"The Day of the Doctor"

The anniversary specials of the programme have always generated interest, but Doctor Who in 2013 is a mainstream success in a way it hasn't been since Dalekmania in the 1960s. It is probably no exaggeration to say, therefore, that "The Day of the Doctor" is probably the most eagerly awaited episode of Doctor Who since "Rose". It has to satisfy the wide mainstream audience that will tune in, whilst keeping an eye on the fans, some of whom remember William Hartnell, some of whom were not even born when Christopher Eccleston was the Doctor. It has to pay tribute to the 50 years of television history that preceded it, whilst trying to tell an engaging story. It is a pleasure to state that the episode manages to succeed in all of these aims on a level that genuinely surprised even me.

More so than any of the other anniversary specials, "The Day of the Doctor" works as a regular Doctor Who adventure, this one being a fiendish plan by the Zygons to take over the Earth. The use of the pictures as suspended animation makes that part of the plot seem like a bright and breezy season opener, with the added bonus of featuring a well-loved adversary from yester-year. However, although the Zygon plot is easily enough to sustain a story in itself, taking place in two time zones and featuring a Zygon Good Queen Bess, this is only the gateway into a deeper story. For the pictures are relics of Gallifrey and of the darkest day of the Doctor's life...

The key thing the audience remembers from Anniversary specials is the current Doctor meeting with past incarnations and here, we have the very welcome return of David Tennant, playing the Doctor like he'd never been away. Joining him is the incarnation we must now call the 'War Doctor' played by the legendary John Hurt. I stated at the end of his era that I thought Tennant was the best leading man the show had had since Hartnell and Hurt is an acting legend, one of the finest in the world, who has always been thoroughly mesmerising in every role he has played. I can think of no better praise for Matt Smith than stating that he completely holds his own in the presence of Hurt and Tennant. Moffat uses the three Doctors more intelligently than his predecessors did – we really get a sense of the centuries dividing them. The War Doctor is definitely the warrior that his predecessor chose to be, but he has not made the key decision that has haunted his successors. It is also a good choice to have a previously unknown incarnation be brought to the fore – the War Doctor has no nostalgic connotations, so he can stand in for all the previous incarnations more effectively, which makes his criticisms of his successors' characteristics all the more potent. Some portions of fandom criticise the perceived modern overuse of the sonic screwdriver, which is alluded to by the War Doctor and then it is shown why the sonic is used so often, as, for the first time this century, the Doctor is locked up! The War Doctor initially has little respect for the flippancy of his successors, but it becomes clear that it is a coping mechanism for something he has not yet done. Little kisses to the past abound, from the title sequence to the fulfilled promise of all the Doctors making an appearance.

Nick Hurran manages to make the episode both completely epic, with the stunning fall of Arcadia and also very low key in the quieter moments. The 3D photography really serves the epic space battles well, but the episode never devolves into a mere 3D showcase. The design is opulent and contains great little touches – apparently the original version of Le Radeau de la Méduse contained no humans! Hurran assembles a great cast, with the very welcome return of Jemma Redgrave as Kate Stewart, a fun turn from Joanna Page as Elizabeth and her Zygon double. There is also the wonderful Ingrid Oliver as Osgood (related to a certain UNIT technician who assisted at Devil's End?) Jenna Coleman continues to sparkle as Clara, whether impersonating witches or out-thinking three incarcerated incarnations of the Doctor. However, there are two minor parts that made my jaw drop – a brief flash of Peter Capaldi's eyes and (possibly) the first uttered words of the Twelfth Doctor; and the return of the most iconic actor to play the Doctor in the 20th Century. Whoever the Curator actually is, it is a true joy to see Tom Baker again!

The decision to rescue Gallifrey may not be acceptable to some, but the way in which it is brought about is excellently constructed. Moffat wants to rescue the Doctor from the burden of committing the genocide of the Daleks and the near omnicide of his home planet. We found out the importance of the name of the Doctor and now we find out what must be done in that name. The emotional consequences are still there, as the Ninth and Tenth Doctors forget what the War Doctor did in his final days. The Doctor has had many titles given to him, but where once he was Death, the Destroyer of Worlds, he is now the more famous aspect of Vishnu, that of Preserver < / pretentiousness >. Moffat's script is superlative, writing and rewriting myth with aplomb, without losing the little touches of humour.

I remember "The Five Doctors" when the programme was in the autumn of its success and I also remember Remembrance of the Daleks and Silver Nemesis when the winds of winter were blowing. The story looks back at the programme's history, but makes sure that it does not rest on its laurels and makes a decisive step forwards into the future. In this November, 50 years after it started, "The Day of the Doctor" is another highlight of a glorious second summer that shows no sign of coming to an end. Long live Doctor Who!

NEXT: "The Time of the Doctor"

The End of Time

The final adventure of the Tenth Doctor would always have been a significant story in of itself- David Tennant is the only actor to have successfully challenged Tom Baker for the title of most popular Doctor. And what a story it is- two and a quarter hours in length (a six-parter in old money) with cameos from every actor to have played a regular role and the return of the Time Lords. The plot is simple and just about works, albeit with an odd structure. There are a few problems with the script. The resurrection of the Master is presented as a necromantic ritual, a move which could work had the emphasis been different. However, mentions of ‘potions of life’ and ‘the secret books of Saxon’ are a bit too Harry Potter. The plot means that the critical characters of Naismiths are given short shrift in the second episode- a pity, considering David Harewood’s fine performance. The means by which the Time Lords escape, although comprehensible, is in danger of being misread. Donna’s ‘defence mechanism’ seems to have been constructed purely to season the cliffhanger.These are all valid criticisms all raised by perceptive critics of the programme (together with others raised by those who cannot tell the difference between a plot hole and something that they have failed to spot). However, like The Evil of the Daleks, like Logopolis, The End of Time manages to overcome these shortcomings to produce a story of real wonder and excitement.

However, once the Master is properly back after his Voldemortesqe resurrection, we are again blessed with John Simm’s electrifying take on the character. The Master started off being simply an evil opposite to the Doctor, but since The Keeper of Traken, he has become a Time Lord who is physically, as well as mentally 'wrong'. His return in "Utopia" was as a fully fledged Time Lord, but his botched rebirth here leaves him a nightmarish horror- his flesh repeatedly vanishing to reveal the skeleton beneath, able to fire lightning from his fingers; and all the time, he is ravenously hungry, as shown in scenes that must have caused Yuletide gastric discomfort in a few viewers. The relationship between him and the Doctor is as deftly written as ever. Both need each other on a visceral level- the Master instinctively holds the Doctor as he falls from his own assault. However, once he finds out what is returning, he is perfectly willing to let the Doctor die- his visceral feelings were grounded in his own selfishness.

The story starts off by an imposing voice narrating events in a rather florid manner (but who are the ones who have an infinite capacity for pretension?) which reaches a crescendo in the middle of the first episode- to reveal the face of the Narrator. The Master Plan with his Master Race is only a small part of the grand scheme- for the Time Lords have returned. We are treated to Gallifrey on the last day of the Time War- the dome of the Capitol shattered, the wrecks of Dalek saucers strewn around. The High Council are in session and it is clear that these are a grimmer, more ruthless race than we have ever seen before. The Lord President (as the Narrator turns out to be) deals out disintegration for dissent and, as they descend on Earth, bringing the raging inferno that is the dying Gallifrey with them, it is clear that the destruction of the Time Lords was no accidental side effect. Twisted by the Hell that the war had become, they chose to ascend to godhood- ripping space-time apart in the process, as the final act of the war. Davies’ depiction of the final days of the Time War prove that it is an event that should never be explored on screen- how can anything compare to the images in our minds of The Nightmare Child, the Horde of Travesties and, most wonderful of all, the Could-have-been King with his army of Meanwhiles and Never-weres? It should remain a series of images in our head that point to something we can never fully understand. The Lord President is played with relish by Timothy Dalton, arguably the best actor to play James Bond. He is actually named as Rassilon himself by the Doctor, which makes sense- if the Master was brought back as the ultimate warrior, it makes sense that the founder of Time Lord society be resurrected to lead his people- a people who become just as much the Doctor’s enemy as the Daleks. The Time Lords are truly awesome in their power, Rassilon overcoming the Master’s schemes with a flick of his gauntlet (The Great Glove of Rassilon?) but it is clear that they know that the Doctor is not someone to be underestimated, even with something as primitive as a service revolver in his hand.

Euros Lyn is often overlooked as a director, despite his amazing track record. As the revived programme’s longest serving director, it is fitting that he helms Tennant’s finale. The spectacle demanded by the script is easily realized by Lyn, from the stunning scenes set on Gallifrey to the wonderful Star Wars inspired sequence where the Vinvocci ship has to evade and shoot down seemingly every missile on planet Earth. The appearance of Gallifrey is as awesome as it should be (it seems to be as large compared to the Earth as we are to the Moon). Lyn makes sure every performance counts (even in minor roles such as the Visionary and Shaun, we have Brid Brennan and Karl Collins). I must also mention the incredibly likeable Sinéad Keenan as Addams and a cheeky role for the legendary June Whitfield, in the wonderful sub-plot of the ‘Silver Cloak’- Wilf’s network of OAPs who know everything there is to know in London. Then there is the appearance of the legendary Claire Bloom as a woman who guides events to try and help the Doctor. We never find out who she is (or indeed, her fellow partisan, whose face is never revealed) which is for the best- until we do find out, let us revel in our theories.

There is spectacle to be had, for sure, but there is a heart to the story- the relationship between the Doctor and his companion. Here, that role is taken by Donna’s granddad, Wilf. It is great to see his joy in seeing the Earth from space and to feel the thrill he has in finally sharing in the adventures his granddaughter had. It is in the quieter moments between the Doctor and Wilf that the characters really shine. Both are old men, reaching the end of their lives, which means the Doctor is more open, more emotional with Wilf than he has been with anyone else. Wilf’s decency comes through in every scene, from his refusing to be shamed by the fact that he never took a life as a soldier, to the scene where he immediately rescues a man he has never met from being sealed in the Nuclear Bolt chamber, even though it means he gets sealed himself. Bernard Cribbins is wonderful in the role, mixing his natural lovability with a really strong performance.

But he does get stuck, which leaves us with the Doctor. He has prevailed against the Master, against Rassilon and his Glove (and, no doubt, his Key, Rod and Sash). However, the four knocks come- Wilf in the chamber. The Doctor knows that this is why Wilf has figured so often recently- he is the bringer of his Doom. He will not give his life to save the Universe or even Earth- but to save one man. On Mars he was at his most arrogant, speaking in condescension of ‘the little people’. It is for such a little person that he will make the ultimate sacrifice. He rages like an alcoholic Welsh poet, but in the end, in a scene of genuine heart-wrenching emotion, he saves Wilf, while the old man begs him not to. The scene of the Doctor’s irradiation itself is shot simply- it would scarcely have looked different twenty years ago. Although he gets up, it is clear that the regeneration has started. In the short time given to him, he visits his friends- Martha, Mickey, Sarah Jane, even the descendant of Joan Redfern in a series of scenes that have been earned and therefore avoid being self-indulgent. Although he cannot speak to Donna, he does make sure that she is secure for the future, before taking a trip to the Powell Estate in 2005. But his time has run out.

David Tennant has made the Doctor his own in the hearts and minds of millions in a way no-one has done since Tom Baker. He never failed to put in a great performance and, in some stories, he put in the best performance yet in the role. In watching the entire programme from the beginning one thing is clear- William Hartnell finally has his match in this fantastic actor. It is fitting that the Tenth Doctor’s passing nearly rips the TARDIS apart, in a scene that is shot and scored immaculately. ‘I don’t want to go!’ are his last words- and I’m sure that no-one sane wanted him to go either. Matt Smith seems good enough in his short appearance as the end- but he has a hell of an act to follow.

"The Stolen Earth"/ "Journey's End"

Rose. Martha. Captain Jack and Torchwood. Sarah Jane and Luke. The Daleks. Harriet Jones. This was what we were promised in the teaser for "The Stolen Earth" and it was an increasingly poorly kept secret that Davros was returning. In addition to this, we have the return of Mickey and Jackie and not one, but two Doctors- the phrase ‘everything but the kitchen sink’ springs to mind, but this will be the last regular Doctor Who story until 2010 and so it must have that end-of term feeling of going out with a bang. The Daleks return in a truly spectacular manner- the Earth is moved across space to a location amongst 26 other planets. They do their usual thing of mercilessly subduing any opposition, but this merely incidental. Their ultimate plan is their most ambitious and masterful one since, erm, The Dalek Master Plan. These Daleks were born when Dalek Caan managed to do the impossible and travel back to the Time War. Despite the fact that his sanity was destroyed he managed to bring back Davros himself. Unwittingly taking a leaf from Sutekh’s papyrus, this new Dalek Empire intends to destroy all matter except themselves, leaving them the only life forms in every Universe and every dimension and reality, by using the gravitational fields on the 27 planets to amplify the effects of the ‘reality bomb’. This is a threat that dwarfs even the collapse of the Universe in Logopolis.

The return of practically every recurring character that appeared in the programme since its revival could have resulted in a self-indulgent mess, but Davies knows what he is doing and he understands the characters he has invented and the audience's reaction to them. The webcam session where they all meet is cannily constructed with Rose being an outsider, which probably gave the Martha worshippers a warm feeling inside. It is obvious from Rose's first materialisation that all these characters have changed. Rose spends a lot of time carrying a gun the size of a porpoise. Martha, clad in black, literally holds the key to the destruction of the Earth. As Davros says, the Doctor takes ordinary people and fashions them into weapons. Davies still manages to lighten scenes with some very funny lines- Wilfred's reason for not having a webcam had me in stitches and, of course, even the Daleks know who Harriet Jones is. I also love the fact that the mysterious Shadow Proclamation that has been hinted at since "Rose" is merely a police force, seemingly made up of Judoon and what look like space-age albino versions of the Bennet family from Pride and Prejudice. The cliffhanger is the most thrilling yet and its resolution, although it seems cheap at first, makes sense in terms of the programme's continuity and results in serious plot developments.

Graeme Harper gives this story the epic treatment it deserves with scenes looking incredibly cinematic. He is helped by the most spectacular special effects the programme has had up to this point, from the Dalek attack on the Valiant, to the flotilla of Dalek saucers to the awesome Crucible. Harper makes sure that all the performers are up to scratch. Any quibbles about Piper's performance in "Turn Left" are instantly quashed- Rose Tyler is definitely back with a wonderful performance by Piper. We also see the welcome return of Jackie and Mickey and, I must again heap praise upon Noel Clarke for another moving, yet very dignified performance. However, the best performance is definitely Julian Bleach as Davros. Bleach is definitely Michael Wisher's equal in realising the role, being both cold and calculating and a shrieking madman. The make-up is a fitting update for the character and anyone who wished to know what Davros had under his tunic get the unpleasant shock that they deserve.

This is very much the end of an era, so we are fittingly, given a series of endings that bring to mind Return of the King. We are taken back to Bad Wolf bay again and Rose is left in the parallel universe with the other Doctor. This manages to work because of the deep understanding of the characters that Russell T Davies has. Rose has a selfish streak, but it is proved here that she is not, ultimately, a truly selfish person. However, any emotion that Rose's second departure might have had is eclipsed by the rueful fate of Donna Noble. Of the companions who have travelled with the Doctor, Donna started off with the least and developed the most- a thirtysomething temp from Chiswick becomes half- Time Lord and saves all of creation. However, her human body cannot cope with the intelligence of a Time Lord so, to save her life, the Doctor removes from her memory all of her experiences with him. Once again, she is the eternal temp, eagerly awaiting a new Pringle flavour. Catherine Tate was never less than spectacular as Donna in a performance that should have silenced all her critics, but didn’t, as her critics could not see past their own prejudices. In my opinion, she was the best companion since the return of the programme, a character that was always interesting to watch and I will miss her.

We end on the Doctor being alone (thankfully not jarred by a teaser for the Christmas Special) after a real thrill-fest that had me gripped throughout. And yes, that includes towing the Earth home!

NEXT: "The Next Doctor"

"Turn Left"

Ever since It’s a Wonderful Life, the ‘What if X was not there?’ storyline has been used many times in film and television and it was time for this question to be asked in a Doctor Who episode: What if the Doctor wasn’t there to save us? We are presented with a world where the Doctor died as a result of the encounter with the Empress of the Racnoss. As a consequence, Martha dies when the Judoon steal the Royal Hope Hospital (together with Sarah Jane, who was the only one who stepped up in the absence of the Doctor). The starship Titanic crashes into Buckingham Palace, causing a nuclear explosion that devastates the south of England, causing the breakdown of British society. The USA would help, but the Adipose have harvested their young from the fat of America (one wonders why they didn’t do that in the first place!) Torchwood (with the obvious exception of Captain Jack) also give their lives immolated with the burning of the poison sky. We are presented with a Britain that is truly broken, where martial law is in operation and, eventually, non-British people get shipped off to labour camps. Some may find this a bit too grim, too 'adult', but this is what life would be like without the Doctor- a bit too close to real life for comfort. And it is clear that it isn’t just Britain or even the Earth that is affected. Overhead, without any fuss, the stars are going out...

I have said that the question is what if the Doctor wasn’t there to save us. However, it is soon obvious that the real question is what if Donna wasn’t there to save the Doctor? For the whole thing is brought on by a mysterious fortune teller on the planet of Shan Shen. Somehow, she is persuaded not to take up the job that led to her meeting the Doctor. This is the story of Donna Noble, the temp from Chiswick, whose normal life was ruined, but not destroyed by the horrors that were unleashed upon Britain. This episode is very much Catherine Tate’s and any lingering complaints about her performance should have been thoroughly eradicated. Donna is recognisably the same gobby woman from "The Runaway Bride", but Tate gives her more depth, understanding that Donna is not the one-shot character she once was. She can be crass and rude (such as in her initial treatment of Rocco Colasanto) but she shows real determination and grit and we love her for it. Bernard Cribbins works his inestimable magic in another delightful performance as Wilfred, but Jacqueline King deserves special praise for her excellent performance as Sylvia, effortlessly showing the fight draining out of her. Rocco is played by Joseph Long in a performance that initially screams ‘comedy foreigner’, which makes his eventual fate even more shocking and tragic in a wonderfully judged performance. However, there is another significant character- a mysterious blonde woman who rushes into Donna’s life at key points. Rose is back, although it has to be said that Billie Piper seems to be a tiny bit uncomfortable in the role, like wearing an old pair of shoes. It is wonderful to see her again, however, and her performance is good, in spite of Piper’s uncertainty.

Davies wrote the great script, but it is the masterful direction of Graeme Harper which binds it all together. Scenes of office mundanity are punctuated with tragedy, a bucolic Christmas is shattered by nuclear holocaust. Then, of course there is the unforgettable scene where Donna travels back in time. The beetle on her back is a very basic animatronic creation, but Harper’s direction makes it genuinely creepy. Harper also makes sure that the effects are as blinding as they have always been and Murray Gold provides another outstanding score.

This is a triumphant and thrilling story anchored by a phenomenal performance by Tate. Donna not only saves the Doctor, but saves the world (This is most emphatically *not* a reference to the execrable Heroes). However, Rose whispers two words that, as before, appear everywhere. The cloister bell rings...

NEXT: "The Stolen Earth"/ "Journey's End"

"Army of Ghosts"/"Doomsday"

"Army of Ghosts" immediately kicks off with a wonderful prologue, narrated by Rose that somehow manages to be both joyful and a lament- ‘the story of how I died’. Our interest has been piqued and is sustained by the intriguing scenario- ‘ghosts’ are appearing all over the world and they have thoroughly captured humanity’s attention. Of course, the Doctor realises that something more material and more sinister is behind the ‘ghosts’. The cause is, in fact, the covert organisation known as Torchwood, who have discovered a breach in space-time, through which has come a mysterious sphere which cannot touched, scanned or perceived in any way apart from sight. Torchwood have been waiting for the Doctor to come back for years but, as always, his arrival brings disaster. The ‘ghosts’ are the impressions of beings who have been trying to break through- the Cybermen from the parallel Earth. Millions of the creatures materialise worldwide- but worse is yet to come. The Sphere, which heralded their coming is not theirs. It cracks open- to reveal Daleks!

The ‘event finale’ is a very welcome development that the relaunched Doctor Who brought along with it. The previous series had the outstanding "Bad Wolf"/ "The Parting of the Ways" so expectations were high; to say they were met is something of an understatement. "Army of Ghosts"/ "Doomsday" is, first of all, tremendous, glorious fun from start to finish, so much so that it doesn’t strike one just how brilliantly written it is. The plot is full of intriguing concepts and ideas from the start, with the ‘ghosts’ and the idea of ‘The Void’ (which has a great deal in common with ‘brane theory’ in astro-physics). Torchwood is finally revealed in all its glory- a mysterious secret organisation that ruthlessly protects its airspace from the alien, yet maintain a ‘people-friendly’ working environment. However, there is one thing about this story that has occurred in the dreams of all Doctor Who fans for decades- Daleks v Cybermen. This is a basic ‘fan-fiction’ idea that has been elevated to something else entirely by a great writer. There is no fan-fulfilling contest to see which is best, as that is certain within a few minutes- the Daleks are a race with hugely advanced technology, capable of time travel, the destruction of entire planetary systems etc. The Cybermen are just bionic humans- they don’t stand a chance. The face-off between Dalek Sec and the Cyberleader shows that you can have memorable dialogue between ‘Stephen Hawking and the speaking clock’ in a scene that is funny, without belittling either of the two races. However, this is not merely an all-action shoot-out, but a story featuring real characters and a great understanding of human nature. The effect of the ‘ghosts’ on humanity is brilliantly observed- they have an instant effect on popular culture, but also appeal to a very basic yearning that all people have. Jackie imagines the shadowy figure that appears in her front room has the smell of her deceased father, but it is obvious that she is deluding herself. In the middle of a pitched battle, Jackie meets the alternative Pete in a scene that is funny, touching and, most importantly, does not make us want to fast-forward to the next bit of action. Davies plays with our preconceptions and confounds them with something simpler- and better. We see something called the ‘Genesis Ark’ which must, of course contain Davros. It is, instead, a dimensionally transcendental prison ship- with an army of Daleks inside.

Graeme Harper truly makes this an epic visual feast- the scene where a legion of Cybermen shoot up at a flotilla of dive-bombing Daleks is a sight which, were it to be taken back in time and shown to a 1980s Doctor Who fan, would probably kill them from pure ecstasy. The script has changes of mood and pace that require direction that is equally as sophisticated- and this is precisely what we get. From the nightmarish appearance of a Cyberman in a child’s bedroom to the beauty of the opening scene, Harper shows he is still, very much, at the top of his field. The cast is superb, with Tracy-Ann Oberman being phenomenal as Yvonne- ruthless and driven, but keen to know all of her underlings, and by no means evil. Raji James is also quietly effective as Dr Singh. One of the highlights is the reappearance of Mickey, brilliantly played, as always, by Noel Clarke.

It ends, of course, with the Doctor and Rose separated in different dimensions. These final scenes are beautiful and heartbreaking, a triumph for both Davies and Harper, but also a final showcase for the skills of Billie Piper. Rose was our identification figure for the relaunch of the most bonkers and brilliant idea in television history and Piper never put in a bad performance and this, her last one as a regular, is simply phenomenal. It is odd to remember how apprehensive some were about David Tennant- by the time this was broadcast, he was Doctor Who and he gives his best performance yet.

So it ends with a beautifully heartbreaking scene, very reminiscent of His Dark Materials (a comparison that Philip Pullman welcomes with his typical generosity) that caps a fantastic story and a great season.

NEXT: "The Runaway Bride"

"Fear Her"

"Fear Her" boasts an original alien race in the Isolus and an intriguing premise- people can be turned into drawings- that recalls such things as Catherine Storr's book Marianne Dreams (filmed as Paperhouse and Escape Into Night) and M.R. James’s short story "The Mezzotint". Set in London at the start of the 2012 Olympics, the story involves the disappearance of children and a sinister child who may be responsible. The writer, Matthew Graham, was the co-creator of the beloved Life on Mars. It has all the ingredients for a great story, yet it doesn’t quite come off- in fact it is probably the most hated Doctor Who story to have been broadcast since 2005. While I do not believe that it deserves the bile directed at it, there are some large-ish problems with the story. Graham’s script, as said, plays with some interesting ideas, but doesn’t spin them into a wholly cohesive story. The two key issues- Chloe Webber’s possession by the Isolus child and Chloe creating a nightmare vision of her dead father are not fully integrated with each other, meaning that what could have been a deft exploration of the loneliness of children and the breakdown of the nuclear family seems to be rushed. This is a pity, as the concepts show a degree of depth. Graham realises something about children that can be terrifying- they exhibit less empathy than adults and behaviour considered normal for a child would be seen as psychopathic in an adult. This is brought into light in the characterisation of the Isolus, but Graham fails to make Chloe/Isolus truly frightening, which is unfortunate, considering the name of the story. a child with great power is something to be feared. There is also the much maligned climax, where the Doctor lights the Olympic Torch. It is important to remember that this does make sense within the context of the story, but it does have to work very hard to not be cheesy- whether it fails is up to the viewer.

Euros Lyn makes this a very polished production, as we have come to expect, with all the scenes shot in a very competent manner. However, there is the problem that this should be a very scary story and it fails. The teaser is perfect, with the boy disappearing and becoming a drawing- which then runs screaming towards us. However, this sense of horror never returns after that, which is a mistake- even the monstrous drawing of her father does not come off well. This is not to say that there are no memorable scenes- Rose being attacked by a scribble, ‘fingers on lips!’ and the hilarious materialisation of the TARDIS, but Lyn is certainly capable of better. There are some nice performances from Abdul Salis, Edna Dore and the lovely Nina Sosanya. Abisola Agbaje is sound enough as Chloe, but she isn’t as scary as she could be although, as said earlier, the script doesn’t help. Tennant and Piper have a last chance to play Rose and the Doctor as happy-go-lucky and succeed admirably.

Despite what many others have said, this is not a bad story, but it could have been so much better. Things that shouldn’t move, but do, are terrifying. It’s a good thing that someone else would realise that a year later…

NEXT: "Army of Ghosts"/"Doomsday"

"Love & Monsters"

The frenetic nature of the production process for Doctor Who meant a very interesting creative decision for the production team- mounting a story that would be shot at the same time as another episode with minimal appearances for the Doctor- the so-called ‘Doctor-lite’ episode. "Love & Monsters" tells the story of one Elton Pope, an ordinary Londoner who is obsessed with finding the Doctor and what happened when he found like-minded individuals along the way. By telling the tale of people who have noticed the Doctor, it becomes a love-letter to fandom. There are those who have followed the Doctor all their lives, those who have turned to the Doctor to mask other tragedies and Elton, who remembers the Doctor from his childhood and wants to know more. The members of LI’n’DA (as they eventually dub themselves) are not the usual ‘anoraks’ that are used to denote fans- they are a diverse group of people who have other interests and find something more in LI’n’DA - shared interests lead to genuine friendships developing, and perhaps something more. Of course, there are some who take it a bit too seriously and the character of Victor Kennedy takes control of LI’n’DA , whose ’ec-zee-ma’ is more than it appears to be. RTD calls this story "Love & Monsters" and there is certainly both- Elton’s shadowing/ stalking of Jackie turning into feelings of friendship that awake what he has been feeling for Ursula all along. And there’s the Absorbaloff, a fun monster created by a young fan, that is used in an inspired fashion. Davies makes this a story of real human beings confronted with the unearthly, yet still wanting to live their lives.

Elton is not only the central character, he is the narrator for this story, which means that director Dan Zeff had an interesting set of options for visualising the story. The use of Elton’s video camera must have tempted Zeff to tell the story as a faux-video diary, à la The Blair Witch Project or Diary of the Dead. However, Zeff realised that this would not suit the mood of the story- this is not just about experiences of the Doctor, but about fantasy and memory, as, indeed, is our perception of the show itself. In addition, the comedy would be far less nuanced if the entire story was shot in that way. It is clear that a fair few of the scenes merely represent Elton’s internal perception- the comedic chase of the Hoix in the opening sequence, the literal internet meltdown. The mood changes subtly as the story progresses and Zeff is up to the challenge.

The cast is great. Marc Warren makes Elton very likeable and the adorable Shirley Henderson is wonderful as Ursula. All the members of LI’n’DA come across as likeable people thanks to the wonderful performances. Camille Coduri is given her meatiest role yet and her lovably slatternly pursuit of Elton is both funny and touching. Then there is Peter Kay as Victor/ The Absorbaloff. The idea of a posh-sounding gentleman with a cane being unmasked as an absorbing green blob with a Lancashire accent makes me giggle and Kay, though funny, never overplays the role. It goes without saying that David Tennant and Billie Piper are as excellent as ever in their limited roles,.

"Love & Monsters" is a wonderful and wholly successful experiment- don’t miss it!

NEXT: "Fear Her"

"The Impossible Planet"/ "The Satan Pit"

After the triumphant return of 2005, there were some who were a bit disappointed that the Doctor never journeyed beyond Earth orbit and yearned to see the Doctor walking on the surface of an alien planet. This happened in "New Earth", but it was this story that fulfilled that wish in a truly spectacular manner. The script by Matt Jones is excellent; the fact that, from the start, it is clear that we are beyond the Doctor’s and even the Time Lords’ knowledge takes some of the cosiness away immediately and the removal of the TARDIS soon afterwards makes the Doctor and Rose in a situation every bit as grave as the humans that they have encountered- a situation that is reminiscent of early Hartnell stories. And what a situation it is- an expedition that has ended up on a planet that is tidally locked inside the event horizon of a black hole (see below)- a planet that shouldn’t exist. ‘Welcome to Hell’ a graffito sanguinely states- and the feeling that they are in a region that operates beyond the laws of physics, where the only remaining explanation might be the most terrible legend of all. The themes are not original and have parallels with stories from throughout the programme’s history, most notably The Curse of Fenric- an evil from (before) the dawn of time, the Doctor’s faith in a companion etc. The presentation of the Beast’s character is probably influenced by C.S. Lewis’s Perelandra, but obviously written from a far less devout viewpoint. Such is the skill of the storytelling that you don’t notice these influences until afterwards. Even the usual clichés in this type of story are overturned, such as a new take on an escape up a ventilation shaft.

Newcomer James Strong puts in a phenomenal job behind the camera. It’s not just that he constructs memorable scenes, his direction is vital to the storytelling process itself. The possession of Toby is visualised by red contact lenses, marker pen and basic editing, yet the results are phenomenal. This is as a journey into the unknown for the Doctor as well, so Strong takes the simple, yet ingenious step of making his descend into the pit look like him abseiling into infinite darkness. He is aided by one of Murray Gold’s best scores- especially the terrifying scene where Scooti meets her end. The look of the story is wonderful, with the sets and costuming being perfect. The special effects range from beautiful to exciting to terrifying, but all are excellent- the visualisation of the black hole, the wonderful shot of Scooti floating in space and the subterranean city. The Ood are wonderfully realised and are both terrifying and sympathetic. Then there is the Beast. Demon or alien, it is a hugely impressive monster. The overall effect is a story that contains some of the most terrifying scenes the programme has ever had, scenes that will stay with younger viewers for a long time.

The script is not merely action and shocks- it is very talky, particularly "The Satan Pit", but such is the atmosphere that is created by Strong, that it all manages to hang together as a whole- I was actually reminded of Tarantino’s Kill Bill in the way that this was done. He is helped by a very strong cast. Shaun Parkes (who memorably starred with Tennant in Casanova) is excellent as Captain Zack and, with Rose and the Doctor separated for most of "The Satan Pit", Claire Rushbrook fills the companion slot with aplomb. As the voice of the beast, we have the very welcome return of Gabriel Woolf. Age has made his voice even more terrifying, a sonorous whisper that speaks of infinite evil- I have an mp3 of ‘Don’t turn around’ that I BlueTooth to people to frighten them.

The Doctor’s characterisation is very skilful- in a story about faith, his faith is unique- a faith in the fact that there are things he has not seen- but that faith finally bumps into his own prejudices. It is a reading of the Doctor that David Tennant puts his best work yet into. This does not mean that Rose is sidelined- with the Doctor facing the Beast, it is she who marshals the opposition to the Ood and it is she who finally defeats the Beast, justifying the Doctor’s faith in her.

There are a few niggles I have, mainly with the science. It is perfectly possible for a planet to orbit a black hole, for example. However, the story is so good that I can cut it a lot of slack- just imagine the words ‘inside the event horizon of...’ in front of ‘a black hole’ and the story works again. This is a wondrous story that does what it does with beauty, horror, intelligence and a dash of humour. Priceless.

NEXT: "Love & Monsters"

"The Idiot's Lantern"

"The Idiot's Lantern" takes us back to 1953 where the broadcast of the coronation of Elizabeth II means that millions would buy their first TV set in a state patriotic fervour. What better environment for a disembodied alien intelligence that feeds off neuro-electrical activity? Mark Gatiss conhures a breezy little tale with an original villain- The Wire (no relation to the superlative HBO TV series) that manifests itself in a time that is often misunderstood by the average person, who believe that nothing happened in Britain between VE day and The Beatles. Gatiss evokes the time very well and it is full of the sharp dialogue that we have come to expect of him. The story is also a celebration of television itself, with references to contemporary programming, video tape and colour television. Gatiss is of the generation that was warned that too much telly 'rots the brain', just as I was of the generation that was told that it gave you 'square eyes'. Here, television can bring together communities and, indeed, nations, but it can also, quite literally, suck your face off! However, there is a problem with this story that cannot be ignored- it's conceptually ingenious, but the realisation of these concepts, both in terms of plot and plausibility is very inconsistent. Why the Wire's feeding leaves the victim literally faceless is not satisfactorily explained, especially when the defeat of the Wire suddenly restores the victims. However, the way in which the Doctor defeats the Wire is both true to the stories ingenuity and well realised- The Wire is trapped on a Betamax tape!

Euros Lyn has a field day with Gatiss's concepts, filling the story with memorable images- the faceless victims are genuinely scary, as is the sight of dozens of stolen faces screaming for help on black and white screens. Lyn uses Dutch angles (or, to be less showy-offy, he tilts the camera) a lot, giving parts of the episode a Third Man-esque look in places. The production values are excellent throughout, as we have come to expect from the team.

Of the supporting players, only the Connollys are proper characters. Gatiss attempts to tell the story of the breakdown of a family as well, but the problems here are more severe than the plot problems. We may not be seeing the family at its worst, but Eddie Connolly does not seem that much worse than the average lower middle/ working class father of the early 50s- there is nothing to suggest that he is even mildly physically abusive, and he just comes across as a pompous blowhard. Jamie Forman, who I have been impressed with in other productions, plays Eddie a shade too broadly, although Debra Gillett is very effective as his wife Rita. The actual dialogue is well written, but we never really believe in the situation- however, the scene where Tommy goes to carry his father's case is very effective.

Ron Cook is brilliant as Magpie (a rather underwritten role) but it is Maureen Lipman who makes the biggest impression. She is obviously hugely successful in portraying the Wire as a 50s BBC announcer, but her natural likeability makes the feral snarl she projects as the monster beneath all the more frightening. Tennant is a ball of energy throughout and Rose becomes wholly likeable again in a very impish performance by Piper.

Despite some fairly serious problems, "The Idiot's Lantern" is good fun and well worth a watch:

NEXT: "The Impossible Planet"/ "The Satan Pit"

"Rise of the Cybermen"/"The Age of Steel

When the Daleks came back, the obvious question that cropped up was when the second most-popular Doctor Who monsters would return, and this question was answered in the run up to the 2006 series. This is,to be frank, something that I was more excited about at the time than I would have been now, because I hadn’t watched/ listened to all the Cyber-stories in order. The Cybermen, let’s face it, have rarely had the opportunity to shine in the way that the Daleks did- of their nine previous appearances, I would only wholeheartedly recommend The Invasion and would recommend Earthshock with reservations. All the other stories have grievous flaws that cannot be overlooked. There was also the case of the other very successful long-running sci-fi TV franchise- it has been claimed that Star Trek’s Borg are a ‘rip-off’ of the Cybermen. This could well be true but (and I speak as someone who considers Who to be greatly superior to Trek in all its forms) I believe the Borg are everything that the Cybermen should have been and are a far better conceived and far more frightening race of monsters that the Cybermen ever were- a great Doctor Who villain that never appeared in the programme. < /controversy >

It is refreshing, therefore, that the Cardiff production team decided to reinvent the Cybermen for a new era. The origins of the original Cybermen are based in a future that never came to pass and contains much that the modern viewer would be unwilling to suspend their disbelief for. So we are now given a race of Cybermen from an alternative universe, who originated on Earth- a whole new origin story that is far more resonant, without contradicting the programme’s mythology. The reason for their creation is one that can easily be understood- John Lumic, an electronics and industrial magnate is dying. He is mostly confined to a wheelchair which also contains other life-support systems (shades of a certain other creator of a race of monsters!) and has created a cybernetic body that will allow him to live on, free of the agony that has tormented him for years. He is obsessed with taking away pain- in all its forms- from humanity, so he makes it his mission to ‘upgrade’ humanity- the results of which, we all know. This rings true and is tied in well with the current obsessions with software upgrades and built-in obsolescence. The parallel world is reasonably well constructed- Zeppelins are an obvious, yet undeniably impressive shorthand for ‘this is an alternate reality’- presumably the Hindenburg never crashed here. Tom MacRae paints a Britain that is a bit more oppressive than our own, but not so much that it feels alien . The character work is excellent with the yearning that Rose has for her father with the regret that Mickey has about his grandmother working very well. The Preachers are excellently characterised as a group and individually- it is very refreshing that an older female character like Mrs Moore can be included. The plot is very straightforward- some would say a bit too straightforward and there is a bit of clumsiness, such as the scene where Crane attacks Lumic and the resolution to the cliffhanger might have some slapping their heads. However, it does work dramatically, which is the main thing.

A very welcome step by the production team was the return of Graeme Harper as director and he doesn’t disappoint. Every shot and sequence is constructed with love and understanding and Harper brings a truly epic sensibility to the story- the loss of Joe Ahearne from the show’s roster has clearly been compensated for. The production is flawless, with excellent location filming being combined with brilliant effects work- the Zeppelins are awe inspiring, as is the moment the TARDIS drops out of the time vortex. The new Cybermen look fantastic and benefit tremendously from Harper’s direction- his gradual revelation of their appearance being expertly done.

The performances are generally very good. Don Warrington is fantastic as the President and Helen Griffin very believable as Mrs Moore. Mona Hammond always seems to play a West Indian matriarch, nowadays, but it is a part she plays very well indeed. Shaun Dingwall makes a very welcome return as Pete Tyler (who, as he feared, is now bald!) I am not entirely sure about Roger Lloyd Pack as Lumic, who seems to go a bit OTT in some scenes, but he doesn’t actually ruin them. The regulars are excellent, with Tennant all improvisation, righteousness and sympathy and Piper doing brilliant work, mixing Rose’s heroism with her streak of selfishness- I love the scene where she discovers who her counterpart in this world is! However, the best performance is that of Noel Clarke. He effortlessly makes Ricky and Mickey different versions of the same character and the emotion he puts into the scenes with his grandmother and the farewell scene is totally convincing.

"Rise of the Cybermen"/"The Age of Steel" is not the best story that Doctor Who has had since its revival, but it is still very good. It is in a league above most of the Cyberman stories of the 20th Century, not just because it is better written and realised, but because McRae and Davies understand the Cybermen better than their creators Gerry Davis and Kit Pedler ever did. Here, they are genuinely emotionless and a reason is given for them being so- because an unaltered brain would not be able to cope with waking up in a metal body, free, not only of pain, but of all tactile and gustatory senses. The dehumanisation of the creatures is cannily revealed in the fact that the two Cybermen who mention their previous identities were women. These are creatures of nightmare that we thank our lucky stars that we will never become- something they rarely were originally.

NEXT: "The Idiot’s Lantern"

"The Girl in the Fireplace"

After "The Empty Child"/"The Doctor Dances", fans eagerly looked forward to what Steven Moffat would come up with next and he certainly didn’t disappoint. Moffat tells the tale of a spacecraft in the 51st Century that contains ‘time windows’ that lead to various stages in the life of one woman- Jeanne-Antoinette ‘Reinette’ Poisson, better known as ‘Madame de Pompadour’. For some reason, the maintenance robots on the ship need her head- but only when she is ‘complete’. This is a story where the Doctor fights the monsters and wins, but it is also the story of a woman who has loved the Doctor her entire life and the Doctor’s deepening feelings for her, despite the fact that, from his perspective, he has known her for only a few hours. This can be seen as an illustration of the Doctor’s view of his human companions in "School Reunion"- Reinette grows from childhood to youth to middle age in front of our eyes, as well as the Doctor’s. Moffatt’s writing of the relationship between Reinette and the Doctor is as excellent as you would expect from the writer of Press Gang and Joking Apart. For her, the Doctor is prepared to do something he has never done before- being stranded for the rest of his life on one time and place and, crucially, we are prepared to believe he will do so. Reinette comes to life magnificently via Moffat’s pen, highlighting her intelligence, wit and irresistible je ne sais quoi with some choice lines- her description of her trans-temporal relationship with the Doctor is sublime writing. There is also the wonderful scene where she uses the Doctor’s telepathic technique to look inside his head. Moffat, being Moffat, also includes some brilliantly funny lines that somehow work hand-in-hand with the horror aspects. Moffat also makes the sci-fi aspects work magnificently, with intriguing concepts like the clockwork robots and their gristly repair plan. Like "The Empty Child"/"The Doctor Dances", there is no villain, just an automated system that has followed its program a bit too literally.

Euros Lyn commands a sumptuously triumphant production. The period detail for 17th century France is phenomenal and the grimy spacecraft is equally successful and Lyn manages to make them both work together magnificently- sometimes within the same shot (the linked sets are a very bold and eminently successful move) with beauty and futuristic squalor being juxtaposed perfectly. There are a multitude of memorable scenes- showpieces like the monster under the bed, the attack on Versailles and the wondrous scene where the Doctor bursts through the mirror on horseback work wonderfully, but there are also quieter scenes such as Rose and Mickey waiting on the other side of the broken mirror, which work just as well.

The performances are sublime, but the key guest role is Madame de Pompadour herself, played to perfection by the very talented and very beautiful Sophia Myles. David Tennant is outstanding as the Doctor, combining the humorous heroics that we associate with the character with something more tender. Piper and Clarke are in more in the background, but they do not slacken, by any means. A special mention must be given to Arthur the horse- the bit where the Doctor tells him to stop is one of the best pieces of animal acting I’ve seen!

I have said before that, although plot is important, it is not the only important part of the story and, in certain cases, other factors should take precedence. "The Girl in the Fireplace" contains an intriguing plot that would work well on its own, but, more importantly, it deals with the question of what an immortal loving a mortal must feel like. This is why, when we find out the reason for the robots’ interest in Madame de Pompadour, it does not feel like a massive twist ending, but an ironic coda in an ultimately tragic story, as the episode ends on a note of subdued and beautiful melancholy that hasn’t been seen since The Green Death. This is one of the most moving, intriguing and beautiful stories ever to be broadcast under the Doctor Who banner.

NEXT: "Rise of the Cybermen"/"The Age of Steel"

"School Reunion"

"School Reunion" has a perfectly respectable plot. A school in London has been infiltrated by the Krillitanes, a race who take physical characteristics of the races they conquer and add them to their own. They are using the children of the school as an organic computer to crack the ‘Skasis Paradigm’, apparently a formula that is the key to everything in creation. Mickey has noted something odd going on and has summoned the Doctor and Rose back to Earth. However, Mickey is not the only one who has noticed something odd, because there is also a freelance journalist who may look familiar to some of those viewing, together with something in her car boot…

Toby Whithouse creates a very entertaining story that seems, at first glance, to be aimed squarely at kids. The school setting and the use of the children in the adversaries’ dastardly plan is reminiscent of the Demon Headmaster books and TV series. However, the presence of Sarah Jane adds a different dimension altogether. Sarah Jane does not live in the past, but it is clear that her time with the Doctor will be with her forever. This also has an effect on Rose as she says, ‘I’ve been to the year 5,000,000, but this is really looking at the future’. The initial tension between Rose and Sarah Jane is written with wit and real understanding of the characters and their eventual reconciliation is joyful to behold. Just as interesting, if not more so, is the Doctor’s reaction to this, giving us insights into how he views the all-too mortal humans he travels with and his reluctance to ever say goodbye. The farewell scene between the Doctor and Sarah Jane is utterly beautiful- the line ‘I think it will be someone else’s grandchildren’ is heartbreaking and the Doctor finally saying goodbye shouldn’t leave a dry eye in the house. James Hawes makes another impressive show in the director’s chair, mounting scenes with expert shooting (although some of the editing is a bit off) but paying attention to the little things- I love the scene where Rose reaches out, expecting to get the Sonic Screwdriver, only for the Doctor to hand it to Sarah Jane. In Hawes’s hands, K9 is not just the lovable tin mutt of the past- the scene where he shoots down the Krillitane is completely awesome and K9’s apparent death genuinely left me shocked. The special effects are great, with the Krillitanes being very memorable.

The Doctor is written with more depth than in David Tennant’s previous stories and Tennant proves that Russell T Davies was fully justified in the risk he took in employing him. From his physics lesson at the start to his joyful reunion with K9, to his grim face-off with Mr Finch, Tennant is brilliant. Billie Piper is great in a performance that sometimes highlights one of Rose’s less laudable characteristics- her occasional selfishness. Noel Clarke is again utterly wonderful, with his realisation that he is the ‘tin dog’ leading him to join the TARDIS crew. The tin dog himself is obviously ace, with John Leeson returning. Then there is Elisabeth Sladen, who effortlessly gives a more mature, yet still recognisable Sarah Jane. Despite all these headlining performances, Anthony Head still manages to be fantastic as Mr Finch/ Brother Lassar, which would have satisfied Buffy fans as much as Sladen and Leeson satisfied Doctor Who fans. In smaller roles, Joe Pickley is great as Kenny and the Krillitane staff are also memorable but still very much ‘teacherly’.

"School Reunion" could have been fan-pleasing rubbish, but we are in skilled hands. It can be watched by those who don’t know who Sarah Jane is, without them losing anything, for it is a great paean to living one’s life with the belief that the best is yet to come.

NEXT: "The Girl in the Fireplace"

"Tooth and Claw"

"Tooth and Claw" has a fair bit in common with The Horror of Fang Rock. Both were rush-written to replace another story. Both have a climax where the Doctor uses a diamond to focus light to destroy the enemy. However, here we have actual lycanthropy, in another take on the legend of the werewolf. Davies’s script is highly inventive and, like the best of the Hinchcliffe/ Holmes stories, gives its own spin on an old legend, with folklore being deconstructed and applied scientifically, weaponising mistletoe and moonlight ("Mistletoe and Moonlight" would have been a great alternative title, by the way). The pace is relentless, but it is quite easy to figure out what is going on and Davies makes sure that character is not sacrificed- we get a real sense of who Sir Robert is and are even given little glimpses into Captain Reynolds and Flora, the maid. Of course, for the first time, we have a Victorian story that actually features the Crowned Saxe-Coburg herself. Victoria is presented as coping well with the death of Albert, eighteen years earlier (incidentally, it is odd, though quite understandable plotwise, that John Brown is not with her in a story set in Scotland!). She is depicted as still very much possessing the formidable personality that made her such an iconic figure. As said, the dénouement is similar to The Horror of Fang Rock, but Davies creates a wonderful steampunk contraption to house the diamond- the Koh-i Noor, no less. At the time, the ending looked rushed, but it is actually paced very well.

Euros Lyn makes a very welcome return to the programme and is perfectly in tune with the script when it comes to visualising it. There is rapid cutting, kinetic camera work and a mastery of combining different moods- somehow the wire-fu works in this context and is very skilfully realised. The effects are stunning, especially the utterly astonishing werewolf. In my opinion, it was better than similar creatures in the likes of Van Helsing and Harry Potter and the Prisoner of Azkaban. Lyn commands a fine cast of both seasoned and new actors. Pauline Collins returns to the programme after an absence of 39 years as Victoria and is very good, if a trifle mannered. Derek Riddell is very sympathetic as Sir Robert and Ian Hanmore very menacing as Father Angelo. The regulars are clearly having a whale of a time and put in great performances with David Tennant giving us a chance to hear his natural accent.

"Tooth and Claw" is tremendous fun and impossible to dislike- and, of course, the seeds of something important are sown…

NEXT: "School Reunion"

"New Earth"

The new Doctor Who finally takes us to an alien planet even though (as the title of the episode says) it’s not radically different from Earth. The episode is built on an intriguing premise- using genetically engineered humans as lab-rats to cure diseases. It has to be said, however, that the plot is half-baked in places and a doughy mess at the end. Although it is great to see Cassandra again, her motivation isn’t as convincing as it could be. And the dénouement, where the Doctor makes the diseased humans pass to each other the cure he has concocted doesn’t quite justify its symbolic resonance as it is obvious that too many plot short-cuts have been taken- how can an intravenous cure suddenly be an external one? The body-swapping, though amusing, is also a bit arbitrary. However, the dialogue is still great, as is Russell T Davies’s talent for world-building- ‘apple grass’, feline nuns, the nostalgia that created the need for a New Earth. The parts with the Face of Boe are excellent, giving the new series a mythos of its own, to add to that of the past.

It looks fantastic, as usual. The location filming at the Wales Millennium Centre gives a real sense of scale and the shots of the myriad pods containing the ‘lab rats’ are breath taking. The make-up for the cats is also first rate as is the work on minor characters, such as the Duke of Manhattan. James Hawes creates some very memorable scenes such as the break-out of the infected (basically a zombie attack) and is helped by some exquisite cinematography. The guest cast is excellent, with Zoe Wanamaker again being memorable as Cassandra. Doña Croll and Adjoa Andoh exude a disquieting sense of menace with their performances as the Matron and Sister Jatt and Anna Hope is rather sweet as Novice Hame.

The best performances, however, are from the regulars. The body-swapping might be a bit excessive, plotwise, but this is more than compensated for by the performances. Billie Piper is priceless as Cassandra, giving a wonderfully catty (sorry) performance. David Tennant is in full force as the Doctor here and is instantly appealing with a mix of blokiness and real steel. Tennant also gives his take on Cassandra which has to be seen to be believed!

"New Earth" is probably the least successful script that Davies has written so far. However, it contains much else that is commendable and is certainly worth watching.

NEXT: "Tooth and Claw"

"The Christmas Invasion"

"The Christmas Invasion" was the first episode produced by a production team that knew that the relaunch of Doctor Who had succeeded beyond anyone’s wildest dreams. However, they also had to contend with the fact that the lead role had just been vacated by one of the foremost British actors of our generation. For a whole generation of viewers, this was the equivalent of William Hartnell being replaced by Patrick Troughton. As I said, many moons ago, this required a special sort of story- and again, this is precisely what we got. Russell T Davies takes the bold step of taking the Doctor out of the action for a good portion of the episode. This may, at first glance, seem like madness, but as one watches the episode, the soundness of this thinking is all too evident. At the start, the characters and the viewers want the new Doctor. By the time of the final act, they need him. We are given an invasion crisis that seems hopelessly insoluble without the Doctor. We are even told that the Doctor is ‘broken’- the alien Sycorax cannot be understood, because the Doctor is an integral part of the translation circuits of the TARDIS. The Sycorax invasion itself is shown with a refreshing degree of ‘realism’- without the Doctor holding their hands, the programme shows the government reacting in a plausible way. There are some intriguing concepts, such as ‘blood control’ and the robot ‘pilot fish’ who travel in the wake of another alien force. The Sycorax are a well thought-out alien race, with them treating their science as a form of magic. Davies manages to mix in his trademark witty dialogue with the plot and his skewering of Christmas iconography is funny without seeming ridiculous. In 2009, it is impossible to ignore the fact that this is an antecedent of the outstanding Torchwood: Children of Earth, especially the scene where the A-positives are controlled into standing on the edge of tall buildings and, of course, the sting the story has in its tail- again courtesy of Torchwood. It is testament to the formidable writing on both this and Children of Earth that neither is diminished by the other.

The production is epic, with a giant ship made out of an asteroid floating above London and is expertly helmed by James Hawes. Scenes such as the hypnosis of the A positives are realised excellently, symptomatic of a show that knew that it was a success and resolutely refused to rest on its laurels. Even when it refers to other things (Harriet Jones's television plea to the Doctor recalls Superman II, Torchwood's weapon is like the Death Star) the story manages to make these things its own. Hawes brings a more cinematic feel that is excellently done, making this truly a 'special'. The cast is also superlative. Penelope Wilton effortlessly makes Harriet Jones a credible leader of a major power as well as the slightly batty figure we all know and love and she is ably supported by Daniel Evans and Chu Omambala. Noel Clarke and Camille Coduri again play their parts to perfection- we care about these characters deeply, now, and their inclusion is always welcome.

Now, we come to the Doctor. It is hard to believe nowadays how much trepidation there was over the comparatively unknown David Tennant. However, it was soon clear that we were in good hands. Even in his incapacitated state, Tennant shines and in the utterly glorious revelation of the Doctor in full working order, Tennant grabs our affections and never lets go, from quoting The Lion King to sword-fighting for the planet, Tennant astonishes in every frame he is on screen. However, we must not forget Billie Piper's contribution- it is Rose who must accept this stranger as the Doctor and Piper brilliantly portrays the faith amid confusion that the character must have.

This is a wondrous story that proved that, not only was Doctor Who back, it was here to stay.

NEXT: "New Earth"

"Born Again"- Children In Need

Or "Pudsey Cutaway". But I don’t really care about the name. Doctor Who makes a return to Children in Need for the first time in 12 years in a mini-episode that can actually be deemed (deep breath) ‘canonical’. "Born Again" addressed the fact that Doctor Who in the 21st century can’t spend 15 minutes having the Doctor examine his new body in detail and gets it out if the way in this fun little skit, written with Russell T Davies usual zest. Piper is good, as always, but it was very brave to have David Tennant make his first performance as the Doctor in an eight-minute episode. Tennant is buzzing, but sensitive, and always makes damn sure we know who the leading man is. It is an excellent taster, which whets the appetite for what is to come- although it’s odd that they seem to change the lighting scheme completely, midway through the episode!

NEXT: "The Christmas Invasion"

"Bad Wolf"/"The Parting of the Ways"

When Doctor Who was relaunched, I was, make no mistake, very happy it was back- but I didn’t expect that it would grow on me to such an extent that the week between "Bad Wolf" and "The Parting of the Ways" would be one of the longest weeks of my life. This story confounds expectations at every turn, pulling you in all the way. It starts off in, what is recognisably the UK version with Big Brother- ironically, I write this in the year that Big Brother UK was cancelled. The bloodthirsty futuristic versions of programmes such as Big Brother, What Not to Wear and The Weakest Link are funny without losing the sense of unease and disorientation. Davies starts with the Doctor, Rose and Jack already in the games, which adds to this sense. It is revealed that this is Satellite 5 from "The Long Game" a century on. The Doctor’s actions in "The Long Game" have not solved the wrongness of that future. Indeed, the head-chip technology seem to have evolved into the disturbing figure of the Controller- a woman who has lived her entire life plugged into what is now called the GameStation. There is a reason for this- this world has been twisted by the last surviving Daleks and they’re ready to invade…

The ways in which these pieces are slotted into place are expertly managed by Russell T Davies but this is just the plot and, to be honest, plot is only the most important thing in a story if you are a child. This is also the story how, by making Rose a better person, she redeems him. It is about how Jack is improved as a person and how he craves the Doctor’s love without being jealous of Rose. And, of course, it is the Doctor coming to terms with committing genocide and paying the ultimate price. One thing has been made abundantly clear in this season- with the Daleks, it is not a game for the Doctor. He is uninterested in their demands, has no room for negotiation- he just tells them what he will do, in a scene that, even on the nth viewing, still sends shivers down my spine. The story also shows a new type of Dalek, twisted by the fact of their hybrid nature into religious mania. The characters Davies creates are all very real, from the programmers to Rodrick, a character who acts like a bastard, but is clearly human, evidenced in his helping of Rose to acclimatise. We have the lovely Linda (sorry, Lynda), whom we all want to become a companion. Yet, in the middle of this, we have the very ordinary conversations that Rose has with Mickey and Jackie in the chippy, which only add to the drama. I also love the implication that watching mindless TV junk can save us- the Daleks have no time for reality TV! Through all of this, Davies writes dialogue that is evocative, funny, heartbreaking- all that we have come to expect from one of the greatest television writers in the world.

Sadly, this would be Joe Ahearne’s final stint in the director’s chair for the programme and he certainly goes out on a high, with an embarrassment of beautifully shot, memorable scenes that span multiple moods and textures- the revelation of the Dalek fleet, the disorientating opening scenes in the TV shows, the wonderful rescue of Rose from the Dalek mothership, the subtle revelation of the Dalek in reflection, the scenes with the Controller and whole armies of Daleks. Then there is the astonishing sequence when the Doctor believes Rose has been exterminated, the heartbreaking hologram scene and the death of Lynda. Ahearne juggles varying moods, settings and characters with expert skill. He also makes sure that the performances are superlative. We have the fantastic Paterson Joseph as Rodrick (thankfully made before "Numberwang!") and Jo Joyner being eminently lovable as Lynda. Nisha K Nayar and Jo Stone-Fewings give real depth to the programmers. Meanwhile, back on Earth, Noel Clarke continues his excellent, heartfelt portrayal as Mickey and is ably supported by Camille Coduri. John Barrowman plays Jack’s relationship with the Doctor as being half devotion to a superior officer and half unrequited love- there is genuine hurt on his face at times. Billie Piper continues to amaze- Rose is everything from determined everywoman to godly being, which she carries off with aplomb.

The production is of a consistently superb standard, with a brilliantly rendered (and refreshingly retro!) Dalek fleet and the jaw-dropping scenes that feature the Dalek Emperor. Nick Briggs manages to make him sound exactly like he did in The Evil of the Daleks and there is the pleasant surprise of hearing the ‘Dalek Computer’ sound effect. This is also a good time to praise two regular contributors. Murray Gold’s music was superlative, albeit sometimes a bit high in the mix, which is not his fault. Then there is the cinematography by Ernest Vincze, who managed to make every shot look fantastic.

And now we come to the end. The quandary faced by the Doctor- destroy the Daleks and the human race or let the Daleks spread their tyranny across the universe- is solved by Rose’s return, rippling with the power from the TARDIS, to destroy the Daleks. People cry ‘deus ex machina’ as if the writer has never heard of the term. Rose is turned into a super being by the TARDIS- she literally is a god from the machine! Whatever the plot niggles of this (and, as I think I explained earlier, plot is not the most important thing) the writing is beautifully epic, the direction superb. However, Rose is being destroyed by the energy, so the Doctor kisses her, to remove it and heal her. However, the damage is permanent and his body explodes with energy- to reveal a different face.

Christopher Eccleston was never less than brilliant in the role and he rounds off the season and the era with, perhaps his best ever performance. From his defiance of the Daleks, to his speechless anguish at seeing Rose apparently die, to his moment of turmoil after closing the TARDIS doors on the Daleks, he constantly arrests our attention. Doctor Who’s return was an utter triumph, with, perhaps, the most consistently great season since season 18 and the only Doctor for whom I would wholeheartedly recommend every story of his entire era.

NEXT: "Born Again"- Children In Need

"Boom Town"

One of the great things about Russell T Davies is how deftly he plays with the perceived structure of the average Doctor Who storyline. Here, the villain’s plan is discovered and the villain captured within the first third of the episode which means that the characters, as well as the audience, have to pass the time until the final act. This is filled by the Doctor having a meal with his enemy and Rose and Mickey examining their relationship. In the hands of a lesser writer, this would invariably mean skipping from chapter 6 to chapter 10 on the DVD. However, we have the expected ‘humanisation’ of Blon Fel-Fotch Pasameer-Day Slitheen who insists that she was brought up to be a murderer and her sojourn in Cardiff has made her more empathetic, which is followed by the unexpected dismissal of it by the Doctor- these are just mechanisms so that a killer can live with themselves, begging the question that Blon then asks… These scenes are almost Tarantinoesque in their combination of humour (such as Blon’s repeated attempts to kill the Doctor) and mundanity of setting which belies the fact that the participants are chipping away at each others defences. The interaction between Rose and Mickey is also beautifully written. Rose talks about the wonderful places that the Doctor has taken her (very well written- sometimes telling is better than showing) while Mickey tries in vain to re-establish the connection he once had with her. Mickey’s attempts to make her jealous fall apart very quickly and he admits that he is prepared to wait for her forever. Rose is a great character and we are with her all the way, but Davies realises that there a streak of selfishness in her- as she says at the end Mickey ‘deserves better’. When the climax comes, it is spectacular, but is resolved in that most maligned of plot devices, the deus ex machina. There is some justification given- she genuinely wants to start again, but I’m still not sure whether it works.

Joe Ahearne’s skill in this more low-key story is still very much evident. The conversation between Blon and the Doctor progresses with tighter and tighter shots, fuelling the drama all the way. He also makes the funny bits work excellently- Blon teleporting, her aforementioned murder attempts and Mickey’s plonker-thon when attempting to capture Blon. The climactic quake in Cardiff is astonishingly shot, with some of the most impressive effects work of the season. Most critically, Ahearne makes the Slitheen work in a way that Keith Boak never could. This is not just because of his shooting style, but in his mastery of directing actors. Annette Badland is superb as Margaret/ Blon, far more memorable than she was in "Aliens of London"/ "World War Three". Jack is a very welcome addition to the crew and Billie Piper puts in a very sensitive performance. The best performances come from Eccleston, and, especially, Noel Clarke, who is nearly heart breaking as Mickey. Of note is the joyous scene where the Doctor, Rose, Jack and Mickey are having lunch and they are all having a laugh as friends, but with Mickey looking like someone who has just penetrated a very exclusive clique.

"Boom Town" is excellent drama with great performances, fantastic dialogue, a monster and an explosive climax. What more do you want?

NEXT: "Bad Wolf"/"The Parting of the Ways"

"The Empty Child"/"The Doctor Dances"

It seems weird now that a few eyebrows were raised when it was announced that Steven Moffat would be one of the writers for the revived series. He had, of course, written the excellent Curse of Fatal Death, but he was most famous for his then most recent work, the sitcom Coupling. Many people of a certain age, however, remembered that he was the writer of Press Gang, one of the best series of all time, so they weren't surprised when they were left utterly stunned by the quality of "The Empty Child" and were utterly thrilled by "The Doctor Dances". The characterisation is superb, from the plucky Nancy, who feeds starving kids during the Blitz ('I'm not sure if it's Marxism in action or a West End musical!') to Jack- a wonderful creation which shows how far attitudes have come without rubbing our noses in it. The Blitz is brought to life excellently- it is easy to forget that Londoners really feared that the Luftwaffe were going to pulverise England and then descend to rule the smoking remains. Moffat creates a very intriguing plot, but bolsters it with pitch-perfect dialogue that ranges from the funny to the poignant- compare the 'length comparison' between the Sonic Screwdriver and Jack's sonic blaster with the poignancy of the conversation between the Doctor and Dr Constantine: 'Before this war began, I was a father and a grandfather. Now I'm neither; but I'm still a doctor'. The skill with which he balances comedy and drama is equal to what he displayed in Press Gang- in the middle of a terrifying attack by the gas-mask creatures is thrown in a wonderful there is some farcical prestidigitation with a banana. Most wonderfully, in a story that is more terrifying and more adult than any in the series so far, this is a story where there is no actual villain, the Doctor saves everyone and nobody dies. The way in which this is done is perfect and we never feel that we have been cheated.

There have been some outstanding directorial contributions in the series so far, and James Hawes is no exception. The strengths of Moffat's writing are reinforced throughout, with Hawes taking full advantage of a story set entirely at night and creates many scenes that will be remembered for decades to come- the central image of a sinister child in a gas mask saying 'Are you my mummy?', the utterly terrifying transformation of Dr Constantine, Rose's flight through an air raid. Hawes gets great performances from everyone, even the child actors. Florence Hoath is wonderful as Nancy and Richard Wilson effortlessly effective as Dr Constantine. John Barrowman makes Jack instantly memorable in a very likeable turn and his joining of the TARDIS crew is very welcome. Billie Piper is wonderfully sparky and flirty as Rose, but Christopher Eccleston manages to improve, yet again, on his previous performance- the moment where he triumphantly shouts 'Everybody lives!' sends a shiver down my spine, even on the nth viewing. It goes without saying that the production is brilliantly, effortlessly giving us wartime London and stunning us with some of the best special effects the programme has yet seen, from the impressive bombing sequence to the truly horrific transformation of Dr Constantine.

Make no mistake, "The Empty Child"/"The Doctor Dances" is fantastic television, easily up there with the best Doctor Who stories of all time.

NEXT: "Boomtown"

"Father’s Day"

"Father’s Day" is a tender story of the relationship between two people who have a deep love for each other, but have never met. It is also the story of a chaotic universe where the removal of an intelligent guiding force results in the resurgence of a primal, bestial, regulating one. It is also a story where flying monsters attack people in a church. Paul Cornell’s script manages to incorporate all this, and more, into one of the most powerful Doctor Who stories of all time. The plot covers what happens if something from the past is knowingly changed and the answer is that there is a ‘wound’ in time, which attracts its own type of parasite, the Reapers, who will sterilise the wound, while the original timeline tries to manifest itself, almost like arterial spray. The sci-fi aspect of the script is well thought out and makes it clear that the laws of the Doctor Who universe are very different, now that the Time Lords have been destroyed.

However, the plot is only one of the great things about this episode. After Adam was expelled from the TARDIS team for using time-travel for his own ends, Rose almost suffers the same fate, although her motives are more laudable- to have her dad back. Rose’s image of her dad is the hagiographic impression that Jackie gave her. Pete only knows Rose as a baby, loving her unconditionally but having few experiences to tie to that love. Moreover, Pete, with all his flaws, becomes the figure children see their dads as- a hero who can save the world. Both characters come to know each other as people, something which is deftly and beautifully written by Cornell. The story is full of great little character moments, such as the Doctor celebrating the joys of ordinary life, the lovely wedding of Pete and Jackie etc.

The script is given an extra boost by the excellent direction by Joe Ahearne. There are so many striking scenes- the TARDIS turning into an ordinary police box, its shimmering re-materialisation, the wonderful desaturated shot of Rose staring into space and, most shockingly, a Reaper devouring the Doctor, the first time the Doctor actually dies. The Reapers are a very memorable monster race and are excellently realised. Every single shot looks like it is there for a reason and there is not one performance that is less than excellent. Shaun Dingwall makes Pete very likeable and Camille Coduri is her usual striking self. However, it is Billie Piper who romps home with the prize in a stunningly moving performance that grabs hold of you and doesn’t let go. Christopher Eccleston, however, is not to be overshadowed and he puts in another very strong showing.

This is one time Doctor Who has nearly made me cry, but with a story that has a real understanding of human emotion, rather than relying on cheap sentiment- truly one of the best stories the programme has ever produced.

NEXT: "The Empty Child"/"The Doctor Dances"