I like it. Of course, I write about the fear/trust dynamic a lot. I think the reason that falling in love (if not being in love) is so closely related to fear is because it involves trust, and when you choose to trust someone, there's always a moment of utter freefall, a leap of faith. No matter how much evidence you have of someone's trustworthiness you can't know them completely, and thus you can't be one hundred percent certain they won't hurt you. It's just that for most friendships, and most undamaged people, the instant passes so quickly that you never have time to feel the vertigo.
In fact, one of the things that attracts me to Doctor Who is the scary wondrousness of trusting onesself to a person who is mysterious and unknowable and sometimes spooky and on occassion as scary as all hell—while still being deeply and truly good. I like Moffat's Who on a level below analysis, and I think part of it is that he keeps reaffirming that trust can be beautiful, that you can trust the alien, whether the alien is the Doctor or the Star Whale or your own child. There are amazing landscapes, there's love and friendship and excitement, beyond that leap of faith. That's a good message for a fairy tale, every bit as good as the traditional, Of course there are monsters. But monsters can be beaten.
This theory also might well explain why River seems so totally fearless in the face of danger; she got so used to fear when she was young that she can utterly dismiss it as meaningless background noise.
(Oh, and n+1 on the idea that "Let's Kill Hitler" needed to be a two-parter. People will hate me for this opinion, but part of me thinks that losing Confidential might be good for Moffat as a writer, because he'll have to stuff everything he wants to say into the show proper or else leave it out. Not that that's a consolation for fans who've lost the show, of course.)
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In fact, one of the things that attracts me to Doctor Who is the scary wondrousness of trusting onesself to a person who is mysterious and unknowable and sometimes spooky and on occassion as scary as all hell—while still being deeply and truly good. I like Moffat's Who on a level below analysis, and I think part of it is that he keeps reaffirming that trust can be beautiful, that you can trust the alien, whether the alien is the Doctor or the Star Whale or your own child. There are amazing landscapes, there's love and friendship and excitement, beyond that leap of faith. That's a good message for a fairy tale, every bit as good as the traditional, Of course there are monsters. But monsters can be beaten.
This theory also might well explain why River seems so totally fearless in the face of danger; she got so used to fear when she was young that she can utterly dismiss it as meaningless background noise.
(Oh, and n+1 on the idea that "Let's Kill Hitler" needed to be a two-parter. People will hate me for this opinion, but part of me thinks that losing Confidential might be good for Moffat as a writer, because he'll have to stuff everything he wants to say into the show proper or else leave it out. Not that that's a consolation for fans who've lost the show, of course.)