For nearly four decades, Jean-Luc Picard of BԪַStar TrekBԪַ has largely been presented as genteel, erudite and BԪַ at times BԪַ quite buttoned up.
Yes, he loses his temper. Yes, he was reckless as a callow cadet many years ago. Yes, he occasionally gets his hands dirty or falls apart.
But the Enterprise captain-turned-admiral stepped into a different place in last weekBԪַs episode of the streaming drama BԪַStar Trek: Picard.BԪַ Now, heBԪַs someone who BԪַ to the shock of some and the delight of others BԪַ has uttered a profanity that never would have come from his mouth in the 1990s: BԪַTen fBԪַ-ing grueling hours,BԪַ Patrick StewartBԪַs character says at one point during an intense conversation in which he expects everyone will die shortly.
The whole thing was in keeping with the more complex, nuanced aesthetic of this decadeBԪַs BԪַStar TrekBԪַ installments. And the online conversation that ensued illustrates the journey undertaken when a fictional character voyages from the strictures of network and syndicated television to high-end streaming TV.
BԪַBԪַStar TrekBԪַ was G-rated when it first came out. BԪַThe Next GenerationBԪַ was clean-cut and optimistic. What weBԪַre seeing now with BԪַPicardBԪַ is a little bit more of the grit,BԪַ says Shilpa Davé, a media studies scholar at the University of Virginia and a longtime BԪַTrekBԪַ fan.
Over the weekend, BԪַStar TrekBԪַ Twitter reflected that tension.
BԪַTotally out of character,BԪַ said one post, reflecting many others. Some complained that it cheapened the utopia that Gene Roddenberry envisioned, that humans wouldnBԪַt be swearing like that four centuries from now, that someone as polished as Picard wouldnBԪַt need such language.
BԪַPart of Star TrekBԪַs appeal is the articulate way characters speak. Resorting to gutter language feels like a step backward since Star TrekBԪַs characters are meant to be better than this,BԪַ John Orquiola for the website Screen Rant on Sunday.
The backlash to the backlash followed.
Christopher Monfette, the Paramount+ showBԪַs co-executive producer, wrote an extensive and persuasive about the moment and why he believed it worked.
BԪַItBԪַs easy to hear that elevated British tone escaping the mouth of a gentlemanly Shakespearean actor and assume some elevated intellectualism,BԪַ he said, while acknowledging: BԪַCriticism of its use is fair even if it just strikes a personal nerve BԪַ or if youBԪַve equated BԪַTrekBԪַ with more broader, family-friendly storytelling. But regardless, cursing in the show is carefully debated & discussed in the room or on set. We donBԪַt take it lightly.BԪַ
The showrunner for BԪַ BԪַ this season, Terry Matalas, said the F-word from Picard wasnBԪַt scripted but was a choice by Stewart in the moment. The result, Matalas said, was BԪַso real.BԪַ
BԪַEverything you do as artists, as writers and actors, even as editors, is authenticity. ThatBԪַs the thing you want to feel,BԪַ he told . BԪַI was really torn because hearing that word come from your childhood hero, Captain Picard, it throws you. But wow, is it powerful.BԪַ
BԪַStar TrekBԪַ has a long history of pushing boundaries, linguistic and otherwise.
BԪַLetBԪַs get the hell out of here,BԪַ Capt. James T. Kirk said on network TV in 1967, when that word was edgy. HeBԪַd just lost someone dear to him in the most trying of circumstances. Dr. McCoy, the shipBԪַs irascible physician, would often say, BԪַDammit, Jim.BԪַ And in the larger realm, the original series delicately danced with NBC censors over everything from womenBԪַs costumes to racial, sexual and war references.
But the crossing of last weekBԪַs linguistic frontier is an interesting case. It highlights the turbulence generated when a beloved character born during the BԪַfamily-friendlyBԪַ TV era evolves against the streaming landscape, where constraints are fewer and opportunities for unflinching authenticity greater.
BԪַThis isnBԪַt just a rethinking of a fictional world. This is the same actor and the same character in the same setting that we had before. And all these years, he has been speaking and behaving in a certain way,BԪַ says Robert Thompson, director of the Bleier Center for Television and Popular Culture at Syracuse University.
Sometimes this transition unfolds erratically.
Velma, a member of the Gen-X-era Saturday morning cartoon BԪַScooby Doo,BԪַ recently appeared in a more multicultural cartoon reboot on HBO Max that featured a high-school shower scene and overt sexual references. It has been roundly panned.
Several years ago, when BԪַRiverdaleBԪַ premiered, the attempts to push Archie, Jughead, Betty and Veronica from the sunny world of comics into the darker realm of teen drama produced uneven, sometimes jarring results.
BԪַStar TrekBԪַ is in a whole different universe, so to speak.
Roddenberry famously framed it as a utopian future where the main characters generally avoided conflict with each other, their society wasnBԪַt motivated by greed and humanity was seen as inexorably moving forward. Purists have criticized the recent years of what they call BԪַnew TrekBԪַ as a darker, more fragmented universe.
Nonsense, say many others: Both allegory and word usage . After all, it was only seven decades ago that Lucille Ball (and her character) was expecting a baby on BԪַI Love LucyBԪַ and the word BԪַpregnantBԪַ on national television BԪַ except, oddly, in French.
And for years before and after that, HollywoodBԪַs production code prescribed the ways morality and amorality could be depicted in film, with strict regulation of everything from sexual innuendo to whether criminals were portrayed sympathetically to whether the good guys won.
Hence the term BԪַHollywood ending,BԪַ which remains with us today in .
All of which raises the question: Could it also be the boundaries themselves that help create memorable film and television, rather than merely the breaking of them?
BԪַStar Trek had a certain kind of sincerity BԪַ almost like BԪַthe 23rd century will be a family-friendly kind of thing,BԪַBԪַ Thompson says. BԪַThe question is, what happens when your characters outlive the media industry standards? How do you accommodate the fact that youBԪַre no longer limited without completely betraying the world that youBԪַve created?BԪַ
In this case, Stewart has said he returned to the character because he was persuaded there were new stories to tell. Just as he had aged two decades since his last BԪַStar TrekBԪַ appearance, so, too, had Picard BԪַ with all the evolution that went along with it.
The kind of evolution, perhaps, that might make a man facing his own end choose a word that still carries a lot of power BԪַ even in todayBԪַs swearing, streaming world. When Jean-Luc Picard says that word, you can be absolutely sure he means it.
BԪַTed Anthony, The Associated Press