Well, so far the new series of Doctor Who has in turn made us laugh and cry, but with the episode that beat Star Trek's total number of episodes, it also knocked all other competition into a cocked hat by making something truly beautiful. With this third series, David Tennant speaking Russel T Davies' words encapsulates Doctor Who perfectly. The collaboration between these two men is now at its zenith. And what a wonderful place it is too - I just hope that said zenith lasts as long as possible. Ably assisted by the brilliant Freema Agyeman, the series really is striding confidently through the television schedules, and much like the good Doctor himself, scattering chaos in his wake as he shows what British television really can do.

The central idea - a perpetual traffic jam in which people are born and die and live there for years and years without seeing daylight or hope - is a brilliant one, and one that will strike a chord with anyone who has spent a whole afternoon trapped on the North Circular in baking heat and smog. A lesson there for all us, perhaps. The fact that there was nobody outside the gridlock of the title to save the trapped motorists really is the stuff of nightmares. And, in true Doctor Who style, there are monsters below to boot...

It is the mark of a series when it crams in so much thematic and particular incident that its difficult to take in all on the first sitting. In this day and age, that can only be a good thing. Doctor Who, probably like few other programmes on the box, will be picked apart for years on end by the fans and rewatched by casual viewers on Sky Plus, so that can only be a good thing. So, not only did we get CGI'd up return of a classic series monster in the giant crab like Macra, but the Face of Boe and Novice Hame too, to complete the very loose trilogy of the year 5 Billion.

The effects of the Macra and the vast traffic jam were nothing short of brilliant. The Mill seem to have gone really to town of late, and it shows. The prosthetics, too, were nothing short of astounding. Ardal O' Hanlon's cat make up, and that of Hame's, were utterly convincing. Not that iI want to think too much about the birth of the kittens...

And then there was the death of Boe, the sad coda to the end of this story and his prophetic words: You are not alone. The look on the Doctor's face said it all, matched only by the lump in my throat that returned with the release of all the travellers and the Doctor's heart rending admission to Martha as he describes the long gone Gallifrey. Smashing stuff.

This is Doctor Who at it's best. We've never had it so good.

I thought Gridlock was visually impressive from the off. A shame all the cars had to be the same (especially after such a variety of designs in New Earth) but the CGI sequences were great I thought. And the lovely grimey feel of the 'undercity' was your classic dystopian future - marvellous stuff.

If you hold your magnifying glass up to the plot you're going to notice the odd flaw, definitely but as far as Saturday night entertainment goes Gridlock was it. Martha is an absolute pleasure, and a breath of fresh air after Pouty Pants Tyler. The dynamic between Rose & Martha is so much more interesting than;

Rose: I love travelling with you.
Doctor: Yeah, we're bloody great aren't we.
Audience: Bleuuurgh! Oh look I've sicked up on my egg and chips.

DT is consistently spot on in all his scenes now. Witness the shouty softly shouty approach to reasoning with Martha's kidnappers. The sad smiles as he tells Martha about Gallifrey like it's still spinning away in the constellation of Kasterberous. And the lovely ending - but back to that in a second.

Father Brannigan was great fun, I really wasn't looking forward to him being in it (it's his fault for doind that superhero dross for the BBC) so that was a pleasant surprise.The sequence where the Doctor descends through the traffic to get to the Fast Lane was just great. It looked great on screen, it showed the Doctor as your proper dynamic action hero and it let the Who design team recreate great bits of 200AD history, (just a shame Max Normal didn't have his authentic speech pattern!).

The Macra! How cool is that? 'Why?' Scream a thousand crabby Macra fans on Outpost Gallifrey (who knew there were Macra fans?), Why not? Says I. Then I sing to them; 'Whats-a Macra you, eh? Why you look-a so sad?'

The end of that big old Boat Race. Do I get a prize for guessing his message. Yes I do, but not for another few weeks. A bit touched by the passing of the Face, and the idea of Hame stuck there with him for all those years keeping the surviving population alive.

Anyway, it all comes down to two plastic chairs in an alley. There's the pay off. The middle thirty five minutes is quite possibly a bit of candy floss and very enjoyable too. But the episode is bookended with lovely Doctor/Martha scenes that show more depth of character in the old Time Lord than forty years of the old show. The look on his face when Martha asks if the Face meant her; just lovely. Maybe I enjoyed it in spite of it's flaws but I loved this episode.

Series three is raising the bar as far as I can see. I just hope they sustain this level of quality.Some bad ju-ju next week methinks. 'They always survive while I lose everything.' Dalek Sec and his bretheren back again. I hope he manages another emergency temporal shift at the end. I like Dalek Sec.

The best thing about keeping pretty spoiler free is that the series can surprise me this year, and it's doing so. Despite what we know, or think we know, I wonder if there's more to this last of his kind/you are not alone stuff.Here's to another ten weeks.

Re-watching The Shakespeare Code, for one thing I was pleased to find I enjoyed it as much as last time, but more importantly I'd utterly missed the bit where the Bedlam guy offers to whip the inmates for the Doctor's amusement, which is an excellent reason for the Doc to dislike him. And also, the Doctor himself looked like he was wearing his old brown suit instead of the blue one he ended Smith and Jones in. Now, I could be wrong, but if not, isn't that a continuity error?

As for Gridlock itself, it fell into the same pre-credits trap as The Shakespeare Code last week ? that is, they were irrelevant and not particularly special, leading me to think that they should ease up on the pre-credits openers a bit, only using the device for scripts that justify it, such as Father's Day and both of Stephen Moffat's scripts. Oddly enough, the return to the 'opening credits, story' type was a significant factor in my great enjoyment of Smith and Jones! Russell T also returns to his stock hawking-your-wares sequences; it was annoying in The Long Game and it wasn't great here. David Tennant wheels out his OTT outrage again, for a short time, as well, but more than makes up for it later on with a cute and tender scene featuring kittens! Now I defy all but the most hard-hearted people not to go all mushy for that bit; I know I did. And am I mistaken, or were those kittens starting to talk?

The setting of Gridlock is a standard case of satire turned up to eleven. It's been argued that the cardinal rule of satire (a major interest of Russell Davies, of course) is simply to take a prominent feature of your own day, and exaggerate it ? this Russell does, and then some, which is how we come to have the first story in Doctor Who history to be set in a traffic jam! There's a fair bit of anti-drug stuff, too, which isn't anything like as bad as it might've been. As settings go, the grime and horror stand in stark contrast to the chilly beauty of the Moon and the warm yellows of Elizabethan London, giving the season a welcome feeling of variety, and it was certainly horrific, though I need to mull it over a bit more before I decide whether or not it made sense (within itself, as a piece of drama, that is).

The whole episode, needless to say, was an excuse for the Face of Boe to tell his big secret, which I'm sure we all saw coming since, ooh, New Earth? The Face has become a big hit ? he seems, from the brief appearances he's clocked up in the show, to be fundamentally a really nice guy (Face), so his death is moving. The Doctor's stubborn insistence on discounting what he says as he breathes his last is pretty odd, but fits with this incarnation's dismaying hostility to anything he doesn't understand, trust, or want to acknowledge. But it was good to see him pull off the same trick as he did last time he visited New Earth, saving tens of thousands, possibly millions, of people from a fate worse than death in one amazing stroke (with the Face's help).

The episode's twin highlights, however, topped and tailed the episode, with some lovely stuff about Gallifrey ? the description of its silver leaves, burnt orange sky et al is a happy mix of the 60s TV stories, the comics and the novels. The final scene of the episode was especially good, with David Tennant playing it? not exactly subtly, I suppose, but movingly. I was never happy with the off-handed way Russell got rid of the planet of the Time Lords, seeing it as a cheap and thoughtless way of darkening the role; rather than any actual targeted characterisation like that seen in the Seventh Doctor era, a mere throwaway line in The End of the World set the bar for what was to come (and set it very low, IMO), and provided pretty much the sum total of both the Ninth and Tenth Doctor's characterisation, although Gallifrey has taken a back seat in DT's Doctor's tormented mind since Rose's disappearing act.

And flipping heck, the Macra?! I mean to say! Oh, I'm not complaining; I'm just surprised. What on earth was the point of that?? They don't even do anything (mind you, neither does Martha in this one). I was delighted to see them, personally, though in a sadly reduced state. The restraint from the team in electing not to show them in the trailer last week was admirable, as it would have totally ruined a surprise for which there was actually no pay-off after the initial shock. Russell T Davies baffles me sometimes. Because it's not like you can really use the Macra in a script, obviously, so I guess it's just some fan service he cooked up in a fit of generosity. The Macra? Why?

Martha continues to suffer at the Doctor's unwitting hands, although at the end her sit-down protest demanding his attention and a serious talk pays off, and she ends up getting his back-story (in recycled dialogue, but she's not to know!) But even she seems to have realised what I've been saying is true about semi-conscious behaviour patterns being the reason that he picked her up in the first place, and early in the episode you can see the light bulb go on over her head as it becomes clear that he's on some level trying to re-create what he had with Rose. This subplot would be really unpleasant if it wasn't for the fact that the Doctor actually does seem to be getting to like Martha and to enjoy her company; as it is, it's quite a poignant storyline, and the Doctor-Martha relationship is more engaging than the Doctor-Rose love-in ever was. Just a shame that the love-in still isn't over, even in the dratted girl's absence!

Series 3, I am happy to say, is continuing to perform beyond expectations. It's got to the point where seeing Doctor Who on a Saturday evening has really cheered me up, rather than given me a sick feeling like it frequently used to, post-2005 ? the episodes are mostly enjoyable at the moment and there is nothing really to complain about (nothing new, anyway), whereas throughout Series 1 & 2 there invariably was. Rock on, Doctor. And please, please, please, don't let the space pigs spoil everything. Oh God, I can see it now?

Something that fans of Doctor Who need to remember is that the show is first and foremost a family show. It's possible that sometimes RTD and the gang get away with so much (cheeky humor, violence, etc) that people forget that. When you watch this episode there are a few things that require a HUGE suspension of disbelief. The most important item, obviously, is that people would actually get stuck in a traffic jam for anywhere from six months to 20+ years and not go insane. If you get that out of the way, 'Gridlock' is an extremely entertaining episode.

No one could argue that there are some excellent moments in this episode. I don't usually recap episodes in these reviews but if you haven't seen the episode yet...

The talk of Gallifrey in the episode is excellent. Being a long time Doctor Who fan, I always hope for more discussion of past adventures or companions but Tennant is such a good actor in his description it is done very well. The doctor and Martha's relationship is growing along at just the right pace as well. He is still putting up barriers at the beginning of the episode, acting like Gallifrey is alive and well and at the end giving her the truth.

In the past three years, there have been some excellent moments in the show for longtime fans of the series, the major ones being the return of the Daleks and the "return" of the Cybermen. The Face of Boe now gives us something even more exciting to look forward to. In a very touching moment he tells The Doctor he is not alone! I never understood The Doctor's stubborn, absolute belief that every single Timelord perished in the Time War. It is almost insulting as a longtime fan because we know there are Timelords out there such as The Rani, The Meddling Monk and of course The Master who wouldn't help someone change a tire, much less help save their race against the Daleks. Still, I hope it it someone else entirely The Face of Boe refers to.

Once again, in my honest opinion, this episode was a home run. If you are able to get past the premise of happily living many years in gridlock traffic, the effects were absolutely top notch. No episode of Doctor Who has had this much CGI and it looked exactly the way it should. The acting from all of the extras, Brannigan, Martha's kidnappers and of course Doc and Martha themselves were all excellent. The only real complaint I have is the throwaway use of a previous enemy. I have no idea what made RTD decide that the Macra were a good monster to use again, but they aren't really used here at all. In fact, they are really quite useless! There is a huge drug epidemic on the surface of New Earth that kills everyone. The people in traffic below the surface are all saved thanks to The Face of Boe. So why (besides, of course, the added action) do the Macra even need to be in the episode? Where did they come from? Why did they de-evolve and how did they get down there in the first place? Once again, I am a longtime fan so any tie to previous episodes (especially one of the best Troughton era stories) is cause for happiness. Yet, I can't help but think RTD might have well just put a mechanical menace down there instead. It would have saved quite a bit of questions. Still, they do live on gas and they did look awesome so I guess I can just accept it.

Oh and the couple that dies at the beginning supposedly 'lied' about having three passengers to get to the fastlane but later The Doctor finds out the controls are locked. Plus, Brannigan seems to drive the vehicle when the traffic moves 20 yards.

That's nitpicking however. Kids don't ask these type of questions and if you watch this episode with an open mind, I believe this season continues to be the best season of the new series yet. Plus, next week, DALEKS!

Episode three already and the new series is still not doing its job. Gridlock is a worse than usual example of Russel T Davies' "Effect Without Cause" writing policy. A series of pretty cool, yet random ideas strung together without any attempt at a linking narrative or plot, some crushingly badly judged scenes and the new girl Martha's sub Hollyoaks acting prowess all conspire to make this one of the most painful Who episodes in a long, long time.

The story sees the Doctor returning to New Earth. Martha makes a point of getting uppity the the Doctor is bringing her to the same places he brought Rose (ha, ha), yes, the tiresome "Companion is a metaphor for girlfriend" shctick which was done (almost) well in School Reunion resurfaces pointlessly here. Turns out, New Earth is not the Utopia that the Doctor had previously made it out to be - minutes after landing in a drug-filled slum, Martha is kidnapped by a couple and dragged back to their Back To The Future Car. Now, the reason they have done this is because the automated traffic system which governs the city will only let them in the "fast lane" if there are three people aboard.

Now, it's here that the episode really starts to lose the excuse for a plot. First of all, we are expected to swallow the fact that people have spent YEARS in this traffic jam. They live in their cars, give birth, eat, drink, sleep and whatever else in their cars. Which they'e been living in for twelve years. So, aside from the fact that each car must have an inexhaustible food and drinks supply, plumbing system, not to mention a bit of cabin space to ensure the passengers didn't get Deep Vein Thrombosis...aside from that, how did you feel last time you were stuck in a traffic jam for over an hour? Or even half an hour? By the end of the first day, people would be clawing each others' eyes out. Yes, Russel, we know you're attempting to be satirical but your point was so far removed from reality as to be completely innefective.

Interestingly, Russel T Davies, who I am led to believe is an atheist, here throws in a bit of religion for the trapped motorists. A strange U-turn after his "No Religion" line in "The End Of The World". It is quite a nice idea that perhaps religion is all these trapped souls have left to hang on to. Of course, this being a 45 minute RTD script, it's never fully explored, it becomes just another of the random elements tossed into the mix, used and then forgotten. But even this scene is ruined by a hopelessly badly judged "hymn sequence" during which the camera cuts to the pained faces of the various motorists as they meaningfully clutch each others' hands while singing along with the song. Why was Martha crying? Because of the Hymn? Because she felt sorry for the people? Because she was trapped? I really don't know. What was the point in this scene, other than "I saw Magnolia once"?

Of course, one of the strangest things about this episode was the re-appearance of an obscure enemy from the show's past - the Macra. Why it had to be the Macra seems unclear - no one who wasn't a hardcore fan would remember them - their one and only appearance was in a story from the 1960s (which doesn't even exist any more) so it can't have been a nostalgia thing, and the Macra in Gridlock have "devolved into beasts", so they aren't the same Macra that the hardcore Whovians would remember anyway, so it clearly wasn't for the fans. So they could have been any monster really, couldn't they? This has a strange echo of the Judoon a couple of episodes back, a race that was very similar to a classic series race called the Sontarans, but inexplicably...wasn't.

Another point about the Macra - we're told they feed on the gas of the exhaust fumes. So why are they attacking the cars in the first place?

Perhaps the most important point in the episode comes with the Face of Boe's final revalation that the Doctor is "Not Alone" - but even this is problematic. First, how does the Face Of Boe know this? Did the Master pop by and say hello sometime prior to "New Earth?" Why did the Face keep this secret to himself instead of warning the Doctor earlier? Yes, I know it was supposed to be portentous and grandiose, but why would the wisest being in the universe withold information about a potentially dangerous survivor of the Time Lord race?

This sort of writing is "Effect Without Cause". RTD is perfectly willing to sacrifice a logical (or even quasi-logical) explanation in favour of a "cool" scene. Sometimes it comes off, most of the time it doesn't. But there's really no reason why he can't do both.

The episode fizzles out with an appallingly truncated scene in which the Doctor begins to tell Martha about Gallifrey. Tennant's performance as he remembers the Doctor's destroyed homeworld was hear wrenching to watch. Lovely. For about thirty seconds. Then the camera pans away, sting, end credits. Just a nice bit of noise. No emotional payoff, nothing. Almost as if the production team realised "Oh, wait a minute, this bit might actually be GOOD. We can't have that. Quick, pan the camera away!"

And this brings me to my next point. David Tennant is amazing. I've always known he was a good actor, but you put him in a situation where he has barely a script to work with, his companion acts like she's reading an autocue and everyone else on the production team seems to have become complacent with the show's flagship status and he STILL delivers above and beyond the call of duty. The Gallifrey reminiscence scenes are amongst my favourite of the new series so far, and it's all through Tennant's performance. What a shame he was struggling through this turd of an episode.

Poor Freema Ageyeman. Billie's shoes were always going to be hard to fill - and I admit I was a Billie naysayer until I saw "Rose". She proved is all wrong by being an incredibly versatile, believable actor. For once, the companion was as good an actor as the actor playing the Doctor. Freema is nothing of the kind. Her stilted, soap opera delivery makes any scene she's pivotal to clunky and awkward. To be fair to her, she is giving it a good stab, and good luck to her. But she needs to adress certain issues pronto lest the "non actor companion" becomes the norm again.

As always, the script is full of flimsy story points ("He protected me with his smoke" etc), some worse than usual supporting acting (with the exception of Ardal O'Hanlon's cat person), and a complete lack of narrative through line. The Macra living down below, the malfunctioning traffic system and the virus that killed the senate seem to have nothing to do with each other - it wouldn't have been hard to link these elements together and provide us with a bit of dramatic satisfaction, surely? How about this: The Macra were controlliong the senate in order to ensure a steady supply of cars to the lower levels perhaps? Wouldn't that have been better? No? Well, you know best Russel, you have got a Bafta after all....

From essential viewing to banal drivel in less than three seasons. What a terrible shame.

Well that was terrific. By far and away the best episode of series three thus far for me, although as we're only three episodes in it admittedly doesn't have huge amounts of competition yet. But it's also one of my favourite episodes in the whole of the new series to date ? full of spirit and adventure and clever ideas, funny bits, dramatic bits and mysterious bits. Just, basically, a damn good slice of Doctor Who, one of those episodes that makes you thrilled to pieces that the show is back and putting out stuff as good as this.

Rather shockingly, I had been secretly hoping that the infamous football match beforehand would end up as a draw at ninety minutes and thus Gridlock would be put back a week, as that would mean the grand finale of this series would no longer clash with my father's sixtieth birthday party, which is going to present something of a problem in ten weeks' time. Watford's porous defence put paid to that idea, sadly, but no matter ? a minute or two into Gridlock and such thoughts were far away from my mind.

A return to the year five billion era makes sense, as it's a chance to revisit some of the mythology the new series has laid down for itself, rather than having to mine the classic series for it. Having said that, there was a slight concern in my mind given the problems with last year's New Earth, which had seemed disjointed and lacking. Fortunately, this episode was more in tune with the original five billion story, The End of the World, which is also one of my favourite episodes from the new series ? so ambitious and at the same time assured. Gridlock had that same sense of everyone being involved being at the top of their game.

In some sense, though, this was quite an atypical episode for modern Doctor Who, as despite all the impressive special effects work and CGI for the cityscapes and the Macra, much of it was contained within those tiny car sets. A bit retro, really, and harking back to what the classic series always managed to pull off so well ? making three people talking to each other on one small set seem so engaging. I am not entirely sure how gripping it may have been for the younger members of the audience, but they still had the thrill of the Doctor jumping from car to car, the talking cats and of course big giant crabs!

Speaking of which, wasn't the presence of the Macra a nice little nod for all the Troughton era fans watching? How marvellous to quite randomly revive one of the programme's more obscure and, let's face it, originally quite rubbish foes. They didn't really do a great deal, but it was nice for them to pop up and wave a claw about. I'm only sorry that I accidentally found out about their presence in the episode a couple of days before it aired, and thus wasn't as surprised as many others were by the revelation of them. Fortunately for most, though, they seem to have generally been one of the better-kept secrets of the new series.

The same alas can't be said for the Face of Boe's final words, which everyone and their brother has known or guessed for the past eighteen months or so. Davies made sure of this himself, admittedly, by having the cryptic message at the end of the Doctor's profile in the 2006 annual and then telling DWM that the message would be four words long, so he probably wanted the hard-core fans to guess it, knowing at the same time the general audience and the kids wouldn't know or wouldn't care. In the scheme of things it's not a major issue, as it's just a teaser, setting up as-yet-unguessed at events for the series finale. It's not so much what he said that's as important as what he meant, and we can't yet be sure of that.

Alas we can be sure that the big old Boe Face is dead and gone, and as one of the elements that are purely new series to have caught on and been a success, that's rather sad. Like a little piece of the new mythology brought to us in 2005 dying off. There are only Jack and the Daleks left now from the comeback, just two short years ago ? frightening sometimes just how quickly the pace of this series moves on!

Things have moved on for Novice Hame from New Earth too, and I liked the way her prosthetic make-up had been 'aged up' ? not the sort of detail you suspect they would have bothered with back in the day. I'm quite glad that she gained redemption for her crimes, although it's rather sad that the fate of the city means all of the Doctor's actions back in New Earth were essentially pointless, and the people he saved all died off anyway, or at least most of them.

Hame's not the only cat we encounter, although we'll gloss over that weird black thing who becomes a victim of the Macra along with her two young ladyfriends ? best not to go too far into that one, I think! What I will go into is how good the prosthetics were on all the cat creations, although that's to be expected after the success of their appearance in New Earth, one of the few elements from that episode that could be said to have been an unqualified success.

I think Ardal O'Hanlon as Brannigan was probably the best guest star of the third series so far, an excellent character and it's a shame Davies has indicated we won't be going back to New Earth again as I thought he was well worth a return appearance. He didn't get to do all that much, admittedly, but then again nobody in the traffic jam really did; that was the whole point of them, sad little character sketches trapped in their hopeless, go-nowhere lives forever.

Sadly, Martha didn't really get to do all that much this episode either, although she did get to show flashes of her intelligence once more when she suggested the 'turn everything off' submarine-type trick to evade the Macra. A shame that without the Doctor they would all have thus suffocated, but hey ? the woman can't be expected to think of everything! Nice to see though how much faith she already has in the Doctor in only their third adventure together.

The Doctor was terrific throughout ? especially when David Tennant was given some of the more contemplative stuff he's really not given enough of sometimes. As I have said in many of my Doctor Who episode reviews, I love it when we are given little snippets of information that enhance the mystery of the character and his background and history, so I of course loved the descriptions of Gallifrey he gave to Martha, especially so given that some of them were directly taken from Susan's description of the planet to Ian and Barbara back in The Sensorites.

Admittedly, the final scene of the story was very similar to that of The End of the World, but I thought they just about got away with it, partly because Rose and Martha's approaches to the Doctor were so different. This was underlined when Martha was asking if she was the one the Face of Boe was referring to, and he was firmly and a little rudely of the opinion that she was not! So, despite all its echoing of that End of the World scene, I liked that ending as the Doctor sadly reminisced about his home.

Plus of course it worked well for introducing Martha to the concept of the evil Daleks, something that might stand her in good stead in the not-too-distant future.