Released July 2024

SOME SPOILERS FOLLOW

At a time when an increasing number of people believe that the end of the world is approaching one way or another, a number of these groups are continuing to vanish in the latest instalment of Torchwood Soho, Ascension, by James Goss. As Torchwood comes to investigate, however, it just may not be heaven to where these souls are departing.

A group of carol singers on a runway bringing down a plane draws the attention of Torchwood in ‘Burning Bright,’ in the process revealing the growing belief in ascension as the end of the world approaches. Tasked with investigating three different groups that share the same basic beliefs even if their predicted dates of the world’s end differ, there’s a certain shock to the discovery that these pockets of so-called believers are so often disappearing at preordained times, often accompanied by a rather large and destructive explosion. As a result, Norton must again unenviably open up channels between Torchwood and the UK government, attempting to work around his own reputation and smugness to form an alliance and to gather any information he can while assuming that there must be some nefarious alien plot at hand. The prospect of ascension and the mystery around its origins- whether divine, human, or alien- is a profound one that offers the range plenty of room for exploration of humanity, religion, and general power and spreading of belief systems, and the obvious dissemination of these beliefs through an increasing number of individuals clinging to any hope available in a world that seems increasingly malign and doomed presents a clear and present danger as well as an existential threat given the unexplained disappearances that leave such destruction in their wake. In the process, ‘Burning Bright’ does a wonderful job in again establishing the unique dynamics of this Torchwood team, the wonderful relationship between Norton and Gideon being a particular highlight as they attempt to balance the mundanities of everyday life with the distinctly non-ordinary problem before them. Samuel Barnett and Joe Shire are superb in these scenes and help to keep the story grounded alongside Tom Price’s Seargeant Andy Davidson, and though Norton is clearly out of his element with no real working knowledge about what is occurring, ‘Burning Bright’ is a strong opening instalment overall that brilliantly sets the scene with a strong central concept and engaging performances at its core.

In ‘Chariot of Fire,’ the world is due to end at midnight, and Norton is sure that he has everything perfectly under control. Through Father Dinsdale whom Jamie Baughan portrays as a kindly and well-meaning individual who certainly seems to have his congregation’s best interests at heart as he foretells the world’s end, Andy becomes entwined and even enraptured by the particular beliefs around him. Indeed, with belief being the core necessity, both Gideon and Andy reveal a certain trust and even faith in Norton that continues to further define these interpersonal relationships, especially as Norton remains more overtly self-centred even with the common good paramount to his current investigation. Unfortunately, Norton is unable to live up to those lofty ideals when he is needed most, and while Andy does perhaps show a certain descension during these events, the sequence nonetheless is a harrowing one that again highlights just how much Norton is able to inspire other individuals even as he is scrambling to piece together the disparate threads of the many mysteries before him. Here, while his relationship with Gideon is again very much front and centre, his attempts to establish a working relationship with the government are thrown into limbo as a certain General steps in, a figure whom Lizbeth Hayhoe has called in for assistance just before Norton asks her to intervene. Lizbeth’s exasperation and impatience with Norton’s inability to find answers also serves as a reminder of the unique type of power that she has, and the tenuous relationship between Norton and his one-time boss should continue to yield plenty of fascinating drama as Norton receives exactly the type of authority and command structure he did not want standing in his path of obtaining the truth. There are clearly many greater secrets lurking than even Norton can comprehend as the questions of weaponization and alien hypnosis are raised, and ‘Chariot of Fire’ again expertly increases the immediate personal and global drama of the spreading belief in ascension as themes of corruption and self-preservation arise while questions of ascension’s advantageous deployment abroad against enemies are voiced.

In ‘The Invisible Worm,’ a world in which the unknown truth of ascension may be used as a military weapon begins to come into focus as Lizbeth’s old friend eagerly looks to exploit the gift given to him. With an intriguing and formative discussion about the effectiveness of certain individuals at guiding and yielding the desired results, Lizbeth takes to the field in the Soviet Union to learn more about this process. Dervla Kirwan excels in this leading role, highlighting Lizbeth’s incisive and intelligent nature while working alongside David O’Mahony’s inquisitive Aleksander. The power of ascension to change minds and beliefs to a certain extent simply through the mention of ascension is a frightful one with terrifying implications regardless of the true motivations and intentions behind ascension’s end results and is certainly one fitting of Torchwood’s involvement given the assumedly non-human- or at the very least non-contemporary- foundation. Whether strictly in religious terms or not, this has always been a world in which people as a whole have wanted to believe in something more, and having that steadfast belief in turn influence others so dramatically to further feed into the overall process shows a tremendous strength of the idea that likewise poses a tremendous conundrum for those looking into it, a problem that becomes amplified exponentially when a vastly powerful energy and fuel source is found to be left in the wake of those groups of people that have disappeared. It’s clear that there will be no act of global goodwill stemming from this source, and so the involvement of the military with the government as Norton continues to attempt to manoeuvre on behalf of Torchwood and himself in between these powerful entities is sure to only further exacerbate the mystery of ascension as the increasing disappearances begin to creep into the public consciousness while the Soviet Union sees the biggest recorded event yet.

While both Torchwood and Torchwood Soho have continued to explore all of their main characters brilliantly, Norton has always remained the most enigmatic of the bunch, and ‘We Have Built Jerusalem’ looks to further explore his past as Norton returns home following recent events. Michael Higgs gives a profound performance as Reverend Edward Folgate who obviously cares for his son but who seems weary both with the uneasy discussions Norton has created by not joining in his services- among many other decisions he has made- as well as with the world in general. There is a genuine but fraught relationship here that showcases a more contrite and subdued Norton than is typically seen, and Barnett plays up this particular aspect of his well-established character exceedingly well to offer a very nuanced bit of characterization while inadvertently causing more trouble along the way. And while Norton has done his best to keep his family wholly distinct from any of his professional or other personal relationships even as Gideon has toyed with the idea of meeting Norton’s family, Gideon finds himself in the Folgates’ presence in a most unexpected manner, suffering through both the racism implicit to the time to travel there as well as through the effects of alcohol to cope with his discovery of ascension camps after delving back into his journalistic roots and accepting an unexpected nudge. Joe Shire is vividly convincing and emotional in these scenes, and his acceptance that Norton may not believe or have faith in anything is fittingly introspective as he looks to discover what is next as Norton’s ties continue to weaken. And elsewhere, while it is wholly unsurprising that the government should be looking at a means of prioritizing the segment of the population deemed less useful for ascension, the overall effect of these discussions is somewhat diluted given Children of Earth already broached this subject with a bit more caution than the overt candor with which it is discussed here. Nonetheless, the implications are still resonant as the allure and compulsion of ascension continue to call.

In ‘Dark Satanic Mills,’ the horror of the ascension camps comes to light as the fates of those thrice left behind are revealed. Given that the true fates of those who do manage to ascend are unknown, the reasoning for this particular action is somewhat circumspect especially as the existence of ascension and these camps is becoming more publicly known, but it nonetheless injects another chilling element to the government and military partnership here while also creating a very imminent sense of danger for Gideon as Father Dinsdale reveals at least a shred of humanity remaining despite the atrocities he has turned a blind eye to through this entire process. It’s an interesting discussion about what some people are willing to look past and why others are compelled to do things that are decidedly not in their best interest, and even as Norton’s actions have caused some fractures in this particular team around himself, it’s satisfying to see that the remaining three members are still resolutely supportive of each other in any situation. Although the full truth of the alien entity behind ascension is still not known, the suggestion that those affected are genuinely happier than they have ever been even if their location or physical state is unknown creates a fascinating dynamic and at least the potential revelation that humanity- or at least those in control- is its own worst enemy given the scheming and exploitation already seen. With Norton still seeming to be searching for his father’s acceptance and approval as ascension comes to his father’s domain with word needing to get out as quickly and widely as possible for this evening, it’s clear that the stakes are continuing to rise as ascension continues to spread. Having so many storylines in these brief episodes does mean that there isn’t quite enough time for them all to be fully explored and developed even as they begin to converge, but ‘Dark Satanic Mills’ continues to explore the personal, regional, and global ramifications of this mysterious threat well while giving Lizbeth and Andy plenty of time in the spotlight as they take the reigns in this investigation.

Thanks to Norton’s efforts that decidedly do not earn his father’s approval, the world in ‘Fearful Symmetry’ now knows the result of the ascension process and the source of immense fuel left in place of those who depart. Shockingly, this has not stopped many individuals from still seeking out ascension across the globe in hopes of still somehow ending in a better place, and the government is quick to look into avenues of legalizing this process both for nationals and as part of a trade for those looking to move into the UK. For the remaining segment of the population, the government is attempting to determine at just what point the tradeoff of lives for energy can become palatable and even sustainable, and it’s fitting that in a system based on belief that is quickly spiraling out of control as belief in trains arriving and football teams prevailing is enough for ascension, politicians’ own beliefs in themselves prove crucial to the overall resolution that likewise calls into question Norton’s own belief system as he attempts to make amends with his friends in his own unique manner. With Torchwood and Norton himself called explicitly into duty even after Norton is assured that he will never set food in the halls of government again, the truth behind an attempted benevolence fueled by a basic misunderstanding is wholly effective, and reframing the purpose of the stones left behind is devastatingly effective both at tying into the overall happiness that those ascended feel as well as even further amplifying the resulting greed on display. This is a finale that smartly brings Torchwood and its technology to the fore while allowing at least moments with all of its leads together even if in a more strained capacity as Norton rejoins to show off his own experience and intellect. Having a genuine attempt at helping others achieve happiness is a brilliant backdrop for this saga that brings with it its own unique set of problems that highlights the hopes, fears, mistakes, and character flaws that come to exemplify humanity on all of its many levels. ‘Fearful Symmetry’ is a sterling culmination to a strong set of stories that makes the most of its characters and performances even if there was certainly room for even more detailed exploration of its may ideas, highlighting the incredible strengths of this particular series that hopefully has many more stories to tell.