Jeremy Aster

Mentioned as the twelve‑year‑old son surviving his mother's death; not present in Sickbay but immediately affected by the event and named as the primary non‑crew subject of the ship's forthcoming …

Jeremy is not present but is directly named as the deceased's twelve‑year‑old son; his impending notification reframes the event into a child‑protection and guardianship problem for command.

Jeremy is not physically on the bridge but is the immediate subject of Picard's decision; his grief is the catalytic emotional locus of the exchange and his welfare prompts senior …

Jeremy is referenced as the child Picard will stay with; though off-stage, he is immediately affected — the center of the ship's caretaking decision and the human reason behind the …

Jeremy is the absent but central subject of the exchange: he is discussed as vulnerable and in need of care; the conversation determines how and when he will be told …

Jeremy walks forward guarded and small with the teacher's arm around him, complying politely with 'I'm Jeremy, sir,' his wide eyes registering fear, bewilderment, and the hush of sudden attention.

Jeremy receives the news with apparent composure, asks how his mother died, acknowledges his father's earlier death, and utters 'I'm alone now, sir' with quiet resignation—revealing loneliness while withholding deeper …

Mentioned as the deceased whose sudden death by an explosive device is the event's subject; her absence catalyzes the adult responses and Jeremy's stated loneliness.

Referenced repeatedly as the absent anchor of Jeremy's grief: a teacher from Earth whose departure and possible anger over the broken terminal weigh on Jeremy. She is not present but …

Jeremy does not appear but is directly affected: Worf proposes him as the R'uustai ward, and Troi describes Jeremy as emotionally closed and at risk of lashing out if pressed.

Jeremy is not physically present but is the immediate emotional subject: adults discuss his internalized grief and vulnerability, making him the focus and potential recipient of Worf's proposed R'uustai and …

Jeremy sits curled on the sofa watching a home video, answers the door with a touch to the panel, and responds to Worf with sarcasm, guarded questions, and refusal to …

Jeremy is not physically present but is the focal subject of Troi's assessment and Picard's promise; he is presented as emotionally volatile — brave outwardly but inwardly angry and in …

Absent from the room but the central subject of the conversation — described as a twelve-year-old with suppressed anger who needs to express grief; implicitly placed at risk by the …

Jeremy is referenced as the intended recipient of Wesley's potential support; his vulnerability and orphaned status are the emotional focal point motivating Beverly's request and Wesley's subsequent confession.

Jeremy is seated at his desk studying a moving picture when he senses movement, turns, and physically reacts with wide eyes and a single, raw cry of 'Mom!'. The action …

Jeremy inches from guarded suspicion into full surrender: he touches the woman, collapses into an embrace, sobs openly for the first time since the accident, opens the door for Worf, …

Jeremy vacillates between disbelief and yearning, touches the apparition's hand, collapses into his mother's arms and sobs, then obediently takes her hand and leaves the room—abandoning suspicion for comfort.

Jeremy moves down the corridor following Marla in a grief-numbed, passive way — physically present but emotionally shuttered; he is being shepherded without resistance and remains the center of the …

Stands on a transporter pad beside the apparition, insists aloud she is his mother, becomes confused and resists physically when Worf pulls him, then becomes anguished and screams for his …

Jeremy stands on a transporter pad beside the woman who claims to be his mother; he accepts her as real, pleads with Picard and resists being pulled away, then collapses …

Jeremy is angry, frightened and disoriented; he insists the woman was his mother and that he physically touched her, he challenges Troi's denial, and follows her to his quarters, clinging …

Jeremy accepts the sensory cues as evidence of home: he approaches the cat, cradles it, touches his blanket, hears the clock chime and declares the scene real; he refuses Troi's …

Jeremy moves to the cat, recognizes tactile items—his blanket and the clock's chime—and surrenders to the feeling of being 'home', silently refusing Troi's plea and verbally declaring the reconstructed environment …

Withdrawn and focused on the small domestic play: dangling a string and handling the mother doll while possibly thinking of his mother's presence — he is largely passive to the …

Jeremy sits in the recreated living room, quietly engaged with the doll and the dangling string for the cat, emotionally dulled and comforted by the illusion; he is the focal …

Jeremy sits within the fantasy between the apparition and Troi, looking back and forth with hurt and confusion; when the apparition vanishes he registers the loss, whispers 'No,' and is …

Jeremy sits between the two women with the cat; he looks from Marla to Troi in confusion and hurt, then watches the apparition vanish and whispers a stunned, anguished "No..." …

Jeremy is being comforted by Troi; he becomes frightened and confused when Marla and the recreated home appear and feels physically pulled when Marla takes his hand, exposing his vulnerability …

Jeremy is led from Aster's quarters by the apparition; he answers Picard with guarded honesty, appears small and a little frightened, and is physically clutched by the phantom who resists …

Being led by the apparition (as Marla), Jeremy stands between protective adults and the manifested image of his mother; when asked by Picard if he is frightened he replies minimally …

Jeremy is physically led by the Marla manifestation, answering Picard's question in halting fashion while appearing frightened and clinging to the image that claims to be his mother.

Listens, confused and tempted by Marla's promise of painless continuity; lashes out at Worf in raw anger, then, through Worf's steady offer, allows tears and reaches for a real human …

Torn between the comforting illusion and the adults' insistence on reality; confronts Worf with raw anger, allows tears, looks once to Marla for the fantasy, then decisively reaches for Worf's …

Jeremy moves from confused watchfulness to an anguished outburst, accusing Worf and releasing tears; ultimately he reaches for Worf's offered hand and accepts the R'uustai, turning away from Marla's comfort.

Jeremy, wearing a child's Klingon robe, receives Worf's sash, follows Worf in lighting the candles, asks what the phrase means, and softly repeats it—a boy tentatively stepping into a ceremonial …