Unfortunately there is no way to maintain perfect consistency across dozens (possibly hundreds) of writers, six TV series (seven including TAS) and fourteen movies. And ultimately I think that it would eventually become a straitjacket for the writers, making it almost impossible to make new ideas. Although I think that dedication to the lore would probably make more sense in certain contexts. For instance, I think that Discovery would make 100 times more sense if it was set post-Voyager and they were fighting the Romulans or something. I wouldn't be surprised if this was what the writers originally wanted to do. It would solve a lot of issues RE: the Spore Drive and other things too.
Agreed. And I am so beyond sick and tired of people sticking their noses in the air and insisting that modern audiences couldn't relate to a show set in the TOS timeline that actually
looks like TOS. All this sneering about "plywood sets"... what do they think theatre sets are made of? Naturally the '60s series went with what was available and affordable. They did a pretty good job, considering that the budget for each episode was approximately $185,000 and that had to pay for EVERYTHING. And given the popularity of the Star Trek Continues fan films, it's obvious that modern audiences
do still relate to the visual aesthetics of TOS.
Honestly probably a lot of things because frankly it wasn't anywhere near as progressive of a time. Stuff like "married women can't serve in Starfleet" and such I can't consider canon.
Cripes, it's a pain to try to quote bullet points.
Consider the time in which TOS was made. In many fields it was simply taken for granted that single women would quit after they married. I'm not excusing it, just stating a fact. Any woman who didn't marry was considered to have something wrong with her, or was just not doing her "duty." It's been awhile since I got that "Why didn't you ever marry and have kids?" spiel, as though I did something wrong that needs to be fixed ASAP.
However, note that in "Balance of Terror" there was no suggestion that Angela Martine planned to resign her commission after marrying Robert Tomlinson. Mind you, he died, so the issue never came up. It's interesting to note that an earlier script had them go through with the wedding ceremony anyway, as an act of faith that everything would turn out okay. It was rather poignant in Blish's version that Angela had been engaged, married, and widowed, all on the same day.