Torchwood

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?
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'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...
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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?
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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?
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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?
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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.
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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?
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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?
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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...
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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.
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