Rose

Much as I was looking forward to the series, I also had my reservations the same as anyone else-but I put them on hold as I always trusted in the writers. Now it seems my trust has paid off because, an hour and a half before I wrote this review, Doctor Who rocked and rolled into the 21st Century. The show as a whole has regenerated, but all the elements are there. The Doctor hasn't fixed the outside face of the TARDIS, but has somehow made it twice the size.

The title sequence, although slightly unimaginative by the standards of Bernard Lodge's work in the '60s and '70s, is good and fulfils the main requirement (aside from displaying the show's name, of course) of being evocative of the show itself. The title sequence, faithful to the extent that if the orchestra was taken away it would almost be the original, bodes something special.

I enjoyed the episode as a whole, but I am withholding too binding a judgement because I want to see the other episodes first. Nevertheless I get to say what I always hoped I could: there aren't really any criticisms I can level against it that can't also be levelled against the original series too. And there was much to criticise about the original series, it wouldn't be the best show ever made.

Okay then, on to the crunch...my main reservation was about hearing of the 45-minute format, which I didn't think was long enough. It struck me merely as being the way sci-fi is done these days, rather than the best way to make Doctor Who. I was worried that this wasn't going to give room for the laid-back characterisation and plot intricacies of the original series. This was reflected to an extent, as when we join the show the Nestene Consciousness has landed and established itself, the Doctor has arrives, worked out the problem and is ready to get going. So much for introductions. This was not a problem here as they (appropriately) told the story from companion Rose's point of view, who isn't privy to all these goings on. I'm waiting to see at the moment how they'll deal with it later episodes-I hope they'll still be more than just cheap thrills even with this restrictive format.

Any other criticisms are very tiny. The sonic screwdriver, although generally used well (a minor element, not some miracle device that can solve any problem you give it) has a blue swirly thing effect: pleasant though this is, ask yourself what the word 'sonic' means.

Lastly, the time frame Doctor's regeneration is unclear. It is implied to be recent, as he appears to see himself in a mirror for the first time-but then again the 9th incarnation has been swanning off to the Kennedy assassination (not to cheapen the horrific events of that day, but any fan can tell you how significant it was for the show) and the Titanic. This is a glaring inconsistency; are there no mirrors on the TARDIS? I refuse to believe there are none on the Titanic. There was a period where the Doctor carried one in his pocket.

Anyway, off from the minor niggles, on to the considerable good. The episode is visually stunning: the effects, while rubbery compared to modern films, are in proportion both to the growth of TV SFX and also to the show's relationship with film. The effects of 'Rose' can be compared to those of 'The Matrix' in the same way that the effects of 'The Space Pirates' can be compared to those of '2001: A Space Odyssey'.

The visuals are never better than with the brilliant ways the Doctor and the TARDIS are revealed. It takes a writer of considerable knowledge and respect for the series to know how to pitch these elements perfectly. Talking of pitch perfect, the continuity references strike the just right balance between being recognisable and subdued (you all though I was going to talk about Billie Piper didn't you?), my favourite being the opening shot that mimics the one of 'Spearhead From Space'. The Auton guns have the original sound effect, and indeed the shopping centre sequence is reminiscent of 'Spearhead', although curiously is less violent-although the off-screen death of Clive in front of his wife and child leaves an unpleasant feeling. There is also a barbed remark about the gender gap in fandom, an example of Mr. Davies biting the hand that feeds him, I can't help but feel.

I can't review this episode without talking of the actors. Eccleston's performance as a northern cheeky-chappy may take some getting used to, but is basically good. Billie Piper is, meanwhile, skilfully casting off the light entertainment albatross that plagued Bonnie Langford.

On the whole then, 4 out of 5 and a very promising start. I look forward a great deal to the new series. Except for the farting aliens routine, maybe...