Of all the episodes in the new series, I had been looking forward to this one most of all. The idea of time being unforgiving, somehow managing to always thwart those who would interfere with it, has held much fascination for me. Importantly, the idea that the Doctor acknowledges the inflexible nature of time (despite being a Time Lord) has conveyed an overall sense of responsibility to the series.

I believe the original premise for 'Father's Day' was to have Rose confronted by an inability to change past events (her father's death), presumably becoming part of the history she was trying to avert; the story was to be devoid of special effects, instead concentrating on the attendant emotional issues and would have been a brave and unique homage to a sci-fi concept that has been much examined.

The writer, Paul Cornell, admittedly taking the story in his own direction, explored the consequences of Rose actually altering events; an opportunity was thus provided to make the point that the life of a seemingly ordinary man could possibly distort history if that man is supposed to be dead.

The duplication of the Doctor and Rose, separated by only a few minutes served to highlight the practicalities which must be observed when time travelling. Such considerations, it must be said, are not wholly original, similar ideas having been explored in other sci-fi shows and films. However, the 45 minute duration (highly criticised in relation to some previous episodes) imparts a sense of urgency and real time dilemma to the situation as these practicalities are addressed.

Although the story could have worked with the minimum of special effects, I thought the physical manifestation of Rose's actions (The Reapers) was highly effective. They retained a sense of the gothic aspects of the series, especially in the context of the church setting, and also visualised the vengeful nature of time. Almost immediately after Rose's intervention, Cornell created a sense of impending doom by initially showing our flawed universe through the eyes of the Reapers; the first handful of deaths and their ambiguous manner being in the spirit of the classic series. The mental trauma suffered by Mickey in the park was deeply disturbing, as his friends (and mother?) were removed from time; this unease was later intensified by the discarded bike and child's shoe.

The idea of an adult Rose interacting with a father she has saved while her one year old self is in close proximity was a masterstroke in terms of the wealth of possibilities which time travel can present. Rose telling her parents to stop arguing was poignantly ironic, as her desire to experience and interact with both her parents (as a family unit) resulted in her doing so in a way typical of dysfunctional families, as a mediator and referee.

In his previous contributions to Doctor Who, whether they have been books or audios, Cornell has always involved the reader/listener on an emotional level and for this rare talent, deserves kudos. I feel that, for Father's Day, the writer has again achieved this objective and there is no doubt that this is the most emotive and sympathetic episode of any series of Dr Who to be given screen time. Cornell succeeded in making the viewer care about the relationship between Rose and her father; additionally, we were shown that there are as many meaningful issues in the past of any one person as there are in the landmark events more usually visited by the Doctor and his companions.

Generally, the acting performances were polished yet natural. Eccleston portrays sympathy, empathy and admonishment in terms of the Doctor's reactions, together with a wistfulness in that, although he admires the Earth and humanity in general, he is incapable of experiencing the simplicities which he knows make humans so special. The most impressive aspect of Piper's performance was the fact that beneath the understandable exuberance at what she had achieved, there was a sense of guilt and a defensive need to justify her actions to the Doctor, whilst knowing he could not accept them.

Shaun Dingwall's portrayal of Pete Tyler's self sacrifice was beautifully balanced; rather than the tediously clichéd 'a man's gotta do...' diatribe, we were treated to the enormity of the situation being resolved in terms of a Father's responsibility for his child's actions. His awareness of his inadequacies, together with his genuine gratitude for the few hours spent with his future daughter, imbued a sense of credibility to an unlikely action on his part.

The understated direction rendered the viewing seamless in terms of fluency and characterisation. Perhaps the most impressive directorial achievement was in conveying the idea that the car was the true 'Reaper', destined to endlessly circle the church until it's hitherto thwarted purpose was fulfilled.

In terms of the causality and continuity dealt with in stories where people return to (and interact with) their own pasts, I suspect that the time paradox aspects of the episode will be criticised, yet there is no virtue in this; self righteous statements of the 'that couldn't happen because...' type have no merit because time travel is wholly theoretical and hence hypothetical. If anyone can demonstrably disprove the interpretation of the subject by people such as Wells, Heinlein, Cornell or indeed anyone who has written fiction on the subject, then please step forward: it's a non-starter.

I think, as Doctor Who fans, we have all waited and hoped for an episode that is perfect, that conforms to our own perception of what makes the show great; if adequate budgeting is discounted from the criteria, then, for many, such episodes have already happened during the classic series. The current series makes it possible to assess the show in an entirely new way; distractingly poor sets and effects are now a thing of the past and for this reason, a fresh opportunity to revisit the expectation of the perfect episode is afforded.

I have been a fan of this show for thirty years and hence I'm not fickle in the sense that, due to the big budget and higher profile, I have abandoned the old series in preference for the current one; however, I genuinely believe that, due to an understanding and incorporation of the elements of the show which have made it so thought provoking, writers such as Mark Gatiss and Rob Shearman have created near perfect episodes in the best spirit of the classic series. Cornell, however, has fashioned something which, to me, transcends the different factions of sci-fi and fantasy and is able to stand up and be counted outside of the sphere of Who fandom.

Thank you, Mr Cornell, for a perfect episode of Dr Who and a generally superb piece of television.

Suddenly, unexpectedly, following on from last week's disappointment, a complete TV classic - not just for Doctor Who.

In reviewing this triumph of an episode I run out of superlatives.

Firstly, the script is as close to perfect as makes no difference. The plot is taught, both emotionally and theoretically resonant and breathes whilst maintaining a relentless pace, and still having room for some neat ironic humour which only adds to the growing drama. The direction complements this wonderfully, producing a tense, gut-wrenching spectacle, which the quality of the acting reinforces further.

Ecclestone's performance has arguably been variable during the series, and coming after his ruthlessness in "The Long Game", his compassion here might seem incompatible; but in this story we get unprecedented depths in the actor's portrayal and in the manner the character is presented. This doctor can be cold come certain situations, but his concern, affection even, for the characters in this story, is as beautiful here as in any story from the original series. He is furious with Rose for interfering with time, but this anger does not stop him loving her deeply and wanting to find another resolution of the crisis, rather than Pete Tyler having to die twice. Ecclestone's doctor has always been absorbing to watch, but here one warms to his charismatic portrayal more than in any other episode hitherto. Two particular moments stand out - the depth in Ecclestone's eyes and his desire to help Rose when she asks to go back to the accident a second time, and his worry as he knows the dangers of interfering with history. Secondly, his care for the marrying couple, particularly the line "who says you're not important?"

Pete Tyler is a marvellously well written character, played to perfection by Shaun Dingwall. He is totally believable, and we get to know him in considerable detail for just 45 minutes. Endearingly fallible, it's a splendid touch that he of all the 1987 characters understands quickest what is going on - suggesting that, for all his being a failure, Rose's dad has passed his ability to accept new, perhaps wild ideas to his daughter.

The relationships are magnificently realised in this story, for example Rose's realisation that her parents weren't happy and that Pete was far from exemplary, both in marital and in business terms. Billie Piper has repeatedly surprised throughout this season with the quality of her acting, and in "Father's Day" she is quite superb, being totally believable to the point where I almost forgot this tale was fictional.

The special effects are stunningly impressive, particularly in the realisation of the Reapers, and in the hit-and-run car continually appearing and disappearing. They are almost incidental to the story, however, which is, quite simply, as moving a small-scale character-driven piece of drama as I have seen in years.

The script wrung every opportunity for emotional tension out of the idea, whilst actually managing to make sense with surprisingly few holes. I liked it that the Doctor explains that he can't go back and save his own people, presumably because of time paradoxes, which is a question a few of us have raised from the earlier episodes.

Gut-wrenching human drama; the unremitting tension of the characters being trapped in a church under siege from ruthless alien creatures that cannot be reasoned with; magnificent acting all round; a heroic Doctor to believe in; tremendous characterisation; superb incidental music throughout; and intelligent, thought provoking insights into the way we view our history, why certain things cannot be changed, whilst showing what is worth fighting for.

For a single 45 minute episode to encompass so much is a towering achievement - can it get any better than this?

Playing The Time Line

Oh Rose, you've been playing with Time,
That harbinger of death or life
Bringing you strife
And grief. Can you hear wedding bells chime?
They're calling out the Time Lord's name,
His lonliness married to awkward identity
Needed to fight the Reaper entity
Again delivered with fine artistry.

Oh writer, you've been playing with Time,
That question of One or Two
Haunts this series through.
Relief . Did you know you're innocent of the usual crime;
Of solutions squeezed in with seconds to spare?
But drama well paced – requiring concentration
Needed to understand Time's rules and machination
Above the younger head and their imagination?

Oh Doctor, you've been minding your Time
Forming that character so Jekyll and Hyde;
Equally caring and then so snide.
Self Belief. Did it leave you - this aura sublime?
Your perfection was nicely questioned.
Your performance deep in its madness,
Desiring human experience your Archilles sadness.
Knowing all Paradoxes yet powerless!!

Mr Tyler you've made a mess of Time,
That point at which you first died
Differed erroneously from where Rose finally cried.
Chief Mistake! You'll know you're in the mire- the slime
When the net awakes to timelines illogical.
Just wait for the hot geek debate
Regarding your change in suit and fate.
By such you wiped humanity off the slate.

Oh Producer you've been playing with Time,
That large quantity and space given to Rose
Takes the focus off the Dr dealing with foes.
So Brief. Have you remembered that our prime
Reason for watching is Who and his intent?
But surely not an episode for every Tyler
What next a long lost cousin from Outer Mongolia.
Or a new boyfriend soldier?

Oh ReViewer you've been playing with Time,
That manmade measurement of experience
Which yields 45 minutes of sci-fi reverence.
High reef!! Have you dissected the promise and grime
With responsible charity and clarity?
For whilst we interweave our opinions fair
Do not forget to influence hearts and minds out there
For pundits' love of the Who can be a short affair!!

What a strange, wonderfully enjoyable, yet intellectually disappointing episode this turned out to be, in the end.

Emnotionally, it's absolutely spot on - the shots of Rose as a child being told wonderful daddy stories by her mother which set the tone of wistful longing; the urge to go back and see him which the Doctor can now satisfy for her; the desperate second thrust to save him and create her perfect world for real; the slow disintegration of that dream in the cold light of day, followed by the growing bond between them based on real interaction ; and of course, the final sacrifice.

Lovely, lovely stuff. But questions kept popping up for me all the way along, and DW Confidential didn't answer them, though I was hoping it would. Because this was such a good episode from the touchy-feely angle, I really wanted it to be as good from the cold logical one as well.

But: it isn't. The Doctor is completely happy to take Rose off to an event he must know will be emotionally impossible for Rose to resist interfering with. And sorry, no: after 900 or so years of visiting Earth and similar cultures, and scenes like the one where he rounds on Nyssa and Tegan for asking him to go back and save Adric, it's quite obvious he does - he must - know just exactly what that may invite for both of them. The "alien not in touch with human emotions" just doesn't work at all, as any kind of convenient excuse. A Time Lord - particularly this Time Lord - happy to risk the potential destruction that he knows may be unleashed by this action doesn't work either.

Then there's the "time has been damaged" response to Rose saving her father. Why? What exactly does that mean, anyway? She changes the present, and thus the future. So what? Suddenly "time has been damaged"? How, exactly? Why, exactly?

This, with the appearance of the Reapers, and the car repeatedlyappearing and disappearing in some sort of implied time-loop , is wonderfully eerie, but smacks far more of Victorian pseudo-moralising on the possible dangers of interfering in things that we don't understand, than it does of any real scientific understanding of time and time travel and changing the course of events.

Then there's the disappearing 'inner' Tardis. Hang on a minute, there. The outer shell is just an appearance generated by the Tardis - there is NO matching inside. Again: a wonderfully compact visual statement of the changes that have occurred - but really, no, not possible...

And so on. The finale is deeply touching. But suddenly, conveniently, we are asked to just accept that with his death, everyone reappears as normal and all memory of events is erased. Time, as it were, jumps back to the point when - what?

They were just about to enter the church for the wedding? How, then, to explain that dad is suddenly dead just up the road, and everyone is looking outwards, not in? The final scenes suggest that Jackie doesn't know who the mysterious strange girl is who stays with him until he dies... yet previously she had a three-way fight with her?

Or are we back at the point where it all began - in which case, the wedding party is inside the church, not outside...

So. Greatly enjoyed by all, I'm sure. But like a dream, when you wake up and actually think it through, it's quite clear it couldn't really have happened that way.

Shame.

This episode of Dr Who will do something that no other will - it'll make you cry. At the same time, it'll blow away any critics of Billie Piper's acting ability since her performance is spot on, and very moving. In fact, everyone in this episode acts their socks off to produce an excellent piece of well-crafted character driven drama. No wonder Dr Who in the UK is knocking the pants off ITV's Saturday Night offering - Celebrity Wrestling !. I'll step into the TARDIS anytime, thanks.
The Doctor takes Rose back to 1987 to be with her father in his dying moments after a hit and run accident. On the second attempt, Rose saves his life and changes the timeline, creating a 'wound' in time. This heralds the arrival of the Reapers, bat-like creatures apparently created by time itself to act as antibodies and cleanse the wound by wiping out the human race. With no TARDIS and everyone trapped inside a church, can the Doctor save the situation ?.Well, this time the answer is 'no', beacuse for once, he has no plan !. Although the final solution is easy to work out, thanks to skillful writing by Paul Cornell, fine performances from the cast and lean direction, the story manages to lose none of it's emotional impact and the closing scenes will guarantee not a dry eye in the audience. This is Dr Who at it's very best where the SF element of the story plays second fiddle to the human drama and characters.Being a time-paradox story, there's a lot of fun to be had too - 1980's fashions and subtle references to the era (US fans might find these puzzling), large mobile phones, Rose as a baby and her future boyfriend Mickey as a toddler. The scene of him on the swing in the kids playground, watching all around him mysteriously vanish as victims of the Reapers is geniunely spooky. It was also a nice touch having the car that killed Roses' father, appearing and disappearing as it runs around the outside of the church, almost like it's stalking it's intended victim.But you know they're all in deadly trouble when the Doctor makes a shocking discovery about the TARDIS.This episode has some beautiful perfomances and emotionally charged scenes, especiallly between Rose and her father when he realises who she is and what must be done to save the day. Although inevitable, the ending is still very powerful and sad.

I have really enjoyed the intro scenes before the theme tune starts, and thought that this was one of the best yet, as the Dr almost takes the role of a genie "Your wish is my command!" but warns Rose to be careful what you wish for.

Well, I think this is THE story all the fans have hoping for since the new programme was annouced, and it was scintillating from start to finish. "Father's Day" is a real emotional rollercoaster ride for the viewer and with excellent performances from the lead cast, this is classy Who and is up there with the best episodes so far in the new series.

Tackling an issue which is of course always brought up with time travel, why can you not go back and save a loved one from dying, the episode certainly pulled on the heartstrings a great deal and this made it all the more watchable. The rising tension in the episode between the Doctor and Rose as things begin to go wrong is dramatic and enticing. Rose's Mum and Dad were excellent, and the dawn of realisation of Rose's father when he realises that Rose is indeed his daughter is one of the most emotionally gripping scenes of the show so far.

Billie Piper deserves immense credit too for her performance which was of an exemplary standard throughout. While the Doctor got huffy with her, I think the viewer had great sympathy for Rose's plight. When Russell T.Davies made the comment that he always envisaged himself as preferring to have been the Dr's assistant than the Doctor himself, I was a bit surprised. But I can understand that comment now following Father's Day because I think many people watching the episode would have acted as Rose did in attempting to save her father.

Christopher Eccleston also puts in one of his best performances as the Doctor as he loses control of the situation for the first time and walks out on Rose ... something I did not ever see happening. But like the Doctor falling out with Jamie in Evil of the Daleks, it had a real dramatic impact and Rose looked to have blown her chances with the Doctor.

One of my favourite scenes of the episode was the Dr walking towards the Tardis only to open the doors and find out that time was already in the process of changing as he looked at an empty shell. Very point blank and to the point. This was a good touch that the writer Paul Cornell brought to the episode. I liked how the Tardis had an important impact on the story with the Tardis key playing a significant part.

I also thought the realisation at the end of what Rose's father was to do to save time at the end was an incredible conclusion. A tear-jerker in every sense of the word, this was Doctor Who with real emotional intensity and impact. I thought the reaper monsters were impressive special fx too and probably pretty scary for young children. When they grabbed the Dr, it was very dramatic, and I was completely befuddled as to how the episode would be resolved after the Dr had gone. It was a fantastic climax and a real gem of an episode. Changing the course of time has never been so frightening and thrilling.

I notice there were a few little nods and winks to Back to the Future too in some of the script. The 1980s music in the background was an interesting choice. After Tainted Love in End of the World, we were treated to Rick Astley!

So brilliant performances all round from the cast, great storytelling, and drama, tears and sci-fi horror. A terrific combination. Paul Cornell has delivered a script of the highest quality. Hard-hitting and full of emotions, Father's Day will live long in the memory as one of the finest ever episodes of the programme.