Like last time (November 1963), the first episode contained an aerial view of Central London and I loved the way time was speeded up to show us a day in the life of Rose Tyler (Billie Piper). 

The new series has now got that filmed look and it was very tense watching Rose approach the store basement surrounded by what we knew at first glance to be Autons. The cheer that greeted her from BBC3 actually added to the scene - as it seemed the plastic nasties were luring her into a surprise birthday party, horror film style. But I didn’t mistake a couple of brief snatches of Graham Norton. Ironic, because he was reported to have wanted a role in the new series, having trained as an actor. I trust whoever was responsible for the sound transference will be exterminated, though it didn’t spoil my enjoyment. How could it? Rose needed someone to rescue her and the way The Doctor just burst onto the scene - sideways into the story - hadn’t been done before and is effective. 

I thought Christopher Eccleston was eccentric and likeable. Russell T set the character up quickly and well. In seconds we had established from his checking out the ears that he’d just regenerated, could scan-read quicker than humans and was quick at social comment: “he’s gay, she’s an alien - it won’t work”. I also laughed when he confirmed to Rose’s mother, who had her eye on him, that he was a strange man. As to the Ninth Doctor’s outfit: it suits Eccleston. As velvet smoking jackets & long scarves suited Jon Pertwee & Tom Baker. One or two of the subsequent outfits had been OTT (what Russell T said about “layers of association” over the years...re the costumes, going one farther than something that had worked for a different actor) and I guess it had reached the point where it was considered one of the factors standing in the way of making DR. WHO accessible to a 21st Century audience. But Sylvester McCoy was actually the first Doctor to speak with a regional (non-RP) accent. 

It’s a good move to base DR. WHO on contemporary Earth in a domestic set-up, as it answers it’s critics on the question of social relevance and will hopefully attract a lot of new viewers. The use of London - red buses, Big Ben & LondonEye - is a good selling proposition for overseas sales. I sincerely hope a lot of the episodes start & end on present-day Earth as I’ve heard. Yet within that, historical stories & outer space will be present. There seems to be a deliberate contrast in the arrangement of the episodes.

I loved the lighting of the TARDIS in RADIO TIMES. A butterfly design in it’s lines from a distance - which is pretty appropriate as they metamorphose. I’m not sure about the new console so far. But I was taken with the slightly chunkier TARDIS exterior, which reminded me of the films - both of which have been on in the last week. The lights being full on is another neat idea that perhaps should have been used before. 

The Autons are perhaps my favourite monsters, so a re-imagining of the famous scene of them smashing their way out of shop windows to go slaughtering innocent members of the public scores top marks for me. The new Autons - the male business suit with lilac shirts, the Classic Brides, the Auton Children - absolutely brilliant and instantly iconic. The fact Mickey was recognisable to us as an Auton before Rose was an acceptable dramatic device. 

Fast paced, contemporary, witty & scary. This featured the best SFX I’ve seen on TV. This single episode certainly compared well with Hollywood. 

DR. WHO is back and, boy, he’s better than he’s been in years.

Well, I have to say that my enthusiasm fro this new series goes from strength to strength.

After an unexpected pre-credit sequence that was bound to hook the audience from the first second, we launch into the familiar but modern new open credits sequence and Murray Gold'd arrangement of the theme. Both of these have grown on me also since episode one and I do feel that they now really capture RTD's vision of Doctor Who.

And suddenly, here we are; transported 5 billion years into the future. A base known as Platform One where spectators can watch the world come to an firey end - boy! Does this series move fast!

I suppose that the downside of the episode was that the plot was a little thin on the ground even for 45 minutes: The basic premise was, in many ways, similar to the "Curse of Peladon", with an array of outlandish and fantastical lifeforms gathered together in one place (to watch the end of the world). One of these lifeforms, of course, is a murderer. But which one? The Doctor fulfils the Holmes/Poirot role of detective and the revelation of the murderer's identity is both fitting and ironic.

The acting was superb with Billie Piper playing Rose's sense of bewilderment and distress that the earth will eventually be destroyed with absolute emotional conviction. Also, Rose's handling of her situation as novice space/time traveller is continued to be dealt with in her performance - something that was often skated over in the old series.

Eccleston also, just gets better and better. There is also another revelation in this episode which came sooner in the series than I expected. I won't spoil it for you if you haven't seen it, but Eccleston handles these scenes with a depth of restrained emotion that is rarely seen on any Film or TV show, making it all the more of a shame that he will be leaving the role so soon.

The other performances in the episode were a joy to watch also, particularly Yasmin Bannerman as Jabe who brought a quiet sensitivity to the role, plus her semi flirtatious relationship with the Doctor worked well. And a special mention also, to Zoe Wannamaker (who you could be forgiven for not recognising) as the self-obsessed Cassandra - a difficult role to pull off successfully, but she does it.

All in all a good bit of visual wonder, excitement and not a little poignancy. I'm loving this new Doctor Who more and more.

OK first things first, confession time. I am a backslidden Doctor Who fan. I only got 4 or 5 right on each round on the recent Mastermind. I had turned my back on all the books, animated and audio adventures that have followed since the end of the series. I watched and bought the film, but only because I felt I had to. I guess thinking about it, I had ‘buried’ Doctor Who in my head, and wanted to move on from it. For me the books, cds and paraphernalia were an unsatisfactory substitute, and just reinforced the sense of loss.

So during the lead-up to the new series I was worried - worried that they would a) produce something of quality but not Doctor Who at all or b) produce something laughably bad that would have Tom spinning in his armchair! Worried that it would be good but I would be unable to enjoy it as I was not 11 any more. And on top of that I was worried I was going to be so worried about it I wouldn’t be able to enjoy it even if it was good!

Given all of these misgivings and negativity, when I say that it was fantastic it’s high praise. Firstly the pace; it swept me along at such a speed that I didn't have time to stop and think. And it was pitched perfectly, at 8-12 yr olds like they said, but with one eye on adults so I was able to enjoy it despite my age.

In retrospect now the plot was a little thin and rushed. It seemed like no sooner had the aliens been introduced and their plan divulged than they had been defeated! But this was made up for by the йlan, verve and sheer sense of fun which covered the whole enterprise. It is acknowledged that every piece of created work gives you an insight into the soul of the creator. Well, this Doctor Who was the product of someone who loves life. And that’s what it should be. 

Monsters and all that. I didn’t expect to be scared or even impressed by the ‘monsters’, and I wasn't. The only monster in ANY sci-fi which has managed to scare me was the Alien. But really it was never about the monsters for me, but more the concept; being – or meeting – someone who is totally free to travel through time and space and the possibilities this throws up. (to give you a clue where I’m coming from, my favourite story is Warriors Gate – no monsters. I've never even been that keen on the Daleks!) The most effective part for me 'monster'-wise was the scene in the cafe when her boyfriend had been copied; I found him genuinely a bit creepy. But judging from the posts on the cbeebies website, kids found the Auton shop dummies scary so that’s OK!

Bits and bobs. Doesn’t the closing theme music end a bit abruptly? Clive – an interesting character thrown away too early. In response to those nit-pickers saying that how come Clive saw the Doctor in various eras when he had only just regenerated – those were places he is going to be! (mangled tenses). And Clive happens to live in the same area as Rose after she does an internet-wide search for ‘Doctor Who’ – what’s the chance of that?!

But these are just footling concerns. I really loved it and I can’t wait for the rest of the series. It’s like being 11 again!

"I give you the air from my lungs."

Three patterns between 'Rose' and 'The End of the World' occur to me. First is that each uses a mixture of a Hartnell and Pertwee story as a base- in the former, its their first appearances (obvious?) and in the latter 'The Ark' and 'The Curse of Peladon' (although 'Mission to the Unknown' would strike just as well). The second is the reference to the Titanic. The third is yet another reference-to wars the Doctor has an involvement in (or is the same war?). 

As for the story itself, we're heading to a small station with a lot of aliens involved-season 5 anyone? This suits me perfectly as they were always my favourite stories. The pre-credits sequence isn't a complete stranger to Doctor Who, but to see them so often will be a novelty. Still, its worked this time, so it shouldn't be a problem. The Doctors reference to he date is very sly humour that continues to work its way into the series. In fact, the Doctor s one of four characters here to have superb characterisation in many areas. Rose is once again played at a high level, with her questioning here decision and the Doctor in a way we understand. Jabe is both alien and connected to us in an emotional way, and the sequences between her and the Doctor are some of the best in the episode. The last member is the very wacky Cassandra with a very villainous performance (and thats before we find out hes the villain!). The other aliens are very interesting visually, and its a sham that they had so little to do, perhaps exposing flaws in the 45-minute format. A universal favourite appears to be the wonderful Face of Bo. The voice of the much-publicized Moxx of Balhoon however leaves a lot to be desired.

The visual effects are the key to the piece here, and they not only add to the story, but define it in such a wonderful way. The sequence of the earth being destroyed is a classic bit, and the fact that Rose comments that no-one saw it a the end only makes it more poignant and gripping. The station is a masterpiece, and is contending for best space model in Doctor Who. The spiders are also well realised. The other great effect is the turbines, and the climatic shot of the Doctors final crossing is acting and tension at its best. 

The final moments are both the best and worst of the episode. The good is the Doctor and Roses reaction to what has happened, with emotion and flair. The bad is the revelation that the Doctor has no home planet. It really is far too early in the series for continuity, so Russel is taking a huge gamble here. You cannot help but think that the desk he was using to write this had a copy of 'The Ancestor Cell' on it. What becomes of it? Obviously, time will tell.

Overall, the episode is superior to 'Rose' and definitely one of he best going ever. 'Rose' has a stronger rating for providing an excellent start, but this is a likely contest for crown of the season lies.

"Do you know like we were saying, about the Earth revolving? [...] I can feel it. The turn of the Earth. The ground beneath our feet is spinning at a thousand miles an hour, and the entire planet is circling around the Sun at sixty-seven thousand miles an hour, and I can feel it. We're spinning through space, you and me. Clinging to the skin of this tiny little world, and if we let go... That's who I am."

The wait is finally over. After 16 years (or 9, depending on your perspective), Doctor Who has returned. And it's a new look, new style Who. But that's not necessarily a bad thing.

"Rose" is fast-paced, slickly-edited television - with 45 minutes to introduce and resolve a plot, it's certainly a far cry from the traditional slow-burn nature of the old 4- and 6-part serials. And yet, it works. The Auton invasion (which many would see as the main plot of the episode) is very much incidental, as the primary thrust of this new first episode is to (re-)introduce the concept of the series, and the new characters. As such, it does tend to fall flat. The Autons are very much underused as a threat, mostly confined only to the first and last ten minutes, although the attack in the shopping centre was very effective. The pace did seem a little too fast at times, but when you're having to infodump exposition to the new viewers (and the new companion), a little speed can sometimes go a long way.

The Ninth Doctor is a man of contradictions - one minute manic and giddy, the next serious, mysterious, and altogether alien. And Christopher Eccleston plays the part superbly, with genuine passion and power. And whilst the manic grin at times does grate, in general, the Doctor remains the mysterious stranger he has always been. The brief hints at this Doctor's backstory - his involvement in the war and the destruction of the Nestene homeworld, the appearances in 1888, 1912 and 1963 (if not the result of future temporal excursions...) - provide us with interesting discussion points, and the sense that this Doctor isn't coming to us at the start of his ninth incarnation, but we are catching him 'mid-flow', as it were...

I wasn't as pessimistic about Billie Piper's starring role as others - having none of the "teen pop star"-type affectations about her acting skills - and was pleased to see her carry the role of Rose Tyler well - a young woman seeking an escape from her humdrum existence, caught up in incredible events. Her non-reaction to the replacement of Mickey with an Auton double, however, whilst more of a script error than an acting one, made the character seem less observant and world-wise than the rest of the episode suggested. But, her general reactions to the events taking place around her - in particular, her reaction to the TARDIS - were spot on. And she didn't scream in terror once...

Of the minor characters, Mark Benton as Clive was, for me, the most memorable. A spin on the traditional view of the "Doctor Who fan" (this one, of the "real" Doctor), his observations of the effects of the Doctor's presence were well-put, and if the episode indeed portrays his death, it is a shame, as the character could have been an interesting one to bring back in future installments. Noel Clarke as Mickey was less of a success - sometimes a little bit too over the top - but did well, especially as the Auton Mickey, portraying an unfamiliarity and a creepiness that was just what was required for the piece.

Musically, the new theme tune perfectly accompanies the style of the new series - powerful, bombastic, and yet familiar and Who. Of course, I am one of the few people who liked the TVM theme, so what do I know...

The incidental music was much more hit and miss. The very first piece, as we reveal the Earth in space, then zoom down to London, was absolutely perfect. But then, at times - particularly in the early part of the episode - the music drowned out voices, overshadowed drama, and generally distracted from the on-screen events. There were some good points - the little snippet of the theme tune as Rose ran past the TARDIS after escaping Hendricks, haunting melodies that played over several key scenes, including the "that's who I am" scene - and in general it improved as the episode went on. Still, it could be improved further. Music should underscore events, not overwhelm them.

But, all in all, it was an outstanding episode - a worthy beginning, and the preview for "End of the World" seems to show that the level of quality will continue. 8 out of 10.

Welcome back, Doctor. It's been a long time coming.

It’s the end of the world as we know it, and I feel fine.

Having been greatly let down by the first episode, I approached this one with some trepidation. Fortunately, I can report that I’ve been witness to one of the most well-scripted and moving episodes of Doctor Who ever. Eccleston’s Doctor here is just as light and fun as in the series opener, but is also dark and brooding when talking about himself, and vengeful when dealing with this week’s villain. He seems more at home with the assorted aliens than with Rose, whose culture-shock is superbly portrayed by Billie. Rose is clearly floored by the reality of TARDIS travel, yet she still gives as good as she gets, with her “home by midnight” line in particular raising a smile. Whereas the Doctor can mix easily with the “great and the good”, Rose is more happy chatting to the station staff who, wonderfully, are the most normal people on the Platform. Even if they are blue.

The Earth-based scenes prove to be very moving, and I must admit a tear came to my eye in the final scene. The contrast between life on Earth and the scenes on Platform One is very jarring, and puts Rose’s reactions into context. We fans may be blasй and accepting about time travel and aliens, but Rose is not.

The story itself is a simple whodunit, which gives room for plenty of character moments without making the pace seem rushed. The episode is also a showcase for the special effects, and never have they been better than here. As a general rule, I loathe CGI with a passion, but there was scarcely a shot or an effect that didn’t work beautifully, which is some achievement when you consider exactly how many effects this show contains. I’m strongly reminded of Lexx with the exploding planet sequences, and the general bizarreness of the aliens. Very few of the aliens are fleshed out, though, and I was surprised that such a highly publicised character as The Face Of Boe is used purely for window-dressing. Perhaps if this was a traditional four-parter, there would have been scope to develop them all further. As such, most of them appear and disappear without even saying a word.

Such quibbles are minor, though. For the imagination of the setting and the supporting characters; for the improvement to the Doctor’s and Rose’s characters; for the emotional weight of the final scene; and for the wonderful contemporary references from Newsround through Britney Spears, I cannot fail but to score this episode 10/10.

The first classic of the new era.