Yeah, no, they decanonised my entire universe, but they kept me around because I'm important to Rebecca's backstory, so until I get a new origin trade I technically only exist while she's in the same room. It's super inconvenient.
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Yeah, no, they decanonised my entire universe, but they kept me around because I'm important to Rebecca's backstory, so until I get a new origin trade I technically only exist while she's in the same room. It's super inconvenient.

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I have way more opinions on this, but I've been trying to articulate my feelings about retcons, in general:
A creator (much less a co-worker of some kind who wasn't creatively involved) simply asserting that material in a later text (book, TV show, movie, essay, whatever) overrides an earlier one I already liked does not automatically make it so. They don't actually have the ability to determine or define how I experience a story that already exists, how it feels, what does or does not happen in my imagination. They can persuade me into accepting something, sure. But persuaded is not compelled.
Claims to authority over audience's imaginations tend to be lazy at best, and often just franchise-poisoned corporate bullshit enabled by the extension (legally) of one work into shambling zombie franchise copyright hell—and lots and lots of money, of course. But even so, at the end of the day, our imaginations are our own and we can do whatever we want with them. As far as retcons are concerned, the work of any new story that follows a previous one is to do the actual work—as story—of convincing its audience of the retcons, convincing us that we do want to imagine it this way and not that way. That it's worth it to us.
Stories have to actually do that work, though, not just get accompanied by an edict, legal or not. And the more beloved the original work, naturally, the more difficult it is to convince audiences to get onboard with a new version, especially a new version that, if we accept it, displaces details or themes or characterization from the original that we liked the way it was. Whether it's technically possible to reconcile new details of setting or characterization or history to the original without direct contradiction is not the essential issue, either; a sequel or prequel's approach can undermine everything about the original without technically contradicting it, but also doing nothing to persuade us this version is worth engaging with. Stories of any kind need to respect their audiences enough to bother convincing us to enter into the story imaginatively.
More tentatively, I think there are three basic solutions wrt retcons for storytelling that follows up a beloved earlier story. The new work can a) navigate around the original at enough of a distance that it doesn't often need to override/reconcile details or themes because they don't ultimately have that much to do with each other; b) accept the challenge and put the work into convincing the audience that the retcon baked into the later story is actually allowing for something better than what it's displacing; or c) split off the new story into its own iteration (reboot, re-telling, adaptation, whatever—this has happened for pretty much as long as written literature has existed) that doesn't seriously make claims about another iteration in the first place.
Reject the Darksaber. Embrace the Mask of Mandalore.
We hate retcons that sloppily rewrite a whole character and pretend it’s clever but don’t be sleeping on:
“Narrator just didn’t want to see them as multifaceted and now here’s the truth” retcon
Or
“Character kept this part of themselves under lock and key but now they’re dead and I have the receipts” retcon
Or
“Characters decided X never happened to them but the past has come back to haunt them and oh look, they’re not who you thought they were” retcon
OR
“Character is set up to look shallow/petty/egotistical on purpose to play on audience expectations and now here’s the mess you smugly thought could never be there” retcon
Bonus points if the retcon doesn’t even matter in the end. Like, that’s nice, this is who they could have been, this is the face they could have worn, but they didn’t, and what we saw before is all that history will remember them by in the end.
Heck, even pre-planned redemption arcs can’t get this right half the time.
And to be clear, the difference between character development and retcon is that there is no buildup, there is no growth. This new information drops like a secret will and the room erupts in pandemonium.
You can do a lot without pre-planning every little detail if you know the message you want to send with the changes. Even if it is pre-planned or at least an idea, a good retcon makes the audience go “omg it all makes sense now!” Or “holy hell why didn’t I consider this before?”
A bad retcon makes the audience cock their head like a confused dog and go “wait wut.”
Be the former.
Ain't I love the wording here?
Because the Shu had a bad habit of taking a scalpel to their Grisha, few survived to make it into the ranks of the Second Army. Botkin loved being able to speak in his native tongue, but he also loved the twins’ ferocity. They didn’t rely only on their Corporalki abilities the way Grisha raised at the Little Palace tended to. Instead, Heartrending was just one more weapon in their impressive arsenal.
Fuck LB and her retcons, you just making me hate Tolya and Tamar even more with it.
“The Darkling doesn’t think Grisha should rely on their powers for defense.”
Shadow and Bone, Chapter 17

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Geoff Johns vs Continuity, Part 1
I really enjoy Geoff Johns' run on the Flash. However, his inordinate love of retconning earlier stories really frustrates me.
Thus, I have decided to make a series which catalogues the various retcons that Geoff Johns makes to earlier Flash continuity during his run.
I'll start off with his retcons surrounding the Top (Roscoe Dillon), because they are....extensive.
I just hate retcons so much...
One moment we have one maybe strange, but understandable set of rules, and then - in the blink of an eye - it changes.
And it affects all earlier things, so they don't have sense now!!! And later things turn out to be unreliable because they don't match earlier things!!! Continuity is broken!!!!!
Lore contradicting itself... rrr.... haaaate.....
A couple of years ago, as I was taking advantage of my Paramount+ subscription to rewatch All The Star Trek Ever, I had an epiphany:
The Star Trek universe has been experiencing timeline alterations since the very first time-travel episode in TOS Season 1.
The Doylist explanation, of course, is that they were still working out the vague details of their Generic Space Opera Setting, but from a Watsonian perspective, the now-familiar elements of what we now think of as "the Star Trek Universe" don't really start settling in until after "Tomorrow is Yesterday" (Season 1, Episode 19). Immediately after, in fact: I think that the very next episode, "Court Martial" (S1 E20), is the first time we hear the term "Starfleet" used to describe the uniformed service under which Kirk's Enterprise operated. Previous episodes bandied about terms like "Star Service", "Spacefleet Command", "Space Central", and everyone's favorite, the "United Earth Space Probe Agency". The first mention of the "Prime Directive" comes in "The Return of the Archons" (S1 E21), and I don't think we hear about the "Federation" until "A Taste of Armageddon" (S1 E23).
Even with all these key pieces on the table, though, there are still some peculiarities. Starfleet is sometimes referred to with the definite article, and isn't quite a compound noun yet: "The Star Fleet". There are a few other odd quirks that I noted at the time but don't quite recall right now, but ultimately, it's not until after "The City on the Edge of Forever" (S1 E28) -- another time travel episode, and one that definitely left some butterfly effects on the timeline -- that things start to feel like the Star Trek setting that we all know and love -- making it a milestone in more ways than one.
Doylisticly, of course, a big part of that is that there was only one more S1 episode after "City", and then they had a production break of several months to finally pull all of these ad hoc script elements into a coherent, largely consistent setting.
The fact that so many of these defining elements show up shortly after time travel episodes is just a bonus for the Watsons out there.