Crusher picard relationship goals

Beverly Crusher | Memory Alpha | FANDOM powered by Wikia

What makes Q's relationship with Picard on the series so unusual is that . gay and lesbian fans in its suggestion that Crusher (frequently featured in .. least one of his goals for Picard's education is to make the Captain into a. She could mean the Picard series, or she could be referring to the recently . and confidant of Jean-Luc; she has described their relationship as “beyond As Beverly Crusher once said, “He's Jean Luc Picard, and if he wants to go .. For the purpose of this thread, I'll leave that to everyone else to ponder. Both found a purpose and love on an accidental mission that forced enemies However, Picard's relationship with Vash often showed a side of him that . Picard and Crusher had numerous obstacles to overcome in their.

Neelix and Kes weren't officially officers and had no real place in the chain of command. They were basically passengers, working their passage by providing services such as cooking, trading, gardening, and nursing. Neither had any official rank. Seven had no proper Starfleet rank, and the bulk of her "relationships" were either on the holodeck with the fake Chakotay or with Axum Of course there were officers who did want a relationship with her - the Doctor and Harry - but those were unrequited.

TPTB should have built up the relationship with Chakotay more, rather than one episode with Seven and fake-Chakotay, one episode with the two of them stranded on a planet, and then BOOM! Tom and Harry had some kind of double-dating going on with the Delaney sisters, and a few other female crew who were so low on the totem pole that we never even learned their names. Harry couldn't even get a date with a hologram, and kept getting into trouble with the alien women he dated.

Tom's relationship with Rain had no bearing on the ship, other than the fact that he was flirting with her to get information and help - much like Kirk used to do, although I think Tom was much less cynical about it than Kirk ever was. 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.

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This episode, like the series finale "All Good Things. A brief plot summary is necessary here.

Minding One’s P’s and Q’s: Homoeroticism in Star Trek: The Next Generation

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.

What kept Crusher and Picard apart? | The Trek BBS

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.

Picard and Crusher

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 any case, I'll be watching" suggests that Picard is not ready to hear what Q has to say, but Q will be waiting, hoping for the opportunity to present itself. Again, de Lancie delivers these words with a smile and a genuinely warm tone of voice.

The forced casualness of "And if you're very lucky I'll drop by to say hello from time to time" seems to be an attempt on Q's part to restore his flippant invulnerability, but his parting words, "See youout there" ring with a fervent hope for a renewed connection with the object of his affections.

The episode can afford this explicitness, of course, because Janeway is female, and the characters' flirtation is furthered by the longstanding friendship and evident chemistry between the two actors. As in his interactions with Picard, Q performs a calculated role designed to keep Janeway continuously on edge. He does not abandon his queer demeanor entirely, but continues to display his usual bitchy campiness.

Observing the first officer's tattooed forehead, he remarks cattily, "Facial art. Q's comments are part of his persistent destabilization of stereotypical gender categories; he is consciously playing a game, while simultaneously alluding to the persistent Trekker debates about Janeway's feminist and captainly credentials.

This episode contains a bedroom scene reminiscent of Q's bedroom scenes with Picard in "Qpid" and "Tapestry. Q's appearance in the captain's bedroom is a very conscious performance. Janeway, wearing her favorite revealing pink nightgown, rolls over to discover Q in bed with her, wearing a nightshirt and a ludicrous, cone-shaped and unthreateningly limp nightcap.

Unlike Picard in "Tapestry," who is apparently quite comfortable with his univited bedmate, Janeway leaps out of bed, pulls on a robe, and tells Q to "Get out. Before you know it, you'll be scampering across the meadow with your little puppies, the grass beneath your bare feet. A man coming over the hill way in the distance waves to you. You run to be in his arms, and as you get closer you see that it's. I know how to show a girl a good time.

How would you like a ticker tape parade down Sri Lanka Boulevard? I'm not sure why.

Beverly Crusher

Although Q can be more explicit in his dialog here, there are several clues that this is, again, a performance and a game. Little information is given about the circumstances of their marriage or separation.

In the present, during the episode, the two share a kiss. However that timeline, as well as that version of the future, is destroyed when Picard changes the past. In the four Next Generation movies, the flirtation between Dr. Crusher and Captain Picard remains, though it is not as obvious as previous episodes and most certainly not part of the substantial movie plots.

The most noteworthy moment between the two happens in one of the deleted scenes of the last Next Generation movie, Star Trek Nemesis. Following the television series and films, the relationship between Dr. Crusher and Captain Picard continued throughout the non-canonical Star Trek: The Next Generation Pocket Books series. Beverly and Jean-Luc have married, but still serve together on the Enterprise-E. On board the Enterprise[ edit ] Dr. Crusher was appointed Chief Medical Officer of the Federation starship Enterprise-D inand joined the ship at Farpoint Station with Wesley, reporting on board on stardate An energy-based lifeform from the Beta Renner cloud was accidentally trapped aboard the Enterprise later in It initially inhabited Lieutenant Worf's body, but next moved to Crusher.

It controlled her for a brief period of time, attempting to learn how to use the Enterprise navigational systems in order to return home. The being then transferred itself to the ship's computer system, then took control of Captain Picard.

In midCaptain Picard invited Crusher on a holodeck adventure set in the fictional world of Dixon Hill. They were joined by Data and ship's historian, Whalen. Unfortunately, a malfunction in the holodeck systems due to a Jarada scan caused the safeties to become disengaged, trapping the group at the whim of Cyrus Redblock.

They were later freed, but not before Redblock shot Whalen and threatened to kill Beverly. Doctor Crusher was offered a position as head of Starfleet Medical in and left the Enterprise during that year. She was replaced by Dr. While at Starfleet Medical, she decided to return to the ship as soon as it was allowed the following year. The reason for Beverly's return was never explicitly stated.

Quaice retired in shortly after the death of his wife, and the Enterprise-D picked him up at Starbase to ferry him home. Although he was in good spirits, he was slightly saddened at the prospect of facing the future without many of his friends, a feeling Beverly knew all too well. At the same time, Wesley Crusher was experimenting with a novel warp bubble. Beverly became trapped in this bubble, and her thoughts at the time created a universe where everyone and everything quickly began disappearing.

With the assistance of The Traveler, Wesley was able to create a gateway back to the normal universe. Crusher was able to deduce what was happening in her universe, and escaped just before the bubble collapsed. Beverly was questioned in connection with the explosion that crippled the Enterprise's warp core in