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Of those, I was only around for Enterprise’s cancellation and, given I had pretty low esteem for it and for Nemesis, that one hurt a lot less. It felt like death by natural causes, the sad result of a gradual decline. This time around it doesn’t feel natural at all, particularly right on the heels of SFA’s very strong first season. Extremely frustrating.

Not gay enough. We need to go back to this.

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Trek is known for allegory, but routinely abandons it for time travel stories. Star Trek IV and Deep Space Nine’s “Past Tense” and “Far Beyond the Stars” all examples that tackle societal issues very directly, and they’re all highly thought of.

To be clear, I think Picard features possibly the worst writing in modern Trek, so I’m not setting out to defend it on all fronts. But the idea that addressing societal issues head on isn’t a valid approach for Star Trek doesn’t add up for me.

Oops, thanks for the fix

I’ve shared this here before. It’s the most extensive analysis of stardates I’ve encountered: atavachron.wikidot.com

Nick Locarno was a name Tom Paris went by for a while to distance himself from his father, Admiral Paris. I don’t care what Lower Decks had to say about it.

Q was Trelane all grown up. We’ll see if this holds up after SNW season 3 comes out.

Data always had emotions, he just didn’t understand them. Lore never had emotions, he was desperately faking it.

Spot was a robot who underwent a series of upgrades throughout the series, and Data applied the lessons he learned from that to the development of his daughter.