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End of the Road (Torchwood)

From Wikipedia, the free encyclopedia

39 – "End of the Road"
Torchwood episode
Cast
Starring
Others
Production
Directed byGwyneth Horder-Payton
Written byStory: Ryan Scott
Teleplay: Ryan Scott & Jane Espenson
Produced byKelly A. Manners
Executive producer(s)
Music byMurray Gold
Production code108
SeriesMiracle Day
Running time55 minutes
First broadcast26 August 2011 (2011-08-26) (US)
1 September 2011 (UK)
Chronology
← Preceded by
"Immortal Sins"
Followed by →
"The Gathering"
List of Torchwood episodes

"End of the Road" is the eighth episode of Torchwood: Miracle Day, the fourth series of the British science fiction television series Torchwood. It was first broadcast in the United States on Starz on 26 August 2011, and in the United Kingdom on BBC One on 1 September 2011.

Torchwood: Miracle Day follows the aftermath of a day where humanity has stopped being able to die. In the episode, a team called Torchwood discovers a conspiracy by three families to use its leader Jack Harkness' (John Barrowman) blood to start the "Miracle" where no humans died. The Torchwood team also attempts to get rid of a piece of powerful alien technology to avoid it getting into the hands of the Central Intelligence Agency.

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Transcription

Key Concepts [1/4] Representation (AS Media Studies) Hello! Welcome to the first in the series of videos which is going to look at the requirements for OCR AS Media Studies course. The course is split into three units. Two of which are assessed by a two-hour written examination, which comprises 50% of the total mark and then, the further Practical unit, wherein students create their own media product; then, that is also worth 50%. In this video, we are only going to be dealing with the areas of study in their exam. We are going to start off looking at the Four Key Concepts which govern the study of media. First of this is Representation, which is often related to ideas about stereotyping. The next is Media Language, then Audience and Institutions. The understanding of Representation and how Media Language is used to inform it will be assessed in Section A of the exam. Audiences and Institutions are assessed in Section B. Representation refers literally to how different elements of society are portrayed in the media. In the case of the specific unit, you will look at how they are portrayed in British television drama. For example, you may be shown of a clip of anything from Waterloo Road to Dr. Who. Then, asked about how various characters, types of characters are portrayed in it. So, we have recent extracts in the exam looking at the portrayal of women from the drama, Merlin. Then most recently, the portrayal of the disabled was looked at. The manner at which these portrayals are constructed links us in to the other key concepts assessed in Section A of the exam, which is Media Language. We will go into more detail about these areas explored in the representation unit in a later tutorial, but for now, we’ll look quickly about how the concept of Media Language links in with it. Media Language is a term that frequently confuses students. But if you are able to get your head around the concept at an early stage, it won’t simply make your A Level studies conservatively less perplexing, it will mean that you will be able to, as the OCR specification requires and I’m quoting from Assessment Objective 1 here, “To write using terminology appropriately and with accurate, coherent written expression.” The ability to discuss Media Language fluently is what will push you from the merely proficient into excellent. That’s the different between Cs and Bs, As and A*s. Put simple, Media Language refers to the methods used by producers of different media, whether they are the producers of television shows, newspapers or video games. This is followed by how they create meaning. The use of the term language is what seems to cause the most consternation for students. But you should just look at it like this. When you study English, writers use words to create meaning. With non-fiction texts, other devices come into play like presentational features, different types of sentence structures, paragraphs, sections, etc. In our particular area of study which is the Visual Media, what we will be talking about is analyzing how media is constructed in film and television. In very basic terms, this is done through the careful selection of camera shots and of course, what goes inside the camera shots, so how those images composed within the frame, where the actors are placed, are they moved towards one another or away from one another, the props, the lighting, the costumes. All of these that come under the heading of mise-en-scene. This is all how meaning is created within the frame. Then these are arranged together in the editing process to create even more meaning. This is of course, enhanced with sound. So your dialogue and music and your sound effects. In Section A of your exam, you’ll be analyzing how particular section of society: women, racial minorities, the working class, disabled people on how they are portrayed, how they are presented. They will be done by you being shown a short clip which you then have to analyze in relation to its representation of one particular section of society. The way that portrayal will be created and what will allow you to understand the inherent meaning behind the particular representation will be your understanding of how the media language used in television works. It is worth noting that in reality, television language is merely a watered down version of what is called film language. They both refer to how meaning is created visually. However, due to the fact that there are other options of study on this course, not just moving pictures, the exam board has to use the more general term, Media Language in order to encompass all the different areas for studies. In the next tutorial, we will look at the key concepts of audience and institutions. Thanks for listening. [End of audio – 05:29] Key Concepts [1/4] Representation (AS Media Studies) Page…1

Plot summary

The Torchwood team arrives at the Colasanto estate led by Olivia Colasanto, Angelo's granddaughter. At the estate, Jack finds Angelo, now an old man and in a coma, having lived that long trying to find out about the secrets of immortality. Olivia reveals that the ones responsible for the Miracle are called "the Families", the three mob bosses who bought Jack when he was captured in 1928 and were able to create the miracle, in some manner related to his blood. Jack explains that his immortality doesn't work like that, but the Miracle is real, and a lot of his blood was taken while he was imprisoned. Angelo initially tried to join the alliance with the Families due to their common goal, but Angelo was rejected because they frowned on his homosexuality.

While Olivia explains this, a CIA team led by Brian Friedkin captures everyone in the mansion. Friedkin is trying to cover up the Families and his treason. Rex explains that he set Friedkin up, so that he could expose him to the CIA at large. Using the I-5 contact lenses, he transmits Friedkin gloating straight onto a monitor in front of their superior, Allen Shapiro. With their names cleared, Jack and Gwen decide to work with the CIA in order to find the whereabouts of the Families, and stop the Miracle. But one of their only leads is destroyed when Friedkin kills himself, along with Olivia, with a suicide bomb.

Jack then takes some time to say goodbye to his former lover, as alarms go off around him announcing that Angelo's just died. In annoyance he turns off the machines, until he realizes that unlike everyone else on the planet, the rules for the miracle do not apply to Angelo either; he has actually died.

In Dallas, Oswald asks Jilly to get him a prostitute on a whim, claiming he wants something normal in this new world. Jilly takes on a new intern, unaware that she is a CIA agent. When the prostitute arrives at Oswald's room, she is surprised to learn that Oswald just wants to have dinner with her. She rejects his offer and tells him that as a celebrity, he is worshipped, but as a man, he's still hated for what he did and soon will become a "Category 0". Oswald demands answers of Jilly, who reveals that there is a new law that is being worked on that will classify criminals like Oswald as Category 0s and send them to the modules. Angered that PhiCorp used him for their plans and intended to abandon him once they were done with him, Oswald batters Jilly and runs away. Later, Jilly is met by a representative of the Families, who shoots the CIA mole. The mole's identity was revealed by another Family agent within the CIA, Charlotte Wills, who happens to be a former teammate of Esther and Rex. After a one-question job interview, he takes Jilly to meet the Families.

Esther gets in contact with her sister, who's currently in a secure mental facility, and finds out to her horror that her sister wants to volunteer herself and her children to become "Category 1". In desperation, Esther ignores Jack's pleading not to reveal a critical detail she noticed about Angelo's room (the floor). After removing the floor panelling, a mysterious device is discovered. After Shapiro orders Gwen to be deported, Jack explains it's a Null Field transmitter, which interferes with the morphic field he previously postulated was behind the Miracle. Although he claims to be broadly unfamiliar with the technology, he is forced to help disable it so it can be taken to CIA Headquarters in Langley.

Jack modifies the Null Field to target sound, so he can converse with Rex and Esther without being overheard. Jack explains the reason for his reticence: he is trying to protect humanity from technology they should not have access to, due to the damage to the timeline. He also explains that the tech is alien, and that it most likely came from the Torchwood Hub. It was buried in the ruins as shown in the third series, but Angelo must have had people salvage the transmitter, preparing for the miracle. It's suggested that Jack is mortal because Angelo used the device to target him as well through his blood. Jack begs Rex and Esther to help him escape, to help save the shining future he's seen. He takes a critical piece of the technology so nobody can replicate it. On the way out, an agent shoots Jack and sees Esther helping. Rex knocks the agent unconscious, and Esther drives a wounded Jack away.

The episode closes with Esther begging Jack to reply, as she drives not knowing where to go. At the same time, Gwen is on the plane leaving the US for the UK.

Reception

The HD Room gave a positive review "Cryptkeeper Angelo did more for the plot progression of the arc in Torchwood: Miracle Day 'End of the Road' than every line that has come out of Rex's mouth up to this point. Jilly's flip out was a long time coming and didn't disappoint and again, the writing is subtle and effective, like watching Ali fight. All in all, 'End of the Road' is another great episode that allowed all the players, even Mekhi Pfifer as Rex, to showcase their skills as actors/actresses. Tons of questions are answered, and tons more presented. The giant ball that is Torchwood: Miracle Day's story arc is now rolling at full speed."[2]

Den of Geek gave a positive review "The beauty of Miracle Day is that there are so many things going on that, if one element isn't working for you, there's something else not far away."

"The three families, though, is just one of the balls that this episode was attempting to juggle, with sizeable success I should add. Esther, played impressively as always by Alexa Havins, is facing the tragedies and difficulties within her own family. If we follow the usual path of Torchwood, that suggests she's got a horrific decision at some point to face, and just two episodes in which to make it. Rex, meanwhile, hints at what's troubling him, in that his days might be numbered the minute the miracle is reversed. Which, presumably, it will be. Will he, and many others, just instantly die? That might make for a haunting final episode? We also get Jilly Kitzinger coming out of the shadows of Oswald Danes, and more importantly, being recruited by the three families. What, exactly, do they want her to do? Whatever it is, lots more Lauren Ambrose in the final two episodes would be very, very welcome. I still think the more focused work in Immortal Sins has provide the highlight of the series to date. But I also liked that End of the Road was so keen to tell so much story. Credit to Star Trek veteran John de Lancie, who eats up every minute of screen time he's allowed. His contribution is a welcome one. And given that few showrunners can put together a momentous penultimate episode to a series as Russell T Davies, I, for one, can't wait for next week…"[3]

In the UK, the episode was watched by 3.5 million viewers, a 15% audience share.[4] Dan Martin states that after weeks on end of the same episode, Miracle Day seems to finally be coming into its own with a tidal wave of answers. Most of the answers are however nonsense but viewers positively embrace it. The series still has two hours left but it finally feels like it's moving on, with Martin hoping that we the audience may see some aliens before long. While the return of Jilly and Oswald sets things up nicely for the conclusion of their story arc.[5]

References

  1. ^ "Torchwood: Miracle Day - Episode 8". BBC. Retrieved 26 August 2011.
  2. ^ Bradley, Dan (29 August 2011). "Torchwood: Miracle Day Episode 8 'End of the Road' Review". TheHDRoom.
  3. ^ "Torchwood Miracle Day episode 8 review: End of the Road". Den of Geek. 31 August 2011.
  4. ^ Deans, Jason (2 September 2011). "ITV's 9/11 doc beats BBC1's Torchwood". The Guardian. London.
  5. ^ Martin, Dan (27 August 2011). "Torchwood: Miracle Day – episode eight". The Guardian. London.

External links

This page was last edited on 5 February 2024, at 15:58
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