In an interview with Buzzfeed two years after the film's release, Abrams addressed some of the film's shortcomings. He thought that the dynamic for Kirk and Spock's relationship in the film "wasn't really clear." For keeping the identity of Khan a secret prior to the film's release, Abrams felt he "was trying to preserve the fun for the audience, and not just tell them something that the characters don't learn for 45 minutes into the movie, so the audience wouldn't be so ahead of it." In the end, Abrams recognized that "there were certain things I was unsure of [...] Any movie [...] has a fundamental conversation happening during it. And [for Into Darkness,] I didn't have it [...] [The problems with the plot] was not anyone's fault but mine, or, frankly, anyone's problem but mine. [The script] was a little bit of a collection of scenes that were written by my friends [...] And yet, I found myself frustrated by my choices, and unable to hang my hat on an undeniable thread of the main story. So then I found myself on that movie basically tap-dancing as well as I could to try and make the sequences as entertaining as possible [...] I would never say that I don't think that the movie ended up working. But I feel like it didn't work as well as it could have had I made some better decisions before we started shooting."
Before she can give her reasons and prior to the Enterprise reaching Qo'noS, the ship violently drops out of warp. Chekov has found a coolant leak in the warp core, and stopped the ship manually. They are still twenty minutes away from Qo'noS. Kirk recruits Uhura, who knows Klingon, to join him and Spock. He gives Sulu command for the first time, with orders to contact Harrison before they arrive to demand his surrender. Dr. McCoy is concerned, but Kirk is sure Sulu is up to the task. They use a vehicle they confiscated a month before, in the "Mudd Incident". Kirk orders two other officers, including Hendorff, to remove their red shirts and change into more casual clothing; they cannot have any obvious connection to the Federation on this mission, lest they start an interstellar war. Chekov assures Kirk he will try his best to repair the engines before they return.
Before the Vengeance can destroy the Enterprise, though, the Vengeance's systems are reset; Kirk immediately receives a transmission from Scott, who has sneaked on-board the Vengeance. It will take time for its systems to restart, so they have an opening to stop Admiral Marcus. Kirk puts Spock in command of the Enterprise. Spock is resistant to this idea, but Kirk insists the Enterprise needs somebody who "knows what they're doing" in command. Kirk heads to sickbay, and asks Khan about the Vengeance's capabilities. It is a Dreadnought-class, twice as big, three times as fast, and far more heavily armed than the Enterprise. At the same time, McCoy injects Khan's blood into a dead tribble to examine his blood's effects. Kirk asks for Khan's help, assuring him this will be his only opportunity to save his crew.
The writing of the film's script was initiated in October 2010.  The screenplay was driven by the notion that the members of the Enterprise's senior staff were slowly becoming an inseparable, if occasionally unruly, team of friends. Bryan Burk observed, "The script for Into Darkness started with one question: how can we put the Enterprise team into the greatest jeopardy and conflict?" 
Since J.J. Abrams wanted the script of this movie kept secret as much as possible, the film's screenplay was released to the cast very soon before the film was to enter production, the start date being in January 2012. (Star Trek Magazine Special 2015, pp. 20-21)  Whereas a writers' strike had prevented the cast members collaborating with the writers on the previous Star Trek film, this movie was significantly modified by the cast. "The script really changed in the weeks leading up to the shoot," Spock actor Zachary Quinto recalled. "We worked on it, talked about it, and rehearsed it, so things came out of that process that we weren't able to [add] the first time." (Star Trek Magazine issue 172, p. 39)
It's the Memorial Day long weekend and there are three new films looking to take advantage of the holiday, plus a number of holdovers that will likely still bring in a lot of money. Fast and Furious 6 is leading the way in terms of box office potential and many think it will crack $100 million over four days; some think it will crack $100 million over three days. The Hangover III debuted on Thursday, which will give it a jump on the competition, but soften its weekend numbers. Finally, there's Epic, a family film that seems like a sure hit, except there is a lot of competition this weekend. Star Trek into Darkness, Iron Man 3, and The Great Gatsby are all still doing well and should provide some competition for the three new releases. All combined, those six films should make as much as the entire box office did last year and 2013 will start to close the gap with 2012. More...Contest: Seeing in the Dark: Winning AnnouncementMay 23rd, 2013
Star Trek into Darkness had a fantastic domestic start on IMAX with $13.6 million on 336 screens. Worldwide, the film has made roughly $20 million on IMAX so far. More...Frances is Lone Bright Spot on Per Theater ChartMay 23rd, 2013
Frances Ha earned first place on the per theater chart with an average of $34,350 in four theaters. This is strong enough to suggest serious potential to expand. The overall number one film, Star Trek into Darkness, placed second with an average of $18,140. That's a fantastic start, but lower than expected. More...Weekend Wrap-Up: Star Trek Has A Dim LaunchMay 21st, 2013
....................................................................................................................................Film #12 in The Star Trek Marathon!letterboxd.com/kikuchisawa/list/the-star-trek-marathon-march-20-31/....................................................................................................................................
In this manner, NIF brings the world of "Star Trek" into the laboratory to unlock the mysteries of the stars and the universe and provide US leadership in high energy density science. As a result, the facility has become the premier center for high energy density science with a user group spread through 28 states and internationally.
There are even some real-life Iraq/Afghanistan vets in the movie, playing background roles. Clearly the film is saying that these brave vets fought in wars that were started without the best interests of Americans at heart - there is simply no other way to read the politics of the film. But the finished movie stops just shy of endorsing the idea that the terrorist attacks that got us into these two wars were, in fact, perpetrated by our own government as part of a terrifying and complex scheme.
Eventually we did have to upgrade almost everyone to 6.5.2, when we started constantly running into the maximum number of clip references that a bin could contain. Our timelines were too full to fit into the old bin constraints, though that max level had been set a long time ago and I just think it was forgotten about and never updated. When we brought it to Avid's attention, they sent us a patch to hold us over, and then released the new bin reference limit as a feature of 6.5.2.
After I had removed as many redundant channels as possible and stripped out effects that we would replace, I dug into Robby's library and started filling the timeline back up with new fx. I like to do a rough mix and pan as I go, even though a more thorough mix pass still needed to be done after taking delivery of Matt's cleaned up dialogue tracks, whatever fx Will was making, and our temp score from Ramiro Belgardt and Alex Levy. Robby also tackled a lot of foley, since once you start down the road of making your temp sound good, you start to notice that you can no longer skip the things you would normally ignore for a temp, such as foley.
Keeping the soundtrack up to date inevitably fell by the wayside the more that Skywalker Sound's crew took over. Will moved into the 5.1 edit room that had been my office, configured it for ProTools, and started doing predubs. A couple other Skywalker crew members came down, set up their own ISIS, and worked out of Bad Robot until everyone moved to Fox for the final mix. At this point I was actually off the movie, having finished what I was hired to do and left for another job. When at last I heard the final mix, I was amazed at how much of our work was still in there. A lot of it had been combined with other effects to make something new, but even in places where our effects had been entirely replaced, the replacements often reflected our initial design choices. 2b1af7f3a8