Smith and Jones

A fantastic opener, fantastic in the sense that it kick starts the show in exactly the right direction and deals a double blow to critics who have lost faith in the show. Taking the three opening episodes of series one, two and three this is easily the best of the lot, extremely confident with its identity and showing the audience that the series still has so much to offer.

I want leap straight on to the hot topic of Freema Agyeman as Martha Jones who was under a lot of pressure to deliver the goods after Billie Piper's career boosting turn as Rose. All my fears were dismissed in this episode alone. Freema is a real find and totally convincing in what is actually a hard role to make convincing (come on there are not that many people who can being kidnapped to the moon and not panicking seem rational) but even better she is likable and coming after a pretty smug year with Rose Tyler the humble and intelligent Martha Jones feels much more comfortable. As well as being utterly gorgeous she plays the role with enthusiasm and humanity and shares instant chemistry with David Tennant (I'm fast coming to the conclusion that this guy could have chemistry with ANYONE!). We get some back-story behind the character with another London based family featuring heavily in her life but with a completely different feel to the Tylers. To be honest we don't spend enough time with the Jones' to see if they will compare but the domestic drama that laces this story feel so real it is a good (and witty) introduction to them.

The big difference between this episode and New Earth (which is still a good'un) is tone. Smith and Jones (reserving judgement on the title) whilst containing some funny moments is essentially a serious episode with some nice threatening scenes to give the drama some backbone. Whereas New Earth pulled you in several directions from farce to poignancy, this opener has a focussed storyline and concentrates on thrills and danger. Moments that should be absurd are not only pulled off but also played with such conviction they give you the chills (the line "I even have a straw" is really creepy!).

Sod Primeval and its dinosaurs in modern day Earth, Doctor Who opens its season with a hospital transported to the moon! It sounds ridiculous but the direction is stunning, backed up by some very clever special effects. There is something very Sapphire and Steel about the shot of the moon sitting very lonesome on the moons surface and the slow reveal from the veranda is a Russell T Davies moment of genius. What other show on telly could get away with this and maintain its integrity?

With this surprise unleashed the episode barely stops for a breath with the Judoon making an instant impression, soaring overhead in their (excellent) spaceships and marching across the moons surface to besiege the hospital. This is another special effects triumph from the Mill and another spectacle to add to the episodes list. I know, we were all thinking it was the Sontarans but frankly the animatronics and design of the Judoon are so good I don't give a toss that it isn't. It occurred to me during the scene when the Judoon pour through the doors of the hospital that Doctor Who is screened near the timeslot for Casualty and this plot pretty similar to some of theirs (well no it isn't?but they could pour on some pretty unlikely concepts at times). The Judoon are another idea that could have been really disastrous (think back to the first appearance of the Slitheen) but thanks to a spot on director (Charles Palmer, you may return any day!) and some great effects they are really menacing and high on the list of returnable monsters.

Who would believe that this is the same Anne Reid that played Nurse Crane in Curse of Fenric? I'm pleased to see her turning up in more and more telly lately, obviously brilliant in Dinnerladies but also very good in The Bad Mother's Handbook (with none other than Catherine Tate) and giving a terrific performance in Smith and Jones. She never tips over into melodrama (despite threats) and manages to make (AGAIN!) what is essentially a bloody stupid idea work like a dream (that straw will haunt my dreams). Seriously I was rather hoping she would return at a later date because she makes an intriguing foe, turning from frail old granny to menacing blood sucker in a matter of seconds (plus she has a nice line in witty quips?gotta love, "Call it my little gift.")

David Tennant owns the role now and can draw on much of what he has already achieved. The biggest difference I felt was that he has calmed down slightly, playing the performance from the atmosphere rather than the stratosphere. I have no doubt that we will be seeing some of his histrionics throughout the season but he seems to be listening to his harshest critics who aren't fond of his exploding emotional firework of a performance and delivering something far more restrained. It really works in an episode like this that demands quick thinking, fast action and a certain amount of gravity but I hope he hasn't been reigned in completely. What struck me as more thoughtful than the norm (and backed up by the script) was the Doctor's thoughtful looks as Martha thinks about her situation and intelligently reasons moments out and stops him in his tracks to make sure they are operating humanely, like he was never looking for company but the more she does to impress him the more he likes being around her. After their adventure together on the moon it felt perfectly natural for him to waiting on a street corner for her feuding family to disperse and offer her a trip of a lifetime.

The scene in the alleyway is the highpoint of the episode. Surprising since all of thrills and spills are over. It just goes to show what two actors can do with what is essentially the same scene that has been repeated over and over for the past fourty years. Tennant and Agyeman work Davies' dialogue like a dream and there are some lovely, perceptive comments made (I love the ?made of wood' line) and Martha's choice to step inside feels somehow more natural than Rose's. Rose was escaping a boring life but with Martha it is like stepping into the TARDIS because it will be fun, exactly what my reaction would be if offered. I do like the reference back to Rose; it is nice to know that once you have left the TARDIS you aren't forgotten.

Whilst the performances and direction are both superb I would like to hand the plaudits over to Murray Gold and his amazing score for this episode. I will put my hand on my heart and swear that Gold's music is one of the reason this show has been such a success and triumphed over weaker copies such as Primeval. The theme for the Judoon is so bombastic and grand I was punching the air in time thinking, yeah, this is why this show is so cool! I have just finished a course on programmatic music and Gold's distinctive themes for each character is a beautiful example of his effective it can be. Martha gets her own here; it's not as haunting as Rose's but it is more mysterious and upbeat. I like.

Other things to notice:

* Another mention of the mysterious Mr Saxon. Where is this leading?

* "We're on the bloody moon!" ? swearing at quarter past seven on the BBC! It wouldn't have happened in my day!

* The sequence where the Doctor drains the radiation from his body is laugh out loud hilarious. Tennant is so good at acting like a prat. There's a backhanded compliment for you!

* I love the setting too, Doctor Who stays remarkably shy of hospitals and this is the first all adventure set in one (Spearhead from Space doesn't count, nor the TV Movie?I suppose you could include The Invisible Enemy but I lot of people would rather you didn't).

* A snog in the first episode together? Tennant is so damn gorgeous I'd be right in there too.

Smith and Jones (yeah okay it works?its just the reminder of Sam Jones from the EDAs that puts me off) is a real achiever of an episode. It introduces Martha superbly, it tells an enjoyable self-contained story (RTD's plotting is just getting better and better), it has kick started a new era of NuWho (TM SFX) with real verve and excitement and it has provided a much needed slap in the gob of critics who saw The Runaway Bride as the sign of things to come. Bravo!