Brane's explained the resolution considerably better than I could have, or the script could be bothered to.
I think you're being a little harsh on SJA s2 in comparing it to Torchwood s1, but would agree that it wasn't the equal of the first series. And while I wasn't that keen on 'Father's Day' (it was one script-edit short of being as good as people seem to think it is, and a fair way behind Cornell's best work), I'd agree that 'The Temptation of Sarah Jane Smith' was way too close to it - particularly since SJS, unlike Rose, is no clueless amateur in the time travel business, and really should have known better.
Characterising the plots as "(MUMS AND DADS = GOOD!)"...well, yes, there was too much of that. But in having Luke reject his birth mother in favour of his adopter, and even more so in 'Mark of the Berserker' (Clyde's father coming back was pretty much an unqualified disaster, no?), I don't think they were quite so simplistic as you suggest.
Also - you're being far too harsh on the expressionist ballet masterpiece in SF clothing that is The Web Planet.
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I think you're being a little harsh on SJA s2 in comparing it to Torchwood s1, but would agree that it wasn't the equal of the first series. And while I wasn't that keen on 'Father's Day' (it was one script-edit short of being as good as people seem to think it is, and a fair way behind Cornell's best work), I'd agree that 'The Temptation of Sarah Jane Smith' was way too close to it - particularly since SJS, unlike Rose, is no clueless amateur in the time travel business, and really should have known better.
Characterising the plots as "(MUMS AND DADS = GOOD!)"...well, yes, there was too much of that. But in having Luke reject his birth mother in favour of his adopter, and even more so in 'Mark of the Berserker' (Clyde's father coming back was pretty much an unqualified disaster, no?), I don't think they were quite so simplistic as you suggest.
Also - you're being far too harsh on the expressionist ballet masterpiece in SF clothing that is The Web Planet.