There was a lot to love about Star Trek: Picard's final season, but one of the most exciting aspects of it was the introduction of Jean-Luc Picard (Patrick Stewart) and Dr. Beverly Crusher's (Gates McFadden) son Jack Crusher (Ed Speleers). The revelation of his paternity early in the season led to a season-long journey for Picard to come to terms with his newfound fatherhood, while Jack was forced to face what being Picard's son meant, far beyond the legacy of the Picard name. For Jack, this meant falling prey to the call of one of the galaxy's oldest and most dangerous threats: The Borg. The series finale delivered a lot of emotional highs as Jack grappled with the depths of his loneliness and his desire to find real connection—something the Borg could never truly provide him.
Following our incredible discussion with Speleers about Jack Crusher at the start of the season, Collider had the opportunity to catch up with him again to unpack the season finale, explore Jack's loneliness and how that connects to his longing for a family, how the series approached the concepts of family and home, how he would love to play Jack Crusher for the next fifteen years, the romantic potential between Jack and Sidney La Forge (Ashlei Sharpe Chestnut), bonding with the cast of The Next Generation, filming the post-credit scene with John de Lancie, and how Picard convinced his son to join Starfleet.
COLLIDER: First of all, I just want to say congratulations on an incredible season of television. It was truly fantastic.
ED SPELEERS: Thank you. Your support from the off has been unwavering, but it means a lot when you can essentially almost collaborate with a writer like yourself, who gets behind something that you're doing and has been emphatic towards us. I really, really– it hasn't gone unnoticed, all your support, so I really appreciate that.
Well, thank you.
SPELEERS: Yeah, I feel it's been a funny day. Not a great sleeper, and I woke up at three o'clock in the morning and saw everyone at the finale screening. There was a lump and a tear. I was a bit like, "Ah God, I should have been there," but, I couldn't be, I'm starting a job on Monday. I think I said it to you before, how much this process, this part, it's been so much more than just a job for me and my family. I've said it so many times, but I feel so honored that I was able to be given this part. I mean, of course not everybody likes it, but when people do give you such wonderful feedback, it makes it all worthwhile. Essentially, this sort of television is for people that are very dedicated as followers and people that have, for years, been behind some of these characters and these stories. When they are showing their love, it means so much more, I suppose.
It does, and it really helps when you have scripts that help the audience resonate with the material the way that Picard has. Something about Jack that really resonated with me was the loneliness that he felt, despite being surrounded by people. You made it so relatable and so palpable the way that you played it. I was curious, how do you tap into that emotion? What are you pulling from to get to that moment?
SPELEERS: That's such a good question. That's a great question. You've hit the nail on the head. It was something that I explored a lot, loneliness, and that sense of, he puts on this façade or outer shell of, "I can handle anything. Throw caution to the wind and whatever happens today, I'll tackle it." But you know that's a mask, and I guess the thing is to try and not make it seem too obvious that it was a mask. The writing was so rich. I was going through things and it was so apparent that this story for Jack was going to be so rich, but the big thing that kept coming through was this sense of connection and not understanding what that meant, and longing for it, really. Wanting to do good, wanting to actually find, I guess, some peace, I suppose.
Also, if you've been battling something inside...I did go through all the processes of how could this be similar to my own life and also others, things I've witnessed, and loneliness, I'm not going to shy away from it. Young male mental health, it's a very prevalent thing in the press globally. I'm glad that it's become a prevalent thing to be talked about, but I feel that that was something that I wanted to look at and explore, because I think it is very real, and it's something that I think most people can relate to in some guise or form.
Family is also a big thing, and if you don't have a connection to your family, you don't really understand what that is, or you feel that it's some unanswered questions, it's going to be so painful. I think when I boil it down with Jack, I think he's in a lot of pain emotionally. Not to harp on the point, because we know Star Trek is about other things, but also I think, I hope, and I feel that that's what was so powerful about the writing in this season. Yes, you've got everything that's going on around you that is what you want to see in Star Trek, with the original cast, with the starships, and being out in the middle of space and taking on the big bad guys. But, at its core, why I think this particular season worked is because it was trying to understand how humans and the characters were ticking underneath all that. What they were feeling and thinking. I had to look quite deep within myself quite a lot, I suppose. I'm sorry if that was a long-winded answer, it's because I sometimes struggle because there was so much that I felt that I delved into.
It was a very good answer.
SPELEERS: Okay, fine. I'll be quiet.
I really love what you were talking about, this idea of family and the way that the season examined the way that crews become families and starships become home. I was curious, this is another deep question, but what do you think it is about the found family trope that seems to resonate with people so much? I think reading responses on Twitter today, the way that this episode culminates, and the family vibes really work for fans of the show.
SPELEERS: Another great question. Thinking on more of what I was mentioning, that it is something that we all relate to. We all have some understanding or relationship to families. Some people are fortunate enough where it's very, not necessarily straightforward, but it can make sense. Of course, it's not without its flaws, but it's love essentially. I mean, that's what you all want from family. That's what it should mean, and I feel that that's what Jack is probably looking for. I think that's what struck such a chord, because finding, understanding your place, and just a sense of belonging and connection, we all look for it, it doesn't matter.
Family can come in so many guises as well, it doesn't have to be the conventional setup, but people find family through life, through work. I would consider lots of people I've worked with down the years, family, people that you have strong connections to. And some people are running away, and they want to find something they can hold onto. I feel that the combination of this season, it's again when you strip back everything that's going on and all the high-octane nature of the show, the reason why these people are fighting so hard is because they want to save their families, or they want to connect with their families, or they want people to be okay.
It's incredibly important to Picard, and he works that out, he realizes that. That whole thing with those two at the end, it’s the whole point, it was set up and written to be, hopefully, very powerful. That these men can finally put whatever angst and whatever animosity, not even animosity, but whether it's bravado, whether it's that male inability to really share what you feel and say what you think, and actually to try and just connect, just reach out. I suppose maybe people who are watching it are taking that and going, "Oh, well, maybe there's a lesson for us all,” before the chance moves on, I suppose before it becomes too late. I don't know.
Yes. I get what you're saying. I really love what you mentioned about work, also; you find a family in work, especially on film sets. I really loved what Terry [Matalas] did with that final poker game, watching The Next Generation cast play this game for, I think he said they filmed it for 45 minutes. It made me think about how much this cast is a family, onscreen and offscreen, and I was wondering, do you have any fun moments of being inducted into that family?
SPELEERS: Oh, gosh. Yeah, Jonathan Frakes took me under his wing very quickly. Very, very quickly. We have the same U.S. agent who's wonderful, Alisa Adler, who's been incredible, who's another family member for me, really, she's extended family. Because he texted me saying, "I knew you were coming onto set,” and everything. There was a day when I was trying to do – this might sound really mundane, Maggie, so forgive me if it's not the best anecdote – I was in the production office and my family hadn't arrived yet, and I was trying to do loads of things to do with really boring stuff about getting set up in America, which was really frustrating me, but I needed to use an office, and it was a production office. The only office they could give me was Frakes' director's suite, and I basically sat down, and took a selfie of myself saying, "This is my place now, mate. Basically, I'm running the show. You're no longer the director."
There was a guy who came in – I really can't remember his name – who worked up in the accounts department, I think. And he came down to hand something to Jonathan Frakes, and I was sat in the office, and he was like, "I’ve just come to see Frakes, Jonathan Frakes, he's directing." I was like, "Oh no, no, no, no, he's actually been fired, and I'm taking over." And the guy stone-cold believed me. He was like, "Oh, okay, okay. No worries. Okay, I'll just..." I was like, "I'm joking mate. I've just got here. I am not directing the next two episodes of Star Trek." I mean that would be awful for me. I couldn't handle that. But I would say Frakes took me under his wing very quickly. They all did, but I can't think of any specific, “You need to walk the plank in order to be part of the Starfleet.”
Good to know they didn’t haze you!
SPELEERS: They were all very sweet. I mean Marina [Sirtis] and I bonded over Tottenham Hotspur. Patrick and I had a great chat, I think I mentioned this before. He and I went out for a nice lunch, and he sat me down and was just very open. We talked about all things Yorkshire and theater and family. We talked a lot about family actually, Patrick and I. Maybe that was helpful in the grounding of what we were about to take on. I don't have the greatest anecdotes because, probably when I'm at set, I'm quite quiet when I'm at work. I will allow an element of being jovial [laughs], but on the whole, I keep myself fairly quiet. Also, I had so much to do, and I felt pressured, not by anyone there, but just on myself. I felt like such a huge opportunity to do a good job. I think I wasn't always looking for the quips. Forgive me.
That scene between Jack and Picard on the Borg Cube is just a tour de force performance for both you and Sir Patrick Stewart. I know that you are a father, as well, and I'm interested to know if that aspect of your life gave you a different insight into how you play a son.
SPELEERS: Yeah, 100% it does, did, would, always. I think having children has opened my mind, and every fiber in me actually, to a different way of working. Things are just always bubbling away emotionally because of children, and that's good. And I mean all emotions, everything from love, fear, happiness, anger, everything's always just fizzing away because of the kids and that way they make you look at the world. So yes, I think it was insightful because also what it made me do is maybe look at how I've been as a son, as well, and maybe the things I've done and haven't done.
Also, whether it's the defining moment of the story or not, I just felt for the character. Well it was, in terms of their moment, in terms of their thread and storyline, I felt that was the pinnacle moment in order, and you had to get it right because if you don't get it right then no one's going to believe that these two have actually connected. But I think, 100%, being a father enhances how I view things, especially as a son playing here. I struggled with this, Maggie, I struggled so much emotionally doing this job.
It's a very emotional season. And as an anecdote, I love how well you are able to cry, I have lost two auditions because I could not cry on demand when I got into the audition room. I am so impressed by how you cry, and how it hits me in the heart. I'm like, "I'm going to cry now too." It's so impressive.
SPELEERS: Thank you. It's a funny thing, crying. I think also actors put so much pressure on themselves about that. I know I did for such a long time.
It’s hard.
SPELEERS: Well it is, but also, I think we all look at it the wrong way. I feel that emotion, as long as you are understanding fully what this character is feeling and thinking, and you are connecting to that, then something's going to happen if you are using your imagination to its full capacity. That aggravates me that you didn't get the part because of that, as well. Because I just feel that auditions are such an odd environment, and why are we expected to do the full-throttle thing by the end of an audition? Of course, I get it, but I'm like, "Well let's just see, let's just trust that there's enough there, and we move on from that."
I think some of that on this show, it's the writing. It just struck a chord with me, and I think having my young family there and doing a show about family, and there was a whole– I don't know, it just resonated with me. I joked to someone the other day, I was like, "I just want to play Jack Crusher for the next 15 years and then retire." I feel like there's so much storytelling to do with him, and I just feel he's so complicated, and who knows what the future holds, but I think within that storytelling, I don't want it to be such a clean break as, "Okay, he's dealt with everything now." You still want that emotion because that's what we enjoy seeing. You want to see people that... You live everything they live, I suppose that's what you want.
I'm a little bit stunned and taken aback that this whole thing has happened, and it's the final day today. I think I'm going to bloody cry now, for crying out loud. I've come back, and I'm just like, "Oh, what now? Is that the end of Star Trek? Is that it? Is that the end of Jack Crusher? Is that just done?”
I don't think fans are going to let it go. They will be browbeating the right people to try to make that happen. Especially with that post-credit scene with Q. That is a clear setup for a thousand new stories for Jack, right there. I do want to know what it was like filming that scene because it's so fun and there are so many layers to it.
SPELEERS: Yeah, John [de Lancie] is great, I mean, what an actor. Of course, again, the great thing about working with this cast is they've been playing these parts for so long, they know these characters inside out. It's almost like they step in. But you think about that, that scene's quite a short scene. John was so determined to throw it around, play every which way possible, try and find every ounce of nuance we could, and he was great. I was intimidated by him at first but in a good way. I was like, "Oh my God, this guy's the real deal." He's tall, and he's eloquent, and he's no-nonsense, and he just looks at you, and it’s a warm look, but it's intense, which I love. I relished doing this scene with him.
Actually, I saw the final episode a while ago – I'm waiting because I'm in the UK now, so I'm waiting to see it with my son tomorrow night. We did different variations on when he says, "And now Jack, for you it's just beginning." I can't remember if, in Episode 10 in the version we picked, there was a wry smile, but I remember me and Terry were like, "Let's try one where we try and enjoy it. Maybe you're smiling, maybe you're excited about the possibility of whatever challenges that Q's going to throw down for you.” I don't think we told John we did it, and I remember him being really animated, and being like, "I like that." I had a really great day with him, and I mean that. If we got to go again, that would be phenomenal going toe to toe with him. I would absolutely love that.
It was such a fun scene. I love Q, he's one of my favorite characters. I was like, "Yes, this is everything. To have that dynamic continue on with Picard's son." That's a wish fulfillment right there.
SPELEERS: He's great. I mean he is phenomenal.
Circling back to the Borg, I was really curious to know what it was like for you the first day that you got fitted for your Võx suit because that is so epic to see on screen.
SPELEERS: It's all Michael Crow and his team. I think it was Dorothy Bulac, who was the fantastic talent [who made it]. She's now retired. I think that was her last job and that was her last suit. I think she's done three Batman suits or something like that. I was blown away by my fitting. Terry said, "Look, we are going full throttle on it." Fair play to him for having the vision to go, "This is what we're doing." He pulled no punches in his vision, which is just... that man, I love him. Michael Crow, again, he's got a lot of Marvel experience, he has been around it.
When I put it on, I was like, "Oh my God." They design it in a way – don't get me wrong, it's not that easy to move in, but they design it well enough, so you can. I felt like I was in a Marvel film or something. I mean it was just next level, and it completely enabled me to just step into what I had to do. But it's the detail, the looks. I've got to find a way– Maybe one day, if I ever make it, I'll get a replica made, and it can be kept somewhere, for house parties and things like that.
Instead of a Knight of Armor, you can just have the Jack Võx replica.
SPELEERS: 100%, yeah. That whole scene, again, I'm looking forward to seeing it properly again tomorrow. The Võx has this whole speech that was just over repeat, repeat, repeat, repeat, repeat, sort of memorize and do as quickly as I possibly could. But being in that costume just really lent into all of that, really. I loved wearing that thing.
It looks very cool. One of the things that I really liked in the season was, it's very subtle because obviously there are a lot of other things going on. But there's this little tease of maybe something between Jack and Sidney, La Crush. How did—
SPELEERS: I hear this La Crush being branded about—
Yes! You've got a ship name and everything. It's fantastic. That's a big mark in a fandom. But how do you think their dynamic will change now that they're both assigned to the newly christened Enterprise? There are a lot of fun, little moments there.
SPELEERS: Wow. You'd hope it would just keep fizzing away. I think that whatever happens, you've got to try and find a way to cat-and-mouse that situation for as long as possible, I think. You've got to just see that develop, and you've got to put as many little speed bumps in the road as possible is what I feel. Because there's obviously a little, there's a frisson on that's bubbling away there. But I think you've got to let that just ride out, and I think that they're a great little duo and I feel that they also work really well together just in a pure team way.
There's a good rapport with them. They know how to bounce off each other, certainly when it comes to fighting and charging around the place. I'd like to see a lot more of that. I think if there's further opportunities, which I am quietly optimistic [about], but I don't really know, I'm not basing that on anything– well I am, people getting really excited. But I feel that I want to see them get to know each other properly. Let's really pick and choose. They both have got a good sense of wit and humor. I want to see that play out. Don't let anything happen too quickly.
Yeah, people love a good slow burn. I mean look at Beverly and Picard. That is the slowest slow burn in history.
SPELEERS: Maybe that was a bit too slow. I hope it's not quite as slow. Because I think that would be... We don't get that many seasons anymore.
This is true. Hopefully not all the way down the line. Something that we talked about the first time that we spoke was how excited I was about the bond between Jack and Seven, and now in retrospect knowing that they both have this Borg connection, makes it even more interesting. Can you talk a little bit about that bond?
SPELEERS: The thing is, if you look at it throughout the season, it's an unearthed understanding. What hasn't been explored yet is whether that is purely just two people, or species, being able to connect and just having an understanding because they're both outsiders. Or is it because it's the actual Borg likeness in them? And that's the thing, I think, that would be interesting to explore later on. For me throughout the season, as much as that's the natural progression to make mentally, it could just be that they are two outsiders that just connect the way that Seven has connected with other outsiders previously. Well, Raffi for example. She likes a wild card and I think Jack is a wild card, and we need to hold onto Jack being a wild card as well.
If he's now in Starfleet he can't just become strait-laced Starfleet. He's got to stay rogue, I think. But I feel that that's another relationship to explore. I mean that's the great thing that Terry and his team of writers have done really well. They've teased up enough, but it's got backbone, and it's got weight behind it that you can just fly into the next, without using the pun, into the next chapter, and explore these stories. I feel that they could have some great stuff coming up, but I don't think we necessarily iron out that just yet. Again, whether that's because of the Borg connection or not, it makes sense that it is, but it doesn't have to be as streamlined as that necessarily.
I think that's what’s so great about this finale is that it does feel final, but there's enough stuff to leave you wanting more, which is the hallmark of a really good finale. I did have one fun question. How do you think that the conversation went to get Jack into Starfleet? Because he was so against the idea when Picard brought it up mid-season and then the next thing you see him, and he's so excited.
SPELEERS: Wow. I mean he's got to have been promised something, doesn't he? What'd his dad promise him? What on Earth would Picard promise his son? The Chateau? He's going to get that anyway, isn't he? He's going to get the vineyard anyway. So that's taken care of. I mean his dad might have led a little friendly reminder and gone, "No, no son, just remember Sidney La Forge is on there. Okay, I'll put a good word with her dad. I'll put a good word with Geordi." Maybe he was told, "Look, if you do things the right way, you could potentially be running the show one day, and maybe you can put your own mark." Maybe [that] sold him, so that he could embrace it. I don't know. I'm not sure.
All three seasons of Star Trek: Picard are streaming now on Paramount+.