Why The WWE’s Partnership With Saudi Arabia Is Getting Harder To Ignore

Four hundred and fifty million dollars. According to multiple reports, that’s the amount of money WWE stands to earn over the next ten years, thanks to its partnership with Saudi Arabia. The wrestling promotion, which touts its civic responsibility through a variety of charities, anti-cancer advocacy, and anti-bullying initiatives, is dealing with a monarchy guilty of human rights violations that occurred on its watch. Furthermore, the CIA concluded in November 2018 that Prince Mohammed bin Salman, the de facto ruler of the kingdom, ordered the killing of U.S. resident and Washington Post columnist Jamal Khashoggi the prior month.

It has been stated many times by the media, politicians (across political lines), and the wrestling press, but it bears repeating: WWE’s decision to remain in this partnership is an objective moral failing that calls its leadership and guiding principles into question.

WWE has honed in on the handful of bright spots. Prior to the first Saudi Arabia event, which took place before the Khashoggi killing, Triple H said the following in response to criticism that women would not be performing at the shows: “You can’t dictate to a country or a religion about how they handle things but, having said that, WWE is at the forefront of a women’s evolution in the world and what you can’t do is affect change anywhere by staying away from it.”

On this front, Saudi Arabia has made small, if token gestures towards progress; the first women’s match took place at Crown Jewel (2019), approximately a year and half after Triple H made his statement. A second women’s match–this time, a title match between Bayley and Naomi–will take place at the fifth massive Saudi Arabia show, Super Showdown, on February 27.

But the problems outweigh the positives. The Saudi Arabia deal has compromised the narrative quality of the weekly shows, which, incidentally, include more than a single, token women’s match per broadcast. For example, at Super Showdown on February 27, there are currently rumors that Goldberg will win the Universal title from The Fiend.

There was a report that came out after the Greatest Royal Rumble that a Saudi prince requested the presence of the Ultimate Warrior and Yokozuna (despite both performers being dead in real life). Clearly, the Legends and Hall of Famers are a major factor in this deal and have an outsized importance. The Undertaker has main evented two of these massive shows. Shawn Michaels came out of retirement for a tag team match. And in light of this, the rumors of a Goldberg win are less shocking. But where will that leave the Fiend’s character when all is said and done? Are they going to throw away a year of Wyatt’s character development in service of this deal? Let’s hope not.

There’s also the issue of showing these newly important PPVs live. Granted, WWE is a global company; not every PPV outing needs to conform to the leisure hours of the United States. But scheduling this PPV for a weekday seems counterproductive. How does the company expect its storylines to maintain narrative coherence if key plot points are revealed at odd hours during a weekday afternoon? Even if the people who missed the show read recaps, they lose out on the shared, emotional impact of watching something happen in real time. It’s the types of emotions that trigger nostalgia, which WWE bases the majority of its marketing upon.

Then the Khashoggi killing happened, and these narrative issues paled in comparison to the more ethical ones. At first, the company tried to play both sides. While not breaking off the deal entirely, WWE certainly distanced itself from it. All references to Saudi Arabia were removed from American advertisements for these events. And for a time, it seemed that WWE would try to appease all fans by making the Saudi Arabia shows appear important, but ultimately inconsequential to the larger narrative.

On the first three massive shows, for example, there were no world title changes. The focus was on spectacle–of creating dream matches between aging legends like Goldberg, The Undertaker, and Shawn Michaels. These feuds had small builds on television, but once they were done, they had no greater bearing on the weekly storyline or arc toward Wrestlemania. They were framed as exactly what they were: a series of publicity stunts–house shows, which are typically outside the established canon.

This created a different problem, in that it broke up the weekly narrative flow and led to oversaturation of the product–the Elimination Chamber (2020) PPV is scheduled for the following weekend after Super Showdown–but at least WWE fans who didn’t support the Saudi deal could easily avoid its shows, and create a headcanon in which they do not exist.

But at Crown Jewel (2019), the narrative firewall fell; “The Fiend” Bray Wyatt defeated Seth Rollins to become the WWE Universal Champion. Slowly, but surely, these events are becoming canonical PPVs, making them harder for fans to ignore. Title changes, which are inevitably replayed and promoted across WWE’s media empire, demonstrate that WWE is testing the waters.

Saudi Arabia intended for this WWE partnership to function as a platform for their Saudi Vision 2030 plan. WWE has reached the point where they are working Saudi Arabia back into the storylines. Is WWE figuring that enough time has passed? Because it hasn’t. A man was dismembered and carried out of the Saudi Consulate in pieces.

The fans should recognize and vocalize how bizarre and uncouth WWE’s relationship with Saudi Arabia continues to be. The wrestling press should continue to hold the company’s feet to the fire, or have a media blackout on covering these events. And maybe the next time the fans want to chant “What?” or “CM Punk,” they could chant for some accountability instead.

Editor’s note: GameSpot does not do live coverage, reviews, or recaps of WWE’s events in Saudi Arabia.

New Platinum Games Tokyo Studio Will Develop Live-Service Games

Acclaimed action game developer Platinum Games has several projects in the works, including a Wonderful 101 remaster and the hero-focused action game Project GG, but it’s also moving into entirely new territory. The company is opening another studio focused on live-service games, and it’s looking to hire new developers quickly.

Located in Tokyo, the new Platinum Games studio will be helmed by former EA, Sony, Disney Interactive, and Sony developer Motoi Fujita. Platinum Games’ Tokyo studio will develop “live ops” games for consoles, and Fujita has experience with live services on both console and mobile because of his time on the FIFA franchise.

“On live ops titles, finding a following for the title is an important step, so Platinum definitely has an advantage here,” Fujita said in an interview. “And I believe this can also be a change to introduce a new wave of fans to Platinum Games’ titles.”

The first live ops developers at the Platinum Games Tokyo studio will be existing employees. Fujita hopes the Tokyo location will make it easy to recruit new talent from local companies. The original Osaka studio will also assist with live ops development when needed, but it will be primarily handled by the Tokyo studio.

Platinum Games’ expansion, which also includes building a new engine and several upcoming projects, comes after receiving funding from Chinese conglomerate Tencent. It is not a subsidiary, and will continue to operate independently. Alongside its recently-teased projects, Platinum Games also continues development of Bayonetta 3 for Nintendo Switch and Babylon’s Fall for PS4 and PC. It has one more announcement coming, according to the Platinum 4 website.

Now Playing: Project GG – Teaser Trailer (Platinum Games)

Sword & Shield’s New Mythical Pokemon, Zarude, Revealed

As teased, The Pokemon Company has revealed a new Mythical Pokemon for Sword and Shield as part of its Pokemon Day celebration. The new Pokemon is called Zarude, and it’ll play a major role in the upcoming Pokemon movie, Coco, which premieres in Japan later this year.

Zarude is known as the Rogue Monkey Pokemon. It’s a Dark/Grass-type with the Ability Leaf Guard, which prevents it from being inflicted by status conditions when the weather on the battlefield is sunny. According to the Pokemon website, Zarude is able to grow vines from its wrists, neck, and feet, and can use these to battle or treat wounds thanks to the vines’ healing properties.

Few other details have been revealed about Zarude thus far, but the official Pokemon website confirms that you won’t be able to obtain it in Sword and Shield through normal gameplay, which suggests it will be released as part of a special distribution or event. The Pokemon Company teases that “more information [is] coming soon.”

In other Pokemon news, a new Max Raid event is also underway for a limited time in Sword and Shield. Until 3:59 PM PT on March 1, you will be able to encounter the Legendary Mewtwo in Max Raid Battles. You can’t capture this Pokemon, but you will receive fantastic rewards if you are able to defeat it. The original three starter Pokemon–Bulbasaur, Charmander, and Squirtle–are also appearing in Max Raid Battles, and these likewise distribute great rewards, including Life Orbs and Flame Orbs.

Finally, a few freebies are still available for Pokemon Sword and Shield, including free Bottle Caps, which you can use to Hyper Train a Pokemon and raise one of its base stats. Time is running out to grab some of them, though, so you’ll need to act fast if you haven’t already claimed them.

Now Playing: Pokemon Sword & Shield – Zarude Mythical Pokemon Reveal Trailer

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Steven Seagal Is Under Siege By SEC After Failing To Disclose Cryptocurrency Earnings

Action movie star Steven Seagal is currently On Deadly Ground (1994) with the SEC after the government agency found the actor–and reserve deputy chief in the Jefferson Parish, Louisiana Sheriff’s Office–did not disclose his compensation for endorsing a cryptocurrency company in 2018.

The SEC was Out for Justice (1991) and Seagal agreed to pay $157,000 in disgorgement, according to The Hollywood Reporter. This neither confirms nor denies the allegations against the actor who is not Beyond the Law (2019). Seagal allegedly did not disclose the fact that he was promised $750,000 worth of Bitcoiin2Gen–along with $250,000 in cash–for his promotion of the cryptocurrency, when he made the Executive Decision (1996) to endorse it back in 2018.

SEC chief of the division of enforcement of cyber’s unit, Kristina Littman responded with this statement: “These investors were entitled to know about payments Seagal received or was promised to endorse this investment so they could decide whether he may be biased. Celebrities are not allowed to use their social media influence to tout securities without appropriately disclosing their compensation.”

Seagal’s Code of Honor (2016) may have led him to delete his tweets regarding Bitcoiin2Gen when he was first promoting it, but there is still evidence the two had dealings with each other two years ago.

And in what could be considered one of the most bizarre press releases regarding cryptocurrency, Seagal felt very Out of Reach (2004) in the press release announcing his collaboration with the crypto-company. “As a Buddhist, Zen teacher, and healer, Steven lives by the principles that the development of the physical self is essential to protect the spiritual man. He believes that what he does in his life is about leading people into contemplation to wake them up and enlighten them in some manner. These are precisely the objectives of the Bitcoiin2Gen to empower the community by providing a decentralized P2P payment system with its own wallet, mining ecosystem and robust blockchain platform without the need of any third party.”

In addition to paying the $157,000 in disgorgement, Seagal agreed not to promote securities for the next three years, according to the SEC, so there will be no trial nor Maximum Conviction (2012).

Wendy Review

Peter Pan has long been shaping how people tell stories about childhood and growing up. It’s been adapted multiple times and retold even more. The latest creator to take on this task is the Academy Award-nominated Benh Zeitlin who was last seen and heard of in 2012 with his critically acclaimed debut Beasts of the Southern Wild. Since then he’s been working on Wendy, his contemporary reimagining of Peter Pan that despite the change in name, time period, and location feels very much the same as what we’ve seen before.

Just like Beasts of the Southern Wild, Wendy begins in a Southern landscape seemingly cut off from the rest of society. The titular heroine lives with her family at their trainside diner. Her three brothers aren’t excited about the prospect of spending their lives stuck in the grimy but friendly food establishment and we watch as Wendy wanders around in her diaper charming the patrons. This opening not only sets up the visual tone for the film — “grounded and real” — to the point of blandness but also introduces us to the more magical elements of the film. We watch out of the window with Wendy as her eldest brother absconds on a passing train after being encouraged by a figure shrouded in red.

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Years later we find Wendy (Devin France), her mother (Shay Walker), and two remaining brothers (Gage and Gavin Naquin) still living in the diner where the youngest daughter dreams of the “ghost train” that took her brother away and her twin siblings embrace their muddy life in New Orleans. It’s a slow-burn beginning that highlights the watchability of the young cast as the trio do nothing more than listlessly wander around the diner and their house above it. The ever-present lights and noise of the trains play as an ominous hint of what’s to come as Wendy waits for the return of the train and the figure who spirited her brother away.

That strange figure is, of course, Peter, played here by Yashua Mack who is inarguably the star of the film. The fact that Peter is the best thing about a film called Wendy is just the beginning of where this adaptation’s problems begin. Although Mack is brilliant, the script — by Zeitlan and his sister Eliza — and characterization of Peter muddies the waters with a choice to focus on the more Machiavellian and malicious aspects of the character, making his anti-heroic and sometimes villainous take on the character far more interesting than the allegedly “good” leads, Wendy in particular. Mack’s Peter is a firebrand who is brilliant, charming, and dangerous, young, old, and ageless all at the same time. When he shows up on the roof of the train passing the bedroom window of the Darling children you never question whether or not they’ll follow him, which is after all the power of Peter Pan.

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Ironically, as Peter is the best thing about it, the film loses its way once he and the children hit Neverland. Despite the fact that their arrival begins by hinting at an intriguing representation of magical realism and what it can be on the big screen, Zeitlin seems to get lost in his own vision, with plenty of pretty B-roll and stunning locations but not much narrative and not enough strength of conviction to work without one. There maybe exists a version of Wendy that was truly committed to the atmospheric fairytale that it wanted to be, and potentially that hypothetical film was better. But once the siblings and the children that they meet are left to roam free on the isle of lost dreams, Wendy really begins to drag.

There are moments of magic as the young cast wander around Neverland and most are connected to the magic that seemingly keeps them young. There’s beautiful creature work which leads to a few truly stunning sequences, but Zeitlin is more interested in “the real” which means the magic of the film is often pushed aside in favor of something more grim and bland. Wendy is a movie that shouldn’t feel like it needs an explanation but the interior logic of the island never works, which is inherently tied to the fact that the Zeitlan’s message is unclear. Is it terrible to grow up? Or is it a great adventure? Are the children the future and the elderly a hazard to it? Or are the young trapped in their own nostalgia when they should want to grow up? These questions don’t feel like a purposeful ambiguity but more like unfinished thoughts that lead the audience to nowhere but confusion and potentially nausea for those who don’t have a taste for the saccharine and heavy-handed analogs the Zeitlins try to force into the final act.

Marvel’s The End Reveals How 6 Heroes Meet Their Demise

As the title implies, Marvel Comics’ The End shows how various heroes eventually meet their respective ends. While these are more “What If…?” tales set in a possible future that show how each hero’s story could end, they still aim to pack an emotional punch and work as an interesting character piece that examines what their time as a superhero ultimately amounts to.

Marvel first launched The End line of comics back in 2004, and now a new batch has been released showing the potential fates of six more iconic characters. Here’s a breakdown of how Doctor Strange, Captain Marvel, Captain America, Spider-Man Miles Morales, Deadpool, and Venom meet their ends, and our thoughts on whether it was a fitting end for each respective character.

Warning: full spoilers ahead!

The End of Doctor Strange

Strange 0

Written by Joe Kelly | Art by Mike Hawthorne | Cover by Rahzzah

Doctor Strange’s story finds him in a future cyberpunk dystopia where technology rules and magic has all but died out. Wong is dead and so are the rest of Earth’s sorcerers, leaving him to go stir-crazy as he sits alone in the Sanctum Santorum with no one to talk to but an AI program.

The Story

Fed up with the lack of magic in the world, Doctor Strange is goaded by the spirit of Wong into replenishing the world’s magic by seeking out magical artifacts across the globe. Strange stops by the graves of the Scarlet Witch and Doctor Voodoo to grab their remains, then journeys to the far reaches of the world to collect whatever magical relics he can find. Upon returning home, he starts a ritual where he feeds a magical fire everything he collected, even the entire cabinet holding Wong’s memorial. Finally, Doctor Strange strips down and enters the fire himself.

How It Ends

Doctor Strange sacrifices his body to complete the ritual, and we watch as magic is slowly returned to the world.

We also see that Illyana Rasputin aka Magik was not dead but trapped in suspended animation, and Strange’s ritual had the side effect of releasing her from imprisonment. Magik returns to the earthly plane and assumes the mantle of the Sorcerer Supreme to watch over the world with its magic now restored by Doctor Strange.

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Was It a Fitting End?

While Doctor Strange sacrificing himself to rekindle Earth’s magic makes for an honorable end, the story up until that point doesn’t exactly paint him in the best light. He literally goes around desecrating the graves of his friends and fellow heroes, carelessly tossing their decayed bones into a cabinet. Granted, the story does make a point that he’s a bit off his rocker in his old age, but he comes off a bit too mean-spirited even for a grumpy senior citizen. By the end of the story, it’s almost a relief that he takes himself off the board so Illyana can replace him, which probably isn’t what the creative team intended.

The End of Captain Marvel

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Written by Kelly Thompson | Art by Carmen Carnero | Cover by Rahzzah

It’s the year 2051 and Captain Marvel has been out in deep space helping those in need for decades. She’s taken on a new look with a black-and-white costume, and her power level has increased considerably over the years. Her trusty Avengers beeper lights up with an SOS, calling her back to her home planet of Earth after a very long time.

The Story

Carol Danvers arrives back on Earth to find it experiencing an early Ice Age of sorts. The sun has started to die and the Earth is covered in sheets of ice with overcast skies that refuse to clear up. Carol was under the impression that everyone on Earth had died, so she’s shocked to find a group of various heroes that survived by using their powers to endure the harsh climate (extreme cold, radiation exposure, etc.). Her best friend Jessica Drew aka Spider-Woman is still alive as an elderly woman and her son Gerry is now fully grown and sporting a red-and-yellow costume resembling his mother’s.

After a tearful reunion, Jess explains that they called Carol back to help them defeat a giant creature born of the Earth’s unnatural new environment. It’s a close call, but Captain Marvel teams up with the remaining heavyweights to kill the monster. However, the real problem is much bigger than a single enemy. The Earth is still dying because of the fading sun, leaving Carol with a tough choice.

How It Ends

Carol’s spirit is revitalized after seeing her friends and loved ones again. She realizes that their safety and happiness means more to her than anything, so she decides to fly into the sun and unleash her full power, sacrificing herself so that the survivors on Earth get a second chance. Back on Earth, the planet warms and the skies clear as the survivors rejoice.

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Was It a Fitting End?

This story does an incredible job at conveying Carol’s emotional journey that ends in her sacrifice. Sacrifice is a common theme in the various The End stories, but rarely do they execute it with the emotional power seen here. There’s a genuine bittersweet happiness to it all as Carol finds renewed hope in her loved ones and then pays the ultimate price to ensure that hope lives on in them.

Keep reading for the ends of Captain America, Spider-Man Miles Morales, and more!

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Dragon Quest 11 For Switch Is On Sale For Its Best Price Yet

Dragon Quest XI: Echoes of an Elusive Age is one of the best Japanese role-playing games on Nintendo Switch. It also happens to be one of the third-party Switch games that really holds its price. Dragon Quest XI released last September for Switch, and we’ve never seen it for less than $50, and even a $10 discount has been rare. If you’ve been holding out for a better price, DQXI is discounted to $37.49 at Target right now.

There is a catch here, though. The discount is only good for in-store pickup online orders, so if you don’t live near a Target store, you won’t easily be able to take advantage of this excellent deal.

The Switch version, which received a 9/10 in GameSpot’s Dragon Quest X1 review, is the “Definitive Edition” for good reason. It features two totally different graphical styles: modern 3D visuals and a top-down 2D render modeled after the old SNES games. The Switch version also adds bonus content found in the original 3DS version that was exclusive to Japan. The soundtrack is also fully orchestrated, replacing the maligned music found in the PS4 and PC versions of its US release.

Dragon Quest XI is just one of hundreds of PS4, Xbox One, and Switch games that’s on sale at Target right now for 25% off when using in-store pickup.

On Switch, you can also snag Final Fantasy 12: The Zodiac Age for $22.49, The Elder Scrolls V: Skyrim for $34.12, and Octopath Traveler for $37.49.

You can also pick up Death Stranding for $37.12–one of the best prices we’ve seen on the 2019 PS4 exclusive. PS4 and Xbox One users can grab Red Dead Redemption 2 for $30, Borderlands 3 for $22.49, and NBA 2K20 for $22.49.

You can browse the entire Save 25% Sale at Target and check out our picks below. The sale ends March 1, and all games must be purchased with in-store pickup to get the discounts.


Best game deals at Target

Now Playing: Dragon Quest 11 2D Gameplay On Nintendo Switch | PAX West 2019

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Nioh 2 Trial Teaser Shows Off Brutal New Weapon

Nioh 2 is right around the corner, and you can try the Souls-like before it launches during a special free trial period on PS4. Koei Tecmo released a teaser trailer to show off the trial, and it’s every bit as flashy and intense as we expected.

The Nioh 2 Last Chance Trial features three missions from the game, including the Mount Tenno location, and the character you make during the demo will transfer into the full version. Your progress won’t, but it gives some incentive to play the trial for those already set on purchasing the game. Unlike in the first Nioh, you play as an avatar rather than a set character, so you can go nuts to make them look as ridiculous as possible. Those who play the trial will also get the Kamaitachi Helmet in the full game.

The trial also includes a new weapon called the Switchglaive, which is a form-shifting scythe. The enormous red weapon can be seen in the trailer, and it’s remarkably fast despite its huge size.

Near the end, the player turns into a Yokai form, allowing for a quick burst of damage for a limited time. It’s one of the mechanics that sets the series apart from Dark Souls, as do its many different combat styles and stances. What remains are Nioh’s version of bonfires, called shrines, where currency is spent to level up.

Nioh 2 comes exclusively to PS4 on March 13, and the trial runs from February 28 to March 1. The first game eventually saw a release on PC, as well, but this platform hasn’t been confirmed yet for the sequel.

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Zarude, a New Mythical Pokemon for Sword and Shield, Revealed

Nintendo and The Pokemon Company have revealed Zarude the rogue monkey, a new mythical Pokemon coming to Pokemon Sword and Shield.

A short trailer has shown Zarude in action. This new mythical is a dark/grass type Pokemon, who can use the Leaf Guard ability. The video description on YouTube claims that “When fighting, it swings around using trees and their branches, attacking relentlessly with its sharp claws or any other means it has. Its quick wit helps it excel in battles.”

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Zarude lives up to its dark type by looking a little less like a monkey and more like a gremlin, with red markings around his eyes, fang-like teeth and pointed fur making him appear particularly aggressive. The trailer demonstrates him dealing a great amount of damage to a Rillaboom and a Drednaw.

In other news, you can now get access to Pokemon Home and transfer monsters from Pokemon Bank to the new system. Also, why not watch this adorable little girl win a major Pokemon championship.

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Matt Purslow is IGN’s UK News and Entertainment Writer. You can follow him on Twitter

Star Trek: Picard Episode 6 Review

Full spoilers follow for this episode.

After last week’s Picard episode gave us a team-up with our two favorite ex-Borgs, Jean-Luc and Seven of Nine, “The Impossible Box” picks up the ever-dangling Locutus thread for Picard as he finds himself visiting the Artifact… a.k.a. a Borg cube (albeit one disconnected from the Collective). And not surprisingly, it’s not an easy trip for him.

This turn of events also, thankfully, finally unites the Picard storyline with Soji and Narek’s. That arc has felt played out almost since it began, with Soji coming across as eternally in the dark while the manipulative Romulan worked his charms on her. Isa Briones and Harry Treadaway have been fine in the roles, but this has very much felt like a story point that was taking way too long to get through. Now that status quo has changed.

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But first, Jean-Luc. There’s a lot of business to get through before he finally makes it onto the Borg cube, with a sort of fun bit of cajoling/bribing/threatening from Raffi to an old Starfleet friend in order to get Picard diplomatic papers. I say “sort of fun” because the scene ends with Raffi stumbling back to her quarters drunk, and Picard doesn’t seem terribly concerned about his old XO’s current state of mind. At least he got those papers! Odd.

When he does make it to the cube, Jean-Luc’s reunion with Hugh is everything it should be. When we first were reintroduced to Hugh a few weeks ago it was frustrating because the episode barely acknowledged him as a character from Next Generation’s past. But here, his connection with and affection for Picard is clear, and actors Jonathan Del Arco and Patrick Stewart are great together. “A new name can be the first step to a new identity,” Hugh says, referring back to how he broke free from the Borg thanks to Picard and the Enterprise crew. They even hug! It makes perfect sense that Hugh would now be doing for others what Picard once did for him.

The cube also feels like a creepy place finally, even though one has to wonder why Hugh doesn’t just turn up the lights a bit. But the presence of the ex-Borg who wander the halls of the ship provides an almost ghostly reminder of what the place once was. And Picard is clearly haunted by it, and them, who perhaps remind him a bit too much of himself. He starts the episode off saying the Borg are a cancer and by the end of the hour is reminded that they are just victims, as he once was. It would’ve been nice to give this sentiment a bit more room to play with here, but hopefully the show will continue to flesh out this idea and more of Picard’s Borg issues over the rest of the season. (Indeed, it now feels like it will be anti-climactic if we don’t return to the cube eventually, which is ironic considering how the Soji/Narek story had made it kind of a drag to visit thus far.)

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Speaking of which, Narek determines that Soji’s recurring dream about her “father” from when she was a child is actually a manifestation of her synthetic “subconscious” trying to reconcile her true nature. Her neural pathways, he explains to his still Evil with a capital E sister, must be bumping up against her belief that she is a human being. And that “cognitive dissonance” must go somewhere… like into her dreams. It’s a pretty clever idea, both for Narek and the show’s writers.

So he convinces Soji to use the Zhal Makh — a “Romulan form of meditation” that is somewhere between Deep Space Nine’s Allamaraine walk and a life-sized board game — to get to the heart of her dreams, and in so doing find out on what planet the rest of her Synthetic conclave is hiding. That he also reveals his true name to Soji, which we’re told is something a Romulan only gives to the person they love, feels like a genuine gesture, despite Narek’s plan to kill Soji once he gets the info he needs.

Too bad (or is that good thing?) then that he messes up that plan so badly. Yes, he learns from Soji’s dream that the Synthetic homeworld is likely on a planet with two red moons and electrical storms, but why does he leave that red gas stuff to kill her slowly, knowing what she’s capable of once she “activates” just as her sister did in the premiere episode? The whole reason he’s been tiptoeing around her all season was to avoid making that happen, and then he blunders into it here at the last moment.

Still, it means that Soji is now in kick-ass android mode, tearing through the floor to escape the deadly gas. And it also means that the dynamic between her and Narek has now been fundamentally changed. He tried to kill her! And whether he was crying or not about it, she knows he did. And now she’s off with Picard, who is going to fill her in on everything, including her true nature.

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That things culminate in a serious deep-cut from Star Trek: Voyager’s first season — yes, that 40,000 light-year portal is from the all-but-forgotten episode “Prime Factors” — is just another cool reminder that this show is as buttoned up as any Trek show can be in terms of continuity.

Questions and Notes from the Q Continuum:

  • The guy who yelled “Locutus” wins this episode.
  • So what is going on outside of the reclamation section of the cube? Are there still a bunch of active Borg hanging around?
  • RIP the Sikarians.
  • I’m glad that we’re being shown the connection between Rios and Raffi, who knew each other before this whole Picard adventure began. Raffi’s addiction issues are another matter, however. How does she swing between perfectly sober when negotiating on a viewscreen to passed out within minutes? The show doesn’t seem to be willing to fully commit to her addiction issues and uses them more as a crutch so far. Michelle Hurd deserves better.
  • Picard taking a stroll down Borg memory lane in his holo-office was cool, complete with images from past Next Generation stories.
  • Nice shout-out to the Borg Queen. Could she still be out there somewhere…?
  • Can someone explain how Elnor was able to beam to the cube but Picard and Soji couldn’t beam off?
  • Rios and Agnes? O.K…