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revieloutionneOn the one hand, it's a bit Father's Day all over again.
On the other hand, it's so damn good, it doesn't matter. And where Father's Day was about tearing down Rose's view of her father, that she might rebuild it both smaller and more magnificent, this seems to be about Sarah Jane facing the resentment she had and replacing it with understanding.
It also continues to show just how warped and human she is, even after all her time with the Doctor. "Why does everything have to be so horrible? After all the time I've spent working for other people, what if this is my reward?" It's so understandable and so, so wrong at the same time. Yes, Sarah Jane is out of her right state, but for this to come out now, it still need to be there, even if infinitessimally, the rest of the time. She's been doing good her whole life, and what did she get of it? Repeatedly possessed, abandoned by the doctor, forced to live alone or give up the life... it's impossible not to feel like there must be something to counter that.
And there is. She got to see the universe, and still sees so much more here on Earth than most. She got her closure with the Doctor. She isn't alone anymore. She has Clyde and Maria and Hot Dad and even Chrissie. She has Luke.
But when faced with having her parents, what does any of that mean? It still means everything, of course, but she's human. She can't see it. And the Trickster knows that, because the Trickster is Chaos. It is everything that doesn't make sense. That's why it's so fucking creepy. It feels vengeance, yes. It feels anger, and it feels wounded pride, for what Sarah Jane did to it before, for having been defeated.
But that's secondary.
What matters is that it has a chance to remove the Sarah Jane Smith, savior of worlds, companion to the Doctor and leader of her children, from the timeline. Yes, the Trickster revels in getting her to do it to herself, but in the end all that matters is that she's out of the way.
The fangs and the eyelessness and the mannerisms creep you out. The motives and lack thereof frighten you. I want to see Moffat write the Trickster.
Well. I'm terrified of Moffat writing the Trickster, actually, but I need to see it happen nonetheless.
And god, Sarah Jane's parents. They're so earnest that you can't help but love them, but at the same time there's something almost pathetic about them. I can't pin it - possibly because I don't have the ties to British history and culture the the audience being written to have, but more likely because it's not meant to be obvious why. It's just a sense that they're a bit plain, I think. They're textbook nice. Sarah Jane would have a pleasant life growing up with them there, ignoring the Trickster, but I get the feeling it would never amount to a terrible lot. Not in a worthless way, just... I don't know, empty?
Next up: POST APOCALYPTIC GOODNESS!
On the other hand, it's so damn good, it doesn't matter. And where Father's Day was about tearing down Rose's view of her father, that she might rebuild it both smaller and more magnificent, this seems to be about Sarah Jane facing the resentment she had and replacing it with understanding.
It also continues to show just how warped and human she is, even after all her time with the Doctor. "Why does everything have to be so horrible? After all the time I've spent working for other people, what if this is my reward?" It's so understandable and so, so wrong at the same time. Yes, Sarah Jane is out of her right state, but for this to come out now, it still need to be there, even if infinitessimally, the rest of the time. She's been doing good her whole life, and what did she get of it? Repeatedly possessed, abandoned by the doctor, forced to live alone or give up the life... it's impossible not to feel like there must be something to counter that.
And there is. She got to see the universe, and still sees so much more here on Earth than most. She got her closure with the Doctor. She isn't alone anymore. She has Clyde and Maria and Hot Dad and even Chrissie. She has Luke.
But when faced with having her parents, what does any of that mean? It still means everything, of course, but she's human. She can't see it. And the Trickster knows that, because the Trickster is Chaos. It is everything that doesn't make sense. That's why it's so fucking creepy. It feels vengeance, yes. It feels anger, and it feels wounded pride, for what Sarah Jane did to it before, for having been defeated.
But that's secondary.
What matters is that it has a chance to remove the Sarah Jane Smith, savior of worlds, companion to the Doctor and leader of her children, from the timeline. Yes, the Trickster revels in getting her to do it to herself, but in the end all that matters is that she's out of the way.
The fangs and the eyelessness and the mannerisms creep you out. The motives and lack thereof frighten you. I want to see Moffat write the Trickster.
Well. I'm terrified of Moffat writing the Trickster, actually, but I need to see it happen nonetheless.
And god, Sarah Jane's parents. They're so earnest that you can't help but love them, but at the same time there's something almost pathetic about them. I can't pin it - possibly because I don't have the ties to British history and culture the the audience being written to have, but more likely because it's not meant to be obvious why. It's just a sense that they're a bit plain, I think. They're textbook nice. Sarah Jane would have a pleasant life growing up with them there, ignoring the Trickster, but I get the feeling it would never amount to a terrible lot. Not in a worthless way, just... I don't know, empty?
Next up: POST APOCALYPTIC GOODNESS!
