Doctor Who Series 6 Episode 12 Review.

Cybermats, the only villain in science fiction that can cute you to death.

This was a pretty damn good penultimate episode  - the comedy is far more dialed back than in the last episode to feature James Cordon, but that’s ok. I was quite surprised by how well Cordon took on the role of the primary companion. The comedic opening with the baby is quite good and the banter demonstrated by the Doctor’s ability to speak baby is put to as good a use as in "A Good Man Goes to War."

Not without fault though  - I got the impression that they were trying to take the Cybermen back to their classic years form in that they were hiding in the shadows and not only getting as far as planning the massive invasion. To this effect it was traditional in the classic Doctor Who for the Cybermen to claim that they had large numbers but for only a few of them to appear on screen. That and they didn’t have the money for more than eight Cyberman costumes per episode.

This return to the old cyber traditions is alright – it makes them have far more impact than they did in the Davies era, but at the same time it raises the same criticism as the episodes of the classic series that involved the Cybermen. It has basically the same story as all of them  - the Cybermen are hiding underground, because their ship crashed a long time ago they were just waiting for power to absorb  - there’s no real difference here between this and the classic stories.

Weirdly enough, the internal storyline  - that of the Doctor coming to terms with the fact that he must soon die  - makes up for the lacking depth in the external story. Now I normally take the view that the main story should always take be more important than the internal parts. That’s one of the reasons that in the past I have been less than pleased with the character of Amy Pond  - take for example ‘The Lodger’ where the Doctor mentions to her that’s there’s something above him that threatens the whole universe and she’s worried about being thrown off into the timestream – like she’s saying ‘and the destruction of the universe itself, but what about MY problems.”

But in this episode there’s some very welcome focus on the Doctor and all he’s done for Earth in particular  - what’s really good is the bit when Craig tells him to stop being stupid and assuming it’s him that gets everyone in danger.

Not really much else to say – oh that he-killed-them-with-love thing is saved only by the way that the Doctor calls him out on it.

Next week River kills the Doctor! – why isn’t one-eyed lady any older?

Doctor Who Series 6 Episode 11 Review.

The beginning of this review was originally gonna be directed at Toby Whitehouse, as I was going to kindly ask him not to tease me with such wonderful lines as “Amy, regrettably, you’re fired” and the there attached thoughts that I may never have to put up with her shouting and elongating the last word of every SEN-TENCE! But then, Mr. Whitehouse went a spoilt that potential joke, by actually having Amy fired at the end of the episode! I’m not sure whether I’m happy or sad about that…wait no, I’m happy.

Is it just me or does this thing look stoned?

So this episode opens with a surreal Ashes to Ashes feel (even got a lost female copper narrating) which is somewhat ruined by a really fake gorilla suit  - I guess Moffat wasn’t lying when he estimated that he’d spent the whole budget on the first page of the Christmas episode.

David Walliams finally gets his chance to be in Doctor Who and he doesn’t disappoint, bringing forward a character that is simultaneously funny and sad. It’s also nice to see a celebrity guest in full make-up  - not since Gridlock has the main guest star been effectively disguised  - it’s a nice aspect and gives off the impression that Walliams was selected for his acting ability and not his popularity, unlike a certain Australian Pop Singer who appeared in one of T Davies’ Christmas specials. Walliams plays a creature that’s survived through surrendering and voluntarily being enslaved by whoever happens want enslave someone. A bit with him that I really liked was when the Doctor essentially told him to man-up, insinuating that, while constant surrender can lead to a higher rate of survival, bowing down and letting whichever force fancies an empire have it, is never the right thing to do. I like this bit mainly for the way that Walliams and Smith play it, with the former acting as though he’s saying something completely normal and latter acting as though he’s observing a unjustly dejected child – the 11^th Doctor, not doing as the 10th would and trying to empathise with him and not what the 9^th would and ignoring him, but straight up telling him he’s rather be here with someone wasn’t afraid of getting into a fight.

I’m starting to notice a trend of episodes moving a lot slower than they did in the Davies days  - which is fine so long as the ever-increasing pauses in the story progression have something good to fill them. When the Moff himself is at the helm, this issue isn’t especially important, as he’s quite good with filler comedy and his unnecessary, yet very entertaining dialogue pieces generally score around 6.5 Tarantinos. But, writer Toby Whitehouse doesn’t seem to have same level of comedic bravery and so parts of this episode fall flat as they slow down, causing the audience (or at lease me) to lose interest.

There is also a bit in this episode, where the process of events is running completely counter to the music. Look I don’t miss the uber-serious, REALLY LOUD, music of the Davies/Tennant era, but I’m not thrilled with whimsical chords being played as one of the characters dies. All other things aside, the music completely kills the creepiness and fright of the sequence.

And turns out the Doctor’s fear is pretty much like his name  - something we’ll never see  - either that or it was Russell T Davies with a cloister bell and type-writer – “Of course, who else?”

And so the ending  - the hotel turned out to be a TRON with a minotaur in it Amy and Rory got thrown out of the TARDIS – I’m pretty happy with it.

You know what I’m even more happy about, the key to killing the baddie was the companion fully accepting that the Doctor is a selfish and fallible man. There is a quote from the classic series, from way back in the days of William Hartnell that goes something like “you must call me Doctor, I am not a god, you must always call me Doctor”. The Tennant/Davies era lost sight of this quote, painting the Doctor as a god and proud of it.

Throughout the 11^th Doctor’s reign so far we have seen reversals of this viewpoint – he’s made massive mistakes, acted out of sheer blinding anger and mistreated his friends  - but to have the conclusion of an episode pivot on this aspect is a huge step in the right direction.

Torchwood Miracle Day: Episode 10

What a disappointment! I was starting to think that BBC had made a mistake and they should have fought harder to hold onto Russell T Davies, that he could have dug himself out the hole he’d got himself into with his overtly poor writing; that there was hope for him to redeem himself. Then he did this  - this episode of Torchwood is indicative of the reason that the Moff now gets to sit in the big chair on Doctor Who.

I’m gonna get right to the bits that ruin this episode  - they fed the blessing Jack’s blood, which caused it to make the whole human race to become immortal – ahem  THERE’S NOTHING SPECIAL ABOUT JACK’S BLOOD! This was the central reason that the Jack’s-blood-is-behind-this argument was dismissed. It’s been established that when Jack dies, he is resurrected by time itself  - it’s nothing to do with his DNA or any other part of his physical body. Jack said himself that there was nothing special about his blood, but maybe there was, maybe there was something special about Jack’s blood that not even he knew about. Fair enough, that might be the case, but do you know who would have known about it?

RUSSELL-T-DAVIES! If the only way he could resolve this story, was to contradict himself on a central point of the overarching story, he should have come up with a better story to begin with. As a viewer, I like being misdirected (for example in “The Pandorica Opens”) but I do not like being actively and deliberately misled, not through distracting me from the issue, but lying to me about a major aspect of the issue.

In series 5 of Doctor Who, Steven Moffat, at no point said that the TARDIS wasn’t going to explode, he simply used the Pandorica to disguise when it was going to explode and the fact that it was more important than the Pandorica  - this is good  - but going back and saying “forget what we said earlier” isn’t.

The more I thought about this, the more I realised that it’s just classic T Davies – he said that nothing could enter the Time War, then Dalek Kaan entered the Time War  - he said that parallel universes were all sealed off, then they weren’t  - he said the Time Lords could never come back, then they did - the man doesn’t know how to come up with ending that isn’t oxymoronic. 

The worst part is that, even if Jack’s blood was special, the whole idea doesn’t work. Evil blonde lady explains the whole thing by saying that people close to the blessing lived for exact average life span, suggesting that the blessing was responsible for the life span of every human on Earth and that those closest lived the average or ideal lifespan. So that would explain why immortality in America and the UK etc. wasn’t perfect, like Jack’s, because of the geographical distance from the blessing  - but in this episode alone we see people in the same city as the blessing become category 1 and they’re no more immortal then anyone else. According to the explanation given by the evil blonde lady, people in Shanghai and Buenos Eras should have been more immortal then everyone else, but they weren’t.

The worst part of this is that the idea that Jack could have been the cause of it all could have worked, if it hadn’t been done using his blood; something about him that we know not to be special at all. My personal hope, as soon as I found out Jack was mortal again, (perhaps influenced by the first half of series 6 of Who) was that Jack wasn’t Jack, but an imperfect copy of himself  - a flesh duplicate  - a clone, linked up to the real Jack, who’d been wired into the Blessing, so that it could use him to make the whole world immortal  - it would have been using Jack – all of him, not just one biological part of him and transmitting his temporally-factual nature to the whole world.

That could have been the Pandorica-esque misdirection  - the Jack we’d been watching could have been made from his own blood and been mortal precisely because there was nothing special about his blood. Does Davies even know what a red herring is?

Oh and why the hell does making everyone immortal, make Jack mortal? That’s not explained at all. Oh wait a minute it is  - blonde lady says that the workings of the blessing are beyond our intellect. Fuck that! Russell, explain your fucking villain - don’t you dare just say to the audience “don’t worry about trying to find sense in this thing you’re not smart enough to understand”.

Since the Moff took over Who there’s been some people complaining that the explanations given in his episodes are stupid. To them I say simply  - this is what you were willing to swallow before he took over  - shit just happening and then Russell telling you that it’s far too complicated for your little mind to grasp. The truth is, that the man doesn’t want to write endings that make sense; he doesn’t want to explain himself, because he knows that there’s nothing to explain  - in basic terms, you might think that Moffat’s explanations are flimsy (which they aren’t by the way) but at least he writes a story that gives you answers, instead of belittling you.

And Rex is immortal in the end – guess it must have been all that blood with nothing special about it at all that he transfused into himself. On that point, yes during the miracle transfusing large amounts of incompatible blood into yourself wouldn’t kill you, but it would still have an effect. If you’re going to say that someone having a heart attack has the same effect as normal, except it simply doesn’t kill them in the end, you can’t then say that pumping a suitcase worth of a foreign body into your system is not only, not going to kill you, but have virtually no effect what so ever. Davies is just making certain characters as immortal as the plot needs them to be.

So that’s that  - it’s really bad  - the conclusion makes no sense the cliffhanger makes no sense and the way that they start introducing a new ultimatum every thirty seconds, at crunch time is just utterly stupid.

This episode takes what was a steadily rising standard of quality and publically takes a dump on it.

I don’t know what’s worse, how bad this episode is, or that in a few weeks, episode 13 of Who is probably going to school it, on what a series finale should look like.

Doctor Who Series 6 Episode 10 Review.

It may have escaped your knowledge, but I’m not the biggest fan of Amy Pond and this happened to be an Amy Pond episode. Was I converted to the Pond fan group…err no, but that doesn't mean the episode's bad. I wasn't ever gonna like this one.

Ok, the episode over all wasn't for me but there were a couple of things I really liked about it; there was a good coffee shop based joke and Karen Gillan’s make up job as old Amy was top notch. But what I really liked came at the beginning of the episode when all the pieces had been put in place. When the Doctor figured out that Amy was in a faster time stream, I turned to my brother and cynically said “you’d need a time machine to fix that” under the assumption that the TARDIS would be somehow dismissed from the story by some technobabble. But as soon as we got back from the titles, the Doctor was all like ‘”this looks like a job for my time machine”.  Above other things, it’s nice to see the TARDIS being used to solve a problem and not simply deliver the principle cast to this week’s destination.

To be honest I didn’t exactly agree with the pace of the episode – seemed annoyingly slow at times.

I liked how older Amy effectively hated the Doctor – I have recently witnessed a Russell T Davies episode of Torchwood and even that managed to include some unrequited, unending love for the godlike being that is the Doctor. This aspect of old Amy’s character reflects on the Doctor; he’s fallible and others suffer for it. This was something that cropped up in series three and went painfully unexplored  - the issue of the Doctor abandoning Jack Harkness , leaving him scared and confused about how he was even alive. Jack waited a hundred years for the Doctor to appear for him, in which he built up a lot of resentment towards him…all of which is dealt with in a two minute scene, in which Jack calls the Doctor a racist and the Doctor laughs off his faults and puts his prejudices down to Timelord instincts and a difference of opinion about what a prejudice is.

In this episode, the issue is far better handled, with Matt Smith bringing a very real image of guilt to the surface of the Doctor and not just laughing it off.

Older Amy doesn’t seem to like her younger self that much  - I like that about her  - I’m not a woman or an expert on female behaviour (unless you count the trend of females avoiding me that I’ve measured), so I don’t really feel qualified to get into the whole female age and strength vs. youthful beauty thing, but just imagine only wanting to be somewhere with certain people, who just want to be in that same place with someone else who isn’t you – accept that person is you  - just a preferable (and by default better) version of you. I challenge anyone not to feel a hell of a lot of resentment with those kinds of elements in play.

On a lighter note Rory’s good in this episode  - a laugh out load moment comes with the line “I’m not alone, I’ve got my wives”

Not really much else to say – not exactly my cup of tea, but no one can say this episode is bad  - sure some of the fight scenes go a bit over the top and would be better in a 300 parody, but the end is actually quite moving.

We don’t see old Amy die though…wow, you know if I was her and I somehow survived that and still existed afterwards, I’d be really pissed off with the Doctor – I mean really pissed off - I’d try and amass forces and use my knowledge of the events of his life to manipulate him and generally start waging an “endless, bitter war” against him…hmm…just...you know, if I was her...

Torchwood Miracle Day: Episode 9.

So this episode opens with a voice cameo by Russell T Davies, which either means that the executive producer wanted to pay some homage to his own contribution to the show, or by this point in the series they’d used up too much of the budget to hire a voice actor.

One of the consequences of last week’s ending was that this episode had to start 2 months later. This is pretty frustrating to the audience, as even though it technically works, the “X time later” technique is well known as a classic screen-writing cop out. Also the fact that Jack’s almost totally healed is kind of annoying; it’s not really any different from him being immortal if the pace of story is just gonna jump ahead, every time he’s affected by the consequences of his mortality.

I thought that perhaps Esther and Jack were trying to find Torchwood 2, as they were in Scotland and that particular facility/single member to staff was known to be located in Glasgow, but that turned out to be a bit hopeful. But on reflection, it would have been a bit late to start introducing new characters, it’s just I’d have preferred to have Torchwood return to the UK to maybe clean up some of the teasers from the old series.

So Gwen’s a terrorist again, which you’re probably expecting me not to like, but as they gave her a reason and she doesn’t haplessly destroy the evidence of the injustice she’s perceiving, I've got no problem with it. I have noticed that she does seem to become more irrational and violent, when her daughter is threatened, but I’d say that’s pretty realistic. I mean I personally think that it’d have been better to make Gwen more protective of her daughter, rather than making her actively aggressive and violent towards anyone who she perceives as a threat. At first I thought they were doing some sort of stereotype reversal and Reece was going to be the one acting more like the mother of the baby, but then Reece started acting just as aggressive and violent as Gwen. I would hate to be around when those two have a marital argument.

The UK is now a police state. This bit is done pretty well – they don’t have armed police seizing people’s children like in the last series; the writers have simply turned the UK into a police state in possibly the most realistic way. It’s been done through backdoor legislation. And if anyone thinks this isn’t realistic, observe how many people have been detained under the anti-terror laws brought in since 9/11 and the London Bombings and then compare it with the amount of those arrested and detained who were actually found to have any links to the crimes named in the Acts.

The best part of this approach is that it’s done through less subtle means than just stating that most people’s human rights have gone. For example, the category 1 investigator guy has the right break down the door of anyone he suspects is harboring a category 1 – which means he can break into anyone’s house  - any given person, he can just override their right to privacy and just burst into their house and all he has to say is that he suspected that there was someone who should be dead in there. None of this is expressly stated and that’s what makes it so effective.

On that point, I’m kinda on the fence about the Category 1 searcher guy. One part of me, says that they made him too sadistic to be realistic and that anyone tasked with hunting down still living people and having them burnt alive, would only ever do so begrudgingly and that he’s only written the way he is to avoid the audience inadvertently trying to identify with him. However, another part of me says, that if a situation like the one in this series arose, who but barely disguised sadists would step to do the job of breaking down peoples’ doors and taking their husbands/fathers/wives/children away to be burnt alive?

It was good to see the whole Category 1 thing up close  - up until this point we’ve been kept at arms length from the issue, only knowing that people deemed category 1 are being burnt. Actually seeing someone (in this case Gwen’s father) being taken off to be burnt, while still writhing and very much alive really puts the audience much closer to the issue.

That said, the whole writhing and groaning thing suggests he’s not Category 1 – as I understood it, Category 1 was supposed to be those with no brain activity (which is already the UK’s legal definition of death) – the only difference between reality and Torchwood in this respect is that ordinarily such a person would require a ventilator and other life support systems to keep their body alive.

It could, therefore, be argued that Gwen’s father being Category 1 may be a bit contrived and just there to keep the main cast linked to the issue  - I don’t know I’m not an expert in life support and such.

On a lighter note, it turns out Charlotte’s gay  - just thought I’d mention it, as I liked the way it was just thrown in there as an aside and none of the other characters questioned it. It might have been bit of social commentary on how much progress has been made, given the gay vs religion arguments of previous episodes.

It’s also quite 24-esque the way, that everyone’s feeding Charlotte information, but the audience already knows she’s a mole.

Oswald Danes has joined the Torchwood team, which is either a very controversial decision or a massive misunderstanding of diversity requirements – Now Torchwood, you’ve had an omnisexual time agent, a bisexual butler and an Asian chick  - get a paedophile and you’ll be eligible for that all important tax relief.

All in all, this was a good episode; I’d have preferred to see a tad more progression and I’m not sure how much is actually gonna be explained in the finale next week – if you remember the finale of series four of Doctor Who (and if you’ve found a way to forget that, please get in contact) then you’ll know that T Davies does have a habit of just that thing happen because…and then not saying anything more. If we don't get beyond, the blessing is a big gap, I will never forgive him...

Doctor Who Series 6 Episode 9 Review.

Ahem…Meh.

So we had the standard creepy swing to kick this episode off, followed by half an episode of Rory and Amy running round a dolls house. To be honest I got a little bored  - I mean I like things like the in-joke that crops up when Rory announces that he’s dead again, but the progress speed of this episode just wasn’t friendly. The villains looked scary enough in the trailer, but writer Mark Gatiss didn’t seem to have a lot do with them. Allowing about 25 minutes of the episode to pass before revealing them properly. Since they’d already been seen in the trailer their appearance wasn’t exactly shocking. Their ability to make others like them was kinda scary, but also exactly the same as that of the empty child, which doesn’t seem very original to me. However, to stick with that comparison, I have to admit the bit with Rory and Amy trying to hold off the doll thing on the other side of the door was more creepy than the empty child.

Oh for all those not happy about Rory growing a pair of testicles recently, you’ll be just thrilled to see that he’s rapidly getting back to whiny, annoying old self.

It’s a nice change to see Amy negatively affected by the aliens for once and not Rory being used a device for showing how mortal the companions are. It’s also nice and original to see the popular companion made faceless, all her personality stripped away and her body placed at the mercy of the baddies  - oh my mistake, it’s exactly the same thing Gatiss did with Rose in “The Idiot’s Lantern.”

This lack of originality doesn’t detract majorly from the shock factor of seeing Amy like this, but this kind of formulaic writing does irritate me sometimes. But do you know what definitely wasn’t unoriginal, the fact that the principle cast were miniaturized, in order to be placed inside another setting  - wait a minute!

Another thing about this episode, was that I found it a bit predictable and the end reveal a little obvious. I guessed that the kid was behind it all in the first five minutes and consequently lost a fair bit of interest in the whole investigatory part of episode.

What I will say is that Matt Smith pretty much carries heaps of this episode and the really prominent performance stuff comes in the obiter  - the Doctor playing around with the little kid is quite fun to watch and it allows Gatiss to throw in remark to remind everyone that the Doctor once had children. He also throws out a teaser in that the Doctor implies that he’s about 1000 years old now, meaning he’s only got roughly 100 years left to live (but next episode involves time accelerating, so maybe even less than that).

Not really much else to say, this episode is a fairly undisguised metaphor for childhood fears (everything George was afraid of, he had made up himself).

It’s quite Freudian the way George’s fear of rejection manifests as Panophobia, but I got the impression that it was designed that way for all the parents watching. Not to my tastes, as I really prefer to have my sonic screwdrivers and daddy issues presented in separate programs.

I’m giving this one a solid ‘meh’

Oh and I’m like 90% sure that the reason no one knows what “the question” is, is that it’s being hidden by some sort of perception filter…

Torchwood Miracle Day: Episode 8

Well hump me sideways, another improvement  - I was fully expecting the pattern of “alright-bad-alright-bad” to make a return this week (with the expected “bad”), but no such misfortunes have occurred.

So, first things first  - last week got 500+ complaints on account of the gay love scene. The complainant groups are insisting that it’s nothing to do with fact that the scenes were homosexual in nature, but that they weren’t “suitable for children” and “Not essential to the story”. 

On the first point; this is a post-watershed program with a sexual content warning before it starts, Of course it’s not suitable for children! That’s the point of putting it after the watershed and saying “this isn’t suitable for children” before it starts. If you don’t think sex scenes are appropriate for children, how about getting the children to leave the room, when you’re warned about them or change the channel or turn the television off.

I get so fucking sick of people who think that the BBC has some sort of responsibility to impose morality on people and make programs ‘safe’ for all ages. This group of people, as summed up by the parody in the Simpsons can be referred to as the ‘think of the children’ group and they are some of the most logically flawed people in the world. They are a group of people seemingly motivated by the idea that they are not responsible for ensuring that their children develop healthy morals, instead believing that wider parts of society and media entertainment should take on the burden. Their constant motto of ‘think of children’ can be countered by a simple turn in the phrase, along the lines of ‘why don’t YOU think of YOUR children.’ It is not the BBC’s (or any other channels) responsibility to make a program designed for adults safe for children. Warning is given and the program is aired after the watershed  - so anyone who shares the not suitable for children line, should go ahead and take a look at the fact that the BBC said it wasn’t suitable for children. If they let their children watch it, it’s their own fault not the BBC’s.

On the other point  - not essential to the story? Could the same story have been told without the sex scene? Possibly, but it would have been harder and taken a lot longer to get through. When you’re writing a love story for television, depicting sex is frequently the fastest method of establishing the extent of a relationship. Plus, the element of sex cropping up in this case actually makes the love story far more believable. The majority of relationships begin with attraction (the minority being arranged marriages and such) and part, if not all, of that attraction is sexual. The presence of sex makes the relationship between Jack and Anjelo a hell of a lot more plausible than for example the “relationship” between Rose and the Doctor – and I’m not saying that there should have been sex in Doctor Who, just that the relationship between Rose and the Doctor was completely devoid of any kind of sexual attraction, which made it seem contrived.

But here I am yelling about sex and such and everybody who hasn’t stopped reading already is probably wondering what I thought of this episode. It was pretty good; so for anyone keeping score, in the last six days we’ve had a pretty damn good episode of Doctor Who and a pretty damn good episode of Torchwood, meaning the table now reads: Moffat – 6, Davies – 1.

The strength of this episode comes from the fact that it starts acting like Torchwood again. For the past few weeks we’ve had a CIA/outlaw thriller intersected by random rip-offs from popular American shows. Now, we’ve got a shiny piece of alien technology doing what alien technology does best in Torchwood, setting up the plot of the episode. The ‘null field’ is a nice reminder that this series is a relative of Doctor Who and the way that Jack protects it brings back memories of the good old days when Torchwood ran the show.

Incidentally, there is a great performance by John de Lancie as a high up CIA agent. Anyone who ever watched Star Trek: The Next Generation will recognise parts of his arrogance as that of “Q” and might accuse him of playing basically the same character as he did opposite Patrick Stewart, but hey Q was a pretty damn entertaining character in that show and if it ain’t broke don’t fix it. 

We finally see Oswald Danes crack and get some sense that things are starting to move against him  - It was starting to get ridiculous having a paedophile running around amassing followers with no one trying to get him thrown back in prison or kill him.

There was one thing I didn’t like and that was Gwen, When De Lancie’s character gets tired of her and orders her deportation, she effectively has a strop, knocking stuff on the floor as she goes and yelling at people. So as well as being liable to turn into terrorist, given the right stimuli, apparently, when provoked, Gwen will also turn into a fourteen year old, if John de Lancie tells her she’s been misbehaving. Look, I like Gwen, she’s a good character and I’m sure she’s instrumental in teaching mainstream America that Wales exists, but I’d just like this kind of behaviour to be toned down. It’s immature and kind of strips the character of all dignity, more than anything else she’s starting to remind me of an angry football hooligan. 

Her reaction gives off the impression that de Lancie was right to deport her; I wouldn’t want to work with someone whose going to keep crucial bits of information from me and then have a tantrum when I come up punishment for trying to sabotage my investigation. And to be fair, Gwen acts like a child for most of this episode and really pisses me off. “No I’m not English and no I’m not a girl” – well don’t act like a fucking little girl then.

But this does raise one good question. Is there a narrative reason that Gwen’s being sent back to Wales? We know that Anjelo salvaged the null thingy from the Torchwood hub in Cardiff  - is there any more alien tech knocking about in the Welsh capital? Does the hub have some sort of TARDIS like ability to repair itself, so it can play a role? Is the Cardiff rift involved in the miracle?

Oh and I was wrong about Jack’s blood, but I’m happy about that  - if it was that easy to make an immortal, then the old Torchwood would have had Jack hooked up to a blood harvester the second they figured it out.

We have two more episodes left and to be honest, I’m excited about them.  As far as this one goes, it’s good  - alien tech, solid story and good tense ending.

Oh and preview thoughts  - “corner of your eye” – anyone else thinking a perception filter has some role to play?