We were out all day on Saturday. For the first time the video had to be set, and I was unable to watch Doctor Who at 7:00. Upong arriving home at 11:15 at night, I had to watch it even though I was rather tired. I quickly was wide awake though, as this emotional rollercoaster wound its way to its stunning conclusion. I went to bed that Saturday night acknowledging that Doctor Who had never been this profound – and even though it was midnight I really wanted to phone my Dad. He’s no Doctor Who fan, our bond generated mostly on the Football Terraces, but this story had touched me – and my feelings towards him brought to the fore.

The sheer scope of stories that are being told by the new Doctor Who is striking. We have always known that DW has an extremely wide range of storytelling available, within its boundaries. The beauty of the new series is that so much of this diversity is being embraced – yet still keeping the show intrinsically Doctor Who.

The author of this beautiful piece is unsurprisingly Paul Cornell. The original idea was Russell Ts – but Cornells stamp is all over it. Cornell can write Human Nature better than most – and he doesn’t shirk here. It’s right up there with Unquiet Dead and Dalek as brilliant new Who.

Increasingly the connection is being made in fan circles that the best episodes of the new series are not written by Russell T – but this for me is missing the point. Russell T had the original idea for it all. Diversity of writers has always been a key strength of Who, but there always needs to be a Marshalling force (Script Editor, Producer) to bring individual visions to fruition. Russell T is the main Marshall – and therefore deserves great credit for all these stories. I note with interest though that more new writers are coming in for the 2nd Series – but I bet Russell T will be the guiding force again. The main man on new Doctor Who is Russell T Davies, not Eccleston, not Billie Piper. This is Russell T Davies show, and he is definitely staying in – that’s the most positive news I can think of. If it wasn’t for Russell T, there would be new DW TV Series – simple as that.

Back to Fathers Day though. Taking the real world as its setting (like much of this series), the perils of Time Travel are explored in very personal way. The street could be anywhere in Britain, the Church could be the one at the end of my street – that I believe is the point. Never has the fantastic mixed so well with the day-to-day so well, as it is doing time and time again in DW 2005. A Time Travel Story with Monsters – that’s totally Doctor Who.

The Reapers are a fine addition to the Monster Ranks – definitely on the more impressive end of the scale. The books got into a right mess with Time Paradoxes, time and time again complicating an already complex enough issue. Time Paradoxes are fascinating though, and the simple yet horrific results – the Reapers, bring an added threat to the Doctors travels. They are particularly impressive here too, with the background of a Church to fly around.

Rose has dominated the series (Russell T wanted to be the Companion, not the Doctor – that’s interesting), and here she takes that domination up another level. Billie Piper is amazing throughout. Thankfully too though the Doctor has plenty to do too, even though again he’s involved, but not the ultimate saviour.

That accolade belongs to Shaun Dingwall as Pete Tyler – and it this character who stands out from the Wedding Crowd. This Delboy type character is beautifully realized by writer and actor. Impressive too (again!) is Camille Coduri, as Jackie – who manages to portray her younger self brilliantly.

The 9th Doctor and Rose are brilliant together – that’s the saddest thing about Christopher Eccleston only doing 1 series. This TARDIS team deserves more stories – I’m pleased more books have been announced for later the year. The easy friendship they now have is delightful – shown up more than ever in Fathers Day. It’s a lovely partnership, witch each thriving off the personality of the other.

Fathers Day is a brilliant episode. It’s wonderfully localized Doctor Who – fulfilling the ethos that Russell T Davies loves about DW – that of imagining the TARDIS at the end of the street. The fantastic is close enough to touch, with the limits of the imagination being the only boundaries. The series, and this show particularly, is wonderfully family based, with Rose being the key player – applauding the ties we have, that are set by blood. It’s brilliant TV in every way – and I am loving it more and more. 9/10

There are episodes of television shows where the writers make so many stupid mistakes and there are so many inconsistencies and things that don't make any sense, you pretend the episodes never happened. Father's Day is one such episode of Doctor Who that I consider never happened. I am a big Doctor Who fan, but this episode was REALLY badly written.

Why does the Doctor take Rose back to see her father get killed? The Doctor himself knows the dangers of messing with history, so why would he risk altering Earth's timeline to indulge Rose's wish? This doesn't make any sense at all. Let's say for the benefit of the doubt that he could keep Rose as an impartial observer to her father's demise who doesn't interfere. Then why doesn't the Doctor make Rose promise him not to save her father (and consequently change history) before he materializes the TARDIS? Why do the Doctor and Rose leave and come back, making dangerous doubles of themselves in that time period? Why do the earlier doubles of the Doctor and Rose disappear when the later Rose saves her father? How come there wasn't a double of the TARDIS that also disappeared when the doubles of the Doctor and Rose disappeared? Why doesn't the Doctor go back and prevent Rose from saving her father?

How does the interior of the TARDIS disappear? The interior of the TARDIS CANNOT disappear! The interior of the TARDIS has temporal grace or temporal invulnerability. The TARDIS is dimensionally transcendental (bigger on the inside than the outside) and the TARDIS interior exists in another dimension.

Why does the phone the Doctor listens to only play the first telephone call made by Alexander Graham Bell, over and over again? This is never explained.

Why does the TARDIS key glow, and why does the TARDIS slowly materialize around it? This is something else that is never explained and doesn't make any sense.

Why does the Doctor tell Rose "Don't touch the baby!" yet he keeps Rose in close proximity to her younger self, knowing that if Rose touches her younger self, the Reapers will be able to come into the church? Why doesn't he lock Rose away in another room, or lock the younger Jackie and the baby Rose in another room?

Why does Rose act like such an idiot in this episode, when Rose has been previously characterized as being smart and brave? Rose's stupidity is really out of character. Why does Rose save her father when she knows it will change history? Why does Rose touch her younger self after the Doctor tells her "Don't touch the baby!"?

After the Reapers destroy the Doctor, how and why do the Doctor and the other people killed by the Reapers magically reappear when Pete runs in front of the disappearing and reappearing car and kills himself?

Why does the car that is supposed to run over Pete continually disappear and reappear while going around the same block?

Why does the TARDIS reappear, in a different place from where it landed, when the Doctor and Rose are going to leave? Why does the TARDIS reappear at all, with its interior now intact? Why don't we hear the TARDIS materialization noise when the TARDIS rematerializes?

Why do the Reapers disappear at the end of the episode when history is still altered?

Why does the Doctor leave Rose's history and the histories of Rose's mother and father forever altered when the Doctor himself is against changing history (even though he did change Dalek history)?

How come the writer of this episode, Paul Cornell, never took into account the possibility that there may be no temporal paradoxes, and that changing history may just result in another parallel universe or timeline?

As you can see from all these inconsistencies, unanswered questions, and things that don't make any sense, Father's Day is a VERY badly written Doctor Who episode, and to me, this episode never happened.

When 'The Unquiet Dead' was first broadcast, it felt good, and it felt great. In short, it felt like Series One had reached its peak already, three episodes in. Of course, this was arguably not to be and later episodes proved themselves to be just as evocative in terms of appreciation, but despites this I still think that there is a strong case to be made for hailing 'The Unquiet Dead' as the best of the best in Series One.

'Doctor Who' has the most remarkable formula, in that it can dip in the past and future with equal ease and get away with it, and here is a good example of the show doing just that. If everything looked fine and dandy in 'The End Of The World', then things are positively glowing throughout 'The Unquiet Dead'. Christopher Eccleston and Billie Piper seem to be having a whale of a time prancing around (or, perhaps, swanning off) in Victorian Cardiff, and their enjoyment adds to the undeniably joyful ambience that presides over this episode.

Visually, everything simply feels Christmassy- the snow looks crisp and cold, the ghostly blues and red of the gaseous Gelth by contrast look so stunning against the dark and brooding backdrops that the episode as a whole is a veritable treat for the eye. When they said they were bringing 'Doctor Who' back, and they were going to try their hardest to make sure it looked great, I bet they had this episode in mind. In terms of looking so blissfully aesthetically pleasing, 'The Unquiet Dead' is not beaten throughout Series One.

Whilst I found Euros Lyn's direction a little stale in 'The End Of The World', here it looks truly brilliant. The exterior scenes sweep in and out and about, giving Cardiff a grand and appealing guise whilst the interiors are nicely contrasted between the large and comfortable main rooms where the richer reside, and the cramped relative squalor of the servants' whereabouts.

Just observe the difference between the grandiose wide shots of Charles Dickens' horse and carriage trotting down Cardiff, and the cramped tight shots of the smaller and more haunting cellar in Sneed's house. It's visual moments like this which set scenes far better than any dialogue could ever do, and full points must go to both Euros Lyn, and the unsung hero of the New Series, the Director Of Photography: Ernie Vincze BSC.

Murray Gold's incidental music for 'The Unquiet Dead' perfectly compliments the visuals and the tone of script, with the rousing music following the explosion of Sneed's house being the highlight of it. There is arguably too much music, but when it is as good as it is here, there is little room for complaints.

Mark Gatiss' script is thankfully every bit as impressive as the visual interpretation of his words. The dialogue literally crackles, with the interaction between the Doctor and Rose managing to perfectly capture the relationship thus far exclusively established by Russell T. Davies; their banter throughout is evocative of older Doctor-companion partnerships, whilst also managing to tie in with the new direction for such a pairing. The Doctor's comments concerning Rose's Victorian costume perfectly captures this, and that is merely one moment in a story full of such delights. For me, however, the stand-out moment has to be Rose's first footstep into Victorian snow; her acting, the direction, the music, the sound effects and Gatiss' expert handling of the situation is a real lump-in-the-throat moment. You suspend your disbelief- you believe you are there.

The plot in 'The Unquiet Dead' is great too. Zipping along at a pace hitherto unknown to 'Doctor Who', the plot manages to tell the story of an alien invasion attempt, the hierarchal status of Victorian England whilst also charting the re-birth of Charles Dickens' youth. Beginning 'The Unquiet Dead' with a sombre and depressive Dickens and ending it with a reinvigorated and blissfully optimistic one gives the episode as a whole the same sort of positive feel.

Gatiss writes for Dickens so well that you can see why Simon Callow seems as happy as he is to be playing the character. His writing for the other cast is superb as well. Gabriel Sneed and Gwyneth are both instantly recognisable and well-realised characters, and the pairing of the two of them works very well indeed. As well as Dickens' story, this is Gwyneth's also. Her journey from hapless Servant girl to Saviour of the World is both touching and natural, and never feels forced. If only all writers could pull off such feats with perfection.

Perhaps best of all is the fact that 'The Unquiet Dead' boasts- without a shadow of a doubt- one of the greatest openings to a 'Doctor Who' story ever: possessed dead body kills man by breaking his neck, knocks out an Undertaker then screams out her gaseous innards in a very real sense. Cue title sequence. Brilliant!

In all, it is hard not to see why all the fuss was generated over this episode. The acting is brilliant; the script is strong; it is visual stunning; the episode throughout is aurally pleasing too with every sound effect and musical note being perfectly placed in the overall scheme of things. When the TARDIS dematerialises at the conclusion, you can see tiny flakes of snow tumble off the windows of everybody's best loved Police Box. It's little moments like this- such tiny attentions to detail- which raises this high up in the pecking order of quality throughout Series One. The general consensus was correct- 'The Unquiet Dead' really is on par with as good as it ever got.

One of the great things I'm finding about trying to reflect upon the new (although I suppose it's not actually "new" any more, is it?) series of "Doctor Who" after a second viewing of the episodes this summer is that my natural propensity towards objectivity isn't compromised.

As a fan, I would always want to like the show, rather as you will your sports team to do well (even when, like mine, they invariably don't) and to write about it in positive terms. Hey, I would try to find nice things to say about "The Creature From The Pit", "Nightmare Of Eden" and "The Horns Of Nimon" . . .

In my profession as a journalist, I suppose (albeit subconsciously) I try to look for a more-balanced view. In doing so, though, I have reached the objective opinion that "Series One" is a great piece of television! And, when the time comes to pick the juiciest plums from the individual stories, "The Unquiet Dead" must take high order up the tree.

At this point, it's worth making an observation about Russell T Davies's contribution to this third episode. I'm sure Davies doesn't need me (or anyone else) to defend him, but I have read some opinions suggesting his stories were the weakest of the series. I think the salient point to be made is that ALL the stories in the series were Davies's vision. It was his idea to take the Doctor and Rose from the far future, and plunge them back in time the next episode. Introducing Charles Dickens and the 19th-century setting was Davies's call, as was making the alien characters of gas.

It was a fairly-significant push in the right direction for the writer, and I believe it was a similar scenario for all the other non-Davies-penned episodes. Others contributed – greatly – but this is "Russell T Davies's Doctor Who" even if his name isn't listed as writer. That said, "The Unquiet Dead" author, Mark Gatiss, used the momentum from that push, and fashioned not only a terrific piece of "Doctor Who" but a great example of well-crafted TV drama in its own right.

Period costume dramas seem to be a speciality of the BBC, and this was no exception. You could almost feel the love of the costume and set designers pouring through the TV screen. To the viewer, this was 1869 on the screen. Job done. But could the script match the quality of the setting?

No doubts on that score. And, unlike the two episodes beforehand, "The Unquiet Dead" didn't feel as if it had too much to cram into the 45-minute format. It got off to a great start with the pre-credits sequence. The Gelth-ridden old woman, eerie white light pouring from her mouth, striding towards camera was an enduring image, not just of this story, but the whole series. This was a genuinely-scary scene, and there were a few in this story – fantastic!

The pre-credit scenes (another successful break with "tradition") have generally been of a tremendously-high standard – it's hard to believe many casual viewers wouldn't stick around on the basis of those first few moments, to see how the rest of the story panned out.

Simon Callow's portrayal of Dickens was predictably brilliant, and his early interaction with The Doctor in his carriage a beautifully-written piece, expertly delivered by Callow and Christopher Eccleston – two of the finest actors around. Gatiss (and Davies) must have been thrilled to have such artists bringing the words to live.

Not to be outdone, Billie Piper's Rose continued to bloom in a fabulous period costume, and her one-on-one scene with the ultimately-tragic Gwyneth was another example of the type of high-quality dialogue we have come to expect from this series – even just three episodes in. And Eve Myles as Gwyneth was so good, even in this exalted company, she nearly stole the show from the lot of them.

And then there was the Gelth. They may have sounded good on paper, but could have looked disastrous on screen. Cue shiver down the spine at the shimmering tin-foil aliens of "Invasion of Time"! However, another pat on the back for the visual effects team. I can't imagine this was a simple process, but they made the Gelth into convincing ghostly images without degenerating into cartoon – a fine line which they didn't cross.

The Doctor's over-eager willingness to "pity" the Gelth and use Gwyneth as a "bridge" to bring them to Earth was an example of how this incarnation of the Time Lord's judgement is more flawed than his predecessors. We come to learn in later episodes that his role in the Time War (although I hope we never find out exactly what that role was) has left him on a kind of guilt trip.

It's also interesting to note that again, it wasn't the Doctor who actually does the Earth-saving – Rose did the business in the first episode, and it was Gwyneth and Dickens this time. In fact, you could reasonably argue the Doctor was actually responsible for Gwyneth's death!

An early spoiler for "Series Two" suggests that Queen Victoria will feature, and it's good to hear these historical trips appear to have a role in the series's future. If it's anything like as good a journey as for "The Unquiet Dead", we're in for a great ride.

Was The Unquiet Dead ever going to be anything other than a massive success? A period setting that the BBC has managed flawlessly for decades, Simon Callow, and Mark Gatiss writing it; come on, it was a foregone conclusion!

One thing immediately striking about the opening of this episode is just how traditional it feels, establishing the setting and the guest characters before allowing the TARDIS to materialise. This is probably the best way to do things with the short episode format as the alternative of starting with the Doctor and Rose means that we have to take time to discover the setting at the same pace that they do, which takes time. It also gives us the sense of unknown, as an old lady's body mysteriously and terrifyingly comes back to life, as well as showcasing the brilliant period detail and flawless acting from the principal members of the guest cast. What's notable though (and I'm only saying this because I had Gatiss pegged as a comedy writer) is that while the episode is very witty it isn't actually funny; the wit is jet black and brings more of a gasp at its grotesqueness rather than a laugh. Also, the pre-titles sequence of the new series allows for a kind of mini-cliffhanger and nowhere is this used better than here, as the lady strides towards the camera streaming glowing gas from her mouth. It's almost enough to make you forget that the cliffhangers are largely missing from the series now.

The TARDIS scene after the titles shows the Doctor struggling to keep his ship from falling apart, which seems at odds with the much more controllable time machine that the new series presents. It is much more in keeping with the less predictable TARDIS of the original series, although the cynic in me says that Gatiss simply couldn't find a reason for the Doctor to actually want to go to Cardiff. Gatiss's traditionalist philosophy can also be seen from the slightly later scene where the Doctor stops Rose from going out in 21st century dress; it reminded me of Leela complaining about having to wear period clothing in The Talons Of Weng-Chiang and Horror Of Fang Rock. Although far from cosy viewing (you know, what with the walking corpses and all), The Unquiet Dead feels like 'real' Doctor Who (well, my definition of 'real' anyway) and therefore of all the episodes of the new series is the most oddly comforting. But maybe that's just me.

I'm not going to beat about the bush: Simon Callow as Charles Dickens is hands down the best guest actor in the new series. I put him up there with such original series luminaries (oh man, I love that word) as Ian Hogg in Ghost Light and Simon Rouse in Kinda. It’s a bit unfair really having his first scene opposite the stage manager as, while not exactly a bad actor, Wayne Cater just cannot cope up against such foil. It's like watching someone lay siege to a castle with a rolled up newspaper. That and his sideburns make him look like a hamster. However, this scene showcases Gatiss's clear love for the period he's writing about, with naturalistic but authentically Victorian dialogue (I know these things) and it's easy to see why he was the first person Russell T. Davies contacted to write the episode set in the 19th century.

The first sight of the Gelth is magnificent, a clear homage to Raiders Of The Lost Ark. It is this kind of effect where CGI is in its element; the smooth gloss it produces is appropriate for the effect it is trying to create for once, and there's no need to create a semblance of realistic organic movement within the swirling shapes, which is where CGI tends to fall down (see Spider Man). My only real criticism is that Gatiss gave them names far too similar to the comedy monsters in Red Dwarf, but that's hardly something I can hold against the episode itself. In terms of scariness the Gelth are too familiar looking to be truly frightening (Gatiss did say that their design was based on the traditional Victorian image of a ghost), but when on the other hand they come pouring out of a corpse's mouth...

The 'fan' scene in the hansom cab is fun but inappropriate in the circumstances really since Rose has been kidnapped. Still, it could be worse, Dickens's line of "what the Shakespeare?" is clever given that the now-antiquated phrase "what the Dickens" has its origin in Shakespeare (maybe someone could tell me which play). The zombies that attack Rose gurgle like drains in true George Romero style but on the whole the sound effects on this episode are outstanding, although not having a 5.1 surround system I can't fully appreciate the swirling sound of the Gelth whipping all around the room.

After this it gets very plotty, and this is really where Gatiss shines as a writer. He is able to combine characterisation and exposition together in a single line of dialogue, making the most of the 45 minute format. The scene where Rose and Gwyneth chat to each other in the parlour enhances both their characters at the same time as advancing the plot, and is one of my favourite scenes of the new series simply because it is executed with such virtuosity. For example, we get to learn about Gwyneth's life and character and also about Rose's world and her deceased father - importantly, we also get to see how she still makes mistakes through culture shock three episodes in. Three episodes in to her time on the show, Sarah Jane Smith was mucking in with the Exxilons like the best of them. This kind of scene shows us how much better paced this episode is than Rose and The End Of The World. Almost incidentally, and as a consequence of this characterisation, we learn of the rift and Gwyneth's psychic powers that govern the rest of the episode. In writing terms then, full marks for style and efficiency. Also it is interesting to note Gwyneth's observation that "you've been thinking about him [Rose's father] more than ever”, which is a neat pointer towards the revelation of Rose's whole agenda in Father's Day and shows how the episodes all link together. Following this, the revelations about the time war expand on this plot arc that trickles gently and subtly through the series. Russell T. Davies may be seriously lacking as a writer for the programme, but as a producer he can't be faulted.

The Gelth's betrayal is extremely frightening, and I found it genuinely unexpected. The zombies come out in force giving the audience its monster fix (again, a tradition), but how they ever thought they'd get away with a PG certificate is beyond me (then again, Pyramids Of Mars and Attack Of The Cybermen got away with Us so it's swings and roundabouts really). Unfortunately the Doctor's lack of involvement in the story's resolution (a trend of the first half of the series) doesn't truly satisfy, and how the dead Gwyneth is able to move and talk could do with more of an explanation. Usually I'm not to concerned with pseudo-authentic explanations for fictional, fantastical concepts but in cases like this where it really doesn't make much sense I feel we do need something.

The 'man reborn' coda is slightly cheesy, but I'll let it go as it's nothing terrible and this is a very good episode indeed. Its strengths are in its production and particularly the writing, as I feel that Euros Lyn is a slightly bland director, continually taking the path of least resistance (although nowhere near as ham-fisted as Keith Boak). I'll leave the episode with that beautiful image in my mind of the snow staying in a police box shape as the TARDIS dematerialises, before fluttering down to the ground - did I just call Lyn bland?

My main gripe with the story as a whole is that it is very much one of peaks and troughs, but with troughs making a more frequent appearance. There is too much plot to cram into a single episode, and yet too little to properly fill out the ninety minutes which it has been granted. A lot of running around from a to b strikes as filler when the two Episodes are watched in closer proximity than with a week between the two. When watched seven days following 'Aliens Of London', the chase scenes in 'World War Three' seemed fine. When watched straight afterwards, they seem a bit gratuitous.

Parts of the plot seem a bit too predictable too. You are never worried about whether or not the Doctor, Rose and Harriet Jones will survive the Missile attack; you know Mickey will press the button to save the day, because the music suggests he will do so. Most annoyingly of all is the Doctor's constant references to having heard the name of Harriet Jones before, leaving you in little doubt that she shall, a, survive the whole affair and, b, that she shall go on to be a significant figure in British Politics. The revelation about her future near the end of 'World War Three' therefore loses its impact, and you are more left with a slow nod of inevitability rather than a feeling of happiness for her.

Both episodes have things to write home about; the destruction of Big Ben is every bit as memorable and impressive as it should be, and as iconic moments in 'Doctor Who' go, this one fits the bill very nicely indeed; also, the death of the Space Pig is a memorable moment, as is the 'capture' of Rose and the Doctor by UNIT. The appearance of UNIT, though brief, is key to the plot and a really nice nod to the past- one which I am very glad Russell T Davies made. The ending of 'World War Three' is utterly superb, and really hits home the sacrifices made by Rose when she decides to travel with the Doctor. Noel Clarke and Camille Coduri couldn't turn in better performances than those which they turn in here, and the whole scene is both touching and affecting.

One thing that in particular struck me when watching back-to-back is how good some of the supporting cast are. Though her appearance is minimal at best, Naoko Mori puts in a very good performance as Doctor Sato; her belief that aliens must look like pigs due to not having ever seen them before is very believable and well-handled, whilst her fear when the apparently dead creature is in fact alive and well is again nicely done, and it is shame that she could not have featured more heavily. Likewise, Navin Chowdhry as Indra Ganesh is both very convincing and believable, and his death is as touching as it deserves to be.

The Slitheen themselves come across as a lot nastier when you are able to take stock of quite what their actions are entailing. Beginning with the augmentation of a pig to suit their needs, they are clearly not above sinister deeds in a bid to achieve such deeds themselves. The Doctor's reaction to the said pig incident is enough to add weight to this theory, and you instantly dislike them due to it, before they have even been revealed. The fact that they then go on to murder a room full of human beings seems to be the icing on the cake as it were, though it lacks the same impact as the death of Space Pig, largely because the Doctor almost totally fails to make any reaction to the human deaths, content instead to run about with a grin upon his face, alerting the authorities to the Alien presence within 10 Downing Street.

Whilst memorable, the constant zipping and unzipping which the Slitheen family are guilty of strikes as padding and merely an excuse to show off a good idea. By all means indulge, but perhaps not to the extent that is done here.

The directing by Keith Boak throughout the story is rather disappointing, and it lacks the visual flair and ingenuity that he displayed throughout 'Rose'. Parts of it show glimpses of innovation, such as the destructions of 10 Downing Street and Big Ben, but on the whole there is not much to shout about, which is a real pity.

Murray Gold's incidental score has more of an impact when watching both Episodes one after the other; it is pretty much solely down to him that tension is created in 'Aliens Of London', and his music near the end of 'World War Three' when Rose has to make a decision regarding her adventures with the Doctor neatly underscores the emotions on display, contributing significantly to the scene's success. Whilst it is not as good a musical score as that which he has composed for other Episodes, I feel that I was much too dismissive of it when watching the Episodes as stand-alone adventures.

In all, I feel that perhaps I was bit too dismissive of the two Episodes initially. I certainly stand by my initial feelings that there is too little occurring for it to work very well, but Davies still manages to provide enough thrills and spills to make it an enjoyable affair. I think that romp would be a better description of the two Episodes, as much of it is played to gain a laugh rather than a fright.

Overall though, whilst the story has highlights, it has enough low points to mark it out as the weakest story in Series One.