A pseudo-historical comedy featuring William Shakespeare? No, it isn't Nev Fountain's Big Finish audio 'The Kingmaker', it's Gareth Roberts' first television script for Doctor Who, and in terms of what to expect it holds no surprises for anyone familiar with his previous work. Which means that it doesn't break new ground, but that it is witty, affectionate, and hugely entertaining.

Shakespeare has now, but my reckoning, met the Doctor on at least four occasions in various different media, so from my point of view including the Bard is old hat. The period setting also feels like Doctor Who-by-numbers, and magic as a different kind of science has been done on numerous occasions in the novels, especially the Virgin New Adventures. So in many ways, 'The Shakespeare Code' has a cosily familiar, almost formulaic feel in the much the same way that Mark Gatiss' 'The Unquiet Dead' did, but like 'The Unquiet Dead' it's no less entertaining for that fact. It is also more overtly a "comedy" episode than anything we've seen thus far in the series since it returned, and it's worth noting that although all the Shakespeare quotes batted around between the Doctor and Will are an obvious route to take, such moments are nevertheless genuinely amusing and don't rely on flatulence and knob gags. And 'The Shakespeare Code' did amuse me greatly: compared to the odd shoe scene in the otherwise very good 'Smith and Jones', the heart-restarting scene here feels far less intrusive given the tone of the piece and made me chortle, as did the "we're going the wrong way" moment. The plot is pure Harry Potter, an obvious way to appeal to the kids, but Doctor Who has always borrowed heavily from other sources and as in the past, as here, rarely bothers to pretend otherwise, so here we get Martha contributing the words that banish the Carrionites with a spell from J. K. Rowling. I also find it easier to cope with pop culture references in a story that also plays spot the Shakespeare quote and throws in some Dylan Thomas, than I have done in previous episodes when presented with Britney bloody Spears.?

Shakespeare himself works rather well, Roberts doing what he did in 'The Plotters' and making a well-known historical figure down-to-Earth and likeable and providing comic relief. On the one hand he's an egotistical flirt, but he's also genuinely intelligent, deducing of the Doctor, "You're from another world like the Carrionites and Martha is from the future. It's not hard to work out." He's also genuinely delighted that the Doctor is clearly more knowledgeable than him, creating the refreshing and unusual impression that in Robert's hands he's not egotistical per se; he's just not falsely modest. ?

Having previously written for the Tenth Doctor in 'I Am a Dalek', Roberts again brings out the best in the character, without making him the pompous ultimatum-deliverer of certain Davies scripts. It also helps that Tennant continues to exercise restraint, and the combination is a Doctor who feels more "Doctorish" than in numerous episodes from the previous season, especially when he bitingly tells the Bedlam warden "I think it helps if you don't whip them. Now get out!", a moment of contemptuous anger delivered in passing that isn't overemphasised by script or performance. And he positively bristles with excitement and curiosity during the bizarre ending, as an enraged Queen Elizabeth sets her guards on him in punishment for something he hasn't yet done and he and Martha leg it back to the TARDIS. The only moment that disappoints is when the Carrionite uses the name Rose, and Tennant snarls out the line, "That name keeps me fighting", which is deeply irritating and has probably been inserted by Davies, who really needs to move on: the Doctor is more important than the companion whatever he might like to think.?

Speaking of which, Martha continues to prove likeable, asking intelligent questions about time travel. In a series that has been overly cluttered with pop culture references, the Doctor neatly explaining to Martha what would happen if her history changed by referring her to Back to the Future is perfectly sensible, and an ingenious narrative shortcut for Roberts. Perhaps inevitably, she ends up flirting with the Doctor (who happily seems utterly oblivious) when they end up sharing a bed, but she also deals smoothly with Shakespeare's advances. It is worth noting though that she is out of her depth: she seems to have the average sort of knowledge about Shakespeare's works that the well educated tend to pick up even if they've never read any of his stuff outside of the classroom, and this and the fact that she's confronted by witchcraft mean that she's less useful than in 'Smith and Jones', forced to defer to the Doctor's superior knowledge at every single turn. This needs watching: after a promising start, I'd hate for her to degenerate into a screaming accessory. Interestingly, Roberts also takes the sensible option of addressing the issue of her race rather than glossing over it, but not making an issue of it here, with Shakespeare simply taken with what he obviously sees as her "exotic beauty". It will be interesting to see however if the writers dare to take Martha to periods in history where it will be an issue, and how they'll handle the subject.?

There's nothing groundbreaking in 'The Shakespeare Code', but it is enormous fun. Actor Dean Lennox Kelly is very good as Shakespeare, which was by no means clear from the trailer at the end of 'Smith and Jones', and the period is evoked with the same sort of bawdy colour that characterises Shakespeare in Love, with buxom wenches and lewd comments aplenty. The witchcraft is by no means novel, but for all the Doctor's technobabble about magic being another type of science, it nevertheless gives the episode a pleasingly distinctive feel. Overall, for me at least, it's just a really enjoyable episode, and that is not a thing to be underrated. That's two good episodes in a row: it'll never last?

It's hard to pinpoint why The Shakespeare Code never really came alive for me. It had so many of the ingredients that go into making a great episode ? an excellent cast, an interesting story set-up, superb special effects and ambitious location shooting. It was an episode I had been especially looking forward to as I have enjoyed much of Gareth Roberts's previous work as well as the previous 'celebrity historical' episodes of the new series. But unfortunately I just found the spark to be missing this week. I kept waiting for the episode to really come to life, and it never did.

Which is a shame, because as I said, there was much here to like. Freema Agyeman continues to impress, although she had a great deal less to do this week, which perhaps might have something to do with the episode's lack of dynamism. David Tennant continues to grow wonderfully into the role of the Doctor, conveying more authority than he did in series two and doing a good job of getting across some of the wonder and mystery of the character here. And Dean Lennox Kelly, an intriguing choice as Shakespeare for those of us more familiar with his laddish role as Kev in Shameless, was excellent as the Bard. There was good support as well from the two actors playing Shakespeare's colleagues, and the performance standards as a whole cannot be faulted.?

Hmmmm, it feels as if I'm searching around for things I didn't like, and in a way I am as it is a genuine puzzle to me as to why I felt this episode simply didn't get going. The pre-titles sequence, I will admit, I found to be a little on the over-camp side, with its cackling witches ? and was it ever established just why exactly they needed to rip that chap to pieces in the first place? A poor pre-titles sequence doesn't necessarily sink a story, though. This time last year I found the kung-fu monks in Tooth and Claw a bit of an embarrassment, but after the opening titles that episode was a cracker from end to end.?

Which this wasn't. Perhaps it was the little things that got on my nerves and stopped me from simply sitting back and enjoying the story. For example, I got a bit ticked off at the constant flow of Shakespearean lines from the Doctor, followed by Shakespeare's replies of "I'll have that!" Once or twice, yes, but so many instances and it seemed like over-egging the pudding a little. Perhaps it's because Roberts is such a fan of Shakespeare and couldn't resist it ? certainly his appreciation of the famous playwright serves him well elsewhere in the episode, though. Shakespeare standing up against the Carrionites and using his lyrical talents to reverse their science works well, and it was also nice to find someone perceptive enough to be able to see through the psychic paper for a change. His realisation of just where exactly the Doctor and Martha were from was also good, and his observations did add more of an air of mystery to the Doctor, which is always welcome. Why indeed this constant performance? The Carrionites noticed it too, seeing no has no name in the same way Reinette did last year. I love those sorts of moments.?

Speaking of the Carrionites, perhaps it was them that I didn't take to? I could certainly have done without the two cackling old crones, but I imagine that they probably went down well with the children at home. Christina Cole's turn as their leader, Lilith, was a good performance though, walking just the right line between seductive villainess and your more bog standard evil alien adversary trapped on Earth. I was relieved that the witchcraft element turned out to have an alien explanation, as Doctor Who always works well ? like Quatermass and the Pit before it, the grandfather of this sort of thing ? when supplying a scientific, if not necessarily earthly, explanation for seemingly supernatural events.?

"Your effect is special indeed," is, as Martha Jones herself points out, one of the weaker lines that Roberts gives Shakespeare in the episode, but it is fitting when discussing the work of the special effects teams on Doctor Who and the effort that must have gone into The Shakespeare Code. The overhead shots of the streets of London as the Globe Theatre is enveloped by demons are stunning, as are the less obvious but still impressive crowd shots in the theatre early on, built up piece-by-piece from little clumps of fifty extras. It's amazing what moving from place to place on a green screen and swapping hats and cloaks can achieve! The practical effects seen during the episode were also of a high standard ? I particularly liked the death by drowning, a gruesomely unpleasant scene that will doubtless have caused a few nightmares and had a few concerned parents ringing in to complain about the irresponsibility of the BBC. Lovely stuff!?

Charles Palmer also deserves praise for his direction ? a second top-notch episode in a row from him in directorial terms, and I am pleased that we will be seeing more of his work later in the season. Co-ordinating all of the effects, costume and design efforts that must go into a period episode can be no easy task, and having to de-camp to London to shoot scenes at the actual Globe Theatre reconstruction must have been a huge effort too, but it was all worth it as Palmer manages to get a real gloss on screen. Perhaps it's due to him too that we have had such a strong start to the series from Tennant and a great debut couple of performances from Agyeman ? I hope the standard is maintained next week, with another director new to the series at the helm.?

So far, so good. All of it good. There are nitpicks and scenes I didn't like and lines that I found irritating rather than amusing, but none of this explains why at the end of the episode I felt underwhelmed by what I had just seen. Perhaps it's due to expectations ? last week I wasn't expecting quite so much after the slightly disappointing New Earth last year, but I really enjoyed Smith and Jones. With this episode, I had high expectations of a celebrity historical and a Gareth Roberts script, and I suppose I just set those expectations a little too high and thought we might be in the for the best episode ever. It's not, but it's also a long way away from being poor.?

It also had, it must be said, one of the best little gags there's been in the new series yet, when Queen Elizabeth arrives and recognises her mortal enemy, the Doctor. It's rare for the series to present us with such timeline-crossing moments, which is a shame really when you consider the potential there is in that sort of thing, but I suppose it might be a tad confusing for a general audience on a Saturday evening. Still, it worked brilliantly as a joke to close the episode on, and doubtless one of these decades Big Finish will be providing us with a story explaining exactly how the Tenth Doctor comes (or came, depending on how you look at it!) to incur the wrath of the famous monarch.?

When it comes down to it, I suppose I have to regard The Shakespeare Code as something of a personal lesson to myself ? namely, not to allow my expectations of an episode I am particularly looking forward to to go over the top, otherwise I'll end up being far less impressed by it than I otherwise might be. This was, on the whole, a generally entertaining instalment in what looks like shaping up to be a very good third series.

Season three continues apace with this witty and stylish historical adventure. For some reason I am getting the impression that this is going to be the best season yet, there really isn't one episode that I am not looking forward to and if this is the standard of the filler episodes I think we are on very good form.

It is such an irresistible idea I am surprised it has taken the Doctor over fourty years to come face to face with Shakespeare. Speaking as a man who adores the mans work it thrilled me to see him portrayed with such intelligence and charisma, walking on stage to the same roaring applause Justin Timberlake would get now. Because we are in the uber-capable hands of Gareth Roberts there are a great number of witty line drops, which are fired off with such ferocity and speed they make you chuckle rather than cringe. Dean Lennox Kelly is unrecognisable as Kev from Shameless and plays the Bard with a stillness and confidence that is hard not to be attracted to. Lets face facts when David Tennant is on screen I am usually spellbound by his performance but in The Shakespeare Code Kelly forces you to divide your attention, such is the strength of his presentation of one of Britain's greatest talents. The comparison between the popularity (I refuse to say genius because there is absolutely no comparison between the writer of Harry Potter and Hamlet) JK Rowling and Shakespeare is a great point and with the magic element it makes the contrast even more intriguing.

When I heard that they would be doing a Shakespeare adventure I thought it would be done on the cheap. All you need is a couple of sets and possibly a stage but instead we are treated to what is easily one of the most sumptuous and vivid productions of the entire series. The efforts that have gone in to creating Elizabethan London are astonishing and add another dimension to this historical. The glorious dressed sets, the delicious location filming, the CG shots of London, it all looks amazing. You can expect this amount of detail in a feature film but on a TV budget it is astonishing. Doctor Who really is the best looking show on television at the moment and certainly the most imaginative in terms of style and production, I cannot imagine any other show pulling off a historical with this much verve. The Shakespeare Code looks more authentic than Shakespeare in Love, that's how good this looks.

Doctor Who and magic are usually mutually exclusive if I am honest so to see witchcraft and magic being used so blatantly was something of a shock until Robert's genius idea of words being used as a science dismisses the whole idea. It's a brilliant concept, one of those fabulously imaginative ideas that Doctor Who thrives on. Slowly the Doctor is providing (or uncovering) a scientific explanation for everything in the universe, every myth and rumour, idea and superstition. How long is it before we discover God was some alien up to no good? What is especially good is that using words as power allows this script to ground its plot so effortlessly in Shakespeare's genius and centre the climax around his ability to create 'magic' with words. This is how to impress the kids with the strength of Shakespeare's ability, leave them reeling with the power of his ability to create thrills with words. And the missing Shakespeare play allows Gareth Roberts to explain again one of histories mysteries (see also the amazing Missing Adventure The Plotters).

The details are important. The casual sexuality, the effluence being chucked from the window, the whip being brandished in Bedlam, the chilling doll magic, the tiny people fleeing from the Globe as the world comes to an end, the Doctor's heart stopping, the flight from the window, Shakespeare's blatant racism?there are lots of special details that make this that bit more convincing and special.

The witches are not as over the top as you might think. The first scene could have been diabolical but with a director of Charles Palmers' ability it is creepy, especially the witch that swoops down from the ceiling and starts feasting. Yes they cackle and have warts and fly on broomsticks but remember the details that help make this more intoxicating: the lovely music when the doll mimics Shakespeare writing, the explosive reaction to hearing their own name mentioned, the mention of the Eternals banishing them, stabbing the Doctor, the shot of them trapped in the crystal ball. This is the closest Doctor Who has come to fantasy since it has come back, it is a hugely romantic story (with its glorious visuals and stunning imagery) and the creativeness of witches up to no good in Elizabethan England is to die for.?

Martha continues to impress and give the show-renewed energy and vigour. You would think with a historical so near to her introduction this would feel like The Unquiet Dead but the atmosphere is so different, exuberance rather than scares that it does not feel like a repeat experience. Martha's smiles as she explores this supernatural world is fantastic and helps to sell the magic of the experience. Freema Agyeman is very good at portraying Martha's joy at this whole new universe of possibilities opening around her helps you to fall for her character and her portrayal of the line "Hey Nonny! I know for a fact you have a wife!" is genius! The quiet scene between the Doctor and Martha on the bed is vital because it proves the Doctor is still not over Rose and shows the first hint of anger from Martha about that (justifiably, the thoughtless bastard).

Other points of interest:

"I began questioning my own existence. 'To be or not to be' ? ooh I like that" Inspired!
The exterior CGI shots are amazing and really help to sell the scale of the story. Thumbs up.
The final climatic scenes of the Carrionites swarming around the Globe are about epic as Doctor Who has dared since returning. I want to see how they are going top this!
I haven't mentioned David Tennant. That's because he is so good now it's a clich?.
"Author! Author! Don't people say that?" ? I laughed!

The one word that sums up The Shakespeare Code is indulgence. It is not a necessary adventure but it is a superb example of everything the new series does well. Production wise it is dazzling, the script is witty and feel good, the performances are powerful, the musical score is atmospheric?what's to criticise? I asked my friend Debbie to watch this episode, having never seen Doctor Who before and she texted me afterwards and wrote:? That was really good! I think you might have converted me! And I can't think of higher praise than that.

I can decipher The Shakespeare Code in three letters. F, U and N. In that order . . .

Of course, I won't leave it at that - not when I can ramble on for paragraph after paragraph without anyone editing me . . . and, after all, words were at the heart of this episode.

The second story of Series 3 featured new companion (although she has yet to be afforded that moniker by The Doctor) Martha Jones' debut trip in the TARDIS. And what beginners' luck - back to 1599 and an audience with William Shakespeare.

Naturally, it wasn't as simple as that, with (yet another) ancient race, this one named as Carrionites (in the form of evil witches) lurking in the area, looking for a way to bring their sisters trapped in another dimension/void/whatever back to this universe. That "way" was using the newly-created Globe Theatre as an energy conductor, with the trigger (or spell) being the closing lines of Shakespeare's "lost" play, Love's Labours Won. The denouement involved Shakespeare breaking the spell with wise words of his own - prompted by The Doctor and Martha occasionally.

Not a bad little story - nothing terribly original in terms of script, and I don't think it would make a very long Target novel (decent Quick Read maybe) but this is the way with most of those 45-minute, self-contained adventures, and it is worth reiterating because it has to be taken into account when offering a critique. It's just not long enough. Especially for such a lavish production such as this one.

However, though The Shakespeare Code won't go down as one of the most-innovative storylines in DW history, although there was plenty of excellent dialogue, it'll certainly linger long in the memory as one of the easiest on the eye. It was a simply-glorious production - considering this show is created on a TV budget, to make it look like a film is no mean achievement. The DW team manage this regularly, but really excelled themselves here in all technical departments - direction, by the impressive Charles Palmer, following up a great start with Smith & Jones; costume, which is pretty much a given for a BBC production, although it's still worth a nod; prosthetics and CGI (more amazing work from The Mill here yet again); and music (love Murray Gold's work, and this was another fine example).

Although there was some strong support (which isn't always the case), the performances of the four main cast members was also terrific. David Tennant and Freema Agyeman built on the strong start to their partnership last week. Freema has settled in amazingly quickly. It's not a question of Billie Who? but I haven't missed Billie Piper as much as I thought I would, and that's a tribute to her replacement's excellence. Helps that Martha is a likeable character, too, although it's early days, and, even at this stage, the viewer might have found themselves empathising with her at some rather-thoughtless treatment from our eponymous hero.

As with Rose, showrunner Russell T Davies has decided the newbie's first two journeys should be to the past and to the far future (changing the order from The End Of The World and The Unquiet Dead with The Shakespeare Code and next week's Gridlock). However, whereas The Doctor had no doubts he wanted Rose as a travelling companion from the outset, he appears yet to be convinced about Martha staying around, reiterating several times that he saw this as a quick trip.

There is already clear evidence that the dynamic between Doctor and Martha is going to be very different to that of The Doctor and Rose, which was actually a love affair (although probably the only platonic one in TV history). Here, Martha is clearly drawn to this good-looking alien who has whisked her away in time and space. Whereas The Doctor does not see it at all - hence the "staring me in the face" line - even when looking into Martha's amazing big eyes as she lay in a bed beside him. Mentioning how he missed Rose at that moment, and how his lost love "would have said the right thing" was actually quite (deliberately on the writer's part) crass for this Doctor, and this was where the viewer must have sided with the obviously-crushed Martha.

It's likely the relationship will continue along those lines - interestingly, in one of RTD's previous TV successes, Queer As Folk, the relationship between the Doctor Who-loving Vince and the promiscuous Stuart was not dissimilar. Vince's unrequited love for best friend Stuart was a recurring theme throughout the series. And the theme of unrequited love is one which clearly interests RTD, as he feels this will strike a chord with a large section of the viewership who might not fancy the monsters and the time and space travelling. It's all about bums on seats. Shakespeare can have that one, too . . .

Talk of Shakespeare brings me to Dean Lennox Kelly, who was excellent in the role. I wasn't sure what to expect, but playing the character as a kind of 16th-century rock star, and a slightly-camp one in places (surely a bit of RTD mischief in there, with a couple of lines!) certainly worked. Also good was Christina Cole as the lead witch, Lilian. She was just edging towards taking the "bad witch" into pantomime mode, but her obvious relish at tackling such a role leans me towards giving her the benefit of any doubt. And I think the kids would have liked the witches - generic, for sure, but good masks, and not too hammy, so it all worked well enough.

Good to see the return of the pre-credits sequence after its absence last week, too. One of the things I miss from the proliferation of single episodes is the cliffhanger, but there is scope for one of sorts in those first few scenes before the theme tune, and this I welcome.

A decent TV Who writing debut from Gareth Roberts. Of course, we don't know exactly how much input Davies has to these scripts - the basic story is his idea, and he writes a final draft to most of them, as well as making changes throughout the process. Possibly enough to warrant a co-writer credit, I would suggest. I suspect Roberts, Helen Raynor and Chris Chibnall, although capable writers, were chosen for this series because are totally au fait with what RTD wants in terms of script - in the family, as it were, and there's nothing wrong with that. I would always find it amusing if anyone said they liked this episode because RTD hadn't written it, though . . . his influence, as always, is significant. It will be interesting to observe the writing differences in The Lazarus Experiment and Blink, the only two scripts RTD has said he didn't feel the need to "polish" this season.

However, regardless of who wrote each individual line, there were plenty of crackers in The Shakespeare Code, well delivered by Tennant, Agyeman, Kelly and Cole. The idea that The Doctor was responsible for some Shakesperean lines was good fun, and this worked much better than the rather-forced "We are not amused" gag from Tooth And Claw. Also amusing that Martha would reject Shakespeare's advances because of his bad breath!

All in all, a strong seven out of 10 for The Shakespeare Code, although I would have liked to have seen it at an hour's length to really justify the outlay if nothing else - must have blown a big hole in the budget. Might also have made a good Christmas special - bit of mysticism already there, apply some fake snow, and bingo. Would have to give the killer Santas a miss, though . . .

I was not, I have to admit, looking forward to the start of a new series as much as I should have been. Previous RTD start of season scripts had been...how to phrase this politely? Lame. Amidst good jokes and ideas the episodes sort of hobbled along trying to get the science fiction out of the way as much as possible in case anyone fell asleep, before plunging with all the enthusiasm of an Pro-plussed toddler into the shallow end of the 'How to resolve all your plot threads' pool, before being asked to leave for splashing too much. This time, RTD has got sci-fi ideas that are fun, rather than the rather dull but worthy Human farms of New Earth and generic invasion of Rose so that while we get to know the character of Martha better we can also have a rollocking good time. Oh yes. So we get talking rhinos as policemen and have an alien race who are presented in a more interesting way that merely generic bad guys, which is always a good thing. Then we have Anne Reid playing a creepy old lady with a straw. This is a delightfully squeamish idea for adults, and an excuse for younger brothers who like annoying people (Yo) to run around trying to suck their elder sister's blood out of their neck with a bendy straw. Whoever said Doctor Who had to scare the crap out of children week in week out? Giving them some respite for a week, THEN scaring the bejeezus out of them works just as well.

The straw however, has proved contentious. Many people have objected that a straw could not in fact be used to drain someone of blood. So, based on this, these people will have to object to the fact that spaceship doors and walls in Doctor Who are often made of lightweight wooden or polystyrene materials, which wouldn't stand up to the rigours of space travel. If they object to this, saying it isn't obvious that the walls are wooden, have they ever seen one being blown up? The shards of pre cut balsa wood fly neatly over the set and the bad guys march on through, usually. It's obviously not real. It requires the use of imagination. Say that in the future a way to make ultra light yet immensely strong materials used in spaceship manufacture is invented, and due to the nature of its structure it happens to look like MDF or plasticene when an immensely powerful alien device (ie. A box with a lightbulb on the end) is used on it? Or that a lightweight plastic material is developed with a special sharp end with a metal tip (transparent aluminium anybody?) enabling penetration of the flesh and enough heat to be applied so that no blood escapes the end of the straw? If people are going to insist on thinking about these things rather than just watching it and accepting it, why stop at 'Oh that doesn't work, the episode is ruined for me now!'? Why not continue thinking about it until you can come up with a scientific explanation for it? That's what Doctor Who does.

Anyway, rantette over with, RTD wrote a script with a simple agenda ? to make the show as much fun as possible (Of course there is such a thing as overdoing it). I thought the balance was just a bit too much on the side of the wacky but got away with it through sheer breathless enthusiasm. However I can see how some people may have wished David Tennant (who now looks as if he could play the Doctor in his sleep, probably because he has been for the past twenty years) would stop hopping about and just get on with it, and didn't Jon Pertwee's Doctor die of radiati ? oh hang on was that a different type? It was? Good, that's alright then ? but anyway he should hurry up and stop goofing around *arms folded, glare at TV screen*

Martha's family did not come across very well in this episode, but I think it'd be unfair to cast judgement on them just yet. If they're still annoying in series four though, then we know something's gone wrong. Hands up anyone who thought they'd miss Jackie Tyler after Rose? Exactly, so I'm prepared to wait for their characters to develop beyond this cursory introduction. Martha herself feels like she's been there for years. And it is a slightly different character arc to Rose, in that the Doctor is too busy getting over Rose to really fall for Martha (or at least that's what we've been led to believe), however this is missing the big question over the relationship between the Doctor and Martha, which is this: Is anyone else hoping the Doctor will say that he used to have a tattoo on his shoulder as well?

He so should.

NB: Anyone hoping for an in depth review which goes into great detail about the minutiae of the episode will hopefully appreciate the dramatic irony in not getting one.

I thought it started really well and that it was going to better Army Of Ghosts (4/5), which I loved and rate as RTD's finest work to date. But alas Smith And Jones just went further and further downhill as it progressed.

Positives:
+ Superb dialogue at the beginning with the junior doctors and patients
+ Very good introduction to Martha, the Doctor and the TARDIS
+ Martha appears to be an intelligent companion who can look after herself (something good that RTD has brought to Doctor Who)
+ Fabulous effects (although this is something RTD appears to rate more over storyline. One american critic wrote that the new Who has great effects but the old Who had the great storylines)

Negatives
- More of that annoyingly cheesy, 'operatic' music
- Over the top screaming by people when the hospital lands on the moon (and some dreadful acting by extras), which is just a poor device by RTD to make us like the non-screaming Martha and Doc more
- Aliens that just happen to look like rhinos. Does the new Who team have any imagination?
- The straw - leave it in Red Dwarf please, where it would be funny
- David Tennants stupid dance, as if he could send all the radiation into his shoe. I'm sure an intelligent child would find this embarrassing aswell
- The colossal power required for the plasmavore's device at the end (how?)
- The continual use, by RTD, of major alien happenings on Earth (like the battle of Canary Wharf). Doctor Who is supposed to be on our Earth and in our time (I'm sure RTD would agree) yet such monumental things would change our culture, society - did you see a huge alien ship over London last christmas on the news(The Christmas Invasion - set in 2006)? I didn't - this is why Earth invasions in the classic Doctor Who were mainly covert operations, so that it was feasible
- Martha's family appears to be trash straight off of a Trisha show (not again!)
- Worst season opener to date
- David Tennants stupid dance, as if he could send all the radiation into his shoe. Have I put this one in twice? And rightly so

I have finally lost faith in the new Doctor Who. Even last season had some good episodes but I fear this one wont have any at all. It isn't even Doctor Who anymore, he doesn't appear alien. The only way we know he is alien is because he mentions it often ("I'm a Time Lord", "E's got twin 'earts!"). I'm quite angry as well and I hope RTD leaves as soon as possible to let someone in who has quality control (and doesn't rate soap operas and big brother - and isn't scared of critics. Hmm I wonder why that is Russell?).