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TARDIS Guide

Overview

First aired

Friday, July 29, 2011

Production Code

104

Written by

Jim Gray, John Shiban

Directed by

Billy Gierhart

Runtime

50 minutes

Time Travel

Present

Tropes (Potential Spoilers!)

LGBTQA+

Story Arc (Potential Spoilers!)

Miracle Day

Location (Potential Spoilers!)

Cardiff, Earth, Los Angeles, USA, Wales, Washington DC

UK Viewers

5.19 million

Synopsis

Torchwood follow PhiCorp to California to continue the fight, but walk straight into a trap. Elsewhere, Oswald Danes and Jilly Kitzinger face off against their own adversaries.

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3 reviews

This review contains spoilers!

A decent episode in the inconsistent mess of Miracle Day, I think Escape to L.A. does a good job of escalating the tension a little bit.  That scene where the reporter is crushed to not death, but an enormously painful existence, is truly haunting and the first time the immortality effects of the Miracle Day really stuck with me.  There are a few parts of Miracle Day that really work and this is one of them.  It left me intrigued about the political conspiracy while also horrified at the implications for the world under these new rules around death.  It's not really enough to redeem the whole season, but at least individual episodes like this are easy to watch and the new American characters work here more than the don't (or even will later).


This review contains spoilers!

I always like it when episodes of a TV Show explore the personal lives of the characters, and this is something this episode of Miracle Day does really well. In this episode we get to see how the lives of Ester's sister and kids are affected by the plot, we get more of Rhys in Cardiff, and his efforts to help Gwen's Dad in hospital, and we see Rex reunite with his Dad. It really helps to set personal stakes for the characters, and show what they have to lose.

 

But that's not the only interesting part of this episode. We also get some great stuff concerning the controversial views of Oswald Danes' greatest rival, town mayor in Ellis Hartley Monroe. Ellis is a brilliant creation; she feels like the kind of political figure we all love to hate, a sort of younger American equivalent to Anne Widdecombe. Her 'Dead Is Dead' campaign of sending those who were supposed to die away from the rest of society to fend for themselves and essentially strip them of their human rights is truly shocking.

 

Then you have the guy who is paid to take Torchwood out, who we see stalking and taking pictures of our heroes, which really helps to build up suspense and make us fear what might happen to these protagonists we are rooting for. When he finally confronts Jack and Gwen, and we see that encounter, it totally pays off and ends in a satisfying climax that well and truly justifies Rex's place on the team. Although I do think Rex was a little mean towards Ester by accusing her of jeopardising the mission. She was just trying to check in on her sister. At least she didn't do what Jack did in the previous episode and visit a flipping night club!

 

Also: that death in the compactor is really shocking. That has to be one of the most gruesome moments in Torchwood for sure.


Characters saying things to each other that no one would say, shocking developments that, even given the heightened version of the universe Torchwood exists in, is mind numbingly unlikely. Some of the clandestine decisions being made worked in Children of Earth because it was being processed by a small number of politicians under unbearable and clearly defined pressure, but this is all too large scale, too loose and ill defined for medical and political leaders to be acting in unison against so many people’s better judgement. There is enough good fun in there to overcome some of this, but I’m hanging on with nothing more than good will.


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Statistics

AVG. Rating161 members
3.07 / 5

Trakt.tv

AVG. Rating290 votes
3.97 / 5

The Time Scales

AVG. Rating36 votes
3.50 / 5

Member Statistics

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Favourited

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Reviewed

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Quotes

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Transcript Needs checking

[Sarah's home]

(Esther parks outside number 1032. It is boarded up and has Keep Out painted on the boards.)

ESTHER: Sarah? It's me. It's Esther. Sarah? Are you there?

(Someone undoes the five locks on the front door and opens it, but keeps the chain on.)

ESTHER: Hey.
SARAH: These people, they were looking for you. They kept asking me questions about you.
ESTHER: I know. I'm sorry. I can't stay long but what have you done with the house? Where are the kids?
SARAH: They're in here with me.
ESTHER: Can I see them?
SARAH: Esther, I'd never hurt them.
ESTHER: But, I can't stay.
GIRL [OC]: Mom!
ESTHER: I'm leaving town. I've got to go today.
SARAH: Don't go to Boston. There's cholera in Boston, they said on the news. Don't go to Philly either. Dysentery. New York's got typhus and hemorrhagic fever.
ESTHER: Sarah, that's just what they're saying online. It's not that bad.
SARAH: But we've changed. All of us, didn't we? Something in the air infected us. It made us godless.
ESTHER: Let me in. Let me see the girls.
SARAH: I'm not letting them out. They can't come outside. I won't let them.
ESTHER: Let me in, Sarah, please.


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