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<blockquote data-quote="Mallus" data-source="post: 6100892" data-attributes="member: 3887"><p>Right back at ya'. </p><p></p><p></p><p>That isn't how time travel works in science fiction, or, rather, it's one of the ways it works. Either everything is radically different (cf. Bradbury's <em>The Sounds of Thunder</em>), or things are only slightly different, and the differences exist for dramatic effect related to the story at hand (cf. Back to the Future). </p><p></p><p></p><p>This is dumb. However, in the Star Trek universe, the Milky Way is surrounded by an energy barrier that turns some people into gods and giant-ass bacteria live in interstellar space. So I'm willing to cut them some slack, science-wise. </p><p></p><p></p><p>Alternate timeline paradox. Par for the course. </p><p></p><p></p><p>The order of events is: Nero & Romulan super-ship accidentally travel back in time --> blow up Kirk's dad's ship --> wait around for future-Spock to arrive (time travel was accidental -- he arrives 20 years later), Nero captures future Spock, maroons him on ice planet with good view of Vulcan --> Nero travels to Vulcan, blows up Federation fleet --> Nero implodes Vulcan.</p><p></p><p></p><p>I thought is was kinda brilliant. It's the *last* thing you'd expect to see in a Trek film; delinquent young Kirk stealing his stepfathers' muscle car while the Beastie Boys blare in the background. Tonally, it's marvelous and unsettling (this ain't the Trek of yore). It also serves to characterize Kirk -- he's still brash and daring, but, in the absence of his father, troubled rather than the good student aimed at the Academy.</p><p></p><p>Like I said, a brilliant (and efficient) scene. </p><p></p><p></p><p>Because the line of shuttles arcing into the air over future San Francisco looked nice. Film is a visual medium. </p><p></p><p></p><p>23rd century fencing includes collapsible katanae. </p><p></p><p></p><p>Harry Mudd is introduced trying to sell space-hookers to space-miners. Kirk and Co. periodically relax by watching half-naked Orion slave girls. </p><p></p><p>edit: the scene with the Orion woman in Trek 2009 is actually cuter and more harmless. She's not a coerced sex worker or asylum inmate. She's not described as subhuman ("They're like animals: vicious, seductive" from TOS: The Menagerie) </p><p></p><p>She's a Starfleet Academy student making out with Kirk on a date. </p><p></p><p></p><p>I am now forced to question your Trek <em>bona fides</em>. It's "<em>City</em> on the <em>Edge</em> of Forever". Written by Harlan Ellison.</p></blockquote><p></p>
[QUOTE="Mallus, post: 6100892, member: 3887"] Right back at ya'. That isn't how time travel works in science fiction, or, rather, it's one of the ways it works. Either everything is radically different (cf. Bradbury's [i]The Sounds of Thunder[/i]), or things are only slightly different, and the differences exist for dramatic effect related to the story at hand (cf. Back to the Future). This is dumb. However, in the Star Trek universe, the Milky Way is surrounded by an energy barrier that turns some people into gods and giant-ass bacteria live in interstellar space. So I'm willing to cut them some slack, science-wise. Alternate timeline paradox. Par for the course. The order of events is: Nero & Romulan super-ship accidentally travel back in time --> blow up Kirk's dad's ship --> wait around for future-Spock to arrive (time travel was accidental -- he arrives 20 years later), Nero captures future Spock, maroons him on ice planet with good view of Vulcan --> Nero travels to Vulcan, blows up Federation fleet --> Nero implodes Vulcan. I thought is was kinda brilliant. It's the *last* thing you'd expect to see in a Trek film; delinquent young Kirk stealing his stepfathers' muscle car while the Beastie Boys blare in the background. Tonally, it's marvelous and unsettling (this ain't the Trek of yore). It also serves to characterize Kirk -- he's still brash and daring, but, in the absence of his father, troubled rather than the good student aimed at the Academy. Like I said, a brilliant (and efficient) scene. Because the line of shuttles arcing into the air over future San Francisco looked nice. Film is a visual medium. 23rd century fencing includes collapsible katanae. Harry Mudd is introduced trying to sell space-hookers to space-miners. Kirk and Co. periodically relax by watching half-naked Orion slave girls. edit: the scene with the Orion woman in Trek 2009 is actually cuter and more harmless. She's not a coerced sex worker or asylum inmate. She's not described as subhuman ("They're like animals: vicious, seductive" from TOS: The Menagerie) She's a Starfleet Academy student making out with Kirk on a date. I am now forced to question your Trek [i]bona fides[/i]. It's "[i]City[/i] on the [i]Edge[/i] of Forever". Written by Harlan Ellison. [/QUOTE]
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