They sacrificed their time, their sanity. All to make something lasting and worthwhile.
Firstly, to @TerryMatalas, my 15-year cohort, for charting the vision and leading the way. Thank you for your continued confidence, faith and brotherhood. To this and many more stories told together…
Yes, there is a vocal portion of the Trek fanbase who don’t connect with more modern Trek. That’s fine. We all plug into things at different times and for different reasons. Whovians each have “their” Doctor who encapsulates the sensibilities of a given era.
And we can all argue about which more modern elements are or aren’t analogous to the inherent ideals of TOS or TNG or DS9, etc. Also fine. Everything is to-taste. But we were all raised loving some era of Star Trek – and not only Trek, but other series, as well.
So the stew of our influences, the jigsaw of our voices, is more varied now. If you’re disinclined to creators who view Trek through the lens of pulp adventure, or broad humor, or YA pathos, or far-future sci-fi with a dose of intergalactic identity politics – that’s also fine.