Torchwood’s finale is full of bi- action (bipolar showdowns, bilateral immortality, and SF’s human/alien binary) as its showrunner seeks to second-guess audience expectations. But how much does it leave its viewers guessing?
‘Miracle Day’ offers a literalising, telefantasy take on “global” drama this week, as well as seeming to literalise an infamous aphorism at the same time…
This week it’s a square of flooring that provides the mysterious detail, or the “figure in the carpet”, if you like. As Torchwood: Miracle Day gets stranger and even more self-referential, will it ever give up its secrets?
Captain Jack flashes back in time, and we find out about the beginnings of Miracle Day. But just what is the episode saying about its sinful villains?
The slow pacing of ‘Miracle Day’ has been criticized, but this seems like an odd response to a thriller – a genre based on delaying its reveals. What about the pleasures of being caught up in the middle of a story?
This series reaches its halfway mark with a terrifying version of the Holocaust. Science fiction allegory raises tough questions here, questions about what can be symbolically coded, and how.
Torchwood continues to explore the consequences of a world without death. But how (if at all) does that transformation effect its narrative logic, and its use of thriller conventions?
BBC1 edited out two intercut gay/het sex scenes – neither especially graphic – from its broadcast of Torchwood: Miracle Day episode 3, ‘Dead of Night’. What’s at stake here for John Barrowman as an actor/TV personality?
As Torchwood: Miracle Day progresses past its initial world-changing premise, how does it shape up? Episode 2 (‘Rendition’) seems to lack coherence. But for Torchwood, that’s almost business-as-usual…
What changes has Torchwood undergone as a BBC Worldwide/Starz co-production? Perhaps this latest version brings to the surface a logic present from the very beginning of Russell T. Davies’s Doctor Who spin-off.