Series 3 kicks off with a bang, rather than the whimper which introduced us to Rose. Not that "Rose" was a bad episode ? it just had a big task; re-introducing The Doctor, The Tardis, introducing Rose, whilst still trying to squeeze in a Nestene invasion.

Now that Doctor Who is a popular mainstay of Saturday night television again, all that was required from the series 3 opener was a cracking adventure, which introduced us to the new companion. And she is good. We like you, Martha Jones. Educated enough to not be completely baffled by the Doctor, Martha is level-headed, yet feisty. Her training means that she can look at the events unfolding around her with a detachment that helps her to help the Doctor get the job done. Then, when disaster is averted, she finds the time to wonder.

As for action and drama, RTD delivers in spades. The opening shots of Martha travelling to work, with a cameo from the Doctor to whet our appetites, are well-paced. Roy Marsden delivers a superbly superior consultant. I'll come to the Jones family later, but the set up of Anne Reid as the disguised Plasmavore, the effects of the hospital being displaced, and the arrival of the Judoon happen so quickly that you cannot help but be swept up by it all.

The Judoon are well realised, with their own language (although, we have to ask why we have to wait for them to assimilate human speech ? surely the Doctor at least would be translating via the TARDIS). Although, it has to be said, that Nick Briggs is starting to become a little too familiar behind that vocoder. It seems that every being in the galaxy speaks like an electronically altered Briggs. Prior to this series, there were rumours about old monsters returning, including the Sontarans. It has to be said that apart from the rhino heads and leather skirts, the Judoon bear more than a passing resemblance to the stocky warmongers. Even the helmets are not dissimilar.

A note on the Doctor ? its nice to see that Tennant has toned down his portrayal, with the Roentgen expulsion the only slapstick moment in this one. Sometimes in series 2, he just went a little too OTT.

And now the downsides. Firstly, Martha's family. While I'm all for giving modern companions some depth, and a grounding in the here and now, do they all have to live their pre-Doctor life in a sort of Eastendersesque mini-soap?

Secondly, the Doctor, having apparently been asexual for the last 900years, suddenly fields the need to snog every female he meets ? he's more rampant than Captain Kirk. Again, I was not one of the HANG THE PRODUCERS brigade for the Mcgann movie, but since RTD brought the Doctor back, he's been positively promiscuous!

To be fair though, this was by far the strongest of the 3 season openers yet. Lets hope season 3 lives up to this kind of quality.

'Smith and Jones', a highly encouraging start to Series 3, reflects an ongoing trend in 'Doctor Who' new series writing. The question I am left with after viewing is, when did Russell T Davis become a good writer? I suspect the answer is that he was all along, barring an infatuation with childish humour; it just never came out in his scripts with any consistency.

I've written a lot of excoriating reviews of Russell T Davies' scripts over the past couple of years, as I would be the first to admit ? and I in no way withdraw my criticisms of his previous efforts. But, starting with the finale to Series 2, and continuing through the highly enjoyable Christmas special to the start of the new season, Russell's writing has taken a distinct turn for the better. 'Smith and Jones' is an engaging, intermittently humorous, imaginative, atmospheric and ? in its lunar setting ? occasionally quite beautiful introduction to the next round of Doctor Who adventures. The colour palette seems darker. We leave the planet Earth. The Doctor becomes the lonesome and compelling figure of mystery he has frequently failed to be so far ? though he remains a heck of a know-all! The incoming companion, played by the likeable Freema Agyeman, is in a fairly traditional 'Who' mould ? which is, of course, high praise. The plot and the monsters work well. 'Rose' should've been much more like this.

There are several reasons why this is so. Way back in my review of 'The Age of Steel' I made favourable comments about the parallel-universe airships, and bemoaned the lack of similar 'scientific romanticism' in the series thus far. So it was with quite a lot of pleasure and not a little relief that I began to perceive more of that kind of thing in recent episodes: the brief insert at the start of 'Army of Ghosts', and more substantially the 'creation of the Earth' sequence in 'The Runaway Bride', and the breathtaking lunar setting and fabulous retro steam-punk rocketships used by the Judoon in 'Smith and Jones'. By virtue of being treated with the sobriety missing from much of the first two seasons of the series revival, all of these scenes came much closer to the more sombre science fiction which I personally prefer. Too much levity and irreverence quickly becomes galling, as we discovered. People have talked about the change in tone being deliberate and permanent; I think it's probably too early to say ? but we have definitely seen steps in the right direction.

A word on Martha: I don't want to detract in the slightest from the sensational Billie Piper, but I strongly suspected before this episode aired that I would prefer Martha to Rose, and it's looking like I was right. Although Freema's performance isn't so immediately arresting, she is pitching it just right, and conveys the compassion, mingled with sometimes hard-headed practicality, that Rose actually didn't have much of, when you think about it. However good and memorable Billie's performance, Rose was not a character you could easily warm to (in my opinion). Martha, I feel, could be different. And ? although this shouldn't really be a concern, and, again, I don't want to detract at all from the wonderful Billie ? Martha is a very much more attractive girl than Rose was! Subtly, it's true; but certainly. She speaks better as well.

A word on the Doctor: the TV reviewer in my local rag perceptively pointed out that David Tennant's incarnation, 'with the suggestion of madness in his eyes', is scarier than any of the monsters he fights, and despite the toned-down performances DT has turned out post-Rose, that's still true. It's a far more desperate and exacting incarnation ? as he himself points out, there's no mercy or tolerance in there, even for innocents, once they cross him, while his relations with his companions are borderline obsessive. Perhaps it's only because of David Tennant's livewire interpretation of the role ? as I once remarked, he only plays psychos. But I've been thinking a lot about this, because something is obviously not right with the Doc ? he's clearly not the same guy we knew and loved. My conclusion is that the Doctor, in his old age and after everything he's been through (just think how many times he's been mind-wiped!), really must be suffering from some kind of mental degeneration, a bit like Alzheimer's or something for human beings.

You could say that because he still delivers the goods, comes up with occasional insightful comments and reacts sharply to situations around him, that's a load of nonsense. But Time Lords' brains are far more advanced than ours, and they can probably give every appearance of functioning normally while in reality being very badly damaged. The way the Doctor's mental processes seem to have fallen into repetitive but quite instinctive patterns (of 'heroism' and 'fighting evil'); his God complex, and swift recourse to rage and moralistic browbeating; the way flashes of the 'old Doctor' surface every once in while to remind us of how he used to be in his prime; all suggest that the Doctor is simply going through the motions of his old life mechanically, not really aware any more of what's happening in the real world. Because he looks so young though, this is far from obvious, and it only makes it more disturbing when you eventually realise what's going on; underneath that youthful vitality and beauty is a very, very old mind that's beginning to unravel. It's a horrible fate for our beloved hero, but I think what we're witnessing is the onset of Time Lord senility; perhaps the one enemy he will never be able to defeat.

It is now fairly safe to say, that in a crowded room, perhaps in the middle of a bombastic party , conversation can be halted quite readily and changed dramatically by the simple utterance of the name of Russell T. Davies.? Uncle Russell moved into the household three years ago, bringing to the table? the? idea of resurrecting the tired DOCTOR WHO format, with? a sense of Fan Boy passion . Davies managed to do this, while retaining the critical respect he garnered? for previous escapades on British Television that had already left him on the lips of? the talk of the industrial crowd, like a lingering wine of very fine vintage.? He even managed to survive the Slitheen ! Davies is a unique mixologist taking elements of classic Doctor Who and tendering it against the lines of stark unapproachable, envelope ripping outrageousness that makes it thoroughly modern and mindlessly enjoyable to watch DOCTOR WHO. It has made DOCTOR WHO accessible to the masses and the success it is.

Anyone watching DOCTOR WHO on the BBC? and partaking in Uncle Russell's latest carnival, SMITH AND JONES cannot deny the ride was enjoyable, mindbending and? without question witnessed? the strongest opening debut episode of the first three years. Yet scratching the surface of many elements of Doctor Who Canon, it merely was an institution that readily served the purpose of introducing Martha Jones to the good Doctor Smith, a welcome alias whose myth is fancifully buried in the original series and resurrected here to good measure. Once again, Russell Davies has created a strong, self sustaining character in Martha Jones? and perhaps in many ways, she could be considered perhaps too similar to Rose Tyler. Her somewhat confused and dysfunctional family only lightly contrasting Rose's own little cultural cul-De Sac of a disjointed family.It is entirely clear that Martha's soap operatic family will feature prominently in the latest series as a formula that has worked well in past seasons, yet dangerously treading over past success a bit all too obvious. SMITH AND JONES also sees the mechanical insertion of this years? "Badwolf and Torchwood" arcs with the introduction of mention and posters of "Saxon" whose identity has sparked a whirlwind of speculation. The obvious "formula" that is being followed here could ultimately be very damaging to the series? and perhaps another vision and different angle needs to be explored in coming years.

Because the series is so expensive to produce, the necessity of? a mainstream audience is vital to its success . This of course, is the biggest compromise the true DOCTOR WHO fan must make today. Of course the series is far more contemporary than its ever been? yet? at times, the show is written to excess? with these elements in mind.? Far less however than that which occurs in the Christmas Specials which really have? to reach such a broad demographic that it may as well be called? a song and dance variety show! .With this in mind,? I am absolutely delighted the episode took itself seriously with? comic relief coming from The Doctor,? who seems much more eccentric and sillier than Tennant's Doctor has ever been. Perhaps traveling without Rose and the Lonliness of the Long Distance Timelord has left the Doctor A little stir crazy. Suspension of disbelief is in order here on as many levels as a parking garage with Russell Davies consulting absolutely no one about anything that occurs in the episode. No Hugo nomination on this one!?? The episode was very well directed at a breakneck pace hitting its agenda of introducing the new companion and bringing the Doctor and Martha? together quite nicely .The episode has an aire of believability until it becomes totally unbelievable, of course. The "invasion" scenes were especially effective and all the "cataloguing " that was going on reminded me a bit of 'THE SONTARAN EXPERIMENT" The Doctor is instantly taken to Martha, impressed instantly by her intelligence and resourcefulness. There is a nice play on the fact that Martha is studying to be a Doctor and, of course the Doctor is the definitive article so to speak. Of course the Series has often featured Hospitals as a background to the story. SPEARHEAD FROM SPACE and? THE INVISIBLE ENEMY and the 1996 film ENEMY WITHIN? come quickly to mind. However since its reintroduction, The Doctor has been hanging around hospitals quite a bit in recent years.(ALIENS OF LONDON, NEW EARTH etc)so much so as to be overly concerned whether they have "gift shops" in them or not.? The Story background of the Judoon transporting the entire hospital to the moon to help discover a wayward alien criminal provided necessary fireworks and the scene where the patients? look out the windows to their mutual realization and horror the Hospital has been transported? off the earth is a genuinely scary, well realized moment. Even scarier with a sense of total wonder, but not as well realized is the suspension of disbelief I spoke of earlier, when you realize how on earth, or the moon,is the electricity still working in this hospital to begin with. But lets not think about this, as it ruins all the fun.? ?anyway!

The introduction of the "Plasmavore" alien almost begs for a return unwarranted? appearance like the Slitheens, and I wouldn't be surprised if we see them again by the end of Season three.(although we really haven't "seen" them at all) One would have hoped for a more interesting mosaic? of background? on the Suspected Plasmavore? than? her motive? of doing in an intergalactic princess? as vengeance? against her "pink cheeks and blonde curls"? which is just another dose of Uncle Russell's irreverent need to inject controversy into the series and? perhaps even a disguised reference to the demise of Rose Tyler . Either way, the remark is a trifle racist and the episode has its share of reverse racism at play? with its attitude towards' dumb blondes" as providing comic relief? in the form of Martha's Dad's? tryst with a? blonde waif? and getting caught at it no less.? Once again, however we get this rushed resolution of the plot in the final minutes which felt amazingly similar to the end of THE RUNAWAY BRIDE , in revelation and pacing., a RTD trademark.? The Doctor's resolution however was in fact brilliant when you consider that all he managed to do to save the earth from destruction was merely to pull the plug.? What did leave me? with a question mark was the Doctor, seemingly dead and drained of blood? did NOT regenerate . This no doubt will be a hotly contested element of the story for months to come and is evident that Uncle Russell will sacrifice everything for the purpose of the advancement and resolution of the plot.

In closing,? high? marks? go the? production team for turning in a fast paced , brilliantly and artistically? designed episode and a strong start to Series three. The Judoon were brilliantly designed and executed? and? it was a nice touch to see them talking in their native language until they assimilated the language.The JUDOON could very easily have been the Sontarans and I believe this oportunity was lost or even intended as? Uncle Russell will reap all the financial rewards for their creation.? Overall, SMITH AND JONES? exhibits the total confidence in the creative teams behind Doctor Who? in the series, and the evolution in the Doctor's character in declaring to Martha and the TV audience, unabashedly,? that he is a Timelord. The episode suffered most in its thin "schoolyard idea"? plot? but written well enough around the idea to be blissfully entertaining!? The chemistry between the Doctor? and Martha is tremendous and I believe we are in for a real treat, and the sparks will certainly continue to fly on occasion, as the Doctor certainly has found a new lady to take his mind off of Rose a bit. Welcome Martha Jones, and Thanks once again to Russell? Davies? who can never be taken for granted.

So, series 3 of Doctor Who has finally began, and this is pretty much exactly as I expected the first episode to be.? Light-hearted, fun and chock-full of witty humour and comic aliens, as well as making the new assistant, Martha Jones, extremely likeable.? I was not surprised at the result of Smith and Jones, though I was perhaps slightly disappointed.

The main focus of the episode is obviously Martha Jones, played brilliantly by Freema Agyeman.? She genuinely acts as a strong-headed human being would in that bizarre situation, disbelieving, scared, and yet determined to discover what exactly is going on.? All the looks of surprise, anger, amusement and sadness on her face are all so believable, and her intelligent points make it obvious that she is the perfect companion for the Doctor, and she is so unbelievably likeable that Billie Piper, wonderful as she was, has been more or less forgotten.? The whole point of the episode was really to get the audience to warm to Martha, and this could not have been done more successfully.

David Tennant also does well here, though his comedy performances seem a bit forced at times.? Having said that, he does make for some genuinely funny moments and gives an overall entertaining performance.? His acting here is very well done, and one of my favourite scenes with him is after he has just barely regained consciousness after the kiss of life and stares up at the controls that are wrecking the ship.? He looks genuinely sick and rather ill, and I was surprised at how convincing the expression on his face was.?

Plotwise, the story is alright.? Pretty easy to understand.? The Judoon transport the hospital that contains an evil alien to the moon(not sure why?the moon was chosen of all places)?so they can scan all the humans to find out which one is the alien who killed some princess.? A few unecessary sub-plots, like with Martha's rather annoying family who I hope we've seen the last of, and that rather worthless and unfunny comment about the princess, but overall the story was OK, but not one of this episode's strong points.

Another let-down are the monsters featured in this episode.? None of them are either interesting nor original.? The Judoon are basically a rehash of the Sontarans, with Dalek-like speech(or is that Cyberman)who don't pose as much of a threat, even when they are trying to kill the Doctor, and after they kill the foolish man who attacks them, this makes a very minor impact, possibly because it was so predictable and now an over-used cliche in the show, or because it wasn't a very dramatic death scene.? There are also the insignificant and incredibly boring Slabs, which are the new Adherents of the Repeated Meme, only far less menacing and intriguing, and the Slabs are pretty much a boring and forgettable race.? As for the Plasmavore, this probably works the best out of all the creatures, though it could have been creepier and more disorientating, and the whole idea of it borrows heavily from the classic series' Curse of Fenric.? If they are going to redo this, they could use better special effects and make the idea of it scarier.? At its core, this could make a pretty freaky monster, but the whole idea of it is thoroughly wasted.

This is a so-so episode, the strong points being the excellent performances from David Tennant and Freema Agyeman, spoiled by the mediocre storyline and dull monsters. 6/10

Good, overall. A nice little season opener.

Longer version: I do wish RTD would hand over the season kickoff to someone else for a change. I actually quite like RTD's stories (mostly for the dialogue), but he does tend to stuff too much into the 45-minutes he's got, leaving you breathless but a bit dazed and confused at the end.

The story itself is quite fun: Doctor is investigating the hospital by disguising himself as a patient is a nice touch (you'd think he'd pretend to be ... a doctor!), nice intro to Martha and her family (very compact but sufficient, nice one RTD!) and the story begins with only the "Slabs" making the thing look amateur. VERY amateur. ALARMINGLY amateur, actually. I swear I've seen -- wait, BEEN IN -- at least one fan vid with the exact same costume for a henchman!

The hospital taking off was nicely done, the moon shots were superb and the story picks up nicely from there. Ann Reid was a little charming nugget of old Avenger-y, Doctor Who-y goodness and I just loved her. Lovely to see old Roy Marsden as well, first time in Doctor Who I think though I can just dimly recall his name being bandied for the lead part itself during the Tom Baker era.

But as with any RTD script, there's a fair amount of indulgence and ridiculousness (and yes, I accept that the universe of Doctor Who has these things). The Slabs were just plain poorly done (a little digital touching-up would have made all the difference, but not explained why nobody in the post-terrorism world would have acted like they didn't see them), the whole radiation-in-the-foot schtick was overdone, the Doctor took a completely ridiculous risk (too much blood gone) to unmask Finnegan, and the idea that one over-excited x-ray device can blow up half the earth -- even when supplemented with alien tech -- is just too silly for words. The Earth would have been destroyed a hundred times over long ago if it were really that easy.

I enjoyed the further sequence where Martha finally comes aboard the TARDIS, and while it's too soon to judge her just yet the relationship looks promising. Overall, you put aside most of the silliness and enjoy it, and I did because I can remember that I'm too old now to be the target audience anymore (something I think a few old fans would do VERY well to remember!).

Having had two occasions to judge Charles Palmer's work as a director, I have to say honestly that so far he's not impressing me, but Ernie Vincze (DP) and the Visual FX team continue to amaze. Overall, a pleasing little nugget with not much substance, but offering an adequate kickstart to get things going. Let's hope the next one is more substantial (can't see how it wouldn't be).