Torchwood: We Always Get Out Alive

DANCE LITTLE CHICKEN DANCE

Spoilers, Sweetie! This story revolves around not knowing anything going in. Please Listen to It before reading the review. If you're reading the review to figure if it's worth your time, it is.

We Always Get Out Alive By Guy Adams

We Always Get Out Alive is literally an impression of a Robert Shearman script.

It's all there. A Two Hander like Scherzo about two people who are in love with eachother that plays with the audio format, a supposed time loop, strange murder threats, occasional out of nowhere lines that make you laugh but scared at the same time, a'la our lord and savior Chimes Of Midnight, and even the concept is similar to that of his' short story Featherweight.

None of this is bad.

As a matter of fact, We Always Get Out Alive although accidentally being a Shearman script works to it's benefit, as if you can recall, SHEARMAN IS THE BEST AUTHOR BIG FINISH HAS EVER HAD, excluding John Dorney's lucky days. 

Whether this is intentional or a random parallel I pulled out of the ground to make this review longer is irrelevant as a matter of fact, because We Always Get Out Alive is a rich and multifaceted story, which I could analyze for months, and incidentally one of the scariest things you could hear. 

The Brilliance of the script can not be put adequately into words. 

I've always loved Gwen and Rhys in the actual series. Real TV Torchwood could sometimes be a guilty pleasure, for it's random attempts to be more mature and edgy than it was, but it always did have a team of strong writers behind it (And I'd even put Day One and Cyberwoman over all of Chibby's series 11 scripts) and when they wrote Gwen and Rhys, it was always some of the best character writing the show did, at the very least. 

We Always Get Out Alive is brilliant in that it takes these characters, takes their rehashed (and still very compelling argument) and puts them on a long car road trip, where the same argument loops, and to further the already entertaining arguments, everything else is looping too.

This is one of the most ingenious moves for a two Hander you could have.

And the best part of the story isn't even that.

It's all about Perspective. 

This story plays with paranoia like no other. The perspective of the story is the most gorgeous part of it, and although at first, you think it's the car's perspective, it's actually that of the creature in the backseat, which if we take the end credits as a instance, is still there at the end of the story. 

Take Midnight, Scherzo, Heaven Sent, Chimes Of Midnight, and Torchwood in itself and put them in a blender and you get this.

Not to be missed. 10/10