Deconstructor Fleet: Difference between revisions

** [[Incredibly Lame Pun|So he throws both ways?]]

* ''[[Doctor Who]]'' has, at various times both deconstructed tropes at wild abandon and later, as a side-effect of [[Running the Asylum]], deconstructed itself and its [[Fandom]]. The banally-entitled late '70s story "The Robots of Death" explored the real effects of living in a society with robots as a work force. Wouldn't, for example, [[Uncanny Valley]] rear its head? A few years later, writer (later briefly script editor) [[Douglas Adams]] had "The Pirate Planet", which explicitly gave the villain some actually specific purpose for his villainy rather than putting it down to some vague "powerlust" or the like. In "The Horns of Nimon", the Doctor's formerly [[Genre Blind]] companion notes though word play that the head guys have a "[[Freud Was Right|power complex]]".

** "The Waters Of Mars" {{spoiler|essentially deconstructs the Doctor himself and the mythology that the series has built around him. It involves the Doctor holding back death, defying the laws of time and space to save innocent lives and rewrite the history books and generally acting up to titles like the 'Lonely God' that the series has often thrown around about him, doing things similar to what he's done before and which would under other circumstances be presented as a [[Crowning Moment of Awesome]]... except here, the people who would normally amazed, dazzled and charmed by him are freaked out by what he's done and who he is, and his very actions are presented as wrong and indicative of his growing arrogance, indifference and alarming tendencies towards [[A God Am I]] Syndrome.}}

* ''[[Farscape]]'' and ''[[Firefly]]'' did pretty well to deconstruct the [[Space Opera]], contributing to the drastic (and fairly sudden) shift in tone of Space Operas that happened around 2002-3. The shift was so sudden that ''[[Star Trek: Enterprise|Star Trek Enterprise]]'' dramatically shifted ''mid-series'', the third and fourth seasons having a considerably darker, serious, and what would later be recognized as more ''modern'' tone.