Jack and Toshiko are called on to investigate strange 1940s music coming from a deserting dance hall. Seemingly all seems normal – at least until they are pulled through the rift and transported back in time….

I have to say to begin with, that it is great to see the flirty Jack back (as evidenced by the way he twirled Tosh round the dancefloor and the way he talked to the different RAF officers) – it's a side of Jack that has been sorely missed this series (I understand the reasons behind it – but it doesn't make the absence less wrenching).

I think I liked the subtle transition between the present day and 1941 nearly as much as Jack did. Just a shame there was no Moonlight Serenade to complete the fangirly geek!out. And everyone in the 1940's had ace hair too! Again the production department really pulled out the stops and created a very believable world.

And look at how easy it is to disappear down a crack in time. (Maybe it can explain a number of missing people cases, or 'alien abductions'. Actually that would be really cool.) I take it that the rift is constantly moving which is why they didn't just go back downstairs again. Temporal distortions are very confusing. I think I need Stephen Fry to explain it to me in small, easy to understand words.

Am I the only one ever so slightly worried by the fact that Owen is second-in-command? He's hardly the most stable of people, well, generally (Although, who else could Jack have picked? (Tosh!! For she is the most sensible of them all))

Ianto's little barb at Owen (him not being in work lately) was a very nice little touch. It's nice to see antagonism that doesn’t degenerate into punching or rolling around on the floor of the Hub.

Who is this mysterious Saxon? (A massive 'Vote Saxon' poster was on the door of the dance hall) You may remember his name being mentioned by the Tank commander as the bloke who gave the order to fire on the Empress of Racnoss' ship.

What's happened to Harriet? *worries* Is her Golden Age over so quickly? Didn’t she go to three terms or something? But maybe this mysterious Saxon is heading up the MoD or something, staying behind the scenes and pulling the strings?

Is this next year's Bad Wolf for Doctor Who and Torchwood?

Nearly every member of the team has a little secret of Jack's: Tosh now knows that Jack isn't his name, Gwen knows he can't die and Ianto knows that he likes games involving stopwatches. Goodness only knows what Owen's got on him, or Suzie.

Who is Jack?

It's going to be speculation fodder now until we get the Jack!episodes in Doctor Who. The Time Agent thing is presumably true. He's not a Captain, which explains the outcomes of quite a few events. He's certainly not called Jack Harkness. And who is James Harper? Is it his friend who he persuaded to join up with him and died? Is it one of a multitude of false identities our!Jack has at his disposal? Has he be working undercover so long that he doesn't know who he really is?

Would they even have 'normal' names like ours three thousand years in the future? Or would it be just a series of numbers or clicks and whistles? Who says that the dominant language is even English in that great distance of time?

Sometimes I wonder if he's really a Time Agent. He may be conning them, but it doesn't mean that he actually worked for them. I'm sure a highly trained Time Agent wouldn't unleash a plague of nanogenes on an unsuspecting city, turning everyone into gas-masked zombies, nearly get himself blown up by a German bomb and get himself a spaceship that has now escape pod.

Then again, look at how good Team Torchwood are. They're supposed to be highly-trained operatives too. Which is why you send up with Ianto and Owen rolling round on the floor of the Hub, obviously.

Loved Bilis. He was very creepy, his agenda isn't being spelt out to us and I find him a bit disconcerting. This is all good.

Of course this episode has thrown up lots of intriguing questions; what is Jack's real name? Ianto seems a lot more in control and aware of Torchwood's situation – how much does he know that he's not telling us?

This is probably my favourite episode of the series and one I'll be going back to watch again and again because there's still so much to get out of the episode. I sincerely hope that Cath Treganna will be writing episodes again for the next series.

This week's episode was, simply put, ace! Completely and totally ace! We got to follow the threads of Sucre and Haywire's stories as well as the main plot and ooh, what a lot of plot there was.

The Good
[x] The idea of doing a video diary was brilliant. Especially all the hidden clues, like the Morse code – although it would have been more fun if Mahone hadn't told us what Michael was tapping out on his knee. It would have given us something to do this afternoon. I admit that I spent a happy couple of hours working out Michael's 'crane' codes back at the start of the series.
[x] Kellerman telling them what 'tells' to use was a nice touch too – I'm just annoyed that Mahone figured out what they're doing too quickly. He needs removing. At least now his team don't trust him, which means his life will be more difficult (hopefully) – which'll make it harder for him to catch them (which is a good thing for us)
[x] Oh Sucre, how I've missed you. Poor Fernado, still fighting to get his girl, but by the time he's travelled a thousand miles by plane, automobile (and probably train before too long) she'll have finished the 'honeymoon' and come back home and hector will be waiting for him, ready to kick arse. The lad never cops a break.
[x] I love Haywire's little boat, but he's never going to get to Holland in it. I hope he didn't do anything *really* stupid around that girl's house. But I have a terrible feeling that he did.
[x] Curse you Bellick! You get yourself all prettily beaten up to try and get some sympathy from us, the viewer and then you ruin it all by selling out Michael and Sara. Surely you realise that getting yourself transferred to another cell block is only going to keep you safe for so long. If the other cons want to get you they will do.
[x] Nice to see Sara not totally trusting of Michael (finally!) although her idea to ring him at the hospital was inspired and leads me neatly into:
[x] Michael Crane = lollerskates
[x] So, Sara agrees to meet them. What on Earth will she do when she sees Kellerman? What will Michael do when he finds out what Kellerman did to her? I can't wait!
[x] But that Kellerman is a bad boy. Will he really sell out the brothers just to get into the President's good books again? Is he going to conveniently forget the fact that she and her bother used to laugh at him behind his back? Does he not realise that he's a dead man if he follows the President's wishes?

The Bad
[x] Actually I don't have anything to fault this episode. I know, isn't that shocking.

Finally, after what seems like a break lasting eternity, Prison Break is back on our screens and what an episode to start back with.

It is still weaving threads back into the first series - for example I'd completely forgotten that Kellerman had tried to kill Lincoln after the bus crash - instantly creating tension and a wonderful dynamic between the two character - and giving Michael the job of balancing between them both to stop things escalating (a role he does well) All the scenes with Michael, Linc and Kellerman were really fast-paced and tense, completelty at odd with T-Bag's scenes - which alothough tense - moved much slower. Unfortunately I thought it made sections of the episode drag a bit as a result.

Does it make me a bad person to not feel one iota of pity for Bellick - he's brought his troubles all down on himself and it serves him right. Didn't expect him to take on the man-mountain though - that's not going to end well. And the irony of being innocent and stuck in prison for a crime he didn't commit...yet I can't feel any sympathy for him.

The shallow fangirl inside me complained that Michael didn't take his top off enough (or even at all) this episode. I miss seeing the tattoos. (I know, I know, I'm a shallow girl)

Now I really didn't see the final act coing - I for one didn't think Steadman had the guts to take his own life. Again, mpore problems are piled in front of them and it'll be interesting to see how this is all resolved in the end, because at the moment there's no logical way of Lincon being absolved. And I don't know if you have, but have you ever noticed how many of the episodes this year have ended with Michael and Lincoln being lit by the flashing blue lights of a police car?

Can't wait for the next episode.

The opening of the Rift has caused massive amounts of damage - the effects of which are being felt worldwide. The team are busy trying to paper over the cracks, but as they rush around Cardiff rounding up Roman soldiers and plague victims the pressure builds until a devasting act blows the team apart...

After a troubled series (to say the least), the show finally really hits it's stride and gives us a cracking last episode. The interactions between the team as it fragmented it's way towards Owen's betrayal (and later forgiveness) was wonderful to watch - finally a team in three-dimensions. Owen's guilt was brilliantly played out, his horror when he realised the consequences of his actions beautifully illustrated. And Owen's resignation from the team brought up some intriguing questions: How long would Jack have left it before retconning Owen? A day? Two? Dragged it out until Owen started going mad from the tension?

Jack said way back at the start of the series that the retcon pills are made to his own special recipe (or words to that effect) Could he, then, have wiped his own memories because the information he knew was too dangerous if it feel into the wrong hands? How awful for Jack if he finds his memories only to discover that it was him who took them away in the first place?

And there were so many little touches and references showing a depth to the production which has often been overlooked - like the ticker on the BBC News 24 broadcast and the mentions of UNIT.

But it is still not without it's flaws - flaws that have characterised the show from the beginning. Abaddon was a rushed inclusion - surely having Bilis as the villian - rather than the mouthpiece - would have been more rewarding. And the Biblical references were heavy-handed and really not needed.

However, saying that, even I got a little bit teary when Jack revived, and so, so excited when the Doctor's hand in the Jar started glowing (just like a TARDIS key). Jack's smile when he heard the 'vworp' of a TARDIS' engines was definitely mirrored by my own.