Star Trek: Discovery is not only the worst show on television, it is also one of the lowest rated.

The show, which shares the name of several much better shows but has nothing to do with them, is about a magical black woman in space. Throughout the show, she proves that black women are better than white men, and actually better than anyone in the entire universe.

People do not like it.

Recently released ratings show that Discovery is the lowest rated scripted show in the 18-49 demographic, which is the standard target demographic.

In terms of total viewership, it is the third lowest rated show. I guess it gains some points in the “over 49” category.

This show is ridiculously expensive to make, and there is no question that it is losing huge amounts of money.

Why do they keep making it? They’ve just renewed it for a fourth season.

The only possible reason you would continue making this show is for political reasons. But no one is watching it. So you would think that this money could be better spent making some other type of political propaganda, which people would actually consume?

It’s a really strange thing.

I famously watched most of the Picard series, which is a spin-off of Discovery. But I have not been able to make it through any season of Discovery. As a fan of Star Trek, I believe this show is the worst thing ever made in all of history.

It is of course made by the Jews.

Creator and producer Alex Kurtzman looks like a rabbi who just crawled out of an alley in Warsaw to offer you sex with a midget.

I am a person who has argued emphatically that there is no specific reason that anti-white propaganda can’t be entertaining. The problem they seem to be facing is that creative people simply are not interested in their agenda, so they are forced to rely on very uncreative and incompetent people to produce their tripe.

The show is both uniquely uncreative and uniquely incompetent. It could be one or the other – an uncreative show could still follow the basic rules of narrative fiction in terms of structure, and garner more of an audience than this show has garnered. Storytelling is literally procedural.

I guess part of their challenge is that their main character, Empowered Black Female Protagonist, cannot be developed because she is perfect. She already has every ability, she is the peak of humanity, so she can’t learn anything, and really, nothing can ever be a challenge for her – because she’s perfect.

But if that was my starting point, I would make the show about her struggle to deal with being perfect in an imperfect world. Instead, she is just presented with meaningless challenges that she easily overcomes because she is perfect and capable of doing all anything very easily.

It’s almost amazing that they are capable of making something so horrible as this show. It is was any worse, it would be in “so bad it’s good” territory, where a show appears self-aware of it’s failings (even if it isn’t). This show is right on the line, but you cannot doubt their sincerity.

There is a sort of pornographic element to the show, in that it feels dirty to be watching something so saccharine, vapid and embarrassing. It feels like reading a small female child’s diary at laughing at her stupid, self-indulgent hopes and dreams.

Along with being totally Jewish, the show is pure and unfiltered millennialism. The one thing that you can learn from Star Trek: Discovery is that whatever millennials end up getting, they deserve much worse.

You may remember my incredible Star Trek: Picard reviews, which were amazing and fantastic, and resulted in a funny event where they became some of the top recommended articles on Google News and some fat guy got angry.

Well, I was thwarted in my quest to review the entire Start Trek: Picard series by the plot of Star Trek: Picard. I just simply couldn’t make it through these voyages of JL and his misfits. I still have not watched the last episodes.

But I have watched the Mr. Plinkett review of the entire series, and unlike the show itself, it is extremely enjoyable.

Mr. Plinkett goes through the entire series, and hits all of the plot holes.

We are all stressed out right now, what with the apocalypse happening all around as we’re locked in our houses because of a virus hoax. This 94-minute review is something that will be almost as entertaining to people who haven’t seen the show and know nothing about Star Trek as it will be to those who had their childhood destroyed by this show. You may consider turning your thoughts away from all of this stressful business and watching this thing.

It is necessary for adults to face reality head on and deal with problems that affect them and those that they care about. However, we should remember that if people do nothing at all but deal with problems, they will eventually start to burn out, which will make them less efficient at dealing with problems. Even if you don’t want to watch my recommended entertainment media, you must make a point to strategically extract yourself from constant thoughts of the apocalypse for the sake of your own mental health and the sake of your efficiency in contributing to our collective struggle.

You guys, I don’t know if I can keep doing these reviews. I thought we were closing in on the end of the show, and I could make it through, but this might be my last review.

I’m behind now by two episodes, because I just didn’t have it in me to watch them. Watching this show, it feels like someone has reached his hand into my chest and is strangling my soul. But I know you love these. Oh, how I know of your love for my Picard reviews.

I feel like doing Futureworld reviews next, actually. Or what the hell is that show called. Westworld. Season three of that is going to be trying to get to Picard levels of horrible, I guarantee.

Episode 7 of the childhood-destroying Star Trek: Picard starts out with a flashback to when the secret Romulan agent visited Agnes, and shows that she did a mind meld on her (because she’s also half Vulcan) and showed her “what will happen if synthetic life is allowed to exist.”

The mind meld shows a bunch of like, explosions and crap and people killing themselves.

And so that’s why, uh, Agnes killed Maddox earlier in the show. Because she had to kill him because… because he knew how to make androids and he could bring about the apocalypse by doing this.

I still don’t understand why she couldn’t have just been like “man you gotta stop making these androids, because if you don’t we’re all doomed.”

But whatever. This is the explanation as to why she killed him at the end of episode 5. To prevent the android apocalypse.

Then we go to the Borg Cube, where Hugh and Elnor remained after JL and Soji escaped (even though they could have just gone with them), and the evil Romulan lady is talking evil.

At this point in the show, we’ve already realized that the Romulans are doing all this because they think androids are going to bring about an apocalypse, so we realize that there is no actual reason for these characters to be evil, because even though they are antagonists, they’re actually doing something that they think is good in trying to prevent the apocalypse. But yeah she’s totally evil.

Literally as she’s torturing Hugh, she’s saying that she’s trying to save a trillion people.

She also says she won’t kill him because he’s protected by a Federation treaty. Apparently, Hugh is working for the Federation, which either wasn’t said until now or which I missed.

And at this point we begin to realize the depth of hollowness in this show’s plot more than we ever could have before this point.

This is the timeline of events in this show’s plot line:

1. Romulus’ sun was going to go supernova, and the only way to evacuate the planet was for the Federation to help
2. JL was in charge of the operation and made a pact with the Romulans
3. Androids attacked Mars, so the Federation decided not to help the Romulans
4. The Romulan Empire was completely destroyed because one star exploded, and now Romulans are living in Wild Wild West style towns (Episode 4)
5. After their empire was totally destroyed, they decided to do a humanitarian project on a Borg Cube to de-assimilate the people on it
6. They made a treaty with the Federation to work on this humanitarian project together, even though they blame the Federation for not saving them

It is just wow.

Romulans are not a humanitarian people in the first place, but who the hell is going to launch a massive humanitarian project after their empire was destroyed? And why are evil people running a humanitarian project?

As far as I can tell, there was no ulterior motive to the humanitarian project. It is just straightforward. Unless the entire thing was set up to lure in Soji.

Also, there is no explanation of why Soji was there. She was sent there by Maddox for a reason that hasn’t been stated. And the information of how to find the android home planet was stored in her brain, for the Romulans to find.

So Narik then leaves the Cube to chase after JL’s ship, because he knows that this ship will rendezvous with Soji, who he has to chase down because… I don’t know. He already got the information he needed from her brain, so why does he need to chase her down? Just to kill her?

Romulan elf boy stays on the Cube with Hugh because… for some reason.

Basically, everything in this show can just be described like “and then for some reason x thing happens…”

Because I mean, the whole thing last episode was that he stayed on the Cube because he was sworn to protect JL, so then you’d think he’d leave the Cube to follow after JL because of his oath to protect him. But instead he decides now he wants to help Hugh.

Gay undertones?

I don’t know, but probably.

JL and Soji could go anywhere in the universe from the Borg escape portal in episode 6. Because the Borg apparently have the technology to transport anywhere in the entire galaxy in an instant but they only use it for the purpose of an escape room.

JL is almost as dumb as the Borg, apparently, because instead of using this technology to go straight to earth and warn the Federation about – honestly, I don’t even know what he would be warning them about because I’m still trying to figure out who and what the bad guys are and what their secret plan is.

Let me think.

He would be warning the Federation about the Romulan plot to… go to the android planet and kill all of the androids.

But instead of doing that, he went to Will Riker and Deanna Troi’s retirement planet.

They show up and a child is pointing a bow and arrow at them.

The child turns out to be Riker and Troi’s daughter.

Almost everything in this episode is filler.

I just don’t even understand how you do a 10 episode series with all of these characters and almost all of it ends up as filler – but whatever.

As soon as JL shows up, Deanna hugs him and says “you’re in trouble.”

She knows that because she’s empathic, not because it makes logical sense that he would come to a retirement planet because he’s in trouble.

But then Riker also immediately knows that he’s in trouble.

He then tells him that when JL wanted to help the Romulans, he reminded him of the fourth law of thermodynamics – “no good deed goes unpunished.”

Yep, totally in character. Riker telling Picard not to do a good deed. I remember it clearly from my childhood – in Star Trek: The Next Generation, whenever someone was in trouble and Picard wanted to help them, Riker would say “screw these people, let’s just get out of here and let them die.” That’s why he was always my favorite character.

Then we see Soji taking a shower.

And I don’t know if it’s just me having been on the internet too long, but this show has almost Tarantino levels of feet shots.

At least twice, Soji is specifically told to take her shoes off, and in every single episode there are zoom-ins on her feet.

Ah well. Foot fetishism would definitely be the most innocent thing about this vile show.

Then there’s literally like a four minute conversation between Soji and the child about literally nothing.

Then JL admits to Deanna that he’s put her entire family at risk of being killed by Romulans, literally for no reason. Because there was no reason to come to this planet, other than to feature cameos from these TNG characters.

She cries. Oh, and Soji cried during the conversation with the girl.

I think Alex Kurtzman must have written in huge letters on a board in the writers’ room “do not ever go more than 90 seconds without someone crying or screaming the f-word!”

Just after that, it cuts to the ship, where they’re being chased by the Romulan, and the black chick starts talking all sassy to the white chick.

High emotions.

Then the white girl starts dropping f-bombs, and the black woman says she’ll give her drugs.

And then it’s pizza time.

And this is when you see on Patrick Stewart’s face that maybe, just maybe, he’s realized how humiliating this show is to his legacy as an actor.

Then Deanna has a tomato with Soji, and it’s a real tomato, and there is a forced metaphor of real being better, and Soji not being a real person.

Then Deanna says that her other son died from a “silicon-based virus.” I wonder how that works.

Do you remember when Star Trek tried to stick to actual real science?

I remember that.

Oh, how I remember.

In fact, the reason I haven’t been doing these reviews on time is that I have been watching old episodes of TNG. I don’t know if all of the science was “real,” but they definitely made a point to have everything they did based on theoretical science. The writers actually read about science.

Anyway, she explains that her carbon-based son could have been cured of this silicon-based virus if androids were allowed to cure him, but androids were banned so he died.

Back on the Borg Cube, Hugh and Elnor are plotting to take over the Cube, but the evil woman walks out and says that would be a treaty violation.

And the fact that they were talking about it means that she can now kill them. Because the treaty says that if you talk about violating the treaty, you can be killed. I guess.

Then Elnor has a ninja fight with the Romulan villain woman, and I guess that is alright.

It is one thing you can I guess say about this show – the fight scenes are alright.

Then during the fight, when she is losing, she throws a dart at Hugh’s throat. And his face when that dart hits is the same face I was making the whole time I was watching this episode.

Then we go back to the ship and you can flip a coin as to whether someone is crying or screaming and saying the f-word.

This time someone is crying.

Then more about pizza.

Finally, Soji tells JL that she knows where the android planet is.

And then you really realize how stupid it is that they went to this retirement planet, when they could have just went straight to the android planet, which is where Soji wanted to go this whole time. Oh but no they couldn’t have, because the only person who knew where there’s a planet with two red moons was this female child.

What a way to explain why they went to this planet.

Then back on the ship, Agnes tells Rios that she’s the reason the Romulan ship keeps finding them, because she’s got a tracker. Somehow, neither of them starts crying or says the f-word.

No, I’m joking.

She starts crying.

I would have preferred if he had started crying. I mean, switch it up a little. Isn’t it sexist to only have the women crying?

I guess to get rid of the tracker, she injects herself with something.

And then falls on the ground and starts foaming at the mouth.

Totally intense and badass.

And then Narak can’t track them anymore.

The plan worked.

But speaking of plans not working, back on the Borg Cube, Elnor is cornered…!

He could really do with a little bit of Deus Ex Machina.

Luckily, he finds a “Fenris Rangers” button thingie just hanging there – or maybe he already had it, I don’t even know – and he pushes it just in time.

Back on the retirement planet, there are some good shots of the scenery.

This looks like it was filmed in Alaska in the summertime.

Very nice.

Then the little girl tells Soji that JL is actually her new father.

All of these emotional scenes are so absurd, because there is just no way anyone could care about any of these characters, because they are so poorly developed. So it is just like watching a schizophrenic homeless person screaming on the street.

Then JL and Soji beam up to the ship.

And you realize that absolutely nothing changed from the beginning of this episode to the end of it.

If the goal all along was to get aboard the ship, they could have just used the Borg Cube escape room to beam directly to the ship.

Once again, the truly amazing thing about this show is that it was made at all.

Seriously, how is it even possible that this went through all the stages of production, and no one was like “wait, shouldn’t we make a show that makes sense”?

I don’t know how they’ve done it, but the entitled Jews behind Star Trek: Picard managed to make episode 6 even worse than all the previous episodes combined. Watching it, I felt shocked and I believe I almost had an aneurysm.

It is just so absolutely sad what they have done.

I’ve been going back and watching some of the original episodes of The Next Generation, and I wish I was writing reviews of those instead. But that is not the burden put upon me. For no, my burden is much stranger.

Episode 6 begins with a dream flashback of Soji’s (the hapa android’s) memories of childhood. We already know these memories are fake, so there isn’t really any kind of weight to it.

Then she wakes up in bed with the handsome Romulan, Narak, who is seducing her for bad purposes, and they have yet another pointless conversation about dumb mystery bullshit.

There is this implication again that the Romulan is falling in love with the android and becoming a true robosexual, even though he is supposed to be seducing her only to steal her memories or whatever.

Then we’re hearing all of this drama about how JL was a part of the Borg, and how he’s upset about that still. And how he’s really emotional about having to visit this cube to rescue Soji.

Just more useless high drama with no actual meaning, filling up space in a show that is in fact pure filler.

JL uses his neocomputer to look up information about the Borg cube, and finds that Hugh is on it. He also sees a picture of himself as a Borg and feels really sad.

Then pilot Rios is playing soccer, and Agnes the secret agent comes upon him and they start making out for some reason.

I don’t even think them having a romance had been foreshadowed. Maybe it was and I didn’t notice, but it just feels random. In storytelling, when you have a dramatic moment, you’re supposed to “earn” it by laying the groundwork, but in this show, they just drop high drama on you and it’s just like “ugh.”

Narak tells his evil sister that the fact Soji has dreams means that she has a subconscious, which means that he can get the information from her by sneaking through it.

He does have a cool box though.

Back on JL’s ship, it is figured out that the only way to get on the Borg cube is to go as a Federation envoy and meet with Hugh.

Raffi is drunk and vaping, and agrees to talk the Federation into providing diplomatic credentials.

This is all just boring, even though it is actually necessary to develop the story. We are left realizing that the dumb pointless drama in this show is actually better than when they try to tell the stupid story they’ve come up with to tie the scenes of drama together.

The Federation official she contacts is another empowered black woman.

They get the diplomatic credentials to get on the Borg cube, but only JL is allowed to go.

Soji realizes that her calls to her mom are fake, and are a way to shut down her brain.

So yes, finally, she’s realizing what we’ve known since the first episode: she’s actually an android.

She then scans all of her belongings and finds that everything she owns is three years old, because she’s three years old, because she’s an android and not a teenage girl.

These characters figuring out stuff that we’ve already known is not interesting. It is incredibly poor storytelling. There would have been a way to do this where the viewer is finding out the mystery at the same time as the characters, but they decided not to do it that way.

JL goes onto the cube and starts having a freakout because of PTSD from being a Borg, something which does not make sense in terms of Star Trek lore, but whatever.

Emotions.

He meets Hugh, and they act like they were once great friends, even though they were not.

He tells Hugh to take him to Soji, as Soji is meeting with her Romulan boyfriend spy and trying to explain to him that everything she owns is 3 years old.

Of course, he already knows that. He uses her fear of the situation to get her to engage in some kind of Romulan meditation ritual to recover her true memories.

As JL gets a tour of the cube, Soji and Narak go into a special room, where she walks around in a pattern to recover her memories.

This is a dumb scene, where they do a memory ritual, and eventually they get to the bottom of the mystery, which is the home planet of the androids.

She describes the location of the android planet, and he kisses her before locking her in the room and releasing poison gas.

More dumb crap that’s supposed to be emotional but isn’t because no one cares about these characters.

She now gets her android powers “activated” and starts punching a hole in the ground to escape the poison gas.

I don’t even understand why poison gas would harm an android, but whatever – I guess it is some kind of ultra anti-android gas.

She jumps through the floor and JL and Hugh are able to track her.

Then comes a several minutes long action scene, as JL and Soji find each other and Hugh takes them to a room with an escape function.

The escape function turns out to be a portal that can take you to anywhere in the galaxy automatically. This is a high technology that has existed in the show before, used by the Sikarians in Voyager, but which no one else has ever been able to get ahold of.

But apparently the Borg now have it, but only use it for emergency escape purposes. Even though they could easily use it to just conquer earth and every other planet in the galaxy if they wanted to.

There is another stupid action scene, when the elf with the sword, Elnor, comes in and kills a bunch of people.

JL and Soji escape, but Elnor stays to kill people, for no reason, as he could obviously just leave with them using this device.

But I guess they need a way to continue to show this cube in future episodes.

JL tells the crew, still on the ship, to meet him on some planet, and he and Soji jump through the portal.

The show ends with Elnor saying “please my friends, choose to live.” Which is so dumb.

There was absolutely nothing of redeeming value in this episode, and it wasn’t even enjoyable to watch on a visual level.

With every episode, Star Trek: Picard gets worse than it was the last episode.

This review was a little late. Episode 7 is already out. I’ll have that review up before episode 8 is out. I am committed here, people.

As has been stated, I am obsessed with Star Trek: Picard, which is possibly the biggest popular entertainment disaster in all of human history. So I’ve been watching a lot of these reviews. I tend to watch right-wing content, and about half of Star Trek fans are right wing. But I was interested to find reviews by left-leaning or normie type fans.

I found Robert Meyer Burnett, who has been doing very good, long reviews. I had never heard of him, but he’s been involved with official Star Trek productions, including doing extra features on DVD box sets. He also wrote and directed a Trekkie film that featured William Shatner. He was involved in the design of the Star Trek theme park at the Las Vegas Hilton.

I personally am not a Trekkie. I have seen every episode of the various series at least once, most of them 2-3 times, but I’ve never been involved in any of the culture, nor could I win any quiz about the show’s lore. I’ve read a fair amount of the comics but only a couple of the novels. I think this is probably a similar situation for Critical Drinker, Dave Cullen and the guys from Red Letter Media. Maybe the latter is a bit more serious.

Robert Burnett on the other hand is about as serious of a Trekkie as you’re going to find. This is a man who has devoted his entire life to the franchise. You can think what you will of someone who is that devoted to a goofy TV show, but things are tough all over. I was happy to find his channel and get his well-thought-out views on STP.

For the record, he is also a believer in transgender theory. His talks are not political, but he does mention that he thinks trannies are a real thing, which I believe indicates that he’s bought into every element of this hoax reality that has been foisted upon us.

He hates Picard.

And he has several very obvious points which I found to be very good. A lot of it is stuff I’ve seen in reddit threads and so on, but he elaborates on them from the perspective of an extreme fan who knows everything about the franchise.

The basic premise of Picard is that the Federation has collapsed because reasons, and so Federation space is now completely lawless.

However, there is a startling question which is not addressed: why has no other race moved in?

There is a massive Klingon Empire that has not even been mentioned in the show. The Cardassian Empire is also unmentioned.

It makes absolutely no sense why neither of these races has even been mentioned.

At least in terms of the story.

In terms of the production of the show, we have the problem that the Klingons in The Next Generation, which STP is ostensibly a direct sequel to, looked like this:

But the Klingons in the other Nu-Trek show, Discovery, look like this:

It seems likely they just didn’t want to deal with that.

We do not have any idea what the numbers are for Discovery, but many people have speculated that they are very low, and the only reason it was renewed for a third season is that they didn’t want to admit it was failing when they had Picard coming out, which they expected would be more popular for some reason. So they appear to be consciously attempting to work around things that were introduced in Discovery.

Of course, they could simply say “this is what Klingons look like now,” and cite the fact that Gene Roddenberry himself added the ridges to the foreheads of the Klingons between the original series and the first Star Trek film. Of course, the change in appearance was explained in an episode of Enterprise. But I personally do not have a problem with just saying “actually they always looked like this, but we just saw them differently on the old show because we didn’t have the budget to show them as they really are” or something. I’m not a stickler for “aesthetic continuity.”

The problem is that people hate the new Klingons, they are totally tied to the disaster that is Discovery, and if they were to bring them into Picard, it would taint this show with the stench of Discovery.

In reality, it wouldn’t matter, because Picard is the same thing as Star Trek: Discovery, not because of aesthetics but because it is all:

• People crying
• Explosions
• Nonsensical, confusing story
• Violence
• People yelling
• Dark dystopia
• Sadness
• Despair
• The f-word

All of these shows are going to have to be canceled, because you cannot maintain the most expensive TV shows ever in history purely on people watching them because they hate them. Ironically, the only people who are going to continue watching these shows simply because they hate them are the original fans of the series, so they could have just made a show for the fans of the series instead of trying to branch out into violence, dystopia, crying and the f-word to try and grab millennial Star Wars fans or whoever it is they are trying to grab.

You would have thought that when the JJ Abrams movie franchise collapsed, with Star Trek: Beyond losing over $50 million, they would have figured out “this is not a product that anyone wants.”

But whatever.

And of course, they couldn’t talk about the Cardassians without talking about the Klingons, so the universe of Picard is just a void.

A void of sadness and profanity.

The other big point that Burnett makes is one that I’ve touched on: why is it so important to collect these Borg parts?

The entire show revolves around people collecting Borg parts. That whole thing on the cube is about collecting parts. Episode 5 was about an Islamic space stripper who was also a Borg parts collector. I can understand that it could be interesting technology that someone would want, but the idea that the entire galaxy revolves around collecting these parts is retarded.

Furthermore, there is no reason why they couldn’t simply be replicated. The Federation has been in contact with the Borg for decades. They have all kinds of Borg parts. How different could one part be from another? Is each part unique?

And what are they even doing with them?

I’m sure there will be some answer, and I’m sure it will be the dumbest thing you’ve ever heard.

The people who made this show should go to jail, period.

Jail or maybe, you know – some kind of a camp.

Jonathan Frakes is a beloved part of the Star Trek franchise. He played the character of First Officer William Ryker on The Next Generation, and also directed several episodes of that show. He went on to direct many episodes of other Star Trek series that he was not involved in as an actor, along with two Star Trek theatrical films. Recently, he has directed episodes of The Orville, Seth MacFarlane’s Star Trek parody show that is universally considered to be better than Star Trek: Discovery and Star Trek: Picard.

However, I guess because he needs the money, he also agreed to direct episodes of Star Trek: Picard. Thursday’s episode 5 (which I reviewed Saturday) was one of his.

Although this was by far the best episode of the series so far, it was still an absolute piece of crap. Following the airing of the episode, Frakes gave an interview to The Hollywood Reporter, in which he more or less admitted that the show is not Star Trek, as it does not follow any of the principles laid out for the show by its creator Gene Roddenberry.

The Hollywood Reporter:

It’s fitting that Jonathan Frakes directed this week’s Star Trek: Picard episode, which marks the first significant on-screen encounter between Star Trek’s most popular former Borgs: Jean-Luc Picard (Patrick Stewart) and Seven of Nine (Jeri Ryan).

Frakes, who directed “Stardust City Rag,” also helmed Star Trek: First Contact — the hit 1996 feature film that further explored the aftermath of Picard’s assimilation into Locutus of Borg, the alien race’s spokesman for their first attempt to add humanity to their collective. But his reunion tour with the Borg wasn’t planned.

“It was completely the luck of the draw,” Frakes tells The Hollywood Reporter. “But I was grateful to be apart of reintroducing fans to Seven, particularly their mini-scene — where these two former Borgs — they exchange their baggage and their feelings about having been ‘Borg-ified.’ It’s one of my favorite scenes I’ve ever done.”

…

The import of such a scene, especially one between two of Trek’s most popular actors and characters, wasn’t lost on Frakes. If for no other reason other than the scene represents a sharp contrast to the more “homogenized” way his series, Star Trek: The Next Generation, handled such drama.

“We never could have done [a scene like] this on our show,” Frakes explains. Why? Gene Roddenberry. The creator of Star Trek believed that, in TNG’s 24th Century, there would be no conflict amongst “the family, the crew of the Enterprise,” and therefore no drama or emotional catharsis on the level Picard displays here. The actor-director, who will reprise the role of Riker, Picard’s former first officer, on Picard, credits both the episode’s writer, Kirsten Beyer, and showrunner and executive producer Michael Chabon for allowing the characters to be pushed to such vulnerable places that TNG couldn’t do.

He’s putting this in nice terms.

But when he says that he “credits” these people, what he actually means is that he “blames” these people, who are lazy, entitled Jews.

“The scene was mostly worked out with the help of Michael Chabon and our wonderful writers and new additions to the Star Trek family: Akiva Goldsman, Alex Kurtzman, Kirsten Beyers. It’s such a simple and beautifully-performed scene between the two actors,” says Frakes.

…

Another heartbreaking moment in this episode — which, don’t worry, has one hell of a phaser battle in it, too — is the scene between Raffi (Michelle Hurd) and Gabriel, her estranged son on Freecloud. To have two scenes in one episode was “refreshing” for the Trek veteran.

“As we know, conflict is what creates drama. So, on Next Gen, it was a very challenging set of rules — primarily for the writers — to find ways to create drama. In this new version of Star Trek, which honors what Roddenberry laid out — in terms of the optimism and respect toward themes like racism — all of those elements are sort of strongly rooted in this show,” says Frakes. “But the notion of self-doubt, the vulnerability — especially for a [character] like Picard — the damage of past experiences, are so much more compelling to watch … It’s a denser show than Next Gen, I think that’s fair to say. Pushing Picard to these places, watching Patrick act that out — and he was in the writer’s room as they developed this story — it’s all so rewarding to see.”

By “rewarding to see” he of course means “a cruel punishment.”

The fact that he notes that the parameters laid out by Roddenberry made it “challenging” to write the show, and then notes that this new set of writers simply threw out those parameters is hilarious.

Because the rules laid out by Roddenberry are what made the show so uniquely interesting. It is because the writers were challenged to come up with stories that fit into these rules, and that meant they had to really go deep and come up with creative stories to support moving character interactions.

Chess is a fascinating game that people have enthusiastically played for 1,500 years because of the rules of the movement of the pieces, which require people to come up with complex strategies. If every piece was allowed to move in every direction, it would not be an interesting game, and would not result in complexity.

There are approximately 10¹²⁰ possible games of chess. But the writers of Star Trek: Picard have turned the show into tic-tac-toe, where the only options are:

1. Someone gets angry
2. Someone starts crying
3. Violence

This does not make the show more interesting or compelling, it makes it stupid and boring and the exact same thing as any other show.

Showing “intense” soap opera scenes of people yelling or crying, and showing violent shootouts and explosions, is fundamentally boring for the mere reason that we’ve all seen so much of this.

Star Trek was always unique and cerebral, and of course writing a show like that requires higher levels of intelligence and creativity than writing a soap opera with explosions.

Turning Star Trek into an “emotional rollercoaster” is actually somehow dumber than turning it into a slapstick comedy or a musical. But transforming it into either of those things would require a lot of work, and these writers simply wanted to vomit up the easiest thing possible.

The Jews writing this show are lazy and entitled. They do not have the ability to or any interest in creating complex stories, and because they believe they are God’s chosen ones, they do not feel they should have to produce anything special, and that the goyim should simply be forced to watch whatever crap they decide to shove on them.

With episode 5, “Stardust City Rag,” Star Trek: Picard has managed to completely redeem itself and is now officially the best show on TV. The episode was written by Kirsten Beyer and directed by Jonathan Frakes.

For the first time in the history of Star Trek: Picard, there was an episode with a clear story. Sure, it has no themes, no goal and no point, but it does have a plot with a beginning, a middle and an end, and that is something that should impress us in 2020.

What really impressed me the most is that the episode doesn’t quickly jump around between a bunch of different locations in order to pretend like action is taking place.

The episode begins with a brutal torture scene, where a guy is strapped to a table and getting his eyeball ripped out.

Sure, Star Trek never had gore in it before, but who cares? This is new Star Trek, which is all about explosions, fight scenes, the f-word, people yelling at each other, people crying, and everything else apparently associated with a dark dystopian realm.

And I don’t know about you, but when I was watching Star Trek as a kid, I always thought “why isn’t this show more like the Saw franchise?”

And yes, that is Icheb from Voyager, because one of the invigorating things this show is doing, apparently, is pulling characters out of the old shows and pulling their eyes out.

7 of 9 rushes in and kills everyone. And then tries to save the guy who just had his eyeball cut out, but I guess he can’t live without his eyeball for some reason, so she has to mercy kill him.

She uses a phaser to mercy kill him while she has her arm around him, which I’m pretty sure would kill her too, because it’s a directed energy weapon and the charge would transmit via skin-to-skin contact, but whatever. Focus on just how emotional it is to see two characters that you loved on a different show 20 years ago being really sad together in a new sad world made horrible by Donald Trump.

The torture scene is a flashback, because we needed to know what 7 of 9 has been doing since she left Voyager. And apparently, she’s been acting like the space Punisher, doing a brutal vigilante crusade against galactic crime because the Federation has stopped enforcing the law in their own space. For some reason. I guess because they’re evil now, so they just don’t care about laws. So vigilantes are the new law.

Epic, right?

We then go to “Free Cloud,” which is apparently the name of a planet in Star Trek. There’s a midget playing piano amidst lens flaring.

Bruce Maddox is there (it’s a different actor than the Bruce Maddox in The Next Generation), and he’s meeting with a sexy woman with a hooked nose. She’s a stripper or a space brothel mama san or something.

But Necar Zadegan isn’t Jewish. Oh no. She’s Persian. And we are reminded that we should go to war with Iran because the refugees from such a war would be sultry sexpots.

There is also a reptoid man.

The Persian space stripper is evil, however.

Maddox says he doesn’t know how he’s going to repay her loan, because again, money is a thing now. Don’t think too much about that.

He tells her that he was thwarted by the Tal Shiar, AKA the Romulan Illuminati. The evil space stripper drugs him because, whatever.

Back on the spaceship that I forget the name of, 7 of 9 is berating JL. Because the other title of this show is “Old Man Travels Around Getting Berated by Empowered Women,” and it is based on the adventures of Joe Biden.

She explains that her vigilante group stores their money in the crooked banks of Free Cloud. Because let me remind you: money is a thing in Star Trek now. Because it would be really hard to write a story about a dark and dystopian hell-future where everyone is miserable, people are getting their eyeballs pulled out and there are hook-nosed Islamic space strippers without money.

Without money, how would you ever show how unequal everything is? How would you know of the oppression?

JL tries to push back timidly against the abuse, saying that her vigilante group is taking the law into their own hands, and she says there is no law, and he agrees. She explains to him that she is a hero and he accepts this.

7 of 9 agrees to help JL in his quest to rescue the hapa android.

There is then a pointless scene with the pilot or the captain or whatever he is – his name is “Rios” – talking to the black woman about nothing. I guess they needed to inform the audience of new people that they think are watching this show that JL was briefly a Borg, and decided to take a whole stupid scene to do it. This episode was a lot tighter, and I stood up and clapped at the end when they made it through the entire episode without showing anything on the Borg cube – but it was still New Trek.

We then see the blonde woman in her room watching one of these ubiquitous holographic screens, and we find out that she was in a love affair with Maddox.

When they get into Free Cloud’s orbit, they start getting spammed with holographic ads, because… because I guess this ship’s computer doesn’t have a firewall, which kind of makes you wonder why it goes into space battles at all when apparently anyone can access the ship’s computer, and the ship’s pilot isn’t even worried about that fact.

Apparently the adware can also read their minds, because it advertises things to each of them that are relevant to their interests.

The blonde lady, who is a robots expert, gets assaulted by the hologram advertising a robotics shop.

You might be thinking “oh, the adware must have accessed the computer’s database and found the files for crew members.”

But no. It is advertising drugs to the drug-addicted black woman Raffi. And I don’t think she would have put her drug addiction on file.

So the adware is for sure reading their minds, which you’d think would at least be worth a mention by one of the members of the crew. But no.

Raffi then hacks the mainframe or some shit, and says she’s found Maddox.

Maddox is being sold to the Tal Shiar, and the blonde suggests simply paying more for him. But Raffi says it would be too much money. I don’t know why they wouldn’t just print the money in the replicator.

Raffi says “we’re shit outta luck, JL.” But 7 of 9 has a plan to trade herself for Maddox because the space stripper wants her, because she wants to rip out her Borg parts. I don’t know why Borg parts can’t just be made in a replicator, but hey – who the hell knows? Best not to think about it.

Free Cloud is I guess cool looking, but is directly ripped off of Blade Runner 2049 or Altered Carbon.

Rios is dressed up like a pimp and goes in first.

There is some sloppy and completely unnecessary non-linear storytelling here, where they show the crew on the planet and then go back and show them getting ready to go to the planet. No idea why. I guess it’s just “throw some of this shit in there” like everything else in this fantastic show.

Oh but it is the best episode yet, let me get back to the positives…

Rios in his pimp costume goes to meet the reptoid, and apparently he has fake references and he is pretending like he is going to broker the deal with the Romulans. Because apparently whenever you do a deal with the Romulans, you hire a random guy in a pimp outfit.

Then he springs the idea of trading Maddox for 7 of 9, at which point a gun is pulled.

It’s a good thing that Raffi gave him a cocktail of benzodiazepines (actually), because otherwise the reptoid would smell his lies.

Then JL shows up with 7 of 9 in handcuffs and he’s dressed up like a pirate. And he’s speaking with a French accent because I guess a British accent would trigger the reptile man to know it was a trick. That, or the entitled Jewish writers just wanted to insert silly nonsense because they thought people would think it was funny. It’s sort of like they were trying to reference the holodeck adventure episodes in TNG, but moving that silly tone to a serious situation defeats the purpose of such a reference.

It is certainly hard to believe that these people are dressed as pimps and pirates and acting stupid and goofy in order to try to fool a galactic criminal gang. But I did believe it.

I don’t understand why JL was there at all. Seems like sending an 80-year-old man into this situation is a bit irresponsible.

The b-plot is then shown and it is so interesting. Raffi hunts down her son who she abandoned and he’s half-Chinese.

There is a classic New Trek emotional scene, where she apologizes to him for not being a good mother, and he rejects her. Because family life in the future will completely degenerate between the years 2379 and 2399.

It’s really interesting and creative to have a drug addict mother come back and try to meet with her estranged son.

He has a pregnant wife, but he tells his mom to leave.

And she cries, because whatever. It’s just like Discovery, everyone crying all the time. The future is a shitty soap opera where no one has any emotional continence.

Then the b-plot is over.

And the rest of the gang is meeting with Al Jihadi Space Titties.

7 of 9 knows her because I guess it was her lab in the opening flashback where Icheb was having his eye pulled out. Also it’s vaguely implied here that they were lesbians together.

They’re involved in some back and forth and then 7 of 9 slips out of her handcuffs and grabs the evil space stripper’s throat.

Every scene this woman is in, they make a point to do a precise profile shot to show the beak.

Maddox has been brought in, and is still drugged but bleeding from his cheeks for some reason. I guess while he was passed out, someone decided to cut his cheeks.

Then uhhh… the Space Stripper says 7 of 9 tricked them, but actually it doesn’t matter that she tricked them because they’re still going to get Maddox anyway.

JL says it’s bad to do revenge missions, and then 7 of 9 explains her need for revenge.

Rios then explains if she kills the stripper, everyone in the room will have a bounty on their head, including JL.

They all beam back up to the ship.

JL, who’s spent the entire episode lecturing her on the evils of vigilantism, gives 7 of 9 two guns when she says she needs them for her vigilantism.

Then in a weird bit of dialogue, she asks him if after he left the borg collective he regained his humanity, and he says “yes.”

And she says “all of it?” and he answers “no.” Edgy. Dumb, of course. He was only a borg for 4 days.

Probably would have been cooler if he wasn’t still inexplicably wearing a pirate costume.

Then she beams down to the strip club, and everyone – including the midget – beams out.

But the woman she came to kill is still there. Because she didn’t beam out. Even though the midget pianist beamed out. For some reason.

So, she tells her she didn’t want to break the hope of JL, the stupid old man that still thinks there’s good in the galaxy. Then she kills her as well as a bunch of other people.

Then in the weirdest scene yet, the blonde – whose name is Agnes, by the way, I just got that – is in the room with her former lover Maddox, who is for some reason seriously injured (though no injury to him was ever shown). He is in a bed talking to JL, and tells him where the hapa android subject of his quest is – the Borg cube.

He says he sent her there to find the truth about the lies upon lies, and he doesn’t know who is involved in this conspiracy or what it is, but thinks the Federation (Section 31, I assume, because this is all going to be tied back to Discovery as a way to try to justify the existence of that show) is working with the Romulans to do something. No new information is revealed. Although this was new information for JL, the show’s protagonist. We’ve known it since the end of the first episode.

Agnes listens ominously.

She then tells JL to leave.

Then she deactivates whatever treatment Maddox is undergoing for whatever wounds he suffered.

And she says “I wish you knew what I knew… I wish I didn’t know what I know. I wish they hadn’t shown me,” as his face fills up with veins.

Then when he dies, she starts crying.

There’s a whole lot of killing and crying in this show.

You have to wonder why it is that if she knew this super compelling information, she didn’t just tell him the information, instead of killing him. She’s working for Tal Shiar, or Section 31, or the Borg, or some possibly even stupider thing – if you can think of something stupider, that’s what it’ll be.

And that’s the end.

Best.

Episode.

Ever.

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Episode 4 of Star Trek: Picard featured Michael Chabon, a Jewish novelist, as the single credited writer, and it was just as bad as any of the other episodes. In fact, it was probably worse. This fuels suspicion that this show is in fact actually bad on purpose and intended as an attack on the viewer, given that Chabon, Jew or not, is a New York Times bestselling author who has won multiple prestigious prizes and knows that this is not how you tell a story.

This episode was directed by Trek alum Jonathan Frakes, so some people are acting like it was the best episode yet. However, this is just cognitive bias on their part. Furthermore, being the “best episode of Star Trek: Picard” is like being “the best turd in the toilet.”

The episode begins with yet another flashback, this time to a planet called Vashti, which is a reference to the Book of Esther. Vashti was the queen that was divorced by King Ahasuerus before he married Esther. The Book of Esther is a psycho Jewish revenge tale, and I feel like this show is a Jewish revenge tale against me.

This episode is where we really start to get the heavy Arab messaging to tie to the themes of Donald Trump abandoning refugees. During the early stages of the resettlement plan, before the Federation pulled their resources, Romulans were relocated on a desert planet, and everything there is Arabic.

It’s also filled with Negro Romulans.

Our brave hero JL arrives dressed like a British explorer of Africa.

He is there to meet one of the strongest black women we’ve seen yet on television, who is a – you know – some kind of warrior assassin nun.

The negress warrior nun assassin is raising a little boy, and we learn that black Romulans – incredibly – deal with children the same way as black humans.

Picard’s character is once again disregarded by the writers.

Picard always hated children, and was trying to avoid them.

He would even go off on Wesley, who was a teenager.

The issue with children was a big character issue on The Next Generation, and he tried to deal with it, so you could maybe say that in his sunset years he lightened up around kids, but flashback this takes place right after Nemesis, when he is supposedly the same character we already know.

And in Star Trek: Picard, this new version of Picard, known as “JL,” is in love with this Arabian child, to the point where one wonders if they’re trying to suggest he engaged in pederasty.

He reads “The Three Musketeers” to the boy, and plays sword games with him.

They even stay up late together for reading sessions, which appear to involve intimate touching.

I don’t want to be the guy who assumes that any interactions between men and children are pederastic; I’m just telling you that taking this character who hates children and giving him this love relationship with a child came across as weird.

If I were going to read more into it, I would note that the African explorer garb, as well as the fencing, bring to mind another man, the 19th century British explorer Sir Richard Francis Burton, who was famous for wearing that sort of outfit and for fencing.

I’m a big fan of Sir Richard, and hope he didn’t engage in pederasty. However, he was certainly sexually extreme and appears to have made a point to have all kinds of sex with natives wherever he went – including with the blacks. And he wrote a book on pederasty, which his wife burned when he died, that is said to have cataloged his experiences with the act in Arabia. The book was probably just observations of the pederast culture of the Arabs, which he called “a race of born pederasts,” but people have of course suggested that he himself indulged in it.

So having Sir Patrick Stewart in this love relationship with an Arab boy did appear to be implying something. It certainly would be a weird coincidence otherwise. Especially given the propensity for these lazy Jews to include weird references as a way to imply deeper meaning.

But – whatever. Par for the course here, I guess.

While playing games with the Arab boy, JL gets a call from Raffi who tells him of the android attack on Mars.

JL promises the warrior nuns that he’ll be back, and as we know, that never happens.

After the credits, we’re back in current year and there is a brief pointless scene with the blonde bitch where she’s nagging the pilot about how much she hates outer space. Kind of a weird character trait to put in a Star Trek character, but okay.

Despite being the world’s greatest ever expert in androids, she apparently didn’t have to take any astrophysics classes in school, because she says “come to think of it, there are over 3 billion stars in our Milky Way galaxy.”

Did that really somehow slip past the writing team here, or are they trying to communicate that women are stupid? How is it possible that no one on the writing team for STAR TREK would at not at least say “hold on a second, that sounds like it might be a bit off…”

Even if they were trying to say “women are stupid,” they should have had the man correct her. Because one thing you could always count on Star Trek for is to present current scientific theory accurately. But, this isn’t Star Trek, and no one who would ever enjoy this show could ever also care about how many stars are in the Milky Way, so I guess no one was harmed by this unbelievable idiocy.

After that pointless bit of gibberish, we’re back in Chateau Picard.

Seriously.

JL’s office on the ship is a holodeck model of his vineyard, so the writers can just keep going with that location.

Predictably, JL has ordered the pilot to do a detour to Vashti to see his Arabian boy, now that it’s 14 years later and the boy will be of fighting age.

When the angry negress drug addict second in command gets word that they’re taking this detour – instead of heading directly to “Freecloud” where they are supposed to find Bruce Maddox – she engages in the familiar “woman abuses old white man” ritual of this show, bursting into his vineyard and saying “are you out of your GODDAMN mind???!”

Shortly thereafter, the pilot comes in and says “fucking.”

By the way, Chabon did a Q&A on Instagram and addressed some of the aggressive hatred (anti-Semitism?) coming his way in response to this horrible show.

 

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Season 1 Showrunner Michael Chabon Answers Some Fan FAQs about Star Trek: Picard

A post shared by Michael Chabon (@michael.chabon) on Feb 9, 2020 at 5:51am PST

He was asked about the profanity – which is something that even the people who are relatively friendly to this show are complaining about – and he said that the only reason that the show never had profanity before is that it wasn’t allowed on television.

This is of course yet another lie from these vile Jews. In fact, just as there was no smoking on the show, because Gene Roddenberry envisioned a future where people were better, there was no profanity on the show, because the use of profanity is never the sign of a healthy social interaction.

In Star Trek IV when the enterprise crew ends up in the 1980s, Captain Kirk is attempting to use profanity to fit in and the best he can come up with is “double dumbass on you!”

This shows that he was totally unfamiliar with the use of profanity. Certainly unfamiliar with the use of 20st century profanity. Putting profanity in this show is simply gross, it does not do anything at all to enhance the show, and it means that it is no longer a family show. Although to be honest, I wouldn’t let kids watch this show anyway, because it is so dark and depressing. Showing dystopian futures to children is a negative action.

We find out in the crew meeting that the system is run by a Romulan warlord with an old Klingon Bird of Prey. He explains his plan to get a warrior from the nuns for his mission which is… to rescue the hapa android girl because he was in love with Data, who is dead, so he wants to save this android who is his “daughter.”

Chabon and Frakes continued the show’s pattern of jumping around everywhere, which is a stylistic choice to make it seem like action is happening when it actually isn’t. We go back to the Borg Cube, with the hapa android who is falling in love with a Romulan spy.

She is doing something that I did not care about at all and we go back to the Mass Effect ship, where JL decides to bribe the people who run the shields of Vashti to let him in after the pilot tells him “a cash gift is always appropriate.”

The new economy of Star Trek has not been explained at all. In the old show, there was no economy, because they had machines called replicators that could create any item for free by assembling the atoms, so there was no purpose for an economy. Now, apparently, there is cash. Such a massive change in the basic dynamics of the universe needs to be explained – what caused the reintroduction of money? Why do people not simply use replicators to create infinity money? – but the entitled Jews writing this show do not bother.

JL is met with a very cold welcome on the planet.

Of course, there is some kind of racist agenda at work, which I did not understand (who are they racist against?).

He meets back up with the negress assassin nun, and she is notably one of the only women in the show who has not started berating him as soon as she saw him.

We then quickly jump back to the hapa for the dumbest scene of this entire show thus far.

She is involved in one of these standard “intense emotion” scenes with the sexy Romulan hipster, talking about something I don’t understand or care about at all.

But then, all of a sudden, we get some happy music, and the whole thing turns into a weird montage of a romantic affair. He says “I’m going to teach you an ancient Borg ritual,” and they… take off their shoes and go sliding down a hallway.

Then they start dancing and kissing.

What in the actual heck?

And does this bitch have a chin implant? She looks like Jay Leno.

I hate this show.

Back on Planet Arabia, JL is complaining about racism on the planet to the black nun (WHO ARE THE ROMULANS RACIST AGAINST ON A ROMULAN PLANET?), and the boy with whom he had the relationship is angry at him. JL learns that the boy, Elnor, has completed his fighting training, but he can never join the nun group, because it is exclusively for women. He has also inexplicably developed an Australian accent.

JL tries to get him to join the mission and he refuses in yet another worthless, dumb drama scene with no stakes.

The pederasty theories intensify here as Elnor says to JL “did you ever miss me?” and JL answers “of course I did…”

JL leaves and goes to the racist bar and throws their racism sign on the ground.

Again, there are only Romulans on this planet, so having a “Romulans only” sign so prominent at the bar makes no sense. But there it is. And JL isn’t going to stand for it.

I don’t know why he wouldn’t stand for it, because in the universe of this show, these Romulans are oppressed victims who were denied rescue by racist white earthlings (the Federation is only Terran humans on this show for some reason, even though it was “The Federation of Planets” involving many races in the old shows). Maybe they put up the sign just in case some of the earthlings that abandoned them – like Picard himself – showed up? They wanted to preempt this exact situation? And wouldn’t that be like Syrian Arabs who were denied rescue by racist whites putting up a sign in Aleppo that says “no whites?” And isn’t that okay in the moral paradigm that this show is promoting?

Isn’t “reverse racism” a canard or a trope or something?

Was JL not literally invading the safe space of an oppressed group? Isn’t that the definition of white supremacy?

I don’t know. These Jews who wrote this show don’t know. It’s probably patriarchal white supremacy that things that happen in a TV show should have to make sense, so whatever.

JL walks into the bar, and there is a menacing negroid Romulan, who doesn’t look like he’s playing games.

The black man confronts him and blames him for the problems the Romulans are experiencing.

He mentions “Wallenberg class transports” – apparently named for Swedish Jew spy Raoul Wallenberg, who allegedly saved Jews from being allegedly made into lampshades by Adolf Hitler during World War II. The ship he remembers getting on was the Nightingale, presumably a reference to a 2015 novel by that name about something something escaping the Nazis. No one could ever accuse this show of not being Jewish enough.

He accuses JL of plotting against him.

This obviously doesn’t make any sense. The guy says he was an ex-senator of the Romulan planetary government – so he presumably understands something about the way governments work, and is not mistaking JL for the King of Earth. But for some reason he holds JL personally responsible for the failure of the rescue mission, even though he knows who he is and knows he was just an admiral. An admiral who aggressively supported the rescue operation.

I guess he’s a space-racist, so he’s just angry for no reason? His motivation is racism? I just don’t know.

He then challenges JL to a sword fight and JL refuses to fight, throwing his sword on the ground.

The Australian Arab lad shows up and threatens the black.

The black anti-human racist does not take kindly to that, and so the Australian Romulan Arab chops his head off.

I don’t know why if he has the ability to just slice his head of with that kind of ease, he wouldn’t just chop his hand off, or incapacitate him in some other way. I guess maybe he’s a sadist?

Or maybe the Jewish writers just hate black people?

He then announces that he’s decided to join JL on his mission. He changed his mind for some reason or perhaps no reason. That worked out for the plot, what with JL having driven himself into a situation where he’s about to be killed.

They beam out just before a guy in the crowd says that a sword won’t stop a phaser and draws his weapon, and we’re left wondering if he is actually planning on carrying that sword – which is a Musketeers style rapier for some convenient reason – around as his main weapon in space. Surely, the whole “don’t bring a knife to a gunfight” issue would be a massive problem on a space adventure.

Back on the Cube, the sexy Romulan hipster’s sister, who was apparently added to the show after people got angry that there were zero attractive women in the cast otherwise, shows up in her brother’s bed.

The sexual tension between these two from the previous episodes intensifies here, and it is clear that they are either trying to copy some kind of Game of Thrones incest theme, or they’re going to end up saying they’re not actually brother and sister. Who cares?

There is a BDSM thing going on in this scene, where the sister, who is wearing a femdom dominatrix suit, starts choking him for some reason.

It isn’t clear from what they’re saying why she’s choking him, but hey – goyim love drama, right?

And I guess it’s hot?

Maybe she is reminding him not to fall in love with the android?

There’s a boring space battle with whoever, and it’s a little bit shocking how unimpressive it is. You’d think that would be one thing they could get right. The pilot – or is he the captain? do I know? do the writers know? does anyone care? – brings in a hologram which speaks Spanish for no reason to help him shoot the space guns. But not even Latin spice could spice up this space fight.

2/5

We do see some classic Trek “lean to the left” action, which is kind of hilarious with the 80-year-old JL.

Another ship joins the battle, and gets damaged, and JL says “BEAM HIM IN!”

But it’s no him, goy.

It’s Seven of Nine, who I must say, is looking absolutely fantastic for her age.

I do love to see people taking care of themselves.

If you wondered what the point of the subplot with the Bird of Prey warlord was, there you have it: it introduced what is hopefully the final member of JL’s crew. At the end of episode 4 of 10, we’ve got a crew.

She passes out on the deck and the episode finally, mercifully, ends.

I am left alone in my room, wrestling with the fact that these are 43 minutes of my life that I will never get back.

But I do it all for you, the reader.

Most modern right-wing internet criticism of entertainment media is not really very in-depth or interesting. Most people look at this garbage coming out of Hollywood and Netflix, and their single critique is that it is filled with black people and women, as well as horrible “Trump bad” and “save the refugees” themes. However, if we are looking at it as art, that isn’t necessarily a problem. It is only if you are critiquing it from a social standpoint that the number of black people and women or the underlying value system being presented are an issue.

I am of course very interested in the way that art is being used to manipulate and reshape society, and the aggression with which this program is being implemented is shocking. But I am an artist and I am not a natural conservative (weak disgust response), so on a personal level, the first thing I look at when viewing a film or TV show is its artistic merit. Not surprisingly, however, the Venn diagram of overlap between “horrible social engineering project” and “terrible storytelling” is very tight.

For example, Star Trek: Discovery, created by Alex Kurtzman, the same Jewish individual who created Picard, was introduced in its first season as being all women, all the time, with the chief protagonist being an empowered black woman who is belligerently presented as the most important person in the universe.

There is also a homosexual character, who was raped by Kevin Spacey. If the show would have included him being raped by Kevin Spacey, it would have been a lot more interesting. There is also a fat woman, which I find inappropriate.

The entire crew was presented like a Social Justice college club.

There was only one moderately attractive woman, who was a minor character.

Unless you find Chinese MILFs attractive (I do, but this woman is pushing 60; looks great though).

The fact that there were no handsome men on the show might indicate that “no beautiful people allowed” was a theme or an underlying message. But it might also be simply that there weren’t really any men on the show.

The only straight white male main character in the show is actually Jewish, and he is menacing before he turns out to be evil.

There aren’t really any social justice themes in the show on first glance, and I didn’t glance twice. Unless you consider the cast itself to be a social justice theme, which I’m sure is the opinion of the writers and producers. Basically, the show appeared to be about the power of friendship. (Although the show was struggling with the concept of themes generally.)

However, all of that is neither here nor there, if we are simply looking at the quality of the storytelling.

As a fan of Star Trek, science fiction and good storytelling, what bothered me most about Star Trek: Discovery was simply how poorly written it was. The plot did not bother to attempt to make any sense. All of the themes which had ran through Star Trek from 1966 to 2005 were discarded, off-handedly, and fans of those series were accosted with a total butchering of everything the show represented. None of the characters were in any way moving, despite all of the crying, screaming and other melodrama.

There was nothing interesting about any of it, and it appeared that the writers believed that simply by presenting fighting and explosions, gross emotional displays and high-quality CGI, they were creating a viable product.

This show was given positive reviews by the review media because they liked the heavy-handedness with which women and diversity were presented. They appeared to have no concern for the actual quality of the storytelling. Audiences did not take as kindly to it as the social-engineering aficionados in the media, however.

What is interesting is that following the terrible reception of Season 1 by audiences, the show’s Jewish production team made the decision to switch things up and introduce a handsome white male lead, Anson Mount, who looks suspiciously like Mitt Romney.

He was masculine and an authority figure, and played the whole thing in a way that was very in-line with the old shows that I love.

The always elegant Rebecca Romijn was also introduced as Mount’s romantic interest.

Further, they added Spock, played by some guy, making the entire show about twice as white as it was in the first season.

The magical black woman who could do anything and was the most important person in the universe was relegated to a supporting role.

According to right-wing internet media commentator wisdom, these changes should have made the show significantly better. In actual fact, the show became much worse.

Reviewers still liked it (or claimed to), but the audience response was lower than you’re ever going to see on a show that has this high of a production value.

The writing was still horrible, and there was simply nothing redeeming in terms of storytelling. While they were attempting to correct course, it somehow managed to be even more convoluted and confusing than the first season.

The way this developed leads me to believe that the Jews producing the show have the same view on this media as internet right-wingers, and said “oh, the goyim are angry at the show! We’ll have to add more white people!” instead of replacing their writing team with competent people.

Of course, the reality is that just as they told very bad stories after adding a white male lead and other whites, it would have been possible to tell interesting stories with the first season cast of only women and blacks. You might not watch it, if you’re simply tired of all of this diversity, and no one could blame you for that, but the fact remains that the problems with this show are not fundamentally racial.

The conclusion I’ve come to is that these two separate issues – diverse casts and poor storytelling – get confused in the minds of the viewers of these shows because they almost always go together. What it seems is that the people who want to shove a social justice message down your throat simply are not capable of producing good entertainment.

I have been obsessed with the follow-up to Discovery, Star Trek: Picard, due to the mind-blowingly poor quality of the storytelling. The show also has the same issue of injecting all of these empowered women who proceed to walk all over the stupid and pathetic old white male main character. And it goes further, adding all of these heavy-handed moral messages about Donald Trump and refugees.

As I’ve watched the show, I’ve tried to imagine if I could write a good show where Jean-Luc Picard is an old man, who has been completely neutered and spends his days getting bossed around by women, and also include a pro-refugee and anti-Donald Trump message. And I am certain that I could do this. Because there is no specific reason why a show pushing a political agenda that I find distasteful cannot be good.

Conclusion

I personally do not crave media that panders to white people in the same way that this current media panders to minorities and women. I enjoy interesting, engaging and challenging media that presents characters and stories that I find interesting, even if I don’t agree with them.

Unfortunately, we are not likely to get non-diverse casts, political messages we agree with or good quality storytelling from Netflix or Hollywood any time soon. But most of us will continue to watch some of it here and there, if only to remain engaged with the larger culture, and we will continue to critique it. I think that our critique is going to be more powerful if we critique media as art, rather than by the white-black and male-female ratio of the cast, and pointing out why the stories that they are presenting are bad is hardly any more difficult than pointing to the fact that all of the white characters are being replaced with diversity.

The IT team contacted me last night and informed me they thought the site was suffering a DDoS attack, then realized it was actually an article that had gone viral. It was my latest piece on Star Trek: Picard, discussing the fact that I believe the series is being promoted by an army of shills who post in comments sections and on reddit.

The reason it went viral is that it had gone to the top of the Google News Android app, Discover. The reason that this was possible is that we switched domains recently due to dumb technical problems, and the new domain was not in Google’s block list. And the Daily Stormer happened to have the single most popular article on the topic of Picard, so through merit, we reached literally the top spot of Google News for people whose profiles marked them as Star Trek fans.

And who was it that got it shut down?

It wasn’t the Southern Poverty Law Center.

It wasn’t the Anti-Defamation League.

It wasn’t even a Jew.

It was Patrick Hogan.

It is absolutely stunning to me that Google's news product not only doesn't blacklist proudly neo-Nazi websites, but goes on to recommend their articles on Star Trek at the very top of my Android feed. pic.twitter.com/DJuz3tN7n9

— Patrick 🌆 Hogan (@phogan) February 10, 2020

And Paul Hogan is…

Drum roll please…

A journalist who works for CNN.

He’s exactly what you would expect.

A disgusting fatbeard millennial who will never achieve anything in his life who is absolutely outraged that after he got the dream job at CNN, more people read me than him. Journalists are a race of fat, malicious slobs who believe they are special. Just try to imagine being that fat, having that beard, being 35 and thinking you’re special. These are the people who have taken our freedoms from us.

Google immediately responded to Hogan, saying that they would be silencing me immediately, explaining that with the domain change, I showed up on their newsfeed against their will.

I’ll pass this on for review. That’s our Discover feed; content there has to meet the same guidelines as for Google News. We do try to meet those automatically; if they don’t, then we act to remove. Guidelines here: https://t.co/SMd8FfMGNZ

— Danny Sullivan (@dannysullivan) February 10, 2020

To update. Our apologies for this. The site had previously been blocked from showing in Google News surfaces, including Discover, for violating our news content policies. It shifted domains. We should’ve caught the change but didn’t. We’re taking steps to avoid this in the future

— Danny Sullivan (@dannysullivan) February 10, 2020

This is a situation where CNN – which also publishes articles about Star Trek: Picard – is calling for me to be shut down because I had the most popular article on Star Trek: Picard on Google News.

How is it possible that anyone thinks it is okay for a multinational media conglomerate to publicly advocate for independent media that cannot even pay the bills to be blocked on the internet?

How is this even legal?

Imagine if Walmart was publicly lobbying for a local family-owned co-op to be shut down, claiming the owners of it were evil people.

And that is truly all they are saying when they call me a “neo-Nazi.” In fact, Fatboy Hogan said I am “proudly” neo-Nazi. To be clear: I am not, nor have I ever been a “neo-Nazi.” In actual fact, I do not even believe that is actually a real thing, outside of FBI organized terrorist groups.

What I have done is mocked the caricature of “racists” presented by the media in an interesting, creative and rebellious way. These people claimed that by mocking a thing I actually was the thing. I don’t know how many of them were pretending to be retarded and how many of them actually are retarded, but I always think of sitting with my elderly grandma 15 years ago and watching The Colbert Report with her thinking that he was a Republican.

I think that some of these people were too old to get the joke and some of them were opportunistic Jews who wanted me shut down because I had developed a genuinely fun way to address the problem of Jewish power. But since those memes have gone stale – primarily due to what appeared to be legitimate neo-Nazis showing up at Charlottesville – I have admitted in a straight-forward manner that the whole “Nazi” thing was what every regular reader of the site knew it was: a funny joke.

I still use the bit sometimes, if I think I can do it in a way that’s funny, but that is a rare occurrence.

Point being: there is no meaning in the term beyond “this person is evil,” which is simply dumb. Even in the responses to the CNN agent flipping out, people were like “yeah I saw that and I clicked ‘please don’t show me this source again.'” And that surely is a fine solution for most people.

After CNN made the call, Sleeping Giants, a Jewish anti-free speech advocacy group, joined the crusade.

Can someone at @google or @Android explain why the number one neo-Nazi site on the Internet is appearing on RECOMMENDED ARTICLES?? https://t.co/u9Pvh9fEpF

— Sleeping Giants (@slpng_giants) February 10, 2020

And a few other people joined, saying  “YES I AGREE THESE PEOPLE ARE EVIL THEY SHOULD BE DEPRIVED OF THEIR RIGHTS BECAUSE OF THEIR POLITICAL VIEWS!”

But I don’t really believe that is a popular sentiment. What I see with people shutting me down is that they are either:

• Media figures silencing the popular competition, or
• Jews who don’t want people to know about their agenda

I have rarely seen anyone else engaged in any serious effort to silence freedom of speech on the internet. In fact, I don’t really even see women doing it. Certainly black people don’t care.

As a right-winger, I would be happy to see an orthodox Marxist critique of Star Trek: Picard. I would be happy to see an orthodox Jewish critique of the show. It would be interesting. I do not have an emotional breakdown when I am exposed to ideas that I don’t agree with, and in fact I enjoy challenging my own beliefs by comparing them to the beliefs of others. However, if I ever did end up in a situation where something someone wrote on the internet caused me to have an emotional breakdown somehow, I would not be advocating to silence people’s speech.

I am an advocate for more speech, including and even especially speech from people I disagree with, as I believe I am right and that if I have free access to an open marketplace of ideas, my ideas will win out. And clearly, that is what happened when I became the number one news article for Star Trek fans on the Google News app – I won the marketplace of ideas.

So the competition had to shut me down.

That was Depressing in the Extreme

Again: we got so many hits that the IT staff thought it was an attack.

Because the fact of reality is: I am still the best journalist on the internet. Given the option, people will choose my materials over the materials of the mainstream Jewish media.

This situation, while a nice reminder of my own ability to produce viral content, is also a very sad reminder of what was taken away from me by a clearly illegal system to silence freedom of speech on the internet, and a government that refuses to do anything to protect the rights of the people.

If America actually was committed to protecting the First Amendment, the Daily Stormer would be a massive multi-million dollar enterprise competing with CNN and every other Jewish outlet. So would Infowars.

What supposedly makes America “the greatest country on earth” is the ability of anyone to do anything. But the caveat is “as long as the Jews are okay with it and the media doesn’t view you as a threat.” Because it isn’t even “as long as you don’t criticize the Jews” – Alex Jones doesn’t criticize the Jews, and he is almost as banned as I am, because CNN decided to lobby to have his very popular media operation banned from everything.

They literally engaged in a months-long campaign to have him shut down, then went around bragging about it.

Of course, that was only possible because they had already shut me down. CNN basically said to Twitter, Facebook and YouTube: “this is just as bad as the Nazis you’ve already banned, so you’d better ban this too, or we’re just going to keep talking about how you support shooting kids at Sandy Hook.”

They’ve gone on to ban entire sections of the internet, including basic Trump supporters. And you’re going to live to see them ban Bernie supporters. They already started cleansing Twitter of them when they were calling out the sabotage in Iowa, just saying that by questioning the extremely shady processes of that caucus, they were doing “election meddling” and “attacking democracy.”

When this primary season really gets rolling, you’re going to see all the Bernie people cleansed under the guise of “Russian hacking” and whatever – just imagine the stupidest reasoning you can think of, and that’s the excuse they’ll give for banning these people.

Bernie supporter Jimmy Dore already knew this was going to happen a long time ago, and called out the New York Times for framing the narrative of a “YouTube rabbit hole” that turns people into Jew-gassing Nazis.

What’s more, beyond the mass bannings of basically all interesting content, there’s been an extreme chilling effect, and people who were saying some sort of interesting things, such as Sargon of Akkad, have rolled it back and simply stopped saying anything interesting to ensure they don’t get banned from everything. I’ve seen a lot of YouTube entertainment critics scale back their language and the scope of their discussion in order to try to avoid being banned.

It is truly horrible, what has happened. The internet was such a wonderful idea – this place where we could all just share our ideas, in a fully DEMOCRATIC system where a random blogger is potentially as popular as the biggest news outlets in the world.

But alas. That world is gone.

It was taken from us by Jews and the journalists, the lowest and most pathetic people on planet earth.

And it has become clear that it isn’t coming back.