I agree, but you should not stop asking this question in regards of sensibilities but also in all other cases, like design, technology, scientific facts etc. Of all the Trek shows TOS (and TAS) did not age well, so they had to change so many things. And this changes happened with TMP. Roddenberry himself saw no reason to explain all the changes he made for TMP, because for him these were no changes at all but just the way things should always have been. Yes, TMP is one big retcon.
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You have criticized the wife of the historical producer go take your money you’re fired. Nurse Chapel aged very well, she looked not unlike Lwaxana Troi 
(it’s a joke, of course TOS nurse role is outdated)
Of course there’s changes but I liked most of them. Sadly they missed the opportunity of some lines between Number One, Chapel and the computer.
The show is still young…
No, we’ve criticized the ROLE she was given as a little dated. an important distinction
When is the crew pack pdf coming? 
@Katowice As far as I know, Modiphius does not have the license for SNW (yet, I hope).
Maybe @Modiphius-Jim can confirm or deny (or at least recommend to save our latinum 
).
“I would not remind you of that which you know so well.”
Weird that they wouldn’t.
The Star Trek franchise is a licensing mess right now. From what I read some time ago trying to explain all the differences in designs and Klingon makeup, there were three companies involved at the time, Viacomm (somehow), CBS, and Paramount. Viacomm owns the IP to the TOS, CBS owns the rights to other aspects of the IP, and Paramount owns the rights to the movie IP, including the Kelvin timeline?
The phasers and Klingons and other designs had to look different than the phasers in TOS, because Viacomm owns that IP. The Klingons in Discovery had to look different from the Klingons in the movies (Paramount), TNG (CBS), and TOS (Viacomm).
Someone bought someone else, so they were able to tie in some things and design the Klingons to look like TNG Klingons on Picard and Strange New Worlds. I may have gotten the corporate overlords switched around, but one company owns the IP, “Style”, Trademark, and/or copyright of one version of Star Trek, ditto on the other two companies and iterations of Star Trek. It would have been crazy if they had to redesign Worf to look like the Discovery Klingons. At least the Kelvin Klingons wore helmets to avoid the shellhead problem altogether. I can’t remember, have Klingons worn helmets before?
Modiphius started (as of my knowledge) with the license to ENT, TOS/TAS and TNG/DS9/VOY, including the movies up to Nemesis. That’s why (only) these three eras were covered in the “yesterday’s enterprise”-sections on how to adapt material to other eras of Trek.
After DIS came out, it took Modiphius about three years to acquire the license and publish material. Same for PIC (only crew packs, as of now) and LD (the campaign supplement came out in between LD seasons 3 and 4 iirc). I have my own theory about PDG.
I am very sure Modiphius started negotiations about a SNW license from day one. Yet, seeing the history of STA, I, personally, would not expect any SNW crew pack before mid-to-late 2024.
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Viacom owned CBS and Paramount. As you note, corporate shenanigans occured, but they were always related. Now everyone’s back under the one banner of Paramount; one big, happy fleet family.
I don’t think that IP had anything to do with the changes, however. After all, they changed in The Motion Picture with no IP issues. And the SNW director says their change had more to do with needing fewer prosthetics on actors: https://screenrant.com/star-trek-strange-new-worlds-discovery-klingon-change/
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Thanks! I was about to say much the same.
I’ve heard these particular theories over and over about why the new shows look different, but the simple fact is that it was new showrunners with new ideas. You see the same thing in the 80s and 90s as the TNG-era gets going. The peculiarities of the ship and Klingon designs in Discovery were specifically because that was what Bryan Fuller wanted - note that the other showrunners have rapidly turned the clock back, I suspect as a result of fan feedback.
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The pretzel-logic rationalizations to justify bad writing on TV shows is quite revealing.