Star Trek Picard, Jean-Luc
What makes Q's relationship with Picard on the series so unusual is that .. encounters Q, dressed in a white robe and claiming to be God. However, he became afraid of a possible future relationship and posted . Appearing as "God", Q told Picard that he had died because of his artificial heart, and. Picard/Q is a slash pairing between Captain Jean-Luc Picard of the Enterprise certainly foregrounds the gay subtext of his relationship with Picard. despite the fact that Q is an immortal god, Picard holds his own and even.
She's found a vulnerability in you, a vulnerability I've been looking for for years. If I'd known sooner, I would have appeared as a female. He both feminizes and objectifies Picard, who, in his skimpy and revealing pajamas, is clearly vulnerable to the sexual threat Q poses, a threat that de Lancie makes very clear by the way he looms over the scantily-clad object of his desire, speaking directly into his ear. Q, fully dressed, and in his adopted Starfleet uniform, clearly has the upper-hand.
In "Qpid," he adopts a particularly stereotypically masculine role in order to assert power over Picard. For Q, romance is a form of conquest, a conquest effected by exploiting the other's vulnerabilities. He seems genuinely surprised that the vulnerability he's been looking for for years was simply a matter of something to him as superficial as gender. What frustrates Q is that the woman Picard has fallen for is essentially a version of Q in female form. When Picard later accuses Q of being "devious and amoral and unreliable and irresponsible and definitely not to be trusted," Vash asks simply "Sound like someone you know?
In order to punish Picard for rejecting him in favor of a female and mortal and hence inferior version of himself, Q takes Vash away from him, again playing a calculated role, that of the victor in a heterosexual love triangle. Despite the gender-bending, femQ still speaks in what is recognizably de Lancie's "voice"; thanks to his ambiguous gendering of this character, his speech patterns can be convincingly transposed onto a seductive femme fatale.
Picard, who is envisioned by many fan writers as the galaxy's most considerate lover, teaches the demoralized and humiliated femQ to enjoy sex. The twist is that Picard recognizes Q immediately and goes along with the intended seduction, leading both characters into a confrontation in which they must acknowledge their feelings for each other.
The sequel, "With or Without You," posits a continuing relationship between the two characters in which Q alternates between his male form and his female persona, Catherine Vye. Both characters participate in a dizzying series of gender switches, engaging in hetero and homosexual sex of every variety, and Picard becomes very comfortable with his female alter-ego, Jeanne.
It becomes a form of sexual play and exploration rather than a fixed and inevitable state of being. The stories suggest that Picard's often inhuman self-control can be a flaw and that he benefits from Q's ability to humanize him and to force him to loosen up. Paradoxically, for all his contempt for human limitations, Q is in many ways more human than Picard. This notion was undoubtedly influenced by "Tapestry," an episode from the series' sixth season, and, according to de Lancie, one of his personal favorites.
Q's bedtime visit to Picard in "Qpid" is overshadowed by the absurd Robin Hood scenario that dominates the episode, while "Tapestry" allows for much more direct interaction between the two characters. Even more crucially, Picard is much more receptive to Q's advances than he was in previous episodes.
This episode, like the series finale "All Good Things. A brief plot summary is necessary here. Having apparently died from an injury to his artificial heart, Picard encounters Q, dressed in a white robe and claiming to be God. Q gives Picard the opportunity to go back in time to a point a few days after his graduation from Starfleet Academy in order to avoid the youthful bar brawl in which he lost his real heart in the first place.
It is a trick, of course. Picard does successfully avoid the fight, but in the process he manages to alienate his best friend and offend three women.
One woman slaps him, another throws a drink in his face, and his formerly Platonic friend, Marta Batanides, spends the night with him but immediately regrets it, parting from him bitterly. Q's demeanor toward Picard alternates between an overtly affectionate flirtatiousness and an exasperated impatience at his beloved's lack of perspicacity.
Moments after Picard's return to the past, his friends Marta and Corey leave his room, joking that he probably has a date.
At this moment, Q, brandishing a type of baton, appears in the room, in his trademark burst of light, and barks, "Attention on deck, Ensign Picard! That Q makes the most of every opportunity to flirt with Picard here is no surprise. Despite the life-or-death nature of the situation, and despite Q's usual tactless and pointed mockery, Picard conveys an unspoken sense of ease, comfort, and intimacy with him, even flirting back on occasion, unlike earlier episodes where Picard's attitude toward Q consists of both resistance and hostility.
Unlike Picard's rigid stance in "Qpid," when Q is standing immediately behind him, here he projects a considerably more relaxed and comfortable demeanor. What if I don't make the changes? What if I won't avoid the fight? I'm glad you think so. Q's demeanor here isn't particularly menacing despite the threat he makes; it's more a form of affectionate teasing, an affection that is clearly evident in his tone of voice, and Picard reacts accordingly.
Picard even feels comfortable enough with Q to confide in him; when Q asks him why "that rather attractive young woman slapped you just now," Picard leans in toward Q in a conspiratorial manner, smiling and almost bragging that he had dates with two different women arranged for the same day.
With apparent sincerity Q declares, "I had no idea you were such a cad. Marta assumes they're from "another one of your conquests" which, of course, they are! With surgical precision, Q manipulates Picard into alienating his two best friends just as he neatly separated Picard from Vash in "Qpid. Both characters' body language, tones of voice, and willingness to flirt throughout "Tapestry" suggest that they have achieved a level of comfort, ease, and intimacy in their interactions with each other.
Picard verbally jousts with Q in a playful manner and confides in his omnipotent companion in an intimate and self-revealing fashion. The morning after Picard goes to bed with Marta, the camera pans over his clothes strewn on the floor, then up, to reveal him lying on his side in bed. A finger reaches over to stroke his ear, Picard rolls over with a smile, and discovers Q lying next to him and greeting him with a friendly, "Morning, Darling.
Q teases Picard about his night with Marta in a dead-on imitation of Stewart's accent, "We're just friends, Q, nothing more," but doesn't press the point when Picard asserts, "And we're still friends. Although Ron Moore's script for "Tapestry" develops the relationship between Q and Picard in a delicate and complex fashion, showing two self-contained individuals, both uncomfortable with emotional display and self-revelation, achieving an unprecedented degree of intimacy and communication, de Lancie and Stewart pushed the boundaries even further.
Although the powers-that-be cut de Lancie's kiss to Stewart's forehead, they could not cut the entire scene just described. Through body language, eye contact, and vocal shadings, the two actors convey an erotic dimension to the growing connection between their characters. By now we would expect Q to plant himself immediately next to Picard on every possible occasion; we would expect him to tease Picard by appearing in his bed and stroking his ear while playing the role of a lover. But Picard's apparent comfort with Q's advances is the real surprise here; his act of pulling down the covers while conversing with Q in bed and his confidential tone of voice both reveal that not only does Picard no longer consider Q an adversary, but that he and Q have achieved an unspoken trust and understanding.
The casual intimacy Picard evinces in bed with Q goes a long way toward undermining the Captain's otherwise stalwart heterosexuality. While Picard is in "heaven" with Q, looking at the injured form of his younger self, he remarks, "I was a different person in those days, arrogant, undisciplined, with far too much ego and far too little wisdom.
Pity you had to change. That notion was always very attractive to me. Q essentially forces Picard to acknowledge his younger, wilder, undisciplined self, insisting that Picard would not have achieved his professional success without that arrogance and lust for danger. He eventually learns that lesson, and Q brings him back to life.
In the final scene, he confides in his first officer, Riker, that he feels he owes Q "a debt of gratitude" for his "compassion" in giving him "a second chance" and allowing him to become reconciled to a past of which he had felt ashamed: But when I pulled on one of those threads, it unravelled the tapestry of my life. Several fan writers, in fact, use Picard's wild youth as portrayed in "Tapestry" to posit that it is quite possible that Picard might have had homosexual encounters as a young man.
Significantly enough, Picard and Q look into a mirror together during "Tapestry," and what Picard has to learn is to embrace that mirror image, to realize that his arrogant, undisciplined, and Q-like qualities are essential and inextricable parts of himself. Moore has suggested that Q would really like Picard to become a Q himself, although he would never admit such a thing openly, and Q's apparelling himself in a version of Picard's Starfleet uniform further suggests the way the characters are doubles for each other.
Here, not only is Picard's personal evolution at issue, but the evolution of the human species as well, thereby neatly returning to the premise of the series premiere, "Encounter at Farpoint," where Q had put humanity on trial, forcing Picard to prove that humans are more than "a dangerous, savage child-race.
We find out only at the end that Q has been forced into this role unwillingly and that he is providing Picard with as much assistance as his superiors will allow.
The first scene in which Q appears, however, a return to the courtroom of the series premiere, "Encounter at Farpoint," seems to indicate a regression in Q's character.
He is as sarcastically misanthropic and insulting as he was in "Farpoint," bitterly lashing out at Picard. When Picard asks, "You're going to deny us travel through space?
He is also expressing the rage and disappointment of a lover who is becoming increasingly convinced that he has bestowed his affections on an unworthy object; trying to cover for his own chagrin, he lashes out: I have only myself to blame, I suppose. I believed in you. I thought you had potential. But apparently I was wrong. And Picard does not react to Q's taunting with his usual anger; he realizes that something very serious is going on, and after returning to his ship, reports to his crew, "There was a deadly earnestness about him [Q].
I think he's serious. I think he has more than a passing interest in what happens to me. We collapsed the anomaly? I suppose you're worried about your fish, too. Well, if it puts your mind at ease you've saved humanity. Directive from the Continuum. De Lancie makes very clear that in this scene he wants to show that "Q has a vested interest in this man making it. Clearly uncomfortable with this level of self-disclosure on both their parts, both Picard and Q draw back. Picard looks around the courtroom, declaring, "I sincerely hope that this is the last time that I find myself here," and Q snaps, "You just don't get it, do you, Jean-Luc?
The trial never ends. And for one brief moment you did. Not mapping stars and studying nebula, but charting the unknown possibilities of existence. Through body language, eye contact, and tone of voice, de Lancie and Stewart suffuse this scene with unspoken depths of emotion, feelings that seem all the more powerful by virtue of the evident control both characters are exerting to keep them restrained.
Q leans toward Picard, apparently eager to answer his question, to speak the secret he has been concealing all these years into the ear of his companion, but the mask slips partially back into place, and Q leaves his secret unsaid.
Well, for the members of the Q Continuum, expanding one's mind and horizons involves, among other things, the total deconstruction of gender as an ontological category.
Q and his cohorts are radically anti-essentialist in regard to just about every means humans use for classification; time, space, gender, and species are all arbitrary constructs needed by lesser species to make sense of their existence. The androgynes in "The Outcast," for instance, are as rigid in their conception of gender as humans are, and in "The Host," Beverly Crusher cannot accept a lover who has moved from a male to a female body, but suggests "Perhaps someday our ability to love won't be so limited.
If, so Picard's future evolution may allow him, as numerous fan authors have posited, to perceive Q as a romantic partner.
Of course, such a possibility can only be hinted at in an oblique fashion on the series. Q's final words to Picard in "All Good Things. In fact, it was not until after his abduction during the Borg crisis that Picard ventured home, the first time in 20 years, and began to heal the rift with his brother Robert, who had been jealous of his high-achieving younger brother whom he viewed as getting away with spurning family traditions and responsibilities.
Stargazer, First Officer Picard took command of the bridge upon his captain's death and saved the ship, leading to his permanent promotion to captain. His command has abruptly halted in when the vessel was abandoned with relatively little loss of life during an encounter that, years later, was realized to be the first UFP-Ferengi contact; casualties would have been much higher had he not devised a deceptive warp-speed jump maneuver that today is still studied and bears his name.
Even so, he endured a standard inquiry a year later but was cleared of all negligence. Enterprise NCCD on SDhaving hand-picked much of his senior staff — such as two young officers who impressed him enough upon first meeting to win a place in the senior staff: Worf chose to be the exception, Picard's entire senior staff and many junior officers made the transfer with their captain.
That continuity proves fortuitous: From there, a risky time-travel gambit paid off to correct temporal sabotage involving human first contact. They met again briefly as Sarek lay dying two years later as Picard was en route to another reunion with Spock, leading an underground pro-unification movement with Vulcan on Romulus.
Even so, he overcame his childhood dislike and began playing a Kataanan flute following his encounter with that culture. Picard's interests go well beyond archeology and literature, however. The subject of planetary motion and physics is another; he kept up with the Atlantis Project on Earth through journals; and is fascinated to be the first to discover the spacefaring life form, communicate with the Crystalline Entity, and reveal an ancient Promellian battle cruiser.
Captain Kirk vs. Captain Picard | caztuning.info
He still finds time for fencing, racquetball and equine sports, usually by Holodeck, but he does show a tendency for overwork, avoids formal vacations, and has reported bouts of insomnia.
His aversion to annual physicals must also be noted and dealt with. Owing to a fatal stabbing through the heart in a brawl as a newly-graduated ensign ina cardiac device later found to be defective was implanted to save his life. Four years later in a near-fatal Lenarian attack using compressed tetryon weaponry, it was damaged and replaced. He is intensely interested in adding to the sum of human knowledge.
Captain Kirk vs. Captain Picard
Kirk is all about the adventure of space travel. Whereas Picard is really in it because of curiosity. He loves learning and sharing knowledge. You could argue that Kirk was the trailblazer who found the new worlds, and then Picard was the civilized man who had to struggle with attempting to govern those new worlds. Except Picard can fend for himself.
People tend to describe Picard as a more three-dimensional character than Kirk. This is partially because Picard is not constantly chasing intergalactic tail, and partially because Patrick Stewart is just a better actor. But to me, Picard is a far more idealized character.
Essentially sexless, without much of a family until he suddenly has a dead family in Generations. Picard just seems like a scientific-utopian vision of manhood. Now, if Kirk were taken over by the Borg — that would be crazy. Because Kirk is all about base emotions: The central joy of Kirk is watching the tension boil over until he finally loses it: But I appreciate that persona in the context of Star Trek.
Remember, Wagon Train to the Stars was really just a sales pitch, not an accurate description of the Trek universe. He only uses violence defensively. Basically, the Starfleet captain should be a philosopher-king who takes himself out of the equation, making judgments and decisions only when necessary — only when the perfect functioning of the ship is impaired.
But that does make him sound inhuman. One thing Kirk has over Picard is the Grecian ideal of friendship with Spock. Picard is a loner — by necessity, I would say. Because Kirk is a tragic figure. He loses his son to the Klingons. He drives away all his girlfriends.