Written by Joseph Lidster
​Directed by Barnaby Edwards
Starring: Tracy-Ann Oberman (Yvonne Hartman), Gareth Armstrong (Barry Jackson), Rebecca Lacey (Helen Evans), Dan Starkey (Ross Bevan), Catrin Stewart (Meredith Bevan)
​Released by Big Finish Productions - December 2015

For better or for worse, the quirky premise powering the fourth instalment in Big Finish's first season of Torchwood ​initially sounds more akin to that of a parody take on the original series as opposed to a respectful continuation of what came before; after all, can you really imagine one of the intrepid Torchwood Three team ever spending almost an entire episode roaming the intoxicated (both metaphorically and ​literally, in this case) streets of Cardiff in the hope of protecting local mayoral candidates from a series of grisly demises? Either way, that's precisely the situation which Yvonne Hartman, the short-lived commander in chief of Canary Wharf's Torchwood One who had both her entrance and exit in 2006's two-part Doctor Who ​serial "Army of Ghosts / Doomsday", finds herself in as she travels over from England's capital to Cardiff Bay just three weeks after both cities fell under siege from the Nestene Consciousness' Auton armies in March 2005.

It perhaps shouldn't come as a great surprise to any keen follower of the Whoniverse that far from the aforementioned extraterrestrial attack seeming to have had any noteworthy impact on Welsh society's apparently universal (at least if the manner in which One Rule ​depicts England's neigbours is any indication) appetite for an extravagant, no holds barred nightlife, life appears to have moved on in such a way that Cardiff's residents regard the attempted invasion more as a running joke than anything else. Indeed, in a similar vein, this reviewer couldn't help but gain the suspicion that whereas The Conspiracy and in particular last month's ​Forgotten Lives ​were intended to serve as reminders that the darker, often more enticing elements of Torchwood ​as a franchise still live on in aural form, Joseph Lidster hoped to demonstrate that much of the humour which came to define the show over the course of its five-year tenure still resides in Big Finish's adaptation, even if doing so meant crafting a more simplistic, inconsequential piece of drama than its recent predecessors.

In case any readers are wondering based on that sweeping assertion whether Lidster's latest addition to the history of the organisation which still insists on branding itself as being "outside the government, beyond the police" doesn't deserve their time, rest assured that whilst it's far from the series' finest hour to date (either in terms of its newly-conceived audio incarnation or in terms of the overall saga which began life way back in 2006 with the aptly-named "Everything Changes" on BBC Three), One Rule ​still provides its listeners with more than enough in the way of laughs, memorably exaggerated set-pieces (most of which brilliantly play on Yvonne's undisguised disdain for the working class by placing the character in an all manner of situations where social etiquette is immediately thrown out of the window) and intelligent references to the programme's now less than recent history - look out in particular for an unexpected development with regards to Ianto's burgeoning romantic relations with a certain soon-to-be "Cyberwoman" - to warrant its asking price. There's no doubting that Lidster still holds just as keen an understanding of what the Torchwood ​fan-base was surely looking for from this quasi-prequel tale (not least some insight into Torchwood One's perspective on everyone's favourite ragtag team of Welsh secret agents) and better yet, how best to exploit Tracey-Ann Oberman's character so as to ensure she reaches her full potential here.

Of course, had Oberman not brought the trademark wit, droll outlook on the so-called British Empire in its current state and vengeful charisma which rendered her somewhat tragic construct as such an instantaneous hit in the eyes of fans in 2006, then Lidster's efforts to resurrect Yvonne in style might well have been fruitless at best. As was the case with John Barrowman in September, Gareth David-Lloyd in October and the dynamic duo of Eve Myles and Kai Owen just two short months ago, however, the ​Eastenders ​star brings with her all of those qualities and so much more, infusing ​One Rule ​with a relentless sense of energy and momentum even when its central plot arc - which rarely taps into themes much deeper than surface-level political corruption or the needlessly selfish aspects of human nature - grinds to a halt for no other reason than to have her character down another pint or find herself the subject of social ridicule as a result of the state in which her increasingly digressive mission leaves her. This isn't to say that Lidster and / or Big Finish need necessarily hurry to invite Oberman back for further appearances in the role, but rather that if they elect to take this approach, then even if Ms. Hartman's next outing falls similarly short in terms of overall narrative ambition, then at least we can breathe a sigh of relief, safe in the knowledge that having her at the reins will at least guarantee the audience a hilarious (albeit low-octane) ride.

Yet if Oberman represents this oft-uninspiring fourth chapter's saving grace, then unfortunately, her co-stars can easily be singled out as one of the primary factors behind its failure to captivate: neither Gareth Armstrong nor Rebecca Lacey afford their respective councillors any more enthusiasm or political / emotional nuances than the script asks of them, instead simply casting both constructs as wholly one-dimensional Welsh citizens, with only Lacey's Helen Evans coming anywhere close to representing an empathetic construct as she enters into a brief discussion with Yvonne on the subject of her somewhat empowering approach to politics late in the day. Worse still, whilst one could arguably have relied upon the Paternoster Gang's own Dan Starkey and Catrin Stewart to elevate proceedings to a certain extent in most cases, the married couple the pair portray barely make it through a single scene before taking their leave, meaning that neither of the two talented thespians receive more than the briefest of moments to leave an impact despite them having more than proved their joint ability to hold their own in recent Who ​serials such as "The Crimson Horror" and "Deep Breath". Naturally, some characters in an action-driven storyline must inevitably exist only to progress said narrative with their untimely departures, yet to have Starkey and ​Stewart fulfil such menial roles when they might well have served the release as a whole better had they traded places with Armstrong and Lacey seems a counter-productive move on either Lidster or the studio's part(s) at best.

Nevertheless, even if ​Torchwood: One Rule ​won't likely go down as a prime example of what makes Big Finish the strongest possible candidate to carry the show's legacy in its hands now that its televisual days are seemingly done, that it's still a far superior effort to many of the studio's monthly main Who ​releases (at least from this reviewer's modest perspective) should at least instil fans with a fair degree of confidence about the programme's immediate future on the airwaves. Oberman still presents the audience with an authentic, laugh-out-loud take on her character a decade on from her memorable on-screen debut, Lidster's script - while lacking in meaty thematic material - undeniably achieves its goal of taking the series in a more light-hearted, casual direction than was the case with the overly melodramatic Miracle Day ​(the less said about which, the better!) in 2011, and for what it's worth, despite their contributions only amounting to cameos, both Starkey and Stewart do a fine job of attempting to redeem the title's otherwise wholly underwhelming supporting cast ensemble. David Llewellyn's masterful season opener The Conspiracy ​still doesn't have anything to worry about in terms of maintaining its place on Big Finish's recently-erected Torchwood ​throne, but all the same, thanks in no small part to Oberman's return to the role, devotees of the British Empire's most dedicated servant will still find plenty to love this time around.

Torchwood: Forgotten Lives
Written by Emma Reeves
Directed by Scott Handcock
Starring: Eve Myles (Gwen Cooper); Kai Owen (Rhys Williams); Philip Bond (Griffith); Valmai Jones (Elenudd); Sean Carlsen (Gary) and Emma Reeves (Ceri / Nurse Bevan)
Released by Big Finish Productions - November 2015​​​​

If confining the events of last month’s Torchwood: Fall to Earth to a single setting in the form of a crashing spaceship seemed like a bold move on the part of writer James Goss, then his successor Emma Reeves’ decision to have the majority of her first Torchwood audio drama, Forgotten Lives, take place within the grounds of a residence for the elderly might suggest to some that she’s bordering on insanity. There’s most certainly method to Reeves’ madness, though, since in removing the show’s most compelling two lead characters from their isolation in the Welsh countryside and having them venture into the Bryn Offa Nursing Home, she effectively ensures from the outset that listeners can expect a yarn quite unlike anything they’ve heard or witnessed in the series’ history.

In case any of our readers hadn’t already heard or gleaned the information from the cover art, the beloved duo in question comprises of Eve Myles and Kai Owen, returning to voice Gwen Cooper and Rhys Williams respectively as the ever-ambitious couple attempt with great difficulty to balance their increasingly strained relationship with their child Anwen alongside their efforts to seclude themselves from the rest of the world after the events of Miracle Day, only to be drawn into a new mission after Myles’ justifiably distrusting character receives a mysterious phone call relating to a figure who claims to herald from her not-so-distant past. Sure, this could be construed as a less explosive means by which to thrust the pair back into action than was the case when governmental forces destroyed their household in Season Four, but given the lack of critical acclaim with which that run was met by overall, perhaps that’s for the best.

Regardless, like Barrowman and David-Lloyd before them (and like Tracy-Anne Oberman in this month’s Torchwood release, One Rule, one would hope), neither Myles nor Owen appears to have any problem reviving the humility, the unyielding internal conflicts between duty and family, the dark yet somehow heart-warming humour and the universally empathetic yet oh-so-inherently Welsh romantic bond which made their constructs such an instantaneous hit with fans from the get-go in the original TV show. What’s more, whereas Barrowman’s Jack Harkness didn’t offer much in the way of surprises in The Conspiracy – one of the only minor faults with what’s still probably the range’s finest outing to date – Emma Reeves pays just as much attention as Goss to portraying both Gwen and Rhys in a wholly different light, partially by having them interact with Anwen – in a range of rather unique ways, we might add – on occasion and partially by exploring their relationship with Jack from an unprecedented angle that casts a refreshing new light on the extent to which the latter went to in the early years of the show in manipulating his friends to step once more unto the breach regardless of the danger involved with doing so.

This noteworthy emphasis from Reeves on leaving a substantial impact upon the show’s characters extends also to the potential bearing the events of Forgotten Lives may have on Torchwood’s future at Big Finish; although after last month’s seemingly narratively inconsequential Fall to Earth, there’ll most likely be those starting to wonder whether the studio will employ a similar tactic to Steven Moffat in terms of plot arcs, structuring their seasons in such a manner that their major revelations only come into play during the penultimate or final instalments, yet quite to the contrary, any fans who elect to skip past this one for whatever reason might well come to quickly regret the move given how significantly the far-from-isolated tale presented here appears to overhaul the playing field for subsequent releases in the range. At the same time, the argument could be made that Reeves’ storyline quickly becomes so constrained by the need to further Season One’s overall arc that it’ll neither satisfy as a standalone listening experience or indeed be remembered for its own merits rather than as a cog in an admittedly increasingly promising machine. With any luck this flaw should be remedied with our trip back to 2005 in the Oberman-led One Rule, but it’s still a great shame that Forgotten Lives’ ambition in terms of taking Torchwood in a new direction not only for now but forevermore is as much a detrimental factor as it is a USP, even if the final few minutes are absolutely guaranteed to leave fans the world over absolutely chomping at the bit to see what’s next for Gwen in February’s More than Us.

Let’s not get too bogged down with the release’s negative aspects, though, since as well as boasting the returns of Torchwood’s two most dedicated members, this largely accomplished third release moreover sports one hell of a fine supporting cast ensemble. From Philip Bond’s simultaneously charismatic and mournful take on enigmatic pensioner Mr Griffith to Sean Carlsen’s frantic yet believable portrayal as Gary, Bryn Offa’s head caretaker, to Emma Reeve’s own unexpected but similarly memorable cameos as both female resident Ceri and Nurse Bevan, each and every vocal contributor excels in reminding us that while two-hand dramas like Fall to Earth can represent a welcome treat from time to time, Big Finish’s real talents tend to lie in utilizing the traditional full-cast audio drama format of their releases to their immense advantage, with each character receiving their own tangible arc whilst not impeaching on Gwen and Rhys’ remarkably substantial individual development to any detrimental extent.

As we reach the halfway point of Big Finish’s first season of Torchwood adventures, then, where do the studio currently stand in terms of the success with which they’ve resurrected the famed Doctor Who spin-off? Well, if The Conspiracy, Fall to Earth and now Forgotten Lives are indicative of the attention to detail that James Goss and company are aiming to continually pay in terms of offering the show’s leads new and occasionally audacious territory to explore, hunting down a wide array of supporting players who are more than capable of matching the series’ central cast for charm and memorability and devising progressive storylines which move the programme’s mythology as far from the detrimental constraints of the Miracle arc as humanly possible, then the light at the end of the tunnel which emerged four years after the series’ cancellation with the announcement of its audio revival should only grow brighter in the months ahead. That said, whilst the latter release’s commitment to furthering the overarching plot of Season One marks a refreshing departure from most audio series’ tendencies to hold back on substantial developments until their concluding chapters, it’s difficult not to hope that should Reeves be invited back for next year’s March-August run, she’s afforded the opportunity to leave her mark on Torchwood history not by producing an arc-dependent script but instead a captivating standalone effort in its own right, since despite its unique setting, Forgotten Lives ultimately feels too tied to both the show’s past and future to be regarded as anything but an above-average piece of connective tissue at best.

Torchwood: Fall to Earth
Written by James Goss
Directed by Scott Handcock
​​Starring: Gareth David-Lloyd (Ianto Jones); Lisa Zahra (Zeynep)
Released by Big Finish Productions - October 2015​

“Don’t forget me.”

“Never could.”

“In a thousand years’ time, you won’t remember me.”

“Yes, I will. I promise, I will.”

Half a dozen years may have passed since Ianto Jones bade his love an emotional farewell with these heart-breaking words in Torchwood: Children of Earth’s devastating third instalment, but this much is certain – while we’ll have to wait for Jack’s first post-Miracle Day adventure courtesy of Big Finish before knowing whether he kept his promise to his most faithful companion, judging by the still-standing memorial erected in the character’s honour down on Cardiff Bay shortly after his demise, fans haven’t shown any signs whatsoever of forgetting him as of yet.

Indeed, such is Ianto’s immense appeal that from the moment Big Finish confirmed that Gareth David-Lloyd would reprise the role in the second of their Torchwood audio dramas, Fall to Earth, the release in question almost instantaneously seemed to become the most anticipated instalment of Season One – or Season Five, depending on how one views this freshman run in terms of its canonicity and chronology – outclassing even the John Barrowman-led The Conspiracy or the Eve Myles and Kai Owen-starring Forgotten Lives to the extent that his return in future seasons now seems all but guaranteed despite Mr. Jones’ present posthumous status. Yes, for those wondering, despite David-Lloyd taking on the leading role this time around, his character hasn’t somehow been resurrected via a hallucination as was the case in BBC Radio 4’s 2011 drama The Lost Files: House of the Dead, but instead features in a seemingly standalone storyline which appears to take place sometime around the events of Season Two – although once again, don’t expect much in the way of direct references to the rest of the team beyond a couple of passing namechecks. All the same, though, even if we won’t be seeing Ianto’s eternal slumber interrupted in the near future, judging by the strength of David-Lloyd’s performance, more flashback outings certainly wouldn’t be unwelcome.

Not only does he recapture the innocence, the somewhat dry wit and above all the infrequent recklessness that made his character such a joy to watch develop in the first three seasons of the show’s televised run, but in the small space of just an hour of air-time, he simultaneously manages to endow his construct with new facets such as a profound fear of dying alone, a renewed emphasis on proving himself to a team who (rightly or wrongly) too often view him as a “coffee boy” at best and a surprising willingness to sacrifice his life for the cause in the hope that this will at least ensure his teammates’ hard-earned respect if nothing else. What with all of the hype surrounding this release in particular, few could have blamed either David-Lloyd or indeed writer James Goss for resting on their laurels in an attempt to simply depict Ianto in as quintessential a manner as possible, which makes their efforts to achieve precisely the opposite that much worthier of credit aplenty.

Speaking of Goss, this reviewer has started to lose count of the number of accomplished contributions the man behind the recent novelisation of City of Death has made to the so-called Whoniverse in recent years – incidentally, the short story he’s written for the just-released hardback novel, Doctor Who: Legends of Ashildr, comes highly recommended too – and by no means does his third Torchwood audio storyline fall short of the mark either. It’s certainly not a game-changer in the same vein as The Conspiracy was with its integration of social media, conspiracy theory-driven bloggers and other topical elements which affect today’s secret agency into its array of storytelling methods, yet there’s still something refreshing about the way in which Goss crafts the entirety of his simple yet engaging narrative around two characters, one of whom (Ianto, for those wondering) must spend what appear to be the final moments of his life attempting to convince the other, a telesales assistant going by the name of Zeynep, that without her assistance, the plane he’s currently in the midst of piloting will surely crash and burn, doubtless taking countless lives in the process. Such a unique dynamic as this naturally lends itself far more to the format of an audio drama than it would have to any of Torchwood’s televised outings, and true to form, Goss takes full advantage of the rare nature of his opportunity, throwing various spanners in the mix so as to keep both the listeners and the characters on their toes – an aspect of the tale of which director Scott Handcock takes full advantage by cutting from Ianto to Zeynep to some of the external forces threatening the former with a tension-inducing rapidity –  but equally giving his lead performers just as much chance to shine as Peter Capaldi received from Steven Moffat in “Heaven Sent” just a few short weeks ago.

Of course, had the casting team at Big Finish found anyone other than the ideal actress to portray Zeynep in an initially clueless but gradually endearing manner, then much of the astounding work done by Goss in the scriptwriting department would arguably have been for nought. Enter Lisa Zahra, who handles her character’s aforementioned transition with such ease that anyone listening with no knowledge whatsoever of Torchwood’s past on TV might genuinely begin to wonder whether she has featured on the series before in some capacity. Few instances come to mind where one of the show’s weekly supporting cast members has slotted into their role with such effortless aplomb as is the case with Zahra, nor where they’ve instantly demonstrated the potential to be able to capture the audience’s attention for virtually the entirety of an episode’s running time as is required of this fast-learning newcomer here. If there’s one criticism to be made of Zeynep as a character, it’s that we’ve seen the tale of a hapless bystander who by unlikely coincidence ends up helping our protagonist and in doing so having something of an epiphany about their own life to date, but again, Goss does his utmost to turn the listener’s preconceptions about storylines of this ilk on their heads in revealing further details on the nature of Zeynep’s involvement with the company behind the experimental Skypuncher space-cruiser Ianto’s flying come the third act, even it’s still not quite enough of a rug-pull moment to justify the ever-so-slightly clichéd approach.

Whilst Fall to Earth has its minor shortcomings, however, the same can be said of virtually any audio drama on the market at the moment, and whereas some of Big Finish’s more recent releases like Doctor Who: The Warehouse have all but completely succumbed to their faults, thanks to its stunning lead performances, compellingly-structured (if at times predictable) script and fast-paced direction, the studio’s sophomore Torchwood release without question boasts more than enough in the way of commendable merits to at the very least warrant a single listen from anyone who dares call him or herself a fan of the original TV series, and will doubtless serve just as significant a purpose in sustaining Ianto Jones’ surely eternal cultural legacy as his Cardiff Bay memorial. Perhaps in a thousand years’ time, Jack won’t remember his former lover, but provided that Big Finish continue to capitalize on David-Lloyd’s evident enthusiasm for the character and his immediate future, there’s every chance that come 3015, new generation of fans will still remember the “coffee boy” who gave his life to stop the 456 a thousand and six years before. The Skypuncher may have experienced a Fall to Earth, then, but far from it looking set to follow a similar trajectory, Ianto Jones’ appeal may well only continue to rise with future appearances – and quite right, too.

Torchwood: The Conspiracy
Wriiten by David Llewellyn
Directed by Scott Hancock
Starring: John Barrowman (Captain Jack); John Sessions (Wilson); Sarah Ovens (Kate); Dan Bottomley (Sam)
Released by Big Finish Productions - September 2015

“The twenty-first century is when everything changes – and Torchwood is ready.”

They’re not alone, either: echoing this memorable guiding mantra to a tee, Big Finish have spared no expense to ensure that the first instalment in their new series of Torchwood audio releases mirrors its televised source material, demonstrating just as much innovation, engaging storytelling and political layers as audiences could possibly hope for from a budding drama coming to the market in 2015. Indeed, where some of the studio’s recent titles like Jago & Litefoot and last month’s The Sixth Doctor – The Last Adventure justifiably kept one foot lodged firmly in the past so as to entice fans of their respective eras, The Conspiracy instead goes remarkably far out of its way to remind its listeners that it’s a modern beast through and through, not only via its aforementioned dramatic ambition but moreover its integration of contemporary social forums aplenty in an enviably seamless fashion. From pre-recorded voice messages to nifty Instagram posts to local radio interviews, the number of narrative elements which have been plucked straight from our present cultural stratosphere into this captivating opening instalment’s web beggar belief.

On the surface this renewed emphasis from Conspiracy’s honoured wright, David Llewellyn, on clearly establishing – or rather re-establishing in the case of the show’s considerable band of followers, although newcomers needn’t feel daunted about stepping aboard for the impressively accessible ride – his storyline’s setting as here and now mightn’t seem a particularly revolutionary contributory element, yet its effect on the overall listening experience couldn’t be more profound if it tried. One sequence in particular perfectly encapsulates its impact, in fact; as the ever-dedicated, ever-eternal Captain Jack Harkness investigates the seemingly innocuous ramblings of populist conspiracy theorist George Wilson regarding a seedy, seemingly omniscient organisation dubbed only “the Committee”, all the while relating his progress to the listeners and his teammates (none of whom are referenced directly beyond a single namecheck for Gwen Cooper, though we’re all but certainly looking at a pre-“Exit Wounds” mission here), he comes across an intrepid YouTube blogger who carries suspicious knowledge of the supposedly covert organisation based beneath Cardiff Bay. This chance encounter in turn prompts Jack to momentarily digress from his retelling of the day’s events in order to play us a subsequent clip from the budding reporter’s portfolio concerning Torchwood – a simple conceit to be sure, but one which works wonders in terms of revealing new, semi-paranoid layers to the construct in question, doubling the sense that we’re listening in on a fictional Earth near identical to our own, whilst only taking up a few moments of our time before we’re returned to Harkness’ ongoing interview-turned-interrogation of Wilson without so much as a hint of narrative disconnect. Insignificant as they may seem when viewed in isolation, it’s small moments such as this one which make all the difference with regards to the scribe’s valiant efforts to establish the latest franchise to have fallen into Big Finish’s lap as every bit as compelling a contender as its predecessors.

Had there not been an accomplished central cast ensemble present to back Llewellyn’s thoroughly contemporary script, however, all might have been nought; just look at how the original Cardiff-set TV drama’s lesser efforts such as “Cyberwoman” and “Sleeper” fared with viewers upon presenting them with scarcely memorable secondary performers, then in contrast at how the likes of Susan Brown and a certain Mr. Peter Capaldi elevated “Children of Earth” to previously unthinkable levels of gravitas with their work as Bridget Spears and her ultimately pathos-ridden employer just half a dozen short years ago. Enter John Barrowman, who – despite not having played the supposed “Face of Boe” on-screen since 2011’s divisive Miracle Day – steps back into the role of Jack as if not a day has passed since we last heard the ex-Time Agent’s charming voice, lending the entire production a characteristically jovial feel throughout. Regardless of whether he’s matching wits with Wilson’s marvellously sly daughter Kate (portrayed with delicious aplomb by Sarah Ovens), contemplating the need for answers in today’s world of alleged transparency with Wilson himself (prepare to be taken aback by John Sessions’ understated yet wholly believable take on what could easily have been a one-dimensional construct in the wrong vocal chords) or realising the consequences of his team’s increased publicity as his conversations with Dan Bottomley’s simultaneously intrusive and touchingly vulnerable reporter Sam Hallett take a turn for the deadly, the voice behind one of Doctor Who’s best-loved recurring heroes delivers to nothing less than an impeccable extent. Little wonder, then, that despite its relative lack of stakes-raising set-pieces, in contrast to recent instalments in Big Finish’s output such as the hugely underwhelming The Warehouse, The Conspiracy never seems poised to lose its audience’s attention, since Barrowman, Bottomley and company each bring such unrelenting energy to the table this time around.

Whilst we’re on the subject of individual commendations, let’s not forget the oft-overlooked yet undeniably sterling work done by everyone involved with the Torchwood range’s sound design behind-the-scenes. It’s one feat to yank across the audio effects used to depict the technologically brimming, almost sentient landscape of the team’s iconic Hub so as to strengthen the dominant sense that we’re very much bearing witness to a direct continuation of the original series here, yet to balance the volumes and background effects involved with rendering Jack’s narration, his past interactions with Wilson et al, the slightly distorted audio of videos recorded primarily for viewing on mobile devices and various other text-within-a-text scenarios takes true talent of the highest degree, talent which many devoted followers of all things Big Finish might argue (completely justifiably in this case, we should add) that only the Berkshire-based studio’s diligent band of technical wizards possesses. Indeed, given that this reviewer at times unashamedly favours literary evaluation which primarily critiques narrative and where relevant performances, it’s telling when an aesthetic or aural aspect catches his eye or ear, and in this instance, there’s certainly no getting around the extent to which the dramatic weight of the overall piece would suffer were we to remove the nameless geniuses whose invaluable work began after recording from the equation.

Now, chances are some readers have been sticking around this long in order to reach this critique’s inevitable “but…”, yet aside from the rather abrupt manner in which Llewellyn (no doubt hoping to allow his successors ample room to develop upon the Committee’s still largely ambiguous plans for Earth) brings his otherwise faultless tale to a close and the lack of much in the way of tangible character development for Jack beyond yet another unfortunate blast from his past, it’s astoundingly difficult to pinpoint much about which one can complain in any great substance here – an unexpected result indeed, particularly given how long Big Finish have already spent dabbling in the realms of audio storytelling to date. Then again, throughout its five or so years on air, Torchwood always dared to subvert expectations in the most spectacular fashion, and in this respect its stunning latest outing hasn’t let the side down in the slightest; quite to the contrary, The Conspiracy holds the even rarer honour of ranking, at least in this reviewer’s humble opinion, as one of the studio’s most thrilling, finely-paced, strongly performed and therefore satisfying works yet, or to summarise the situation in a more succinct manner:

“This is when everything changes for audio storytelling – and we’re definitely ready to see what’s coming next.”

Torchwood is back. There are differences - more explosions, American-geared jokes, and cinematography no longer based on the confines of a city. But the feel of a science fiction story grounded with people and taken to the edges of dark and disturbing is the same.

It begins dark. A convicted rapist and murderer of a young girl, Oswald Danes, is prepped for execution by lethal injection. The mother watches, hoping for closure from his last words, and cries as Danes dismisses her and waits for death. Immediately the plot (already spoiled by the previews for the episode) is introduced. The liquid enters the man’s veins and he thrashes in agonizing pain, undying.

And so Miracle Day starts.

This episodes begins with why I love Torchwood. With Danes’ unsuccessfully completed execution, it immediately shows the horrible nature of the Miracle: if people can’t die, what does that mean for the pain they suffer when death wont release them? With Danes, we see horrible pain but no other side-affects because the drug simply passes through his body.

With CIA agent Rex Matheson we see an unhealing injury. Even in the promo pics, he’s depicted with a bloody shirt.

And of course with the exploded assassin, we see the abject horror of the Miracle. What happens when a person’s body is damaged beyond function? They keep living.

The episode rightfully takes the time to explain the mystery of Torchwood for the new American audience just tuning in, with echoes of season one: finding an old picture matched to a modern-day Jack and retcon. The two accessible characters - Rex and fellow CIA agent Esther Drummond - are believable. Rex is portrayed as arrogant and in search of advancing his own career, but ultimately with a very personal stake in the mystery of the Miracle. The joke about the toll bridge fell short, but hey, the guy is in a lot of pain, you can’t expect to have a sound sense of humor. Esther’s obvious (and unrequited) feelings for Rex are an expected addition to the character interactions (there’s always a romance) and will be interesting to see unfold. Esther shows she’s both inquisitive and self-directed by seeking out information on Torchwood despite being told not to bother, which is encouraging for her later character development.

Of the new characters, the surgeon, Vera Juarez, is the most interesting, due to both her personality and her experiences while standing at ground zero of the Miracle - the ER.

We’re just getting to know the new main characters, and so far so good. Esther is definitely the weakest, but that leaves the most room for character development. All are in the thick of the Miracle’s effects, and they each deal with their respective burdens in different ways. The only one I’m not sure about is Danes, because his side-plot seems extraneous, and so far is the weakest portion of the show. Still, I’m excited to see what directions the writers take the new characters.

But if you’re a returning fan, they’re not why you’re watching the show. Jack, Gwen, and Rhys were fantastic.

Gwen has reached a new level of bad-ass, now that she’s a mother protecting her child. The scene where the couple comes to her and Rhys’ door for directions was brilliant. I love the new level of fierceness she brings to fighting. She has her daughter and her husband, she has reclaimed her life from Torchwood, and she will not let ANYONE ruin that for her.

I am so glad they didn’t change Rhys and Gwen’s relationship. He’s just as annoying and against Torchwood as he’s always been, and it’s a wonderful counter-perspective to Gwen’s readiness to jump in and save the world. While Gwen protects her family from the dangers of the world, Rhys has to protect Gwen from herself and her willingness to get involved. Their argument in the hospital was wonderful, and the best example possible of why Rhys is a worthwhile character to have around. I especially loved his readiness to handle a weapon and fight, revealing how much he’s grown since the start of the show.

And of course, Jack! Saving the day, one rocket launcher at a time. His reunion with Gwen was quick but well-done. Just the sheer look of joy on Gwen’s face (and the disgruntled scowl from Rhys) made me grin in delight - what’s left of the team is back together. Their reunion leaves fans wanting more, which I am confident the writers will deliver in the coming episodes.

And their reunion reveals the biggest shock of the episode - Jack is now mortal.

Plotwise, along with Torchwood being broadcast in the CIA headquarters before Jack wiped it from the entirety of the internet, it seems as though Jack’s presence is connected to and possibly causing the Miracle, and perhaps was even a trap for him. But could it instead be that whatever is causing the Miracle has managed to supersede Jack’s immortality, making him able to be injured but still (like the rest of Earth) unable to die? We’ll have to wait and see, but the plot is extremely intriguing and I can’t wait to see where they take it.

And yet the most interesting aspect of Jack’s mortality is not even the plot, but himself as a character.Jack has been immortal at this point for thousands of years. He has suffered in horrific and excruciating ways, and even spent his first few hundred years trying to find the Doctor in order to regain mortality. For now, in the thick of the plot, he’s most concerned with protecting Gwen and saving the Earth. But does Jack want to die?

We watch him casually suggest decapitating the exploded assassin in a truly cringe-worthy scene, all the while knowing he’s been through a similar experience during Children of Earth. The audience rarely sees the inner psyche of Jack. We see him endure horrible experiences, and he always seems to absorb whatever is thrown at him, back to his flirtatious old self by the next episode. But by the end of Children of Earth, he finally leaves because he’s suffered too much on his home planet.

Now that he has the chance to die, will he take it?

I suspect the finale of this story arc may be Jack’s choice between death or immortality, a choice that will decide the fate of the Earth.

In the meantime the fascinating plot will continue to unfold as the entire world deals with an increasing population and a growing number of injured who should but cannot die. The New World was an exciting start to a 10-episode season, slow paced enough to let the show right itself on American soil, but still full of action and adventure. And most importantly, it was still distinctly Torchwood.