Alas, there is a certain futility in attempting to discuss the culture war with moderates or centraliststm.. One where no matter how much historical context or evidence you bring forth, no matter the facts, reasoning, or evidence supporting your insistence of the malicious intent of the left to subvert cultural institutions, you are wrong.
Even when you are not outright wrong, there will always be the question of why does it matter? “Change is right after all; you just hate it because of nostalgia.” Then the property dies, strangled by the very disinterest and lack of relevance brought on by the very same progressivism hailed as so beneficial and desired. At which point, the masses will just scoff with “who cares, no one likes that show anyway.” We did, we fans, we geeks, we nerds, we weebs, we loved these cherished institutions. We found in them escapism, inspiration, culture, common ground; they held significance to the lives of many people.
It didn’t matter to us that they weren’t real. These shows gave us adventure. They gave us hope that maybe as a collective could be better than what we are now. That higher ideas are important and worth striving for, for that is what it means to be alive. Not consuming like a plague of locust drunk on consumerism, but aspiring toward the greater.
Then when it is all done and over. With the institution in ruins, the fans mourning you get the same “it was our plan all along!” declaration. Of course, the message isn’t always straightforward or direct, but you’ll it will be there because the left needs the validation of the community to justify their own existence. They need the wider community to know they did this for the cause, and so now we know as Doomcock and many others said, this was their intention from the start with Picard.
Not from some distant accusation, but straight from the mouth of Trek, Star Trek dot com.
In 2020, representation and inclusion have just as much, if not more, importance than diversity. Claiming to be an an ally to marginalized people without acknowledging your own privilege feels hollow. Picard’s ensemble of writers and actors lean into all of this — even Number One the dog represents a marginalized community — serving up a multi-layered narrative that explores how power and privilege play out in relationships with people who are different.
“One of the reasons why they chose the synthetics storyline is because it’s about othering,” theorizes Dr. Thomas Parham III, an African-American communications professor and author of Hailing Frequencies Open: Communication in Star Trek: The Next Generation. “It’s all about othering.”
While TNG positioned Captain Picard as an ally to marginalized groups, from Klingons to androids, Picard challenges him to check the privilege he’s enjoyed through various series as an able-bodied male Earthling of elevated Starfleet rank.
What do the showrunners open with? What was the core notion driving their show paid for with other’s money?
Picard is no longer relevant
The rest just boils down to a system of our lousy writing, and poor world-building is deep, no really. This comes from the same people that said the Romulans didn’t have a fleet to rescue people, nor did the Federation. Only to then reveal in the final episode both having ample sized fleets to carry out said rescue. Then the Romulans are bigots for believing synthetic life would summon god-like machines that would extinguish all biological life. Before proceeding to demonstrate that is exactly what will happen.
A show so bad that it has united the right and the left in the agreement best summed up by The Guardian: Star Trek: Picard is the dark reboot that boldly goes where nobody wanted it to
