My first impulse is to say that you’re right, but then I think of II, III, & IV, which I don’t think were really guilty of that. IV, in particular, always struck me as being the most like the best of the episodes, and the truest to the heart of Trek.
Practically none of that comes from any episode or movie.
It’s from startrek.com, so I presume it’s on the up and up.
The closing paragraph from an editorial on the same site states they would like to think Star Trek: The Animated Series is canon “if only so we can make more work for ourselves and all future historians!” and they “would like to start adding more information to [startrek.com that is] gleaned from this show and have it form part of the overall collective consciousness of Star Trek.” Furthermore, they ask if they should “simply leave the whole issue ambiguous and let the fans decide in their own mind what they consider canon?”
They have an obvious bias and agenda in regards to canon, and even memoryalpha.org, the canon Trek wiki, doesn’t list alot of these dates.
Wasn’t there a Voyager two-parter with Ed Begley and Sarah Silverman that involved traveling back to the nineties and discovering an Earth that clearly had no clue they were supposed to be cleaning up the aftermath of the Eugenics Wars?
So, how long before the events of the TNG premiere are effectively obsoleted, with no atomic horror or soldiers on drugs and whatnot?
An off the cuff remark from Spock Prime like, “Don’t dump them on Ceti Alpha V” or “Just don’t beam on board the Botany Bay”. Heck, even forbidding visitors access to the computers would be a start.
Yeah. A mission like that would take years.
The Wrath of Khan worked (best of all the Trek movies until this last one - & I thought Spock should have stayed dead) because it was more about characters we loved than about the space villain of the week. If they can keep the focus on the main characters and their interaction, they may do ok with a sequel or two.
Ok, late again, I didn’t even think about reading this whole thread, but I didn’t much like it. Special effects, woo hoo, action sequences ditto, improbable physics, I expected no less, time travel wanking, I’m ok with that, but the complete lack of anything remotely resembling proper military order just ruined it for me.
Keeping all the same bridge crew together was wearing very thin in the TNG movies. Your ship gets destroyed? Your crew gets dispersed; other ships need first officers, engineers and ship’s cleavage too. I understand that they had some fan and possibly some contractual reasons, but write them other parts that don’t put them all on the bridge, it doesn’t make sense.
When I heard that they were all going to be in the Academy together in this one I thought, ‘how lame,’ but it got good reviews so I went. But c’mon, Kirk goes from midwest bar brawler to starfleet grad in 3 years, except for that pesky probation thing. and what the newest flagship is staffed by 400 new grads? Or they’re all so lame that they put Wesley Chekov on the bridge? Coughbullshitcough.
And please, please tell me that having Scottie beam into a giant tube of non-toxic water like liguid on it’s way to a giant choppy turbine bladey thing was an intended reference to Galaxy Quest. I was sitting there thinking, ‘this scene is badly written.’
I thought it was bitchin when the Vulcan congradulated Spock on his success despite the handicap of his Human mother and he said, 'Ya know, maybe I’ll go to starfleet after all." THAT part was cool.
FTR I’m a fan but not a trekkie, don’t own any, there’s lots of episodes I haven’t seen.
oops, missed the edit window, didn’t mean to alter Pushkins’ quote
Bolding mine.
Muppet Babies was based off of a segment in the Muppets Take Manhattan, a theatrical release.
You could argue that with the Begley/Silverman episodes clearly taking place mostly in L.A., perhaps the Eugenics Wars didn’t manage to affect the area nearly as badly as other locales. However Khan had just been overthrown, or was about to be, when the Voyager episodes were taking place. You’d think they could have thrown in some reference to him.
I like levdrakon’s idea that a red matter black hole sends you to an alternate reality, not just the past/a different place. It would allow for some interesting details.
[Irrelevant aside] I am watching TOS, the first season. I didn’t remember (probably didn’t know) that Kirk had a brother named Sam who was a research biologist. Sam had a family–a son.
So now I’m 
re the time warp thing in the new movie. I’ll go with it, but it’s still confusing.
Sam has been mentioned several times in this thread, as… oh, just to pull a post at random, here.
At least some of the changes are just stylistic, though. Nero’s warp drive behaves exactly like Starfleet’s: it just goes ‘zip’, which was completely cool, by the way. So I assume that the uniforms having little starfleet insignias embossed in the weave (I had to sit close) and the bridge looking like one imagines the inside of an iMac to look and phasers that really pack a punch are similar stylistic choices, and it’s implied that this is the way things always were.
Well, they couldn’t use styrofoam and drawings of the solar system passing for console displays again, could they?
I heard it described as a perfume sales room. Yours is better. 
The shirts still ride up on 'em. No Picard Manoeuvre for another, yon, 75 years?
The fact that the warp drive is activated with a big chrome lever alone makes the $12.50 worth it.
Poul Anderson has FTL stuff run by computer. Whether it’s a big chrome lever or buttons, how much room do you need to stop at warp 7? If you pass you destination by a couple of light years, do you back and fill at warp 2?
Well, apparently you don’t need any room. Enterprise went from warp speed to more-or-less stationary relative to the rest of Starfleet’s graduating class - you can see one of them silhoutted against the local star if you know when to look - so whatever it is that lets these things happen, we apparently figure it out.
There’s no sense in asking how to control faster-than-light starships, because such things are imaginary. It’s controlled however it’s imagined in the imagination of the imaginer. Sometimes it’s hard science-fiction, sometimes it’s spiffy space opera. I put big chrome levers firmly in the spiffy camp.
OR, the countdowns and such are provided to Sulu by the computer controlling the warp drive for the crew’s benefit while it runs the show. Sort of like the way dignitaries pull big levers turning on currently-running power plants or whatever for the benefit of the press.