"The Time of the Doctor"

All too soon, it seems, the saga of the Eleventh Doctor comes to an end, such a short while after celebrating the seeming immortality of the character. In fact, one of the things "The Time of the Doctor" is about is confronting the inevitable fact that the grave waits for all of us, even the Doctor. However, this is not the main aim of the story. Neither is the fact that it pretty much ties up all the loose ends in what can loosely be termed the Eleventh Doctor's Arc. The story is about how this silly man can be the greatest warrior and the greatest hero the universe has ever seen.

A mysterious coded message broadcasting to all of space and time has attracted some of the most fearsome armies in the universe to a seemingly innocuous planet. When the Doctor decodes the message, it reveals a question that he has been running from all his life emanating from a crack in the Universe he vainly hoped he had left behind him. A question whose answer could rip the cosmos apart – for it is the Time Lords who ask it and the planet is Trenzalore and, with the Daleks closing in, the Time War could start again. It is here that we meet the oft-mentioned Papal Mainframe, led by Tasha Lem, the 'Mother Superious'. The way in which the layers of Steven Moffat's additions to the Doctor Who mythos finally integrate is joyful – the Silence is a religious order of the Papal Mainframe that was formed to stop the Doctor answering the question, with some chapters breaking off and actually declaring war on the Doctor – all the while unknowing that they are being groomed to become a bridgehead for the Doctor's greatest enemies to finish what they started.

This all seems to indicate a grim story of siege and attrition – yet all two of the three principal characters want to do is celebrate Christmas. Throughout the story, Clara is cooking the Turkey for Christmas dinner with the Oswalds, whom we finally meet in the 'present day'. Although Clara's family do not register as well as they could, this is not true of Ms Oswald herself. Clara is put through the wringer more than she has ever done and Jenna Coleman's performance is delightful and very moving, from her faking her romantic relationship with the Doctor to demonstrating the strength of their real one. Supporting the regulars is the fantastic Orla Brady as Tasha, making us instantly feel that she is an integral part of the Doctor’s life, despite only just having met her. Moffat manages to garnish the story with his trademark humour, juggling the varying moods perfectly. He is helped by a stellar production, with vast fleets of starships, wooden Cybermen and the beauty of a day that lasts minutes. Jamie Payne brings all of this to life with style in another excellent outing in the director's chair.

The Doctor celebrates Christmas in a different way – for Christmas is the name of the town on Trenzalore where the TARDIS materialises. The Doctor will protect Christmas, but not by using its inhabitants as soldiers. When Moffat inherited the role of showrunner, the Doctor was a man who was haunted by the belief that he had committed genocide against his own people. The events of "The Day of the Doctor" removed that burden from his past and now, "The Time of the Doctor" removes another burden from his future. Trenzalore promised a battlefield strewn with the graves of those who died defending the planet. What the Doctor does is defend the people as well as the place; now the graves are those of the people who were saved by the Doctor. The people of Christmas love their saviour, a man who can fix young Barnable's toys whilst holding off the greatest army in the universe. Believing this to be his final life, the Doctor is allowed to retire as only he can, saving the universe and, approaching the end of his second millennium (probably) he looks very much like he did twelve lives ago. However, as has been said before, even the universe cannot bear to be without the Doctor.

Anchoring all of this is the final regular performance in the title role by a man who confounded all initial expectations and exceeded all subsequent ones. Matt Smith inherited the role from a man who made it his own in a way no-one else had done for 30 years – and managed to inhabit the role completely in less than an hour. The youngest actor to play the Doctor managed to make him feel like the oldest, which is reflected in the way he meets his end – his predecessor didn't want to go. He knows what is inevitable, although his successor will not get the bow tie. As I have said before, Peter Capaldi is a phenomenal actor and he immediately makes an impression. But the raggedy man with the big chin will never be forgotten...

NEXT:  "Deep Breath"

"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 Name of the Doctor"

There is sometimes a great danger in teasing the audience too much. The revelations promised usually turn out to be disappointing. However, as this episode shows early on, the words in a question can have more than one meaning, which means that the actual answer could be something completely unexpected. No episode of Doctor Who has left me slack-jawed more often than "The Name of the Doctor", an episode that arguably does more to intelligently redefine our view of the Doctor than any other story produced in colour.

In a very bold move for the 50th anniversary year, the main action takes place on Trenzalore, a world revealed to be the last resting place of the Doctor. Death is a major theme in this episode - of the regulars and semi-regulars, it is only Madam Vastra who has not died and been resurrected. Indeed, the River Song we see is the Data Ghost from the library. Moffat is confident enough to allude to the Doctor’s travels finally coming to an end and, as usual, his inventiveness suffuses the entire script, from the conference call on the astral plane, to the true nature of what is within a Time Lord’s grave. Instead of the body, we have a swirling vortex of light that is a gateway to every moment of the Doctor's life. There have been intimations of the Doctor erasing himself from history and, it turns out, this is for a good reason – if one has the information, one can find the path the Doctor takes from birth to death and, as we find out, the Great Intelligence is information. Richard E Grant is back in fine fettle as an enemy thwarted, but determined to utterly destroy his enemy in death, for the Doctor will now die at every point in his existence – unless someone can save him. The true nature of the Impossible Girl has finally been unveiled and, as many suspected, Clara has been Scarothed throughout the Doctor’s existence. Although I still believe that the season could have been improved considerably by fleshing out Clara’s character a bit more, Jenna-Louise Coleman has been a delight throughout and it is testament to her skill that her sacrifice is as poignant as it is – however it would have worked far better had the audience been as emotionally invested in her as they had with Rose or Amy.

Saul Metzstein again puts in great work behind the camera and there is inspired work from the production team, from the Great Intelligence tearing off Dr Simeon's face to the sepulchral vistas of Trenzalore. Perhaps the Whisper Men could have been a bit more different to the Trickster from The Sarah Jane Adventures, but this is a small nitpick. Metzstein makes sure that the story is full of scenes and images that will stick in our minds and this is key to the success of the story.

The title of the story suggests that we are going to get to know something huge about the Doctor's past and, indeed, the story begins with the first ever scene in Doctor Who set before "An Unearthly Child", followed by re-jigged footage of the first seven Doctors interacting with Clara. As for the current incarnation, our leading man has never been better – in tears as he girds his loins to go to Trenzalore, being hoodwinked into playing blind-man's buff by Angie and Artie whilst they sneak off to the cinema and showing the deep love he has for River, a love which is perhaps not best expressed when the other party is a mental projection that only he can see. The title of the story is one that makes the audience think they want a sound or a collection of letters or symbols. However, this would ultimately be as inconsequential as the words Giovanni Battista Fidanza or Phillip Pirrip – we would still call them Nostromo and Pip and that is what they would always be. The Doctor may not be the name he was born with, but it is who he is and it is what he does – except once. There have been eleven Doctors, but the body which the Eleventh Doctor inhabits is his twelfth. Once, the Doctor did something so horrific that his subsequent avatars denied that incarnation the right to call himself 'Doctor' - and this is what the Doctor and Clara find at the centre of the path of the Doctor's life. Even before he turns around, one of the most recognisable voices in the world indicates that one of the finest actors in the world will play a character that redefines what we know about our hero. We will find out more in November, but what we are left with is an almost unbearably heady, yet utterly intoxicating brew that will be talked about for years.

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"Nightmare in Silver"

If "The Crimson Horror" was an attempt to do The Talons of Weng-Chiang for a 21st century audience, it is not exactly difficult to guess which 20th century Doctor Who story "Nightmare in Silver" is trying to evoke. Like The Talons of Weng-Chiang, The Tomb of the Cybermen is an iconic story that will never be forgotten by those who watched it when it was broadcast. One of those kids who were thus enthralled was obviously Neil Gaiman, who returns to the programme after the unqualified triumph that was his first story and, thankfully, whilst the influence of Tomb of the Cybermen is obvious, Gaiman immediately puts his own stamp on the programme’s second most famous monster. Gaiman takes us to the far future, where a Human Empire (a Great and Bountiful one?) rules hundreds of galaxies. The Cybermen have been the Great Enemy of this period and are considered ancient history by the time of the story. However, when they do return, Gaiman gives them their most radical revamp since their return in 2006, if not ever. The Cybermats, who were, frankly, an embarrassment in all of their appearances in the 20th century, have become the considerably more effective and infinitely more scary Cybermites. They now ‘upgrade’ once they have experienced a threat (stealing a trick from the Borg, which is only fair!) One potential danger of following in the footsteps of The Tomb of the Cybermen is that there are many (including me) who feel that it is a mediocre story with a few very effective moments that has been elevated to a classic purely because it was unavailable for so long and was hugely overhyped by those who were terrified by it as children. Happily, this is not the case with "Nightmare in Silver". The setting of the story, a planet that hosts the largest amusement park in history, certainly gives the story a fresh edge – a base under siege becomes less formulaic if it is a comical castle under siege. It seems for a while that, like The Tomb of the Cybermen, it will fall apart, yet the strands are deliciously brought together for the Doctor to defeat the foe in a truly stunning move.

The characters in the story are all well drawn and performed. It seems that the Doctor has no problem with bringing Clara’s young charges along and, whilst Kassius Carey Johnson doesn’t have so much to do as Artie, Eve de Leon Allen is wonderfully bratty as Angie, without being annoying. Having kids as companions is a tricky gamble that, thankfully, pays off. We also have Tamzin Outhwaite giving a nicely restrained performance as the Captain and the brilliant Jason Watkins is highly entertaining as Webley. In a truly fair world, Warwick Davis would be a leading man and his charisma shines forth in a wonderful performance as Porridge. Clara is nicely sparky and self-assured, but, despite the strength of his support, it is our leading man who dominates every scene in one of Matt Smith’s finest outings. His depiction of the Doctor versus the Cyber-Planner Doctor (or ‘Mr Clever’, as he calls himself) is utterly electrifying and Matt ensures that these very talky scenes never get dull.

Stephen Woolfenden has a long history with Gaiman and he really brings out the fun and zaniness of the script. If there is one criticism I could make, it is that he could have made certain scenes scarier. The new Cybermen look brilliant (with a hint of Iron Man about the chest) although the choreography is a bit overdone. Again, I have to say just how brilliant the Cybermites are – why they were never thought of before baffles me. The production is stunning throughout, from the comical castle to the planet that not only implodes, but explodes (hopefully a reference to a sadly non-canonical story) and, of course, Cyber-tombs way beyond anything that the designers for The Tomb of the Cybermen could have ever have dreamed of.

The Cybermen continue to flourish in the 21st century, with "Nightmare in Silver" being great fun from beginning to end.

NEXT: "The Name of the Doctor"

"The Crimson Horror"

Many of the recent writers on Doctor Who grew up as fans of the programme and this is reflected in the work they do, paying tribute to the show that they loved as a child and, if there has ever been an attempt to do a 21st century version of The Talons of Weng-Chiang, "The Crimson Horror" is it. The story sets out almost immediately to be a grotesque Victorian pastiche, an ideal which is fully realised by the time we reach Sweetville, a vision of what Bournville would have been like had the Cadburys been evil. The plot is a simple one of cleansing the world’s population using a Mesozoic plague, so that the privileged few can inherit the Earth, but it is the details that give the story its shine – the vivid period dialogue, the tent-show evangelism of Mrs Gillyflower’s recruitment drive, the almost relentless Yorkshire-ness, the optograms, the intimations of the rotten extremities of late-Victorian society. However, this is no mere rehashing of past glories. The structure is unusual, with the Doctor only appearing a third of the way through, seemingly already defeated, with his initial involvement told in flashback. As one might expect from the pen of Mark Gatiss, there are jokes aplenty, although whether the fainting man and the name of the helpful urchin are a bit too over the top is a matter of opinion.

However, beneath the shine, there has to be substance and this is certainly provided by the wonderful characters in the story. There is the always welcome return of the Paternoster Gang, although Madame Vastra surrenders her spotlight somewhat to her assistants, with Strax providing some excellent comic relief and Jenny kicking ass in leather (a bit like another TV heroine I could mention). Gatiss enjoys his ripe supporting characters – the coroner could have come straight out of The Talons of Weng-Chiang. However, it is the key characters of Mrs Gillyflower and her daughter Ada that are the true gems and the casting of the legendary Diana Rigg and her talented daughter Rachael Stirling is a true gift. Mrs Gillyflower is a gleefully sadistic super-villain and bluff Yorkshire matriarch in one and Ada, despite being a victim all her life, is allowed real reserves of strength – refusing to forgive her mother and summarily dealing with Mr Sweet. Despite his apparent defeat, the Doctor is soon up and running with Matt in fine fettle – his Yorkshire accent is hilarious. Clara (at least until the final scene) is somewhat in the background, however.

Saul Metzstein concocts an intoxicating brew from Gatiss’s recipe with increasing confidence in getting memorable shots, from little things like the scrape of Ada’s stick on the ground to the presentation of the flashback, where you can almost hear the projector whirring. As expected, the production is top notch, with the period detail impeccable. A special mention must be made of Mr Sweet, without doubt the vilest monster to appear in the series this century – in fact his demise is very nasty, and the closest a family show can get to an early Sam Raimi/Peter Jackson splatter scene.

Gatiss has really returned to form this year and this hugely enjoyable story is a welcome addition to the Who canon.

NEXT: "Nightmare in Silver"

"Journey to the Centre of the TARDIS"

Like the Master, I can't resist a ticking clock and relentless 'race against time' narratives are easy to make compelling. However, they can have minimal rewatch value, as I commented on when I rewatched "42". I was not particularly impressed with Stephen Thompson’s script for his previous story, "The Curse of the Black Spot" but I was extremely impressed by "The Reichenbach Fall", his script for Sherlock, so I was intrigued as to what he would cook up for his second effort. Thankfully, Thompson has remembered something very important – if your story is going to be a runaround, make sure that the things being run to, with and away from are interesting. The mythos of the TARDIS is intriguingly explored – the oft-mentioned TARDIS swimming pool (which appears to be the size of the Sea of Galilee) the intriguing library with liquid books in bottles, the tree-like architectural reconfiguration system and we finally get to look into the Eye of Harmony. There are monsters lurking in the TARDIS and their true nature makes them all the more chilling. After the running around and the ensuing catastrophe, there is a big friendly reset button to be pressed, of course and, I must again state that there are no inherently bad plot devices, just bad uses of them and if you can't play with the structure of time inside the TARDIS, then where can you play with it?

Matt Smith continues to be as mercurially electrifying as usual and Jenna-Louise Coleman continues to delight as Clara and the story has us finally trusting Clara, if still not understanding who or what she is. The supporting characters, the VanBaalen brothers are simply drawn, yet very effective – of course Gregor would attempt to steal a circuit, putting the whole enterprise in danger, of course he would exploit his younger brother's accident to take control of the company. It is things like this which make the apparently contrived plot points work, and a far cry from Guy Crayford's eye. Since Grange Hill and his days as 'Asher D', Ashley Walters has progressed in leaps and bounds as an actor to match his natural charisma and he makes Gregor thoroughly believable. Jahvel Hall also does fine work as Tricky although I’m not so convinced by Mark Oliver as Bram. Oliver's uneven performance apart, Mat King makes a fine début behind the camera making the story tense and scary. The production values are astonishing, with the set design being fully up to realising Thompson's concepts, the awe inspiring Eye of Harmony being only one highlight. The monsters are a very simple piece of design that, presumably, didn’t eat up too much of the budget – yet they do exactly what they are supposed to do with great effect.

A wise man once said, "The kids want Narnia, not the wardrobe". However, the TARDIS is one hell of a wardrobe and, whilst it isn’t as brilliant as the previous ‘wardrobe story’, "The Doctor’s Wife", "Journey to the Centre of the TARDIS" is boldly imaginative and exciting and certainly merits a rewatch or two.

NEXT "The Crimson Horror"

"Hide"

Despite the extremely negative reaction to "The Rings of Akhaten" in fandom (which is as hilariously exaggerated as these things tend to be) Neil Cross is clearly a writer to watch and we are given a chance to see what else he could conjure with "Hide". The story is obviously influenced by the work of Nigel Kneale, especially The Stone Tape (a comparison made more obvious by the early 70s setting). Cross immaculately gives his own Doctor Who spin on pseudo-scientific haunting – the journey to ‘always’ is a three minute sequence that could only work on this programme. The way the basic plot unfolds is believable (more on some of the details later) and meshes in beautifully with the concepts. The cast of characters is tiny and, although they are hardly complex, Cross manages to make them archetypal without making them clichéd and they are given a bit of originality – Emma is the sort of character that becomes the Doctor's ally, yet she never fully trusts the Doctor, even at the end. There are a few nitpicks I have concerning the finer details of plotting, however. I presume that the reason the TARDIS is able to survive in the pocket universe is Emma’s intervention, as that is when the TARDIS grants Clara access. However, this type of construction is in the fuzzy grey area between not spelling everything out and relying on fan theory. Also, I feel that the Crooked Man/Woman should have been just a threat in the pocket universe and the fact that there was another Crooked Woman/Man in Caliburn was not fully explored. Had it recently appeared? (which would make the most sense, otherwise it would have been just as much a part of Caliburn’s legend as the Ghast). The ending does work, but I can see how others might be disappointed.

Jamie Payne helms a flawless production. He has a real sense of getting scares for a teatime audience, which is good as, if any story this series cried out for dark skies outside, it is this one. His handling of the journey to ‘always’ is very low key, which is a brave, but hugely effective choice. The production team evokes the seventies very well, without making it look as garish as the real decade was. The realisation of the Crooked Man/Woman and the Ghast will cause nightmares even after the true nature of the Ghast is revealed. The supporting cast, as said, is tiny, but what it lacks in quantity is more than made up for in quality. Dougray Scott is a hugely talented actor and Jessica Raine has it in her to become a true superstar and they make the clumsy, but heartfelt budding romance between Alec and Emma truly convincing. Kemi-Bo Jacobs doesn’t have much to do as Hila Tukurian, but she is effective enough. Matt Smith is as wonderful as ever and Jenna continues to work wonders, what with her failed efforts to make friends with the other woman in the Doctor’s life.

A few nitpicks aside, "Hide" is totally effective in what it sets out to do, a wonderful evocation of BBC Ghost Stories For Christmas of the 1970s, with a dash of Sapphire and Steel. And, as far as I am concerned, so long as he does the job, Matt Smith can pronounce Metebelis however the hell he likes!

NEXT: "Journey to the Centre of the TARDIS"

"Cold War"

Unlike "The Rings of Akhaten", "Cold War" doesn’t have an original bone in its body. The basic premise is exactly the same as that of The Ice Warriors 45 years ago and other parts of the plot bear similarities with Alien, Das Boot and The Abyss and less well known fare such as David Twohy’s underrated Below. As well as its obvious forbear, it is a throwback to the base-under-siege formula that formed the vast majority of Troughton’s second season – a well loved era, but one which has also been called one of the most creatively bankrupt in the programme’s history. However, despite all this, "Cold War" is a joy from beginning to end and shows just how something fresh can be made from an old recipe.

"Cold War" has the advantage over its 60s inspirations, in that it is not surrounded by stories with exactly the same plot. Mark Gatiss trims the plot of every ounce of fat, meaning that the interminable (and sometimes idiotic) longueurs that plagued similar stories forty years ago are not evident.¤ Instead, this is a story with not one second wasted. The slightly different attitude of the revived programme has never been more evident than here - in 21st Century Who, only the Daleks and Cybermen are monolithic adversaries. The fact that Skaldak is a character, rather than just a monster makes the conflict with the crew far more interesting. Gatiss is a fine writer who has never¤ matched the success of his first Doctor Who story, "The Unquiet Dead" – until now. This deceptively simple story shows a great deal of skill in its construction, with Gatiss’s trademark textual depth – Skaldak is the greatest hero of Mars and the submarine commander is named¤ Zhukov, an obvious nod to the most renowned Soviet general of the Second World War. There is a level of cheekiness in the story showing its roots, particularly Alien!

Douglas Mackinnon makes a triumphant return to the programme taking Gatiss’s script and giving it pace and subdued scares when required. There is a level of implied violence that hasn't really been seen since the programme returned, notably the discovery of the dismembered bodies, which Mackinnon handles with just the right amount of shock for a family audience. The look of the episode is phenomenal with great, atmospheric use of lighting. Gatiss takes the stock characters of the base-under-siege story and somehow makes them real, helped by the great cast that Mackinnon has at his disposal. Liam Cunningham has always brought his gruff charisma to every role he plays and Zhukov is no exception. Then, there is the inimitable David Warner who finally makes an appearance on Doctor Who and makes the unlikely character of a septuagenarian Soviet New Romantic geologist seem not only plausible, but lovable. Matt Smith relishes the opportunity to pay tribute to his own favourite Doctor, but it is here that Clara really comes into her own as a character. The scene of her talking to Skaldak is brilliantly played by Jenna-Louise Coleman as Clara's understated trauma after seeing what Skaldak did to the sailors.

However, the big draw of the story was the long-overdue return of one of the programmes most iconic monsters. The redesign is faithful to the original, yet does not seem dated. Gatiss makes the risky decision of taking the Martian out of his armour – indeed this is the first time it has been positively established that it is armour and not just part of the Ice Warrior’s body. The creature is a lot skinnier than expected (although still very strong) but moves like lightning. Wisely, we never see the whole body and the first views of the head are shrouded in steam and the final unmasking is memorable, with a fantastic design.

I have no nostalgic memories of the Ice Warriors, having not even been born when The Monster of Peladon was broadcast, let alone their first story. However, like many others, I have had a fantastic ride and am glad to welcome the Ice Warriors back into the fold.

NEXT: "Hide"

"The Bells of Saint John"

"The Bells of Saint John" is a strangely old-fashioned story – an odd thing to say about something which is just as energetic as we have come to expect from 21st Century Doctor Who. However, it feels more like a RTD era story than any other since Moffat took the reins. Nevertheless, it still has the unmistakeable mark of Moffat to it, especially in the way it keeps its various narrative plates spinning and things like the random diversion to the Cumbrian monastery in 1207 (not the best time for monks or legendary outlaws). The foe in the WiFi is, fittingly, something that seems both very Moffat and very RTD, but the concepts are still sound (Moffat is inspired again by his superlative short story "Corner of the Eye") but, despite the seriousness of the threat, one thing that becomes obvious is how much the Doctor is in control at all times, never being outmanoeuvred for long – no sooner is a petard deployed than the Doctor ensures that the foe is hoisted by it. However, Moffat is far too good a writer to become repetitive and just when it becomes a bit too obvious that the story was written by a man in his fifties (not even 'not knowing about the internet' would preclude any 24 year-old making a joke about Twitter) such things as Clara’s use of the webcam and the Doctor’s use of his Spoonhead feel joyous, rather than stale

A probable reason for Moffat giving the Doctor such an apparent easy ride is the fact that, despite this being her third appearance, we still know less about Clara than we did about Rose, Martha, Donna and Amy after their first episodes. This is obviously deliberate and, with all the plates that Moffat has to spin, there has to be a sedate core for the character to even start to settle in the viewer’s mind. This is, of course, assisted by Jenna-Louise Colman’s performance and Matt Smith’s wonderful chemistry with her and Clara certainly feels like a character, rather than a plot device with a pretty face, which is the important thing. Colm McCarthy helms a very confident production, equally adept at the comedy, the menace of the Spoonheads and the awesome sight of the Doctor racing vertically up the Shard. and a fine supporting cast. Celia Imrie never fails to be excellent in whatever role she is in and the brash confidence of Miss Kizlet is well played, which makes the performance of the final moments of the character all the more jarringly effective. The main villain is revealed to be the Great Intelligence which, apart from meaning the very welcome return of Richard E Grant, hopefully bodes well for the return of its more corporeal and fuzzy embodiment.

I have to say that this is probably my least favourite season opener of the Matt Smith era – the fact that we still don’t know much about Clara at the end (deliberately) makes this story a bit harder to love than the others. However, I have absolutely adored the others, so that is no real insult. In any case, "The Bells of Saint John" is still a hugely enjoyable 45 minutes of a programme that is entering its 50th year with panache.

NEXT: "The Rings of Akhaten"

"The Snowmen"

Those expecting a Steven Moffat take on It's a Wonderful Life or The Box of Delights were to be disappointed, as Doctor Who’s 2012 Christmas special is not a reinterpretation of a well-known Christmas story but, instead, weaves a tale set in that most Christmassy of Yuletides, the Victorian Christmas. This is probably because, for the first time, Moffat has more to do than to tell a tale of seasonal peril. He has to introduce the replacement for the longest running companion since the programme returned.

If there is a theme to the story, it is that of elective loneliness. The Doctor is in shock after losing Amy and Rory, so he has retired to his castle on a cloud. Captain Latimer loves his children, but cannot connect with them. And, of course, the entire crisis begins with a small boy who refuses to make friends. When the title of the episode was announced, as well as possibly paying homage to Channel 4's most beloved Christmas tradition, long-time fans of the programme spotted a similarity with a previous story which, as it turned out is no coincidence- amongst its other aims, this story could also be called "Genesis of the Great Intelligence". The development of the menace itself is, perhaps, the weakest aspect of the script Although the progression of the crisis does make sense, it is somewhat workmanlike (in that respect, very much like the Yeti stories!) and, it has to be said, that Dr Simeon is not given as much richness in the script as he should do and it is testament to the considerable skills of the would-be/sort-of-was Ninth Doctor, Richard E Grant that he makes as much of an impression as he does.

However, as with The Abominable Snowmen and The Web of Fear, there is so much more to enjoy in the story. The dialogue is as tart as ever- the ‘answers of one word’ sequence has one expecting a standard writing exercise and becomes so much more and, of course, the comedy sequence are as funny as ever We also have the welcome return of Madame Vastra and Jenny, with the much-appreciated resurrection of Strax the Sontaran. Tom Ward gives a very convincing performance as Captain Latimer, and we have none other than Sir Ian McKellen lending his inimitable baritone as the voice of the Great Intelligence. However, the heart of the story is the Doctor meeting his new companion for, as it turns out, the second time. Jenna-Louise Colman continues to captivate and has no problem in filling Karen Gillan’s shoes. The Doctor’s reluctance to help and to reach out, with his joy in finding a new friend is effortlessly conveyed by Matt Smith.

Saul Metzstein directs a sumptuous production, which, whilst it doesn't match the extravagant visuals of the past two Christmases, is seasonally cinematic, nonetheless, with such breathtaking images such as the stairway to the clouds ('taller on the inside'). The Snowmen are genuinely memorable creations which will no doubt influence winter playtimes for years to come. A minor flaw in the production is that the masks for Madame Vastra and Strax could do with refurbishment and a fresh light test, but it hardly matters.

"The Snowmen" ends with the mystery of who Clara Oswin Oswald really is- did she go the way of Scaroth in the Time Vortex? Perhaps the fact that the Great Intelligence only ‘rings a bell’ with the Doctor is relevant- is it just one thousand years of memories, or have memories been stolen? Again, Easter can’t come too quickly...

NEXT: "The Bells of Saint John"

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"The Angels Take Manhattan"

The tale opens in a a kind of East-coast pastiche of Dashiell Hammett and Raymond Chandler- the excellent teaser has Sam Garner, the hard-boiled detective being given his assignment, his confident and florid voice-over on the soundtrack. However, his mission, though innocuous to him, will have far more significance to the viewer- Manhattan has been overrun with the most iconic monsters of the 21st century iteration of the series and Garner is walking into a trap. The Weeping Angels are as terrifying as they have ever been and Moffat explores new levels of their malevolence with the 'battery farm' they have built in Winter Quay. The baby angels are a chilling addition with their light-hearted, yet gleefully sadistic cackling. As "Blink" was the story to give us the phrase 'timey-wimey', it is fitting that Moffat manages to find new levels to take timey-wimeyness- too much of it and the effect on time travellers is like an erupting Icelandic volcano. For Moffat, as a writer, the idea of using a book to forge the timelines would have been irresistable, including a retort to the statement 'Time can be re-written'. Again, the story seems chaotic and yet it manages to work brilliantly. Of course, this is aided by the realisation of the story is first rate, with Nick Hurran again putting in outstanding work in the director's chair- his construction of the scenes with the Angels moving in for the kill are sublime and the little touches that only work on a second viewing- when Garner is approaching the house, he sees an old woman, a woman in her late thirties and a young girl looking out of the window. It becomes obvious only later, that they are the same person. The shooting in New York is refreshingly free of cliché, except for the greatest one of all, which is wickedly subverted- although the Statue of Liberty being an Angel doesn't make much sense (if there is one statue in the world that is constantly under at least one person's gaze, it's Lady Liberty) but it is such a fantastic image that I, for one, can forgive it.

Memorable as all this is, "The Angels Take Manhattan" is the Ponds' swan-song and it is this which drives the action and gives the story its heart and soul. The Doctor should not be alone. There have been many reasons given for this, all of which are valid. However, most of his companions have been human and, devoted as he is to them and vice versa, the time of parting is inevitable. There are palliatives, as River takes (literal) pains to demonstrate, but no cure. It is time, now, for the Ponds to bid farewell. We have followed the story of Rory and Amy like no other relationship in the history of the programme. Amy might have tried to seduce the Doctor, they might have been on the verge of divorce, but their love has remained nevertheless. They have had the Doctor in their lives since childhood and that has impacted them greatly- it is Rory who comes up with the solution and it is their courage and love that they share that defeats the Angels. When, in the midst of victory, Rory is cruelly snatched away, Amy knows instantly whom to choose. Rose will abandon her family for the Doctor, but Amy has always loved Rory more. Time cannot be re-written if it is read, and nothing sets the future in stone better than an epitaph. Whatever happens, Rory Williams and his wife Amelia will die in New York. The emotional ups and downs are brilliantly conveyed by Moffat, with outstanding performances by the regulars. Gillan and Darvill put in their best performances ever and Matt Smith's restrained sorrow with occasional bursts of anger and anguish is wonderful. Alex Kingston is as wonderful as ever as River, the psychopath, who, nevertheless performs yet another series of selfless acts.

As with Madame de Pompadour and Kathy Nightingale their last words are in writing, giving a bitter-sweet, yet satisfying ending to the story. The Doctor always rips out the last page as he doesn't like endings (bubbling under the emotion of the stories were thoughts of one of Tony Hancock's finest Half Hours!) but Moffat and Hurran leave us with a final memory that is a happy one- young Amelia hearing the sound she has most wanted to hear. "The Angels Take Manhattan" is wonderfully entertaining, genuinely moving and a great send-off to a pair of genuinely beloved characters.

NEXT: "The Snowmen"

"The Power of Three"

Chris Chibnall has written some of the least impressive stories produced for Doctor Who this century, but I, like many others, was very pleasantly surprised by "Dinosaurs on a Spaceship". However, it could be argued that such a premise would be hard for anyone to dislike, so the question was, could he pull it off again? "The Power of Three" contains some of the faults of Chibnall's previous stories- ill thought out plot points and pulling a rabbit out of the hat to compensate for the fact that he has written himself into a corner- the one here is particularly egregious, which I shall talk about later. Having said that, this is, nevertheless, a story with moments of true greatness and contains some wonderful writing.

The 'slow invasion' of the cubes is an intriguing idea from the start and instantly iconic. The premise recalls Nicholas Fisk's children’s sci-fi novel Trillions and the look of the cubes are like nano-monoliths à la 2001: A Space Odyssey. The changing perception of the cubes from headline news, to novelty, to half-forgotten bric-a-brac is a well thought out part of the plot, as is the fact that every cube reacts differently.

However, it is the people in this story that makes it so compelling. Chibnall has never been subtle in his characterisation, but here, where he has to juxtapose the 'Doctor-life' with 'Pond-life' and he manages to create a believable domestic setting, as well as whisking the Ponds off to spend their anniversary at the Savoy, being waited on by a Zygon Escoffier. Again, we see the Doctor coping in an ordinary domestic setting, but in a completely different way to "The Lodger" and "Closing Time", as he has to live through the boring bits as well. In fact, if you look at it, the Doctor is in a kind of self-imposed exile for a year, shooting off in the TARDIS when the boredom gets too much. In what could be effectively read as a hyper-compressed Third Doctor season, it is fitting that this is the first proper UNIT story of the Eleventh Doctor era. UNIT has changed, led by a woman who has known of the Doctor all her life. The revelation of Kate as being the Brigadier's daughter is perfectly handled, helped in no small way, by an outstanding performance by Jemma Redgrave. The nature of the threat is not, as was thought, an invasion, but of sterilisation of 'the human contagion' by the Shakri, the 'pest-controllers of the universe'. The Shakri is played by none other than Steven Berkoff, who knows how to be menacing in fifty different ways. There is beautiful dialogue between the Doctor and the Ponds- the Doctor explaining to Brian what happens to his companions, the Doctor explaining to Amy why his bond with her is so strong, all of which is brilliantly conveyed by the regulars. Douglas Mackinnon returns to helm a very confident production that seems like a Hollywood blockbuster and a classic afternoon BBC children's drama at the same time- the Shakri porters will feature in a fair few nightmares from now on. In years to come, 'the one with the cubes' will be as much part of childhood memory as 'the one with the maggots'.

The ideas are intoxicating and the concepts are explored well. There is, however, some woolly plotting- why are people being abducted from the hospital and why does the Doctor leave most of them to die on the Shakri ship? Which brings us to the resolution. Restarting the stopped hearts is scientifically stupid on a Gerry Davis/Kit Pedler scale and cannot be ignored- I assume Chibnall is lucky enough not to have known anyone who has had a heart attack. The real tragedy is that it is in no way intrinsic to the plot. If the cubes had released a disease, or evil nanogenes or, indeed, anything plausibly reversible it would have elevated the story to fresh heights.

It is a real pity about the denouement, as it stops the story from being one of the best of the Eleventh Doctor era and a true classic. However, it doesn't spoil a story that has a great deal to offer in so many other areas and actually makes me not dread the next Chibnall script- so long as it goes through a few more drafts this time!

NEXT: "The Angels Take Manhattan"

"A Town Called Mercy"

After 46 years, Doctor Who finally returns to the Western genre in another fine offering from the pen of Toby Whithouse. This is a tricky genre to pull off and the temptation is to resort to pastiche, but although it initially seems to be heading that way (The Doctor's order at the bar, the undertaker measuring the Doctor) it soon becomes evident that much more is going on here. The finest Westerns use the setting to explore themes of morality where law and order is fragile, of the extreme personalities drawn to frontier outposts, of people running from their past, running to their future and, frequently, both. Notably, westerns usually feature a mysterious stranger, of whom there is more than one...

One thing that the story gets right very early is making sense of the Western in a historical context. This is the Old West in the years following the American Civil War, where America is 'a land of second chances' and strangers with murky pasts can make a new start. Into the frontier town of Mercy comes Kahler Jex who is, by all appearances, a kindly doctor with a weird tattoo. However, he is actually an alien, coping with the after-effects of a war of his own, for he brings in his wake a cyborg gunslinger who is keen to pass judgement. It is made obvious from the start that the Gunslinger's motives are not dishonourable and Jex's crimes might be too horrible to forgive- hints of a more recent war with even fewer shades of grey. Into this is brought a more familiar alien Doctor, who, more than ever, has to figure out exactly what is the right thing to do.

The characterisation is intriguingly shaded and the performances have to be first rate. Adrian Scarborough is fully up to making Jex work- we can fully believe in him as the man who saved Mercy from a cholera outbreak and as a man who conducted horrific experiments is a war. Ben Browder, a sci-fi icon in his own right, brings a sense of decency and authority to the role of Marshal Isaac. As the Gunslinger, Andrew Brooke is imposing, but keeps a sense of pathos. The Doctor's role is more complex than usual- there is danger and, perhaps, real evil, but no one enemy for the Doctor to defeat. The Doctor is motivated to do some pretty extreme acts himself- in a town called Mercy, it seems he is running low of that particular commodity and it is his companions who must remind him of who he is. Matt Smith is electrifying and Gillan and Darvill manage to work brilliantly with him. As has been made clear before, the Doctor needs his companions to help him see the details of the Big Picture. Despite a bit of narrative wobbliness (repetitive scenes of people running around pretending to be Jex) Whithouse manages all this, whilst still maintaining his wit, with some sparkling bits of dialogue and some very funny lines- it takes a special sort of writer to include a horse that has finally come to terms with its confused gender issues!

Saul Metzstein helms a very assured production, helped by the use of iconic locations in the Almerian deserts, so beloved of the likes of Sergio Leone, meaning that the viewer is never less than convinced of the setting. The costumes and special effects are first rate, managing to integrate seamlessly with the setting. Metzstein gets the best out of the supporting cast and masters the tracking shots, low angles and canny editing that are typical of Westerns.

There was a film called Cowboys & Aliens recently that threw a colossal budget at attempting a western/sci-fi hybrid. On a fraction of the budget and in a fraction of the time, "A Town Called Mercy" manages to accomplish this fusion with far greater effect and remaining true to the tenets of Doctor Who. The Doctor saves the day by helping someone be a better person, and the monster, revealed to be a victim, becomes the champion of Mercy. Again, Doctor Who manages to make an outstanding Western episode that is completely different from the previous one. This is a real keeper, which will reward many repeat viewings and here's hoping we don't have to wait another 46 years for the Doctor's next trip to the Wild West!

NEXT: "The Power of Three"

"Dinosaurs on a Spaceship"

If I had been given the opportunity to write for Doctor Who between 1980 and 1989, the story I would have written would have also been called "Dinosaurs on a Spaceship", combining two things which I was (and, lets be honest, still am) obsessed with. Which is why I felt a tang of rage when I found out who the writer would be. The only time Chris Chibnall has not provided the absolute worst script of the seasons that he contributed to, was when he was beaten to it by Helen Raynor writing the worst story of the revived programme by a clear margin- and she, at least, redeemed herself with her next offering. However, whilst "Dinosaurs on a Spaceship" contains some of the ill-thought-out woolliness and cuniculae ex cappelum that his other scripts have displayed, I must say that it is, nevertheless, a joy to watch and tremendous fun, from beginning to end.

The story itself in simple but this is a relief, as Chibnall's other efforts have been blatant rewrites of older Doctor Who stories. I was afraid that this would be a rewrite of Snakes on a Plane, or an attempt to do a Doctor Who version of the enjoyable, but thoroughly second-rate, ITV/Watch drama Primeval, but, thankfully, neither is the case. The dinosaurs do not take up as much of the plot as in the average Primeval episode, which is initially a slight disappointment- we see only a sleeping juvenile T.rex, which is barely more mobile than the one in The Mark of the Rani (although far more realistic!) when what we want, of course, is a rampaging adult. In the long term, this is to the episode's advantage, as more time is spent on the actual human drama than creature peril- one of the reasons why Doctor Who is a far better programme than Primeval. The jokes are great- "Only my balls!" is very nearly inappropriate- but not quite, and therefore hilarious! Chibnall's plotting is a bit sloppy, but some of it actually works in the story's favour- he doesn't bother to explain how the hydro-powered engine room works, but this adds to the bold sense of the unknown: "It's a big universe; stars can burn cold, sofas can read." Some of the sloppiness isn't pulled off- if the Silurian ship has already entered the atmosphere, destroying it would be very little better than just letting it crash. I am always happy when we see that the future isn't full of just British, Americans and Russians, but I have to point out that India actually already has a space agency called the Indian Space Research Organisation (ISRO) not the ISA. Still, the name could have changed...

However, the real reason for this success is the appealing array of supporting characters that populate the story- the big-game hunter Riddell is played by the always watchable Rupert Graves, who gives him a perfect balance of Allan Quatermain and Lord John Roxton to make him a thoroughly dashing rogue. Riann Steele is well up to portraying one of the most iconic figures in history and Nefertiti's disappearance from the historical record means that the programme can play fast and loose with the fate of the Lady of The Two Lands. Mark Williams is absolutely perfect as Rory's dad Brian, with his natural likeability being a great asset. Physically, he doesn't look much like Arthur Darvill, but the look of befuddlement on both their faces is uncannily similar, as is the shared body language. Solomon is a thoroughly odious villain, played by the brilliant David Bradley. Dispassionately killing all the Silurians on the spaceship, calmly ordering his robots to injure Brian and his horrible threats to 'break' Nefertiti, mean that his eventual fate is well deserved (and certainly not unprecedented or out-of-character for the Doctor). Speaking of those robots, the voices of Mitchell and Webb are perfect and they are a great comic creation by Chibnall, although the 'Daisy...Daisy' bit is, perhaps, a bit too arch. Rory is the heroic super-nurse and Amy finds her inner huntress in a set of performances by Darvill and Gillan that shows they were clearly having a plesiosaur of a time (sorry!) Whether calmly leaving Solomon to his fate or planting one on Rory's lips, the Doctor is as mercurial as he has ever been and Matt continues to impress.

Saul Metzstein makes an impressive début in the directors chair, making the excellent cast work wonders and creating some wonderful scenes- riding Tricey, the Pteranodons on the beach and, most wonderful of all Brian looking down at the Earth in space, whilst having a cup of tea. The production is excellent (apart from some dodgy CGI when the missiles finally hit their target) and, of course, finally, finally, the programme finally has some dinosaurs it can be proud of- angry ankylosaurs, demonic dromeosaurs and, of course, the doomed, but lovely Tricey the Triceratops. The young-to-teenage me would have been in heaven.

It may not be deep, nor particularly clever, but "Dinosaurs on a Spaceship" is wonderful entertainment and Chris Chibnall finally has a story he can be proud of!

NEXT: "A Town Called Mercy"

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"Asylum of the Daleks"

...and we’re back, with the return of the Doctor’s arch enemies for their first starring role in over two years. Since the return of the show, the Daleks have featured in some of the best stories (“Dalek”, "Army of Ghosts"/"Doomsday") and the absolute worst ("Daleks in Manhattan"/ "Evolution of the Daleks"). This is, however, the first time that Moffat has written a Dalek story and, it must be said at the start, his run of excellent series openers remains unbroken.

The plot is simple- The titular Asylum is a planet, containing the insane survivors of the most brutal Dalek conflicts and has been absolutely secure- but a breach has occurred and these horrors could escape. Only the Doctor has what it takes to enter the Asylum and deactivate the force field, so that the Asylum may be destroyed. So far, so generic. However, other threads have been weaved in. The source of the breach is heralded by a voice of an incredibly bright young woman who can marshal Dalek technology like no-one has ever done before, but has a problem mastering the art of soufflé making. Also, as hinted at in the Pond Life shorts, the marriage of Rory and Amy has fallen apart, but it seems that the nightmare of the Asylum, with Amy in danger of succumbing to the Dalek nanogenes in the atmosphere, might be what will bring them together again. It is wonderful how Moffat can show how a relationship where two people are so completely in love can fall apart, but there is, of course, hope, as humanity is a hard thing to lose. Moffat's trademark sparkling dialogue never loses its soul. 'What can you do?' states Amy, regarding her split from Rory. 'What can I do?' says the Doctor. Oswin Oswald is fantastically appealing and ideal companion material, but it, emerges, she really is too good to be true and it emerges that eggs/exterminate joke is darker than initially thought. There is also the brilliant concept of the Dalek zombies which, I hope, will be brought back at some point. The script is so full of ideas and feelings and so tightly constructed that explanations are not needed, even when significant changes in the Whoniverse are intimated- the Daleks are back as a major force in the cosmos, but the Asylum is an artefact of the old, pre Time War, Dalek Empire that is regarded with a mixture of horror and admiration.

Nick Hurran returns to the director’s chair and his eye for a great shot is very welcome. It must be said that "Asylum of the Daleks" is a faster paced, more action packed episode that either of his other episodes, and Hurran seems to be a bit outside his comfort zone- he doesn’t quite pull off the Zombie Dalek attack for example. However, in slower, subtler moments, Hurran is masterful. The selling point for the episode was the fact that it had Daleks from every point in the programme’s history. This is true, but it would have been great to have had the Special Weapons Dalek fire at least one shot! Happily, the RDT era Daleks are the focus, with the bulky new Paradigm Daleks pushed to the background- hopefully it will stay that way and is a sign that Moffat has realised his mistake. As usual, Hurran manages to get the best from a very talented cast. Anamaria Marinca, a wonderfully soulful actress whom I have long been a fan of, is excellent as Darla, the lead Dalek ‘puppet’. The regulars are on fine form, especially one who is not a regular yet. Jenna-Louise Colman is utterly charming as Oswin and I look forward to seeing her join the Doctor on his travels- whatever character she plays. The regulars have to play their parts very carefully, as Amy and Rory's personal crises have to balance perfectly with the perils of the Asylum and Arthur and Karen are totally convincing in this regard. The Doctor has to take a more reactive role that he has ever had to this century, but Moffat knows who the star of the show is and just how good his leading man is. What we get is a very delicate, yet seemingly effortless synergy between the regulars and the writer that is pulled off perfectly.

There have been some comments about Moffat reusing themes. This is nothing new, to be honest- from The Arabian Nights to Dickens, themes have recurred, but to tell different stories. Yes, Oswin is a bit like CAL, the nanogenes cause humans to sprout horrendous alien appendages,¤ etc. The story is different and the effect is different and Moffat is in no way on auto-pilot, but is keen to make things uncertain, to pull us out of our comfort zone- most notably in the fact that the Daleks forget the Doctor, removing one of the oldest relationships in the programme. If the Doctor is the Daleks’ Devil, he has pulled his greatest trick...and I for one am delighted!

NEXT: "Dinosaurs on a Spaceship"

"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"

"The God Complex"

Toby Whitehouse’s previous script for Doctor Who was "The Vampires of Venice", a very enjoyable, yet somewhat lightweight tale and it is not surprising that it was a last minute replacement. The story it was replacing was this one and, it has to be said at the start, that lightweight is the last word that can be used to describe "The God Complex". It works as a condemnation of religion- faith is what feeds the monster, moreover, that faith has to be ‘converted’ for it to be used: the deity devours its worshippers. It works as an affirmation of religion- faith is part of what is best in us. It also dispassionately looks at what a post-religious society might do with its gods when they are no longer needed. There are concepts that could form the basis of their own stories- the Tivoli, who are the most conquered race in the Galaxy and, consequently, one of the oldest, because their cowardice has become real strength. Even the title works on more than one level- the Doctor has his god complex but the hotel itself is a literal God complex. However, like the all of the best Doctor Who stories, it can be enjoyed on less cerebral levels, including the simplest and most important one- as a scary tale of a monster that stalks the corridors of what looks like a 1980s hotel.

Whitehouse's dialogue is beautiful, profound and funny. The characters are well written and excellently performed. Amara Khan is instantly memorable as one of the greatest companions the Doctor never had, Rita (incidentally, also the name of the character she played in The Darjeeling Limited). She is smart and funny, but her belief is that they are in Hell (incidentally, the word ‘Jahannam’ is also used by Arabic speaking Jews and Christians and derives from Gehinnom/Gehenna which... oh, look it up!) Dimitri Leonidas is given some of Whithouse’s most chilling monologues and performs them with aplomb. Gibbis, the Tivolian is performed with cringing perfection by David Walliams. These performances are expertly marshalled by Nick Hurram who pulls out all the stops, with split second shots, superimposition and great use of sound and imagery- the scrape of the flaking gypsum from the monster’s horns, the superimposition of 'praise him', the room full of laughing dummies. There must have been shot coverage of feature film proportions for the scenes to work and the cinematography again is sublime. The truly astonishing thing is that, despite the obvious influence of Kubrick’s The Shining, at no time does "The God Complex" seem like merely a homage/rip-off- it takes the imagery and puts its own spin on it.

The regulars continue to excel. Rory will probably be the last to go as his pragmatism seems to be his protection and Arthur Darvill continues to astound, as does Karen Gillan. Matt Smith effortlessly plays the Doctor’s conflict- things are clearly going out of his control and he must continue alone. It is easy to compare making Amy lose faith with the similar scene in The Curse of Fenric, and the more manipulative Doctor seen in "The Girl Who Waited" would seem to support this- however, this is, as we've come to realise, an older, kinder Time Lord.

This is a bona fide classic, a tale that will open itself to new interpretations with each viewing and, if it is a kind of sequel to The Horns of Nimon, it has to rank as the best sequel of all time!

NEXT: "Closing Time"

"The Girl Who Waited"

One of the themes that Steven Moffat loves to explore is the perception of time travel for the outsider, those who are left behind, a theme which is blatant in "The Girl in the Fireplace" and a clear subtext in "Blink". Time travel puts lives out of synch, which can be hard for both the time traveller and his wife. Since Moffat took the reins of Doctor Who, we have had Rory, waiting 2000 years for Amy and now it’s Amy’s turn. The story takes us to the planet Appleappacia, where a plague has meant that billions of lives have to be kept in quarantine in different time streams and pressing the wrong button in the lift can mean being separated from your loved one for decades. However, while this story and "The Big Bang" are about love, the aspects of love (damn that Lloyd-Webber!) explored are subtly different, resulting in a very different story. "The Big Bang" was about a love eternal, but "The Girl Who Waited" is about what makes that love eternal. Amy and Rory’s love is so simple, yet so profound, that it can survive a jump in the time tracks and means that the dilemma for Rory, when he has to choose between the fifty-something and twenty-something Amys seems real and the older Amy’s desire to cling onto that version of her life is also believable. This is Tom MacRae’s return to Doctor Who after 5 years and, to say that this story is more sophisticated than "Rise of the Cybermen"/"The Age of Steel" is something of an understatement. The ideas are strong enough to stand on their own, but it is the dialogue which truly sparkles. Amy’s description of loving Rory is utterly wonderful, one of the all-time great speeches in the history of the programme. It is another great example of a story with no real villain, but no less intriguing for that. The very power of the story means that we can forgive the few flaws- how can anyone not say 'press the green button'?!

Nick Hurran’s direction is utterly sublime, with slow cross-fades and seemingly random cutaways- he is known, mainly, for directing romantic comedies, funnily enough, but he is the absolute master of this story. The visuals are stunning, especially the Lewis Carroll-via-Tim Burtonesque Garden, and the inspired use of the magnifying glass screen. He manages to make the Handbots look both scary and funny, something which extends to his mastery of mood for the whole story. Great moments abound- Rory's vandalism of the galaxy's greatest treasures in order to save his wife, the older Amy's look at the Earth before she ceases to exist. This is a story where the regulars are the only real characters and all of them have great material to work with. Karen Gillen has great make-up for the older Amy, but it is the performance which absolutely sells it. Arthur Darvill is not to be overshadowed, however and, although our leading mad is placed more in the background, Matt’s stamp is very much felt, especially the expressiveness in his face, which speaks volumes.

"The Girl Who Waited" is another example of how Doctor Who can be bold, challenging, funny and touching- all in all, something of a triumph!

NEXT: "The God Complex"

"Let's Kill Hitler"

...and as the nights lengthen, Doctor Who returns with the appealing prospect of a darkening sky outside when you watch it. "Let's Kill Hitler" certainly has an attention-grabbing title but, thankfully, Moffat gives Hitler little more than a walk-on part and concentrates on the meat of the story- because, despite the many hugely entertaining accoutrements that the story possesses, this is the story of how Melody Pond became River Song. One question raised in "A Good Man Goes to War" is very swiftly answered- Melody can indeed regenerate, and the question over whether one can regenerate into another ethnicity is answered, as if it needed to be (the fact that there are people who can accept that regeneration can change height, dentition, bone structure, ear-lobe pattern, eye colour etc, but make an issue of race is a bit odd, to say the least). In any case, before Alex Kingston returns, we are given the entertaining character of Mels, the childhood friend of Amy and Rory that we never saw before (did she insert herself into the time-line?) Nina Toussaint-White plays her as a wild child, with a seeming lack of responsibility that may be something more. With a winning smile and a semi-automatic, she hijacks the TARDIS, taking her to Berlin in 1938 where, in a tussle involving Hitler, she regenerates into the familiar form of Alex Kingston.

It is truly wondrous how Moffat’s arsenal of tricks are used to build real character. We have the wonderful montage where we see Mels growing up alongside Amy and Rory. It is a funny and charming sequence in its own right, but it shows us how Melody consciously sought out her parents so that she could be brought up by them- the parental roles that Amy and Rory take fulfill more than comedic purposes. It turns out that Melody was bred as the Doctor’s bespoke assassin but, as in "Silence in the Library"/"Forest of the Dead", it takes one whisper to change all that and Melody’s first act as River is to give her remaining regenerations to save the Doctor- just as her last act will be to give up life itself for him. Moffat conveys all of this in scenes that are exhilarating and fun, yet no less deep and affecting.

As for the other accoutrements, we have the wonderful idea of the Teselecta, a craft that can disguise itself as a person that is in the service of an agency that seeks to punish the evil by literally giving them Hell in the last moments of their lives. Richard Senior’s sterling work in the director’s chair brings many nuances into an already nuanced script. The scene where the Teselecta takes on the form of a Wehrmacht officer, there are shades of both Terminator 2 and The Numskulls- something which seems ridiculous and yet works beautifully. The antibodies in the Teselecta are wonderfully low-tech in their execution, yet no less effective- but they do not reflect a poor production by any means, with a great reconstruction of 1938 Berlin and very confident special effects.

Senior, of course has a wonderful cast to work with. Darvill and Gillan continue to astonish, but it is the two time travellers who romp home with the prize. Alex Kingston’s performance is outstanding, lighting up the screen with every scene. However, the star of the show is not to be outshone. He is as funny as he ever was, but the scenes where the dying Doctor is crawling towards the TARDIS in order to save his friends shows what an incredibly powerful actor Matt is.

There is a danger of "Let's Kill Hitler" losing its way amidst its byzantine intricacies. The point is, however, that it doesn’t, with Moffat proving that plot does not have to be at the expense of character and vice versa. We know the characters more and our appetite is whetted for revelations that are to come- and judging by the form so far, we are in no danger of disappointment.

NEXT: "Night Terrors"

"A Good Man Goes to War"

This series of Doctor Who has decided to do something different so, for the first time, we have a mid-series cliffhanger. As we have come to expect from Steven Moffat, the story starts with a dizzying sequence of scenes where the Doctor destroys a cyber-fleet just to make a point. We also have vignettes that range in location from Victorian London to the planet Zarathustra in what looks like a 41st century version of War and Peace. The Doctor is calling in some of his debts and all hell will break loose...

The quest of the Family Pond is a staggeringly exciting one, and contains the usual funny and moving dialogue we have come to expect. However, although heart of "A Good Man Goes to War" is the hunt for Amy and her daughter, the mind of the story is somewhat different. In all the far-flung and exotic locations that we see throughout the episode, we do not see the Doctor himself for the first twenty minutes of the episode. But we hear about him and we see what he leaves behind him so when he finally appears, nearly half-way through the episode, we know why an army has been raised against him, not to attack, but to defend. If "The Pandorica Opens"/"The Big Bang" was about the Doctor as story, then "A Good Man Goes to War" is about the Doctor as a legend and how legends change. Angels become demons and demons, angels and the word Doctor has come to mean 'great warrior' in some parts of the universe. Of course, the Doctor has been many things, from determined idealist to detached manipulator. He is the Lonely God and a madman with a box. However, Moffat has a very clear idea of what the Doctor should not be and the Doctor has been heading that way for some time. He has trailed devastation in his wake and it is not only the evil that see that as a threat. The entire realisation of the army is excellent- in their spare time, the clerics train themselves to recognise the psychic paper, a random sign at the start has a picture of the sonic screwdriver with the warning ‘1. It’s not sonic 2. It’s not a screwdriver’.

The fact that all of this is told in a hugely entertaining adventure proves how masterful Moffat is. Lest we forget, the story also contains contains two of the most endearingly bonkers, yet irresistibly ingenious characters the programme has ever had- a Sontaran nurse (gene spliced to cope with...er...every nursing need) and a Victorian Sapphic Samurai Silurian swordswoman (played with smouldering saurian sexiness by Neve McIntosh) fighting crime with her trusty maidservant. We also have the Headless Monks, serving the Papal Mainframe herself, chanting attack prayers armed with lightsabres from Hell.

Matt Smith is astonishing yet again. The Doctor's rage almost seems to embarrass him, yet its effect is potent. Arthur Darvill is masterful as an ordinary man who has reluctantly become a legend himself and Karen Gillan's portrayal of a defiant mother is utterly convincing. Frances Barber relishes her role as the chief villain in the story and there is great support from the entire cast, including Danny Sapani as Colonel ‘Runaway’ Manton and Christina Chong as Lorna Bucket, who joined the Church/Army just to meet the Doctor again.

Peter Hoar has a hell of a lot to visualise and a large cast to manage, but he copes with the challenge magnificently constructing scene after memorable scene. The whole production is fantastic, from Demon's Run, with its Death Star like bays to Zarathustra’s utterly convincing battle field, realised for less than two minutes. Everyone behind the scenes deserves a big hand.

It ends with, seemingly, everything lost. But Melody has returned grown up- for that is who River Song is. I am slightly disappointed that I guessed this (although I did think that Jackson Lake and Adelaide Brooke were involved!) but not very much so. Questions remain, of course- is she part Time Lord, and was the little girl in "The Impossible Astronaut"/"Day of the Moon" her? If so, did Madame Kovarian succeed in creating the ultimate weapon? It's going to be a long summer...

NEXT: "Let's Kill Hitler"