TARDISMonkey's Torchwood Diary - watching Torchwood an episode a week from the start...

2.10: From Out Of The Rain

From Out Of The Rain feels like a true Torchwood episode once again. This time around, we’ve left behind the very heavily character driven stories which we’ve had recently. It was nice for the series to step into the weird and wonderful themes of horror once again. With this episode written by Peter Hammond who wrote the amazing Small Worlds, it was no surprise that it was very reminiscent to series one.

The start of the episode builds up the creepily dramatic flare with the Ghostmaker, a stereotypical showman with his top hat and big moustache, welcoming all people into his circus. It’s a true classic horror in the way it is filmed, feeling as if you’re someone wondering around the circus, as everyone looks towards the camera. The Ghostmaker hands a girl a ticket to the circus when all of a sudden, the whole circus disappears, leaving only the girls mother behind. This story feels like it could be straight out of a Sarah Jane Adventure series.

In true Torchwood style, they are already on the case, as Ianto finds some rift disturbance at an old cinema he used to go to as a kid. As they watch the film believed to be old footage of Cardiff, the Ghostmaker mysteriously appears, gesturing to the audience to come up to the screen. The themes of the circus living within the film is a truly horrifying concept, as it suggests the possibility of the circus performers eternal life. In a shocking twist, it turns out that Jack went undercover to find out what these circus performers were up to 80 years ago, when many people went missing when the circus came to town. This would have been an amazing path to take to delve into Jack’s history once more as he tries to cover up who originally sent him. That would have been the moment to develop Jack’s character just a little more, but unfortunately was missed.

What’s nice about this story, is it’s very heavily lead by Ianto as he seeks to find out who these people are and why they’re taking the souls and the very essence of their being. It really gives Ianto a leadership side which we haven’t seen previously in stories. If we wanted to go down the more character driven route as with Owen previously, this would have been Ianto’s time to shine.

Another missed opportunity was with the Ghostmaker and Pearl. The idea of these two going around capturing life essences from people is great, but the threat of the whole situation seemed incredibly mild in comparison to other events the Torchwood team have endured. What would have been amazing, was if the circus had already re established itself travelling around the country and everyone started to disappear again; it would have created more of a deadly impact for the team to sort out. However, the resolution to this episode is a quick finale as if they were running out of time for the episode. 

The Torchwood team quickly work out the only way they can stop the night travellers from taking the life of any more people, is to destroy the film they were living in. It’s a great concept, but it would have been more amazing if the team had to work this out in a last minute escapade. It’s never really explained why the circus people are doing what they are doing - they just seem to appear and not do all that much. What would have been amazing is if they turned out to be some kind of alien water vampire, or was that the plot of “Waters of Mars” I’m thinking about? Instead, we get a very speedy, Jack saves the day again ending, which has become a repetitive problem throughout Torchwood as a series.

Overall From Out of the Rain had a great concept that could have been helped with maybe this being a two part story. There are so many opportunities to establish character and plot, however it was all very rushed to fill the 40 minute time frame. There is a great little twist at the end of the episode. Just as Jack is about the put the flask away that captured the souls for the circus performers, a boy and his dad find another film canister with the same logo as the flask has on it. Has Jack really defeated the night travellers?

Ellie (TARDISMonkey) 

 

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[Source: DWO]

TARDISMonkey's Torchwood Diary - watching Torchwood an episode a week from the start...

2.9: Something Borrowed

We start the episode with a flash back scene to Kiss Kiss Bang Bang where Gwen announces her engagement to Rhys. It was about time we finally faced the family of Rhys and Gwen, as keeping their lives and Torchwood separate couldn’t last much longer.

The best way I can describe this episode, is a more adult version of “The Wedding of Sara, out to kill Gwen who has been impregnated by a murderous shape-shifting alien - pure Torchwood. It’s a great way to make fun of soap opera style weddings which always end in some kind of disaster but with a sci-fi element to it. Gwen wanting the marriage to take place no matter what, really shows a strength of character and the love between Rhys and Gwen.

I do have to mention the issues of Gwen’s relationship with Owen, as again the affair from series 1 is never brought up, even at the key moment when Gwen has to be honest with Rhys about getting married because she loves him. What makes the situation even more awkward is in fact that Owen is there at the wedding with the pair of them. I do feel hugely sorry for Rhys in the series, as his character gives so much love and dedication, even to the point of marrying someone who is pregnant with an alien. He’s given no kind of redemption story arc for everything that has happened without his knowledge. This has been a problematic theme throughout Torchwood, but I’ve come to terms  with the fact that it’s something that will never now be resolved.

This episode reinforces the Torchwood cheesy storylines we’ve come to know and love. The shape-shifting alien mum out to kill Gwen, almost feels as if it was toned down in respect of the blood and gore which would fit in well with a “Sarah Jane Adventures” story line. To have the shape-shifting alien hide in between their relatives and even taking the form of Rhys’s mum, does create a somewhat comical effect as in a lot of Scooby-Doo style chase scenes that would work perfectly with the “Doctor Who” episode “Love and Monsters.” Again the problems are very quickly resolved with the Singularity Scalpel as it zaps away the alien baby before the mum can tear open Gwen’s stomach to get to it. The Singularity Scalpel is becoming as common as the sonic screwdriver from “Doctor Who.”

A lovely final moment for the relationship between Jack and Gwen is when Jack finally takes out the shape-shifter and he picks her up as a trophy. Realising that Rhys is there, Jack places her on the ground and puts Rhys and Gwen’s hands together saying “The hero always gets the girl.” Again it’s the final resolution that is needed for their relationship now that Gwen is committed to Rhys and loves him, so he should be the man with whom she celebrates her victories.

It does start to feel that Torchwood has found a truly good balance between the gore, sex and violence from its previous series. This is very prominent with Phil Ford’s writing, as he creates some fantastic one liners throughout the episode - “That’s what I love about Torchwood. By day, you’re chasing the scum of the universe, come midnight, you’re the wedding fairy.” It’s a wonderful send off, as the Torchwood team retcon the entire wedding so nobody will remember the event thats happened. That will be fun to explain when the wedding photos are finally developed. 

We finish the episode with a touching scene of Jack looking through all his past photos, which appear to date back to the late 1800’s. One is of what appears to be a wedding photo, as Jack softly smiles, reminiscing about his past life and why he feels so comfortable letting Gwen marry while she’s working in Torchwood. It’s a nice send off to the episode as the camera pulls back, and the world is right once again. 

Ellie (TARDISMonkey) 

 

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[Source: DWO]

TARDISMonkey's Torchwood Diary - watching Torchwood an episode a week from the start...

2.8: A Day In The Death

A Day in the Death is a very solid story about what I’m calling the how Owen is coping with being dead saga. This episode heavily surrounds the character development of Owen, from being the arrogant man we saw in series 1, to a more understanding but still problematic character in the way he now has to come to terms with being dead.

The story delves into the world of death and the problems that surround life and how those two should intertwine. The great way in which this story is depicted, is because it’s from the narrative view point of Owen, as he sits next to Maggie, a woman who is about to take her own life. But what’s Owen doing there? Was he there first or was he there to help Maggie? 

We experience this story as a historical event, so whatever happens as the story progresses, Owen will always end up on the rooftop. It’s quite worrying to see his character stripped of his Torchwood duties as Jack is worried about Owen’s more fragile personality and physical state. Again in a retaliative response, Owen gives up everything that makes him seem human; his food, booze, aftershave and even the loo roll. He throws it all away as if he’s giving up all his material possessions and facing the harsh reality that he won’t be able to enjoy life the way he does anymore. The music progresses to a repetitive tune as he faces these facts. Owen not taking this very well, lashes out at Tosh yet again, as she pops over with a pizza, just to make sure Owen is ok.

Owen finally giving in, heads towards Cardiff Bay, runs and jumps into the bay to try and drown himself. However, he suddenly opens his eyes and pulls himself out as he realises he can’t drown if he can’t breathe. Captain Jack, conveniently in the same area at the time it happened, watches Owen as he pulls himself out of the bay and queries for how long will this keep going? 

The whole theme of Owen being dead, heavily impacts the story, as millionaire alien artefact collector Parker (played by the wonderful Richard Briers) has a device that’s going to blow up the whole of Cardiff. Again, we have the typical Torchwood Mcguffin, as this alien device must be stopped. Owen is the only man who can stop Parker using the device, but he has to get through the heat sensors in the house without being detected. Owen and Parker have quite a nice but short bonding session over the themes of death and the resemblances it has with being alive. Being in a dark room, all alone, it all seems to be working well until Parker has his fourth and final heart attack, dying in front of Owen. To Owen’s horror, he can’t give him CPR as he doesn’t breathe and therefore can’t save Parker.

So this appears to be why Owen is on top of the roof with Maggie. It also turns out that the alien device is called the Pulse and it isn’t actually a nasty bomb but a message from beyond the stars, from aliens Torchwood haven’t met. Owen uses this symbolic moment to help Maggie, who we later find out is trying to kill herself as her husband died on their wedding day. It’s symbolic of a message of hope for the both of them, to carry on living and reflect on their past, which they’ve both done in this story.

What this story does so well, is it finally gives Owen some kind of resolution. He accepts the fact that he is now dead, because to be fair, for how long could the woe is me storyline play out before the audience themselves find the repetitiveness of the themes uninteresting. The major flaw for me, is not a reflection on this specific episode, but  the overall issues of Martha returning. Unfortunately, I feel for the past three episodes she was in, her character was heavily underused as it played under the Owen accepting death story arc. I wish we had one more episode with Martha after this, to establish her relationship with the Torchwood team, as Jack says she can come back at any point.

With the Torchwood team back to their usual antics, where will this take the final few episodes of the series? Only time will tell.

Ellie (TARDISMonkey) 

 

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[Source: DWO]

TARDISMonkey's Torchwood Diary - watching Torchwood an episode a week from the start...

2.7: Dead Man Walking

The themes of this storyline, compare very closely to the ‘Doctor Who’ episodes “The Impossible Planet” and “The Satan Pit”.

From the  experience of the dramatic cliffhanger concerning Owen’s death in “Reset”, I was ready for the emotional impact of losing another Torchwood member. Even with Owen’s problematic traits, the other Torchwood members have a strong connection with him. You feel grief on their behalf, that is until Captain Jack comes running through the door claiming he has a way to save Owen.

The character I do feel most sorry for in this whole story is Martha. I was hugely excited as we finally had the chance to see her use her skills as a UNIT doctor to help the Torchwood team grow and develop into an awesome team. However, she’s sidelined in Owen’s story and then turned into an old woman by the resurrection glove. 

I do like the way Ianto has a sassy joke about there being another resurrection glove, as they usually come in pairs. It’s a throw back to series one where they tried to bring Suzie back and are now using the same technique with Owen. Miraculously Owen is back, and again he stays alive after the 30 seconds -  but what energy is keeping him alive? It turns out it literally is Death itself that is keeping Owen alive, using him as a portal to get through to earth to take it over again. The event leads to quite a dramatic cliffhanger style event, which is very oddly cut away from as Death goes to attack everyone; suddenly we’re in the hospital to look after Martha? I am assuming there must have been a scene to tie these together, but it leads to a somewhat abrupt and very confusing episode that feels very clunky in its story telling. 

The themes of death have been a recurring aspect from series one, as you can’t have a main character who is immortal without addressing the consequences of cheating death. In terms of Owen, he’s not like Jack. All his bodily functions have stopped working, leading to a somewhat revolting scene as he throws up beer in a police cell as he can’t digest the alcohol. It’s a really weirdly comical scene for the tone of the episode which is meant to be quite sombre with Owen trying to take everything in about being alive again. Its conflicting themes, tend to leave the scenes in this episode somewhat jarring and pardon the pun, leaves a bad taste in the mouth.

Unfortunately for me, the character of Owen hasn’t been that likeable, so it’s been really tough trying to feel sorry for him as the episode progresses. I found this especially in the scene when he emotionally hugs Gwen. It reminds me of the time Gwen drugged Rhys for cheating on him with Owen and eventually leads to no real consequences for either of those actions. It is also the case for Tosh who finally confesses her love for Owen, something which is cruelly dismissed by Owen. Again she is sidelined for the rest of the story.  

I really wanted to like this story as series two of Torchwood has made a vast improvement with its story telling over the last couple of episodes. There are some elements to this story which are very quickly glossed over or too easily resolved. This is where we come to the hugely clunky part of the story, the fight between Owen and Death. So Death needs 13 souls to transfer his energy to the Earth and live permanently there. So the resolution to the story? Owen, in a very awkward wrestling match, throws Death around for a bit as he’s a man with nothing to lose, quite literally as he’s not alive and somehow that defeats Death once again. There’s no real explanation to anything that has happened in this story, not even a throw away line of some techno-babble. The only thing that continues with the series arc, is there is something to the darkness of death that is coming. Does Jack know what it is and has he seen it himself?

How long will the Torchwood team be able to keep Owen safe or will this end up being a tale like the film “Death Becomes Her”? Only time will tell.

Ellie (TARDISMonkey) 

 

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[Source: DWO]

Publisher: Independently Published

Written By: Meg MacDonald

RRP: £3.99 / $4.99 (Kindle) | £12.99 / $15.99 (Paperback)

Reviewed by: Sebastian J. Brook

Review Posted: 13th July 2020

Meg MacDonald's world building is the first thing that hits you in Oath Sworn; an epic gaslamp fantasy that feels so much bigger than the sum of its parts. The sheer scale and richness of detail make this a read that even Tolkien would be proud of - for this is the calibre that the author deserves to be compared to.

To give you but a taste of what we mean, here is an extract, mere pages into the first chapter:

"Beyond mullioned windows, the late-winter sky was plum-dark, the low-lying parish streets cloaked in mist. Even on a clear night, the broad expanse of the northern heavens offered precious little moonlight so close to year’s end. Only a single moon shone brightly, the others waning crescents, slivers of melting ice soon to turn dark faces on their world."

It's by far one of the most original fantasy stories we've read in a long time, and we've read some truly fantastic titles over the past few years. Think Lord Of The Rings meets Star Wars meets The Witcher and you are starting to enter an adjacent postcode to Aralt's world.

We drew the comparison to Tolkien at the start and like The Fellowship Of The Ring, it's a slow build, but one that you can savour every description and character that graces the page. There's adventure, too... You want sky pirates - you got it! Awesome weapons in the form of crystal swords that are tuned to the hands of their keepers - you got it! A foreboding enemy hell-bent on destroying souls - you better believe it! 

There's bags of emotion, too; due to the hard work put in early on, you really care for the characters and cultures within, and the tumultuous relationship between the main protagonists (Aralt & Lian), will keep you entertained throughout. Not ashamed to say we *may* have reached for the tissues more than once.

All the effort put in by both the author and the reader at the start, gradually build to an epic conclusion - you could not of hoped for a better conclusion than the one we get here!

One final thing we would be remiss not to mention and which we absolutely loved were the many journal extracts, teachings and notations that prefaced each chapter. Whether or not it was intentional, they allowed for a brief pause to take yourself out of the action and ponder the sentiments, before being launched back in again. Excellent tool from the author!

To have left things where they are in just one book would have been a disservice to all the hard work that MacDonald has poured into Oath Sworn, and without giving anything away, we thankfully have a sequel in the form of Blood Sworn, which is slated for release later this year!

If you want an engrossing Summer read that will take you away to a far off world (and then some) - THIS is the book for you!

+  Oath Sworn is Out Now!
+  Buy this book from Amazon.co.uk!
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TARDISMonkey's Torchwood Diary - watching Torchwood an episode a week from the start...

2.6: Reset

We start the episode with a mysterious VIP visitor who Jack is very excited to see and who would Jack be most excited about? Well it had to be Martha Jones played by the wonderful, Freema Agyeman.

What’s amazing about this episode is that you can feel and see the love and friendship Martha and Jack have from their time travelling with the Doctor. It’s the kind of chemistry you get when you see a friend to whom you haven’t spoken for a long time, and when you finally meet, it’s just as if hardly a day has passed. Martha has gained a job at UNIT as a doctor and this makes you cheerfully punch  the air. You know Martha  has just got on with life after The Doctor and has become a hugely successful person in the process. It’s a great piece of character development which is amazing to see in the spin-off series that’s so highly regarded.

Back to the story, Martha is drafted in by Jack and she’s found a connection of mysterious deaths that appear to be unrelated until you look at the finer detail. It’s nice to see Martha use her medical knowledge in ways we didn’t get to see in “Doctor Who.” Owen and Martha quickly form a partnership as they’re working together to find out what’s been injected into the victims bodies to kill them. Naturally, it would turn out to be an alien threat, manipulated by humans for their own gain. In this case, it’s small bugs that appear to cure all kinds of cancers, diseases etc in the human immune system. But what doesn’t make sense is why people are being injected with bleach to hide the evidence. Just before one of the victims dies, she tells Martha and Owen about this place called The Pharm, that is using volunteers in their clinical trials to help with their medical history. Of course, where there’s a cure, there’s some kind of money making scheme behind it and that’s when we meet Professor Aaron Copley, the chairman of the whole operation.

Martha volunteers to spy on the medical trials to find out what is going on and to recover the missing medical records from the victims that were killed. During the process, she is quickly discovered after being chased by one of the alien creatures being used to create the miracle cure. What’s also great in the episode, is Martha is still affected by what happened to her on her travels with the Doctor - her blood cells having unique properties manipulated by the Time Vortex. This could be a theme to a whole episode in itself. Torchwood usually has its famous McGuffin’s, as Owen luckily has a device which can get the alien creature out of Martha just in the knick of time, before it bursts out of her stomach in “Alien” style. 

Reset delivers the very conventional Torchwood plot of the big baddy who needs to be stopped no matter what. The narrative of this episode parallels that of “Meat” where the alien meat was being chopped up to be sold on the  open market for money. What makes the difference, is Professor Aaron Copley thinks that experimenting on aliens and humans is ok if the outcome means he can save the world in the future with this new cure.

Just as you think the Torchwood team has just saved the day once again as they shut down the facility, Professor Aaron Copley steps out from the darkness with a gun, ready to take vengeance for destroying his life’s work. Owen, no stranger to facing a gun, steps forward to disarm the situation. As the audience, you believe he’ll come out fine as they always do in Torchwood, until he takes a fatal shot to the heart. It all doesn’t seem real until Martha confirms “He’s dead.” It’s a moment that really is shocking as we’ve just got Martha back and everything felt like it was becoming a bigger family unit; it’s all cruelly taken away in an instant. Jack immediately fires back in anger killing the Professor on the spot. The camera then appears to be flying higher and higher into the air, as if it were following Owen’s soul to heaven.

Knowing how Torchwood deal with scenarios, I don’t think this will be the last time we see Owen.

Ellie (TARDISMonkey) 

 

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[Source: DWO]

Publisher: BHC Press

Written By: J.W. Garrett

RRP: £10.95 / $14.95 (Paperback)

Reviewed by: Sebastian J. Brook

Review Posted: 1st July 2020

Remeon's Destiny follows the story of Thomas, a young man growing up in 1940's rural Virginia, who dreams of more than the expected path set before him. Immediately we felt pangs of nostalgia due to the loose parallels with Superman and Star Wars; Clark Kent growing up in rural Kansas - destined for greater things, and Luke Skywalker growing up on a moisture farm on the desert planet of Tattooine - destined to bring peace and order to the galaxy.

It's a recipe that works so well as we all root for the central character to achieve their aspirations, but it's always so refreshing when an author actually adds something new and unexpected to that recipe - and that's exactly what J.W. Garrett has done here.

The juxtaposition between the setting of post-World War II America and that of the futuristic world of Remeon is stark and ultimately meaningful as events, experiences and choices made in the future, make for fantastic character development in Thomas and for the messages and warnings that are underlying for our own planet.

Speaking of characters, those featured in Remeon's Destiny are rich and well-rounded, and whilst Thomas is our main protagonist, there are some fantastic female characters full of depth and who give great poignance to the story. It feels wonderfully balanced and, as a result, real.

Garrett's skill of painting both mundane life in rich, beautiful detail, coupled with the far out complex strokes of a distant world in the same brush is commendable. All this whilst maintaining a driven, entertaining story that compels you to keep on reading - and boy does it do that! 

There are so many moments that jump off the page and feel like a full-on emotive scene that you'd expect to see in a big-screen movie.

There's one particular line near the end of the story, and without giving too much away, it captures a moment every son hopes to have with his father; an acknowledgement of change and being accepted as an adult:

"James desperately searched for answers as he combed the face he thought he knew so well. “Son,” he said, as he grasped Thomas’s shoulders, his voice quivering, “you’ve changed. I can see it in you. A man’s eyes don’t lie.""

That sense of journey; a beginning, a middle and an end - the load-bearing principles of good story writing are all here, but there's so much colour and attention to detail that, (if you pardon us one more arty metaphor), you end up with a masterpiece so full of depth you'll want to bask in it time and time again.

Whilst we are aware the is a prequel to this story now available (and we are very much looking forward to reading it), we cannot help wanting to see what happens next in Thomas' story. As of writing we have just had news that Book 3 in the series (Remeon's Crusade) is out in August - and we cannot wait!

+  Remeon's Destiny is Out Now!
+  Buy this book from Amazon.co.uk!
+  Follow @GarrettJLW on Twitter.

TARDISMonkey's Torchwood Diary - watching Torchwood an episode a week from the start...

2.5: Adam

We begin with the Torchwood theme, but hang on a minute, there’s a new addition to the team, who we as the audience, have never seen before. I love that the opening has immediately smashed the 4th wall perspective by adding this new team member, Adam, to immediately create a sense of confusion, implying he had been there since the beginning of the series.

The whole concept of this episode is the theme of, “What If?” What if Tosh became a more confident woman; what if Owen was more of the reserved nerd. It’s an interesting twist we’ve seen a fair few times with superhero/ Sci-Fi genres, to really change the dynamic of the team and how they’re going to combat this. I love that with Rhys being more involved with the team, there’s a sense of gravitas and consequence to their actions and how they need to keep the team safe. The whole first half of this episode does leave a long trail of what does Adam want and why has he decided to become part of the Torchwood team in this way? Again as the audience, we’re treated as the people who always know more than the team and for me, I find myself shouting at the TV as soon as you know they’re being used or put in imminent danger. It’s a kind of weird,out of body experience watching the episode. 

Adam is an alien existing by living in other people's memories. Everything all seems fun and games as the team carry on as normal, up until Gwen fails to recognise who Rhys is. After a very intense fight between Gwen and Rhys, Jack turns the tides and there is a compromise between them both. Rhys almost has built a slight sense of trust, despite everything else.

In an interesting turn of events for this story, we delve into Jack’s history and where he’s come from. Adam tricks Jack into remembering his past which he has long forgotten. With Adam’s alien powers, he’s able to access Jack’s memories of losing his family when he was younger and we as an audience, start to get that understanding of why Torchwood means so much to him. The scene of Jack letting go of his little brother’s hand, is heart breaking. Jack Montgomery, who plays young Jack, puts so much into showing the pain of his mistake and the burden this places on  himself as the older Jack. Torchwood is the stable family he found enabling him to recover from his past.

You feel Adam is almost helping the Torchwood team until - well let’s just say Ianto is the character who takes a considerable chunk of heartbreak and emotional torment in this episode. We’ve seen up until half way through the episode, that Adam has given the team good memories, as well as exploring forgotten memories; but what happens when things don’t exactly go Adam’s way? Ianto in his dorky way, kept a diary of all the teams adventures and finds that in a not so shocking twist, Adam isn’t in any of the entries. This is where the episode becomes incredibly dark and twisted. Adam not only has the ability to provide good memories but also bad ones. In a horrific montage of images, he leads Ianto into thinking he’s a predatory murderer, making him believe all the false memories. It turns into a scene which is incredibly uncomfortable to watch but Gareth David-Lloyd really puts everything into the emotions and you can feel the pain and anguish.

This is the last straw for Captain Jack. He takes Ianto to a lie detector to prove he didn’t murder anyone and also convinces the team that Adam can only exist by using their memories. They realise the only way to get rid of Adam, is to retcon themselves. However, Adam is not quite done yet. He convinces Captain Jack to relive family memories and the good times they had, however, Adam tries to distort them and leaves Jack with a conflict; he either lets Adam live by remembering these memories or  he has to forget everything he’s discovered about his family. In the end, Jack makes the ultimate sacrifice for the team by forgetting the last 48 hours as if nothing happened.

The ending has a sombre tone as the team wake up after taking the retcon and can’t remember anything. At the end, Jack finds an open box which belonged to Adam showing the sands of Jack’s home world;  however, with Jack’s memories gone of his home world, in confusion, he places it back where it was found. It’s an ending that breaks your heart completely.

Ellie (TARDISMonkey) 

 

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[Source: DWO]

TARDISMonkey's Torchwood Diary - watching Torchwood an episode a week from the start...

2.4: Meat

“Meat” is an episode that guides you towards a pretty simplistic story line, well simplistic in terms of Torchwood, with an alien being chopped up and being sold to distributors to sell as cheap meat to go in all kinds of food. However, “Meat” throws the curve ball of Gwen having to finally make her choice of staying with Torchwood or choosing Rhys.

I always feel sorry for Rhys. He’s the boyfriend who always seems to be 5 steps behind not only the Torchwood team but the audience as well. As the series has been going on, we’re finally getting to terms with the Torchwood team and their dynamic as Gwen finally seems to be settling in, but there’s always been this niggle at the back of Gwen’s mind and that is Rhys. Coincidently, as one of his lorries has an accident, Rhys finally gets his chance to call Gwen out on her job, as he sees her investigating the accident.

The argument scene between Rhys and Gwen is the build up we’ve all been waiting for. The tension and the rapid cuts and zooms in the scene create the heated tension of their relationship. The one moment that makes me slightly annoyed is when Rhys asks if Gwen has been sleeping with Jack and she replies “all I ever asked, is for you to trust me.” Now this should have been the moment Gwen confesses about sleeping with Owen; it’s a moment from series 1 that seems to be completely glossed over with no consequences to her actions. However, it is finally nice that we have got over the secrecy between Gwen and Rhys, as it allows his character now to develop within the series.

Rhys’s plan was to find out what Gwen was up to and thereby he inadvertently becomes involved with the alien meat trade. What I think would have made this episode interesting, would have been if Rhys was directly involved with this illegal alien meat trading. It would have raised a great conflict in Gwen, deciding if her duty of working for Torchwood outweighed her love for Rhys, rather than just being coincidental involvement because  of the gang running the alien meat operation with Rhys’s distribution company.

With Rhys being involved, we get a kind of Scooby-Doo plot, finding out who these people are, why they’re selling the meat and trying to stop them. In true Torchwood style, it really tries to create a sense of relatable moments of humanity as again the Torchwood team face the decision of saving the poor alien whale that’s being used for the meat, or to end it and the horrific life it’s had to endure on Earth. Tosh does have what seems quite a throwaway line of ‘Its sentient,’ -  how does she know? It’s all brushed over very quickly. Unfortunately, the special effects haven’t aged too well as time has gone on, I always still believe less is more. The eye has been animated so well and you can really feel the true pain of the sentient creature as it’s being cut into. However when the camera pans back, the emotion is somewhat lost, as it gives it a cheapened look.

The whole episode is very quickly resolved as it turns out about only 5 amateur gang members are involved with this crime and are very quickly taken out. It leaves loads of open questions such as, how did they know this meat is edible and would grow back again and again? This is a very relationship centred story, more than anything before, and does explore how dysfunctional the Torchwood team really are at the moment, even to the point where Gwen would volunteer to be Retcond if it meant she would stay with Rhys. With all its’ flaws, it’s a great episode for the development of the characters of the team; with Rhys knowing more about Gwen’s life, what is now left in store for the both of them?

Ellie (TARDISMonkey) 

 

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[Source: DWO]

Manufacturer: Big Finish Productions

Written By: Chris Chapman

RRP: £14.99 (CD) / £12.99 (Download)

Release Date: May 2020

Reviewed by: Nick Mellish for Doctor Who Online

"July 1944. The TARDIS materialises in a small village near Rouen, where celebrations are in full swing. A joyful France is in the midst of liberation as the local population welcome a battalion of Allied soldiers – along with a colourfully dressed Doctor and his two rather excited friends.

But there are screams amidst the celebrations as an angry crowd dish out their brand of justice to one of their own that they have branded a traitor. While Constance and Flip find themselves on opposite sides of a war beyond a war, the Doctor has other concerns. 

The local community is used to the fires of battle, but a new type of blaze is burning – leaping from aircraft to aircraft, man to man – and this fire seems to be just as eager for revenge as the village mob."

WARNING: The following review contains spoilers. You have been warned!

Scorched Earth by Chris Chapman takes us back into the war, landing us in France after its liberation. It feels like you cannot move for World War II-related things when it comes to Big Finish right now. We’ve the ersatz Third Doctor and Churchill in Operation Hellfire, Churchill again bothering the Seventh Doctor but a couple of plays ago, and now this. Whether this was all done to coincide with the VE Day celebrations in 2020 or just a coincidence, it does feel like we’re riffing on the same territory time and again right now, which made me slightly sigh as the play started up.

This is unfair really as there is a lot to celebrate in Scorched Earth. The sound design seems to be back to its usual strength after last month’s notable blip, and Chapman paces the script really well. We move from action to drama to quiet character moments to big incidents with ease. Were it in print, you’d call it a page-turner and as it is, it passes two hours very quickly.

That said, there are some strange moments in here. Flip seems to be playing some sort of game where she is only allowed to talk in quips and pop cultural references, which feels forced and lacks credibility. I know the point of her character is often to contrast with Constance but we move into the realm of being unbelievable here. She also seems to be fire retardant, able to withstand standing in a burning building, smoke and all, for ages. Perhaps it’s not real fire though, as the Doctor is also able to stand in the middle of the inferno and spout some exposition before saving the day.

Elsewhere, there is drama to be had with Constance realising just where, and when in time, she is, but the Doctor’s anguish over it seems to evaporate fairly quickly so that the plot can get on with telling a story. This is probably for the best, but again it ranks as one of the play’s strange moments.

Likewise, soon after the play starts we witness a woman, Clementine, being called a traitor and singled out for punishment by a braying mob, and rather than stop this, as Flip wants to, the Doctor decides to let them be, for the sake of blending in with the locals. This leads to clashes between Constance and Flip throughout the rest of the play. Constance believes the woman should be punished if she has betrayed the town to the Nazis; Flip just sees a scared and crying woman. The clash between them both on this is not subtly drawn but works well, reminding us of their different timeframes and perspectives, and it remains a thread throughout, with the play siding with Flip and agreeing she’s in the right. Whether or not you personally agree, it is inarguably the stance Doctor Who usually takes in such matters; the Doctor, too.

On the one hand, you can see just why the Doctor does as he does, not interfering, but on the other it feels very atypical of him to just stand by and let these things unfold. It’s not like in Rosa where inaction is key, it’s just slightly strange and hard to really justify. Colin Baker clearly feels the same way as he goes to some lengths to do just that and defend the scene in the extras, but not entirely with conviction. For me, it left a slightly bad smell in the air, reminding me a little of Timewyrm: Genesys and its rather infamous excusing of sexual assault as a ‘product of the time’.

Still, it’s nothing compared to the Doctor later on thanking a couple of Nazis for their help. A notable part of this play is Chapman, rightly, pointing out that many were forced into fighting against their will and even against their own beliefs, but it’s still a slightly strange thing to hear. Nothing wrong with being a bit challenging in your content though, so hats off to Chapman for that.

We end the play with things largely resolved between the TARDIS team after Constance is able to help save the day with a nice speech (a personal grumble of mine in Doctor Who in general. It feels a very tired resolution, and almost never a convincing one), though it will be interesting to hear if actions here prove to be the first cracks in an otherwise mostly watertight team.

Is Scorched Earth perfect at all? By no means, and the WWII fatigue doesn’t help, even if that’s not Chapman’s fault but that of scheduling. However, it’s also a largely enjoyable affair with neat sound design and very good ideas in there. A definite up after last month’s outing.

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2.3: To The Last Man

We open this episode with an escaped, conventional ghost hunter, as we follow two people through St. Teilo’s military hospital with what looks like a GPS tracker, not something that belongs in 1918. As the two strangers run around the hospital, a shocked nurse is surprised they’re not ghosts; not a typical reaction to the situation, which makes you question for how long this has been going on? As the two strangers run around the hospital looking for these ghosts, they see a vision of a soldier with none other than Tosh!? The solider tells the strangers to take him from 1918 and the tension builds up as the strangers comply with the soldier’s orders. They rush to the bedside of the shell shocked soldier as we get the final build up to the hugely cheesy line, as the two strangers reveal themselves as “Torchwood.”

We then flash forward to the present time and we see a very excited Tosh getting ready for what looks like a date. However, this isn’t any normal date as we see the exact same soldier Tommy, who is in a cryogenic chamber. Gwen’s role is the perfect platform to explain why they have to defrost Tommy once a year, as one day they’re going to need him. In another plot scenario, there is a magical box, sorry temporal locked box, that can only be opened by psychic powers. There are some elements in “Torchwood” that always seem to have a convenient way to sort out of all of their problems. It’s something that closely resonates with the sonic screwdriver in episodes of “Doctor Who.”

There’s also a touching moment between Tosh and Owen, as Owen says “be careful”. It really resonates  as when Owen lost Diane in “Out of Time”. It’s a great moment which shows Owen is really taking responsibilities for his history. 

Tosh and Tommy have a little date, as they both try and make the most of the time Tommy is awake for. It’s another great insight into Tosh’s innocence and maybe answers why she hasn’t been dating in previous episodes.  In a weird time travelling way, Tosh has known Tommy for 4 years, which for him has only been 4 days. It’s a very Doctor and companion kind of relationship, as Tommy has seen many things but is still a young man. For a couple to know each other technically only for a few days, shows how close as a dynamic duo these two are.

Gwen and Jack go to explore the the hospital to find clues as to why Tommy is so important in this tangled web of ghosts and time. They both find the ghost sightings are becoming more and more frequent because the hospital itself is being torn down. And suddenly the box of tricks that has been time locked all this time, pops open with instructions on how to fix everything. Regrettably it feels a bit of a cop out for the episode and everything seems too easily fixed.

The jeopardy element in this whole story, is the two time zones merging together destroying reality, as well as the consequences of the actions by Torchwood. Tommy is a man literally condemned to death, as no sooner he returns to his own time, he is shot by his own platoon for desertion, which was brought on by shell shock. It brings up the questions of do Torchwood’s actions in saving the universe outweigh their moral?. “To The Last Man” is a great story exploring these decisions.

Tosh is such a stand out character in this whole story, as she takes it upon herself to help guide and bring comfort to Tommy as he makes his noble attempt to save the universe. She acts like his guardian angel, as Tommy uses the switch to close the rift in time and she watches over him. Owen claims that Tosh was strong however, she said it’s because of Tommy. They were the perfect pair to save the universe and she hopes it was worth the sacrifice. The end shot focusing on Tosh’s face says there’s hope, and she smiles as she walks away.

Ellie (TARDISMonkey) 

 

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[Source: DWO]

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2.2: Sleeper

Oh Torchwood, it was a valiant effort but a difficult one to keep up with after a triumphant first episode. “Sleeper” is an episode that tries to combine the elements of Paul Cornell’s Virgin New Adventure “Human Nature” but with more grown up themes of violence, death and alien spies. 

We start the episode with a very happy couple sleeping away in their bed, when a noise disrupts them as burglars break into the house. There’s a lot of close up camera shots to create a sense of distraction and confusion, as murderous screams ring through and dissolve into the Torchwood theme. 

The Torchwood team once again are called in by the police as they try and investigate how the two burglars were murdered, as there were puncture wounds to chest and forehead and one was thrown from the window onto the car below. Not a typical self defence technique. This is a very true typical Torchwood style kind of story, however this is when it all starts getting a bit messy.

Owen and Gwen go to the hospital to interrogate the couple from the flat. This is when the plot moves at a million miles an hour. We’re introduced to Beth who was in the flat and all of a sudden we’re dragged into the Torchwood interrogation room with Jack screaming “We know you’re an alien”. We then take a trip around Torchwood and on to meet Janet the Weevil, who is scared of her. Unfortunately all of this happens in the space of about 5 minutes and it really detracts from the emotional connection we’re supposed to feel towards Beth, as we can’t slow down enough to take in everything she’s feeling. Jack again seems to be really unlikable for no reason. I know we had a lot of this through series 1, but there’s usually a reason that builds up and Gwen confronts him. This time, his attitude is almost down played as Ianto sees the interrogation and Jack as a joke. It’s all very strangely paced and again I found this really distracting to what’s going on. 

The direction of the story is also somewhat distracting, with quick pans and zooms in scenes that don’t appear to require it, such as a conversation between the Torchwood team as they try to work out who she is. Unfortunately this technique happens quite a few times though the story and iit really distracted me from the plot.

The Torchwood team think it’s a good idea to use the mind probe. What!? No, not the mind probe I hear you cry? Well I like what James Moran was trying to do, as most Doctor Who fans will know the mind probe is something you do not mess with; however, other than the shock factor, the whole design of it disappointed me a bit. I liked the archive shots  which were used to show how the mind probe digs through the subconscious and suddenly we find Beth is a sleeper agent.

As they discover this, suddenly all the other sleeper agents activate and go on a murderous rampage around Cardiff. I like what they were trying to do by taking out the military base and use the nuclear war heads to destroy the world to take over, however there’s not enough build up in the episode and too much exposition to take in before we even start to care about the situation.

What makes this episode stand up is the relationship between Beth and Gwen. It challenges the conventions of what it takes to be human, as Beth discovers she’s an alien. Beth explains she is someone who fell in love and wants to start a family and Gwen takes it upon herself to say “What is it that makes us human, anyway?” It’s not about the body, it’s about your mind and how you feel, which was a nice take on her facing this identity crisis.

Once Jack and the team take out the last sleeper agent, Beth knows she can’t go on. She’s seen the devastation the sleeper agents have caused and makes the ultimate sacrifice by getting herself killed, by pretending to attack Gwen before being gunned down. Beth chose to be the person she wanted to be and I think that’s the clear moral message here.

Ellie (TARDISMonkey) 

 

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[Source: DWO]

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2.1: Kiss Kiss, Bang Bang

We kick series 2 off in true Torchwood fashion, with a Blowfish driving a sports car in a high speed car chase. I laugh at the fact that the Blowfish lets a little old lady cross the street before speeding off, then Gwen pulls up in the Torchwood mobile asking if she has seen a blowfish driving a sports car? The lady points in the general direction of where the car drove off towards, shouting "Bloody Torchwood” at them. Torchwood is meant to be a top secret organisation, so to then have a little old lady know who they are, If that doesn’t set the theme of what Torchwood is about, I don’t think anything will.

It’s all feeling like a very typical scenario, as the Blowfish holds a family hostage to try and get away from the team. This part does feel slightly clunky as the Fish recounts all the characters flaws. Without having Captain Jack with them, it’s almost like having a ‘Previously on Torchwood’ mid episode to remind the audience of who the team are. However just as the Blowfish vindictively taunts Ianto about not being able to kill him, who should pop up in the knick of time, Captain Jack himself with probably one of the most iconic lines of the show; “Hey kids. Did you miss me?”

We cut back to the famous Cardiff rooftop carpark, where an altercation is taking place. However at the same time, a sparkly rift appears with a very distinguished looking man appearing in a redcoat military uniform to confront the attacker. As the audience, you start thinking oh great, here we have another person who could join Torchwood, before he grabs the attacker by the throat and throws him off the top of the carpark. This mysterious anti-hero becomes more and more intriguing as the story progresses. He swiftly moves onto the local club for a celebratory drink.

Meanwhile back at the Torchwood hub the team are not happy with Jack’s disappearance. It’s never clearly explained for how long Jack left the team. It could be months, or even years? With time being reset in “Last Of The Time Lords”, this is another time, when we as an audience know a lot more about what happens with Jack and the world, than the Torchwood team itself. Is Jack keeping the meeting with the Doctor a secret because he doesn’t want to explain the trauma he had to go through to get back here? But there’s no time to confront this before the team zoom straight off again as Jack’s vortex manipulator beeps for the first time. Then, who should be leaving a message, but the mysterious redcoat man himself. There’s a great reference to ‘Star Wars’ before Jack shoots off again. This person seems very familiar with Jack, however maybe not the best of friends, as Jack doesn’t want the team to follow him. The Torchwood team have learnt too many times not to do this, as Ianto quickly whistles for a Taxi as soon as possible.

The bar scene is brilliant. It carries all the connotations of a true western movie, as Jack walks through the saloon style doors with the redcoat stranger at the other end of the club. Both of them have pure hatred in their eyes as they walk towards one another. You think this is going to be a full on fight before suddenly, they start kissing! It’s a moment that makes you think, why is Jack so familiar with such a brutal character, before they end up in an all out fist fight. It’s almost like they have a mutual level of respect, in a weird way, as they stop the fight once the guns come out. After a heavy drinking session, we see Jack’s face, hilariously showing his disgust and the Torchwood team nearly getting fired upon. The myserious man finally reveals himself as Captain John Hart (James Marsters) a Time Agent and former partner of Captain Jack. Again it’s a reference into Jack’s past. Is this something that’s going to be divulged more as the series goes on? 

Captain John explains the reason why he’s come to this time and place is to find three radiation cluster bombs, before they go off affecting the future of the world. Captain Jack has the look of a man who is going with this story, just to find out what’s going on, however the Torchwood team seem pretty convinced by it. I mean with everything that’s happened in the previous series, would you really dispute it?

The Torchwood team are still very cautious of this new stranger, especially Gwen. There’s a nice moment when Jack holds Gwen’s hand for comfort when he realises she’s got engaged. It’s a moment when you think, yes she listened to Jack about keeping some normality in life when Gwen actually says “No one else will have me.” It creates a sombre mood, as Gwen has not only been rejected by Owen but she’s lost that love she once had for Jack.

Jumping back straight into the action in true Torchwood fashion, they locate all three canisters for Captain John and split up to go and search for them. Now again if anyone has watched Scooby Doo, you know this is not a good idea. Surprise, surprise, Captain John quickly poisons Gwen once they found the first canister, smacks Tosh in the face and shoots Owen in the hip. Now I'm not saying it was stupid to leave Gwen on her own… but it was stupid to leave Gwen on her own. 

We then find Captain Jack and Ianto searching a very bland office, which Jack surprisingly treats  like a winter wonderland. There’s a lovely moment between Ianto and Jack as he finally asks Ianto on a date. Ianto agrees, but does it in a shy school boy way as he doesn’t look at Jack through embarrassment. It doesn’t take long for Captain John to find Ianto before shoving him in a lift to have Jack all to himself.

Captain Jack up on the roof (I mean where else would you find him), finds the last capsule. Jack having none of John’s game ,mocks him, calling the capsules “radiation cluster bombs” John in this scene, genuinely wants Jack to come back with him and there are moments that you think, oh Jack, don’t trust him, it’s a true conflict of emotions. John’s failing conviction in his speech, makes Jack throw the canister over the edge. It’s a moment you finally feel that Jack has one up on John but suddenly with a push and a “Whoops!” he shoves Jack off the roof. Now this moment is shocking, with pure dark humour, as you cut to a shot of Jack almost split in half on a concrete bench. This is the moment you know, nothing will stop John.

Tosh and the team use her tech to find Gwen in one of the containers and honestly this moment really shows how close and united the Torchwood team have become. They all use their skills to save Gwen before her organs shut down from the nerve toxin gloss.

We then go back to John in the Torchwood hub, putting all the pieces of the canister together  where it almost seems he’s won a swift victory, before the Torchwood team rock up in a bad ass fashion. It’s a moment when AC/DC Back in Black could start playing. John seeming surprised isn’t put off by this, until Jack rocks up. John really acts as if he’s just seen a ghost and in his disbelief seems to be out of his depth this time. It’s a fantastic contrast between the cocky man we saw at the start of the episode.

So what’s this episode about? John wants to steal one of the most precious gems in the universe, kills his lover and his lover takes revenge. It’s a moment that feels triumphant before he kidnaps Gwen, nearly killing her with a bomb. However, in true Torchwood fashion, they find a way to save her and the anti-hero gets away. It’s a feeling that this won’t be the last time we see him. 

It’s a brilliantly, well balanced episode and a strong starter for the second series. Welcome Torchwood series 2.

Ellie (TARDISMonkey) 

 

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[Source: DWO]

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1.13: End Of Days

Here we go ladies, gentleman and everyone in between. If you want a proper Russell T. Davies era finale, look no further. Written by the current Doctor Who show runner Chris Chibnall, we look on how the whole of series 1 is summarised into the most climatic and emotional episode we’ve had of the series. 

The episode starts with everything seeming quite normal. Gwen watches Rhys as he sleeps and it all seems a calm morning until Captain Jack calls Gwen to watch the news. It appears as if a weird cascade of events are occurring, as if people and aliens are falling through the cracks in time.

Back in Torchwood, Ianto reads apocalyptic accounts in order to find some resolution to what has happened to the world. (Quite an apt thing for Torchwood to face, as we battle our own troubles in 2020. Owen and Jack aren’t convinced by the readings as they abruptly interrupt Ianto describing a creature known as Abaddo, but that won’t appear, will it? Captain Jack brings the conversation right round to the point in hand, and that is if the splinters in time are anything to do with them? Well, yes but more to the fact, it was Owen. Owen denies any responsibility for his actions, as he proclaims he opened the rift to save Jack and Tosh. This may be partly true, however as the audience ,we know he was doing it to prove whether he could go back and see Diane again. Captain Jack can’t even respond to Owen’s claims or even thank him. The conflict between the team and Jack becomes even more visible during this episode.

Despite the cracks in time affecting the world, Captain Jack and the team appear to have it all under control. In Doctor Who this would be a good laugh to try and get everyone back to their own time zones, however what happens if the people who fall through the cracks, end up brining something with them? Owen and Tosh have a harrowing shock when they discover a person who has fallen from the 14th century, has infected a whole hospital with the black death. The Doctor (no not that one) in disbelief, shouts at Owen “You’re Torchwood! You’re supposed to fix all this!” However as Owen knows he’s responsible for this outbreak, all he can do is manage the situation and leaves it in the Doctor’s hands.

With the cracks in time becoming more and more apparent, Tosh is suddenly stopped in her path, as if she has seen a ghost and more importantly, the ghost of her mother. The shock on Tosh’s face, shows her mother had possibly died sometime in the past, as she has blood running down her forehead. Her mother claims only “It’s coming, out of the darkness.” A series arc that has followed through with people who have died seeing some thing which is too scared to describe. But what is it? What are they afraid of? Not only does Tosh have this ‘vision’ but Gwen also stumbles across Bilis Manger sitting in the cell of the police station. Gwen appearing to be hypnotised, stares at Bilis as he telepathically says “I’m sorry. I’m so sorry.” Is this a coincidence that he appears at the same time as Tosh’s mum? It all seems to be a tangled spiders web and Bilis is in the centre, a spider waiting for his prey.

What raises even more questions, is while Ianto is in the cell block of Torchwood, Lisa appears in front of him. No cyber conversation, just as she was before the battle of Canary Wharf. She proclaims opening the rift will save the lives of everyone on Earth.

This scene hits home quite hard at the moment with what’s going on in 2020. Owen arguing with Jack, as he says they need to be more prepared for the eventualities of a new virus or plague coming through the rift, as Jack wants Owen to fix it. Jack appears to be taking a step back from the role of leader, to force Owen to come up with a solution as he was the one to cause all these problems. Owen feeling guilty wants Jack to take control, but Jack proclaims “this was never meant to happen.” He has no resolution to his problem and it’s at that moment we see Jack being vulnerable for the first time. At this moment he may have turned to the Doctor for help, however he needs to be that leader, delivering guidance. The situation quickly escalates as Jack fires Owen. The Torchwood team stand motionless as they can’t believe what they’re hearing, as their leader isn’t who they thought he was. Owen questions Jack, as they found out his secret past from the World War. How can anyone trust a leader who lies? Owen staggers away as he knows he’ll be RetConned in 24 hours and can’t face the fact he won’t remember Torchwood or being able to fix the devastation of the rift.

The Torchwood team need to find what Bilis is up to and quickly. They track him down to an antique clock repair shop in Cardiff. Bilis explains how he can walk through time, however it comes at a price. He claims to see the past, as well as the future and suggests to Jack and Gwen the only way to save the world is to open the rift. Jack errs on the side of suspicion but Gwen looks on slightly convinced by Bilis’s words. Bilis in what he portrays as an accident, shows Gwen a vision of Rhys, horribly murdered in their flat. ‘Cue Murray Gold running music’

Gwen reaches the flat, but all seems well. Rhys is cleaning the oven without a care in the world. Gwen in a state of panic tells Rhys to come along before tasering him to the floor. I do feel sorry for Rhys, first drugged, now tasered, Gwen has really changed her attitude to dealing with her home life / Torchwood situation.

After everything that has happened to Owen, he is now face to face with his vision of a love, long lost - Diane. She claims she is lost within the rift and begs Owen to open it. Now you’d hope by this point all the Torchwood team would have spoken to one another about seeing these visions and being highly coincidental, but the team are now too broken to fix any of their problems. 

Just as the team think they have some kind of control by keeping Rhys locked in a cell, a security breach opens the door and lets him out. Rhys spots Bilis and asks what’s going on, before Bilis brutally stabs him, killing him. Eve Myles plays Rhy’s death brilliantly. You can feel the pain of grief and guilt from Gwen as she knows she’s failed him. It’s a heart breaking scene that makes me cry every time I watch it.

Bilis’s plan all seems to be falling into place as Owen comes back to open the rift, no matter how much Jack convinces the team their visions of their loved ones are too strong for everyone to think clearly. In a last attempt to stop the team, Jack becomes almost the villain as he plays on their weaknesses. Jack takes it one step too far when he attacks Gwen “You’re so in love with Rhys you spend half your time in Owen’s bed.”Gwen in a fit of rage at losing her loved one, punches Jack in the face as Owen takes the gun from him. It’s a dramatic scene with fast cuts and close up on the team members and it really becomes claustrophobic. Jack ,in one last attempt to stop them is shot down by Owen to the horror of the team.  

There’s no turning back.

The Torchwood team open the rift with Captain with Jack reviving just as the rift opens to the shock of the team. Their whole world is turned upside down as the Torchwood hub is blown to pieces. It’s a brilliant build up as as Bilis Manger is waiting for them to unleash the evil onto the world that has been living under the rift. Abaddon. Now I know this is 2006 GFX and need to take this into consideration, however I believe there is too much happening right now. Bilis should have been the central villain or Abaddon. Abaddon does feel like the cousin of the demon in Doctor Who, The Satan Pit For me, seeing less of the monster, creates more of a sense of threat, as what you imagine can be more powerful than what is shown on screen. The shadow cascading over Cardiff killing everyone, is a brilliant and terrifying scene, as you don’t see what the beast looks like.

In the final battle between Jack and Abaddon, I take my hat off to John Barrowman for playing the role so well. He really makes the final sacrifice of his life so convincing and emotional, that you can feel the love he has for his team and the duty he shows in protecting them. It’s a powerful scene as Jack appears to have finally used up his remaining life force given to him by Rose.

Gwen doesn’t give up on Jack as he doesn’t revive as quickly as before. As the Torchwood team give up, Gwen accepts that Jack is not coming back. She kisses him on the cheek before only taking a few steps before Jack’s very weak voice says “Thank you.” It’s a complete fist bump in the air moment, which gives hope for the team and the audience. 

The final scene is very much silent. Tosh runs over to hug Jack.  Ianto in a comedic light goes to shake Jack’s hand before they kiss,  which makes for a sweet final moment between them. There’s one last resolution to fix as Owen steps in front of Jack. When Jack says “I forgive you,” you can feel all the pain and guilt just wash away, ready for the Torchwood team to come back stronger than ever.

Jack goes on one last trip with the Doctor, as we faintly hear the TARDIS landing in the distance. We as the audience know what happens, but for the Torchwood team… well they’ll just have to wait and see.

There’s a lot of things that need tying up in End of Days but I applaud the ambition of what it achieved with the limitations of both the budget and 2006 effects. With its flaws, it's a well paced story and filled with brilliant character development and emotion. It has to be said it’s a great conclusion for the first series.

Ellie (TARDISMonkey) 

 

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[Source: DWO]

TARDISMonkey's Torchwood Diary - watching Torchwood an episode a week from the start...

1.12: Captain Jack Harkness

After all this time, we finally take a glimpse into the life of Captain Jack.

The story starts with Jack and Tosh entering an old abandoned building to check out reports of music coming from inside the building. (Any eagled eyed viewer will spot the Vote Saxon posters and the Bad Wolf graffiti in the building). Jack is very much enchanted by the music of the past, as both Tosh and Jack think they’re seeing ghosts of the past. It’s been done before with the ghost machine, however this time feels different, more real. It doesn’t take long before the distressed room is filled with a grand party for the airforce, ready to take on WW2. This is when Tosh and Jack realise they haven’t just seen ghosts, they’ve time travelled.

The transition of the scene is done very fluidly as the camera pans around the room. Of course the Torchwood team get into a tight spot straight away, even when trying to blend in, however who should be the person helping out the fight, but the original Captain Jack Harkness (Matt Rippy). Jack finally gives the explanation about his name to Tosh and his past history of being a conman, something we all know from “The Empty Child”. However, when Tosh confronts Jack about who he was before becoming Captain Jack, he doesn’t reply. And so the mystery still lives on.

The Torchwood team are very much split up for this entire story, as we have Jack and Tosh stuck in the past, Owen and Ianto wanting to tear the rift apart to take them back to the future and Gwen who uses her police initiative to explore the old building. Owen’s obsession with losing Diane never seems to leave him, as he’s desperate to solve the equation of opening the rift from Tosh’s partial equations.

Tosh has to get her laptop data to the future. This is where the manager, Bilis Manger (Murray Melvin) comes into play. This oddly dapper, yet sinister looking gentleman strangely enough has a type of polaroid camera. You don’t have to be a Time Lord to know the technology is way advanced of anything that should be around in World War 2. What are the Manager’s motives as he sneakily takes out a folder labelled ‘Torchwood’ from his desk?

The plot involves a lot of going to the past and you suddenly have the Caretaker, Bilis Manager appear again, without having aged a day. Gwen uses a cover story about Torchwood exploring the building with her mates, to enable them to have a look around. But we all know Bilis Manager knows exactly what’s going on. Its that forward knowledge that makes you want to scream at the TV, Gwen get out of there!

Ianto suddenly realises where and to what time Captain Jack and Tosh have travelled, as he finds the polaroid photo from the dance. Owen in a blind panic, realises that Jack and Tosh are in the Cardiff Blitz and will do everything to get them out of there, or is this just to prove a theory of time travelling to see Diane again? They make it their duty to find the key to the equation to using the Rift Machine.

In complete juxtaposition, Jack seems so relaxed and at home with his memories of the past. He’s having a good few drinks with the real Captain. There’s a huge sense of guilt in this moment, as the real Captain kisses his girlfriend with a lack of passion on the cheek as a goodbye. Our Jack, knowing this will be the last time he sees her, pleads with the Captain to give her a proper goodbye. It’s the fact that Jack and the Captain have only just met which shows how much trust and love there is between them; something straight out of Disney, is what Owen might say, aye?

Jack and the Captain share a heart to heart as they confront their fears of the conflict they’ve seen during the war. Jack mentions about his friend getting tortured and killed however, was this during WW2 or was this a fight that took place many years in the future? We never find out, but it’s the conflict connection which brings both Jack and the Captain even closer. Indeed, Murray Gold’s music strikes again in my heart for this scene.

As the bombs fall in the past, the team in the present day are desperately trying to find the missing piece to fix the rift machine. Owen turning Mangers’ office upside down, suddenly realises this is a mystery of time. It was quite apt for Manger to hide the missing piece in a clock. Gwen also manages to find the rest of Tosh’s equation written in Tosh’s blood, however Bilis has got there first and scribbled out the last few numbers. Why didn’t he destroy the whole thing? Is this a trick the Torchwood team are not seeing? The heart breaking message from Tosh, “Tell my family I love them,” makes the team even more determined to get them back. 

Jack tells the Captain to spend one last night with his girlfriend but this doesn’t last long, as the Captain returns to face his true self. The moment they sit together and hold each others hands is the moment of acceptance between both of them. This is the last night they’re both going to have together and Jack wants the Captain to be true to who he is.

In contrast we have Ianto and Owen beating each other up in a desperate show of loyalty, love and anger to try and get Jack and Tosh back from 1941. The conflict between Ianto and Owen becomes very clear as Ianto raises his gun. Their friendship is truly tested as hateful words are thrown about their past mistakes. Owen goes to open the rift but in a moment of loyalty to Jack, Ianto takes the shot. The close up shows the desperation in Owen’s and Ianto’s eyes, as Owen finally uses the key to open the rift. 

Now the moment that makes my heart flutter. The Captain finally accepting who he is, grabs Jack’s hand and takes him on the dance floor. The 1940’s music blends in with Murray Gold’s masterpiece, a unity between the past and the present. The rift opens for Tosh and Jack to escape, but just as Tosh calls, Jack in a moment of love runs towards the Captain for his true goodbye kiss. In a moment, the Captain fades away in one last salute, before he fights his last battle.

Jack and Tosh make it back to the present day. In a true send off, they both have a glass of scotch and toast his name. Tosh said the Captain would have been proud of him for taking his name, something I believe is a consolation to Jack after all these years.

However, what happened to Bilis?

Ellie (TARDISMonkey) 

 

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[Source: DWO]

TARDISMonkey's Torchwood Diary - watching Torchwood an episode a week from the start...

1.11: Combat

We kick this episode off with a fast cat and mouse chase, between Captain Jack and a Weevil through the streets of Cardiff. Captain Jack getting a little ahead of himself, thinks he’s trapped the Weevil, until it evades his capture. I love Jack’s response of  how bad things always happen when he gives the Torchwood team time off.

Gwen and Rhys are on what is supposed to be a romantic date, well, Rhys wants it to be a romantic date. Gwen is heavily distracted by the world of Torchwood and you can see in her face the normality of  how Rhys doesn’t interest her anymore. Gwen doesn’t exactly cover this up very well, as Jack comes racing along, chasing the Weevil down the street. Captain Jack trying to apologise for ruining the dinner, isn’t convincing Rhys at all that this is worthwhile interrupting. Rhys. In a brutish manner, he orders Gwen to sit down. I think Gwen responds in the only way she could in this situation by telling him “Don’t ever speak to me that way again.” It’s the pinnacle moment, showing how difficult life is to balance with the world of Torchwood.

This episode is very much about Owens’ suffering from his first real love that we’ve seen. We see the mental impacts which time travel has on someone and the lengths people will go to if they’re desperate to get back to their own time. This is something which Owen has difficulty grasping, as we find him getting into a bar fight after a jealous boyfriend sees him being comforted by the bar worker. However, even taking down the guys in the bar doesn’t improve his mood as he quickly hangs up on a phone call from Torchwood.

Gwen tries to reconcile her problematic relationship, by calling Rhys and leaving a few messages. It’s a sombre moment as he nearly goes to grab the phone, seemingly to forgive her as he’s always done, only to grab it and delete her messages. Captain Jack asks Gwen not to let her life drift apart, as it’s the quality he likes in her. This scene suggests that Jack is still feeling the loss of Estelle from ‘Small Worlds’ and his connection to life and death from being immortal. But does Jack have the right to suggest this?

Gwen’s normality in Torchwood itself comes crashing down as Owen in his very charming and unique way tells her she’s boring and doesn’t want to continue this affair. His manner still suits him, but his approach to relationships and love has vastly changed over the few stories we’ve got to know Owen. Quite rightly so, Gwen calls him a wanker before driving off. Owen’s face is one of despair and loss as to what he wants in life.

However, this is something we’re forgetting. Oh yes, a Weevil that’s been captured by random people with a white van. The Torchwood team go to investigate the problem as a huge amount of people seem to be turning up to hospital with Weevil wounds. Tosh and Jack investigate an old warehouse in search of the missing one, when a ringtone sends me straight back to 2006 (Crazy Frog if anyone sadly remembers that) informing Jack to not continue in his pursuit. Of course, he doesn’t pay attention to this and threatens them in the true Liam Neeson style of Taken.

In true Torchwood style, you need a gimmicky cover story to track down these criminals by making Owen a jellied eel salesman. With the cover story in place, they send out Owen to meet Mark Lynch, the man who owns the warehouse where the Weevil was last sighted. This is when the whole narrative becomes a loose plot based around ‘Fight Club’.

Mark takes quite a liking to Owen after they go to the same bar at the beginning of the episode and have another fight all over again. You’d think having a fight in front of a businessman that he would be put off from letting anyone near your business, however this seems to do the opposite. Mark invites Owen back to his house, which you think is going to end up as a one night stand, however with Mark’s interrogating approach, you realise he’s seeing how much rage there is in Owen and wanting him to find what Mark believes is his true self. Or is it we find Marks’ true self? 

There’s a real class divide with the rich feeling they’ve accomplished everything in life but feeling nothing for it. And that’s where the Weevils come in. Owen breaks into one of the locked rooms in Mark’s apartment, with a Weevil chained up. Mark trying to establish some kind of twisted dominance, punches the Weevil as if a punch bag, to the huge disgust of Owen. Mark claims the Weevils are the future of the human race and this is where just a glimmer of hope seems to come back to Owen, as you can see this is not what he thinks the future will be like.

Meanwhile Gwen and Rhys are in a middle of standoff in a very tense atmosphere, as Gwen finally confesses, she’s been having an affair with Owen. It’s a hard scene to watch as you can see in Rhys’s face the complete betrayal of someone he thought he knew and loved, but Torchwood has changed all of that.  It also shows how much Gwen has changed as a person, as she now drugs Rhys into forgetting about the whole confession, something previously Gwen would never have dreamt doing.

The final conflict is Owen facing the weevil in the cage. Owen lets the tension of his life envelope him as he closes his eyes and exhales, all the thought and loss he’s had. He is one with the weevil for that moment, as he knows he’s going to lose his life. It’s a brutal scene, as Gwen and Jack try to save Owen from being ripped apart. In this moment, Jack knows he’s losing the unity of his team.

Combat, is a downright decent and solid “Torchwood” story. It’s got some brilliant character development from Owen, showing his more emotional side. This is alongside Captain Jack’s almost heartless approach to the aliens he encounters, as he faces conflict with his team over respecting the Weevils in a surprising twist, in a story written by none other than, Noel Clarke, aka Mickey from “Doctor Who”. 

Ellie (TARDISMonkey) 

 

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[Source: DWO]

Publisher: Self-Published

Written By: Darren Edden

RRP: £8.99 (Paperback)

Reviewed by: Sebastian J. Brook

Review Posted: 21st March 2020

If there was a book we could review that was current with what's going on in the world right now, then Darren Edden's 'The Mirror Of Our Creation' is that book! The story is set in the UK (so nice to have a UK-based story, by the way) in a dystopian future - a future that is at threat from a mysterious influenza-type virus that's wreaking havoc on peoples lives and financial markets - sound familiar?

Ok, maybe the dystopian future part isn't quite what's happening right now, but we are possibly closer that we have ever been to imagining that future, and The Mirror Of Our Creation, in part, is a Nostradamus-like foreshadowing of what could be.

For an author, you couldn't hope for a more poignant and well-timed release for your book - this is a relatively new title, having been released less than a year ago, but from every page you turn it's like a mirror world reflection of our own - and that's before you get stuck into the real meat of the story. Drones, attacks in London, British hospitals packed out with patients... It's all here!

We actually had a cold chill down our back as we read the following line:

"The UK Health Service is starting to creak under the increased pressure of the influenza virus as it continues to spread further throughout the country."

Edden's ability to immerse the reader in his world is testament to his skill in describing the scenes and the characters to a point where they are rich and fully rounded - not just a pencil sketch. You can't help but feel that bit closer to the action, and because of this it's hard to book the book down as you're itching to find out what happens next.

Without giving too much away, it was from Chapter Nineteen that there is a change in tone, direction and location. We head to Jupiter where the character's encounter other intelligent life, in a completely refreshing and ingenious way that feels rejuvenating in the Science Fiction genre.

The Mirror Of Our Creation is split up into three main sections; Part One: The Signal, Part Two: The Contact & Part Three: The Return. A tidy way of storytelling, and coupled with the various 'Newsfeed' sub-chapters throughout (as well as the detailed descriptions mentioned earlier), you feel more part of the story than the normal distanced perspective of a reader.

There are several poignant moments throughout; some because of what’s happening in the real world right now, but some because of the journey taken in the story. One particular moment springs to mind later on, involving a cup of coffee - the juxtaposition of the moment compared with what has just happened...well...without spoiling it, you will know what we mean, where it is and just how poignant it is when you read it!

Again, not wanting to give too much away, but the end is left open for a sequel - one that we hope will come very soon, as Edden and his seemingly prophetic skills, could come in handy in the months and possibly years to come...

A truly captivating story that fans of Science Fiction with hold on to with great relish!

+  The Mirror Of Our Creation is Out Now!
+  Buy this book from Amazon.co.uk!
+  Follow @DarrenEdden on Twitter.

TARDISMonkey's Torchwood Diary - watching Torchwood an episode a week from the start...

1.10: Out Of Time

What would you do if you suddenly went on an airplane to find yourself in a completely different timezone? Well three very unlikely time travellers didn’t have to imagine for very long.

We start with the Torchwood team waiting for an airplane to land however, it’s not a modern aircraft, but the Sky Gypsy plane which appears to be a vintage twin-engined aircraft, landing on the runway. Three passengers, John (Mark Lewis Jones), Emma (Olivia Hallinan) and pilot - Diane (Louise Delamere) appear to be very confused when Captain Jack asks what year it is. When they answer the year is1953, the whole team know something is seriously wrong.

What is really interesting about ‘Out of Time’ is that the episode is very much split up into 3 subplots which come to their separate and very different outcomes for our newly discovered time travellers. The episode really focuses on the mental health aspect of being stuck in a completely different timezone, something Captain Jack knows all too well. However, this is a theme that has never been explored in ‘Doctor Who’ before, dealing with the idea of how people would cope with the thought of never being able to return to their own time. It’s again what ‘Torchwood’ is best at, exploring mental health aspects as it has more adult themes in comparison to ‘Doctor Who’. It tackles them by dealing with the grief of losing their parents, families, friends and even their pets, which makes for thought provoking and upsetting moments.

The first thing the Torchwood team needs to do is help the time refugees in their new lives. Each person is set up with a member of the team to help them deal with missing 50 wish years of time. Their attitudes and the way they deal with John, Emma and Diane, speaks volumes about the Torchwood Team characters.

John is your stereotypical 1950’s dad, who seems to be the breadwinner of his family, working as a shopkeeper and demonstrates very protective qualities over Emma as if she was his daughter. Emma is an18 year old girl, with only one ambition of settling down with a husband and having her own family, as she’s been told that’s what girls of her age do. Whereas, in stark contrast, we also have Diane, a pilot who has strong ambitions in life and doesn’t want to be tied down or limited by other people, something which will definitely be divulged later in this episode.

The Torchwood team take the time refugees into a safe house to help them establish their lives again. It seemed like a good idea for about two seconds, then John has a very heated argument with Emma after finding her getting drunk with two more girls in the house. Who are the other girls? Who knows? It’s never explained apart from being a plot device to move the story onto Gwen and Emma moving in together. This does however really delve into what happens when Gwen takes her work home?

Gwen who has a softer approach than Jack or Owen to situations, takes on a motherly/older sister attitude towards Emma, as she has to lie to Rhys about Emma being a semi-distantly related cousin, in order for him to feel comfortable having a stranger in the house. Gwen really comes into her own by showing Emma there’s more to life than just settling down with a husband, as time has moved on and there are more possibilities for women in life. What works for Emma, is being a younger more adaptable person; this allows her to accept and come to terms with how times have changed e.g. from getting her own career to being able to have sex before marriage. It becomes quite a comedic moment when Gwen delves into the lovers she’s had in the past, before Emma asks if it’s ok for her to do it. Gwen’s attitude immediately turns as she suggests the first time sleeping with someone should be special, but realises her rational behind this is a bit lame, as Emma asks if having sex with Rhys is the best, to which Gwen says ‘Well…’. It’s the moment Gwen knows she isn’t the most convincing person to tell someone to settle down with just one man. However, Emma ultimately wants to wait for “Mr Right.” Emma takes the final option of moving to London to pursue a career in fashion design. It’s a lovely send off scene, as Gwen looks on tearfully as she’s sending her almost daughter away into the big wide world after a week. It’s a bold move, however it shows how strong and independent Emma is, even after the 1950s wanted her to stay in that stereotypical bubble. It’s such brilliant character development in just a 50 minute story.

We then move swiftly over to Owen, who has taken it upon himself to look after Diane. He fancies the pants off of her, of course. I think this is the first time as a character I’ve liked Owen. His love and devotion to Diane in just a week is quite impressive. The moments of the past and the present mixing, is something that really shines on their relationship, from their attitudes of going out to dinner together and Owen pulling Diane’s chair out, to Diane’s attitude towards sleeping with Owen, suggesting that sex should never be casual. There’s a moment when Owen suddenly has an epiphany that he doesn’t want to sleep around with loads of women anymore which is somewhat sudden, but a real character development after sleeping with not one but two Torchwood employees. Is Owen finally finding some stability in his life? The relationship between Diane and Owen does work so well, as Diane can really swap the gender roles. The prime example for this is when Diane takes the decision to leave Owen, something that really breaks his heart for the first time. It’s a moment that really echoes the film “Casablanca" as Diane hands her scarf over to him, she decides she can’t live in a time in which she doesn’t belong. There’s an adventure out there in the sky which she loves and it calls upon her to go and find the rift to get home. The final shot of the plane in the sky, is a true homage to the films of the 40s and 50s but with a slight 2006 twist of the pilot being Diane.

For John, life doesn’t adapt to 2006 quite so easily. The troubled moments start as soon as Captain Jack forges new passports for all of them and changes their names, something John immediately calls Jack out on and quite rightly so. For someone who has lost everything, his family and his own time, having his own name is the only thing that establishes his identity and self worth. John and Captain Jack have some emotional bonding moments, as they both reminisce over their lives in the 50s and how Jack came to terms with being stuck in one time. John trying to act like the father figure, finds it hard to maintain that persona. John finds out his son is still alive and goes to see him in a care home in Cardiff. Time travel can be a cruel and wicked thing to use, as John’s son is much older than him and has Alzheimer's disease. You can really see in John’s face this is when he loses all hope for the world and this sparks a very controversial scene in my eyes. John takes it upon himself to try and commit suicide in his car at his original home address. Captain Jack races to his aid and stops him. Jack with all his good will and intentions, tries to convince John he can live a new life, start a new family, see another day; however Jack’s words seem so empty to John. John says “Don’t condemn me to live” which is a sentence that really impacts on me. For me, I wished Jack became the figure of hope and actually showed John what life could have been like. A moment of weakness is only brief and will pass, but it’s the people around you who make the difference. The moment however is played out really well, as Captain Jack looks on in shock and despair as John slowly lets go of Jacks hand as he passes away. 

At the end of this whole episode, I admired what Jack, Owen and Gwen were trying to do. The casting and themes of the episode, is how I remember Torchwood from watching it the first time around. From the moment where they’re running around Asda buying everything they can set their eyes on, brings the comedic light hearted moments to Gwen finally being discovered having lied to Rhys (Kai Owen) about her job. It’s the juxtaposing position that Torchwood as a series is good at, and really leaves a cliffhanger between Gwen’s predicament of being part of the team, while trying to maintain a stable relationship. The series itself, is finally finding its feet and I can’t wait to see what kind of resolution takes place at the end.

Ellie (TARDISMonkey) 

 

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[Source: DWO]

TARDISMonkey's Torchwood Diary - watching Torchwood an episode a week from the start...

1.6: Countrycide

The pre-title sequence is a scenario that has been lifted straight out of a typical slasher style film, with a poor unfortunate woman being dragged out of her car with blood curdling screams by a mysterious figure… Torchwood has diverged into the world of horror. 

Jack and co start investigating recent disappearances in the area. Owen begins to complain about being outside the city, making a quite delightful bit of banter between Gwen and Owen;  Gwen takes great joy in Owen’s disdain of the outdoors. The team feel as if they’re a proper family unit going on their first outing together, with the kids bickering in the back. With night approaching, the team set up camp in the middle of the field. With everyone circled around, Gwen gets the team to recall their most recent kisses with people. It all starts off as fun and games when Tosh mentions her kiss with Owen at Christmas. However it’s quickly turned as Owen mocks her for not being as promiscuous as the rest of the team. Captain Jack quickly steers the conversation by asking if non alien lifeforms count, followed by Owen’s smug response referencing his and Gwen’s make out session whist being chased by the Cyberwomen. It all seems to being going so well, until the mood shifts as Ianto mentions his last kiss was with in fact, his now deceased girlfriend Lisa. Oops. 

Avoiding the now awkward situation, Owen and Gwen go away to search for firewood, or that’s what Gwen thinks. As they walk through the forest, Gwen, who is understandably annoyed about Owen mentioning their kiss – is grabbed by him and pushed against a tree. In a heat of passion, Owen describes how great they’d be together. As they almost lock lips, they see a shadowy figure in the distance. It was a scene I was slightly worried about, as Owen leans closer and closer towards Gwen – leaving almost no space between their lips as they whisper their plans on how to catch the mysterious person. It’s a very sexually charged scene which depicts the whole theme of Series One in general. It's a great moment of passionate tension which quickly juxtaposes to the horror they’re about to endure.

As they give chase, they stumble across a body in the forest, however; this is no ordinary body. The whole of the flesh has been stripped back to the bone. Sorry for anyone who doesn’t like gore, this is not the episode for you. The contrast between the scenes depict the characteristic of Torchwood’s themes. One moment it’s horny passion and then the next, body horror. It's a technique that gives the show it's uniqueness for story telling. The Torchwood team have been rumbled, as they hear the Torchwoodmobile drive away. Thankfully, Ianto is able to track the vehicle and follows the car for 4 miles where it appears to have stopped. Said the spider to the fly...

We join the team as they encounter a rather abandoned looking village, something straight out of ‘Village of the Damned’. The environment has all the 'horror film' hallmarks of a place you really shouldn’t visit. The setup feels almost claustrophobic as they are very much cut off from the outside world. The intercutting with a POV shot, makes the scene feel uncomfortable as they’re being watched from the inside. 

The Torchwood team foolishly split up to find the Torchwoodmobile (have they not seen an episode of Scooby Doo?) and to check out the pub for any ideas as to what’s going on in the area. Gwen very quickly discovers another body carved exactly the same as the one she and Owen found previously in the woods, and a mysterious noise echos from the distance. As Gwen and Jack give chase, Gwen is dramatically shot in the stomach with a shotgun. Who or what can weald a shotgun and create such horrors to humans? Typically here, the camera would go to a close up of the situation, however in a more interesting editing choice – the audience is taken through a long POV shot, almost as if we’re an animal watching its prey. It’s this 1st person perspective that really makes for carnal viewing, and adds to the intrigue of the story. Thankfully Doctor Owen is on hand to take care of Gwen’s wound, which in the spirit of Torchwood, makes even that a sexy scene between Gwen and Owen.

Meanwhile, if that wasn’t enough, Ianto and Tosh are kidnapped and locked away in what appears to be a dark cellar. A blood covered fridge catches their eyes as Tosh anxiously opens it up to discover why they’ve been captured; they’re going to be the main course. The suspense leads up to the horror across Ianto’s face as he quickly closes the door with an echoed bang. Their fate has been sealed. The story is very plot heavy; not a scene goes by that doesn’t expand the characters, or the unravelling situation that they find themselves in.

There is a huge amount of plot that happens within this story, however it never detracts from developing the characters of the whole team, such as Jack’s concern over Gwen and the unity between Ianto and Tosh when they’re captured by the cannibals! In a shocking plot twist, it transpires that the villains are actually humans.. cannibals. This is the first time we’ve had a villain who isn’t an alien, which we the audience wrongly assume. It’s a horror/slasher film lover’s dream. In true Torchwood style, Captain Jack comes to save the day by driving a tractor through the main barn doors and shooting the place up in slow motion. I don’t think we could get anymore 2006 with that dramatic moment.

Owen Teale (Ewan) and Maxine Evans (Helen) give fantastic and down right skin-crawling performances as a couple who, along with the rest of the village it seems, take part in a ‘harvest’ once a decade, on unsuspecting tourists. The line, ‘because it made me happy’, as Gwen confronts Ewan about the horrors they’ve committed, is spine tingling. As he sits there with a grin like a Cheshire Cat, with no remorse or care, it’s an image that will haunt my dreams forever. It really makes for uncomfortable, disturbing viewing.

However, I love the contrast in the final scene as Gwen narrates how she could have had a normal life, having kids and staying with Rhys, but Torchwood has set her on a new path. It’s just that moment when you think she’s talking to herself or to us as the audience, until Owen appears in the reflection of the window, showing her how her life is changing. She’s not the same woman we saw at the beginning of the series. She’s seen things that nobody else could comprehend and wants to take comfort in someone that does. Is Owen and the Torchwood team the right choice? We’ll have to wait and see...

Ellie (TARDISMonkey) 

 

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[Source: DWO]

Manufacturer: Big Finish Productions

Written By: Guy Adams

RRP: £14.99 (CD) / £12.99 (Download)

Release Date: January 2020

Reviewed by: Nick Mellish for Doctor Who Online

"The Eleven has a plan. A grand plan. An appalling plan. A plan that endangers all life in the cosmos.

With Ace working for the enemy, the Doctor must rely on scheming Time Lord Cardinal Ollistra for help. The stage is set for an epic confrontation.

Because the Doctor has a plan to stop the Eleven. A grand plan. An appalling plan. A plan that endangers all life in the cosmos.

Whichever one of them wins, the Dark Universe won’t want to lose..."

WARNING: The following review contains spoilers. You have been warned!

With so many releases across so many ranges, it is semi-inevitable that at some point they will converge in one place. We’ve seen that recently with the Who/Cicero crossover play Tartarus, and now we are mixing the streams again with the Eighth Doctor box sets and the main range in this, Dark Universe. In some ways this was an inevitable release, what with the Seventh Doctor having kicked off Doom Coalition in the first place. We know he captured the Eleven, so I suppose temptation would always be succumb to in the end and we’d get the story of how it unfolded.

That is not surprising. What arguably is surprising is that Dark Universe very much relies upon you knowing who the Eleven is and how he operates. You get a brief hand-waving exercise of “this is his basic modus-operandi” but not much beyond that, and an entire cliffhanger resolution being wrapped up in knowing that one of his incarnations was nice is the icing on the cake. Unfamiliar with the Eleven? You’ll get the vague gist of things but hand on heart(s) I am not sure this is necessarily the best introduction, which is odd as this is, chronologically speaking, the Eleven’s debut appearance in the world of all things Who. Ah well: the show loves a paradox, doesn’t it?

Speaking of confusing states of affair, Dark Universe sees an older Ace reunited with the Seventh Doctor, still up to his old tricks, years after they parted. If you thought tracking the chronology of the Eleven is hard, good luck trying with Ace. I have listened to every single Big Finish release featuring her (not an exaggeration), and I’m largely lost nowadays. Can you imagine how a casual listener must feel? The Big Finish main range is not a welcoming one.

Back to the play in hand, though. With any prequel, you run the risk of things feeling redundant. We know how everything ends, so just how exciting can the road there really be? A fair bit, it turns out. Guy Adams is definitely having fun here. We expect some of the cliffhangers before they come, but that’s part of the game. A weapon is discovered, it’ll have devastating effects… and the Doctor wants the enemy to have it! He doesn’t think they will use it… but they do! And so on. The game here is to play along, anticipate, hear it happen with a knowing wink, and smile as the episode ends. It’s a playful approach that benefits the script enormously.

I felt that perhaps things ran their course a little by the end, mind. The final episode carries on with what you expect: the Doctor looking at the bigger picture as if playing Chess; Ace calling him on it and the two of them being at loggerheads. It’s something we’ve seen many times before but unlike the cliffhangers and playfulness earlier, it’s so era-specific, instead of the wider tropes from earlier, that it feels like a cliché and little else. Perhaps it will lead to more meaningful things in the range down the line, but that’s hard to say.

As it stands, there is a lot to recommend with Dark Universe. Does it work as an introduction to the Eleven for new listeners? I’m not sure it does. But the play is fun with some nicely imaginative parts, and whatever else, Dark Universe is a declaration of intent.

The main range is increasingly wanting to acknowledge the other ranges Big Finish has to offer. We’ve had these crossovers before, but I’m not sure it’s felt as apparent then as it does right now. (New Series) UNIT dipping its toes into the Lady Christina box set is one thing, but (New Series) UNIT dipping its toes into the main range would be something else entirely. Right now, it feels plausible. Case in point, we’ve Churchill making an appearance soon: a New Series character, yes, but one who has also had two box sets of his own, and I’m sure the play will be sure to remind us of this.

What to make of this approach? It’s probably a smart move on Big Finish’s part, reminding us of just how much there is out there, but as with Ace and her timeline jumping, it’s arguably also symbolic of how intimidating Big Finish can appear from the outside looking in. Maybe having Eleven personalities at once to digest it all would help? Time will tell, it always does… ah, maybe there’s something in era-specific clichés after all.

+ Dark Universe is OUT NOW, priced £14.99 (CD) / £12.99 (Download).

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TARDISMonkey's Torchwood Diary - watching Torchwood an episode a week from the start...

1.5: Small Worlds

Grab the tissues everyone, this is an emotional ride. 

We are greeted by the adorable character of Estelle Cole, played by Eve Pearce, as she explores the hidden and enchanted world of fairies. It's a classic opening to a Brother’s Grimm.

Estelle starts taking pictures on her film camera of these seemingly harmless looking creatures until she starts walking away, satisfied with her discover; however the creatures turn into evil demons ready for the kill… Cue title sequence. (I can safely say this is the first Torchwood episode that has gripped me straight from the off.) 

The camera pans through Torchwood until we see a sleeping and very shirtless Captain Jack, which is a shot definitely for the men, ladies and anyone in-between. We’re thrown back in time to what appears to be a nightmare with Jack seeing his army platoon on a train, dead,with flower petals in their mouths. A disturbed Captain Jack quickly leaps out of bed from the nightmare, prepared not to sleep for the rest of the night. However he finds a petal on his desk. Was this a dream?

Small Worlds offers an array of themes here, but the most interesting has to be the exploration of Captain Jack’s past. This is the first time we’ve had real hints and stories about Jack’s history, and the troubles that he’s been so good at covering up so far.

Murray Gold’s music creates a dream like world as if we’re living in a childhood fairytale, thus creating the perfect introduction to Jasmine Pierce, a primary school girl waiting for her parents who are late picking her up. In a sharp turn of events and a harsh cue from Gold’s music, a disturbing man watches her from afar. Jasmine continues to walk from school on her own, as the predatory man creeps behind her in his car, but is she alone? The camera cuts to a green eyed perspective as the man tries to grab Jasmine, until a strong wind whirls around the paedophile who gets his comeuppance as his face smashes against his car. He runs away in terror as Jasmine watches in glee and skips away. Not a way I would react if someone tried to grab me or having an unknown entity save the day. It creates a divide of are these creatures the good or the bad guys?

Torchwood really brings that grey area into the world that is so typically written as black and white. However there is justice when the paedophile man starts coughing up petals and water, as he runs through Cardiff Market wanting to be arrested by a police officer nearby. It’s a true body horror moment that makes for an uncomfortable watch. Are these creatures forcing him to repent or filling him with pure terror as they have taken guardianship of Jasmine. As Gwen quotes ‘One persons’ good, could be somebody else’s evil’.

Meanwhile, Jack and Gwen attend a talk about the legend of Fairies – hosted by none other than Estelle. Gwen, seemingly very unconvinced by the whole situation, dismisses the theme of fairies existing and questions whether Estelle’s either making it up or has a really distorted view on the world. That is until Gwen starts to notice Jack and Estelle getting very close, hinting at a past intimacy. As they turn up to Estelle’s house, Gwen notices a man who looks very similar to Captain Jack, however Jack is adamant it’s his father. It’s a great twist on the norm here, for the audience who know the picture is our Jack – it’s good to see it play the other way around, with Gwen using her detective powers to work out it’s not Jack. It’s a very similar style to ‘Columbo’ where we know who the murderer is before the story is introduced.

The main part I love about this story, is the relationship between Jack and Estelle. It feels that there is such a strong bond between them, as if they’d been married for years. It’s a nice moment to see Captain Jack as we’ve never really seen him before. It’s a softer approach to his character, exploring his long term relationships during the war. It’s a love that seems could last forever.

Elsewhere Jasmine appears to be forming a stronger bond with the fairies everyday, as her parents become increasingly more and more worried about her relationship with her friends and staying out in the garden. As we see into Jasmine’s home life, it becomes more apparent that her stepdad Roy is seemingly despondent and uninterested in poor Jasmine. Dismissing her left, right and centre, which contributes to family conflict and Jasmine’s increasing feeling of loneliness, this is the fairies time to strike everyone down.

The first attack starts off with the typical Torchwood style alien murder mystery, as the paedophile finally gets his comeuppance as he’s attacked in his empty prison cell by the Fairies, in much the same way as previously seen – he chokes to death on flower petals. However, the fairies don’t stop there.

We come to the changing of the equilibrium in one of the most emotional sides of Torchwood so far. The death of Estelle. The fairies in their chance to get their chosen one, Jasmine, will try anything to make sure the Torchwood team and especially Captain Jack, from stopping their plans. Estelle is so brutally taken away from us and it easily becomes one of the most heartbreaking deaths. I will not be afraid to admit I cried my heart out. It shows how incredible Peter J. Hammond’s writing is, to create such a bond with a character in the first 20 minutes of the show. John Barrowman equally makes it such a heart breaking moment as he holds her in his arms one last time, before kissing her on the forehead as he leaves. It creates a truly upsetting moment as Captain Jack will never be able to reveal his secret of who he actually was. (Damn you Murray Gold and your stunning music to this scene) - a scene that will be the pinnacle moment which reveals how Torchwood was such a fantastic show and pushed those boundaries like never before.

Captain Jack now has to make an impossible choice, a theme that is regularly brought up in Doctor Who. Torchwood has the same flexibility in its story telling, being able to confront the horrific demons of the past, as Jack knows the fairies need a chosen one or they’ll destroy the world. How do you make that decision when the chosen one is a child?

The final showdown between the fairies and the Torchwood team ends up in Jasmine’s garden, as her stepdad is brutally killed by the fairies shoving petals down his throat. Jasmine’s mum in complete distress, looks upon Captain Jack for the reassurance that the Doctor would show. However, unlike the Doctor, where some impossible choices are taken from him, Captain Jack faces them.

We approach the forest where it all started and a struggling Jasmine wants to join the fairies in eternal life, but in a shocking turn of events Jack lets her go. The second crying moment ensues. Jasmine’s mum watches in horror as her little girl runs away and disappears as if she never existed. This is a heartbreaking moment, in which Jasmine’s mum blames Jack for the loss of her family and is also the moment Captain Jack realises he had no choice, no matter how broken he would feel afterwards. It’s a true testament again to the relationship between Captain Jack and his team, that would so easily have created a TARDIS team to separate. (Damn you Murray Gold again and your stunning music). 

Small Worlds is real horror story and a great theme for a true Grimm’s Fairy Tale. The only criticism I have is the CGI of the fairies do somewhat let some of the scenes down. For me, I would have love to have seen the fairies still looking small and innocent but with razor sharp teeth, rather than a full sized, green alien style. It just creates a juxtaposition that no matter how innocent something appears, there’s something always deceptive underneath its appearance.

Captain Jack’s love for Estelle and the guilt he felt for letting Jasmine go, is one of the most powerful performances we’ve had in the series so far. (Ok Gareth David-Lloyd did give a hell of a performance is ‘Cyberwoman’). This episode has been a true testament of stunning performances from the supporting cast, as well as the main team. 

Ellie (TARDISMonkey) 

 

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[Source: DWO]

TARDISMonkey's Torchwood Diary - watching Torchwood an episode a week from the start...

1.4: Cyberwoman

Our next episode once again, is written by current Doctor Who show runner Chris Chibnall. We start with the Torchwood team playing a friendly game of basketball while a pterodactyl flies around because reasons? Its quite nice to see Gwen finally being accepted as one of the team, however there’s a figure who appears to be left standing in the shadows, Ianto.

Ianto has been a character whom we just assume is taking up the role of the butler. He just stays in the background, cleaning up the mess of the Torchwood team. However, this episode starts turning into a case of a whodunnit as Ianto runs off to meet a mysterious Doctor, while the team goes out for drinks.

We’re introduced to the secretive world of Ianto Jones, as it is discovered he has been keeping Lisa Hallett, a former employee of Torchwood One down in the basements of Torchwood Three. Although in a shocking revelation tying into the aftermath of the battle of Canary Wharf, Lisa is part Cyberman or should I say Cyberwoman! The story of Ianto doing everything he can to save the woman he loves, is a dynamic way to quickly explore his character. It’s a tragic tale of two people in love, which drives this episode forward in its themes.

However, what should be a very emotional scene between the reveal of Ianto and Lisa is let down slightly, in the design of the Cyberwoman. Unfortunately the design of the cyberbra and cyberknickers isn’t exactly what I had in mind when cybermen converted people. Does this mean other people get cyberboxers or cyberbriefs? It detracts from the overall seriousness of the situation, whereas I would have had more of a Frankenstein’s monster look proving no matter what you look like, there’s always someone who will love you, no matter what.

Ianto with the help of Dr Tanizaki, try to save Lisa by reverting part of the cyber process to help her live as a human again. In true Torchwood style, this all goes horribly wrong. Lisa’s cyber programming kicks into gear as she tries to process an unfortunate Dr Tanizaki, killing him. What creates a shocking twist is she is doing this out of love? The idea of human emotions and partial cyber conversion is a great concept, briefly explored originally in Doctor Who with Yvonne Hartman crying as a Cyberman. The Torchwood team quickly discover what Ianto has been doing all this time and try and stop his plans. Again this questions the loyalty of the team, as Ianto admits he couldn’t trust Torchwood to protect Lisa from being destroyed.

I know I mentioned the theme of Frankenstein’s monster earlier, but this literally happens within the ending of the episode. It created a major shock factor with Lisa trying to prove her love and not processing human emotions properly. She kills a poor pizza delivery woman and swaps her brain out to replace it with Lisa’s.

The finale of the story ends up with Ianto making a choice either letting Lisa live or shooting her for the murderous rampage she undertook. I feel this part should have been left to Ianto for his redemption. However this was brutally taken away by Captain Jack shooting first. It almost detracts from Ianto’s choice, as I think it would have made a greater impact if he shot her because he loved her so much but couldn’t let her carry on murdering people.

Overall I did prefer this episode to ‘Day One’; the conflict between the Torchwood team and Captain Jack has become a recurring theme, as well as the secrets of Jack’s past with him not being able to die, makes the team lose their trust even more. Maybe Torchwood should get a better vetting system for their staff?

Ellie (TARDISMonkey) 

 

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[Source: DWO]

TARDISMonkey's Torchwood Diary - watching Torchwood an episode a week from the start...

1.3: Ghost Machine

We encounter the Torchwood team in an epic chase through Cardiff, but chasing who?

Gwen nearly catching the suspect through Cardiff market (where they make very nice Welsh Cakes by the way) unfortunately only grabs his coat as he runs off. Gwen thinking she failed, repeatedly apologises, while a happy Tosh shouts in her ear she’s got it. But what has Gwen discovered?

The opening sequence creates a fantastic juxtaposition. After an adrenaline filled chase, Gwen finds a unique piece of alien tech - changing the pace of the story entirely. Pressing its button, Gwen is unknowingly transported to, we assume, WW II. We see a young boy leaving the train station wearing a name tag, looking lost and calling for help. However in the same instance, Gwen is thrown back into the present… Looking around shocked, she utters “I’ve seen a ghost.”

This is the first episode which has grabbed my attention straight from the off. This episode starts to focus around Owen, which again seems to show the themes of the series that everyone has a story dedicated to them. Gwen and Owen seek out who the boy from Gwen's apparition is. They later discover via a phonebook, (which a sarcastic Owen holds in his hands), it's a Mr Tom Erasmus Flanagan. They visit the now elderly Tom and realise the alien technology was showing them a real person's past, not a fictional vision.

The stand out line for this episode has to be when they are trying to track down the original suspect Bernie Harris, who stole the alien tech: 'Splot' 'Splot?' 'I believe estate agents call it Splough…’. 

Its the brilliant comedic element that Torchwood is perfect for. The down to Earth part when they use their detective skills to find him, establishes the normal everyday aspect of working in Torchwood. This is a complete contrast to their other counterpart flying around the universe in a TARDIS.

As the Torchwood team have no luck ‘catching them killers then’ (Hot Fuzz reference for anyone there), Owen quickly stops in his tracks as they walk under a bridge and the Quantum Transducer activates. The whole world seems quieter and colder. Unknown to Owen, he has been transported back to the 1960's, where he unwillingly watches the rape and murder of Lizzie Lewis, coldly carried out by Ed Morgan. Owen can't move or bring himself to take action. It really does become an uncomfortable moment to watch, leaving Owen in tears as the Quantum Transducer brings him back to the present. This harrowing scene becomes the key driving force for Owen to get justice for Lizzie.

Posing as a Police Officer, Owen tracks down Ed Morgan to his house, which leads to an intense battle of wits. Owen describing the incident to Ed in such detail, makes us as the audience feel as insecure as Ed. The heart beat sound and the close up shots, creates the sense of panic, claustrophobia and guilt, as he’s finally been found out. It’s a fantastic scene between the characters, to which both Burn Gorman and Gareth Thomas (yes Blake’s 7), make the scene teeth clenching.

The Torchwood team finally track down Bernie Harris, but in a intriguing plot twist, it is revealed that there are in fact TWO parts to the Quantum Transduce; one to show you the past, the other to show you the future. Bernie, afraid of the alien tech, sees his death. Having earlier blackmailed Ed Morgan he becomes afraid of what's to come. Gwen on the other hand touches the future side of the QT, and sees herself with blood on her hands - but who's? All this builds up to be a true murder mystery tale with a side of time travel, which is what Torchwood is perfect at playing.

We have reached the final confrontation. Ed Morgan is about to be held to account by Owen Harper. Morgan has the knife, as previously seen in Gwen's future vision - he is ready to kill anyone before his terrible murderous secret out. It's another fantastic show of Gareth Thomas's acting as he builds up the intensity as the situation escalates. The agoraphobia is making him panic and not think rationally or logically. This is on the edge of the seat viewing. Captain Jack quickly pounces on him, while Owen takes the knife. Owen almost takes on the role of vigilante in this episode, taking justice into his own hands and fighting for the late Lizzie Lewis. Owen holds the knife to Ed's face - can he do it? He quickly realises that actually, he is the better man, and doesn't act. Sound familiar? Unfortunately this is where the ending slightly lets it down. Ed runs towards Gwen to hug her for helping him, to ultimately stab himself. Why was Gwen holding the knife pointed outwards so that someone could get stabbed? I feel the resolution is a slight let down, as it would have been nice to see Ed finally show redemption for his actions. However the final scene of Captain Jack easing the pain of Gwen accidentally killing Ed is really sympathetic and full of wonder, straight out of Tomb of the Cybermen style with the Doctor and Victoria.

Helen Raynor has created a diverse, atmospheric and witty script. Overall I think this has been the strongest episode so far next to ‘Everything Changes'.

Ellie (TARDISMonkey) 

 

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[Source: DWO]

TARDISMonkey's Torchwood Diary - watching Torchwood an episode a week from the start...

1.2: Day One 

Well, well, well. If Torchwood wanted to prove that it’s more grown up theme wasn’t the family friendly Doctor Who we all know, this is the episode that proves it. 

This is the first Torchwood story written by current Doctor Who showrunner Chris Chibnall. The whole theme of ‘Day One’ circulates around themes of sex, which for the Doctor Who Universe was a bold move to make.

‘Day One’ follows Gwen Cooper on her first day as part of team Torchwood. As a meteor crashes into Earth, Gwen leaves her very cute date with Rhys to join the gang where during some banter, Gwen quite literally throws a spanner (accidentally) in the works. It lands in the meteor letting out a purple gas cloud, which heads towards a very upset Carys Fletcher on the phone telling her boyfriend to die. This is when it all gets a bit weird.

The extra-terrestrial sex gas turns an unexpected Carys Fletcher into a killer by absorbing climatic energy. A sentence I thought I would never write… 

The episode really explores the themes of sexuality with Gwen kissing her first woman, Owen being a bit of a lad after recording both Carys and Gwen kissing and then being caught out himself by getting locked away without any clothes on. How about Tosh looking away from Owen without any clothes on, is she shy about her sexuality? The Torchwood team also question Captain Jack’s sexuality and his ties with the past again, cementing the overall story arc. It’s the start exploring the LGBTQ+ themes that will be revealed in full later on in the series.

What makes the episode very tongue in cheek but realistic, is the fact the cast play it seriously. You can tell that Carys Fletcher has a conflict in herself for control and the distress its causing to her when then alien kills people. Gwen faces the situation by using her police training to tell Captain Jack, eating a Chinese meal or Owen filming them kissing in the cell is not the way they should be handling any situation with a distressed person. The conflict makes a noble stance of their moral grounds, until they realise they’re both on the same level of respect, when Jack reveals he’s been analysing Carys Fletcher to get her the best help.

The scene in which Carys steals The Doctor’s hand and Captain Jack being incredibly protective of it, just shows the incredible bond both him and The Doctor have. This is very apparent when the jar is smashed and Jack cradles the hand as if he’s holding the hand of a loved one. It's provides a heartwarming and upsetting scenario and also reveals why Captain Jack is apart of Torchwood.

‘Day One’ has a dignified and emotional resolution with the alien dying, with a weirdly poignant quote ‘Travelling half way across the universe for the greatest sex… But still end up dying alone’. It again explores the overall arc of who is Captain Jack and what has happened in the past for him to think this way.

Even though this isn’t my favourite episode out of the series, I can understand the shock factor ‘Day One’ brings and its take on being different with its sexual themes Doctor Who hasn’t been able to do before. This is what Torchwood is all about.

Ellie (TARDISMonkey) 

 

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[Source: DWO]

TARDISMonkey's Torchwood Diary - watching Torchwood an episode a week from the start...

1.1: Everything Changes 

Rewatching this episode has really shown how incredible Russell T. Davies is as a writer. You want a 'grown-up' version of Doctor Who? Well, look no further. Gwen Cooper; a police officer working her way up through the ranks and tackling hard cases, like a murder that has just happened outside a multi-story car park. But this is no ordinary case; a mysterious team enter the mists and bring a dead body back to life. Gwen Cooper's life has dramatically changed, forever.

Torchwood establishes its more grown up audience from the violence Gwen encounters when she meets her first alien, the Weevil. She tries to establish some normality to the situation by claiming the Weevil is a man in a mask, until some unfortunate soul gets his throat ripped apart.

Captain Jack takes up the 'Doctor' role in the episode, claiming to be a dark and mysterious person who wants to keep his past life a secret. Being an established character in the series really helps Torchwood have a familiar face that the audience can relate to and have some foreknowledge of Jack's history. The establishing scene that builds up the Torchwood team in their Cardiff base, when Gwen is delivering pizza, makes a nice little icebreaker when it plays on the stereotypical cheesy reveal scenes, making light hearted comedy of the situation. Seeing the teams camaraderie as Gwen enters the Torchwood base proves they are very tight knit, very much like the first episode of Doctor Who, An Unearthly Child – the existing chemistry of the gang proves they’ve already had many adventures.

Torchwood really builds itself as a series utilising these tropes, however it also throws in a grim twist to the universe we know and love from Doctor Who, with characters stealing, swearing and generally doing stuff that’s forbidden in a family show. This episode already has shocks, twists, turns and some amazing power poses from Captain Jack's figure on top of random buildings in Cardiff, which entices you to continue watching the next episode. You want to see Cardiff in all its glory? Well look no further than the fantastic amounts of establishing drone shots, which would make a good game someday.

(Also keep an eye out for the Doctor Who Experience sign in the background of some shots.) 

The first episode had everything it needed to establish characters, sets and the overall theme of the show. It’s still a little rough round the edges with slight exaggeration of the grown up themes.

Ellie (TARDISMonkey) 

 

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[Source: DWO]

Publisher: Rude Cat LLC

Written By: Randy Smith

RRP: £15.99 / $17.99 (Paperback)

Reviewed by: Sebastian J. Brook

Review Posted: 24th November 2019

Something that Doctor Who and Star Trek has taught us is that Science Fiction doesn't always remain a fiction. Whilst Randy Smith's The Raffle may be nestled in a SciFi / Cyberpunk genre, the story itself is set in a dystopian future, just a few years from now (2026-2027), and serves more as a speculative glimpse into what could be.

There's an alternative history where on July 4th 2016, a multi-angle terror attack changed America forever; so much so that it is now known as the New United States. Our central character, Ramsey, has been separated from his wife and daughter for 10 years, and without trying to spoil anything, The Raffle sees his once-in-a-lifetie chance to be reunited with them.

Talk about prophetic; The Raffle predicted the election of Donald Trump, and there are many more instances within where the reader cannot help but feel spooked by the near-future clairvoyance in which author Randy Smith is worryingly good at.

If we could describe the series in a few words it's The Handmaids Tale meets The Matrix meets The Hunger Games. That being said, it's still very much its own thing and you will be swept along for the ride - a ride that is shocking, unpredictable and so addictive that you just want to keep reading and reading.

The Raffle was initially released as four separate novellas, and one can only imagine the torture as a reader as they got to the end of each book, desperately waiting to find out what happens to Ramsey next. Fortunately, this version brings all four novellas together, so you can tackle the saga in one sitting. The fourth part is considerably longer than the others and reads more like a full-on novel, and feels like a natural evolution of both the story and the author.

Perhaps, rather soberingly, The Raffle is the authors mouthpiece for the state of a country he so blatantly loves, and what could happen. Anyone that can predict the election of Trump NEEDS to be heard; The Raffle doesn't only serve as a fantastic piece of fiction, but a worryingly believable projection into where we are going if we don't change our ways.

After four distinct parts, there is still plenty more life in the series, and with an open ending, we really hope that Ramsey's journey continues!

+  The Raffle is Out Now!
+  Buy this book from Amazon.com or Amazon.co.uk!
+  Follow @TheRaffle2027 on Twitter.

Publisher: Self Published

Written By: Marc W. Johnson

RRP: $12.99 (Paperback)

Reviewed by: Sebastian J. Brook

Review Posted: 6th November 2019

Back in early 2018 we discovered author, Marc W. Johnson and his 'Legacy' title. A chilling, yet thrilling horror that was incredibly intelligently put together. This is something that Johnson carries through perfectly in his latest offering; 'Husker', which focuses on our central character, Jennifer, her father's savage murder and how events from the past come back to play a part in Jennifer's life.

This is truly one of the most terrifying stories we've ever read; and we've read a LOT of Stephen King :) - Dare we say it, but even Mr King could learn a thing or two from Husker - it's as psychologically chilling as it is descriptively.

Johnson has such a talent as a writer; everything is so visual and has a real cinematic texture to the description and flow. In that respect, it really is unlike most horrors or thrillers we've read.

Below is an excerpt from Husker which encapsulates the suspenseful and cinematic genius of Johnsons words:

"Molly's ears perk up when a low wooden creak seeps through the dark, but the sleeping couple does not stir. Molly fixates on the rocker in the dark, she growls softly as she backs out into the hallway and sits, still extremely alert. The rocker sways without a sound while Molly watches." 

Earlier we mentioned about the authors intelligence in his writing, and this is heavily based in the way that, as a reader, you feel like you know where things are going (and feel rather clever in the process), only to have the rug pulled from under your feet and taken in a whole new direction. There's nothing more refreshing or exciting than surprise and Johnson knows exactly how to use it! 

You want settings, you got 'em; attics, corn festivals, parking lots (complete with chocolate pudding cups - something that you may find you have in common with the titular Husker). The characters are rich and drawn not from stereotypes, but complex palettes that make them feel the more genuine for it.

The journey that Jennifer goes on is both emotionally and psychologically draining and we're doing our very best not to give anything away, but every page is a step closer to the answers you are desperate to find out as the reader. The resolution, as with everything that goes before it, is a complete surprise, and, unlike some Stephen King novels, Johnson knows how to end his stories with reader satisfaction. 

We are genuinely terrified to see what Johnson comes up with next, and if form is anything to go by, we're probably going to need some holy water, a priest and a clean change of underwear!

+  Husker is Out Now!
+  Buy this book / Kindle from Amazon.co.uk!
+  Follow @WoordMan on Twitter.

Publisher: Self Published

Written By: J.H. Barron

RRP: £7.99 (Paperback)

Reviewed by: Sebastian J. Brook

Review Posted: 4th November 2019

It’s Sarah Penworthy’s sixteenth birthday! The sun is shining, the school bell is ringing, she’s got a birthday party to prepare and there’s that boy she really wants to ask out on a date... But all of Sarah’s plans are shattered when a strange silver ball comes crashing through her bedroom window.

Right from the off, J.H. Barron's 'Sarah: The Empress Of The Galaxy' calls out to Doctor Who fans. The main character's parents are called Ian and Barbara, there's a character called Alpha Centauri (although this one is quite different from the one we know in Doctor Who), and there's even a robot called 'Robot Holmes' - surely a nod to the much-loved Doctor Who script editor of the 1970's!

Peppered with tongue-in-cheek references to cult movies and tv (Doctor Who, Star Wars, Star Trek and Sapphire And Steel - to name just a few), oh - and even one for Kate Bush fans, this is a science fiction adventure that has a lot of fun along the way, and despite the genre, is surprisingly rooted in real moments, emotions and decisions.

Sarah, the central character, is 16 years old, and we get a very real glimpse of what it's like to be a girl of her age, and the struggles she faces in her day-to-day life. Barron makes the reader feel her frustration of the monotony of her life, and we too want more for her. It is also rather interesting the way that Barron plays things when Sarah finally does get an opportunity to mix thing up; despite wanting something new, she shows apprehension at the exciting path before her. This was an unpredictable, yet totally believable way of playing the situation.

One of our favourite bits in the whole book was the following exchange between Sarah and Robot Holmes:

“You are to accompany me to the Starship Hound of Love.”

“I can’t do that!” she said.

The robot hovered closer to Sarah’s face, its one great eye piercing into hers. “Do not worry, my Lady,” it assured her, “the teleportation beam is accurate to a degree of ninety-eight percent. The chances of molecular disintegration are very slim indeed.”

“No, no, no!” Sarah blabbed hastily. “You don’t understand— I can’t go anywhere like that! It’s my birthday and I’m going out tonight!”

Barron's use of description for places and people are terrific; there's a particular moment later in the book when Sarah arrives at Voxxen, and Barron's detailing really adds flesh to the world as you feel the almost claustrophobic atmosphere as they venture deeper into the bowels of Voxxen.

There are thrills, twists, turns and enough exciting changes in pace and setting to keep your interest throughout. We were genuinely sad to reach the end of the book and it most certainly left us wanting more.

Without spoiling too much, there's a rather sobering epilogue that addresses the consequences of Sarah's story, and with an ending that unquestionably paves the way for a sequel, we cannot wait to see what adventures Sarah gets up to next.

+  Sarah: The Empress Of The Galaxy is Out Now!
+  Buy this book from Amazon.co.uk!
+  Follow @JH_Barron on Twitter.

Publisher: September Publishing

Written By: Marshall Julius

RRP: £12.99 (Paperback)

Reviewed by: Sebastian J. Brook

Review Posted: 23rd October 2019

Question: When is a quiz book not just any old quiz book?
Answer: When said quiz book is written by master of all things fandom, Marshall Julius.

Vintage Geek is quite literally the ultimate quiz book for fans of classic tv, film and comics, from 2000AD to Walt's Wonderful World Of Disney, Marshall has chosen topics you can tell he is passionate about.

The Doctor Who section, for example, sees Marshall focusing on arguably one of the most popular tenures of the shows history; the Tom Baker years, rather than it's wider 56+ year history. Likewise, with the James Bond section, he chooses to focus on the Roger Moore years.

Vintage Geek is split up into 2 main sections; the questions and the answers. Marshall starts off each section by introducing the topic and what it meant to him, making it feel like a journey through his love for each of the shows and movies - such a wonderfully fresh and personal take on the quiz book format.

Along the way there are questions from celebrity guest stars (some true crackers, too), and there's a real mix of questions that will have even the most die-hard fans questioning their encyclopaedic knowledge.

Marshall has included something for everyone in Vintage Geek; Star Wars, Star Trek, James Bond, Doctor Who, Jurassic Park, The Simpsons and Marvel (to name just a few) all get their own sections - each filled with 50 questions to test your fandom credentials.

Then we get to the answers, and this is where Marshall really brings home the goods. If you think you're going to get just the answer, think again (this is Marshall we're talking about!) - many of the answers are filled with detailed information and trivia, such as actors names, serial numbers and years.

We would be remiss not to acknowledge Mike Reiss' (Simpsons writer) hilarious foreword, followed by Marshall's own touching introduction that makes the reader feel an overwhelming sense of inclusion and 'its-ok-to-be-nerdy-ness'. One particular line really stood out to us, however, and it really is incredibly apt, poignant, and most of all, true:

"I've always felt that to completely grow up, to turn your back on the things that once meant the most to you, would be the most terrible betrayal of the child you once were."

Due to Marshall's immense fandom knowledge, and after educating us with quite a few fact-filled gaps in our own knowledge (that even surprised us), we genuinely felt like better fans after reading Vintage Geek! Go get a copy and add it to your life NOW!

+  Vintage Geek is Out Now!
+  Buy this book from Amazon.co.uk!
+  Follow @MarshallJulius on Twitter.

Manufacturer: Big Finish Productions

Written By: David Llewellyn

RRP: £14.99 (CD) / £12.99 (Download)

Release Date: September 2019

Reviewed by: Nick Mellish for Doctor Who Online

"63BC. Following the overthrow of Catiline, Cicero and his wife retire to the coastal town of Cumae, safe from the threats of Rome.

But when a stranger and his companions arrive at Cicero’s villa, new dangers lie in wait and Cicero finds himself plunged into a realm of gods and monsters.

His only hope of returning home lies with a man known as the Doctor. But can Cicero trust him?"

Every year, there is one month where Big Finish give us two main range releases at once instead of the usual solo effort. 2019 throws two historical pairings at our feet at the same time: the Doctor and Houdini in Harry Houdini’s War, and the Doctor and Cicero here in Tartarus.

I heard a few cynical rumblings when this play was announced along the lines of it being less a good idea for a Doctor Who play and more a good excuse for an extended advert for Cicero, Big Finish’s original series from 2018.

There is a decent enough Doctor Who story in here to silence the critics, in part because the series has taken elements of mythology and created a story from them before, as is the case here. It doesn’t necessarily feel overfamiliar though, partly because they’ve decided to buck this incarnation’s norms (Resurrection of the Daleks aside) and give Tartarus two episodes over 40 minutes in length each. It benefits this script, giving room for moments to really breathe and lending the tale a pace that’s gentle without being lazy.

I am not saying there isn’t an element of cynicism here, mind, and crossed fingers hoping people will jump from Tartarus to Cicero. Certain plot points clearly take their lead not just from history but from the series, and having the Doctor enthuse about how amazing Cicero is, while not out of character perhaps comes across as a bit too forced, ditto his arguments with him about who should be in charge and early scenes where the Doctor explains concepts from the future to him at a party. It’s the same with Nyssa and Tegan’s reactions to everything, and an observation and plot point about Adric’s death. It feels a tad like someone is trying really hard, and too self-consciously, to write ‘this is how they would react’ rather than creating something truly organic and true to the characters.

The ending of Tartarus points to more to come in, one presumes, a future trilogy. I’m not sure how keen or excited I am for this development, especially as it rather gives away the ending already. That said, I’m guessing the ending, as painted here, isn’t quite what it appears to be: and if it is, it’s almost identical to that which they’ve done before with post-Terminus Nyssa, which will seem a little lazy. Perhaps it will surprise me further down the line. Perhaps.

I do have to wonder. As of late, much of Big Finish’s output across its various ranges feels rather like we’ve seen this before, often riffing on something we have already had or filling blanks no-one really cared about and making a poor job of it. From Emissary of the Daleks to the sixth series of adventures for River Song to the fan fic slog that was Battle Scars, it feels utterly tried. Those are perhaps extreme examples of bad releases, but that weariness seeps in elsewhere more often than not nowadays, and that’s upsetting.

I genuinely hate writing reviews like these; so down and lacking in real joy or spark; I know people pour their heart and soul into writing words. But I also am not about to lie and pretend it’s all sunshine and roses, as it’s not. Every so often, we’ll be blown away by something really special or brilliant from Big Finish; The Master of Callous here, the genuinely touching Still Life there, the fun and atmospheric Krampus two-parter from Ravenous in the centre. It proves that there is life in the old dog yet, and exciting life it is, too. But with such releases few and far between, I do wonder how long it is before the well is truly dry.

Prove me wrong, Big Finish. I reckon, or at least I hope, that you can, because I know you’re brilliant when you really put your mind to it: you have been dozens upon dozens upon dozens of times before. It’s why I’m still going with you, all these years on. But perhaps I’m just tired of the increasing ‘that’ll do’ releases? And if I am, I’m sure I am not alone.

Prove me wrong. Please.

+ Tartarus is OUT NOW, priced £14.99 (CD) / £12.99 (Download).

+ ORDER this title on Amazon!