I'd assume he was, but even then, is that enough cause to disregard an awesome performance by Cumberbatch (regardless of what you thought of the script, dude nailed the part) because of inverse affirmative action? Not to mention, the guy who played Khan was born just across the Channel.

Well, agree to disagree. It's both. For some, it killed the moment; for others, it was just a thing that happened that we accepted. I'm sure there were still others who absolutely loved the callback.

Maybe it is a reboot on top of the alternate timeline, and it's just no one's come out and said it.

Yeah. As I also said in a previous comment, I just watched Wrath again to compare, and if you take it off its pedestal, the death scene is far more poignant in Into Darkness.

Well, I'm glad I'm not the only one who sees it that way.  I made many similar arguments on the non-spoiler review.

Did Spock Prime care that Scotty weighs less now? Or that Chekov has curly hair now? Talk about a pithy complaint.

He said that as a kid, he "didn't get it." But he grew to love it when he explored it as an adult (though to be fair, it did sound like that wasn't until he got this gig).

Like I said above: the original films were cerebral, but the current ones are smart. There is a difference, and I have a hard time believing that the people so vehemently dismissing the Abrams efforts aren't just pissy about the changes. I don't get what's so wrong or hard about liking them all for what they bring to…

@avclub-94d8526a5fae933806f65b8a0f49301a:disqus  Yes, exactly. And her introduction at this time serves as that meeting between Kirk and Marcus during his impetuous youth years.

No, there's LOTS of canon integration. People are just pissy that it's either too much or too little.

I don't think it's an easy comparison, since the line comes at different points in each story. In the original, the line worked to sell the bluff; in this one, Spock is allowing himself to feel loss and anger and hatred and whatever other shit Yoda yammered on about over losing Kirk.

It didn't take me out of the movie, but I did feel the change in gear.  Alas, the way the story was written, there really wasn't anywhere else it could have worked without still feeling shoehorned in there.

Which, if you ask me, is bullshit, because as the story goes, he comes from the (19)90s, and if he didn't know enough about aerial or submarine combat to consider the Z axis, he's not as tough/smart as they make him out to be. I would dare to say that the original cast films were cerebral, intelligent even, but that…

Christ, [i]another[/i]dream sequence theory?  I don't think so, Tim.

My response to Brooke's threat: Wish I were one of the cocks in Southland's Alvarado Division…

Exactly what I thought when he broke down.  I was kind of impressed to see that they have that depth.

I don't know… maybe she was lonely and figured, "oh what the hell."  It could go either way, unless the writers (or McPhee) make it clearer to us.

Not how I read it… I think she was scared-slash-miffed at Jimmy's immediate response, and was trying to throw it in his face.

This sounds like Spectacle: Elvis Costello with…, but solely set in the Broadwaysphere.  Maybe with a dash of that Seth Rudetsky YouTube show an associate told me about.

@avclub-cd1db6bdaab0f94ac28022bf20b6d1a6:disqus  @TMJW:disqus  That's what I initially figured; he clearly still loves his ex-wife, though it seems to be more of a platonic love.  I think it was that beat when he caressed her cheek and her slight fluster at that that threw me off.