Still Waiting for a Miracle: Final Thoughts About Torchwood: Miracle Day

Miracle Day presents some interesting story ideas that aren't developed to a satisfying conclusion. It is a collection of widely dispersed brilliant scenes in search of a cohesive miniseries.

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Like the 10 episodes of Miracle Day, my comments—written in the hours after I watched “The Blood Line” but posted after the episode’s U.K. broadcast—span a wide range of topics and may seem largely disjointed. As a Torchwood fan since the first season and a Captain Jack fan since 2005, I realize that my reactions are biased and not those of the target audience, those new to Torchwood. Aiming for new viewers is understandably necessary for Starz in particular to gain ratings and subscribers, but that strategy left me dissatisfied with Miracle Day’s plot and character development. I was unhappy with some plot developments in Children of Earth, but I still watch the excellent Day 1 again and again and share Children of Earth with students in my university classes. I won’t do either with Miracle Day, despite some wonderfully written and acted individual scenes.

What I liked:

1.The Redemption of Jack

Jack Harkness will never be a traditional hero, but he becomes far less of a dark hero with his redemption by the end of Miracle Day. Scenes illustrating the redemption of Jack portray him with Christ-like imagery (in “Immortal Sins” and “The Blood Line”), which is always going to be controversial, given everything Jack has done in his many lives. Jack has served the Torchwood story as a savior/sacrifice many times, and the theme of betrayal, both implicit and explicit, is especially strong in his character’s depiction in Miracle Day. Although not everyone may like to see Jack forgiven, much less redeemed, for some pretty dark actions, I like the idea that at least Jack has been emotionally and psychologically (perhaps “spiritually”) healed and can now move on. Angsty, guilt-ridden Jack is necessary at times, but he’s no fun. Yet this is the Jack that new viewers first come to know, without knowing exactly why he feels the occasional need to mention Ianto or the Doctor. He seems like a fallen leader, but new viewers haven't seen--and don't get to see--Jack as a leader in this miniseries. Maybe the Jack that older fans (like me) enjoyed in previous stories will now be able to return.

2. “Immortal Sins”

“Immortal Sins”—my favorite episode—brings back loving, tender Jack, as well as naughty rogue Jack, who seems more con man than Torchwood operative in this backstory. He poignantly tries to find a companion of his own. Perhaps this impulse reflects his desire to become as “good” as he (then) thinks the Doctor is. This episode shows Jack as he is meant to be—controversial, dangerous, even betrayed. He is not and should never be a typical hero character. He probably should never lead Torchwood. He should be an elusive rogue who beguiles us with his capacity to love but horrifies as well as intrigues us with his dark side, which is why "Immortal Sins" is my top episode in Miracle Day.

3. Especially the car scene in “Immortal Sins”

Jack’s and Gwen’s confrontation is probably the only Miracle Day scene I’ll replay far too many times. Gwen tells Jack, “At the end, I finally understand you.” So did I, Gwen, and that alone was worth Miracle Day. Well written, well acted, tightly paced, this scene has everything—friendship, love, betrayal, and manipulation, along with bondage!

4. Jack’s immortality

Captain Jack regains his immortality and, hope springs eternal, he will live in Doctor Who or Torchwood stories, whether canon or fanon, for a long time to come. Jack is one of the best characters to come along in SF, especially when he can work as a free agent or with an entourage of likable, diverse, equally dysfunctional characters. His role as a consultant who occasionally drops the Doctor’s name into a conversation isn’t nearly as interesting, but what’s the point of immortality if you don’t have the time to learn from your missteps and do something different next time?

5. Rhys and Andy

These characters had some fantastic moments that proved the actors who play them can do far more than they have been previously given. Whether playfully painting a wall, reining in Gwen’s desire to run off with Torchwood, or begging for more time with his dying father-in-law, Kai Owen’s Rhys is marvelous. His humor and deft touch lighten scenes appropriately and provide that proverbial breath of fresh air amid the heavy drama. Rhys’ compassion in the charnel (ware)house provides the right gravitas and dignity to a scene that could have been just about another death. Kudos to Tom Price, too. I especially applaud a scene in “The Blood Line” in which Andy holds the hand of a friendless, dying girl so that she isn't alone in her final moments. Price used his body language and expression to convey all that Andy felt, giving the scene depth and emphasizing that the power of a human connection doesn’t always require a lot of exposition.

6. The beach scene in "The New World"

It's fast and furious. It has rocket launchers, massive explosions, Rhossili Bay, Captain Jack driving a getaway jeep, and the happiest baby ever! It's over the top, unbelievable, and exciting! It's--dare I say--fun! Yeah, I'd be smirking, too, Jack/John. I had as much fun watching it as you did filming it.

What I disliked:

1. Episodes’ loss of focus (and loss of characters)

As another of my favorite BBC-depicted characters, Sherlock, complains, “Bored. Bored. BORED.” I metaphorically shot the wall during many scenes. I often couldn't see the point, even in retrospect, of individual scenes or characters as I pieced together clues about the miracle (and this I confess as a LOST fan familiar with clue gathering). So much of the time I just didn’t care, or when I cared, I tried not to care too much because, as the Ninth Doctor often said, “everything dies.” Everything, everyone, everywhere—in Miracle Day, the only new characters I liked, Esther Drummond and Vera Juarez, perish, leaving me with fewer people to root for. I really thought Esther was going to make it to the final credits, but no. She couldn’t survive the last 10 minutes. I became desensitized to character death to the point that nothing shocked me, and the number of explosions, shootings, and immolations just became, frankly, boring.

2. The story’s unrealized potential

I mourn the missed opportunities of what could have been 1) an interesting medical drama with SF overtones (even if no aliens were involved), 2) a creepy apocalyptic tale of what happens to an immortalized world, or 3) a Captain Jack story in which his past, yet again, returns to haunt not only him but everyone he touches. Pick one. Any of the three had a good deal of potential that could have been developed in 10 or fewer hours. Also, I’d have liked to have seen more done with the Soulless or the Blessing, two visually interesting and potentially thought-provoking concepts. All those global questions worth serious consideration that were raised in the first few episodes vanished as the plot went on, and on, and on. Although the many plot threads did become more clearly interwoven during the final episodes concerning the families and the Blessing, I’m still trying to unravel a few knots and stitch together some ragged holes.

3. An unclear series identity

Torchwood needs to decide what it wants to be now that it’s reportedly all grown up. I still observed lots of growing pains, resulting in episodes with wildly uneven tone from scene to scene. The final scenes with the Blessing in “The Blood Line” didn’t bother me much. After all, they return Torchwood to the familiar highly dramatic, a bit over the top climax, with some very human touches--typically entertaining, old-style Torchwood denouement. What did bother me was the slapstick humor used in "Rendition"'s scene of Jack’s poisoning, a tonal anomaly in the rather serious first episodes that tried to establish the urgency of the "miracle." Dark humor is one thing. Hysterically ripping up cables to make an antidote is another (as is re-using Jack’s Nostrovite makeup to make us realize how ill he is).

4. “Immortal Sins” as a stand-alone episode

“Immortal Sins” is, for better or worse, a stand-alone episode. As much as I enjoyed the concepts and much of their execution (although I got the point during Jack’s first execution and didn’t need to see quite so much blood), I was troubled that “Immortal Sins” doesn’t easily mesh with other episodes. It does lead to the Blessing and revelations about the miracle, but the episode takes the scenic route to clues. However, this episode was the most compelling to watch, simply because Jack is a compelling character who can carry an episode on his own. Too often in Miracle Day he was sidelined as a backseat driver or advisor. Unfortunately, I can’t even show this episode as part of a class discussion about Jack as an SF character—like the BBC, I would have to cut scenes and probably receive many complaints about graphic content. I like to watch Starz in my living room, but watching it in a classroom of teenagers would be difficult, personally and professionally.

5. Talking heads

Explication, explication, EXPLICATION. Although Miracle Day’s story resulted in 10 drawn-out episodes, the plot alternately meanders among or skips over important on-screen developments, which then are explicated by a talking head. A rousing speech here or there is expected and, if done well, applauded. Most often, however, show me instead of talk to me about it.

6. Rex

Rex Matheson is the new Jack Harkness. Miracle Day spent far too much time comparing Jack with Rex and developing the latter as an American CIA version of the former. It doesn’t work nearly as well as the writers thought it should. Jack is unique, even if he now has begat another immortal who might, I fear, be poised to take his place in future Torchwood stories (as he has in one of the recently published novels). With the ascension of Rex as an American immortal agent, comfortable with the existence of aliens on earth but better versed in crime-fighting methods, Captain Jack is unnecessary to new Torchwood—at least from a writer’s perspective. No matter how talented Mekhi Phifer is or how much later episodes tried to soften Rex’s abrasive personality, I only have eyes for one immortal—and it’s not Rex.

You might have noticed that my "likes" are very specific, whereas my "dislikes" are broad generalizations. That difference sums up my Miracle Day viewing experience.

Miracle Day ultimately is an interesting international experiment between two powerhouses with wildly divergent audiences and programming histories. The hypothesis that BBC and Starz can gain a wider market share by pooling resources and redirecting a cult series for a mainstream adult audience still should be tested. Experiments are often inconclusive and should be replicated (but maybe not with a hybrid Torchwood).

Don’t misunderstand me—I believe deep in my geeky, SF-loving heart that Torchwood is a worthwhile concept that could still be developed as a viable cult series that ends up making money and earning critical acclaim. As some fans have mentioned, perhaps Torchwood: US could become a separate series from Torchwood: UK, just as each Being Human or Law & Order has a separate cast and different stories, although each series shares the same original concept with its across-the-pond counterpart.

If, however, future Torchwood episodes are vetoed and Captain Jack and company become free agents, here are some other possible spinoffs I’d watch:

Zombie Torchwood (All the dead come back to life, a kind of Walking Dead in Cardiff)

Romcom Rhys (whether as stay-at-home dad or a single parent is up to Gwen and her devotion to Torchwood)

The A-Files (Andy becomes a combo Mulder-Scully-styled paranormal investigator who balances his newly honed police investigation skills with his love for “spooky-do’s”)

Gwen, Warrior Princess—or Road Warrior (Remember the way she looked in leather, on a bike, against a flaming backdrop?)

(Don't laugh at my suggestions. Just look at the number of prequels and miniseries SyFy has generated since Battlestar Galactica's finale.)

If the former Torchwood “team” remains as divided, by temperament or geography, as they have been in Miracle Day, why not let each character play to his or her strengths?

Let me brainstorm one more spinoff idea: Against all odds, the baby TARDIS on Jack’s desk in the Hub survives, just like Gwen’s contact lenses. As it grows up, the TARDIS calls to Jack, who then returns to Cardiff before the two begin a new series of intergalactic adventures (perhaps quite adult—hey, I saw the potential in “The Doctor’s Wife”). More important, they travel the stars, fight some aliens, make love to others, and eventually pop by a huge anniversary party held in the Doctor’s behalf. Now that’s the kind of Miracle I’m looking for.

Observations of a Comic-Con Newbie

Sitting in the San Diego airport, latte and laptop at hand, I have plenty of time to make sense of the whirlwind four days (and preview night!) that is Comic-Con. Last Monday I stayed the night in Orlando to be on time for the 4:30 a.m. check-in, and until roughly the same time this morning, my life has been a series of long lines, strange and wonderful conversations, and unexpected experiences.

If anything, my Comic-Con experience could be a metaphor for life. It was amazing, but it went by too fast. I learned from creative people, made new friends, and took a few side trips to see the world outside where I was “living.” Sometimes I did everything right and played by the rules but still got screwed over. Sometimes I was in the right place at the right time for a magical experience. I savored excellent meals and gulped junk food. I was exhausted and exhilarated. I didn’t do everything I planned or hoped, but pleasant surprises spiced up the journey. In retrospect, SDCC was more (of everything) than I could have imagined.

When I look back, particularly at Friday, I feel the trip was worth the aggravation of crashed servers, long lines, misinformation, and the occasionally rude fan who felt the need to cut in line or dump my bag in the haste to get a seat. The majority of fans, exhibitors, guests, drivers, guides, and security personnel were friendly, helpful, and knowledgeable. They chatted amiably and shared tips for a successful convention. They smiled—a lot—and seemed genuinely happy to be there.

The highlights listed next are easy to enumerate by day but are more difficult to explain—the reasons for their significance are personal as only fan experiences can be.

Preview Night:

Doctor Who t-shirt. Check. SDCC comic book exclusives. Check. Beatles taxis. Check. The booth numbers I’d mapped before leaving home came in handy when I wanted to dart down aisles to make purchases.

And then I found the Weta booth.

Daniel Falconer, who designs weapons and armor and has worked on films like The Lord of the Rings and District 9, signed my District 9 book, chatted a few minutes, and even graciously agreed to a future interview. I’ve admired his work for years, and I now admire the man for his friendliness and genuine interest in Weta fans. If I had only talked to him at Comic-Con, I would've deemed the trip a massive success.

But the fun was only beginning. I lasted two hours in the crush/rush of the Preview before calling it a night and taking a shuttle back to the hotel.

Thursday highlights:

• TheOneRing.Net (TORN) panel—old friends, news of The Hobbit, and a strange introduction to some cast members [e.g., Benedict Cumberbatch (Smaug/Necromancer) was introduced via a photo of Sherlock and the actor’s reading of Jabberwocky—but then, I forget that not everyone is as enamored of Cumberbatch and familiar with his incredible voice]

• Indie film festival—a series of shorts or animated films, plus a Vuguru panel about web films, my first meeting with Dominic Monaghan and Ray Wise, and an unexpected meet-and-greet after the panel

• Wilfred panel—an episode screening followed by cast Q&A, fueling a hilarious and insightful meeting between the actors and fans who are seriously into the series, Jason Gann, and Elijah Wood

Friday highlights:

• Torchwood panel—an early morning run to get in a line that still left me 2000 deep in the herd heading to Ballroom 20, but—success!—a seat about halfway back, and a reunion of far-flung, naughty, extroverted “family” on stage or on the floor. But more about John Barrowman and panels later.

• The queue outside Nerd HQ—where I said hello to Elijah Wood and managed a shaky “Hello, fine, thanks” when Dominic Monaghan asked how I was doing as he walked past

• A Conversation with Dominic Monaghan—an intimate, funny, insightful, never-to-be-forgotten hour for the hundred or so fans participating in the conversation, which was streamed to a worldwide audience

• A Conversation with Scott Bakula—another memorable hour capped with a bonus signing session—and a memorable if impromptu duet from Bakula and Zachary Levi—All right, I have to boast that I received a “good question” comment from Monaghan and Bakula, which means a lot to someone who likes to interview actors.

Saturday highlights:

• TV Guide panel of “supernaturals”—a decidedly low tech (or no tech, when the clips couldn’t be correctly played) screening of television series, but the actors saved the session by giving their fans just what they wanted—plenty of sexy, irreverent comments that made this panel possibly the bawdiest and funniest of the con

• Toby Whithouse—No one was in line when I showed up a few minutes early for his signing session at the SFX booth! What was wrong with that crowd?! I blame my surprise at being suddenly face to face with one of my favorite writers for my incoherent gushing about Being Human. Usually I’m so much cooler. Seriously.

Sunday highlights:

• Anthony Head—I had hoped to gush about the Doctor Who panel, but I chose 1) to stand in an autograph lottery line that didn’t work out and 2) to meet Anthony Head at the BBC America booth. The latter was an excellent choice; Mr. Head was gracious and funny. He gave each fan his full, unhurried attention. I’m a fan for life.

A few experiences and comments deserve more than a list item; they, perhaps as much as a fan moment with a film maker, writer, or actor, determined the quality of my Comic-Con experience.

John Barrowman and a Tale of Two Panels

During Friday’s Torchwood panel, John Barrowman clearly was in his element, fielding questions with aplomb and double entendres, letting every panelist shine, and generally seeming to have a good time. Although he wasn’t officially the session moderator, that lack of designation was a moot point. Everyone on stage and in the capacity crowd of the extremely large Ballroom 20 only had eyes for John. Eve Myles was hilarious, but even she couldn’t keep up with Mr. Barrowman.

As is his norm during interviews or public appearances, Barrowman thanked his fans for their support. He emphasized his love of playing Captain Jack. He cracked jokes and played to the crowd. He sang, although in Saturday’s panel he seemed to wish he’d chosen something other than “Tomorrow” from Annie. He posed for photos. And he looked like he was having a good time.

To date, I’ve attended two of Barrowman’s concerts (the third coming up this Thanksgiving) and more performances of La Cage than I should admit to seeing. I’ve watched the man interact with fans via webcam and at stage doors. He knows how to relate to fans and make them feel that, although he and they may never say hello face to face, they are important to him. That inclusiveness was a big part of Friday’s Torchwood panel, a session less about cheerleading for Torchwood (although that was certainly its purpose) and more a love fest between Barrowman and his fans.

The vibe was very different at the TV Guide panel. Yes, John Barrowman waved to his fans, many who crowded the second or third row (where I sat) and took hundreds of photos during the session. Yes, he brought sexy back to 5AB and made a teen werewolf blush. And yes, he sang “Happy Birthday” and gave the birthday boy a kiss. But it just wasn’t the same level of energy or enjoyment provided by the Torchwood panel. Barrowman was a team player and applauded others’ series or quips, but the majority of fans in that room wanted to talk only with him. Barrowman participated graciously, but he wasn’t in charge, and the magical “family feeling” of the other panel never materialized. Say what you will about Barrowman, but put him in charge of a group of fans and he can unify a crowd while making each person feel special. That is a rare gift.

Fab Four

I don’t mean to be sexist, but I was most impressed with my encounters with these four men: Dominic Monaghan, Scott Bakula, Anthony Head, and Zachary Levi.

I have wanted to meet Dominic Monaghan since 1998. On July 22, 2011, that meeting materialized and exceeded my fantasies. (Keep your thoughts clean, people.) I sat in the front row for the Vuguru panel, and I learned a lot about film making and web movies. After the panel, the audience was invited to a meet and greet with the panelists—giving me the opportunity for a lengthy discussion with a scriptwriter and shorter but very pleasant conversations with actors. I asked a few questions, told Mr. Monaghan about the way I use DVDs of his performances in my “heroes” classes, and shook his hand. Absolutely brilliant.

On Friday, I attended Monaghan's "conversation" session hosted by the Nerd Machine. Those who know me will not be surprised to learn that, when there was silence in the “are there questions?" part of the program, my hand popped up automatically. During a break in the action while the mic went back and forth from me to the handler before it worked, Dominic Monaghan said he remembered me. Let the record show that he actually said we hung out together on Thursday. Somewhere there is a recording of the streamed video to prove it. My fan life is now complete.

I had a similarly wonderful fan encounter during Scott Bakula’s “conversation.” I last met Mr. Bakula in 1996 at a Quantum Leap convention, and both times he has impressed me with his honesty in answering questions (especially about the television industry then and now) and his kindness in talking with each fan.

What impressed me about these actors—and also Anthony Head, who graciously met everyone in the long line snaking around the BBC America booth on Sunday morning—is their complete focus on the (probably inwardly shaking) fan before them. They made each person feel important, unlike the cattle call or the 100-people-per-hour signings becoming more common at fan conventions. Unfortunately, what is construed as good manners in the "real world" is too often rare in the interactions between fans and those being adored. My Comic-Con experience benefited from brief, but very "real" interactions with these actors.

The man behind Nerd HQ is Zachary Levi. He bounced between headquarters next door and Joltin’ Joe’s, where the special fan sessions were held. He made the calls and gathered the talent for a whole schedule of fan events, the proceeds going to charity. Levi’s concept for the off-site mini-convention, his exuberance for fandom, and his shrewd business sense made the Nerd HQ one of the best places to be in San Diego this July.

Life, or Comic-Con, is What You Make It

My Comic-Con experience is unique. Every attendee has his or her stories, successes, and regrets. My clubbing nights are over, but I filled the days with panels, shopping, and exploration. I walked around the Gaslamp Quarter, but I also visited Old Town and the maritime museum. I saw (all but one) of the panels I really wanted to see. I also had the “queue” experience of waiting hours, sometimes in vain, for a panel, but rewarding in the conversations with other fans on line.

I talked with fans shut out of everything, line after line, day after day, although they waited two or more hours per line. I wouldn't want that to be the extent of my Comic-Con. Yes, I lost a few hours of my life in the Doctor Who line and an autograph queue that didn’t work out, but I can now say that’s part of my Comic-Con experience. But my Comic-Con wasn’t defined by long lines. I sometimes chose smaller events or panels that were expected to be less populated but were well worth seeing. I didn’t go to the movie premieres or win big prizes. (I did get lots of freebie pins, a t-shirt, a CD, and a DVD from the sessions, which thrilled me as much as some of the bigger giveaways would have done.) I did have some incredible fan encounters and got to see at least some of San Diego. Epic win.

Will I be back next year? Doubtful, even if I wanted to. I refused to stand in the ticket line four hours or more (the average reported from people who stood in those lines, including one woman who slept outside to be closer to the front). What would I have sacrificed to wait for next year’s ticket—the Torchwood panel or a conversation? Would I risk this year’s opportunities in the hope for next year’s Preview Night (and the chance to fight for space with hundreds of people wanting the same exclusive merchandise)? Nope.

So my first Comic-Con may be my last, even though it surpassed my wildest dreams, and my dreams can get pretty wild (although my partying is pretty tame). For such a large event, I thought it was adequately organized (outside of the Epic Ticket Fail of 2011), and the staff members I encountered were incredibly chipper and helpful.

What did I learn about the Meaning of Comic-Con? Maybe the answer to fan "life" isn't 42, or even Comic-Con, but Zach Levi and Nerd HQ.

Finding a New Home for Torchwood's Captain Jack

Is Fox’s loss ultimately viewers’ gain? Within the past 24 hours, BBC Worldwide announced that plans for 13 episodes of Torchwood on Fox have been scrapped. According to the press release, other networks may still pick up the series for production in the U.S.

So, Torchwood fans, should we rejoice that the Big Bad Americanized TW may be dead? Fans feared that the Fox version would strip Captain Jack of, well, stripping, or having sex, or making sexual innuendo inappropriate for conservative audiences. Is it good news that this network now won’t get their claws into our beloved Captain Jack? Or should we mourn the loss of a series that’s made the news as much for its controversy as its intriguing characters?

As a cynic reading the news this morning, I believe the U.S. version is deader than Ianto. Although a new (or re-imagined) series technically can be pitched, piloted, and produced at any time of the year, the reality is that U.S. mainstream networks still tend to follow the old mindset of a spring pilot season leading to autumn premieres, with January as a backup plan against fall misfires. That’s not a good mindset for a U.S. Torchwood series looking for a new home in 2010. By the time another network can pick up the series, the momentum created by “Children of Earth” will be even longer gone.

Of course, maybe this latest announcement will quickly lead to a follow-up by another network that has already agreed to produce the series—or would be willing to do so. Perhaps. But was Fox really BBC Worldwide’s first choice if there was a queue?

Fans who still want the series to go on, even with a new cast, worry that BBC Wales has teased forthcoming plans for Torchwood but then left the series off its roster of big-name programming planned for continuing production in Cardiff. Let’s face it—if BBC really loved Torchwood as much as we do, they likely would have commissioned more episodes sooner after last summer’s miniseries. Budget issues, Russell T Davies’ cross-planet move, and probably many other factors we’ll never know compound the conundrum about when or if Torchwood should return.

As a long-time Torchwood fan, yes, I would love to see the series return, but I want at least 50 percent of the original cast. (Considering that only two original characters survive, that shouldn’t be too much of a challenge.) I want to see Cardiff, even if it masquerades as London sometimes. I want to see Captain Jack in action, every way imaginable, and if writers want to broaden my imagination, that’s OK with me.

Sadly, I doubt if a new Torchwood will provide all that on screen in the next year. I haven’t given up hope yet for a series, but I’m becoming more cynical (realistic?) that it may not happen.

Torchwood is still an interesting premise for a series, but I hope it doesn’t take nearly 30 years to re-imagine it in a viable on-screen format (think BSG). If it doesn’t go to series, here’s hoping that others will rescue Captain Jack and convince him to revisit Earth by 2011. As fanfiction and conventions have shown, there’s an international Torchwood fandom waiting for new stories—in print or on screen. Perhaps someone will realize that and creatively find an answer to the question of what to do with Torchwood.

Torching Torchwood?

Yesterday's news that Torchwood may be picked up by Fox, may go to pilot, and even may include John Barrowman in the cast quite naturally caused an uproar in Torchwood fandom. One LJer even included a countdown to fandom meltdown (which made me laugh, even as I knew it to be true--I remember those early post-"Children of Earth" days well). For the past 24 hours I've thought about this really quite unsurprising announcement and pondered directions where, were I given some power over programming, I would take the series.

Like many of you, at first I was simply horrified that the series would go to Fox, which hasn't the best track record with science fiction. Maybe I'm still crying over spilt Firefly, but I hold a viewership grudge.

After the horror came morbid fascination, perhaps the second stage in the grieving process when a series switches networks. If Torchwood ends up on Fox (and that announcement sounded like a carefully hedged if, given that the series hasn't even gone to pilot stage yet), I would expect an American Torchwood with a new cast as well as new location. I'm not even getting into speculation how Queen Victoria would fit into all this. I wouldn't be surprised if Captain Jack made a guest appearance at the beginning, or even periodically, but I'm not holding out any hope that Fox will endorse The John Barrowman Show. (I would, however, tune in if they did.)

Now that I'm over the shock of Fox--but not that Russell T. Davies opted to bring Torchwood to the U.S.--I'm already moving on to my major questions concerning this potential move:

What happens to Captain Jack?

How malleable can Torchwood be without becoming an entirely new series?

What happens to Captain Jack?

If Jack returned to Cardiff during Gwen's lifetime, I would be disappointed. After the events of "Children of Earth" and even "The End of Time, Part 2," Jack doesn't seem likely to head back to Wales, out of all the potential places in the universe he can travel. I respect that, and as a Ianto, Jack, and Janto fan, I don't want Jack to mourn or suffer forever, but I don't want to see him re-creating Torchwood 3 just as it was. Let sleeping (or smoldering) craters lie.

One reason I enjoyed Torchwood, even during Seasons 1 and 2, was the character of Jack Harkness, but let's face it, Jack is a much more interesting character when he doesn't have to be anybody's boss. Let's free him of that burden and send him traveling again--but without the Doctor. Surely the universe, if not the Whoniverse, is big enough for both of them.

Jack should be a hero at times, perhaps a mercenary at others, and maybe an increasingly sage wanderer most of all. Let's see how he reacts in a totally new environment, and keep him moving instead of stuck on some backwater planet for 13 episodes.

Now, granted, the BBC doesn't seem like it has a lot of money for travel expenses these days, but surely those about-to-be-constructed studios in Cardiff will have room for one more time traveler.

If Jack pops into 21st century Fox sometime, that's fine, but I hope his vortex manipulator stays fixed and he can leave when his hour is up.

I'd also like to see Jack at different ages--older, humbled Jack is a sexy guy, in or out of Mos Eisley.

And while I'm wishing, I'd like for anyone claiming copyright or intellectual property ownership over the character to allow the Barrowman siblings plenty of leeway to write novels. Hey, if the Beeb or Fox doesn't want Captain Jack, there are plenty of us who do. Let me read new adventures. I can visualize without a TV.

How malleable can Torchwood be without becoming an entirely new series?

I address this issue in much more detail in a chapter I've drafted about the possible future(s) of Torchwood after "Children of Earth," so I won't write another 36 pages about it here. However, the more important "TV issue" question revolves around the nature of a "series" and how flexible a creator can be, within or across networks.

A series like Battlestar Galactica can be re-imagined (30 years after the original) without the majority of viewers getting upset. Sure, there was the Starbuck-is-a-woman issue at first, but Moore and Eick had a lot of room to re-imagine. Even prequel Caprica has a lot of leeway to present information about Cylons and colonists; it's a new series, a spinoff--no one is expecting to see BSG as it was.

Even Lost re-invents itself each season--and the upcoming Season 6 might be the biggest re-invention of all. Yet fans keep watching because they know that at least some of the characters/themes/plot points they love remain in the series.

Torchwood 3: Cardiff died somewhen during "Children of Earth." The elements we knew and loved about that series are gone--at least in that location or format (or body).

So the question becomes Is Torchwood U.S.A. a completely new series? a spinoff of a spinoff? a re-imagining of the British Torchwood? a part of a franchise? If Torchwood 3 fans are going to embrace Torchwood 4, someone needs to establish some definitions.

The CSI franchise doesn't face much CSI fan backlash when a new city is added to the roster. CSI: Las Vegas, Miami, New York, Poughkeepsie--new cast (with opportunity for cross-overs), new location, no problem.

I see Torchwood U.S.A. as being that type of franchise. Just like a new CSI must establish its difference from its predecessors in order to be successful, a Fox version of Torchwood must look different--not necessarily better because or in spite of being Americanized--but it must offer something new. If Torchwood U.S.A. is a part of the Torchwood franchise, then the BBC could, theoretically, have its own Torchwood simultaneously (or that Captain Jack series I'd like to see).

If Torchwood U.S.A. is simply a remake of Torchwood Wales, then I can't see that it will succeed. If it's merely a continuation of Torchwood 3 in a new location, ditto. Torchwood 4 should stand for a brand new (or newly discovered) Torchwood, not the next season of the old series.

Now, just don't get me started on the little-mentioned note in The Hollywood Reporter about Doctor Who gaining U.S. citizenship.