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.

From its earliest days, Doctor Who has addressed (and, at times, embraced) political issues. One of the earliest examples of these stories is The Dalek Invasion of Earth, which casts the Daleks as Nazi stormtroopers (concentration camps and all) against the brave resistance fighters of the Home Counties (I'd suggest Dad's Army as an influence here, but the series hadn't started in 1964).

In the first of the series' two part stories, we get the story of a very unusual invasion. The Aliens are here, and they have managed to creep right into the heart of British democracy. At the same time, and especially in World War Three, Russell T Davies uses his script to satirise the events of the Blair administration's response to the Iraq WMD crisis, dodgy dossier and all.

Perhaps there are those who see it as heavy-handed. Perhaps there are nay-sayers who would grumble that Doctor Who is not the place for political satire, or even for political discussion. Rot! This is satire with a deft touch, unlike the over-Thatcheresque performance of Sheila Hancock in The Happiness Patrol. No one complained about that (they were too busy slagging off the Kandyman, of course).

But there is more to the script than satire. The Doctor's investigation of the UFO crash, and his discovery of the fate of the ship's occupant shows a more caring side than we've seen to date. His reactions when looking at the creature show that, even dulled by The Time War, The Doctor has a respect for life and for freedom. The Creature itself is well-realised, and the way it is handled in the story evokes more than a pang of sympathy.

We also find RTD examining something never considered before: how are The Doctor's companions perceived, accounted for, regarded and missed whilst they are away travelling? David Whitaker's prologue to Doctor Who and the Crusaders notes how Ian and Barbara might explain their absence from their London lives once they return, but apart from that, there has been little consideration as to how his companions fare 'outside the TARDIS.' Aliens of London puts this glaring omission right, and confronts The Doctor clearly with the ramifications of his actions.

In one of the best model/ CGI sequences to have been put together for Doctor Who, well frankly, EVER, we see a spaceship hits Big Ben and splashes down on the Thames. Public reaction, in the light of the World Trade Centre's destruction, is perfectly judged: chaos, hysteria, panic and the desire to get a photo to sell to the News of the World. It's telling that The Doctor and Rose decide to watch the drama unfold on BBC News 24 (and, given the events of The Long Game, interesting to note what they are being fed by the Media). Partly this is because of the way today's world works: partly also because The Doctor has eschewed his authority links and is now the ultimate maverick. It takes a full military team, including helicopter, to "recruit" him to the Alien Expert conference.

Whilst Aliens of London is expansive and has scenes in a number of locations, World War Three is more tightly focussed into two or three locales. This makes the drama tighter and helps to build up the tension. With The Doctor effectively cut off from the outside world, he has to call on Mickey for help. It is good to see development in Mickey's character in these two episodes: in the time that Rose has been absent, he has clearly grown up a lot, and that is reflected in his reactions to The Doctor. At the end of the story, we see them becoming, if not friends, then not enemies either.

The Slitheen monsters were one of the weak points in the production. The costumes were too bulky and immobile and the faces were insufficiently monsterous. The best realisation of the creatures was the CGI creatures running through the hallways of 10 Downing Street - they moved efficiently and smoothly, looking every inch the hunters they were not in costume. Compare the sleek CGI versions against the bulky, static Slitheen menacing Rose and Harriet at the end of part 1 (oh, how good is it to say that!). No comparison.

The guest cast performed uniformly well, with Penelope Wilton's performance as Harriet Jones being one of the best of the series. Her character was utterly believable, and it would be great to see her return in a future episode. Camille Coduri gave another great performance as Jackie, her reactions to The Doctor being spot on. She is an asset to the series, and should recur as a character in Series 2 if there is any justice.

The star of the show was, however, Russell's script, with (at last) the writer rising to the heights he'd enjoyed in Casanova. World War Three was one of the wittiest, even laugh-out-loud funniest, tension-filled 45 minutes of television I've seen in a long time, and thoroughly enjoyable. The story also showed the strengths of a two-episode format, in allowing better plot and character development, and leaving viewers guessing as to what will happen for a week.

The Slitheen motivations were also interesting, and there seems to be a minor 'theme' developing in some of the background story elements. This, along with mentions of the Time War, seems to be a way of linking the stories together to enhance the viewing pleasure of the devoted fan.

And check out the UNIT website (linked in from the main BBC Doctor Who site) – more evidence that the Corporation believe in the programme and are prepared to give it much needed multi-media support in this internet age.

Overall: wonderful satirical script.

Hear ye, hear ye- I am here to defend Episode Seven of ‘Doctor Who’: Series One, more commonly known as ‘The Long Game’. This lovely example of ‘Doctor Who’- one of the best since the Eighties- has been slated by all known fields of fandom, and I therefore consider it my duty to address this and ponder why this seems to be the case.

After the thrills and chills of ‘Dalek’, the following Episode of Series One was always going to have a spot of difficulty; ‘Dalek’ had single-handedly reminded everybody quite why ‘Doctor Who’ was so brilliant, and it had even made a fair few people sob in the process (bless that emotive blob of blue!)

It was going to need something truly amazing to beat it, and thus ‘The Long Game’ was transmitted.

Instantly, the viewer is struck at how unlike ‘Dalek’ this Episode is. Things look bright, the music suggests fun, the Doctor and Rose are in full-on friendly mode and there is something sinister lurking up above- substitute Floor 500 for an Attic and you pretty much know what ground you are on.

There is nothing out of the ordinary in ‘The Long Game’, but for me this is why it is a joy to behold. Of all the Episodes in the New Series, ‘The Long Game’ has the most in common with how ‘Doctor Who’ looked and felt during John Nathan-Turner’s tenure as Producer. Now is not the time to go into an analysis of JNT’s skills as a Producer, so I shall not, but I can definitely see similarities between this story and certainly some of the material in Season Twenty-Four.

In many ways, it reminds me of ‘Dragonfire’: we have an evil man in a cold room and a large group of people working for him who become ‘zombies’; we have a slightly quirky companion who breaks the rules set by the Doctor (for Ace, read Adam); we have a set full of characters looking neither human nor alien; and we have the obligatory monster which doesn’t do much as it doesn’t really need to.

‘The Long Game’ is Adam’s story in many ways. Throughout the Episode, we are given direct comparisons between himself and Rose, with the pre-title sequence segment parodying Rose’s reaction to seeing the planet Earth through the window in Platform One- whereas she took it in her stride, Adam promptly faints.

The Episode continues with parallels between the two characters. Both Rose and Adam felt the need to have some time to themselves when first witnessing the future, but whilst Rose went and talked to a Plumber who was promptly slaughtered, Adam goes and tries to use the future to his advantage.

Whilst doing this, Russell T. Davies also delivers a character with traits that are almost a halfway point between Rose and Adam in the form of Cathica, played brilliantly by Christine Adams. Unlike Rose, she is unsure quite what to do given her situation, but unlike Adam she eventually uses her ingenuity to solve the problem; all the while, Adam is lying back on a chair is dire need of help.

I couldn’t help but feel that the Doctor’s comment, when rejecting Adam, that he only takes the best was a bit rich- poor Victoria Waterfield spent the vast majority of weeks in dire need of help, but I suppose this is a sign of the times moving on…

The plot itself concerns the delayed evolution of Earth due to the manipulation of the News due to the sinister Editor and the Mighty Jagrafess of the Holy Hadrojassic Maxarodenfoe. Whilst all this is going on, Adam The Genius is busy having implants inserted into his head so he can absorb information from the future to use back on Earth in his Present time. One of the nice things about ‘The Long Game’ is that it has such a nice gentle pace that it fills the forty-five minute time slot allocated for each Episode perfectly. The two plot strands are given equal time to develop, and both have more than their fair share of light-hearted moments.

Despite this, it is the brilliant interplay between Adam and the Nurse played by Tamsin Greig that gets the biggest laughs. Her slow seduction of Adam into persuading him to have a head implant is both well written and well directed, with the highlight being when Adam attempts to vomit and instead spits out an ice cube.

As the Editor, Simon Pegg proves himself to be one of the best pieces of casting in Series One, really bringing his role to life and equating the sinister elements of the News story-strand with his more comedic approach to the situations. He also fits into the age-old role of ‘Doctor Who’ baddie, tying the Doctor and his glamorous Assistant up before telling them the plot.

In fact, ‘The Long Game’ is the most dialogue-driven Episode in Series One, with much of the conclusion taken up by the Doctor egging on Cathica. However, rather than be an annoyance, this works very well since it is able to both show off the Doctor’s intelligence and also provide a neat end to the character development of Cathica.

The music in ‘The Long Game’, as already mentioned, tends to veer towards the light-hearted though it also has its moments of tension to match the action on-screen. Like much good incidental music, most of the time it simply blends into the background, but when in the foreground it is pleasant enough to listen to.

‘The Long Game’ is the only Episode of Series One directed by Brian Grant, which is a shame as he does a really good job with this one. Whereas I felt that Euros Lyn suffered slightly in ‘The End Of The World’ due to the sets being made up of various rooms, here Grant shows that such rooms can be made interesting. Whilst he never tries to do anything overly ambitious, what he does do is provide a consistent pace to his Directing, allowing the viewer to take in enough visual information without making one want to see more.

In all, I feel sorry for ‘The Long Game’ as it has been much underrated. The characterisation is nice, with Adam’s slow downfall managing to be simultaneously hilarious and in an odd way rather sad; the Direction and Music are once more uniformly great; the plot itself is not overly complicated but good enough to sustain interest for forty-five minutes; and the supporting cast all play their roles brilliantly, with Simon Pegg and Tamsin Greig stealing the show.

Oh, and though I didn’t mention it before ‘The Long Game’ has a great ending too. I genuinely believe that this is as good as any ‘Doctor Who’ has been since the Eighties. I’m not saying that it is necessarily better, nor that it is my favourite story of all time, but in terms of quality, it stands up with the best of them, firmly above the worst.

I have to confess that this was the episode I was least looking forward to out of the whole season of new 2005 Doctor Who. We didn’t know too much about it, and the Big Brother News type set-up didn’t appeal initially. Then I remembered the wonderfully different Big Finish Audio, Natural History of Fear – and I had felt the same about that too – and how brilliant was that! Would this then be like that, or a Ratings War debacle?

Actually it’s nothing like Natural History of Fear, or Ratings War – it’s somewhere in the middle of those BF offerings in terms of quality, but it does have its plus points.

With the addition of Adam into the TARDIS it’s fascinating to see Rose put him through the exact same acceptance routine (mobile phone to home, futuristic space station overlooking the Earth) as the Doctor did with her. It’s as if Russell T is showing us that Adam isn’t going to measure up to the wonder of Rose. I liked Adam in Dalek, but this was a story too far, so it was good to see him dismissed so quickly. Funny how the Doctor is so trusting though, then so dismissive at the end – rather extreme reactions – but then there’s a lot of that with this Doctor.

My immediate thoughts were that this was rather similar in tone to End of the World, it being the far future and all that. I began even to look for similarities between Satellite Five and Platform One. There seems to be a far more connecting arc running through this Series (that Russell T alluded to in Confidential) than initially suspected. I rather enjoyed Satellite Five. The mystery of Floor 500 dominated all – and like some bizarre department store you just wanted to get up there and explore as soon as possible.

Adams descent into the Dark side seemed to serve only to accentuate Rose’s glory – so that’s enough about that character. The Doctor was his excitable self – but getting captured and tied up in 2 episodes on the trot seems rather clumsy. Again too it is other people who bail him out. I don’t recall even the 5th Doctor being this vulnerable. Rose lost out somewhat because of Adams presence – and that’s a great shame – but maybe it was just mid term holidays for Billie Piper.

Of the Supporting Players it is the Editor, Suki and Cathica who stand out. I found them both likeable in very different ways. The delightful Sukis story was most surprising, and for my money she got the best scene when she arrived at the 500th Floor. Cathica seemed sensible enough too, thankfully for the Doctor and Rose.

The stand out was The Editor, as Simon Pegg joins the exultant ranks of Doctor Who Villainy. He lit up every scene he was in and looked splendid. Russell T very poignantally observed in Confidential that without him the scenes on the 500th Floor would have been rather dull! He certainly played the part with relish – and was the best part of the episode. What that thing on the ceiling was doing there though I have no idea – though again answers are promised later.

Didn’t care for the information dump sub-plot, including vomit-freeze unnecessary perks, or clicking of fingers holes in the head – but there were some wry observations about the media in general. Contemporary Who indeed.

The Long Game isn’t likely to be many peoples high point of the season – but it is, to use another Beautiful Games parlance, mid table respectability – and that’s okay. 7/10

What was that? I'll apologise in advance - this is going to be a rant. There have been some great stories in this series and some awful ones (all written by Russell T Davies unfortunately - big shame) but how could you put something like this in alongside the contributions of the guest writers?!

RTD has said in an interview that he submitted this story line before at the start of his television career and received a polite letter suggesting he write about a man and his mortgage. Why then did he use this so much later in his career when he has presumably learnt alot and gained manifold insights into what makes good drama and what is boring and overdone?

The premise that an alien intelligence is holding back the technological progress of the human race is pretty old to start with, but could be woven into some really quite interesting and mysterious narratives. But instead we get a horribly unsubtle satire on the media that has been done to death elsewhere (including the 'classic' series). The Doctor has been brought back as a much more realistic and believable character - if one that is very unpleasant at times - as the previous portrayals are too camp. Fine. No problem. So why is it suddenly OK to have Simon Pegg playing one of the campest characters since the hight of the Carry On franchise (sorry - I mean since the Slitheen)? The script was dire and the guest stars (excepting Pegg who did the best he could with a difficult part) occasionally performed like amateurs.

The set design was lazy - it looked more like a parody of 1980s sci-fi than an effort at what a space station might look like far in the futue. And the costumes were very confusing - if the 1980s had come back into fasion in some bizarre retro statement in this time period shouldn't that have been commented on in the script- or do the production staff really think someone would wear that terrible floral dress in the future. If it was to add to the illusion that the freedom fighter was a quiet and demure employee, it was a little unsubtle...

Finally the ending. The Doctor's leaving Adam at home in the 21st century with a head that opens on clicking is excessively cruel. I get the impression that RTD thought this was a rather clever or ingenious punishment for the character and couldn't resist the clicking gag with Adam's mother at the end. Unfortunately it's not funny, and would be a rather interesting just-deserts for a deeply evil character, but with Adam it just makes the Doctor look childish and malicious. Whici is unfortunatley what he has become in the hand of RTD and Christopher Ecclestone. Ecclestone has put a huge amount of effort into his performance as the Doctor which comes across on screen and is commendable. But the efforts to make him a bit blokier, less camp, more 'northern' (would a Scots accent have detracted from McCoy's performance? I don't think so), and to have some kind of semi-sexual tension with the companion have pushed him too far. As I've said before there are alot of likeble touches in Ecclestone's performance, but over-all he looks too much like he has to TRY to be happy, and otherwise just doesn't present a character whom I feel any respect for.

Rose is a different matter. Billy Piper is so good, I think perhaps she should ditch the Doctor and the series should be renamed. Or maybe she could come across another northern Timelord who has some charisma, wit and doesn't tell everyone to shut up.

And we've got to go back to 'Satellite 5' for the series finale. It had better have changed!

This is one of those times when I'm not sure where to start. So much happened! I'll go backwards from my usual and tell you I'm giving the story 9 out of 10. This is to say it's about 10 times good and 1 part bad, so 9. I'll save the bad bit for the end.

Though it's meant to be one two-part story, in a way it's more like a "Seeds of Doom" type story where it's got a long prologue at the start before the real serious stuff begins. The prologue in this case is the satire on game/reality shows, specifically, the UK versions of "Big Brother," "The Weakest Link," and "What Not to Wear." Fortunately for me (non-UK person), I have seen the latter two shows on BBC America and consequently got all those jokes. And I'm familiar with the concept of the "Big Brother" show, even though I've not watched it, so the comedy here was blunted a bit for me. This was all very funny stuff, particularly the Anne Droid and how she apparently kills the weak link contestants. I do wonder though why Earth in the year 200100 is only recycling shows made in the UK in 2005... I know TV loves to repeat proven success, but surely some other formats must have become hits in the intervening 198095 years? And what about imports? Surely "Survivor" or "The Apprentice" deserved floors as well? (I would _love_ to see a Donald Trump droid!) Still, I loved seeing this genre getting skewered, though to be fair, Russell's not the first to use "Doctor Who" to do this. We've already heard this be done twice before on Big Finish, once in the DWM freebie disc "The Ratings War" where Beep the Meep was using reality TV to weaken the populace, and once in "The One Doctor" where none other than Rob Shearman's wife Jane Goddard did an Anne Robinson impersonation, again playing an android version of her (or was it a hologram?), in a Weakest Link-like scenario to test the mental mettle of Mentos, the greatest computer ever made. I wonder if RTD had to pay off Clayton Hickman, Gareth Roberts, and Steve Lyons for their ideas?

The games are all a front, however, to keep the population of Earth distracted from the rebuilding of the Dalek army on their doorstep and not expanding into the 4th human empire that the Doctor said should be developing after the events of "The Long Game." Back then they were doing it with news channels, and their collapse at the Doctor's hands brought about a global depression of sorts, though to be fair to him, I'm sure that was partly engineered by the Daleks, given that we find out they were behind the news channels too. His "mistake" was in not seeking out the masters of the Jagrafess back in "The Long Game." The front could have been anything... that Russell chose to make it reality TV is probably his way of jabbing at us today and how we're too busy getting involved in watching stuff like this instead of doing more useful and productive things. The news channels weren't any better though; the solution is to just not watch TV much at all.

Along the way to the Dalek revelation, it appears that Rose is killed by the Anne Droid. They play this out for a good ten minutes, and though the viewer knows that she can't really be dead if the viewer's aware of the advance cast listings, you still get a good sense of what the effect of her death would be from the stellar reactions we get from Christopher Eccleston and John Barrowman. Eccleston's Doctor just shuts completely down and says absolutely nothing while the satellite guards do their usual "you will be taken to the lunar penal colony" nonsense, then switches completely on again when the right moment comes to escape and get to floor 500 for the confrontation. I also liked the moment where Jack enters the TARDIS and sees Rose's jacket... Barrowman's double-take almost brought a lump to my throat. That Rose was actually transmatted by the Daleks wasn't that surprising to me... the Daleks worked the same trick on Susan Mendes in "Dalek Empire," and then there was that dust on the floor that the transmat left behind. I wonder if in an earlier draft the Doctor suddenly realized it was zanium. (and said "It looks serious!")

Along the way in the first part, we meet some more contestants and station personnel, and the stand-out here was Lynda with a "y," who was absolutely perfectly cast. Jo Joyner personified the word "sweet," and I might just start looking for other things she's been in; I liked her that much.

Also along the way, more "Bad Wolf" clues get dropped, but we're still none the wiser as to what it all means, despite the episode being titled "Bad Wolf." Given how it all turns out though, I think this is a perfect umbrella title for the story, if an imperfect one for the first part.

"The Parting of the Ways" begins much as "Bad Wolf" did, with the Doctor and Jack wasting absolutely no time in just snowplowing the TARDIS into the Dalek ship, materializing it around Rose and a Dalek, and then killing the Dalek with Jack's one-shot gun. (And can I just mention that this is the only time we've ever seen a Dalek inside the TARDIS? Cybermen, Sontarans, the Master, sure, but no Dalek had ever got inside before this... not that this one wanted to. (unless "The Mutant Phase" is canonical... but then those events reversed themselves, didn't they?) I liked how the momentum at the end of "Bad Wolf" continued right on into this, with nothing stopping the Doctor to this point.

And then it was time for a chat with the Emperor Dalek, which looked very impressive, and I was glad to see that it was back in charge of things, as it has been in most of the Big Finish audios. It's at this point where my one gripe with the story came in, but again, I'm going to save this for the end.

Then it was back to the satellite to try and hold off the Daleks from invading and destroying Earth, with the Doctor starting to rig up a Delta Wave that'll fry the brain of anything within the transmission radius. (I'm guessing the name comes from the techobabble of "Kinda," by the way.) Before the Dalek attack begins though, Russell's character strength writing kicks in full power as the Doctor sends Rose and the TARDIS back to her home so that she'll be safe. That he would do it really really works, and that Rose would hate that he did it also really really works. But what really really really works is all the material on Earth between Rose, Jackie, and Mickey, as Rose tries to find a way to get the TARDIS to take her back to the Game Station. There's a terrific ping-pong game going on between the characters as each one tries to convince Rose that life back on Earth eating chips won't be so bad, when she knows that this just running away isn't the way she wants to lead her life anymore. The best of all of this was the call-back to the events of "Father's Day," where Rose reveals to her mother that it was her who saw off her dying father when the car hit him, and how her dad would've wanted her to do whatever it took to save the Doctor. That this is what changes Jackie's mind and gets her to come up with the goods that they need to bust open the TARDIS console (namely that big truck) is fantastic character development that I didn't see coming yet completely understood when it did. That's just the way I like it. Billie Piper acting her socks off through all of this helped a great deal too. The work she did in this episode, particularly when she has her breakdown in the restaurant, is better than anything any previous companion has ever done. It'll be a very unfair day for her if she doesn't get nominated for a BAFTA for this when the time comes. And on top of all of that was the reappearance, in a bigger and actually quite scary way than ever before yet of the "BAD WOLF" graffiti everywhere Rose looks. And even at this stage, we still don't know what it means, except that Rose had better find a way to get the TARDIS moving.

The Doctor shows off his character development as well, though his big moment waits a bit until the Daleks have exterminated the entire station, including Jack, and we get to the point where he can fire off the wave and destroy all the Daleks, but only if he also wipes out every other living thing on Earth at the same time. And the Emperor Dalek taunts him expertly, asking if he's a coward or a savior, and when the moment comes, the Doctor realizes that he can't do this, and says "coward - every time." This is the reaction of the Doctor we used to know... the one who wouldn't put those two wires together on Skaro, the one who wouldn't shoot Davros in cold blood, and the one who couldn't shoot Charley Pollard to save the universe. It is not the reaction we saw from him earlier in the series, when he let Cassandra die horribly, or when he got himself a gun and was ready to shoot the "Dalek" Dalek even though it was becoming something new. Those reactions were what the war damage I've talked about here were doing to him. "Dalek" was a turning point, where Rose showed him what he was becoming... "The Doctor Dances" was the story where circumstances worked in his favor and for once everybody lived, and he loved that to death. He's been healing in the second half of the season, and it's complete by the time he doesn't push that switch here. Some will want to debate the morality and pragmatism of his decision here, but not me. I get the point now just as I have in those earlier instances; that is that the Doctor knows deep down that doing something so evil, even in the name of destroying greater evil, cannot lead to a good result.

And in the end it was just as well he didn't do it, because the Bad Wolf comes to the rescue. Rose gets the TARDIS console open, looks at the heart of the TARDIS, and the two sort-of become one hybrid being that calls itself the Bad Wolf. It scatters the words through time to wherever Rose can see them, so that she will remember them and know that she must return to the Bad Wolf Corporation's satellite as this new time vortex being and save the day. The Bad Wolf creates itself. I like it. It's a very elegant and very time travel-y thing to have happen. I'm still a bit fuzzy on whether they just took the name from the Corporation or whether they came up with the name and named the Corporation that too. I _think_ it's the former. There's also some poetry to it... Rose refuses to be just another sheep in the herd; she chooses to be the big, bad wolf instead. The whole "it's the power of the time vortex" stuff about how she time-destructs the Daleks works for me too. It's as though the Rose/TARDIS Bad Wolf creature is a sort of Chronovore. Rose has taken on the TARDIS' interstitial time powers, and it's taken on her sentience and desire to save the Doctor. The Bad Wolf wipes out all the Daleks, and also brings Jack back to life.

This can't last, however, without the effect killing Rose, and so the Doctor kisses her and takes it on (in a scene that I'm sure owed nothing at all to the Doyle-gives-Cordelia-her visions thing from "Hero" on "Angel" ), then directs it back into the TARDIS. This has the knock-on effect of it "killing" him instead, but he can save himself by regenerating, which he does, but not before he has a touching last scene with Rose in the console room. For once, the companion gets some warning about what regeneration is and what it'll do to him, and I like that this one happened with the Doctor standing up. I also really liked that they managed to give David Tennant some lines before the credits rolled.

Christopher Eccleston's final lines were nicely done as well: "Before I go, I just want you to tell you, you were fantastic. Absolutely fantastic. And do you know what? So was I!" The way I read that is that he's "dying" happy with how he himself acted here... happy that he's healed, and happy that it was Rose who helped him get there. And you know what, Russell T. Davies, this was fantastic, and so were you when you wrote this material.

And now I'll list some smaller moments that I really liked through the episode...

the fact that the Anne Droid did better against the Daleks than anything else Jack could muster, taking out three of them before they got her.

Lynda's death scene was really chilling. It hurt that she was dying, because I liked her so much, but the way they milked it with the attack seeming to come from the door, but then some Daleks sneak up on her from the window, flash "Ex-ter-min-ate" silently in the vacuum at her, and then blast the window to depressurize her room was just _nasty_. Well done here Joe Ahearne.

All the CGI of the massive Dalek armies and the spaceships, etc. It looked wonderful. Extra kudos to The Mill!

Jack being brought back to life was nice because I like him, but left behind and not even mentioned in the final scene was a bit odd, though there were bigger things going on at that point. Hopefully this gets addressed in the first scenes of "The Christmas Invasion."

Jack kissed a couple people goodbye before leaving for the battle he knew would kill him. That was nice to see. That one of them was male, and was the Doctor, I've no personal problem with. I can see this being a big sticking point with some US networks that might be considering the purchase of the series, though, if they are a network that skews towards family and kids programming, because the right wing pressure groups will work through the advertisers to try and have this sort of scene stopped. It wouldn't affect a more general "adult" network though, like Bravo or BBC America.

Finally, we come to the one beef I have with the episode, which was the Daleks getting religion. I can see what Russell was trying to do here, which was to graft his distrust (and many other people's it must be said, including mine) of organized religion and how it can steer the masses in the wrong direction, onto the psyche of the Daleks, and use them to illustrate the dangers of it in the same way that they used to be used to illustrate the evil of fascistic racism. This is a potentially very good science fiction idea, but it doesn't belong layered on top of what's already present in the Daleks. Whatever else Daleks are, they are _scientists_, with a dependence on rational thought. As the Doctor said, "since when did the Daleks have a concept of blasphemy?" The Emperor's answer that it reached into the dirt and made new life doesn't explain why he himself starting thinking of himself as the god of the Daleks as a result of doing that. He should be the most rational one of them all, and his hierarchical command structure worked well enough before this... I just see no reason for him and the others to start using religious dogma instead of just "obey." This really jars to me. Hopefully with all of this set of Daleks destroyed, we won't see this idea recur. I do think it's a good motivating idea to base an alien monster threat on... just not on the Daleks because they've already got a perfectly good motivation. Partly related to this was the voice of the Emperor, which I was also disappointed in. The modulation was right, and the sound was right, but the performance wasn't. I much preferred Nick Briggs' earlier Emperor Dalek performances for Big Finish... this one is a much more human-sounding Emperor Dalek and less the imperious overlord. He was more "lordly" before, which is ironic since this one thinks its God. I'm not going to lay the blame for this at Nick's door though... I don't think this is a decision he would've made on his own... I'm guessing Joe Ahearne or Russell T. Davies asked for this different version, and in my view, it was the wrong call. Oh, also, these new more radio-controlled Daleks are a gear too slow for my liking... I think I liked them better when their operator could shake them back and forth a bit and twitch agitatedly.

Overall then, 9 out of 10. 10 for the Doctor, Rose, Jack, Jackie, Mickey, the Bad Wolf, Lynda with a "y," the game show parodies, the CGI, and the direction, but subtract 1 for the new religious Daleks.