Rubicon resolves the issues raised by 300th Night, which set the bar high, and begins the final stretch. It has a classic canon feel: the threat of Omega-47 (VOY, “The Omega Directive”), after an incredible tracking sequence, a cliffhanger… and yes, Jonathan Frakes’ direction sets the stage for Osunsanmi, who will undoubtedly follow the same path: epic scale, nostalgia… and I wonder which episode or series will be the reference point this time.

I’m eager to see it, but I have mixed feelings after finishing the season. SFA flies better when clinging to the wings of nostalgia (DS9, TNG, VOY…) to get itself out of trouble (and preserve the lore). I’m left with that nostalgia and the inherited potential… because the personality is still under construction.

The ending is wonderful, but the series suffers from an overdose of teen drama; it doesn’t achieve balance, and that’s where the problem begins. SFA’s mistake isn’t ideological, but narrative. Despite everything, I’m still on board.

Frakes doesn’t miss. ‘300th Night’ kicks off the endgame with Caleb’s emotional arc dragging the group forward and the spotlight on Ake going off-protocol, Reno and, of course, the Doctor. Everything smells like classic canon: shuttle theft, tactical maneuvers and last-second transporter rescues… and yes, Jonathan Frakes is there behind the camera to make sure the shot lands, leaving us with the expectation of “a cliffhanger within a cliffhanger”: the reunion of Anisha and Ake as a big moment about to explode that seems ready to close an arc… and, of course, a textbook cliffhanger very well executed, with the stranded ship calling for help in a sweeping travelling shot.

Lo que veo es una paranoia ético-emocional descontrolada, presentada a modo de coro, con sesiones de terapia teatral y "fallos holográficos aleatorios de SAM". Además, seamos sinceros, está haciendo maravillas para justificar el sueldo de Mary Wiseman como Tilly. Estamos atrapados en este interminable prólogo para siempre... mientras que toda la acción real se acapara para el tramo final. Frakes va a tener un trabajo duro si quiere convencernos.

'Come, Let's Away' eleva la apuesta: tono trekkie oscuro, trauma, la amenaza 'Furies' entre las ruinas de la USS Miyazaki —una especie humanoide tipo murciélago, cercana a los ‘lynars’ de Celtris III en TNG—, la reivindicación de Nus Braka como villano auténtico, una cita de Spock incrustada en su núcleo narrativo… y hasta cómics retrofuturistas.