"The Night of the Doctor"

Of all the things I was expecting for the 50th Anniversary, a mini-episode featuring the regeneration of the Eighth Doctor was definitely not one of them. The very tight script by Steven Moffatt manages to connect the 21st century programme with its past, pay homage to a well-known story, and play with the examination of the Doctor’s character that Moffat has been preoccupied with of late. This is all accomplished whilst being as witty and moving as the programme has ever been. In a few lines, we are brought into the summer, or early autumn of the Time War and we find just how devastating it was, and how a good man finally went to war.

Paul McGann agrees to do something that Colin Baker refused to do – return to be killed off – and he immediately makes a stamp on the role, something he (through no fault of his own) failed to do in his debut. It is a very different performance from the wistful weirdo from 1996 and all the better for it – far steelier, but also with a lightness that is slowly being chipped away by the knowledge of what he will inevitably have to do. More importantly, we finally see the Eighth Doctor as a hero for the first time, a man who will not abandon someone for just hating him. Cass, the companion who never was, is strikingly portrayed by Emma Campbell-Jones and the Sisterhood of Karn memorably return, led by the brilliant Clare Higgins as Ohila. John Hayes helms a flawless production - so much is packed into "The Night of the Doctor" and so epic does it feel, it is easy to forget that it is based around two sets and three speaking parts.

I would rather watch any Doctor Who story than the TVM, the only Doctor Who story lacking in anything that be called a soul. So, to call this wonderful seven minute 'minisode' easily the best televised appearance of the Eighth Doctor rings rather hollow. McGann has put in some excellent performances and been given some great stories on audio and, sad though it is that the Eighth Doctor dies in only his second on-screen appearance, he finally has a television appearance as the Doctor he can be proud of.

NEXT: "The Day of the Doctor"

"The Rings of Akhaten"

"The Rings of Akhaten" is one of those stories that justify my decision not to have a ratings system. It is disorganised and scrappy and is one of the very few stories made this century that cries out for a few more drafts. However what it certainly is not, is boring or clichéd. Whatever else one may say about the story, Neil Cross is clearly a writer of great ability and possesses a great imagination. How he channels that ability into producing a workable script for a 45-minute episode of Doctor Who is a more complex issue.

The story contains a number of intriguing concepts – the god that must be propitiated by song and the religious rite that has become a tourist attraction. Living stars. The nature of memory and story. Cross is attempting to reach the imaginative heights of Olaf Stapledon or David Lindsay for a Saturday teatime audience and has more success than most. The skeleton of the plot is sound, as are the basic revelations. Beyond that, however, things start to get messy. This occurs with smaller details – the 'secret song' to open the secret passage that Merry suddenly remembers is a blatant cheat by the writer. However, this messiness becomes more serious when it affects the entire resolution of the plot. The use of the 'most important leaf in the universe' should have capped the Doctor's use of his memories and tied up well with the (apparently disconnected) teaser. However, such is the lack of tightness, it could seem that the Doctor's stand-off with grandfather was clumsily patched in to bulk up the episode. The meaning of the leaf and the infinite potential it represents, the stories told and untold, is not properly explored, so that makes the leaf feel like it was clumsily patched in, even though it blatantly wasn't. Characterisation also suffers somewhat - the story of Clara's parents aims for an Up style impact, but fails. However, this does not affect the story disastrously.

The realisation of the story, however, is nothing short of spectacular. From the moment Clara opens her eyes to view the titular rings, we are treated to one gorgeous image after the next. Monster fans are in for a field day with enough bizarre alien species to put the Mos Eisley Cantina to shame (including a namecheck for everone's favourite super-intelligent shade of the colour blue). There is the terrifying threat of the Vigil and the utterly intoxicating operatic section where Merry and the Chorister sing to 'Grandfather' – who, it turns out is the star at the centre of the system, with a terrifyingly evil grin. Farren Blackburn outdoes himself in making this story a visual feast from beginning to end – note the subdued, almost desaturated colours in the flashback scenes contrasting with the vibrant colours of Akhaten (great work from cinematographer Dale McCready). Character, as I said before, is not the episode's string point, but Blackburn makes sure every performer gives his or her all. The regulars are as good as ever and we are given our first peek at what makes Ms Oswald tick, which is very welcome.

"The Rings of Akhaten" is well worth watching, despite its many flaws, which are all due to the writing. The story does work on a basic level, so the plot doesn't completely fall apart – it is, however, frustrating to imagine just how great story it could have been, had the script been given a few more drafts.

NEXT: "Cold War"

"Closing Time"

There has been a sense of impending doom throughout this run of Doctor Who and we know that the Impossible Astronaut will soon rise from Lake Silencio. However, as was the case the last time he knew the end was approaching, the Doctor won’t go without a farewell tour. Before he sees the Alignment of Exedor, he decides to catch up with an old friend...

Gareth Roberts always brings a real sense of joy to his Doctor Who scripts and, indeed, the first thing that must be said about "Closing Time" is just how much fun it is. The story is simple, yet satisfying, with the immediately appealing prospect of a Cyber-warship that crashed on Earth millennia ago being reawakened, and Roberts weaves elements from stories as far apart as Doctor Who and the Silurians and "Rose"- the disappearance of Shona is very similar to Rose’s discovery of the Autons. Even the denoument is satisfying, despite the ‘love conquers all’ solution being used again. However, the heart of the story is, again the Doctor’s relationship with Craig. Before, he helped Craig find the love of his life, now he teaches him that he has what it takes to be a father. The story is full of the great lines one expects from Roberts, but there is a real depth to the characters and the way that the Doctor can talk to Stormageddon/ Alfie about being old and showing him his first glimpse of the stars in the same story as the Doctor tasting a piece of chalk and comically frightening a woman in a changing room would be bathetic in the hands of a lesser writer, which Roberts is anything but.

James Corden again makes Craig a thoroughly likeable and real character- I’m sure his abject terror at the responsibilities of fatherhood have been felt by most young fathers. There is a wonderful supporting role for the inimitable Lynda Baron in her third appearance in the show and I must say that Holli Dempsey’s reaction to being shushed by the Doctor is hilarious. Matt Smith plays with helicopters, bonds with babies and makes kissy-face at Craig (I hope, for Daisy Lowe’s sake, that his real one is better) and is astonishing. But, of course, that is no surprise.

After the virtuoso shows in the directors’ chair in recent weeks, Steve Hughes opts for a more basic approach which works very well with the material. The scenes in the Cyber-lair are atmospherically shot and the only real flaw is that the attack on Craig in his house could have been mounted better. however, with great scenes such as the Doctor and the planetarium and the fantastic scene where Craig is almost converted more than make up for it.

On his own, after briefly seeing Amy and Rory and deciding to leave them be, The Doctor is soon off to keep his appointment in America and we find out (as if we needed to) who the Impossible Astronaut is, in a coda that rounds off a story that is, without the slightest shadow of a doubt, the best Doctor Who story to feature the Cybermats!

NEXT: "The Wedding of River Song"