We reach the midpoint of the “CoE” miniseries season where all the pieces are now arranged properly on the board, and the game turns wickedly dark on a dime.
We reach the second installment of the “CoE” season of Torchwood, and while the anticipation of horrific things is palpable, we need to get really invested in all our characters first…including the antagonists.
With a deep, steadying breath and a word of thanks to our listeners for their encouragement, we begin our journey into the tumultuous third season of Torchwood.
Season 2 of Torchwood ends with what we consider to be a well-crafted but nonetheless difficult to watch finale.
The second season of Torchwood makes an interesting choice by going with a set of flashback sequences for its penultimate episode.
Gwen learns of another disturbing aspect of dealing with the Rift, and we all take a blow from Chris Chibnall’s ability to write emotionally charged scenes.
We spin up some oldey-timey footage of circus sideshows and try and determine exactly who the ‘Night Travellers’ were, why they were doing whatever nefarious things they did in a century ago, and how they were captured in celluloid in the first place.
Phil Ford is back in the writing credits for one of the strongest humor-horror-high-anxiety stories of the second Torchwood season, but we have a difficult time discerning which categorization best fits.
It’s the second season story where not-dead Owen is a horrible grief counselor, Martha leaves, and we all agree that one can effectively leave it at that.
Haley’s back in the studio at long last, and we didn’t even have to use a resurrection glove to make it happen. Hitting the midpoint in Season 2 of Torchwood, we see a recurrence of an episode trait that affected a large swath of the first season: story elements that are enjoyable, but feel underdeveloped.