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 . . .

Doesn't time fly when you're having fun? Remarkably, Smith and Jones was the 29th episode of the regenerated Doctor Who. So, how was this important opening episode of the third series?

Traditionally, even going back to Tom Baker's tenure, the first episode of a new season is rarely the best, or even anywhere near the best. If that proves true this year, we're in for a very good 13 weeks indeed, because Smith and Jones was a solid opener, with many fine moments.

There's no doubt in my mind that Smith and Jones was superior to New Earth - and also to Rose, the episode with which it must inevitably be compared because of their mutual central theme - the introduction of a new, long-term companion. Rose, to be fair, had a bit more to do as well, as it was charged with reintroducing the entire show.

As the name of the episode suggests, this was about a Smith - The Doctor's pseudonym - and a Jones - Martha, destined to be the new First Lady of the TARDIS. As with Rose, writer Russell T Davies underlined one of his great strengths - quickly integrating a new character into an existing series, and making the audience care about them in a short space of time. And if that was his goal, he scored with great aplomb. Again.

Martha, an attractive, intelligent, strong young woman - fine TARDIS travelling stock, one might opine - was revealed to be a medical student, whose hospital was transported to the Moon by the Judoon, a race of rhino-headed storm troopers on the hunt for a fugitive.

The Doctor, alerted to strange goings-on at the hospital and in cognito as a patient - Mr Smith - teams up with Martha, whom he identifies as a brighter member of the medical staff, to seek out the object of the Judoon's search before they either wipe out the patients and staff, or lack of oxygen kills them all.

A Plasmavore, a blood-sucking (through a plastic straw!) shapeshifter in the guise of an old woman, proves to be the creature being sought, and is planning to flee in a Judoon ship and destroy half the Earth by overloading an MRI scanner. The Doctor confronts her, but she sucks the blood from him and leaves him for dead before she is destroyed by the Judoon.

Martha revives The Doctor with the kiss of life, and the Judoon restore the hospital to Earth.

Although Martha and The Doctor went their separate ways, the latter returns to seek her out, and offers her a trip in the TARDIS . . .

As ever with the 45-minute format (and especially here with a new companion to bed in) the plot was rather shoehorned in and then out, but it was good fun if you didn't look too closely for holes and crackled along at the usual breakneck pace, marshalled well by new show director, Charles Palmer.

As this was effectively "her" episode, how did the new girl do?

Freema Agyeman has tough shoes to fill, because Billie Piper (and I'm sure time will show this) is one of the leading actresses of her generation. But there's every indication that Ms Agyeman has what it takes to endear herself to the millions of fans of the show. This was an accomplished and endearing debut.

Although she came with a big, positive build-up from the DW production team, there was a temptation to think "they would say that, wouldn't they?" But I think they're right - she looks great, is very believable, and looks to have a strong chemistry with David Tennant, even at this early stage.

There are very few non-white leading ladies in mainstream British TV dramas, most of which have a disproportionately high number of white characters, so she's a rarity in that sense. But her colour shouldn't be an issue, of course. The ability is clearly there.

As a companion, Martha shows a deal of promise - she has an enquiring mind, a thirst for knowledge and adventure, and wasn't phased by the concept of being transported away from Earth. Interesting that it's now part of the show's canon that alien invasion is seen as a plausible threat to present-day Earth, and Martha took that in her stride.

Credit here again to Davies for Martha's almost-seamless integration. By introducing Catherine Tate's Donna as a "buffer" companion in The Runaway Bride, the viewers have already been given time to get used to Rose's departure. Rose isn't forgotten - it was right that The Doctor mentioned her again towards the end of the episode, but I'd be surprised if her name cropped up again too much. Time moves on, and time to move on.

Slightly armed with spoilerific information here, but it is clear that the dynamic between Martha and The Doctor is going to be different to that between him and Rose.

There was no question that The Doctor and Rose were in love - Doomsday having silenced all doubts about that - whereas here, it looks like Martha has designs on The Doctor - her noting his wearing of tight suits - while he is just on the lookout for a new travelling companion.

I am in the school who prefers if not an asexual Doctor (very difficult in this case as David Tennant is a very good-looking and sexy man - so I'm told by every woman I know!) then one who is ambiguous about his sexuality - I just believe that makes him stand out from the crowd more.

If Agyeman made a strong start, she was ably assisted by the show's star. I was a Tennant fan last year, with certain caveats, but he really grew on me during a recent rewatching of the entire second series. Now, I have no doubts that he IS The Doctor.

Tennant, for me, is only second to Tom Baker in the title role. And by a diminishing gap. He has his detractors, but I have grown to appreciate the quirkiness he brings to the role - I loved the scene when he dispensed with his shoes after letting out radiation through his foot! That was very Tenth Doctor.

Tennant also did well to deliver the line "Judoon platoon on the Moon" without his native Scots brogue! Just as well Davies didn't add "We're all doomed", the famous line from Private Fraser in Dad's Army, though . . .

If, as seems likely, Tennant completes a full third season, I'm sure his place at the head of DW lore will be assured.

The rest of the cast made less of an impression - Roy Marsden made a pleasing cameo as the consultant and Anne Reid was chilling in parts, hammy in parts as the Plasmavore. Martha's family - estranged parents, father's girlfriend, brother and sister - were short on screen time, and clearly will need more of that to earn the affection in which Jackie and Mickey were held. They were not instantly popular either, though.

Great effects - the Moon looked fabulous - and composer Murray Gold's excellence can be taken as heard, while the Judoon head was another triumph for Neill Gorton and his prosthetics team.

Clever idea to have rhino-headed storm troopers, another iconic creation and one which has got to have a high fear factor for young children. I wasn't 100 per cent convinced about the leather skirts which accompanied them, but put that down to a bit of mischief from the writer - a right he has earned!

The voice was also excellent - highly distinctive, and I much preferred Nick Brigg's interpretation here than the Cyber voices. I enjoyed the Judoon booming in its own tongue before assimilating the human voice. I suspect we will see these space policemen, er, policerhinos again.

And what of those little "seeds" which Davies likes to plant for the regular viewer?

Mention of "Mr Saxon" again suggests that "Saxon" is likely to be this season's "Bad Wolf" or "Torchwood". I get the impression that this arc might have been better thought through, though, as it was first mentioned as far back as Love and Monsters on a newspaper being read by Peter Kay's Abzorbaloff.

I always suspected the Bad Wolf arc was a bit of an after-thought, and Torchwood, although better realised, always smacked of product placement. Saxon sounds like a plan!

You'd actually have to be living on the Moon to have missed the fact in pre-publicity that Mr Saxon is an MP, probably the PM, and is to be played by John Simm. An actor of Simm's stature isn't coming in to DW in less than a highly-significant role, so it's a reasonable assumption that Saxon is probably The Master. Having brought back the Daleks and the Cybermen, The Master is next on the list for a revival.

The Doctor dropping in a line that he didn't have a brother "any more" has to be significant. Therefore, Saxon. Master. Doctor's brother? All one and the same. We will see!

Another interesting "throwaway" line was Martha's confirmation that Adeola, killed in Army Of Ghosts, was her cousin. Everything Davies writes appear to be for a reason - so, is this little titbit set to be important, or is it just a way of explaining away the same actress playing both parts? It could be said that The Doctor killed Adeola - or could be made to look like that . . .

And what of the Plasmavore? With a forthcoming episode called The Family Of Blood, it's another fair assumption that this is a name we'll hear again. And is there some residue from The Doctor being drained of blood?

All in all, an above-average season opener - taking Dalek and Cybermen starters out of the equation, the best first episode since Warriors Of The Deep, with any amount of promise for treats to come.

A solid seven and a half out of 10. Welcome back!

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

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

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

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

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

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

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

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

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

Other things to notice:

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

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

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

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

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

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