Who Reviews Aliens of London/World War Three by Tony J Fyler

 

Excuse Tony shaking his booty.

To some extent, each episode of Series 1 of Doctor Who, back in 2005, was an example piece of the things Doctor Who could do, the journeys it could take and the moods it could evoke. 

While Rose was a primer in mystery and mayhem and why a modern companion would go travelling with the madman in his box, The End Of The World took us to far off times and gave us space diplomats meets Agatha Christie. The Unquiet Dead gave us the celebrity historical and the creep-out aliens-as-supernatural story. 

And then…well, then there was Aliens of London and World War Three. 

If that two-part story had a fundamental mood, it was contemporary alien batcrap craziness.

Alien invasions that aren’t alien invasions. Big Ben destroyed. Pigs in spaceships. Farting aliens with zips in the heads of fat-suits. Baby-faced aliens with giant, powerful claw—tipped bodies. 

To say nothing of the Doctor watching alien invasions on the TV. 

Aliens Of London and World War Three are, above all, an exercise in new storytelling forms for Doctor Who – using modern new reporting, with both real and invented news reporters, showing real seats of power under threat. It was inevitable when Russell T Davies took over Doctor Who that this kind of ‘realistic’ storytelling would be coming. It had been a hallmark of his work for decades by the time he took the big chair. But with fifteen years of hindsight and more, it’s difficult to remember how innovative it was for Doctor Who. Yes, over the years, there had been occasional dabblings with news reports – The Daemons and the Eight Doctor TV story, to name just two. But the brightness, the speed, the use of the medium as part of the narrative structure, had never been used as well as it was in Aliens Of London and World War Three.

The dabblings with UNIT were a lovely touch, and the double-cross that ended Aliens Of London was both well thought-through and shocking. The use of Penelope Wilton as Harriet Jones, the backbench MP who still has concerns even as the world might be ending, was sublime – especially when she’s forced to hide in a cupboard while the Slitheen unmask and kill. That the horror of that moment is both inherently comical, but is played utterly straight by Wilton, is a thing of beauty, and a mark of 21^st century Who’s style. Underplay, or play for reality, wherever possible – especially when the aliens themselves are absurd. 

And perhaps as much as anything, Aliens Of London and World War Three are an object lesson in 21^st century Who by virtue of how they deal with the suspicions of Jackie Tyler and Mickey Smith. 

Neither of them have any real reason to trust this interloping Doctor, and when the story begins, neither of them do. But by its end, the Doctor has done what he can to reassure Jackie that he will put Rose’s life before his own, and Mickey has hacked into an international missile defence system  to blow the Slitheen to bits, guided step by step by the Doctor. 

Let’s talk about the Slitheen for a minute. 

More than anything else, the mark of the Slitheen is an utterly classless disregard for anything other than themselves (Gosh – wonder what that feels like). Their plan is classless and almost absurdly overcomplicated for the perceived reward – sell the cindered remains of the Earth to the highest bidder for spaceship fuel. That disparity elevates the level of their contempt. Their language is scornful of the humans they intend to destroy, their pretences crass and comic as they constantly apologise for the farts that follow them everywhere. When unmasked, they revert to primitivism – nakedness and primal hunting are what guide them, smelling out their victims like any predatory beast. 

They’re also interesting in the world of Doctor Who by being villains who aren’t a complete race of species, but just a family. A mafia-style family in some regards, determined to make the fastest bucks the universe will allow, but also in a very real sense, they’re repugnant hoorays, over-privileged, fact-light robber barons with a hunting obsession, who see themselves as better than everyone. 

And they find a home in Downing Street to hatch their plans. 

Between the modern drama storytelling techniques, the unusual villains, the batcrap-crazy elements of whimsy that, to be fair, were always a fundamental element of Classic Doctor Who (remember the killer armchair and the deadly daffodils?), and the thoroughly new idea that the Doctor’s actions might have real-world consequences on our Earth just as readily as they might on Peladon or Sarn, Aliens Of London and World War Three mark not only the stamping on the show of a new brisk relevance, but also a yanking into the 21^st century of the show’s storytelling style. 

The Doctor’s companions having family connections was to become a huge mark of the show for the whole of the Davies era, and to some extent the Moffat era too, and it’s in Aliens Of London and World War Three that the notion really begins that we’re moving towards a version of Doctor Who where there’s less Classic-style ‘cover-ups to keep people ignorant’ as with the Loch Ness Monster in the Thames, and more towards a world in which at least some people remember the previous escapades of aliens and the Doctor. 

As such, even if the realization of the Slitheen, either in terms of their story value or their look, isn’t the stuff of legends, there’s a lot in Aliens Of London and World War Three that make them memorable. You might never necessarily find yourself so bored as to go “I must watch this again right now!” But if you do, you’ll remember why, when you first watched it, you were swept along by the mystery, the what-the-hellery, Rose’s family connections and the weird, zip-headed farting aliens. 

If they’re never Genesis of the Daleks or The Caves Of Androzani, Aliens Of London and World War Three sit happily among the likes of Destiny Of The Daleks or The Dominators – barking mad from start to finish, but reliably watchable Who with lots of people who will remember them fondly.

Reviews Torchwood: Zone 10 by Tony J Fyler

Tony packs his Ugg boots.

Of all the Torchwood Three regulars, perhaps the one with the least explored personality and background is Toshiko Sato, she of the incredibly lateral mind and nimble fingers, most frequently seen keeping an eye on things from the Hub rather than strutting about the place with big guns and alien hardware.

Nevertheless, it would be a colossal mistake to underestimate Tosh, and she has a healthy handful of starring roles throughout the first two series of on-screen Torchwood, almost all of which show a different side to her nature.

Zone 10 takes Tosh out of Torchwood and Cardiff, and sends her to Russia on a field mission into the mysterious ‘Zone 10.’

(Pause for dramatic music).

Quite. What the hell is Zone 10, right?

Obviously, we’re not about to spoiler that for you, but David Llewellyn’s story does at least keep you guessing about what’s actually going on almost to the very end, delivering additional forward story-arc nuggets like shiny, glistening candies along the way. It also ties into some previous stories in the audio Torchwood range, including Uncanny Valley, while revealing juicy new details about The Committee, the alien Uber-Bad that’s been a frequent source of trouble for various Torchwooders since the beginning of Series 1. Without technically answering many of our questions about these alien ass-kickers and infiltrators, Zone 10 certainly gives us a new way of looking at them, and a new set of things to wonder about. There’s even a flashback vibe – which given that Tosh is still alive is actually a flashforward vibe – to Series 3, Children of Earth, which is quite enough to send a chill down the listener’s spine if the Siberian location doesn’t do it for you. Llewellyn’s script is also fairly intricately put together, with some neat ideas – in particular a weapon that The Committee has deployed, its effect and the way it’s described, is enough to boggle the brain in a pleasing way.

Naoko Mori, slipping back into Tosh’s shoes, is reliable as clockwork, and between Llewellyn’s read of the character and Mori’s performance, Zone 10 delivers a Tosh that’s perversely familiar because she does unexpected things and makes unexpected connections. It gives her a chance to really show what she’s made of, beyond Hub-based button-pushing, and it reminds us that she had to do a whole hell of a lot more than that to even get into Torchwood. Tosh on her own, without all the gun-wielding strutters and the other distractions of the Hub, is ingenious, intuitive, and never, ever stupid. She judges the truth based on inflection and calls people on it instantly when there just isn’t the time to be ‘Nice Tosh.’ She steals a Snowcat in the middle of Siberia, and she even, in this episode, gets the chance to pick up a gun herself. As you might expect, being Tosh – lateral, intuitive Tosh – she’s unnervingly good with it. It almost becomes just another device to her in the moment of its use. Devices do her bidding if she doesn’t think about them too hard. Interestingly, Pragmatic Tosh stays in control for much longer than you might expect, and Nice Tosh never particularly shouts her down. ‘I should feel guilty,’ she admits at one point, ‘but I don’t.’

The story, which kicks off with an uncrackable signal, broadcast for over forty years from the Russian wastelands until Tosh, working solo and without telling her Torchwood teammates, finally cracks it, has a heavy load of impossibility to carry, but Llewellyn’s a good writing technician, and he makes sure to dot the i’s and cross the t’s of the story logic before the end, bringing in secret Russian space programmes, unsavoury deals, a fair amount of double-crossing and a race – in this case literally – against time before the mystery of the cracked signal makes a final kind of sense. When it does, it delivers the satisfying ‘schlunk’ of the last piece of a jigsaw puzzle being slotted into place, even if the picture on the puzzle is of a whole lot of question-marks to ponder until the next time The Committee show their faces in the Torchwood audios.

Nevertheless, there’s one particular element of this story that might make it hard to listen to in a single sitting, even at just over an hour of running time.

We hate pinning the weight of listener disengagement on a single person, but there’s an accent choice from one particular actor in this audio that becomes distracting fairly quickly, the Russian-speaking-English dialogue seeming overblown and almost comical at times. ‘Vwhurt?’ is hard to listen to as ‘What?’ for instance, and as the hour goes by, the pronunciation seems to grow increasingly perverse – ‘Moscov,’ ‘Snovcat and many more - meaning it runs the risk of becoming the majority of what you’re listening to. You won’t miss any important story-details, because director Scott Handcock makes sure that despite the layers of the script, you only find out what’s going on in smallish bites, but the accent choice does take away from the listener’s ability to entirely lose themselves in the adventure, and leave them wishing for a more lightly-accented portrayal.

There’s an issue of backstory-infodumping early on too, the dialogue between Tosh and Maxim Ivanov feeling as though it’s there mostly for the listener’s benefit to get us into the scenario, but once Zone 10 itself gets thrown into the mix and the unlikely pairing set off in search of mystery, the whole thing becomes more fluid, like a blind date melting into friendliness over a shared love of Tetris.

Overall, Zone 10 is story-driven and delivers on that level, enriching our understanding of the mysteries of The Committee. It also delivers a welcome return for Toshiko, blending Nice Tosh and Pragmatic Tosh well, giving us moments of Geeky Tosh, dedicated to her work, and Sad Tosh, trying not to think about when she last saw her family, but also adding in Action Tosh the code-cracking, Snowcat-stealing, sharp-shooting badass into the mix, giving perhaps more rounding to the character than she ever got on TV. Naoko Mori seems, in the extras, to be up for adding additional stories to the Torchwood archive, and on the evidence of this initial outing, such stories would be a more than welcome addition – especially if Twitter speculation proves true and Eve Myles really has decided to put the character of Gwen Cooper behind her.

Just perhaps, next time, go a little lighter on the accents in supporting character roles, so that all the shades of Mori’s performance can be appreciated fully. 

Articles Defenders of the Earth by Tony J Fyler

Tony Fyler remembers heroes.

November is the month when Britain remembers all those who have died in war.

We never forget at Project: Torchwood that our favourite show is just that – just a show. But it’s a show that has the power to move, to teach, to inspire and to put us in touch with the best and worst in all of humankind.

It can remind us of people who are ordinary, who sign up for something that by its very nature makes them extraordinary, that puts their lives in danger, that shows them people and places and wonders they never dreamed to see, and gives them nightmares they would never wish to remember. It can remind us of people who make the choice to put their skills and their service at the disposal of something bigger than themselves for the cause of hope, and in Series 2, Torchwood showed us that it could prove to us that sometimes, even the best of people die.

Dr Owen Harper (Burn Gorman) is not who we first think he is. When we first meet him he is sarcastic, abrasive, womanising, seeming to care little for the consequences of his actions, but always ready to click into place, his medical expertise and his strong devotion to its ethical use overriding his many character flaws. We may not like Owen from the very beginning, but we certainly respect him in action.

Over the course of two series though, Owen’s more complex nature reveals itself. In Ghost Machine, his empathy and sense of justice power him on with a kind of fury to seek justice for one of life’s many, many victims, proving that he really does have a heart beneath his Hippocratic Oath. He has a sensitivity to those whom life has treated unfairly. In Out of Time, we go beneath the sharp sarcasm and the casual sex, when Owen forms a genuine bond of something that could eventually be love with female pilot Diane Holmes. This isn’t the Owen we know, he doesn’t let himself be vulnerable to his own emotions. His connection with Diane, especially in the light of her eventual decision not to stay with him, and his subsequent plan to re-open the Rift to be with her, shows us why, and makes some sense of the surface he has shown us. Owen feels things deeply when he dares to let himself feel at all, and we’re left wondering what it was that first taught him the pain of that and led him to shun deeper connections.

Owen is by nature the most vocal of the Torchwood team, the one least likely to toe Jack’s line just because he’s the leader. Every member of the team is in some way vital, but Owen, really is the most vital of them all: he’s the person every team must have – the potential Judas, the alternative, the opposite view of the world from the leader’s. Why is that so essential? Because otherwise, the view of the team is the view of one person with an agenda. You need an Owen to question you when you’re about to drive over a cliff.

There’s never a particularly good explanation of why, having been shot dead, Owen doesn’t die in the traditional sense. All we know is that he goes through an extraordinary journey, the very anitithesis of Captain Jack – the man who dies and won’t lie down, rather than the man who cannot die. Between them, they form the tension, the duality of Torchwood, the potential to find a way around or through every challenge and every obstacle, even including death. And in Fragments, we finally find the answer to Owen – his relationship with a woman with ridiculously early onset Alzheimer’s, his inability to help her, Jack’s high-handed interference, and Owen’s determination not to let Jack have his way.

When Owen dies the second time, the Torchwood team is never the same again – it’s a tighter, faster thing, maybe, but it forces Gwen to step more into his shoes, taking Jack to task when his long life and high-handed decisions go against her heart and her instincts. Owen has made an impact not only on the world and on those that Torchwood has helped or saved, but on those who got the closest to him.

Toshiko Sato is Owen’s polar opposite, the quintessential ‘good girl,’ only finding herself in Torchwood because she tried to save her mother in an impossible situation, and her genius for abstract thinking allowed her to fill in gaps in the failed design of a piece of technology she was forced to build from stolen plans.

Throughout the first two series of Torchwood, prior to our learning Tosh’s origins and how she gained her place on the team, her hallmarks are loyalty and reliability, a genius with systems and for making things do the things they should do – she’s responsible for making things work and delivering Torchwood the data it needs to investigate all the things that come its way. From the very first episode, it’s Tosh who gains access to databases she’s not supposed to be able to access to get information  to speed the investigation of the alien along (in particular the police database), and throughout much of her time, she harbours a quiet passion for Owen. Like most of the Torchwood team, she’s a fairly open-minded citizen of the universe, but she’s not about to be taken for a ride, as she proves in Greeks Bearing Gifts. And while, in To The Last Man, she finds a chance for happiness with World War I soldier Tommy, ultimately, she does the responsible thing, respecting if not liking his decision to return to 1918, where he will be killed for his shellshock.

Tosh, played by Naoko Mori, is the quintessential workmate – the thoughtful one, the one who you can always rely on to do her job, and who, most of the time, will be there to help with any personal crises too: watch her in Something Borrowed for a comical slant on her character. She wants to have no enemies in the world, but her time in Torchwood teaches her to stand up for herself rather more than she did when she was recruited. Her journey through the universe of space and time as it washes up on the shores of the Cardiff Rift makes her a better, broader human being. When she dies, her death wrings tears from us, because while Owen’s character was easy to dislike but worth getting to know, Toshiko leaves a big gap in both the team’s effectiveness and its heart.

Torchwood is just a show. But from Day One it was filled with people we know – Gwen the group mum with the heart of a lion and the mouth (when needed) of a wrestler. Ianto the local lad made good but driven by love. Toshiko the genius-next-door, always ready with a friendly shoulder and yet devastatingly good at her job. Owen, the prickly womaniser who feels too much. Even Jack, the reformed con-man trying to make something good out of evil, in a gesture of every-day tribute to the man who taught him how to live a better life. They each represent the kind of person who puts themselves between the world and danger, and so in a sense, it’s only right that we should lose them. They represent the sacrifice and the loss of people without number throughout time, and people every day as we sleep.

And in remembering Owen, and Tosh, and ultimately Ianto Jones as well, we remember them all, this November and every day.

Profiles Toshiko Sato

Torchwood Three Officer: Toshiko Sato

Born: 19^th September 1981

Origin: Japanese

Played by: Naoko Mori

Toshiko Sato first came to Torchwood’s attention five years ago, after she stole the plans for a Sonic Modulator device from the Lodmoor Research Facility, a division of the Ministry of Defence. Milton, a dark haired, bespectacled woman, who was holding her mother hostage, required it.  The initial plans were flawed but as Toshiko built the Sonic Modulator, she corrected the mistakes as she went.

After her arrest and gruelling punishment at the hands of UNIT, she was visited by Torchwood’s Captain Jack Harkness who admired her work on the Modulator and offered her the chance of a clean slate, if she worked for him.

With the alien tech that Torchwood Three scavenged over the years, Toshiko was able to cannibalise the tech for their own use. Such as, creating the Rift Manipulator and inventing the time lock that protected the Hub during the Dalek invasion, securing Ianto and Gwen in a bubble, which meant that the Daleks couldn’t enter, but equally, Gwen and Ianto couldn’t leave.

Toshiko’s love life was abysmal however, failing to catch the eye of the man of her dreams, Dr. Owen Harper, even after covering for him during the Slitheen invasion, Toshiko fell into doomed relationships, including Mary, an Arcateenian criminal, who gave her a pendant, enabling her to hear people’s thoughts and Tommy Brockless, a tragic soldier of the First World War who was suffering from shellshock but who had to return to 1918 to close the Rift, with the aid of the Rift Key.

When Owen was resurrected in order for people to say their last farewells, Toshiko confessed her true feelings to him. As Owen lost his cynicism, he and Toshiko had better conversations and even agreed to go on a date together, sadly this never happened.  As Gray, hell-bent on ruining his brother Jack’s life for good, entered the Hub and shot Toshiko, fatally wounding her. The valuable time she needed in order to assist Owen at Turnmill ultimately cost him his life.

Toshiko was given a traditional funeral service by Captain Jack Harkness, and is still to this day, sadly missed.

News Happy Birthday Toshiko Sato 19th September 2014

19^th September 2014

On this day we will mark Toshiko’s birthday with a celebration of her life in Torchwood.  We’re holding another hashtag event in our #BringBackTorchwood campaign.

#ToshikoSatoDay

It’s a fitting tribute to the technical support of Torchwood Three.  Her knowledge of all quantum calculations, her quick responses at over-riding the Hub’s lock down with a sequence of key strokes on the keyboard membrane of her computer, allowing the team to save Gwen Cooper from the madness that was Suzie Costello.

So join with us, on this day, Friday 19^th September, to celebrate Toshiko’s life and loves on Twitter.  You can post your support on Facebook, on our Page if you do not have a Twitter account.  You can rally support from all Pages who honour Torchwood.  Call on your friends, call on your TORCHWOOD friends, supporters, cast and crew. 

Let’s hear it for TOSHIKO SATO.

It’s an all day event, join in when you can, and let’s get #ToshikoSatoDay and #BringBackTorchwood trending.

Remember to tell your friends to pledge their support of Torchwood by signing the petition hosted by @SaveTorchwood, to bring the series back.  We need as many names as possible.  Let’s make this happen people.

Articles Interview with the Older Ed Morgan

Assumed Name: Ed Morgan

Full Name: Edwin Morgan

Race: Human

Gender: Male

Age: Approximately 63

Birthday: Unknown

Place of Birth: Wales, United Kingdom

Physical Appearance

Height: 6’0”

Weight: Approximately 16 stone

Body Type: Large

Skin: White

Eyes: hazel

Hair: Grey

Any Other Physical Distinctions: Wears glasses, scruffy, un-kempt, dirty fingernails, smoker

Family Relationships

Mother: Name unknown – presumed dead

Father: Name unknown – presumed dead

Siblings: Unknown

Other Relatives: Unknown

Social Relationships: Is a total recluse. Seemingly suffers from agoraphobia

Martial Status: Single

Spouse: Unknown

Children: Unknown

Friends: Unknown

Allies: None

Enemies: Pretty much anyone

Personal Characteristics

Physical Strengths: None from what we can tell

Physical Weaknesses: Slow moving and unfit, doesn’t seem very mobile

Mental Weaknesses: Was admitted on recommendation on the 3^rd December 1989 into a psychiatric hospital (location unknown; possibly Whitchurch Hospital in the North of Cardiff) and was diagnosed as

• Agoraphobic
• Claustrophobic
• Suffering paranoid delusions
• Diagnosed with severe depression
• Suicidal (has attempted on a number of occasions)
• Violent fantasies

Morgan was proscribed 60 mg’s SSRI. There was minor improvements shown and so he was discharged on the 17^th January 1990.

Skills: Unknown

Secrecy: Very secretive about his past

Manipulation: Very probably, in order to avoid discovery of past

History: Rapist and killer: Raped and killed Lizzie Lewis on 29^th March 1963. Was never found out!

Teenage Years: As his age is unknown, it is possible he may have raped and killed Lizzie Lewis in his late teens. But we cannot be completely certain.

Interviewee:  Edwin Morgan

Interviewer: Toshiko Sato (Jack made me do it. Said I was more calming…apparently)

Observational Notes:

Morgan’s eye’s are all over the place. This man isn’t comfortable in anyway. He can’t seem to keep still; playing with his fingers, shifting in his seat, sweating badly. And he seems very breathless. I’ve requested that Dr Harper be on hand if anything should happen.

Captain Harkness is also close by in case Morgan should turn violent.

How would you describe your life overall Edwin?

“There's nothing wrong with me. Who said there was, was it her?  She's messed in the head that one, was it her?”  Eyes squint in the bright light 

When were you the most afraid Edwin?

Pauses, reluctant to speak, deliberating

What you did to that poor girl, to Lizzie Lewis. Why?

Eyes narrow, face turns twisted and sinister.  “You're all the same. Little bitches!  You think it's all my fault.  You weren't there see, how would you know?" Perspires heavily.  “I wouldn’t have hurt her. They didn’t like me, see, don’t know why.  They prefer to mock me, there’s nothing wrong with me.  They’re soft in the ‘ead. All their mocking, I’m a bad one am I? They taunt me all the time, I’m not like them, I can see beauty where they can’t.  Lizzie Lewis, she’d have been alright if she hadn’t listened to them.  It’s them, they get in your head.  Interfering bitches!  

Do you ever get lonely Edwin?

Scowls  “What sort of question is that?” Turns to Jack. “I’m not answering any more.  Take me home!”

We just want to get an idea about your life. Please answer it Edwin.

What do you bloody think? I’m fine. Just me! It’s better that way. I don’t need anybody else, especially the likes of you nosing around my home, my business. Everyone always asking things that having nothing to do with them see. Nobody will just leave me alone. I want to be left alone. I don’t hurt anyone.

Edwin, you were admitted into Whitchurch Hospital back in 1989. And then you were discharged in 1990. Did any of this help you? How are you feeling now Edwin?

There was nothing wrong with me, but they wouldn’t listen see, have to stick their noses in.

But you’d attempted suicide? You were diagnosed with severe depression.

I shouldn’t have been there.  Nothing wrong with me, it’s in their heads.  Said I was paranoid, you try living in this street, all those eyes, pointing fingers, what did they know, they knew nothing.  Speculating all the time, making assumptions.  Mad she is, her at the end, always making things up, gossip.  Little bitch!

  

Do you consider yourself secretive Edwin?

None of your business! And even if I was, why would I tell you? I want to go back to my house. You can’t keep me here. I haven’t done anything wrong

You raped and killed Lizzie Lewis!?

Yeah so you say. Show me the proof. That young skinny Doctor of yours says he saw me back in 63! Really?! And you say I’m mad!!

Now let me go home. I’m not answering any more questions. You can’t keep me here. You have no proof I’ve done anything, because I’ve done nothing see. I just want to be left alone.

We just want to ask a few more questions Edwin, and then we’ll take you home.

NO! I want to leave NOW!! LET me OUT of here!! You CAN’T keep me here little bitch!!

End of Interview

End Notes:

I had no choice but to end the interview. I feared Edwin would because violent. He was becoming increasingly agitated, both physically and verbally.

With the help of Dr Harper and Captain Harkness we managed to calm him and we gave Morgan a drink that contained Retcon. Dr Harper and Ianto returned Edwin Morgan home.

In truth we really have gained nothing from this interview. All we have succeeded in doing is backing up all the medical reports about Edwin’s mental state. I am no expert, but unstable would be my thoughts. Is he harmless? Morgan has kept himself to himself for a very long time and so it could be said he’s harmless. But given his reaction today, I may disagree. Like any animal backed into a corner he fights back.

I advice caution when to comes to dealing with Morgan in the future. But as I said, I’m no expert. I shall ask Dr Harper to look over both the interview and my report to draw his own conclusions.

Toshiko Sato

Sources:

Whitchurch Hospital (Psychiatric Hospital)

http://en.wikipedia.org/wiki/Whitchurch_Hospital

SSRI

http://en.wikipedia.org/wiki/Selective_serotonin_reuptake_inhibitor

Ed Morgan’s mental state: observation of the episode

http://en.wikipedia.org/wiki/Ghost_Machine_(Torchwood)