"The Giggle"

Chris Chibnall's swansong for the programme was made to celebrate the BBC's centenary, and, at the close of Doctor Who's 60th Anniversary trilogy, we are taken to the birth of television itself, two years after the founding of the Corporation. John Logie Baird was an inventor that seems too wacky to be anything but fictional – and yet, look him up! Baird's natural eccentricity is a perfect fit for this story, as is Stooky Bill. As a puppet became the first face on television, we learn that there was more than one puppet master. Russell T Davies has tried to capture the zeitgeist several times before, but nowhere has he succeeded more than in this story. A century after Stooky Bill's debut, humanity is tearing itself apart because everyone is convinced that they are 100% right, heeding only the echo chambers that mass media has provided. Our imagination has to do very little work to see a world where people demonise those who hold views opposed to their own, where the notion of a left-winger and a right winger being friends seems like something from a bygone fantasy age. Even Trinity Wells seems to have made the leap from MSNBC to Fox News!

The nods to the past are not as crowd-pleasing as in past celebrations, but we have the return of an awesome adversary almost from the dawn of the programme itself. The Toymaker is reborn in the incredibly charismatic form of Neil Patrick Harris, whose playful prestidigitation, juggling and dancing can be undercut with a chilling glower. We are left in no doubt that he is omnipotent within his domain and he has overcome the Guardians and even perhaps God in his gameplay.

The very talented Chanya Button brings all of this magnificently to life, whether it be the Hollywood blockbuster level UNIT base to the jaw-dropping "Spice Up Your Life" section. Catherine Tate's performance is incredibly skilful – selling the unease of the Stooky Sue sequence, before the sharpest tongue in Chiswick counter-attacks. Kate is back and such is the instant rapport, that we forget that she has never shared a scene with that particular Doctor. Also returning is Mel. Aeons ago, I said that Bonnie Langford didn't agree with me, due to irritation, rather than incompetence. It's strange what a few decades can do. Mel is still buzzing with energy and facts, but it is so much more easy to take from Bonnie in her 50s and it is truly joyful having her back. The regulars are having a ball running the show and David Tennant rules the roost – until something rather unexpected happens. The Toymaker insists that each game has to be played by a different Doctor; First, Fourteenth – and Fifteenth. As the fantastic rules of the Toymaker's realm still apply, we have the first ever bi-generation and the coming of the new Doctor without the death of the old one. Ncuti Gatwa is born to play the role and commands the screen from the moment his head pops out. If the final test being a game of catch loses something of the challenge, the concept of the Toymaker being beaten in the most primal game is very satisfying as a concept – before the games got more complicated, now they become simpler.

We are, therefore left with two Doctors permanently, it seems, but with a purpose. The Doctor has earned a rest, but must always move on. Now, he can do both and, whilst a beloved face sits down to relax with his family, a new one launches itself, smiling at the cosmos...

NEXT: "The Church on Ruby Road

"Wild Blue Yonder"

 The second special is free of the burden of the fanfare and finale, which leaves it with the purpose of telling a good story. We are eased into this by a light-hearted opening, where the TARDIS lands with a newfound violence that seems par for the course, together with the tendency to set the control to "famous". Here we have Isaac Newton and the apocryphal discovery of the weakest fundamental interaction that desperately needs a gegorable nage. We are, of course, used to these romps around creation with the DoctorDonna, but, on only his second outing in his second term RTD is determined to give us something truly memorable, in a deceptively simple tale of the Doctor and his companion alone in a mystery situation. The story elements are nothing particularly new, with immediate similarities being evident to The Ark in Space and "Midnight". Coincidentally, I was reading a Stanisław Lem book at the time (the hilarious Cyberiad) so my mind was also drawn to Solaris. Despite this, we have a story subtly different to anything else previously broadcast with a script by Russell T Davies that continues to impress with fresh nuances after new viewings. The scenes between the Doctor and Donna flow so naturally that it's easy to forget the skill in creating the dialogue. In this story, set at the boundary of creation, character is key and character is used to astonishing effect. 'A man is the sum of his memories' someone once said, but this story proves that there is more. The metathoughts are where the soul is, beautifully brought to life by the Donnas different ways of telling of their Southampton origins.

The very talented Tom Kingsley makes a strong début for the programme, dynamically using confined and extended spaces with precision. There was no need for the sets to be much more spacious that those for The Ark in Space yet the extra scale is very welcome. Moreover, the clinical white of the interior contrasts with the blackness of space, very reminiscent of 2001 (incidentally, the alarm sound from the Discovery pod makes an appearance again, as it did in "The Waters of Mars". The practical and digital effects give the NotDoctorDonna's attempts to correct their shape the requisite elements of ridiculousness and unease. This would all, however, come to nothing the without four astonishing performances by the two leads. Tennant and Tate could do this type of interaction in their sleep, but the fact that they go the extra mile is gives us astonishing results. Their performances are the meat of the story, but there is one other actor who must be mentioned. I was not expecting to see Wilf ever again, and the final performance of one of our most beloved actors was a joy to behold.

"The Star Beast" was a Davies romp that proved to be as good as the best Chibnall era stories, but here, we have an episode that effortlessly outclasses any Doctor Who story broadcast between 2018 and 2022. Funny, scary, tightly shot and impeccably acted – what more could you wish for?

NEXT: "The Giggle"

"The Star Beast"

The brief era of the new Doctor with an old face begins with a surprisingly low-key romp, despite it being the first special to celebrate the 60th Anniversary of the programme.. However, low-key doesn't mean low-stakes. This story looks back to the past in adapting a 43 year-old comic strip from Doctor Who Magazine. I have never been a regular buyer of the magazine, but Beep the Meep is one of those characters that is popular enough to transcend these origins. However, it is not just the story, but the storyteller that is key in this episode and we have a seismic change in that department. Although it contained some very good episodes, it was clear that the programme had lost something in the Chris Chibnall area. I have written again and again that he is nowhere near the writer that his predecessors are. Now, one of those predecessors has returned and the thought occurs – am I blinded by nostalgia, and willing to forgive faults that I would hold against Chibnall? After watching "The Star Beast", the answer is a clear and resounding "no". The strip is adapted with a deft hand, with the polished dialogue that has become very rare in the past 5 years, with musings about a gigantic sausage roll having more emotional impact that many weightier dialogue scenes scripted by Chibnall. The something that was missing was in the nuts-and-bolts writing, consistency and vibrancy of characterisation and incorporation of themes successfully into the plot.

I raved about how excellent David Tennant was at the time and, although I believe that Peter Capaldi is definitely at least his equal, I would not argue with anyone who still calls Tennant the best. He slips back effortlessly into the role, so much so that is futile to compare the Fourteenth Doctor with the Tenth – it's the same Time Lord after all. It is a true joy to see him climbing on the sets and dashing at speed around the TARDIS again, like it hadn't been 18 years since he first did so. Returning to great success is one of the all-time great companions, challenged since only by the wonderful Ms Potts. The temp from Chiswick is older, with more responsibilities, but is still the same, brilliantly shown by the DoctorDonna being more Donna than ever. Bernard Cribbins is much missed, but Jacqueline King is back with a vengeance. The key new character is Rose, brilliantly brought to life by Yasmin Finney. The theme of gender suffuses the episode and the first trans character played by a trans actor is addressed full on. It is laid on a bit thick at times, but the fact that, in recent times, the most marginalised group in the LGBTQ+ community has been under attack from all areas, means that perhaps it needs to be laid on thick.

We have a new UNIT scientific adviser in Ruth Madeley's sparky Shirley Bingham and in the alien camp, the (understandably) cartoon-like Wrarth are very vibrantly bought to life. The titular beast is voiced by the legendary Miriam Margolyes who gives the cutest psychopath in the Whoniverse real bite. Despite the return of his predecessor as showrunner, it is Steven Moffat stalwart Rachel Talalay who helms this colourful and spectacular story. It's no secret that the involvement of Disney has meant a cash-injection the like of which Doctor who has never seen. Before this, Doctor Who managed miracles on its budget, and it's only occasionally that the increased budget shows - that is, until we see the new TARDIS set, which makes its 21st Century predecessors look like their 20th Century four bears.

There were always differences in quality regarding stories, when it came to their sequencing."Partners in Crime", good though it is, is necessarily lesser than "Turn Left". However, there are very very few stories in the past few years that are of the same quality as this utterly joyous opener. Mr T Davies, I welcome you back with open arms!

NEXT: "Wild Blue Yonder"

"The Power of the Doctor"

"The Power of the Doctor" is one of the longest individual episodes of Doctor Who ever made. As the story was made in the year that the BBC celebrated its centenary the story has one eye on the past, with more callbacks to the programme's 59 year history, than in the previous 17 years combined. This is also an ending, with the final regular appearance of Jodie Whittaker and Chris Chibnall's swansong as showrunner. It is designed to be a spectacular, a brief that it certainly fulfils, with memorable sequences aplenty to feast the eyes on. The problem is, it appears that Chibnall appears to have written arresting sequences – The Master as Rasputin, the raid on the space train, the child/Qurunx, the volcano plot – and then contrived a plot to connect them together. As the Master's Dalek Plan is to blow up the Earth with volcanoes, everything else is really only window dressing. Some sequences are cribbed from better stories produced under the aegides of his predecessors and with less effect.

As a nostalgic look back, the story is somewhat more successful. The return of Tegan and Ace are very welcome – as someone whose memories of the original run are from the 80s, they were my Jo and Sarah Jane. Both Janet Fielding and Sophie Aldred put their all into their roles and it is truly wonderful to see them together for the first time. Then there are the returning Doctors. Colin Baker's role is rather small but Paul McGann again puts more Doctorliness into his performance in a few minutes than he did in his début. The interaction between Davison, McCoy and their old companions is something special. The scene with the companions' support group is sublime and it is a true joy to see so many familiar faces, with Ian being a particularly wonderful surprise. Kate is back, hopefully to be as constant a presence as her father.

The current roster are not to be forgotten. Dan has a more considered version of Tegan's leaving scene and we have a great performance from our other leading lady. Mandeep Gill has taken Yas way beyond the way she was written and the indescribable contradictory feelings stirred up by the shot of Yas and the Doctor eating ice creams sitting on the TARDIS, is a moment to treasure. Sacha Dhawan has an absolute blast as the Master, bonkers plan or not.

The production is startlingly good, masking the haphazard jigsaw of the plot. Jamie Magnus Stone is probably the stalwart director of this era, so it is fitting that he closes it. Rehashed though some of the concepts are, Stone and the production team make them work.

The Chibnall era was not the utter disaster that I was fearing and yet it can't be denied that the programme is not a patch on what it was from 2005-2017. There were some very good stories, but no real classics which, in hindsight, makes one appreciate all the more that in the RTD and Moffat eras, there were at least two stories per series that were amongst the best examples of television produced in that year. This curate's egg of a story is watchable, but doesn't stand up to repeated viewings, which is typical of Chibnall. Plotting is not his strongest asset as a writer, neither in resolving them or keeping an eye on the subplots. His strength was in quieter character moments and, in his choice of lead, he was helped immeasurably. Jodie Whittaker's charisma and talent papered over many cracks and, in her final moments, Chibnall's writing and her performance harmonise to perfection. After a sequence of potential portentous last words, her parting shot is a flippant quip and the gorgeous visuals of that regeneration give the viewer the ASMR it deserves.

However, I look forward to the return of one of the finest writers in the world to the helm, as he steers Doctor Who into uncharted waters with the casting of the utterly unique Ncuti Gatwa – after he goes into very familiar territory with Whittaker's immediate successor!

NEXT: "The Star Beast"/"Wild Blue Yonder"/"The Giggle"

"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"

PS- David Tennant: the Animated Years

As you all know, no doubt, David Tennant also starred in two animated stories, so here, for the sake of completeness is my take on them...

The Infinite Quest

Of all the 20th Century Doctor Who stories to take inspiration from, I would have thought that The Keys of Marinus would be rather low on the list. Yet here we are, with the Doctor journeying to various locations in the search for a cluster of McGuffins. The plot is somewhat shallow, but the locations, at least show a bit more imagination than those in Terry Nation’s scattershot story. Characters change motivation with alarming speed and the dialogue, although it aspires to the wittiness of the best Doctor Who scripts, seems forced. The fact that this was broadcast as a part of the Totally Doctor Who childrens programme shows in such things as the literal space-pirates, which somewhat annoy me.

The Infinite Quest was originally broadcast as 13 parts, each part lasting about 3½ minutes. This gives the omnibus edition a rather choppy feel, which doesn’t help the flow of the narrative. This isn’t helped by the direction- Gary Russell seems to devote all his attention to the big set pieces, but has little idea of how to construct a story visually. There are some awesome visuals on display- the insect like drilling robots, the Mantasphid hive. Unfortunately, the character animation is very static, with the characters having only two or three expressions each. This is a pity, as David Tennant and Freema Agyeman put their all into their roles. Despite the presence of actors such as Anthony Head, Stephen Grief and Liza Tarbuck, the supporting characters are too thinly written and indifferently directed to make much of an impact. This is especially true of the main villain, Balthazar, who, in the hands of Anthony Head, should have been far more memorable.

The Infinite Quest is passable, undemanding entertainment, but contains little of real substance.

Dreamland

The obvious thing to be said about Dreamland is that the animation is- basic. There are myriads of amateurs who could make an animated film of greater quality on their computer with a bit of freeware, so it is disappointing that this is what a monolithic corporation like the BBC is happy with in 2009. Happily, the other aspects of the story are much better. Phil Ford provides a very entertaining script with an engaging plot and some nice dialogue. I am surprised that Roswell has never been dealt with by Doctor Who and Ford manages to mix the atmosphere of The X-Files and 50s B-movies, together with UFO conspiracies (there is a nice new take on the Men in Black) to make a uniquely Doctor Who mixture.

Although the animation is basic, the backgrounds are very well rendered and Gary Russell does a far better job as director than he did with The Infinite Quest. The episodes are 6 minutes in length, with a 12 minute opener, which gives it a more natural flow than its predecessor. Again, there is a starry cast. David Warner is, naturally, fantastic as Lord Azlok and we have good turns from Stuart Milligan, Nicholas Rowe and Lisa Bowerman. In the minor but important role of Night Eagle, we have Clarke Peters (Lester Freamon on The Wire) which was the most exciting bit of casting for me since Derek Jacobi. If there is one flaw in the script, it is that the companion roles- Cassie and Jimmy- are less well defined than usual. However, with only 45 minutes to play with, there probably wasn’t time and the engaging performances by Tim Howar and Georgia Moffett help in rectifying this. David Tennant is great, as he invariably is.

Dreamland is tremendous fun- so much so that you forget the dated character animation and just sit back and enjoy the story.

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 Waters of Mars"

"The Waters of Mars" sees a return to the ‘base-under-siege’ formula for Doctor Who which, as I said many moons ago, is a very constricting type of story that led to Patrick Troughton’s first full season being rather samey. However, it is soon abundantly clear that Russell T Davies and Phil Ford are intent on doing something interesting with this type of story. We are told that the events that occur on the Martian Bowie Base on 21 November 2059 are as iconic and vital to human history as, say, the destruction of Pompeii. The Doctor knows the names, ages and occupations of everyone on the base, just as well as we know Neil Armstrong and Buzz Aldrin- and he also knows what will happen to them at the end of that day- which is why his catchphrase for this episode is ‘I should really go!’ However, as he said when he was close to the end of another incarnation, ‘Curiosity has always been my downfall’.

The Flood (which seems to be the accepted term for the foe in the story) is, in the style of many memorable Doctor Who adversaries, simply conceived, yet instantly effective and the script uses its threat with an impeccable sense of dynamics, but there is more to the story than a memorable monster. The combination of Phil Ford and Russell T Davies has resulted in a script rich in detail. Even though only Adelaide is given any depth in the script, the characters all seem real people- even Andy, who has all of one scene before he gets Flooded. Conversations between characters give us an impression about what the Earth on 2059- references to a Branson inheritance brings up images of everything from Virgin Inteplanetary to a futuristic Jarndyce v Jarndyce! We also have the first explicit mention of the Ice Warriors, which is welcome and not just gratuitously pleasing the fanboys. Adelaide herself is a compelling figure. Although she is a typically dour base commander, from the start, she is humanised- the message from her daughter instantly shows the warmth in the character. We find out the motivation for her pioneer spirit in a beautiful flashback to her childhood encounter with a Dalek in 2008. The dialogue is suitable evocative- when asked by the Doctor if it was worth it she replies ‘…to stand on a world with no smoke, where the only straight line is the sunlight…Yes. It's worth it.’ Lindsay Duncan is phenomenal in the role (as she has been in practically everything else I have seen her in) giving Adelaide real grit and intelligence, but with a palpable sense of selflessness. All of the Bowie Base members are brilliantly performed- Alan Ruscoe and Chook Sibtain are excellent as the Flood infected crewmen, but I’m sure it is Sharon Duncan Brewster's Maggie who will figure in the nightmares of children, with her horrific ghoulish stare. Graeme Harper continues to prove that a story cannot be bad with him at the controls, making the story seem like the offspring of Silent Running and John Carpenter’s The Thing (together with a nice homage to 28 Days Later). The scenes of the Flood attack are brilliantly shot and choreographed. Scenes which are clichéd become immensely powerful when written by Davies and Ford and directed by Harper. For example, when Steffi faces death, she turns on a message from her children. The message is low in the sound mix and in German (with a Welsh accent, unfortunately!) so the effectiveness of the scene is down to Harper and actress Cosima Shaw, both of whom are fantastic. The special effects are awesome and look fantastic on HD. The realisation of the Flood is phenomenal- leaking water is bloodless, yet gives the faintest impression of haemorrhaging, which is exactly the right way to present a terrifying monster for a family audience. There are a few minor scientific errors, but so what? Who cares that Mars is actually more orange than red? Fires may be impossible in the Martian atmosphere, but burning debris looks great!

However, a very major factor in the story is the Doctor himself. Despite his proclamations, he never goes and it is that which damns him. At the start he is the fun figure we last saw in "Planet of the Dead" and, indeed, declares his intention as ‘fun!’ when asked. However, he is faced with a situation which he cannot alter, as he did in The Aztecs, The Massacre and "The Fires of Pompeii". He once said that the reason he travels is to see history happening in front of him. Here, the grimness of that hits him like a furnace blast. He hears the Bowie crew on his spacesuit radio come up with strategies to survive, only for them all to be dashed. He hears them go down, one by one, hears history being made. And something snaps. In a very short space of time, Adelaide, Yuri and Mia step out of the TARDIS on 21 November 2059- on Earth. The Time Lords are dead- the Doctor is the Lord of Time. Some have wondered why he brought Adelaide, Yuri and Mia to their own time, rather than hiding them in the past or future, but it is impossible that this did not occur to Davies and Ford. The obvious answer is that the Doctor did it because he could- the Time Lord victorious. For the first time we are genuinely scared of the Doctor himself. His justification is frighteningly reminiscent of the Master’s in "Last of the Time Lords"- but only a bit. The Master builds the Paradox Machine to conquer. The Doctor declares himself the Time Lord victorious to save people. However, his chilling talk of ‘little people’ horrifies Adelaide and us and it is Adelaide who saves the future- by her suicide. Horrified, the Doctor turns round- to see Ood Sigma. He has gone too far and knows that the Cloister Bell tolls for him. He is going to die.

I have mentioned several influences for this story, but there is one important one I will now mention: Fury From the Deep. There are many who remember this story as being genuinely terrifying. Listening to it objectively, the terror is there, but buried amongst some interminable longueurs. "The Waters of Mars" is Fury From the Deep as it exists in our imaginations, combined with some incredibly powerful writing, a truly wondrous hour of television.

NEXT: The End of Time

"Planet of the Dead"

The first Doctor Who story of 2009 is a simple tale of the Doctor trying to rescue some people on a bus that has travelled through a wormhole. The planet that the passengers arrive on is a barren desert, but he commuters are not alone. A Tritovore ship has crashed, with two of the fly-like beings surviving. But they are not the danger. The planet was once teeming with life and one of the Doctor’s travelling companions can hear the screaming of the planets inhabitants as they died - the danger is a swarm of flying creatures like metallic stingrays who strip planets of anything organic and open wormholes to their next feeding ground- the Earth.

Fortunately, his fellow passengers are more willing to trust him than the last time he was stuck on a bus. The story has a nice, straightforward plot- perhaps a bit too straightforward and not without problems- first on the ‘Why didn’t they just...’ list is why UNIT didn’t just chuck the TARDIS through the wormhole! The commuters are not exactly three-dimensional characters- they are characterised purely by their intended destination rather than anything more detailed. However, the performances manage to compensate for this somewhat. The role of companion is filled by Lady Christina de Souza, an adrenaline junkie with a taste for grand larceny. She is nicely played by Michele Ryan, and she is a resourceful and sparky foil for the Doctor- however it is hard not to see her as being mildly sociopathic. By far the most interesting characters are the UNIT characters. In the Doctor’s absence, they have a new scientific adviser, Dr Malcolm Taylor. Malcolm is a wonderful character, naming units of measurement after himself and making references to Quatermass. This may be another instance of Gareth Roberts letting his inner geek run wild (most kids nowadays would have to ask their grandparents who Quatermass was) but I love him as a character, especially with Lee Evans’s wonderful performance. Although I’m not exactly a fan of Evans as a comedian, when his considerable comic talents are correctly channelled, he is unstoppable. Noma Dumezweni also returns as Captain Erisa Magambo in a performance that refuses to be overshadowed by Evans. Magambo is clearly on the right side, but she is not above pulling a gun on her subordinates for the greater good. She has a hint of the Brigadier in Season 7 about her and, if the Doctor is stranded on Earth again, she would make a good Lethbridge-Stewart for the 21st Century. David Tennant has a last chance to play the Doctor as a fun-loving wanderer and- surprise, surprise- he is excellent.

James Strong makes it all look wonderful and makes sure the actors give it their best. Of course the main production talking point is the move to high definition. The cinematography by Rory Taylor is sublime (for how hi-def Who could have gone wrong, look at the picture on Torchwood Series 1). The special effects are good (although the stingrays look a bit ‘unfinished’) with some great animatronics for the Tritovores and the location filming is great- although I fail to see why they couldn’t have shot it at Camber Sands (or the Welsh equivalent) and used CG matte paintings.

"Planet of the Dead" is good fun, well made with some witty dialogue. It is a bit inconsequential, but there are hints of something dark coming for, as we all know, the Doctor’s song is drawing to an end.

NEXT: "The Waters of Mars"

"The Next Doctor"

There is something about the Victorian Christmas that makes it seem more Christmassy than any other type of Christmas. Maybe it's because of Dickens's A Christmas Carol. Maybe it's because such British Christmas symbols as the German Christmas Tree have their roots in the era. This is why it is a genuine thrill to see the Doctor emerge from the TARDIS to be greeted by the sight of carollers, men in stovepipe hats and boys in Norfolk jackets. He is stunned to hear his name being called and rushes to the source- a young woman who, strangely, continues calling for the Doctor, upon which a handsome man, seemingly in his early forties appears. Dressed to the nines in the height of Victorian fashion, he takes control of the situation, brandishing his sonic screwdriver, shouting 'Allons-y!', only then realising that the skinny stranger beside him has done exactly the same thing.

Of course, it soon becomes obvious that this man is not, nor ever will be the Doctor, but a man named Jackson Lake who, in the process of suffering the worst event of his life, suffered dissociative amnesia, a 'fugue'. However, in this case, there was something to replace the memories and personality that had fled- a burst of compressed information about the Doctor. Lake, believing himself to be the Doctor, attempts to live up to 'his' past, with his assistant Rosita, his sonic screwdriver (which is a normal screwdriver) and his TARDIS- 'Tethered Aerial Release Developed In Style'- a balloon! Despite the spectacle of this story, at the heart is the tale of a man in turmoil who has turned to the Doctor for salvation in a way that no-one else ever has. In subconsciously trying to save himself, he has become a genuine hero, not because of the information about the Doctor, but his own innate courage. This is very canny writing by Russell T Davies and is remarkably touching without one being cloying. The story also sees the return of the Cybermen who are up to their old tricks, but with a new, deadlier conclusion. To do this, they need child labour from the workhouses, which leads to the evocative plot of children toiling in the shadow of a vast steampunk machine. We also have the character of Miss Hartigan, a woman clearly born out of her time, whose ambition is enslaved to the Cyber King- a vast Cyberman with the capability of destroying cities and converting multitudes in its belly. Although the Cyber-plan takes second place to the journey of Jackson Lake, it is certainly a diverting plot thread.

The characters are well written and are brought to life by some stellar performances. David Morrisey is outstanding as Jackson Lake in a performance that is both very Victorian and easy for anyone to relate to. The gorgeous Dervla Kirwan is brilliant as Miss Hartigan, whose driving ambition makes her overcome even Cyber-conditioning.

The realisation of the story is sound enough with the scenes of the Cyber-king rising and wreaking havoc being truly awesome. However, director Andy Goddard sometimes takes his eye off the ball- Dutch angles are used so arbitrarily it sometimes appears that the camera was tilted by accident and there are some framing problems. The editing, too is a bit off. However, the cinematographic skills of Ernest Vincze do a great deal towards correcting this, as do the fantastic production values.

Although not 100% successful, "The Next Doctor" is tremendous fun and still way ahead of most 20th Century Cyberman stories.

NEXT: "Planet of the Dead"

"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"

"Midnight"

There are many Doctor Who stories that have the Doctor turning up to find a crisis, winning over the dissenters, quelling the enemy and saving the day. This is not what happens in "Midnight". The Doctor is on the eponymous planet and decides to take a trip to see its famous Sapphire Waterfall. He makes friends with his co-travellers and everything seems peachy. Then, a threat emerges and the Doctor, to use a bit of an understatement, loses the room. Russell T Davies weaves one of the most frightening tales the programme has told. The threat is inexplicable at the start and equally inexplicable at the end and the way it manifests itself is simple, yet extremely creepy. Banging and knocking is heard outside the bus and the lights go out. When they go back on, the front seats have been ripped up and Sky Silvestry, one of the passengers, is behaving rather oddly. First she repeats what everyone is saying, then speaks simultaneously, first with all of them, then with the Doctor alone. And it has only just begun.

In such a claustrophobic setting (influenced by Hitchcock's Lifeboat) characters are important. What we have here are various types, ranging from a professor and his assistant to an ordinary family. The Doctor, as said before, establishes a rapport with them. But as the entity asserts itself, the Doctor finds out his charm does not work. Instead of being reassured by him, they are annoyed and finally enraged. Instead of them finding the best in themselves, they give way to their worst. The Doctor’s usual tricks do not work; when they are discussing whether or not to throw the possessed Sky out of the airlock, the Doctor’s ‘Could you really do it?’ is answered immediately in the affirmative. In the end, the creature speaks the Doctor’s words before he does and the rest of the passengers are all too keen to believe that the creature has possessed the Doctor- it is easier to deal with a practically catatonic man. It is only the doubts of the Hostess that enable the day to be saved, as she sacrifices herself to launch Sky out of the airlock. The survivors make the return journey in silence. Throughout all of this, one thing is clear- no-one but Sky and (at the end) the Doctor were affected by the creature- all that foulness came from their own frightened souls. These characters are played to perfection by a very talented cast. David Troughton is, of course, one of the finest actors in the country and he makes Professor Hobbes seem at first to be a likeable old academic who then gives way to his jealousy as he finds he is not the smartest man in the room. Lindsey Coulson and Daniel Ryan effectively play a couple who suggest that The Daily Mail is still in circulation in the far-future. Everyone’s favourite jug-eared young warlock, Colin Morgan, plays their son. In the key role of Sky Silvestry, Lesley Sharp is astonishing, even on the merely technical level of her repetition and simultaneous talking. She effortlessly changes her bearing and gait throughout the episode to awesome and chilling effect, making the unnamed creature a truly memorable foe.

Alice Troughton directs with great confidence, squeezing every drop of tension from the scenes. There is a wonderful sequence where the Doctor, Driver Joe and Claude the mechanic look onto the Midnight landscape- and Claude swears he sees a shadow moving quickly towards them. We see nothing, but this simple scene is so well done that we half-remember seeing the shadow. The sound design is exemplary, adding to the sense of claustrophobic terror- and it goes without saying that the matte paintings for the Midnight planetscapes are spectacular.

Donna once said that the Doctor needs someone to stop him. "Midnight" shows that sometimes he just needs someone to help him connect, in a masterful 45 minutes of humour, tension and real scares.

NEXT: "Turn Left"

"Silence in the Library"/"Forest of the Dead"

The Stephen Moffat story is always a highlight of the relaunched Doctor Who and here, he is given a two-parter for the first time since 2005. Moffat’s previous stories have had interesting ideas, explorations of primal fears, great characters and fantastic dialogue and "Silence in the Library"/"Forest of the Dead" certainly has that. The setting is a planet called ‘The Library’, because that is what it is, a repository for every book ever published. But The Library is silent, its aisles and reading rooms empty. Into this, the Doctor and Donna land and are soon joined by a group of archaeologists in the pay of Strackman Lux (whose family own the library) trying to find out what happened- and find something horrible. The main monsters in the story are the Vashta Nerada, microscopic creatures that can strip a human body of its flesh in less than a second and hunt in swarms that look like shadows. Any shadow. Moffat has taken a very common childhood fear and relaunched it in our consciousness with instantly effective results. However, his inventiveness doesn’t stop there. The communications system that the archaeologists use is ‘wirelessly’ connected with the user’s nervous system, an arrangement that has a disturbing side-effect. When the user dies, their thoughts are stored for a while in their communicators- a ‘data ghost’. In a very memorable scene, the ditzy Miss Evangelista is killed by the Vashta Nerada, leaving only a skeleton. However, her voice remains, asking where it is, asking to speak to Donna (the last person who was kind to her) before her thoughts eventually break down and her voice loops on one phrase: ‘ice cream’.

All this occurs in "Silence in the Library", but there are greater terrors to follow. Donna is teleported back to the safety of the TARDIS, but her teleportation stream is intercepted. "Silence in the Library" ends with Donna’s face on an information node stating repeatedly: ‘Donna Noble has left The Library. Donna Noble has been saved. In "Forest of the Dead", we find that she is seemingly living a normal life, but she soon figures out something is wrong. Her life appears to be edited like a film, with boring bits like walking cut out. However, the mysterious figure of Doctor Moon is there to reassure her that everything is fine and she settles down. But a visit from Miss Evangelista (who has also been saved, but imperfectly) brings to light something terrible- her children are not real. Donna refuses to believe this and, when even they say ‘We’re not real, are we Mummy?’ she sobs, holding them tight in a vain effort to stop them blinking out of existence. This is something which must have stirred a feeling of solipsistic horror with anyone who was watching, particularly parents- what if our loved ones only existed in our minds? This is connected to the key to this whole mystery- the strange girl who dreams of the library in her sleep. We first see the Doctor and Donna as intruding characters in her dreams. Doctor Moon is there too and he chillingly states to her: ‘The real world is a lie, and your nightmares are real’. For ‘Doctor Moon’ is really the virus-checking satellite of ‘The Library’ and the girl is the personality and mind of Strackman’s aunt, who suffered from a terminal illness as a child- Charlotte Abigail Lux: CAL. She stored the teleportation streams of all the survivors to her hard drive- they have, quite literally, been saved.

There are so many ideas in this story, it seems fit to burst- but it never does. One reason for this is that Moffat never forgets character. Each character is well written and played, with Steve Pemberton making Strackman Lux more than the usual ruthless magnate and Talulah Riley being delightful as the scatter-brained Miss Evangelista. We have the inimitable Colin Salmon as Doctor Moon. Moffat even comments on the fact that you seldom see two people with the same name in a story, so we have two Daves here. However, the key supporting character is River Song. This is a character who is engaging from the very start, but it is clear that she knows more about the Doctor than appearances would indicate. She is a companion from his future, one whom he has known as a fellow traveller and, perhaps, as something more. She can send messages to the Doctor’s psychic paper. She has a future version of the Sonic Screwdriver at her disposal. And, most critically, she whispers the Doctor’s greatest secret into his ear- his true name. This is great stuff on paper, but it would not work anything like it should were the performers not up to scratch. Alex Kingston is utterly electrifying from her entrance and her rapport with Tennant is fantastic. This is the reason why we believe it when the Doctor dives into the core of The Library to save a woman he has just met. The Doctor is more compromised than he has been for ages, yet he is as bold, brilliant and downright fantastic as he has ever been. Catherine Tate, however, is not to be overshadowed and her performance, especially in the scenes in the virtual reality of CAL.

Euros Lyn puts in his best work yet in this story. The ‘CAL world’ is like a 21st century version of the Matrix in The Deadly Assassin and Lyn’s work would do David Maloney proud. A huge array of moods and settings are thrown up by the story and Lyn is more than equal to the task of moulding them into a cohesive whole. He is helped by the usual sterling efforts of the production team, with great cinematography, sets, costumes and special effects.

"Silence in the Library"/"Forest of the Dead" broke Doctor Who’s winning streak at the prestigious Hugo awards, but this is still a fantastic piece of television that is full of emotion, terror and excitement. Most of all, it has hope for the future, that the Doctor’s best days are ahead of him- a man who can quell an army with a single glance, who can open the TARDIS with a click of his fingers. I can’t wait...

NEXT: "Midnight"

"The Unicorn and the Wasp"

I have never been a fan of Agatha Christie- perhaps I was spoiled by the excellent TV adaptations with Joan Hickson and David Suchet, but I find her books rather lacking as literature and nothing like as good as the adaptations. I am obviously in the minority here, which is why it is the Dame of Detection who is chosen to be the next great historical figure for the Doctor to meet. Gareth Roberts creates a story that is as close to being an all-out comedy as the revived programme has been. The script is littered with allusions to Christie titles that get (intentionally) less subtle as the story goes on. The episode is full of pastiches of Christie, from the teaser (which also has a hint of Cluedo) to the whole set up. A diverse group of people at a country house, murder, red herrings galore and all the suspects brought together in a drawing room for the dénouement. Of course the villain isn’t a venal cad or a forgotten illegitimate scion, but a giant alien wasp- this is Doctor Who after all! However, despite the gags, this is not just a parody. The inspiration for the story is Christie’s real life disappearance in 1926, and Christie’s mental state is dealt with effectively and sympathetically. Roberts might be a Christie fan, but he is well aware of her critics- she says herself that she does not consider her work to be great literature. Roberts cannily addresses another criticism of Christie- that she does not give death itself the appropriate weight in her stories- by having her chide the Doctor about his flippancy. The characters might be stock Christie on the surface, but there is more under the surface- the juxtaposition between the characters’ alibis and what they were really doing does this comedically, but Donna’s realisation that Roger’s footman (and lover) cannot openly mourn his death is touching. Of course, the reason why the plot is like a Christie pastiche is because the villain is unconsciously making it so- a nice touch.

Graeme Harper is easily up to directing this script, showing a flair for comedy that is not surprising, if you remember his helming of the Rik Mayall sitcom The New Statesman. The juxtapositions in the depositions of the suspects are dealt with in style, as is the main comedy set-piece, the Doctor’s hilarious ‘detox session’. The period production is dealt with in the BBC’s usual degree of excellence. The titular wasp is a great creation, although its sound could have been more effective. The guest performances are perfect. Leena Dhingra is always good value and it is always wonderful to see Felicity Kendal. Christopher Benjamin returns to Doctor Who in another hugely entertaining performance and Tom Goodman-Hill is great as Reverend Golightly, spouting Anglican platitudes one minute and buzzing with alien fury the next. Fenella Woolgar is simply outstanding as Christie, giving her a sense of fun while still portraying her sadder side. Tennant and Tate have a whale of a time and their enthusiasm is obvious in every scene.

"The Unicorn and the Wasp" is the bees knees (sorry!) and comes highly recommended.

NEXT: "Silence in the Library"/"Forest of the Dead"

"The Doctor's Daughter"

...And so, the TARDIS whisks off Martha, together with the Doctor and Donna to Messaline, a planet that is the location of a war between humans and Hath, a race of fish-like humanoids. The war has a horrendously high body count, which is why cloning machines replenish the fighting force daily. Sure enough, when the TARDIS crew arrives, the Doctor accidentally sticks his hand into one of these machines to produce... well, you know! The world of Messaline is certainly an intriguing one and Stephen Greenhorn comes up with some intriguing ideas. The trouble is, there is simply too much plot for any of these ideas to be properly explored. A common criticism of the new series is that single 45-minute episodes mean that stories are rushed. I do not agree with this, but it is certainly a valid criticism of this story. A two-part version would have let the story breathe and improved it no end. In addition, there are some plot problems. For example, Donna discovers that the war has only been going on for seven days (yes, yes, Genesis chapter 1) but General Cobb is clearly not a fresh clone. Does he know the truth, or is it just an oversight by the writers? The quest for the Source is the driving force for the two armies, yet there is no time for this to be explored properly, making the closing act a bit half-baked.

Alice Troughton makes it all look fantastic, and she is helped by the usual sterling work of the production team- Messaline is excellently realised, with some fantastically stark CG landscapes. The script doesn’t exactly have the most original characters, so it is a relief that the cast is so good. Nigel Terry gives Cobb a real sense of authority and Joe Dempsie is good as Cline. However, it is the title character, played by Georgia Moffett, who is the most memorable. Jenny might not be the best written character, but Georgia is incredibly charismatic and likeable. It is great to see Martha travelling in the TARDIS again and her isolation from the others means that she really shines in her scenes with the Hath (can she understand them, or is she a good guesser?) although the scene where she is rescued from the quicksand could have used a different take, as it doesn't show Frema at her best as an actor. David Tennant is great as usual- the scene with the toy mouse is priceless and his changing attitude to Jenny is excellently portrayed, particularly Jenny's apparent death.

This is good fun as a story, but it really isn’t anything to get too excited about. With a two-parter, Greenhorn could have written a very arresting sci-fi tale. He is by no means a bad writer, however- there is some excellent dialogue and it is worth checking out- though probably not as your first episode!

NEXT: "The Unicorn and the Wasp"

The Sontaran Stratagem"/ "The Poison Sky"

Helen Raynor’s previous Doctor Who story was "Daleks in Manhattan" / "Evolution of the Daleks", which I consider to be the nadir of the relaunched programme by a considerable margin. So it was with great trepidation that I awaited the broadcast of this two-parter. Happily, Raynor provides a far better script this time. The Sontarans storm back and it is obvious that Raynor and Russell T Davies really understand these monsters. Unlike the Daleks and the Cybermen, these are not creatures who have been altered to remove or restrict emotions, but are merely conditioned to be bellicose from birth (or hatching). This obviously means that they are easier to characterise and Raynor does this excellently- the face-off between the Doctor and General Staal at the climax is brilliantly written. The plot is simple, but not predictable and shows inventiveness . The setting at the Rattigan Academy at first seems like something out of The Sarah Jane Adventures, but is incorporated well into the story. Most importantly the script has coherence and internal consistency, the lack of which damned Raynor’s previous Dalek two-parter. The pseudo science is no less fake than in "Daleks in Manhattan" / "Evolution of the Daleks", but it doesn’t contradict itself and such is the verve of the story that it can be forgiven, even the quite extraordinary method used to disseminate the Poison Sky- surely burning it would use up all the oxygen, asphyxiating the Earth even more quickly? The story is helmed by Douglas Mackinnon who directs with great verve, and energy, effectively dealing with spectacular scenes, such as the appearance of the Valiant, to more intimate ones such as Donna’s reunion with her family.

The characters are also well written. Child geniuses are seldom appealing characters, but Luke Rattigan is very memorable and is excellently played by Ryan Sampson. His arrogance is to the fore early on, but his betrayal by the Sontarans leaves him sobbing like an infant on the floor and his redemption is very moving. This story sees the return of UNIT, led by Rupert Holliday-Evans’s Colonel Mace, who plays the Brigadier role (the real one is mentioned for the first time this century and has received a knighthood- hurrah!) and it is good to see that the non-commissioned end of the ranks is not full of stereotypical army grunts. We have the wonderful character of Private Harris, played by Clive Standen, who discovers the clone in the basement. He acts like a typical squaddie, taunting General Staal about his height, yet displays intelligence and sympathy when examining the clone. Staal is played brilliantly by Christopher Ryan, who makes the character a very believable leader of an army of clone warriors, yet is not above humour. The look of the Sontarans takes the best from their previous appearances (i.e. the Kevin Lindsay versions) and updates them with 21st Century prosthetic techniques with very impressive results.

One thing I was very much looking forward to was the return of Martha. Miss Jones is now Dr Jones and Freema Agyeman effortlessly shows her as being more mature, with more responsibility, but still the Martha we know and love. Her performance as her evil clone is nicely underplayed and all the more sinister for that. Donna is great in this, displaying her ‘supertemp’ skills and it is always great to see her family. Anyone expecting a cat-fight between Martha and Donna were to be disappointed and their relationship is good- although I love their differing responses to the Doctor’s safe return. The Doctor is presented in a way closer to the Jon Pertwee era than ever before and David Tennant plays the part with his usual excellence. Raynor wrote very generic Doctor material in her previous story, but this time she goes for archetypal- the Doctor saves the day by inspiring someone to be better.

"The Sontaran Stratagem"/ "The Poison Sky" is wonderful fun and proves that Ms Raynor had it in her all along.

NEXT: "The Doctor's Daughter"

"Planet of the Ood"

One minor niggle that I had with "The Impossible Planet"/ "The Satan Pit" was that the Doctor didn’t show more outrage at the fact that humanity was using another race as slaves. This is addressed in this story- as the Time Lord himself says, he feels he ‘owes the Ood one’. We are taken to the Ood sphere (‘Near the planet Sense Sphere’, forging a link in fiction to the Sensorites, the Ood’s conceptual forbears) where we see genteel corporate types being offered cut-price deals on the ‘product’ sold by Ood Operations, while Ood are shipped throughout the Second Great and Bountiful Human Empire like battery hens in crates, after they have been ‘processed’. However, there is a problem- the Ood are developing ‘Red-eye’ a phenomenon familiar to those who recall "The Impossible Planet"/ "The Satan Pit" and it is clear that the 'relationship' between the two races is coming to a crossroads. It seems odd at first that the Doctor is barely involved in the outcome at all- yet this is not really in the spirit of the story. The Ood should not be saved by an outsider and, despite the horror that they go through, notably the removal of their hind-brain to ‘process’ them, it is a processed Ood, Ood Sigma, who becomes the Toussaint L'ouverture of his race. The idea of the hind-brain seems a bit unlikely- I find it hard to believe that they could have evolved this system naturally, selfish gene and all that, but it makes up part of some very interesting world building.

Graeme Harper does his usual excellent job in the director’s chair, crafting the episode with great skill. The teaser for the episode begins with an advertisement for Ood Operations which says a great deal about society in the Second Great and Bountiful Human Empire with great economy. There are many memorable scenes, shot and cut with great energy, with a special mention for the horrific scene where Halpen meets his comeuppance. Harper is helped by the usual strong show from design and production. The Ood sphere is an excellently realised ice planet and the sets are simple, yet effective. Murray Gold provides a very spooky Ligeti-inspired score that is amongst his best work. The cast is superb, with Tim McInnerny brilliant as the amoral, yet believable Halpen and the lovely Ayesha Dharker playing Solana, a person who is not bad but, ultimately, is just not good enough.

As said, the Doctor plays only a minor role, yet he is present to observe all events and it is his relationship with Donna that compensates for his lack of active involvement. At first, Donna is shocked by the sight of a dying Ood, yet that quickly turns to sympathy. The scene where the Doctor enables her to hear the Song of the Ood is very moving and Catherine Tate puts her all into the role in a great performance. David Tennant plays the Doctor as wanting to solve the crisis, as usual, but he is perfectly happy to see it solved without him and graciously asks to play a small part. David Tennant is wonderful- yet again.

With a serious message about slavery (including digs at present day corporations) "Planet of the Ood" is a very entertaining story as well, and I eagerly await the Doctor’s involvement in the liberation of the Functionaries of Inter Minor.

NEXT: "The Sontaran Stratagem"/ "The Poison Sky"

"The Fires of Pompeii"

For Donna’s first trip in the TARDIS, we are taken to Roman times but the Doctor does not land in Rome as expected- there is only one hill on the horizon and the tremors indicate just which Roman city they are in. The destruction of Pompeii (and the nearby town of Herculaneum) forms a great backdrop to a hugely enjoyable story. The magma chamber of Vesuvius is host to a race of igneous invaders, the Pyrovilesm who have been awoken by the increasing volcanic activity. However, this is not the only odd thing. As with all Roman cities, there are augaries and soothsayers, but the prognosticators of Pompeii are not full of vague mumblings about the future- every soothsayer tells the truth, because the eruption was so violent that it briefly cracked the structure of space-time. Of course they don’t know this and insist that it is because they imbibe the vapours of Vesuvius. The trouble is, the Pyroviles are silicon based life forms and they are reconstructing themselves in the bodies of those who inhale the sands of their remains. This is a plot full of great ideas, yet there is much room for humour. The names of Caecilius, Metella and Quintus are pretty familiar to anyone who studied Latin in the Anglophone world. Other names have a touch of Asterix about them. There is a priceless homage to Mary Poppins and the gag about the TARDIS translation system- if you speak actual Latin, a Roman thinks you’re speaking ‘Celtic’ (which prompts Caecilius to respond with every stock Welsh phrase short of ‘boyo’). There are a very few clunky bits (notably Caecilius coining the word ‘volcano’) but they are very much in the minority.

The characterisation is not as good as it could be, but this is more than made up for by the strenth of the performances. Peter Capaldi’s impressive range as an actor can be seen in his two most famous roles- the sweet, gawky Danny in Local Hero and the human spitting-cobra that is Malcolm Tucker in The Thick of it and In the Loop. Capaldi is utterly charming as Caecilius and his family is also great fun (although it was odd seeing Francesca Fowler, as the only other thing I have seen her in is a very different sort of character in HBO’s Rome). We also have the brilliant Phil Davies as Lucius Petrus Dextrus and a nice little cameo for Phil Cornwell.

Colin Teague makes the whole thing look fantastic. There is a real energy to the scenes, of which many stand out- the ‘prophecy face-off’ between Evelina and Petrus, the brilliantly atmospheric scenes set in the chamber of the Sybilline Sisterhood. A mention must be made of the special effects, which are truly outstanding. The Pyroviles are excellently realised and there is the fantastic eruption- the scene where the Doctor and Donna are running from the escape pod has a complicated CG effect in a tracking movement, something that feels positively cinematic. The production design is flawless helped, no doubt, by the shooting at Cinecittà Studios in Rome.

Above all, this is a great story for the Doctor and his companion. Donna is, at first, thoroughly enthused by Pompeii, but she becomes angry at the Doctor for his refusal to prevent the deaths, and her anger becomes tearful pleading. The Doctor, as we are explicitly told for the first time, cannot change certain events and it is here we find out why- if Pompeii had not been destroyed, the Pyroviles would have enslaved the earth. Yet Donna manages to convince him to save Caecilius and his family in a scene of great power and wonder- I like to imagine that the Doctor was thinking of leaving Anne Chaplet to her fate in The Massacre. Tate and Tennant are both utterly stunning in this story, a good sign for the future.

This is a hugely enjoyable story that manages to overcome all the obstacles in its path. Even the ending, which should be cheesy, is touching. A real favourite.

NEXT: "Planet of the Ood"

"Partners in Crime"

The opener of the 2008 season is a jolly tale about a miracle slimming cure with some rather unusual side effects. Of course, the Doctor is interested, but we also see the return of the Runaway Bride herself, who has regretted her decision to not accompany the Doctor on her travels. The plot is quirky and easy enough to follow and, again, does not centre on an invasion of Earth, which is refreshing. The major niggle I have is that the Doctor and (especially) Donna’s involvement was the only thing that made the Adipose plan an actual threat- true, the Doctor does point this out, but a little guilt would have been nice. However, the writing is as good as ever, with the story being pitched as more of a light comedy- scenes of the Doctor and Donna missing each other are well staged and gags and great lines flow like wine. "Partners in Crime" doesn’t have to introduce a new character, but this does not mean that there is no character work- Donna is cannily written as being on the other side of a divide from Rose. Rose is young, but can see only a life of chips and TV in front of her, whereas Donna is in her mid-thirties and has the additional feeling that life has passed her by (Martha has purpose and a future even before she meets the Doctor). This means that her joy at being reunited with the Doctor is palpable and felt by all of us.

James Strong again helms the show with great skill in an episode with some stunning scenes. The Adipose babies are lovable, without being unbearably cute, and the CGI of them swarming (assisted by Weta Digital) is jaw-dropping. I love the Close Encounters inspired space-ship at the end and Stacey’s dissolution into Adipose. However, the best scene involves no special effects at all- the wordless conversation between the Doctor and Donna when they first meet. The performances are excellent, with Sarah Lancashire being great as villainess Miss Foster. The legendary Bernard Cribbins returns, with his character revealed as being Donna’s grandfather in a very likeable performance. However, it is the return of Catherine Tate that attracts the most attention. Here she is less brash, but still full of the same spirit she had in "The Runaway Bride". She is very likeable throughout, and I had no problem with spending the next 14 weeks with her. David Tennant clearly enjoys working with her and their on-screen chemistry is wonderful.

So it’s off into time and space again for new adventures- but hang on; who’s that girl?

NEXT: "The Fires of Pompeii"