(If you're reading this on the Dreamwidth journal, you'll need to go over to LJ and pick up the torchwood boxset tag to see previous installments.)
"We're talking to the wrong corpse."
The very first episode showed how Torchwood is the worst and best job in the world, with Jack's second-in-command getting a little too carried away with her job, and ending up on ice in the vaults herself. Three months later, the team have reason to find out just what she knew about the background of their current problem -- and in Torchwood, even suicide isn't always an effective way to resign from the job...
Intricately plotted, well acted, and wonderfully filmed and directed, this meditation on life and death shows just what Torchwood is capable of -- from what was originally one of the over-commission scripts which were commissioned to give the production time extra material to draw on in case of problems with the primary scripts.
Watching it for the first time is like playing with one of those Russian doll sets; every time you open up a layer, you find something else nested inside. This does sometimes give me suspension of disbelief problems on rewatching, in part because Suzie's plan is so elaborate, but on my first time through I was too mesmerised by the developing story and character interplay to care.
( They Keep Killing Suzie )
"We're talking to the wrong corpse."
The very first episode showed how Torchwood is the worst and best job in the world, with Jack's second-in-command getting a little too carried away with her job, and ending up on ice in the vaults herself. Three months later, the team have reason to find out just what she knew about the background of their current problem -- and in Torchwood, even suicide isn't always an effective way to resign from the job...
Intricately plotted, well acted, and wonderfully filmed and directed, this meditation on life and death shows just what Torchwood is capable of -- from what was originally one of the over-commission scripts which were commissioned to give the production time extra material to draw on in case of problems with the primary scripts.
Watching it for the first time is like playing with one of those Russian doll sets; every time you open up a layer, you find something else nested inside. This does sometimes give me suspension of disbelief problems on rewatching, in part because Suzie's plan is so elaborate, but on my first time through I was too mesmerised by the developing story and character interplay to care.
( They Keep Killing Suzie )