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Torchwood
Torchwood
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Torchwood
Torchwood logo
Genre
Created byRussell T Davies
Showrunners
Starring
Theme music composerMurray Gold
Composers
Country of origin
  • United Kingdom
  • United States
Original languageEnglish
No. of series4
No. of episodes41 (list of episodes)
Production
Executive producers
Running time45–60 minutes
Production companies
Original release
NetworkBBC Three
Release22 October 2006 (2006-10-22) –
21 March 2008 (2008-03-21)
NetworkBBC Two
Release16 January (2008-01-16) –
4 April 2008 (2008-04-04)
NetworkBBC One
Release6 July 2009 (2009-07-06) –
15 September 2011 (2011-09-15)
NetworkStarz
Release8 July (2011-07-08) –
9 September 2011 (2011-09-09)
Related
Torchwood Declassified
Doctor Who
The Sarah Jane Adventures
Class

Torchwood is a British science fiction television programme created by Russell T Davies. A spin-off of the 2005 revival of Doctor Who, it aired from 2006 to 2011. The show shifted its broadcast channel each series to reflect its growing audience, moving from BBC Three to BBC Two to BBC One, and acquiring American financing in its fourth series when it became a co-production of BBC One and Starz. Torchwood is aimed at adults and older teenagers, in contrast to Doctor Who's target audience of both adults and children. As well as science fiction, the show explores a number of themes, including existentialism, LGBTQ+ sexuality, and human corruptibility.

Torchwood follows the exploits of a small team of alien-hunters who make up the Cardiff-based, fictional Torchwood Institute, which deals mainly with investigating incidents involving extraterrestrials. Its central character is Captain Jack Harkness (John Barrowman), an immortal con-man from the distant future; Jack originally appeared in the 2005 series of Doctor Who. The initial main cast of the series consisted of Gareth David-Lloyd, Burn Gorman, Naoko Mori, and Eve Myles. Their characters are specialists for the Torchwood team, often tracking down aliens and defending the planet from alien and human threats. In its first two series, the show uses a time rift in Cardiff as its primary plot generator, accounting for the unusual preponderance of alien beings in Cardiff. In the third and fourth series, Torchwood operate as fugitives. Gorman and Mori's characters were written out of the story at the end of the second series. Recurring actor Kai Owen was promoted to the main cast in series three, in which David-Lloyd was written out. Subsequently, American actors Mekhi Phifer, Alexa Havins and Bill Pullman joined the cast of the show for its fourth series.

The first series premiered on BBC Three and on BBC HD in 2006 to mixed reviews but viewing figures broke records for the digital channel. It returned in 2008 where it aired first on BBC Two, receiving a higher budget; its uneven tone, a criticism of the first series, was largely smoothed out, and the show attracted higher ratings and better reviews. The third series' episodes worked with a higher budget, and it was transferred to the network's flagship channel, BBC One, as a five-episode serial titled Torchwood: Children of Earth. Although Children of Earth was broadcast over a period of five consecutive summer weeknights, the series received high ratings in the United Kingdom and overseas. A fourth series, co-produced by BBC Wales, BBC Worldwide and American premium entertainment network Starz aired in 2011 under the title Torchwood: Miracle Day. Set both in Wales and the United States, Miracle Day fared less well with critics than Children of Earth, although it was applauded by some for its ambition. The series entered an indefinite hiatus after Miracle Day due to Davies' personal circumstances.

All four televised series have been broadcast in Asia, Australia, New Zealand, Europe and North America. Owing to the early popularity of Torchwood, various tie-in media were produced,[6] including audio dramas, novels and comic strips. From its inception, the BBC invested in a heavy online presence for the series, with an alternate reality game running alongside the show's first two series, and an animated Web series running alongside its fourth. The BBC continued to approve and commission licensed spin-offs after the show's conclusion, including an audio series continuation from Big Finish Productions (2015–present).

On 21 February 2020, all 41 televised episodes returned to the BBC's online streaming service, BBC iPlayer. In the United States, the entire series was made available on HBO's new streaming service, HBO Max, upon its launch in May 2020 until July 26, 2025.

Production

[edit]

Development

[edit]

Before the revival of Doctor Who, Russell T Davies began to develop an idea for a science-fiction/crime drama in the style of American dramas, in particular those created by Joss Whedon like Buffy the Vampire Slayer and Angel.[7][8] This idea, originally titled Excalibur, was abandoned until 2005, when BBC Three Controller Stuart Murphy invited Davies to develop an after-watershed science fiction series for the channel.[8] During the production of the 2005 series of Doctor Who, the word "Torchwood", an anagram of "Doctor Who", had been used as a title ruse for the series while filming its first few episodes to ensure they were not intercepted.[9] Davies connected the word "Torchwood" to his earlier Excalibur idea and decided to make the series a Doctor Who spin-off.[8] Subsequently, the word "Torchwood" was seeded in Doctor Who episodes and other media that aired in 2005 and 2006.

Because Torchwood is shown after the watershed – that is, after 9 pm – it has more mature content than Doctor Who. Davies told SFX:

We can be a bit more visceral, more violent, and more sexual, if we want to. Though bear in mind that it's very teenage to indulge yourself in blood and gore, and Torchwood is going to be smarter than that. But it's the essential difference between BBC One at 7 pm, and BBC Three at, say, 9 pm. That says it all – instinctively, every viewer can see the huge difference there.[10][11]

According to Barrowman: "I don't do any nude scenes in series one; they're saving that for the next series! I don't have a problem with getting my kit off, as long as they pay me the right money."[12] Davies also joked to a BBC Radio Wales interviewer that he was "not allowed" to refer to the programme as "Doctor Who for grown-ups".[13] The first series includes content rarely seen or heard in the Doctor Who franchise, including sex scenes and use of profanity in several episodes.[14][15]

BBC Three described Torchwood as the centrepiece of its autumn 2006 schedule,[16] and the successful first series led to a second series on BBC Two and a third on BBC One in 2009.[17]

Although Torchwood was originally intended to be sci-fi aimed at adults, the character Captain Jack Harkness, who had previously been introduced in Doctor Who, proved popular with young audiences. Davies decided to create alternative edits of the second series to be "child-friendly", removing overt sexuality and swearing. These edits to the shows enabled it to be broadcast at 7 pm (pre-watershed).[18][19]

The first three series of Torchwood were produced in-house by BBC Wales. The Head of Drama at the time of the first series, Julie Gardner, served as executive producer alongside Davies. The first two episodes of series 1 of Torchwood premiered on 22 October 2006 on BBC Three and BBC HD. Series 2 premiered on BBC Two and BBC HD on 16 January 2008.[20] The third series, Torchwood: Children of Earth, began shooting on 18 August 2008 and comprised a five-episode mini-series that aired over five consecutive days at 9 pm on BBC One from 6 July 2009,[21][22][23][24] and 9 pm on BBC America HD and BBC America from 20 July 2009.[25] Davies and Gardner stayed on as executive producers and Peter Bennett produced the series.[26][27]

Davies expressed concern that the third series was aired in a summer evening graveyard slot.[28] Lead actor John Barrowman felt that the show had been mistreated by BBC executives, despite what he felt was the programme's proven popularity and success.[17]

In August 2009, Davies stated that the fourth series was "ready to go",[29] and that he had the next series planned out, stating, "I know exactly how to pick it up. I've got a shape in mind, and I've got stories. I know where you'd find Gwen and Rhys, and their baby, and Jack, and I know how you'd go forward with a new form of Torchwood." At the time, he stated he would prefer for series four to be another mini-series, though he had no qualms about doing another thirteen-episode run.[30] A November 2009 article posted on Eve Myles's website stated that shooting for the fourth series was to begin in January 2011.[31]

Subsequently, Davies looked to American networks to finance future series of the programme. He was turned down by one of the United States' major television networks, Fox;[32] some had speculated the Fox project could have been a spin-off or a reboot.[33] Later, Davies succeeded in striking a deal with American premium cable network Starz.[34] The production of the fourth series was not officially announced until June 2010:[35][36] a ten-episode mini-series co-produced between BBC Wales, Starz and BBC Worldwide,[35] airing summer 2011.[37]

As with the third, the fourth series was given its own title: Torchwood: Miracle Day.[38] Shortly after the broadcast of Miracle Day in March 2012, the chief executive officer of Starz, Chris Albrecht, announced that he was remaining in touch with the BBC regarding a further series of Torchwood, though it would depend on Davies being free from his other commitments.[39] However, by 2012 the show had entered an indefinite hiatus due to Davies' return to the UK after his partner became ill.[40][41][42]

Writing

[edit]

In the first series, the main writer alongside Russell T Davies was Chris Chibnall, creator of the BBC light drama shows Born and Bred and future Doctor Who showrunner. Other writers include P.J. Hammond, Toby Whithouse, Doctor Who script editor Helen Raynor, Catherine Tregenna and Doctor Who cast member Noel Clarke. Of the first two series, Russell T Davies wrote only the première episode.[11][43] Helen Raynor and Brian Minchin were the programme's script editors.[44]

Series one of Torchwood was filmed from May 2006 until November 2006. For the second series,[20] lead writer Chris Chibnall wrote the opening episode and the three final episodes.[45][citation needed] Both Catherine Tregenna and Helen Raynor wrote two episodes for the second series.[46] The other episodes were written by James Moran, Matt Jones, J. C. Wilsher, Joseph Lidster, P.J. Hammond and Phil Ford. Russell T Davies was initially announced as writing two episodes, but due to commitments to Doctor Who, he no longer anticipated writing any Torchwood episodes.[47] For series three, Davies returned and wrote the first and last episodes, co-wrote episode three with James Moran and plotted the overall story arc himself.[27] John Fay wrote episodes two and four.[48]

For the fourth series, Miracle Day, Davies secured several popular American television writers, including Buffy the Vampire Slayer writer Jane Espenson; The X-Files, Star Trek: Enterprise and Supernatural writer John Shiban; and House writer Doris Egan. Additionally, both Davies and John Fay returned to write episodes.[38] In continuing the series Davies chose to keep Torchwood more focused on the human condition than its science fiction backdrop. He drew inspiration from Buffy the Vampire Slayer, noting that "the best metaphors in Buffy came down to, 'What's it like to be in high school, as a kid?'" He felt the fourth series of Torchwood to be "about us and our decisions and our lives, and how we live with each other and how we die with each other".[49] The depiction of human nature in the fourth series led to a sequence which many felt to be evocative of the Holocaust. Jane Espenson noted that as a series Torchwood "is willing to go to horrible places". She stated that in storylining Miracle Day, the writers "didn't want to flinch away from what mankind can do."[50]

Directing

[edit]

The first block of series two, consisting of episodes by Raynor and Tregenna, was directed by Andy Goddard. Colin Teague directed the second block, which consists of episode two by Moran and episode four by Tregenna, with Ashley Way directing the third block, consisting of the series two premiere by Chibnall and the sixth episode of the series, by JC Wilsher.[45] Euros Lyn directed all five episodes of the third series, Children of Earth.[27]

In June 2010, a BBC News report confirmed that the fourth series would have 10 episodes.[51] Filming began in January 2011. Unlike the previous series, this series' directors did not direct in blocks but in specific episodes.[52] The series four directors included Bharat Nalluri,[53] Billy Gierhart,[53] Guy Ferland[53] and Gwyneth Horder-Payton.[53]

Crew

[edit]

Richard Stokes produced series 1 and 2 of Torchwood; Originally, James Hawes (a Doctor Who director) was lined up as the producer, but he later withdrew from this project.[44][54] Series 3 was produced by Peter Bennett.[55] Series 4 was produced by Kelly A Manners,[56] with UK filming produced by Brian Minchin, producer of Series 4 and 5 of The Sarah Jane Adventures.[57][58] The series also shares Doctor Who's production designer, Edward Thomas.[59][60] Music for the series was composed by Ben Foster[61] and Doctor Who's composer Murray Gold,[62] with composer Stu Kennedy assisting on Series 4.[63]

Opening sequence

[edit]
Title card for the Torchwood miniseries, Children of Earth (series 3)

Episodes of the show's first two series are preceded by a voice-over monologue by Barrowman as Harkness, establishing the show's premise.[64] The show's theme tune plays over this monologue and the title sequence.[65] The theme was written by Doctor Who composer Murray Gold.[62]

The opening sequence was re-done specifically for series 2, episode 5 "Adam", adding the titular character to the existing scenes. This reflected the in-universe story of Adam psychically inserting himself into the team members' memories as a long-standing member of the team.[66]

For Children of Earth, a recap of the last episode was played at the beginning of each episode, followed by a title card. The theme was not featured in this, instead only featuring over the end credits.

A new theme arrangement and opening credit sequence was introduced with Series 4 (though a musical motif, or "sting", from the original theme is still audible in numerous scenes). Although each episode of Miracle Day has a published individual title, Torchwood: Miracle Day is the only on-screen title used.

Overview

[edit]

The series is set in Cardiff, Wales, and follows a rogue covert agency called Torchwood which investigates extraterrestrial incidents on Earth and scavenges alien technology for its own use. This Torchwood, led by Captain Jack Harkness, is a small, independent organisation, but began as the Cardiff branch of the larger Torchwood Institute, then-defunct, which began in the Victorian era. (Its origins were outlined in the Doctor Who episode "Tooth and Claw", and Harkness's long connection to it is covered in flashback scenes in a Torchwood series 2 episode.) As the opening monologue explains, the organisation is separate from the government, outside the police, and beyond the United Nations. Their public perception is as merely a 'special ops' group. The events of the first series take place sometime after the Doctor Who series two finale, in which the Torchwood Institute's London headquarters was destroyed. This format was maintained for the first two series.

Series three, a miniseries, saw the Cardiff headquarters destroyed and the team temporarily operating as fugitives in England's capital city of London, its membership declining and the organisation thoroughly broken over the course of the serial. Series four starts with Torchwood fully disbanded. Jack has left Earth after the events of series three, and a pregnant Gwen has retired to be with her family. The group is then unofficially reformed, this time operating primarily in the United States, joined by two fugitive CIA agents who have been framed for treason, during Miracle Day.

Cast

[edit]
Series two cast, including special guest star Freema Agyeman as Martha Jones
Actor Character Series
1 2 3 4
John Barrowman Jack Harkness Main
Eve Myles Gwen Cooper Main
Burn Gorman Owen Harper Main Does not appear
Naoko Mori Toshiko Sato Main Does not appear
Indira Varma Suzie Costello Featured[b] Does not appear
Gareth David-Lloyd Ianto Jones Main Does not appear
Freema Agyeman Martha Jones Does not appear Main[c] Does not appear
Kai Owen Rhys Williams Recurring Main
Mekhi Phifer Rex Matheson Does not appear Main
Alexa Havins Esther Drummond Does not appear Main
Bill Pullman Oswald Danes Does not appear Main

Unlike its parent programme, Torchwood centres on a team instead of a single character with companions. The show initially depicts a small team of alien-hunters known as Torchwood Three, based in Cardiff. The team is made up of five operatives led by Captain Jack Harkness (John Barrowman), formerly a time-traveling "Time Agent" and con man from the distant future who has lived on Earth as an immortal since the 19th century. Gwen Cooper (Eve Myles), the female lead, joins the team in the first episode; she is originally an audience surrogate, but later grows into a more morally complicated character. The original cast is filled out by Torchwood medical officer Owen Harper (Burn Gorman), computer specialist Toshiko Sato (Naoko Mori), and general factotum-cum-administrator Ianto Jones (Gareth David-Lloyd). Toshiko and Owen are killed off in the second series finale, as is Ianto in the show's third series. Recurring characters are Rhys Williams (Kai Owen), Gwen's live-in boyfriend and later husband; and Andy Davidson (Tom Price), Gwen's former police partner. Kai Owen becomes a main cast member in the programme beginning with the third series; his character is initially unaware of Gwen's activities with Torchwood but later becomes her close confidant and the team's ally. Price appears in all four series.

Prior to the programme's debut, publicity materials featured Indira Varma as Suzie Costello among the regular cast members, giving the impression that she would appear throughout the series. However, Suzie was killed off at the end of the first episode with Gwen taking her place on the team,[67] Suzie reappearing only once more as an antagonist. In the first two series, Paul Kasey regularly appears under heavy prosthetics, portraying, as in Doctor Who, a number of aliens on the series, such as humanoid Weevils and Blowfishes. Other recurring characters include Doctor Who's Martha Jones (Freema Agyeman)—like Jack, a former time-traveller, and now medical officer for the militaristic alien-investigating organisation UNIT—who crosses over into Torchwood for three episodes in series two.[68] Additionally, James Marsters portrays Captain John Hart, Jack's villainous former lover and Time Agent partner.[69][70] Others in the second series, recurring in a minor capacity, include a mysteriously age-immune little girl (Skye Bennett) and Victorian-era Torchwood member Alice Guppy (Amy Manson). The second series also introduces Gwen's parents, Geraint (William Thomas) and Mary Cooper (Sharon Morgan), who later reappear in the show's fourth series.

Children of Earth featured a largely new supporting cast for the duration of the five-episode serial, such as Permanent Secretary John Frobisher (Peter Capaldi), Clem McDonald (Paul Copley), Frobisher's personal assistant Bridget Spears (Susan Brown), Prime Minister Brian Green (Nicholas Farrell), ruthless operative Agent Johnson (Liz May Brice), Jack's middle-aged daughter Alice (Lucy Cohu), her son Steven (Bear McCausland) and Ianto's sister Rhiannon (Katy Wix). Cush Jumbo was cast as Frobisher's personal assistant Lois Habiba; Habiba was written into the story after Agyeman was unavailable to return to portray Martha.[71]

The fourth series, Miracle Day, features an expanded cast of eight.[72] Barrowman, Myles and Owen all return to the series. New to the Torchwood team are CIA agents Rex Matheson (Mekhi Phifer),[73][74] and Esther Drummond (Alexa Havins),[75] and surgeon Vera Juarez (Arlene Tur).[76] American film star Bill Pullman joins as Oswald Danes, a highly intelligent child murderer,[77][78][79] and Lauren Ambrose plays Jilly Kitzinger, a ruthless PR woman who takes on Danes as a client.[80] Tur's character is killed off in the fifth episode, whilst Pullman and Havins last until episode ten. Recurring characters include CIA directors Brian Friedkin (Wayne Knight) and Allen Shapiro (John de Lancie), San Pedro camp manager Colin Maloney (Marc Vann), Esther's sister Sarah Drummond (Candace Brown), and CIA watch analysts Charlotte Willis (Marina Benedict) and Noah Vickers (Paul James). Nana Visitor plays Olivia Colasanto, who directs the team toward their real enemies; Frances Fisher and Teddy Sears portray recurring villains.

Episodes

[edit]
Series overview of Torchwood.
SeriesEpisodesOriginally released (UK)Average viewers
(millions)
First releasedLast releasedNetwork
11322 October 2006 (2006-10-22)1 January 2007 (2007-01-01)BBC Three1.42
21316 January 2008 (2008-01-16)4 April 2008 (2008-04-04)BBC Two[d]3.27
3: Children of Earth56 July 2009 (2009-07-06)10 July 2009 (2009-07-10)BBC One6.47
4: Miracle Day1014 July 2011 (2011-07-14)[e]15 September 2011 (2011-09-15)[e]Starz / BBC One5.17

The premiere episode "Everything Changes" was written by Russell T Davies and introduces the main characters and roles within the series, using newcomer Gwen as the audience surrogate in a similar style to the introduction of the companion characters in Doctor Who. The second episode, titled "Day One", aired immediately after the first. It continues Gwen's neophyte role and includes a "sex monster" science fiction storyline.[81] The first 13-episode series ended with a two-parter on 1 January 2007. The first part, entitled "Captain Jack Harkness", is a love story set in wartime Britain, with a subplot which pushes the setting toward an apocalypse for the finale "End of Days". It deals with the ramifications of diseases and persons from throughout history falling through time and across the universe to arrive in present day Cardiff. The episode also sets up Jack's return in the Doctor Who episode "Utopia".

2008's second 13-episode series of Torchwood begins with Jack's return from the previous Doctor Who episode, "Last of the Time Lords" with the series premiere, "Kiss Kiss, Bang Bang". The series introduces Jack's ex-partner Captain John Hart in its premiere, reveals flashbacks to Jack's childhood in "Adam" and shows how each member joined Torchwood in the penultimate episode "Fragments". A three-episode arc ("Reset", "Dead Man Walking" and "A Day in the Death") in the middle of the series guest stars Doctor Who actress Freema Agyeman as Martha Jones, temporarily drafted into Torchwood. The arc focuses on the death and partial resurrection of main character Owen Harper, and how he copes as a dead man. The second series finale, "Exit Wounds", features the departures of main characters Owen and Tosh, whose deaths at the hands of Jack's long-lost brother Gray reduced the cast to Barrowman, Myles and David-Lloyd in its closing scenes. The Torchwood Three team made a crossover appearance in the series four finale of Doctor Who, "The Stolen Earth"/"Journey's End", which featured Jack Harkness leaving the Doctor at the close of the story, accompanied by Martha Jones and Mickey Smith (Noel Clarke).

Series three is only five episodes long and was broadcast over consecutive nights as a single story, Children of Earth (2009). The series focuses on the consequences of appeasement policy; having been given 12 children as a tribute in 1965, aliens called the 4-5-6 arrive in the present demanding a greater share of the Earth's child population. For the first time in the series, the majority of the action takes place outside Wales; Torchwood's base of operations is destroyed in the premiere and the remainder of the Torchwood team have relocated to London. Kai Owen is promoted to a regular cast member, while a new cast of political figures are introduced alongside family members of main characters Jack and Ianto. Nicholas Farrell plays Prime Minister Brian Green whose intent is to give in rather than fight the 4–5–6, leaving Torchwood to stand against the government and the aliens. David-Lloyd departs the cast when Ianto is killed by the aliens in episode four, leaving Jack distraught. In the series closing scenes, with Gwen pregnant and Jack abandoning Earth, Torchwood effectively disbands.

Series four, Torchwood: Miracle Day (2011), comprising ten episodes, sees Torchwood having been reduced to the status of legend following Children of Earth. The narrative follows two CIA agents (Mekhi Phifer and Alexa Havins) who discover Torchwood on the same day death ceases to occur, due to an event known as Miracle Day. The agents join Gwen and Jack as they seek to restore death to the world. While primarily a conspiracy thriller, the series also examines the depths humanity can sink to under pressure. Actress Arlene Tur portrays a surgeon who challenges the failing medical system and shifting government legislation. The characters of Oswald Danes (Bill Pullman) and Jilly Kitzinger (Lauren Ambrose) are used to highlight the precariousness of fame and the amorality of the media. The Great Recession is implicated as another element of the Miracle Day conspiracy. Though largely set in the US, Wales remains a key setting. The origins of the Miracle Day conspiracy are revealed in a 1920s flashback in "Immortal Sins", as the worldwide scale of the story takes the protagonists to Shanghai and Buenos Aires in the finale "The Blood Line". In the epilogue, Gwen questions Jack whether he will stay to reform Torchwood; he does not provide an answer.

Setting

[edit]

"With Doctor Who we often had to pretend that bits of Cardiff were London, or Utah, or the planet Zog. Whereas this series is going to be honest-to-God Cardiff. We will happily walk past the Millennium Centre and say, 'Look, there's the Millennium Centre'."

The first two series of Torchwood were both filmed and set in Cardiff. The makers of Torchwood deliberately portray Cardiff as a modern urban centre, contrasting with past stereotypical portrayals of Wales. "There's not a male voice choir ... or a miner in sight." said BBC Wales Controller Menna Richards.[83] Conservative MP Michael Gove described the debut of Torchwood as the moment confirming "Wales' move from overlooked celtic cousin to underwired erotic coquette".[84][85] Filming has also taken place outside of Cardiff, including in Merthyr Tydfil.[86]

"The Hub" connects Roald Dahl Plass and is underneath the Mermaid Quay shopping complex.

The team's headquarters during the first two series, referred to as the Hub, was beneath Roald Dahl Plass in Cardiff Bay – formerly known as the Oval Basin. This is where the TARDIS landed in the Doctor Who episodes "Boom Town" and "Utopia" to refuel, and is the location of the spacetime rift first seen in "The Unquiet Dead". The Cardiff Rift becomes "the first of several phenomena or technologies in the new Dr.Who associated with the interface between different places, dimensions, or states of being."[87] The Rift becomes a plot device to present threats to the characters and the world,[88] with danger awaiting on the other side.[89] In "The House of the Dead" the Cardiff Rift is closed through the actions of a ghost, Ianto Jones.[90]

The Hub itself was around three storeys high, with a large column running through the middle that was an extension of the fountain above; at its base lay the rift machine. The Hub had two means of access: a lift that rose to the plass next to the fountain (camouflaged by a perception filter), and a more mundane entrance hidden in a tourism office. Production crew were keen to use everything Wales had to offer in filming the series; for example, the military base scenes in "Sleeper" and the booby-trapped abandoned warehouse scenes in "Fragments" were filmed at RAF Caerwent, near Chepstow.[91]

The third series opened in the traditional setting, but in the first episode the Hub was destroyed; the show adapted to a conventional London setting, with many scenes filmed and set at real-life British intelligence agency headquarters Thames House. For the show's fourth series, the programme was largely filmed and set in the United States, but parts were filmed in Wales and other locations.[35]

Spin-offs

[edit]

Companion programme

[edit]

Torchwood Declassified is a "making-of" programme similar to Doctor Who Confidential. Each Declassified episode runs under ten minutes, in contrast to Confidential's 45 (formerly 30).[92] Torchwood Declassified aired on BBC Three (series 1) and BBC Two (series 2), and was also available online through the BBC's iPlayer and dedicated Torchwood site. Installments were produced for each episode of the first two series, with a single installment produced for the Children of Earth DVD release.

Companion magazine

[edit]

In 2007, Titan Magazines launched Torchwood Magazine,[93] which was released on 24 January 2008 in the United Kingdom. The United States version was launched in February 2008. The Australia/New Zealand version was launched in April 2008. The magazine emulated Doctor Who Magazine in combining behind-the-scenes features with original story content in the form of a serialised comic strip and short stories; as the magazine's run progressed, the original fiction became more predominant. The magazine was discontinued in early 2011, after two-dozen issues.[94]

Titan published six issues of a monthly Torchwood comic book in 2009 for North American markets; the comic consisted of reprints of the magazine's comic strips and short stories and was cancelled in the wake of the parent publication folding.[95] Following the cancellation of Torchwood Magazine, Doctor Who Magazine and its American counterpart, Doctor Who Insider, ran articles on the series.[96]

Electronic literature, webcasts, web series

[edit]

Torchwood has "a heavy online presence".[97] At the Edinburgh International Television Festival, BBC Director of Television Jana Bennett originally promised that the series' online tie-ins were to include the ability to explore the Hub, an imaginary desktop, weekly 10-minute behind-the-scenes vodcasts. "You can join the corporation of Torchwood and be one of its employees," said Bennett.[98] The Adobe Flash-based interactive website, including the Hub Tour, debuted on 12 October 2006.[99] Due to digital media rights restrictions most video content on the BBC Three websites is only accessible to users within the UK.

Torchwood's many tie-in websites amount to an alternate reality game; the show's online presence was an example of electronic literature. On the first website (for series 1), the alternate reality game was mostly composed of weekly updates to the site in the form of fictional intercepted blogs, newspaper cutouts and confidential letters and IM conversations between members of the Torchwood Three crew. Convergence: the International Journal of Research into New Media commented on Doctor Who and Torchwood's foray into "convergence culture" as an achievement "on an unprecedented scale, with the BBC currently using the series to trial a plethora of new technologies, including: mini-episodes on mobile phones, podcast commentaries, interactive red-button adventures, video blogs, companion programming, and 'fake' metatextual websites."[100] For the second series in 2008, a second interactive Torchwood online game was devised, scripted by series writer Phil Ford;[101] this more heavily featured the actors of the series, particularly Gareth David-Lloyd, and Siwan Morris was cast as a pirate radio jockey investigating Torchwood.

During the fourth series of the revival of Doctor Who, a crossover webcast production called Captain Jack's Monster Files was launched, featuring Barrowman, in character as Jack, hosting a series of shorts profiling various monsters and aliens featured on Doctor Who. These segments, posted to the BBC's official Doctor Who website, included specially shot footage of Jack in the Hub. After Series 4, the segments were produced less frequently, with the last featuring Jack, released in December 2009, taking the form of Jack narrating a mini-episode featuring the Weeping Angels entitled "A Ghost Story for Christmas". Subsequent Monster Files webcasts released since 2010 have been hosted by Doctor Who co-star Alex Kingston as her character, River Song. As with most other online video content from the BBC, Captain Jack's Monster Files are not viewable outside the UK and to date (2011) have never been included on a DVD or Blu-ray release of either Doctor Who or Torchwood.[102] The Torchwood Archives by Gary Russell collects much of this online literature for the first two series in hardback form, including the Captain's Blog section of the BBC America Torchwood website.[103]

To promote its rebroadcasts of Torchwood, the British digital channel Watch has twice commissioned the creative team of the Torchwood Magazine comic strip to produce brief online-exclusive comic strip stories for the Watch website. The first of these, The Return of the Vostok, was uploaded in February 2009, with a follow-up, Ma and Par, appearing in February 2010.[104]

Tying in with the launch of Torchwood: Miracle Day, Starz produced a 2011 Torchwood webseries entitled Torchwood: Web of Lies, which starred American actress Eliza Dushku.[105]

Radio plays

[edit]

Set between the end of Series Two and the beginning of Series Three, the BBC aired four Torchwood radio dramas featuring the cast of the series. As a tie in with Radio 4's CERN-themed day on 10 September 2008, a CERN-themed radio episode of Torchwood written by Joseph Lidster, entitled "Lost Souls", aired as the day's Afternoon Play.[106] This was the first Torchwood drama not to feature Burn Gorman and Naoko Mori.[107] Three further episodes were broadcast on 1–3 July 2009: "Asylum",[108] "Golden Age"[109] and "The Dead Line".[110][111][112]

In May 2011, the BBC Radio Drama newsletter announced that a further three Torchwood radio plays had entered production.[113] The new plays, titled "Torchwood: The Lost Files", Part 1: "The Devil and Miss Carew", Part 2: "Submission" & Part 3: "The House of the Dead" were broadcast on 11, 12 & 13 July 2011 in the Afternoon Play slot at 14.15 BST and were available to listen to in the iPlayer for one week after the broadcast. (By 2019 the BBC made radio dramas available on demand for one month to one year; about 25 radio plays were usually available, including 29 Nov. 2019 these three Torchwood episodes.[114]) While "The Devil and Miss Carew" & "Submission" were set before "Children of Earth" with Gareth David-Lloyd reprising the role of Ianto, "The House of the Dead" on the other hand was set an unspecified time after "Children of Earth" and saw the return of Ianto this time as a ghost.[115]

In January 2015, Barrowman stated that Torchwood would return, for the first time since Miracle Day, in the form of several BBC radio plays.[116]

Novels and audiobooks

[edit]

Accompanying the main series of Torchwood are a series of novels. The books are published in paperback-sized hardcover format, the same format BBC Books uses for its New Series Adventures line for Doctor Who.[117][118] The first three novels were later released, abridged, as audiobooks, along with other audiobook that have not been novels. To date all of the core cast members from the first two series have narrated at least one abridged or audio-exclusive reading.[119][120][121][122][123][124]

Big Finish

[edit]

On 3 May 2015, it was announced that Big Finish Productions would produce a series of six Torchwood audio adventures starring John Barrowman as Jack. The new series of audio dramas will each focus on different members of the Torchwood team, exploring the impact that a mysterious event has on them, taking place at various times in and around the TV episodes. Starting off the range was John Barrowman, who stars in The Conspiracy by David Llewellyn, which was released September 2015.[125]

Big Finish later released shows billed as a continuation of Torchwood, or "series five",[126] featuring a regular cast of nine. Barrowman, Myles, Owen, and Price returned to voice their characters. New to the series were civil servant St John Colchester (Paul Clayton), Ng (Alexandria Riley), news reporter Tyler Steele (Jonny Green), shapeshifting alien Orr (Samantha Béart), and a parallel universe version of Yvonne Hartman (Tracy-Ann Oberman).

Original soundtrack

[edit]
Torchwood: Original Television Soundtrack
Soundtrack album by
Released5 August 2008 (download)
22 September 2008
Recorded2006–2008
GenreSoundtrack
Length78:35
LabelSilva Screen Records
ProducerBen Foster
Torchwood soundtrack chronology
Torchwood: Original Television Soundtrack
(2008)
Torchwood: Children of Earth
(2009)
Professional ratings
Review scores
SourceRating
AllMusicStarStarStarHalf star[127]

The soundtrack album which was released on 22 September 2008, containing 32 tracks of incidental music composed by Ben Foster and Murray Gold and used in the first and second series.

Ahead of the CD release, the album became available for download on the American iTunes Store on 5 August 2008, and on the Silva Screen website on 8 August 2008.

Track listing

[edit]
No.TitleLength
1."Everything Changes"1:22
2."The Chase"3:26
3."Ghosts"1:58
4."Sleepers, Awake!"1:12
5."Toshiko & Tommy"3:05
6."Into the Hub"2:05
7."The Mission"2:32
8."Gray's Theme"2:41
9."Jack's Love Theme"1:50
10."Another Day, Another Death"2:45
11."Look Right, Then Leave"2:48
12."Welcome to Planet Earth"1:51
13."The Plot"3:21
14."Out of Time"1:27
15."The Death of Dr. Owen Harper"2:11
16."King of the Weevils"4:09
17."Owen Fights Death"1:50
18."The Woman on the Roof"2:22
19."Owen's Theme"3:10
20."Pearl & the Ghostmaker"2:24
21."Flat Holm Island"2:08
22."A Boy Called Jonah"4:53
23."Toshiko Sato – Betrayal and Redemption"3:46
24."Gwen & Rhys"1:14
25."Jack Joins Torchwood"1:34
26."Captain Jack's Theme"3:16
27."I Believe in Him"1:31
28."Memories of Gray"2:29
29."Goodbyes"2:20
30."Death of Toshiko"2:19
31."The End Is Where We Start From"2:24
32."Torchwood Theme"1:46

Reception

[edit]

Critical reception

[edit]

As a spin-off of long-running British cultural artefact Doctor Who, Torchwood's launch into British popular culture has received many positive and negative reviews, commentary and parody following the hype of its inception, especially regarding its status as an "adult" Doctor Who spin-off as well as its characterisation and portrayal of sex. Reviews for the first series were largely negative, with sites such as Behind the Sofa giving many more negative reviews than positive ones. Reviews of the second series were more positive. The third series, which took the form of a five-part story arc with the blanket title of Children of Earth, received a number of positive reviews. Critics described it separately as a "powerful human drama";[128] "Best. Torchwood. Ever.";[129] and "... against all expectations, a work of Proper Drama".[130] Conversely, The Daily Mirror gave the mini-series a negative review, describing it as "the modern-day Blake's 7: ludicrous plot, hammy acting, an adolescent penchant for 'Issues'".[131] Metacritic, an American review aggregator website, gives Torchwood series one a rating of 73 out of 100, indicating "generally favourable reviews".[132] The show's second series rates above the first, scoring an aggregated 80 out of 100.[133] The third series rated higher, at 81, indicating "universal acclaim". Its highest scores were a 100 from TV Guide and a 91 from TIME; the lowest was a 60 from The New York Times.[134] The fourth series had an average rating of 70, based on 24 critics.[135]

The death of character Ianto Jones in Children of Earth triggered protests from fans of the show, among them the "Save Ianto Jones" campaign which collected more than £10,000 for the British Children in Need annual charity event.[136] Other fans resorted to abuse and threats, causing writer James Moran to fire off an angry missive in a blog post.[137] Showrunner Russell T Davies made no apologies for the decision to kill off the character, saying, "I'm just delighted that the fans are so wrapped in the character to have that reaction."[138] The plot point attracted more controversy from some commentators, additionally, because it depicted the death of a main character involved in a same-sex relationship. This led several writers to analyse the death in view of the character's earlier refusal to admit to his relationship with a man, and claimed that the death was a sign that the LGBT community was leaving behind its image of victimhood.[139]

Positive and negative attention has been given to the portrayal of same-sex relationships in Torchwood. Maria Boyd of the University of Texas at Austin published her paper at a conference, "Gay Sex and Aliens! How the Press frames Russell T Davies' Torchwood." She argues through "a discourse analysis of 109 reviews of the Series 1 and Series 2 premiere episodes" how "TV critics are more concerned with the depictions of bisexuality among the principal characters on Torchwood." Furthermore, she argues that the show's reviews "highlight the same-sex interactions depicted on the show utilising sensationalist, assimilationist, or condemnatory language" and that the "hegemonic, heterosexist language used by TV critics covering Torchwood has framed the program in such a way that it limits audience's ability to make meaning of the text themselves."[140]

In other works

[edit]

Although fewer in number than Doctor Who spoofs, there have been a number of parodies of Torchwood in various media. Verity Stob, a technology columnist for online newspaper The Register, wrote a parody of Torchwood called Under Torch Wood. The piece is in the style of Under Milk Wood, a Dylan Thomas radio play. The piece comments on the level of swearing present in Torchwood and the role of Rhys Williams, whom the piece describes as "Barry Backstory".[141] In its third series, the Doctor Who parody Nebulous also began to parody Torchwood, with references to "baby dinosaurs falling through a hole in time" and "the sheer amount of paranormal activity in the Cardiff area alone ... starting to threaten the Earth's plausibility shield".[142]

Satirical impressionist television series Dead Ringers also parodied Torchwood, with Jon Culshaw playing Captain Jack and Jan Ravens as Gwen Cooper. The sketches parodied the level of sex in Torchwood, claiming "we never deal with an alien unless at least one [of the team] has shagged it", and describing the lack of motivations of the characters. It also parodies the bisexuality of the characters and the melodramatic personality of Jack, who in the sketch walks extremely dramatically, swinging his coat about himself.[143][144] Barrowman is described as a "pound shop Tom Cruise", and reference is made to the perceived low-budget of the show, with Owen describing the Torchwood equipment as "an Apple Mac with stickers on the case".[145] Later spoofs in the final episode of the 2007 series of Dead Ringers featured Jack Harkness in a threesome with two Attack of the Cybermen-era Cybermen, and an elderly version called Driftwood, which claims to be "separate from the Post Office, beyond the bingo hall and outside the Oxfam", a parody of Torchwood's opening narration. It also featured Albert Steptoe of Steptoe and Son as the leader of the team, claiming "a terrible event in my past means that I can't die. It's called UK Gold", and parodied its use of amnesia pills (unnecessary for this team due to the onset of senile amnesia).[citation needed]

Ratings

[edit]

The first episodes of Torchwood on BBC Three gave the channel its highest-ever ratings and the highest ratings of any digital-only non-sports channel at the time with 2.519 million viewers (though this has since been surpassed by Bionic Woman on ITV2, which gained 2.553 million in March 2008[146]). The audience share was 12.7%, increasing to 13.8% for the second episode (shown immediately after the first episode on the same day), despite viewership dropping to 2.498 million.[147]

Ratings for later episodes dropped to around 1.1 to 1.2 million viewers during the first showing on BBC Three (the lowest being 0.8 million for week ending 24 December 2006), but nevertheless, the show remained the most-viewed programme on BBC Three by a wide margin.[148] Viewing figures for the repeat screenings on BBC Two later the same week were around 2.2 to 2.3 million (dropping to under 1.1 and 1.8 respectively for the weeks ending 03/12/06 and 10/12/06).

For its second series, which began in January 2008, Torchwood was moved to the more established channel BBC Two. Again, initial ratings were respectable, and the first episode garnered 4.22 million viewers. However, the series again began to decline and had lost a million viewers by its fourth episode. It dropped to a low of 2.52 million viewers towards the end of its run,[146] even after the BBC had moved it from its usual Wednesday-night slot (where it was being consistently beaten by ITV's programming and Channel 4's number-one series, Grand Designs) to Friday nights. The second series had an overall average rating of 3.26 million viewers on BBC Two.

Torchwood's five-part third series, entitled Children of Earth, premiered on BBC One in July 2009, with an estimated 5.9 million viewers, according to overnight figures.[149] Ratings for the second episode dropped to 5.58m,[150] but rose to a high of 6.24m for the fourth episode.[151] According to the overnight figures, the mini-series garnered an average rating of 5.88 million viewers.[152] According to official figures, published by Broadcasters' Audience Research Board (BARB), all five episodes of the mini-series garnered more than 6 million viewers, with the fourth episode gaining the largest audience.[152]

The first episode of series four, Miracle Day, attracted a consolidated audience of 6.59 million, which was slightly higher than the figure for the opening episode of the previous series, as well as an AI rating of 85 out of 100, considered "excellent".[153] However, viewing figures steadily declined as the series continued, dropping to a low of 4.48 for the seventh episode, though figures picked up slightly with 4.85 million viewers for the final episode.[154]

Awards

[edit]
Award nominations for Torchwood
Award Year Category Nominee(s) Episode Result Ref.
Airlock Alpha Portal Awards 2010 Best Actress – Television Eve Myles Won [155]
Best Actor – Television John Barrowman Nominated
Best Series – Television Torchwood Nominated
Best Episode – Television Torchwood: Children of Earth Nominated
ASTRA Awards 2012 Favourite Program – International Drama Torchwood: Miracle Day Nominated [156]
BAFTA Cymru Awards 2007 Best Drama Series/Serial Richard Stokes "Everything Changes" Won [157]
Best Actress Eve Myles Won
Best Director of Photography – Drama Mark Waters Won
Best Design Edward Thomas Won
Best Actor John Barrowman Nominated
Best Sound Team Torchwood Nominated
Best Make Up Marie Doris "They Keep Killing Suzie" Nominated
Best Original Music Soundtrack Murray Gold "Out of Time" Nominated
2008 Best Costume Ray Holman "Captain Jack Harkness" Won [158]
Best Drama Series/Serial Richard Stokes "End of Days" Nominated
Best Actress Eve Myles Nominated
Best Original Music Soundtrack Ben Foster Nominated
2009 Best Costume Ray Holman "From Out of the Rain" Nominated [159]
Best Design Edward Thomas "Adrift" Nominated
2010 Best Drama Series/Serial Peter Bennett "Children of Earth: Day One" Won [160]
Best Editor Will Oswald Won
Best Actress Eve Myles Nominated
Best Screenwriter Russell T Davies Nominated
Best Original Music Soundtrack Ben Foster Nominated
Best Sound Howard Eaves, Julian Howarth, Tim Ricketts, Doug Sinclair Nominated
Best Costume Ray Holman Nominated
Celtic Media Festival Awards 2010 Best Drama Series Torchwood: Children of Earth Won [161]
Constellation Awards 2008 Outstanding Canadian Contribution to Science Fiction Film or Television in 2007 Torchwood Nominated [162]
Best Female Performance in a 2007 Science Fiction Television Episode Naoko Mori "Greeks Bearing Gifts" Nominated
2010 Best Male Performance in a 2009 Science Fiction Television Episode Gareth David-Lloyd "Children of Earth: Day Four" Nominated
GLAAD Media Awards 2009 Outstanding Drama Series Torchwood Nominated [163]
2010 Outstanding TV Movie or Limited Series Torchwood: Children of Earth Nominated [164]
2012 Outstanding Drama Series Torchwood: Miracle Day Nominated [165]
Hugo Awards 2008 Best Dramatic Presentation, Short Form Catherine Tregenna "Captain Jack Harkness" Nominated [166]
National Television Awards 2012 Outstanding Drama Performance (Male) John Barrowman Nominated [167]
Outstanding Drama Performance (Female) Eve Myles Nominated
Most Popular Drama Torchwood Longlisted
NewNowNext Awards 2008 Best Kiss Jack (John Barrowman) and Ianto (Gareth David-Lloyd) Unknown Won [168]
Satellite Awards 2011 Best Television Series – Genre Torchwood Nominated [169]
Best Actress in a Series – Drama Eve Myles Nominated
Saturn Awards 2008 Best International Series Torchwood Nominated [170][failed verification]
2009 Best Television DVD Release Torchwood: Series 2 Nominated
2010 Best Television Presentation Torchwood: Children of Earth Won [171]
Best Television DVD Release Nominated
2012 Best Television Presentation Torchwood: Miracle Day Nominated [172]
Best Actress on Television Eve Myles Nominated
Best Supporting Actor on Television Bill Pullman Nominated
Best Supporting Actress on Television Lauren Ambrose Nominated
SFX Awards 2007 Best TV Actress Eve Myles Nominated
2008 Best TV Show Torchwood Nominated [173]
Best TV Episode Chris Chibnall "Fragments" Nominated [173]
"Exit Wounds" Nominated [173]
Best TV Actor John Barrowman Nominated [174]
Sexiest Man Nominated [175]
Gareth David-Lloyd Nominated [175]
Sexiest Woman Eve Myles Nominated [175]
Best TV Actress Nominated [173]
2010 Best Actress Children of Earth Won [176][177]
Sexiest Female Nominated [177]
Sexiest Male John Barrowman Nominated [177]
Gareth David-Lloyd Nominated [177]
Cult Hero Won [178]
Best Actor Nominated [179]
Peter Capaldi Nominated [179]
Best Monster/Villain The 456 Won [178]
Best Death Scene Ianto is killed by the 456 "Children of Earth: Day Four" Won [176][178]
Best Plot Twist Captain Jack sacrifices his grandson "Children of Earth: Day Five" Won [176][180]
Best TV Episode Russell T Davies Won [181][182]
Best Fight Scene PC Andy gets stuck in Won [180]
Best TV Show Torchwood: Children of Earth Nominated [182]
2012 Torchwood: Miracle Day Nominated [183]
Best Actress Eve Myles Nominated [184][185]
Sexiest Woman Nominated [186]
Sexiest Man John Barrowman Nominated [186]
Biggest Disappointment Jack's arse being censored in UK Torchwood Unknown Nominated [185]
TCA Awards 2010 Outstanding Achievement in Movies, Miniseries and Specials Torchwood: Children of Earth Nominated [187]

Home media

[edit]

The complete first series has been released on Region 2 DVD in the UK.[188] A North American Region 1 release occurred 22 January 2008,[189] following the broadcast of Series 1 on BBC America in the United States and the CBC in Canada. Series One Part One,[190] Two[191] and Three[192] have been released in Australia Region 4, The complete series 1 sets released in the UK and US also include the episodes of the behind-the-scenes series Torchwood Declassified.[188][193] The Complete Second Series was released on 30 June 2008 (Region 2),[194] along with the Complete First series on Blu-ray[195] and HD DVD.[196] Series One,[197] Two,[198] Three[199] and Four[200] episodes are currently available for download through iTunes, Amazon, and Netflix.

DVD

[edit]
DVD release name UK release date

(region 2)

North American release date

(region 1)

Australian release date

(region 4)

New Zealand release date

(region 4)

Series One Part One (episodes 1–5):

26 December 2006[201]

Complete (episodes 1–13):

22 January 2008[188]

Part One (episodes 1–5):

31 July 2007[190]

Complete (episodes 1–13):

11 September 2008[202]

Part Two (episodes 6–9):

26 February 2007[203]

Part Two (episodes 6–9):

6 September 2007[191]

Part Three (episodes 10–13):

26 March 2007[188]

Part Three (Episodes 10–13):

2 October 2007[192]

Complete (episodes 1–13):

19 November 2007[193]

Complete (episodes 1–13):

6 February 2008[204]

Series Two Complete (episodes 1–13):

30 June 2008[194]

Complete (episodes 1–13):

16 September 2008[205]

Complete (episodes 1–13):

2 October 2008[206]

Complete (Episodes 1–13):

15 January 2009[207]

Complete Series One & Two Complete (episodes 1–26):

10 November 2008[208]

N/A N/A N/A
Children of Earth
(series 3)
Complete (episodes 1–5):

13 July 2009[209]

Complete (episodes 1–5):

28 July 2009[210]

Complete (episodes 1–5):

1 October 2009[211]

Complete (episodes 1–5):

17 March 2010[212]

The Complete Series (1–3) Complete Series (episodes 1–31):

26 October 2009[213]

Complete Series (episodes 1–31):

19 July 2011[214]

Complete Series (episodes 1–31):

5 August 2010[215]

Complete Series (episodes 1–31):

1 September 2010[216]

Torchwood — Miracle Day
(series 4)
Complete (episodes 1–10):

14 November 2011[217]

Complete (episodes 1–10):

3 April 2012[218]

Complete (episodes 1–10):

1 December 2011[219]

Complete (episodes 1–10):

7 December 2011[220]

The Complete Series (1–4) Complete Series (episodes 1–41):

14 November 2011[221]

N/A N/A N/A

HD DVD

[edit]
HD DVD release name UK release date

(region free)

The Complete First Series 30 June 2008[196]

Blu-ray

[edit]
Blu-ray release name UK release date

(region B)

North American release date

(region A)

Australian release Date

(region B)

New Zealand release Date

(region B)

The Complete First Series 30 June 2008[222]
Region-free
16 September 2008[223] 1 October 2009[224] 1 October 2009[225]
The Complete Second Series 22 June 2009[226]
Region-free
7 July 2009[227] 1 October 2009[228] 17 March 2010[229]
Children of Earth 13 July 2009[230]
Region-free
28 July 2009[231] 1 October 2009[232] 17 March 2010[233]
The Complete Series (1–3) 26 October 2009[234]
Region-free
19 July 2011[235] 4 November 2010[236]
Miracle Day 14 November 2011[237]
Region-free
3 April 2012[238] 1 December 2011[239] 7 December 2011[240]
The Complete Series (1–4) 14 November 2011[241]
Region-free

Broadcast

[edit]

Australia

[edit]

In Australia, after the ABC[242] and SBS passed on the series, Network Ten acquired the rights to air it.[243] After its première on 18 June 2007, a reviewer for The Sydney Morning Herald's The Guide said, "The appeal of Torchwood is not so much that it's gloriously implausible sci-fi pulp, but that it knows it's gloriously implausible, sci-fi pulp."[244] Ten's press release cites rival programming in their decision to move the show to a Wednesday 12 am timeslot halfway through the series.[245] Torchwood now airs on UKTV in Australia.[246] Series 1 was played on Imparja, but as of 3 February 2008 the station is no longer affiliated with Ten and will not screen more.[247] Series 2 of Torchwood aired on Ten HD from 1 September 2008. On 19 June 2009, ABC2 began broadcasting series 1, 2 and 3 on Fridays at 8:30 pm. When series 2 started broadcasting on 18 September 2009, ABC2 started broadcasting Torchwood Declassified after each episode. ABC2 began airing Children of Earth on 8 January 2010 weekly and it was earlier fasttracked by UKTV. Miracle Day was fast tracked by UKTV for July 2011 following the global premiere on Starz.[248]

New Zealand

[edit]

The first series began screening on TV2[249] in New Zealand on Wednesday, 9 July 2008, starting with series 1 and running straight through to the fourth episode ("Meat") in the second series. Series 2 continued airing on 11 February 2009 and series 3 premiered on 10 February 2010. Repeat screenings of the first two series began on 16 March 2010 after the conclusion of Children of Earth during the previous week. On 13 August 2010, Children of Earth began repeated transmission after the conclusion of the second series on 6 August 2010. Repeats also aired on BBC UKTV.[citation needed]

Europe

[edit]

In France, the first series began airing on 12 October 2007 on NRJ 12,[250] and since 13 January 2009 on Syfy.[251] The second series began on 5 September 2008 on NRJ 12[252] and the third series began on 17 November 2009 also on NRJ 12.[253] In Germany, RTL 2 broadcast series 1 to 4.[254][255][256][257] The first series started airing on 28 June 2010 on Icelandic network Stöð 2.[258] In Italy, the first series started airing on 3 September 2007 on Jimmy,[259][260] in 2011–12, Rai4 started to broadcast the whole show around 07.00 pm, starting with series 1, and then broadcasting Series 4 on primetime.[261][262]

Portuguese network SIC Radical started transmitting the first series in January 2009.[263] Subsequently, the complete series was picked up by AXN Black[264] and the Portuguese Syfy channel.[265] The first series premiered on 24 June 2007 and the second series 6 July 2007 on Swedish network TV4+.[266] Serbia aired the first and second series on the network RTS from 19 August 2009,[267] RTS began showing the third series from 25 March 2010.[260] Bulgaria aired first, second and third series on the AXN Sci-fi channel.[268] In Poland, BBC Entertainment broadcast series 1; premiere: 16 September 2008, 2, 3 and 4 (premiere: 28 October 2012) in censored version.[269][270][271]

North America

[edit]

The Canadian Broadcasting Corporation helped to finance the first two series, as they had the revived production of Doctor Who in 2005. On 2 April 2007, BBC America had acquired the rights to broadcast the series in the United States.[272] The series started on 8 September 2007;[273] the initial broadcast of the series was tied into a "radical makeover" of the channel that was to occur later in 2007.[272] The second series started on BBC America 26 January 2008,[274] and the third on 20 July 2009.[25] Torchwood has become one of the higher rated programmes for BBC America with its first series première in September 2007 attracting an audience of almost half a million viewers.[275] HDNet acquired the US high definition rights for the first 26 episodes (series 1 and 2) and began airing series 1 episodes on Monday evenings, starting 17 September 2007.[276] On 11 February 2008, HDNet began showing series 2 episodes.[277]

The Canadian network CBC was a co-producer of series 1,[278] and premiered in October 2007.[279][280] The show airs for French-speaking Canadian audiences on Ztélé.[281]

Series 2 began airing on Space on 8 August 2008[282][283] and series 3 was aired on Space over five consecutive nights in 20–24 July 2009.[284] Miracle Day premiered on 9 July 2011 on Space.[285] on 2 January 2012 Space aired a Torchwood marathon of Children of Earth and Miracle Day.[286] Miracle Day was repeated on Starz in Black in a marathon format on Labour Day Weekend 2012.[287]

See also

[edit]

Notes

[edit]

References

[edit]

Bibliography

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia
from Grokipedia
is a British television series created by as a spin-off from the revived , focusing on a secretive combating extraterrestrial and threats to . The programme aired on BBC Three and later BBC One from 2006 to 2011, comprising four series totaling 41 episodes, and follows the Torchwood Institute—a covert organization founded under royal warrant—primarily based in Cardiff, Wales, under the leadership of the immortal Captain Jack Harkness, played by John Barrowman. Unlike the family-oriented Doctor Who, Torchwood explores mature themes such as sexuality, death, and ethical dilemmas in a darker, more adult-oriented narrative style. The series gained attention for its innovative storytelling, with the 2009 miniseries Children of Earth receiving critical acclaim for its high-stakes alien invasion plot involving global government conspiracies and moral sacrifices, earning a BAFTA Cymru Award for Best Drama Series and a Saturn Award for Best Presentation on Television. Subsequent expansion into a U.S. co-production with Starz for the 2011 series Miracle Day introduced international settings and a larger budget but drew mixed responses for deviating from its original gritty tone. Overall, Torchwood accumulated 11 awards and 48 nominations, highlighting its impact within the science fiction genre despite criticisms of inconsistent plotting in early seasons.

Origins and Development

Conception and Pitching

Following the successful revival of Doctor Who in 2005, which drew average audiences of 7.6 million viewers per episode for its first series, Russell T. Davies proposed Torchwood as a companion series to address narrative elements constrained by the parent show's family-friendly broadcast standards. Davies envisioned a darker, post-watershed format permitting explicit depictions of sex, violence, and ethical dilemmas, such as the moral costs of wielding alien technology against extraterrestrial incursions. This approach stemmed from Davies' prior work on adult-oriented dramas like Queer as Folk, where he explored unfiltered human behaviors, now adapted to a science fiction context unbound by Doctor Who's pre-watershed slot on BBC One. Davies pitched the concept to BBC Wales executives in mid-2005, leveraging the momentum from Doctor Who's resurgence to secure funding for a 13-episode first series produced in Cardiff, the shared production hub. The premise centered on Torchwood Three, a covert unit operating independently of government oversight, tasked with exploiting rift-spawned alien artifacts and threats in Cardiff—a location chosen for logistical efficiency and narrative ties to Doctor Who's established spacetime anomaly there. The BBC approved the project rapidly, viewing it as a low-risk expansion of a proven franchise, with Davies retaining creative control as lead writer and executive producer alongside Julie Gardner. By early 2006, development advanced to scripting the pilot episode "Everything Changes," which introduced Captain Jack Harkness—reprising John Barrowman's role from Doctor Who—as the immortal leader of a team navigating moral ambiguities in alien encounters. Concept art from this phase depicted the team's subterranean base beneath the Millennium Centre, emphasizing isolation and secrecy, while early outlines highlighted causal dependencies on Doctor Who's lore, such as the rift's role in facilitating Earth-bound anomalies. The spin-off's viability was empirically linked to Doctor Who's 32% share of the 6-35 demographic in its debut year, prompting BBC Three to greenlight Torchwood for late-night slots targeting older audiences seeking grittier extensions of the universe.

Early Production Hurdles

The production of Torchwood's first series encountered significant budgetary constraints, with an estimated allocation of around £600,000 to £1 million per episode, typical for Three's digital channel output but insufficient for the sci-fi genre's demands. This limited funding strained efforts to realize ambitious , including alien creatures like Weevils and the pterodactyl in the pilot, where CGI elements sometimes appeared unpolished or rudimentary due to resource limitations. Creative challenges arose in establishing a distinct identity separate from , as the series inverted the show's optimistic heroism by centering a team of flawed, hedonistic operatives prone to moral lapses and interpersonal conflicts. Executive producer intentionally amplified adult-oriented elements—such as explicit violence, sexuality, and —to target post-watershed audiences, promising "more blood and snogging" to differentiate the tone. However, this experimentation risked tonal inconsistency, with early scripts balancing procedural alien hunts against character-driven dysfunction, often leading to pacing issues in execution as the production navigated untested ground for a spin-off. These hurdles reflected broader risks in launching a mature counterpart to a family-friendly franchise, where the push for edgier content and resource-intensive spectacle on a constrained schedule—filming much of the series in Cardiff's night locations—necessitated compromises that affected the inaugural season's cohesion.

Production Process

Writing and Creative Control

Russell T. Davies, Torchwood's creator and executive producer, exerted primary creative control through direct script contributions and oversight of the writing team, exemplified by his authorship of the series one's opening episode, "Everything Changes," finalized as a shooting script on April 28, 2006. This approach prioritized procedural narratives centered on the team's investigation and containment of extraterrestrial incursions, drawing from first-hand alien artifact encounters as causal drivers of episodic threats. Key writing support came from , who functioned as head writer and co-producer for series one and two, delivering seven scripts that reinforced the format's focus on immediate, evidence-based responses to anomalies like cybernetic invasions and rural disappearances. Under ' guidance, these 13-episode seasons—airing from October 2006—integrated mature elements such as and sexual dynamics from inception, enabling unfiltered explorations of human responses to the unknown without deference to broadcast constraints of the parent series. Subsequent development marked a deliberate evolution toward serialization; series two built continuity across its 13 installments via recurring motifs in team operations, while series three, "Children of Earth" (2009), adopted a compact five-episode structure as a continuous narrative arc, prioritizing causal chains of escalating global crises over isolated cases. This progression, orchestrated by Davies in collaboration with writers' rooms attuned to procedural realism, allowed plots to unfold through verifiable escalations in threat scale and institutional fallout, culminating in series four's 10-episode transatlantic format.

Directing and Technical Execution

Directing duties for Torchwood were handled by a rotation of television veterans, with Brian Kelly serving as lead director for the debut episodes "Everything Changes" and "Day One," broadcast on October 22, 2006. Kelly managed the integration of action sequences with speculative elements, such as the sex gas anomaly in "Day One," relying on tight choreography and on-location shoots in Cardiff to maintain pacing within the series' constrained schedules spanning 2006 to 2011. Technical execution emphasized practical effects and real-world locations to achieve immersion on a modest budget, particularly for rift-related anomalies depicted as spatial distortions disrupting Cardiff's urban fabric. Filming at sites like the , whose facade doubled as the Torchwood Hub's disguised exterior, allowed crews to blend set pieces with authentic environments, fostering causal realism by grounding extraterrestrial incursions in observable rather than extensive CGI composites. This method minimized post-production dependencies, efficient shoots that captured and spatial relationships, which enhanced viewer perception of the rift's intrusive permanence. The 2011 miniseries Miracle Day marked a shift to US-UK co-production with , introducing logistical challenges from transatlantic divides, including divided producing teams and primary filming in American locales despite the series' Cardiff roots. While earlier seasons utilized standard definition workflows, the production transitioned fully to high-definition by this phase, aligning with broader industry standards but complicating asset compatibility across continents. These adaptations yielded elevated production values, yet the reliance on remote coordination underscored empirical limits in maintaining the original's location-driven authenticity.

Casting Decisions

John Barrowman was cast in the lead role of for Torchwood, reprising the character he originated in the episodes "" and "," with the series premiering on 22 2006. His selection capitalized on the character's established appeal as a charismatic, immortal figure, informed by Barrowman's prior experience in stage productions that showcased his dynamic presence and versatility in handling complex, boundary-pushing characterizations. Eve Myles was announced as , the central new character serving as the audience surrogate, on 24 February 2006 by BBC press release. Myles, previously appearing as in the 2005 "," was chosen for her capacity to convey grounded, relatable amid extraordinary circumstances, drawing from her Welsh theatrical background to anchor the ensemble's more unconventional elements. The supporting cast, including as medic , as technician Toshiko Sato, and as archivist , was assembled via targeted auditions emphasizing interpersonal dynamics suitable for the series' exploration of fluid relationships and high-stakes teamwork. For the 2011 series Torchwood: Miracle Day, co-produced with Starz for U.S. broadcast, casting underwent significant revision following the deaths of key original team members in the 2009 miniseries Children of Earth, retaining only Barrowman and Myles as series regulars. New leads Mekhi Phifer as CIA agent Rex Matheson and Alexa Havins as analyst Esther Drummond were introduced to facilitate cross-Atlantic narrative scope and viewer engagement, reflecting production adjustments to integrate American perspectives and actors amid the shift to a larger-scale format.

Setting and Core Premise

The Torchwood Institute's Mandate

The Torchwood Institute was established on December 24, 1879, by Queen Victoria in response to an extraterrestrial threat encountered at Torchwood House in Scotland, as chronicled in the Doctor Who episode "Tooth and Claw," which aired on April 22, 2006. This founding charter positioned Torchwood as a covert defense organization dedicated to safeguarding the British Empire from alien incursions and supernatural anomalies, operating independently of conventional authorities to enable decisive action against existential risks. Unlike the United Nations Intelligence Taskforce (UNIT), which functions within international governmental structures, Torchwood's mandate emphasized complete autonomy, encapsulated in its operational creed: "Outside the government, beyond the police." This lack of oversight fostered a pragmatic, ends-justify-the-means ethos, prioritizing human survival through aggressive measures such as capturing, dissecting, and reverse-engineering alien artifacts for weaponry—practices that diverged sharply from the moral restraint often exhibited by the Doctor in the parent series. The Institute's guiding principle of "no second chances" reflected a causal realism in threat neutralization, viewing hesitation as a luxury incompatible with the unpredictable nature of rift-spawned incursions, though it invited ethical critiques for forgoing rehabilitation or diplomacy in favor of elimination. Such autonomy enabled rapid response protocols but also enabled lapses, including the stockpiling of hazardous technologies without parliamentary review, underscoring the tension between unbridled efficacy and accountability in extraterrestrial defense. Over time, Torchwood's isolation eroded amid escalating global threats; by the 2009 Children of Earth miniseries, Torchwood Three in interfaced with British civil servants and military officials during a planetary crisis involving the 456 species, revealing prior covert dealings and compelling a tactical alignment with state apparatus despite ideological . This highlighted the mandate's inherent , as unchecked operations drew governmental , transforming Torchwood from a shadowy bulwark into a reluctant adjunct amid demands for transparency and shared intelligence. The shift preserved core defensive imperatives but diluted absolute independence, illustrating how empirical pressures from interstellar diplomacy necessitated adaptive realism over rigid isolationism.

Cardiff's Rift and Operational Base

The Cardiff space-time rift functions as a fracture in time and space, positioned above Cardiff Bay, which periodically manifests extraterrestrial entities, artifacts, and temporal disturbances, driving the majority of operational incidents for Torchwood Three in the first two series. This rift's instability creates causal pathways for anomalies, as evidenced by episodes where rift activity directly precipitates invasions or possessions, such as the Weevil incursions or temporal displacements, necessitating immediate containment to prevent broader disruptions. Within the narrative, the rift's exploitation traces to the late 19th century, aligning with the Torchwood Institute's founding in 1879, though Torchwood Three's specific monitoring intensified post-1901 Cardiff sightings tied to rift bleed-throughs. The operational base, known as the Hub, comprises an subterranean complex directly beneath Roald Dahl Plass in , accessed via a perception-filtered invisible lift emerging from the bay's surface, concealing its high-security from view. Equipped with specialized facilities including bays for alien dissection, holding cells for , a manipulator device for controlled interventions, and a fleet including a black SUV for rapid urban response, the Hub enables real-time analysis and neutralization of rift-sourced threats. Production sets for the Hub were constructed in 2006 at BBC's Upper Boat studios near Cardiff, integrating practical elements like water tanks for the lift effect with CGI enhancements to depict the cavernous, industrial lair. Cardiff's selection as the setting merges logistical imperatives with in-universe rationale: BBC Wales' production hub facilitated cost-effective filming using local locations and talent, sustaining employment for the Doctor Who creative team year-round after the parent series' seasons. This real-world economic strategy dovetails with the rift's fictional placement, justifying the concentration of anomalies in an otherwise unremarkable city and enabling episode integrations of verifiable Cardiff landmarks, such as bay-area maps overlaying rift projections for tactical operations.

Characters and Casting

Captain Jack Harkness and Immortality

Captain Jack Harkness originates as a 51st-century human from the Boeshane Peninsula, initially operating as a con artist and later serving as a Time Agent whose memories were partially erased by his agency. During a 1941 World War II incident depicted in the Doctor Who episodes "The Empty Child" and "The Doctor Dances" (broadcast May 2005), he assumed the identity of Captain Jack Harkness, a Royal Air Force volunteer from 1890s Louisiana killed in a crash. This alias became permanent after his encounter with the Ninth Doctor and Rose Tyler, where he was killed by a Dalek but resurrected by nanogenes—microscopic repair machines—altered by Rose's exposure to the Time Vortex, rendering him the "Wrong Kind of Doctor" template for perpetual revival. As a result, Harkness became functionally immortal, unable to remain dead despite any injury or aging, though he experiences pain and temporary decay before regenerating. In Torchwood, debuting in 2006, Harkness leads the Cardiff after being recruited by Torchwood founder Hartman, who exploited his and of the Doctor during 19th-century captivity and . His serves as a mechanism to facilitate high-risk confrontations with extraterrestrial threats, allowing where others perish, while underscoring themes of isolation; as an unchanging fixed point in time, he outlives companions and lovers, fostering a cycle of attachment followed by loss. This detachment manifests in consequence-minimizing behaviors, such as casual risk-taking, since personal mortality imposes no ultimate penalty, though it erodes long-term moral caution toward finite lives—a causal outcome of immortality's asymmetry in human relations, where the immortal's decisions impose irreversible costs on others without reciprocal vulnerability. Harkness exhibits omnisexuality, unabashedly pursuing romantic and sexual relationships across genders, , and forms, reflecting 51st-century norms unbound by 21st-century binaries and plot flexibility in interpersonal dynamics. , who portrays Harkness, described the character as "omnisexual" within the series' , emphasizing attraction driven by opportunity rather than restriction. This trait amplifies hedonistic pursuits, unburdened by lasting repercussions due to his , yet it critiques such by highlighting resultant emotional voids and ethical shortcuts, as eternal recurrence of loss diminishes in transient bonds. John Barrowman appeared as Harkness in all 41 televised episodes of Torchwood across its four series and miniseries (2006–2011), anchoring the character's centrality to the franchise's exploration of immortality's double-edged nature.

Team Dynamics and Supporting Roles

The core Torchwood Three team during Series 1 (2006–2007) and Series 2 (2008) comprised Captain Jack Harkness as leader, Gwen Cooper as the primary field operative and ethical counterbalance, Owen Harper as the medical expert exhibiting pronounced cynicism, Toshiko Sato as the technical specialist focused on equipment and analysis, and Ianto Jones in a supportive role initially centered on maintenance and concealment of personal involvements. These roles shaped interactions marked by friction, with Harper's dismissive attitude toward colleagues and missions generating recurrent conflicts that undermined unity. Sato's expertise often positioned her as a resolver of technical crises, while Jones's reticence fostered initial distrust within the group. Evolving dynamics highlighted tensions from flaws rather than cohesive heroism, contributing to episodes of internal and operational vulnerabilities. Such interpersonal strains, compounded by the perilous of rift-related threats, correlated with elevated casualty rates; Harper and Sato perished during the bombing in the Series 2 finale "," broadcast on 9 2008, leaving a diminished by the 2009 . This turnover reflected causal links between unresolved group frictions—such as Harper's alienation and Jones's guardedness—and the to mitigate mission risks effectively. Recurring supporting figures provided contrast and occasional aid, injecting elements of normalcy amid the team's isolation. Rhys Williams, portrayed by Kai Owen, functioned as Cooper's civilian partner, evolving from oblivious outsider to informed ally who delivered candid feedback on her conduct post-discovery of Torchwood's existence. His involvement, spanning appearances from Series 1 onward, underscored domestic stakes and logistical support, with casting drawing from Welsh talent to embody relatable, grounded perspectives. Other peripherals, like police contacts, reinforced external dependencies but rarely altered core frictions.

Broadcast Series

Series 1: Establishing the Adult Tone (2006)

The first series of Torchwood consisted of 13 episodes broadcast on BBC Three, beginning with a double bill of "Everything Changes" and "Day One" on 22 October 2006 and concluding with "End of Days" on 1 January 2007. The premiere attracted over 2.5 million viewers, setting a record for the channel and reflecting strong initial interest in the program's darker science fiction premise. Subsequent episodes sustained viewership in the 2.5 million range on average, outperforming typical BBC Three programming despite the late-night slot. Central to the series' operational framework were introductions like the retcon drug, a pharmaceutical agent designed to induce amnesia and erase short-term memories, deployed in "Everything Changes" to manage exposure risks after Gwen Cooper's recruitment. Weevils, aggressive humanoid aliens adapted to Earth's underbelly and confined in Torchwood's cells, emerged as a staple threat, first encountered in a sewer chase that highlighted the team's containment protocols. These elements underscored the institute's mandate to police rift-spawned incursions without public disclosure. Episodes followed a procedural format of isolated alien hunts—ranging from temporal artifacts in "Ghost Machine" to cybernetic invasions in "Cyberwoman"—interwoven with subtle arcs that coalesced the core team through shared perils and personal fractures. This structure prioritized incremental character integration over serialized momentum, causally contributing to pacing critiques: the deliberate unfurling of backstories and interpersonal tensions often diluted episode urgency, as standalone resolutions felt protracted amid exposition-heavy dialogues. The series' adult orientation manifested in explicit portrayals of sexuality and gore, yet drew rebukes for instances where such content overshadowed plotting; "Day One," featuring an entity that amplified human lust to lethal extremes, was faulted for contrived eroticism that reviewers deemed gratuitous and reminiscent of prior genre tropes, eclipsing coherent threat resolution. Nonetheless, this uncompromised maturity advanced Torchwood's distinction as a post-watershed sci-fi venture, evidenced by its 94% critical approval on aggregate for evoking unease through ethical quandaries absent in lighter counterparts.

Series 2: Refinements and Escalations (2008)

The second series of Torchwood aired on BBC Two from 1 January to 19 April 2008, comprising 13 episodes that marked a shift to a more prominent broadcast slot compared to the first series on BBC Three. This change coincided with an average audience of 3.1 million viewers, reflecting an uptick from the previous series' lower figures and indicating refinements responsive to initial feedback on pacing and standalone episodes. The season introduced greater serialization, weaving personal backstories and consequences across episodes, such as the return of rogue Time Agent Captain John Harkness in the premiere "Kiss Kiss, Bang Bang" and subsequent installments, which explored Jack's past relationships and rivalries more deeply than isolated monster-of-the-week formats. Storytelling refinements emphasized tighter plotting and interconnected narratives, addressing criticisms of the first series' disjointed structure by incorporating arcs like the memory-altering entity Adam in episodes 5 and 6, which retroactively reshaped team dynamics and revealed suppressed traumas. Enhanced visual effects and production values, bolstered by the BBC Two platform, contributed to more ambitious sequences, including time travel in "To the Last Man" and the resurrection mechanics in "Dead Man Walking." Character development advanced notably for Toshiko Sato and Owen Harper, with arcs delving into their unrequited tensions and professional vulnerabilities, culminating in permanent losses that escalated stakes beyond temporary perils. These deaths—Owen's entrapment and demise in "Exit Wounds," and Tosh's fatal shooting in the same finale—introduced causal realism by demonstrating irreversible consequences, heightening narrative tension through the team's reduced capacity and emotional toll, unlike reversible resurrections common in the genre. While these escalations in stakes and serialization yielded pros such as more engaging procedural elements tied to ongoing threats, the series retained distractions from explicit sexual content, including gratuitous scenes in episodes like "Sleeper," which some reviews noted diluted focus on plot advancements. Viewer data supports the causal impact of these refinements, with episode finals like "A Day in the Death" reaching 4.26 million, suggesting improved retention through elevated drama and character investment. Overall, the second series refined Torchwood's adult-oriented procedural by balancing episodic cases with serialized depth, though persistent emphases on sensuality persisted amid broader production upgrades.

Children of Earth Miniseries (2009)

aired as a five-part miniseries on BBC One over five consecutive evenings in July 2009, marking Torchwood's shift to the main channel for broader reach. The storyline unfolds a global crisis initiated when children worldwide simultaneously cease activities to chant "We are coming" in an unknown language, signaling the return of the 456, a species previously engaged in a covert 1965 deal with the UK government involving the exchange of twelve orphaned children for technological benefits and immunity to a deadly virus. The 456 now demand 10% of Earth's children—approximately 100 million—as tribute, threatening to unleash a lethal airborne virus otherwise, pitting the Torchwood team against governmental cover-ups and international compliance. The narrative escalates through bureaucratic maneuvering, with UK officials, including civil servant John Frobisher, prioritizing national stability by agreeing to the quota while selecting disadvantaged youth from urban estates and care systems to minimize economic fallout. Torchwood's exposure of the 1965 pact via Captain Jack Harkness forces a confrontation, culminating in desperate measures: Harkness uses his grandson as a biological weapon vector against the 456, resulting in the aliens' destruction but collateral child deaths worldwide, including Harkness's own family member. Supporting characters face abrupt losses, such as Ianto Jones's death during a base raid, underscoring the unsparing consequences of resistance against superior threats. The portrays governmental with causal realism, illustrating how incremental concessions and instincts enable : officials rationalize mass child surrender as utilitarian necessity, debating allocation by postcode or criminality to shield elites, without redemptive arcs for institutions. This depiction echoes real-world ethical quandaries on and sacrifice, as in , but strips away idealistic filters to reveal raw power dynamics where leaders opt for compliance over defiance, even ordering familial suicides to bury scandals. No sources frame these choices as partisan; rather, they stem from universal incentives in hierarchical systems facing existential leverage. Reception highlighted achievements in sustained tension and ensemble performances, with the cabinet deliberations praised for evoking institutional inertia's horror. Viewer figures peaked at 6.58 million for the finale, up from series averages, reflecting the event format's draw despite prior digital-channel limitations. Criticisms centered on pacing shocks, like Jones's unforeshadowed demise, viewed by some as manipulative for emotional impact over narrative depth, though defended as mirroring unpredictable losses in asymmetric conflicts. The unvarnished ethics avoided sentimentality, prompting debates on whether such portrayals unduly pessimistically equate policy with moral abdication, yet empirical parallels in historical cover-ups lent credence over fabrication.

Miracle Day: Transatlantic Shift (2011)

Torchwood: Miracle Day, the fourth series of the programme, consisted of ten episodes co-produced by the BBC and the American cable network Starz, marking a significant shift in production and setting from previous instalments. Aired on Starz from 8 July to 9 September 2011, with BBC One broadcasts following six days later, the series centred on a global phenomenon dubbed "the Miracle," where human mortality ceased, leading to overpopulation, resource strain, and societal upheaval. The plot incorporated CIA agents Rex Matheson (played by Mekhi Phifer) and Esther Drummond (Alexa Havins) partnering with returning characters Captain Jack Harkness and Gwen Cooper to uncover the cause, initially rendering Jack mortal and forcing reliance on American intelligence resources amid conspiracy theories involving corporate and governmental entities. This transatlantic collaboration expanded the budget and scope, allowing for international locations primarily , but introduced format changes such as longer episodes and a serialised structure emphasising procedural investigations over the standalone cases of earlier series. The inclusion of CIA elements stemmed from Starz's involvement, aiming to appeal to American audiences by integrating U.S. federal agencies into the Torchwood , which diluted the original team's autonomy and shifted focus from Cardiff's rift-based operations to broader geopolitical intrigue. Viewership reflected empirical challenges from these alterations. In the UK, the premiere episode achieved a consolidated BARB rating of 6.59 million viewers, but subsequent episodes declined, with later instalments averaging around 3.45 million and a 21.55% drop from premiere to the fifth episode. This represented a decrease from Children of Earth's premiere overnight figure, exacerbated by the delayed airing and online spoiler risks. In the , the debut drew 1.51 million viewers across airings, a solid start matching prior series like , yet later episodes fell to approximately 917,000 combined viewers, indicating audience drop-off amid pacing complaints. Critics and viewers highlighted coherence failures tied to the format pivot, including slowed pacing from extended episode lengths that stretched investigative arcs and introduced subplots like "Category" systems for rationing care, which strained narrative momentum. The expanded ensemble, featuring American characters and CIA oversight, fragmented team dynamics, reducing the gritty, insular tone of prior series in favour of Hollywood-style gloss and action sequences that clashed with the programme's established ethical ambiguities and British sensibilities. Cultural mismatches arose from portraying U.S. institutions like the CIA as central heroes, which some analyses viewed as compromising the series' independence from mainstream network influences. Despite these, the heightened production values enabled larger-scale depictions of global crisis responses, such as overflow camps, offering a broader canvas for exploring mortality's implications absent in resource-constrained earlier productions.

Thematic Analysis

Extraterrestrial Threats and Procedural Elements

The Cardiff Rift functions as a volatile space-time anomaly that periodically disgorges extraterrestrial entities, artifacts, and phenomena into Earth, necessitating Torchwood Three's vigilant monitoring and rapid intervention protocols. Fluctuations in the Rift generate detectable energy signatures, prompting the team to deploy field operatives for on-site assessments, often involving forensic analysis of incursion sites to trace causal origins back to the anomaly. This procedural framework emphasizes containment over eradication where possible, with captured specimens subjected to biological dissection and technological reverse-engineering to model future threats empirically. Alien biology in Torchwood adheres to mechanistic principles, portraying species with adaptive physiologies suited to predation or infiltration rather than supernatural attributes. For instance, the Blowfish—a piscine humanoid capable of terrestrial locomotion and narcotic tolerance—exploits human vulnerabilities during a 2008 Cardiff incursion, ingesting cocaine to fuel a vehicular rampage that escalates public exposure risks. Torchwood's response mirrors resource-constrained intelligence operations: a small unit pursues via coordinated vehicle intercepts and non-lethal subdual, culminating in neural termination to avert pheromone dispersal or further adaptation. Similarly, Weevils, subterranean predators drawn to Rift emissions, exhibit pack hierarchies and vulnerability to specific sonic frequencies, enabling procedural neutralization through baited traps and frequency emitters derived from prior dissections. Procedural hunts for Rift-sourced artifacts underscore causal realism, where uncontrolled dissemination triggers chain reactions like temporal echoes or biochemical cascades. In one case, a crystalline glove artifact releases airborne pheromones mimicking human arousal signals, inducing mass hysteria across Cardiff on 20 December 2006; the team isolates the vector through symptom mapping and environmental scanning, deactivating it via precise structural disruption to halt the molecular propagation. Retcon, a memory-altering compound stockpiled for post-incident cleanup, enforces evidentiary closure, administered via aerosol or injection to witnesses, reflecting pragmatic trade-offs in evidence suppression akin to classified operations. These elements prioritize verifiable threat vectors—biological agents, mechanical devices—over abstract mysticism, with the team's five-member cadre relying on scavenged alien tech for scanners and weaponry, simulating operational austerity without institutional backing.

Sexuality, Identity, and Ethical Gray Areas

Captain Jack Harkness, portrayed by John Barrowman, is depicted as pansexual or omnisexual, exhibiting attraction irrespective of gender or species, a trait established in Torchwood's 2006 debut series where he engages in flirtations and relationships with male and female team members alike, such as his affair with Ianto Jones. This portrayal normalized fluid sexuality within the team's dynamics, including inter-team hookups like those involving Gwen Cooper and Owen Harper, framing such interactions as routine amid alien threats without traditional monogamous constraints. Russell T. Davies, the series creator, emphasized sexuality as fluid, using Jack to challenge heteronormative defaults in mainstream sci-fi television. The series received acclaim for advancing queer visibility in early 2000s broadcast media, positioning Torchwood as a landmark for explicit LGBTQ+ representation in , where characters pursue same-sex relationships openly without narrative punishment. However, it faced backlash for perceived gratuitousness, with executives noting viewer complaints labeling the content "too gay" and promiscuous, particularly Jack's uninhibited encounters that prioritized sexual agenda over plot coherence according to some critics. Conservative viewpoints argued this promoted consequence-free , potentially glamorizing behaviors like casual hookups detached from emotional or risks, a critique amplified by Jack's which insulates him from permanent repercussions. Immortality exacerbates ethical ambiguities in these portrayals, as Jack's curse—stemming from exposure to the Bad Wolf entity—renders death temporary, fostering a detached amorality where he witnesses loved ones age and die repeatedly yet persists in hedonistic pursuits, raising questions about accountability in identity and relationships. This dynamic, evident in episodes like "Captain Jack Harkness" from series 1, underscores causal realism: eternal life erodes standard moral incentives tied to mortality, leading to behaviors like serial infidelity that mortals might avoid due to finite consequences, though Davies framed it as embracing life's impermanence rather than endorsing ethical relativism. Debates persist on whether such elements organically develop characters or impose ideological messaging, with empirical viewer data showing polarized responses—praise from queer audiences for normalization versus attrition from those viewing it as forced inclusion over storytelling integrity.

Political Commentary and Government Critiques

Torchwood's narrative framework, established by its charter as an organization "outside the government, beyond the police," inherently positions the institute as a foil to state authority, enabling critiques of official secrecy and incompetence in managing extraterrestrial incursions. This autonomy allows the series to depict governments as reactive and self-serving, particularly in high-stakes scenarios where public safety intersects with political expediency. The 2009 miniseries Children of Earth exemplifies this through the UK government's response to the 456, an alien species demanding 10% of Earth's children as tribute. Having covertly supplied 12 orphaned children to the 456 in 1965 in exchange for a viral cure that masked as influenza treatment, British officials in 2009 conceal this history while negotiating compliance, ultimately selecting victims disproportionately from deprived urban estates to minimize political backlash. Permanent Secretary John Frobisher coordinates a cover-up, including orders to destroy records and orchestrate a departmental suicide pact to eliminate witnesses, prioritizing institutional survival over transparency or moral consistency. This arc illustrates causal realism in elite decision-making, where incentives for self-preservation drive escalatory compromises, mirroring documented historical instances of governmental realpolitik during crises, such as resource rationing in wartime. Such portrayals effectively underscore flaws in centralized authority, including the distortion of policy by compartmentalized knowledge and short-termism; for instance, the Home Office's isolation from Torchwood's expertise exacerbates the crisis, exposing how bureaucratic silos can amplify threats. Yet, the series' emphasis on systemic venality—depicting officials as uniformly complicit without redeeming individual agency or procedural safeguards—aligns with prevalent media tropes that attribute failures to institutional inertia rather than dissecting enabling factors like electoral pressures or legal constraints. This approach risks oversimplifying causal dynamics, as real governments operate under empirical checks, including intelligence oversight committees and international alliances, which the narrative dramatizes as absent or ineffective for heightened conflict. In broader arcs, Torchwood extends these critiques to , as seen in the miniseries' global summit where nations collude on child sacrifices, critiquing multilateralism's potential for moral diffusion while neglecting how decentralized responses might invite coordination failures. The show's anti-establishment lens, informed by creator ' focus on power imbalances, thus privileges exposure of elite self-interest but underemphasizes adaptive capacities within governance structures, a evident in its portrayal of state actors as antagonists to heroic outsiders.

Reception and Critiques

Initial Critical and Audience Responses

Torchwood's first series, premiering on BBC Three on October 22, 2006, garnered generally favorable critical reception, earning a 94% Tomatometer score on Rotten Tomatoes from 17 reviews that commended its mature, violent, sexual, and profane elements as a bold adult contrast to the family-friendly Doctor Who. Metacritic aggregated a score of 75 out of 100 based on critic assessments, reflecting praise for its investigative sci-fi procedural with extraterrestrial threats and humor, though some noted pretensions to adult depth without fully exploring darker territories. Critics highlighted the edginess enabled by its post-watershed slot, including blood, snogging, and ethical ambiguities absent from Doctor Who, as a key achievement in niche appeal for older teenagers and adults. However, reviews faulted the series for juvenile maturity in execution, with inconsistencies blending multi-colored, children's-show vibrancy and gritty drama, leading to perceptions of contrived edginess over substantive cohesion. Writing and drew mixed commentary, with derivative plots and functional scripting praised for entertainment value but criticized for lacking absorption or cleverness, alienating some broader sci-fi fans expecting tighter procedural rigor. Audience response aligned with BBC Three's youth skew, averaging 2-3 million viewers per episode including timeshifted figures, bolstered by the Doctor Who halo effect that drew spin-off curiosity from established fans. The premiere achieved 2.4 million overnight viewers and a 12.7% share, setting a channel record and demonstrating strong initial niche traction, though the explicit tone and tonal shifts contributed to empirical shortfalls in retaining a wider demographic beyond young adult sci-fi enthusiasts.

Specific Backlash on Content and Pacing

Torchwood's first series elicited complaints regarding its explicit content, including sex scenes and profanity, which some viewers perceived as contrived efforts to assert an adult orientation distinct from Doctor Who, occasionally overshadowing plot development. Pacing issues were also highlighted, with critics and audiences pointing to episodic "filler" structures—such as standalone monster-of-the-week stories—that fragmented the serial arc and resulted in uneven momentum across the 13-episode run. In contrast, proponents argued that the mature elements represented a deliberate evolution toward sophisticated storytelling for post-watershed audiences, enabling deeper engagement with ethical and interpersonal complexities without juvenile constraints. However, these defenses did not fully mitigate perceptions of over-reliance on sensationalism at the narrative's expense. The fourth series, Miracle Day, amplified backlash on both fronts, with UK viewership plummeting from a premiere of 4.83 million to averages around 3.45 million by mid-run, reflecting dissatisfaction with protracted plotting and structural bloat extended to 10 episodes for transatlantic appeal. Critics lambasted its slow pacing, padded subplots, and inconsistencies—like erratic character motivations and unresolved threads—that diluted the procedural intensity of prior seasons, exacerbated by the shift to a US-heavy production diluting the original Cardiff-centric grit. Explicit content in Miracle Day drew over 500 viewer complaints to the BBC, primarily targeting gay sex scenes deemed gratuitous or irrelevant to the sci-fi premise, prompting official responses affirming editorial standards while upholding the show's intent to portray diverse relationships authentically post-watershed. This underscored a divide, where some lauded the unfiltered approach as advancing adult SF, but others contended it prioritized shock over rigorous causal plotting, contributing to engagement decline.

Debates Over Ideological Influences

Critics from conservative perspectives have accused Torchwood of advancing a left-leaning agenda through its portrayal of sexuality, arguing that creator Russell T. Davies prioritized normalizing non-traditional relationships over narrative coherence, as evidenced by viewer complaints to the BBC in 2008 about "pointless" and explicit gay scenes that detracted from plotting. These critiques often frame the show's frequent depictions of bisexuality and homosexuality—such as Captain Jack Harkness's omnisexuality—as promoting moral relativism by presenting deviance as incidental or heroic without sufficient ethical scrutiny, potentially undermining traditional family values and contributing to audience fatigue by 2011. Empirical data from BBC feedback logs during Series 2 airing showed spikes in complaints specifically targeting the integration of LGBTQ+ elements as gratuitous, with some attributing declining viewership from 4.1 million in 2006 to under 2 million by Series 3 to this perceived ideological imposition rather than production shifts. A focal point of contention emerged in the 2009 miniseries Children of Earth, where the death of gay character Ianto Jones sparked debates over homophobia, with some conservative-leaning fans and commentators arguing it exemplified the show's inconsistent moral framework—treating same-sex relationships as disposable amid broader ethical relativism in plots involving child sacrifice and government complicity. Proponents of this view, including discussions in fan analyses from July 2009, contended that Davies' writing, despite his own gay identity, reinforced stereotypes by killing off Ianto in a dramatic, non-heroic manner shortly after affirming his relationship with Jack, thus prioritizing shock value over positive representation and mirroring real-world causal patterns where identity-focused narratives eclipse logical plot progression. Counterarguments from progressive outlets emphasized that such deaths reflect genre conventions rather than bias, citing the series' overall advancement in visible queer relationships as empirically progressive compared to pre-2006 BBC sci-fi, though even these acknowledge fan forums debating whether forced integration compromised causal realism in ethical dilemmas like the 456 aliens' demands. Broader ideological critiques highlight Torchwood's embrace of moral gray areas, such as the team's vigilante actions and government critiques, as fostering relativism that equates institutional flaws with outright villainy, per analyses from 2009-2011 reviews questioning if Davies' political commentary—evident in arcs portraying bureaucratic immorality—served to erode absolute ethical standards in favor of situational justifications. Conservative reviewers attributed this to Davies' worldview, linking it to fan exodus data post-Miracle Day, where U.S. co-production diluted the original tone but amplified perceived preachiness, with Nielsen ratings dropping 40% from UK averages due to alienated audiences prioritizing identity over substantive threats. These debates underscore a divide: while some data shows increased queer visibility correlating with awards like GLAAD nods, critics argue the causal trade-off—plot inconsistencies from agenda-driven choices—evidences systemic bias in creative decisions, as corroborated by contemporaneous forum metrics tracking backlash spikes.

Expanded Media and Legacy

Big Finish Audio Dramas and Continuations

In 2015, Big Finish Productions secured a license from BBC Worldwide to produce full-cast audio dramas set in the Torchwood universe, launching the Monthly Range with stories featuring returning cast members such as John Barrowman as Captain Jack Harkness, Eve Myles as Gwen Cooper, and Gareth David-Lloyd as Ianto Jones. The range initially released one story per month, exploring standalone adventures and character-focused narratives that extend the timeline from the television series without requiring visual effects. By the planned conclusion of the Monthly Range's 100th release in 2026, Big Finish will have produced at least 100 stories, shifting to bi-monthly releases starting in March 2025 to sustain output while concluding the core series. These audio continuations maintain causal continuity with Torchwood's established lore, delving into extraterrestrial threats, team dynamics, and historical settings unfeasible in live-action production due to budget constraints. In 2025, releases included summer installments addressing the long-standing mystery of the Torchwood SUV's fate, such as Salvage—a story resolving its post-Children of Earth disappearance—and adventures featuring characters like Tyler Steele and Suzie Costello. Additional 2025 stories expanded into Victorian-era narratives, building on prior ghostly tales to introduce new historical threats involving entities like the Mara. This format has revived fan engagement by providing fresh content with original voice talent, sustaining the franchise's narrative momentum beyond 2011's Miracle Day. While praised for deepening character arcs and lore without contradicting core events, the audio dramas have faced criticism from some fans for perceived inconsistencies in timeline details and character motivations relative to the televised canon, though Big Finish maintains they operate within licensed parameters.

Novels, Soundtracks, and Tie-Ins

The BBC Books imprint released a series of original prose novels tied to Torchwood, beginning with three titles on 4 January 2007: Another Life by Peter Anghelides, Border Princes by Dan Abnett, and Slow Decay by Andy Lane. These early volumes focused on character backstories, such as Jack Harkness's pre-Torchwood exploits in Another Life, and introduced standalone alien encounters in Cardiff, thereby extending the televised lore into print without direct adaptation of episodes. Abridged audiobook editions followed in April 2007, narrated by cast members including John Barrowman as Jack Harkness, allowing fans to experience the narratives in audio format akin to the series' dramatic style. Subsequent novels, such as Something in the Water by Trevor Baxendale (6 March 2007), continued monthly releases through 2008 and into 2011, totaling 19 titles by BBC Books that explored Torchwood's historical operations, rift anomalies, and ethical dilemmas in combating extraterrestrial incursions. Authors like Andy Lane and Joseph Lidster contributed volumes that delved into procedural elements, such as artifact containment and team dynamics, providing canonical expansions verified through consistency with broadcast continuity. These print works, while less regulated than the television production, maintained fidelity to the series' causal framework of rift-based threats and institutional secrecy. The incidental music for Torchwood series 1 and 2 was composed by Murray Gold, with orchestration and additional scoring by Ben Foster, emphasizing atmospheric tension and orchestral motifs for alien invasions and moral ambiguities. The Torchwood: Original Television Soundtrack compilation, containing 25 tracks from these series, was issued by Silva Screen Records on 22 September 2008 (digital via iTunes from 5 August 2008), capturing cues like the rift's dissonant hums and chase sequences. This release documented Gold's contributions, which drew from his Doctor Who work but adapted to Torchwood's darker tone, with no further soundtrack albums for later series until fan-driven compilations post-2011. Tie-ins extended the franchise through BBC Radio 4 productions, including seven full-cast dramas aired between 2007 and 2010, such as Lost Souls (a webcast hybrid with animation, broadcast 14 December 2006) and radio exclusives like The Sin Eaters (2009). These audio tie-ins, starring core cast members like Eve Myles as Gwen Cooper, filled narrative gaps—such as post-series 2 team recoveries—via scripted stories emphasizing rift anomalies and personal stakes, distributed as collected audiobooks by BBC Audio in 2017 but originating pre-Big Finish era. Web-based extensions, including animated webcasts like Captain Jack Harkness (2007), provided short-form content accessible via BBC websites, reinforcing Torchwood's extraterrestrial procedural elements without requiring visual effects budgets.

Post-2011 Developments and Franchise Impact

Following the conclusion of the television series Torchwood: Miracle Day on September 21, 2011, no further televised episodes have been produced, marking a period of stasis in the franchise's visual media output. Rumors of a potential revival surfaced in late 2023, fueled by speculation from entertainment insiders, but these were promptly debunked by series co-creator , who stated during a November 2023 Q&A that there were no near-term plans for the Torchwood Institute's return within Doctor Who or as a standalone series. This assessment aligned with in-universe developments, as the 2023 audio miniseries Doctor Who: Redacted portrayed the Torchwood Institute as effectively defunct, with surviving operatives operating in isolation. Select cast members have expressed openness to revisiting their roles amid fan interest. In July 2024, actor , who portrayed until the character's death in 2009's Children of Earth, indicated he would "jump" at the opportunity to return to the franchise in any capacity, citing the transformative impact of the role on his career. Similarly, co-creator has not ruled out future iterations entirely, though he emphasized in 2023 that any revival would prioritize narrative integrity over rushed production. Big Finish Productions sustained the franchise through full-cast audio dramas starting in 2015, producing monthly releases that extended canonical storylines with returning and new voice talent. The main range, encompassing over 100 installments, concluded in May 2026 after a decade of output, with a final "Legacy" box set recorded to commemorate 20 years since the 2006 television debut. Producer James Goss described the closure as a natural culmination, noting the range's role in exploring character arcs post-Miracle Day, including solo adventures for figures like Toshiko Sato in releases such as End Game (August 2024). The franchise's post-2011 legacy on the broader Doctor Who universe remains modest, primarily enabling compartmentalized exploration of mature, gritty themes—such as moral ambiguity and institutional corruption—that contrasted with the parent series' more optimistic tone, without necessitating crossovers that might alter Doctor Who's foundational elements. While Torchwood's edgier approach influenced perceptions of permissible darkness in spin-offs, evidenced by its handling of adult-oriented narratives, it faced retrospective critique for occasionally prioritizing stylistic excess over the parent show's escapist purity, contributing to a limited cultural footprint beyond dedicated fandom. Audio expansions preserved continuity for enthusiasts but did not spur mainstream revival, underscoring a causal shift toward niche media over television dominance.

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