Showing posts with label Torchwood. Show all posts
Showing posts with label Torchwood. Show all posts

Sunday, 11 July 2021

Articles Issue 93 - Our Last Issue - Everything Changes

 


Issue 93

Contents Guide

 Articles

Everything Changes – Our Last Editor’s Note

https://projecttorchwood.blogspot.com/2021/07/articles-everything-changes-extended.html

Interviews

The David Richardson Interview

https://projecttorchwood.blogspot.com/2021/07/interviews-david-richardson-interview.html

by Tony J Fyler

 Torchwood Reviews

The Five People You Kill in Middlesborough

https://projecttorchwood.blogspot.com/2021/07/reviews-five-people-you-kill-in.html

By Tony J Fyler

 Who Reviews

A Town Called Mercy

https://projecttorchwood.blogspot.com/2021/07/who-reviews-town-called-mercy-by-matt.html

Bad Wolf/Parting of the Ways

https://projecttorchwood.blogspot.com/2021/07/who-reviews-bad-wolf-parting-of-ways-by.html

 By Matthew Rabjohns

Rise of the Cybermen/Age of Steel

https://projecttorchwood.blogspot.com/2021/07/who-reviews-rise-of-cybermen-and-age-of.html

The Beast Below

https://projecttorchwood.blogspot.com/2021/07/who-reviews-beast-below-by-tony-j-fyler.html

Victory of the Daleks

https://projecttorchwood.blogspot.com/2021/07/who-reviews-victory-of-daleks-by-tony-j.html

By Tony J Fyler

Interviews The David Richardson Interview with Tony Fyler

 


Expanding Fictional Universes into Audio. 

Big Finish Productions has long been a prime player in expanding the universes of Doctor Who, Torchwood, and a whole range of other shows in audio drama. Tony Fyler spoke to the company’s Senior Producer, David Richardson, about what it takes to successfully expand those worlds. 

Where does the spark come from in terms of expanding a TV universe into audio? Are you always looking for places in the story where expansions could happen? Places where expansions could be profitable? Or is it usually a case of “I would really like to hear what happened to…”? 

David: I’d say, without exception, the spark always comes from the original TV episodes. The characters that have been given their own spin-off ranges have earned them because their TV stories suggested a life before the Doctor arrived, and also suggested they have a life after he left. 

That’s true of Jago and Litefoot, and the Counter-Measures team, and also Lady Christina and The Paternoster Gang. I have to say we never, ever start with a conversation that goes ‘What can we do that will make lots of money?’ I can’t recall a single pitch that started that way. It always begins with excitement, the chat about ‘We’ve got this idea and it’s really got us excited’. We’re fans of Doctor Who and Torchwood ourselves, so if it’s an idea that turns our heads, that gets us excited, then that’s usually a good sign. 

In a business where creativity and profitability both have their place, where’s the breakdown for you, and which is the leader – the satisfaction of creativity or the knowledge that an expansion of a universe will sell (while of course making loads of fans happy!)? 

David: Every series must pay for itself - absolutely it must cover its costs, and earn its place in the catalogue. But we are firm believers that creativity brings success - that quality work will find an audience. Over the 14 years that I’ve been working here, whenever we announce a spin-off there’s always someone on social media who sighs and says ‘A spin-off too far’. 

I saw it levelled against Jago and Litefoot all those years ago, and that series has become one of our most enduring hits! I’m not convinced there is such a thing as a spin-off too far in this modern age of multiple series linked storytelling. Story, characters, dialogue rule - that’s what matters. 

What’s your favourite expansion of a universe Big Finish has done so far? What makes them your favourite? 

David: As Nicholas Courtney used to say, ‘The one I’m working with at the time.’ I always thought he was being diplomatic but actually, I can see that, as you gravitate from one series or group of actors to another, at that moment they become your favourite. But I do have a very powerful affection for Jago and Litefoot, because the pairing of Trevor Baxter and Christopher Benjamin was just beautiful. Every day working with them was a day well spent - we just laughed, all the time. We got the work done, and the recordings were brilliant, but every moment between every take was just filled with banter and kind spirits and joy. I sit here talking about it with a smile on my face and tears welling in my eyes - I was just so lucky to be a part of it. 


Without necessarily giving away spoilers (though you should naturally feel entirely free if you like…), is there a universe you haven’t got to expand yet, but really hope to in the future? Do you have a list, and if so, what’s on it that you can safely tell us about? 

David: There are always ideas, things I’ve got on my list of things I’d love to do - and I know a lot of the other producers feel the same. Scott Handcock has pitched some smashing, exciting things which I hope one day might happen - they’re a series I would love to just sit and listen to myself. So I can’t give more details, but there are always ideas floating around. 

What’s the process like between having an idea for a new universe expansion and getting it into studio? Do you commission writers to write scripts on spec if you either need to acquire the rights or persuade key actors? Or is the legal side all nailed in place before the writers start writing? 

David: The process pretty much follows this pattern:
1: You have the idea, which the producer discusses with the script editor, and it’s written into a pitch.
2: That pitch is presented to Jason Haigh-Ellery and Nick Briggs. If they like it, then it’s green lit and a budget is agreed.
3: The producer and the script editor then discuss writers, who are given a brief (which can sometimes be quite prescriptive) and asked to pitch story ideas.
4: Story ideas, once agreed with the producer and script editor, then go to Nick Briggs for his comments and can be reworked from there. They then go to the BBC for approval. Once everything is signed off, we start working on scripts.
 

Thinking in particular of things like the Ninth Doctor Adventures – Christopher Eccleston’s always been an actor motivated by great scriptwriting (and has mentioned Nick Briggs’ writing as a big draw), so were there scripts in place before he signed on to the project, or did you need to convince him on board and then knock his socks off with scripts?

David: Conversations with Chris were ongoing for some time, and we did reach a stage where he asked to see a script. Nick wrote some example pages, which if I recall rightly were the first 40 pages or so of Ravagers, episode one. 


Chris loved it, and we were away.

Hand on heart, I have absolutely loved working with Chris. I’m just so blown away by his energy and passion for what he does - and the kindness with which he treats those around him. Those 12 recording days were some of the happiest, and he threw himself into every script and was always, always full of praise for the efforts of our writing team. 

Similarly, when getting the daughters of famous companion actresses on board (Sadie Miller, Daisy Ashford, etc), do you get scripts written to persuade them in, or does Big Finish’s reputation do a lot of that work for you?



David: We didn’t present scripts to Sadie and Daisy - but they have worked with us before in other roles, so knew Big Finish and the people well. It was a difficult decision to recast those roles, made easy when Sadie and Daisy came on board. 


You have quite a pool of familiar writers you know can deliver at Big Finish, but you’re also frequently bringing in new talents. At what point do names get attached to stories? Is it a case of “I’d really like to hear a River Song story written by [to pick a name at random] Lizbeth Myles, or a Lady Christina story by Sarah Grochala,” or do you get as far as outlines and briefs before thinking of who could do interesting things with them?

David: It’s usually down to availability. People get busy. I mean, I want to work with Lisa McMullin on EVERYTHING, but her TV career is really taking off, and there are only so many scripts she can take on. The same goes across the board. Obviously, some writers are a better fit for some series - writers with great comedy talents are a natural for Missy; writers with strong dramatic flair fit well into Stranded. But there’s huge crossover as well. Someone like Roy Gill can really do anything you throw at him. We’re lucky to have them all. 

Is there ever a set-in-stone idea of what you want to achieve from a universe expansion, beyond the telling of good stories, or is that the be-all and the end-all – to tell good stories with the particular characters you’re expanding? After all, Big Finish is credited with ‘rehabilitating’ the Sixth Doctor after his on-screen mellowing wasn’t given the time to mature. Is that sort of thing part of the goal for some ranges – to broaden people’s perception of characters over time – or is it more a case of plotting out the arc of three or four boxsets in a range at a time and seeing the journey on which they take you before deciding what’s next for the characters? 

David: I don’t think that our agenda is that set-in-stone. We work ahead a bit - for example, I was pitching the story world for Stranded when we were about halfway through the previous Eighth Doctor series, Ravenous. We needed to know where we were going. But it’s always down to telling good stories, and being in an interesting storytelling world. 


And you never know if people are going to buy into it. The basic idea with Stranded was to start with Doctor Who with much of what makes the series Doctor Who taken out. It was my idea, and then I spent months in turmoil because I was terrified people might not buy into that. And yet it became a huge hit, because it was something different. And we got an Audie Award for it - a massively prestigious award. But it had great scripts and such an amazing cast - how could it fail? 

What excites you most about starting a new universe expansion?

David: Those first few weeks, when you are all throwing ideas around and all the creative voices in the team add into the mix, and it snowballs into something wonderful… that’s just so brilliant. I’m a great believer in team working. Everyone should have a voice.

For example, on The Paternoster Gang, I know the three leads are really invested in it and have their own ideas, so every series starts with a meeting where Neve, Catrin and Dan throw ideas out there. And lots of them get used - it’s a really rewarding process.


Forgive me this one – my writing pals at Project Torchwood wanted me to ask “How do you get such great writers all the time?” and also “Is there ever any chance of fan writers working for Big Finish?” – which I think means besides the Paul Spragg competition, is there a potential pathway for ‘fan’ writers to becoming Big Finish writers? 

And also, I guess, how does it work in terms of writers for particular universes? Are there writers that you instantly know you can go to for, say, a Third Doctor story that will take that range forward, or writers who can always be relied on to turn out a cracking Torchwood? Any strict rhyme or reason, or, as you have a good range of writers at your disposal, does it come down to an instinct of who will do well within a particular universe, or with a particular story brief?

David: It’s a good question. We have an ongoing dilemma in that we always need new writers because we’re so busy, but because we’re so busy we have limited time to develop new writers. And ‘develop’ is the key word here - all scripts can go through many rewrites and changes and tweaks, which is a time-consuming process and the writers work closely with our brilliant script editors. 

So someone relatively new to the audio writing can take a lot of the script editor’s time. So we have to limit the intake of fresh writing talent - and we seek that out ourselves. We just don’t have the infrastructure in place to have a formal free submissions system.

The best tip for anyone who wants to write Doctor Who is to keep writing and writing and writing. 


And I think the best Doctor Who writers don’t just want to write Doctor Who - they want to write all sorts of things, but Doctor Who is an important part of that. Get as much experience and set your sights as wide as you can. It’s a big audio industry out there, and there’s a lot to learn. 

Are there any universe expansions that are now officially never coming back? Any more Jenny on the way?* Second set of New Earth stories? Dan Dare? Similarly, any one-offs possibly in mind for future series? Shilling and Sixpence or the like? I’m guessing any plans for future Lives of Captain Jack releases are pretty much in abeyance right now? 

(*We asked, just before a second set of Jenny adventures was announced(!)) 

David: I mean, Jago and Litefoot is now sadly over, because we lost dear Trevor Baxter. We reached a very good ending with Counter-Measures, and my feeling at the minute is I’d hate to undermine that ending by making more. But never say never. 

With Big Finish being the biggest player in the expanded universe of quite a few fandoms now, and with so many projects and universes on the go at different stages at any given time, is it ever tough to keep up with where each universe is in its story when you’re building the next instalment for it?

David: Not really - I just ask Matt Fitton! The man is a Big Finish encyclopaedia! 

What are the biggest challenges you face when expanding a universe? How you decide on a tone that takes a universe forward, while still being recognisably similar to what the fans have loved about a universe before?

David: I’m not sure that retaining the tone is a challenge, really - that’s part of the joy of it. Finding the authenticity in any range is in our DNA - it’s what drives us. I’d say the biggest challenge for me is always confronting my own nerves - just making sure that everyone has a good time, because that then infuses the production. 

If I’m working with Alex Kingston for the first time, say, I want her to have such a great time that she will come back for more. When Christopher Eccleston steps through the door, I want him to feel ‘Hey, this is a lot of fun.’ Those are the things I worry about - the people. 

This one’s not a question, just an opportunity taken to say thank you, for all the universes that have improved fans lives – my life – immeasurably. I first came into Big Finish fandom by ‘taking a chance’ on Spare Parts (nothing like coming in on a high!). It’s been brilliant so far, and I’ve no doubt it will continue expanding universes – and minds – for decades to come. Thanks, David – and thanks to all who make it happen.

David: Ah, that’s lovely - thanks so much. Seriously, we’re so lucky to do what we do. And I’m so grateful to Nick Briggs who plucked me out of an unhappy job 14 years ago and offered me this role at Big Finish. We really make a lot of this stuff for ourselves and hope that other people like it - so the fact you do means a lot!

Reviews The Five People You Kill in Middlesbrough by Tony J Fyler

 


Tony’s…not going to Middlesbrough. 

Spoiler: if you’re a fan of Doctor Who or Torchwood who complains that the show is too busy pushing a woke agenda, and that you don’t like it when it gets all political – switch off this audio immediately. It’s not for you. 

But then, if you’re one of those fans, Doctor Who since practically the dawn of Jon Pertwee hasn’t been for you, so how you’re still here is a mystery. 

But this Torchwood story, more than most Doctor Who or Torchwood, is in your face political. 

It’s also in your face relevant, with a staggeringly incompetent government and a cloud of death that can kill on contact (in this case, the result of a crashed spaceship in Middlesbrough, rather than, say, a pandemic virus). Also in this audio, a dithering, worse-than-useless Leader of the Opposition, too terrified to annoy anyone to actually do anything (though with an unfortunate tendency to find themselves accidentally supporting extreme right-wing events with gifts of jam (ahem!). The operator of a billion-pound health app that doesn’t actually work? Yep, she’s here too. A government spin doctor who breaks the rules he himself sets (complete with mention of getting his eyes tested)? Check. Demented radio ‘truther’ who believes in the New World Order of ‘banking powers’ being behind all the ‘lies’ about a Middlesbrough incident? Yep, we have one of those too. 

The Five People You Kill In Middlesbrough is a phenomenally brave Torchwood story to release in the current climate. But if for instance you’re a fan of verifiable reality and virology, and not a fan of political idiocy, chicanery, and apathy, conspiracy theories, antisemitism or the staggering human gullibility that has cost huge numbers of lives in our real world, you’ll probably love it. 

I absolutely love it. Which tells you where I stand on a whole lot of issues. 

The weird thing about this release, if anything, is that it exists at all. Pitching Yvonne Hartman against more or less the whole modern British world takes her beyond any prior Torchwood world or timeline – even the world of the ‘New Torchwood’ box sets, Aliens Among Us and God Among Us. Trying to fit it into any real Torchwood chronology is probably a mistake. It’s more or less an unashamed cri de coeur on behalf of the rational in an increasingly insane world, and an example of what someone who had the power and opportunity of Torchwood behind them could do if they existed in our world and had frankly had enough of it all. 

Another slightly odd note of course is that Yvonne Hartman in TV Torchwood – and largely in the subsequent audios – has some practically 19th century views on ‘making Britain great again,’ and cares for ‘the people’ in a more or less abstract, ‘they should be protected for now, if all else fails’ way, rather than with any particular warmth or emotional engagement. 

But there is of course one thing that absolutely gets Yvonne Hartman’s goat, and that’s inefficiency. Throughout The Five People You Kill In Middlesbrough, she advocates tirelessly for a simple solution. The so-called Icarus Protocol – nice work in the naming department, there – would prevent any alien devastation from, say, a crashed spaceship – from affecting (or indeed, infecting) anywhere else beyond a given boundary. But the Secretary of State for Defence, Alfie Scott (Tim Bentinck giving us his ‘bluff northerner’ – in a performance very close to his ‘Tommy’ of Torchwood One, again suggesting Middlesbrough is not to be taken as part of any previous Torchwood chronology) has ‘received other science, and we’re following that science’- which amounts to little more than building a ring road. Even when it emerges that the Defence Secretary’s other pet project, a missile program, may have been responsible for shooting down the ship that devastated Middlesbrough in the first place, and that the ambassador of the aliens in question has a plan that could easily undo the devastating damage of the crash, Yvonne can’t make those in government listen to her, can’t make them give enough of a toss about human beings to put aside their self-interest. 

When it comes to cordoning off the rest of the country and the world from the disaster hotspot, she runs into crisis manager Mo Simister (Sara Powell), who costs the public billions of poundsworth of tax revenue for a particle tracking phone app that simply doesn’t and never could work, and who pays a specialist in red carpets to establish a cordon. With her, it’s not that Yvonne gets further, particularly, but she does plague the ever-living daylights out of her, using Torchwood tech to try and make Mo see sense. 

We won’t spoiler you with the details of whether she succeeds. We’ll just refer you back to the title of the release… 

With short-sighted political guru Caspar Beacham (only the actual Dennis Law, popping his Big Finish cherry, and appearing to have a good deal of fun doing everything but driving to Barnard Castle), Yvonne is more fundamentalist, essentially tricking him into breaking his own rules in full view of the public, and letting the world’s media know that people should evacuate from London in a big hurry, because after all, when the rats are leaving, it’s time to pack a bag and drive into gridlock. 

And with Lancelyn Green, the ‘banking interests’ truther who describes himself as ‘The Lance Of Truth,’ we get the only real hint that The Five People You Kill In Middlesbrough fits into any kind of Torchwood chronology, because Yvonne uses a piece of alien tech that is the subject of a previous release, The Crown, by Jonathan Barnes. 

Without spoiling it for you if you haven’t heard it yet, it’s an interesting dip-back into previous Torchwood audio, and ultimately, if it existed, it would be too tempting to use on fact-averse, fact-perverse bloviating spokespeople for the absurd, because if you argue with them, you just become ‘part of the plot,’ and their audience believe everything they say – to the collective harm of the whole society. The Torchwood solution is intensely cruel – but also more effective than anything available to us in the real world. 

Sure, Yvonne’s way impacts the whole ‘freedom of speech’ thing, but she’s convinced it’s for the betterment of society as a whole after some of Lance’s listeners die, marching confidently into the cloud of Middlesbrough-death because they believe his proclamations that the Middlesbrough crash is a hoax designed to keep people controlled. 

Overall, The Five People You Kill In Middlesbrough will be a cathartic experience for lots of people frustrated by the catastrophic, deadly folly of some leading western governments. If, like many people, you’re convinced that there are bacteria in a deep ocean trench that could handle a national or international disaster better than the government you have, you’ll find yourself identifying with Yvonne’s frustration as she comes up against ineptitude, self-interest, graft, lies, idiocy and utter contempt for human life. 

For anyone who thinks science-fiction shouldn’t come close to real-world politics – less cathartic, more irritating. That’s probably a criticism Big Finish is anticipating, because the piece itself is said to be written by… Yvonne Hartman. Mm-hmm. 

In which case, all hail, Ms Hartman. You did your duty, for queen, country, and rationality.

Sure, a handful of people had to die. The world kinda got better as a result though, so, no harm, no foul, just possibly the best Big Finish of 2021 so far. There’s been some absolutely breath-taking drama from Big Finish in 2021 of course, but if you need the kind of catharsis of a world-class truth-telling stand-up comedian to shake out some of your fury at the world in which we live, The Five People You Kill In Middlesbrough is going to ring every bell you have.

Sunday, 13 June 2021

Articles Welcome to Issue 92 - The Ninth is Back!

 


Contents Guide

 

Big Finish Reviews+

Ninth Doctor Adventures, Vol 1

https://projecttorchwood.blogspot.com/2021/06/big-finish-reviews-ravagers-by-tony-j.html

Third Doctor Adventures, Vol. 7

https://projecttorchwood.blogspot.com/2021/06/big-finish-reviews-third-doctor.html

First Doctor Adventures, Vol 5

https://projecttorchwood.blogspot.com/2021/06/big-finish-reviews-first-doctor.html

Avalon, Vol 1

By Tony J Fyler

https://projecttorchwood.blogspot.com/2021/06/big-finish-reviews-avalon-volume-1-by.html

The Dalek Protocol

by Matt Rabjohns

https://projecttorchwood.blogspot.com/2021/06/big-finish-reviews-dalek-protocol-by_13.html

  

Beyond the TARDIS

Enemy of the Bane

By Andrew Allen

https://projecttorchwood.blogspot.com/2021/06/beyond-tardis-sarah-jane-adventures.html

 

Fans Fiction

Lady C Adventures – The Missing Wellington, Part One

By Samantha Stanley & Harriet Chamberlain

https://projecttorchwood.blogspot.com/2021/06/fans-fiction-new-adventures-of-lady-c.html

 

Profiles

Captain Jack Harkness

By Djak Forrest

https://projecttorchwood.blogspot.com/2021/06/profiles-javic-piotr-thane-aka-captain.html

 

Who Reviews

The Face of Evil

https://projecttorchwood.blogspot.com/2021/06/who-reviews-face-of-evil-by-matt.html

The Masque of Mandragora

https://projecttorchwood.blogspot.com/2021/06/who-reviews-masque-of-mandragora-by.html

Frontios

By Matt Rabjohns

https://projecttorchwood.blogspot.com/2021/06/who-reviews-frontios-by-matt-rabjohns.html

 

 

 

Editor’s Note 

On a morning full of hayfever and a left arm recovering from the final COVID jab, it’s the last read through before the launch of Issue 92, and I can’t help feeling a sense of excitement. The Ninth Doctor, the actual Ninth Doctor, has returned and sets the wheels in motion for a splendid if not brilliant first outing with Big Finish. I for one, cannot wait till next payday for a chance of listening to some awesome audios. 

Not only that, but this month, Tony has surpassed himself with not one but three more Doctor volumes to enthral you with. New volumes to salivate at and fill shelves where once paperback novels sat, but now make way for audio containers, unless, you’re more of a download freak!!! 

Andrew has set aside his own Doctor Who novel to bring us more Sarah Jane reviews, don’t miss that, and Matt returns after a long break to bring us a Fourth Doctor Big Finish review alongside some Classic Doctor Who TV episodes to recall from years ago. Some, even I remember from the off. 

Lady C returns for another adventure, this time written by two more fans of the series, Samantha Stanley and Harriet Chamberlain. Do check out this story. I can absolutely recommend it. 

Our profile this month is our illustrious leader of Torchwood Three – Captain Jack Harkness. It may seem that we’ve skirted around a few sides of his character, but believe me, if we didn’t, we’d still be writing till the sun exploded.

Tiziana has once again created a brilliant front cover for us, with the Ninth decorating the scene once again.  

So, pack a flask and some serious filling for your sandwiches. Saddle up and let the reading commence. We’ll be back next month with more exciting reviews, and hopefully a little extra. 

Stay safe and stay well. 

Djak

 

Welcome to Issue 92

Profiles Javic Piotr Thane aka Captain Jack Harkness

 


The Early Years and The Time Agency 

Javic was born before the year 5094 in the 51st Century and came from a ‘tiny little place’ called the Boeshane Peninsula. He lived there with his Mum, his Dad Franklin, and his younger brother Gray. He lived near the beach, and would often spend evenings with his father and brother playing cricket and sitting around the camp fire, laughing and singing. 

The Peninsula lived under the threat of invasion. Normally the enemy would pass overhead, but on the day of Gray’s abduction, they didn’t. ‘They came without warning…their howls travelled before them.’ When the creatures came, many inhabitants of the Peninsula ran for shelter. Franklin, instructed Javic to run for shelter with his brother Gray, while he would run back for his wife. Unfortunately, Franklin never made it, and the family lost their father that day. Javic had further news for his mother when he returned to the homestead. In the dash for safety, Gray had tripped and Javic had let go his hand. Thinking that Gray would still be behind him, he ran for the shelter of the trees, but was panic stricken to learn that his brother was nowhere in sight. Many more inhabitants lost their lives that day. 

Jack confessed to ‘Adam’, an entity that had forced its way into the Torchwood Hub, convincing the entire team that he was and always had been, a member of Torchwood, that he searched years for his brother but never found a body. 

In the years that followed, Javic joined the Time Agency around the age of 15 - 20 years old. He was the first citizen of Boeshane to sign up and was the poster boy for the Peninsula.

‘The Face of Boe, they called me.’ 

Thane encouraged a friend to join up with him and fight an enemy he described later to the real Captain Jack Harkness, as ‘the worst possible creatures you can imagine.’ They were captured and because his friend was weaker, tortured him and made Thane watch, later releasing Thane, to bear the guilt of his friend’s fate. I wonder if these were the same creatures that captured and tortured young Gray? 

Around the age of 20 - 35 years, and still working with the Time Agency, he was partnered up with Captain John Hart, a rebel in his own right. They once spent five years trapped in a two-week time loop, and became the equivalent of a married couple. Hart confessed after an ongoing row that he was a good wife, proving that the pair had more than just a professional partnership. 

Unlike life in the 21st Century, the 51st Century was so much more diverse and the attitudes towards sexuality was a lot more acceptable. 

During further missions with Hart, the two agents faced off against a horde of Weeping Angels. 

On one of his Time Agency missions, Thane fought the Navigators, and visited a black market on Fluren’s World where he bid on a Monstrom Time Destroyer. He lost out to a pair of Wrightosaur mercenaries, whom he later had a sexual encounter with. 

Thane had two years of his memory removed while working for the Time Agency, a fact that Hart knew about but refused to discuss with him. I wonder if the truth of this will ever be revealed? Shortly after this, he left the agency to become a time travelling con artist, running scams using his knowledge of future events. He preferred schemes which involved payment for items that he knew would later be destroyed. 

He was sentenced to death for unknown crimes, and ordered four hyper vodkas as his last request. Thane woke up in bed with his two executioners. ‘Lovely couple. They stayed in touch. Can’t say that about most executioners…’ 

At some point in Thane’s life, he travelled to the 17th century and lived as a priest under the alias ‘Father Julian Horst.’ 

At the estimated age of 35 Earth years, while operating as a Con Man Thane stole a Chula war ship from a beautiful woman and used it to head to Earth where he hoped to trade with two Time Agents that he’d located in wartime London at the height of the Blitz. Unbeknownst to him, they were the Ninth Doctor and travelling companion, Rose Tyler. He’d picked up a battle ambulance, dropping it down in Lime Street Station, unaware of its cargo, and expected to be paid handsomely for it, and seeing it destroyed much later by a German bomb, that was destined to land on that very spot. It fell on a child, Jamie, who plagued the area surrounding it, making anyone who touched him, become like him, a gas mask zombie. Nanogenes had fixed him, but assuming that the mask on his face was an actual part of his genetics, had made everyone else who touched him, become the same. 

He rescued Rose Tyler as she desperately clung to a barrage balloon, wearing a Union Jack t-shirt while German and British planes had dog fights around her. Drawn into the tractor beam of his Chula ship, Jack brought her to safety and fixed her burns with saved nanogenes trapped in his ship. 

Thane assumed the identity of American volunteer of the 133rd Squadron of the Royal Air Force – Captain Jack Harkness, who he was later to meet in Cardiff, when he stepped through the doors of The Ritz Dance hall, with Toshiko Sato, during a temporal shift sending them back to 1941. He knew all about the real Captain Jack Harkness, and explained it all to Toshiko that he was undercover and needed a name. He explained that the name was convenient, as the real Harkness died in battle. ‘They go out on a sortie and are surprised by two formations of Messerschmitt's. He destroys three of the enemy. His men listen to his whoops of joy over the radio. Then it all goes quiet. He can't bail out because his whole plane is on fire, but his men all make it back to safety.’ 

Rose was quite taken with the time traveler, the Doctor less so. Jack was introduced to the Doctor some time later, who was disgusted to learn that it was Jack’s fault that people were succumbing to the gas mask invasion, due to the broken medical transporter. Jack learned that the medical transporter wasn’t empty at all. It contained billions upon billions of nanogenes, all set to fix the world, and the first thing they fixed was the dead child wearing a gas mask. 

Eventually, the Ninth Doctor managed to convince the nanogenes that Nancy, the boy’s mother is who the boy should resemble and not the gasmask that is a permanent fixture to his face, in much the same way as all other zombie patients in the hospital, and those protecting the bomb site. The Doctor is joyous when the nanogenes return the patients to their normal state, including giving a woman back her missing limb. 

Jack, using the Chula war ship, captures the German bomb destined to destroy the medical transporter for good, and transports it in his Chula warship, away from Earth and into space. Unfortunately for Jack, his ship has no escape pod. He is literally stuck with the ship and can only face the countdown to oblivion, unaware however, that the TARDIS is parked at the other end of his ship. He closes the doors to avoid the blast and travels with the Doctor and Rose, for many adventures until…one adventure changes his life forever. 

Travels with the Doctor & Rose Tyler 

The Doctor takes Rose and Jack to the location of the planet Excroth, only to discover it’s not there. The TARDIS is taken aboard a Lect spaceship which Jack and the Doctor escape from after it is attacked by Unon. Rose unfortunately is blasted into the Time Vortex but is protected from the time winds by the tachyon inhibitor she finds. After a battle between the Lect and the Unon which triggered the emergency protocol, Fluren’s World was no longer protected by the time bubble. Jack, who managed to locate Rose at a Temporal Bazaar on Fluren, subsequently is separated from her and is taken in the TARDIS to the Unon’s Perpetual City where he is once again reunited with the Doctor who he believed dead. The Doctor is tricked by the mother superior of the Unon, Arnora and Rose tricks the Doctor into giving the co-ordinates of the Perpetual City to the opposition – the Lect. Jack is taken into the sub-dimensional void and is shown what the future would look like without the Doctor around. Not a pretty sight. The Doctor is saved when Jack is released from the void, and after discovering that the Doctor cannot prevent the entropy engine from overloading, saves as many Unons as possible, and takes them to another world so that they can start again. 

The Doctor discovers a giant ziggurat and the Hanging Gardens of Slarvia. He uses his sonic screwdriver to locate a ship in orbit that had transmatted them aboard, and comes face to face with the Taggani, a famous geohacker. Jack, Rose and the Doctor had stopped the geohacker from using the Doctor’s memories to recreate the Last Great Time War. They discovered that the geohacker was none other than an art historian from the Braxiatel Collection, who is subsequently handed over to the Judoon. ‘Justice is swift’ 

While on the planet Clix, Jack and the Doctor disguise themselves as Slitheens in a bid to find Rose, who has been kidnapped by Slist Fayflut Marteveerthon Slitheen. 

A darker Jack journeyed with the Doctor and Rose to the Novrosk Peninsula and encountered Russian Special Forces, nuclear submarines and something that predates the stone circle on the cliff top, that is waking, hunting and killing. Jack finds a girl of 19, whose life has been sucked clean from her, and that only her memories survive, but she cannot talk about it, and can barely walk.

‘I used to think I was scared by death. Or by facing death – by combat and action and the uncertainty of the battlefield.  Not any more.  No, now what scares me is the possibility I might live to grow old.  I might wake up one day tired and wasted and unable to even open a beer.  I might need crutches and a hearing aid and help getting dressed.  When and if I get to that point, it’ll be my memories that’ll keep me going.  The fact I’ve lived through so much, survived so much to get there.’ 

During another journey with the Doctor, Jack spends a month in Bromley in the year 2006, babysitting a Neanderthal who can no longer return to his own time and helps him integrate into life in the 21st century. 

When the TARDIS needed to refuel, they stopped off in Cardiff and settled the ship over the Rift, a scar that ran through the city of Cardiff. Jack was introduced to Mickey Smith, Rose Tyler’s boyfriend and earned the title of Captain Cheesecake. The Doctor discovered that one of the Slitheen still existed on the planet after the attack on 10 Downing Street and had now become the Lord Mayor. He set his sights to capture her before she caused any further trouble. The Doctor and Jack discover that beneath the plans for the new Blaidd Drwg nuclear power plant is an Extrapolator, which once the power plant goes into meltdown and destroys Earth, Margaret Blaine will ride aboard the extrapolator and escape. 

In a bid to hasten the speed of the refueling, Jack attaches the extrapolator to the TARDIS console. Instead, the device causes a massive earthquake in Cardiff, which instead of feeding the TARDIS from the Rift, does the exact opposite. It is a clever trick by the Slitheen, known as Margaret Blaine as she enters the TARDIS and takes Rose hostage.

When the Heart of the TARDIS is revealed to Blaine, she is hypnotized by it and when Jack and the Doctor finally close the Rift, and disable the extrapolator, all they find of Margaret Blaine is a Slitheen egg. They take Margaret’s egg back to Raxacoricofallapatorius, where she is given a second chance at life. 

Jack journeys with the Doctor and Rose, to the Colony World of 4378976 Delta-Four in the year 2775, where Jack finds himself committed to a lunatic asylum called the Big White House, for telling fictional stories. Inside the asylum, he faces the possibility of being experimented upon by a nutty surgeon called Cal Tyko. 

Jack, the Doctor and Rose also visited New Vegas in the 23rd Century, where they helped detective James McNeil investigate The Whisper, a strange vigilante that was terrorizing the city’s underworld. Jack worked undercover as a reporter for the Daily Galaxy, where he befriended Daisy Hewett, but some gals are not to be trusted, and Jack found that out to his peril, when Cyrus Wolfsbane kidnapped him, in order for the Doctor to lead Cyrus to the Whisper. 

In 1336, Jack, the Doctor and Rose visit Japan but find themselves transmatted to different areas of the Games Station, where each member of the TARDIS crew awaken to find themselves in certain doses of terror, although at first, none of them see it that way. 

When Rose is zapped by the Anne Droid in the Weakest Link Game show, the Doctor and Jack are distraught but after Jack finds the TARDIS stowed away in the back of a unit, soon discovers how the trick reveals that Rose is not dead at all. What he and the Doctor uncover however is a secondary signal, into an empty location of space, where the losers wind up. Disabling the signal, the Doctor discovers that his worst adversaries, the Daleks have been playing an extremely long game, and promises to destroy them once and for all, when he flies his TARDIS into their Mothership and rescues Rose from their clutches. 

Thus, ensues the battle on the Game Station that subsequently kills Captain Jack Harkness, in a battle he knew he could never win. Facing down three Daleks, he empties his weapons on them, but already knows he’s a dead man, when they open fire. When Rose returns in the TARDIS, she has the power of the Time Vortex inside of her and destroys the Dalek’s, wiping them from existence. She was also able to bring Jack back to life, making him a fixed point in time, and immortal. The Doctor knew that the power would eventually consume her, and absorbed the Time Vortex himself. This would mark the end of the Ninth Doctor. 

When Jack gasped back to life and returned to the TARDIS, it was already dematerializing. He was stranded on the Game Station, orbiting a Dalek devastated Earth in the year 200,100. Rose suggested that the Doctor should go back to find Jack, as he might be able to help them, but the Doctor, having regenerated, couldn’t tell her the truth, that if Jack entered the TARDIS he would cause a temporal paradox and threaten the TARDIS’ proper operation, and insisted he was too busy rebuilding the Earth. 

Having been left behind by the Doctor, Jack was distraught and sought solace in a small cabin near the ruins of the Black Country Dome. He wanted to be left alone but was approached by an aspiring journalist called Silo Crook who was as intrigued as Jack, to know more about the Hope Foundation, a charity founded by Vortia Trear, which took surviving humans off Earth and gave them new and better lives. Jack and Silo discovered that Trear was a rich elite and was intending to exploit the humans below them, which naturally lead to a revolt. With the satellite station now left to fall to Earth, Jack scrambled to interact the live cables to ensure it landed safely. As Jack came around after being electrocuted, he saw an abundance of resources that could be salvaged from the fallen satellite that would enable humanity to rebuild itself.

 Jack and Torchwood

Harkness eventually set his Vortex Manipulator for Earth and Cardiff in the 21st century, to the site of the active space-time rift, in a hope that he would reconnect with the TARDIS and the Doctor with Rose, when it refueled. Unfortunately, his wrist strap device burnt out somewhere in the 19th century leaving him stranded in 1869. 

Jack remained in Cardiff, and after visiting the Little Girl with the Tarot Cards, and learning that it would be some time before he would reconnect with the right Doctor in his time line, decided to work for Torchwood Three. 

Jack learnt that after his third death and resurrection after being shot in 1892 during a fight on Ellis Island, that although he was immortal, he still aged, albeit very slowly. He could recover from any physical harm, almost immediately, although his legs were always the last to knit back together.

Jack eventually became the Head of Torchwood Three, after succeeding his boss, who after shooting all of the Torchwood Three agents in the Hub, turned the gun on himself, just as Jack re-entered the building, and was unable to stop him. His boss had seen the future after opening the Pendant that was known as the Bad Penny! 

On Earth and assuming the role of Head of Torchwood Three in 2006, Thane, now Harkness lamented about contraceptives in the rain. ‘You take the pill, flush it away, and it enters the water cycle. Feminizes the fish. Goes all the way up into the sky then falls all the way back down onto me. Contraceptives in the rain. Love this planet. Still, at least I won't get pregnant. Never doing that again.’ Which begs the question, which con did he and Hart work on that produced a pregnant Thane? 

Jack enlisted a new team of agents. Suzie Costello, Toshiko Sato, Dr Owen Harper, Ianto Jones and eventually, when memories of her experience returned, Gwen Cooper. Each had a unique ability that was paramount to their role in the Hub, and after the death and re-death of Costello, the team became a closer-knit bunch of agents who had each other’s back, right up till the end. 

When the alien known as the ‘456’ returned to Earth for another hit of ‘children’, Harkness knew he had to stop them, but secrets of the past encounters with them, to save the planet against Spanish Flu in the earlier decades, would drive a wedge through not only his team, but also his family. At the risk of saving millions of children, Jack sacrificed the life of his grandson, alienating the connection he had with his daughter, Alice Harkness. 

He left the Earth once the threat of the 456 invasion was put to an end, his heart broken further by the death of Ianto Jones, a death that could have been avoided – but nearly all Torchwood agents die young. 

Jack returned to Earth many years later to discover a new threat to Earth. Nobody was dying. Even the dead weren’t dying. Worse still, Jack was now mortal. To find out who was behind it, meant Jack had to dig deep to find what the connection was between him and The Family. 

When the world was put right and many sad farewells were made, Jack remained on Earth and we had a new immortal being – that of Rex Mathison. 

Much of the chaos in Earth history seems to bear some connection to Jack Harkness but surely, it can’t be all his fault, can it? 

Beyond these findings, I can find little more to write about this incredible character, who has seen more death, and more destinations than an ABTA travel brochure. 

Jack’s life is anything but straight forward. There is more than one version of Jack Harkness out there. Harkness has helped and worked with three of the Time Lords known as The Doctor, his latest was in the exploit of rescuing the Doctor from a prison planet, and stopping another invasion of Daleks, this time partly commissioned by idiots running the UK government – no surprises there. 

Although Torchwood has no physical home in Cardiff, or indeed the world, as far as we can see, Captain Jack Harkness, as he goes by these days, will be out there somewhere, monitoring the skies above and when the call to arms is made, he and the remaining Torchwood team will come out of the shadows, and defend the Earth once more, with or without the help of the Time Lord known as the Doctor. 

 

References:

Audio: Month 25

Kiss Kiss Bang Bang

Adam

The End of Time

Last of the Time Lords

Utopia

Captain Jack Harkness

(COMIC: Weapons of Past Destruction)

(COMIC: World Without End)

(COMIC: Slaver's Song)

(COMIC: Secret Agent Man)

The Empty Child

(TV: Children in Need Special)

The Parting of the Ways)

(AUDIO: The Year After I Died)

Boom Town

The Stealers of Dreams

Bad Wolf

(AUDIO: Night of the Whisper)

Audio: Uncanny Valley