This was a pretty good episode. The problem is that last week's episode demanded a follow-up that was great, even epic; and while Doomsday tried, it wasn't able to make it. (I found it ironic watching the accompanying Confidential after writing this bit, and hearing the production staff use the same word - epic - without managing to achieve it.)

So... Daleks vs. Cybermen, with Earth caught in the crossfire. Given that the Cybermen could barely slow down four Daleks, this shouldn't be much of a battle. (Which is about what I figured; these Daleks have been portrayed as nigh-unstoppable death machines with probably centuries of refinement, while these Cybermen are the first-generation products of a near mirror of present-day Earth. Unless the Daleks have an unexpected weakness or the Cybermen an unexpected strength, it's not much of a contest.) Only somehow, it works. Despite Cybermen getting mown down left and right as the Daleks press through to get out of the Torchwood building, despite the gratuitous appearance of enough Daleks to burn the planet down to bedrock, there's still a scope and frisson there as hordes of Daleks swoop down out of the sky to attack massed formations of Cybermen. Give the production team credit for taking something that should have been a blowout and making it involving.

Torchwood itself turned out to be surprisingly insignificant after last week's buildup. It provided a setting for the main story events. It provided a bunch of camo-uniformed extras to fire ineffectively in the battle in the warehouse. And that's about it, really. Yvonne gets verbally slapped by Jackie for bringing the deluge, but no further reflection on Torchwood's role in the matter. Dr. Singh gets a moment of heroic sacrifice. And Yvonne gets a redemptive moment that feels utterly right even if it's not terribly logical. But no one from Torchwood tries to grab any of the hi-tech equipment they've hoarded over the years and fight back on something resembling equal terms. No one steps forward to help (or hinder) the Doctor and his friends, who run around the building as if they own the place. I'd expected Torchwood to play a bigger part than 'toybox for the Doctor,' really.

The Genesis Ark was another disappointment. This is the last legacy of Gallifrey, the only thing remaining of the Time Lords besides the Doctor himself and his TARDIS - and all it does is spit out a horde of Daleks? I'd hoped for something more uniquely Gallifreyan, myself; something on the level of the Hand of Omega, maybe, something that would have added real weight to the use of the Time Lords as the source. ('It's bigger on the inside'? Come on, RTD, you can do better than that.) A mysterious, powerful artifact from the depths of history, used in a creative and awe-inspiring way? That's epic. A mysterious and powerful artifact turned into a plot device for producing Daleks? That's a let-down. We've already seen a Dalek army pulled out of a hat once in a season finale, and the impact was a lot smaller the second time around. There's no sensawonder here; or rather, it was strangled the moment the Daleks started flying out.

A powerful, ancient Gallifreyan artifact could also have been used to add some much-needed epic to the story's resolution. I mean, come on; 'void energy' that tags all the inter-universal travellers so that they get sucked back in when the Doctor opens the breach? Pop, and the problem's gone, no-muss-no-fuss and really easy cleanup? (Well, all right, there's the casualties and battle damage in London...) It's too simple. It's too convenient. It's too *easy*, and this is the single biggest flaw in the main plot. What's 'epic' about the Doctor pulling the stopper and having all the bad guys spiral down the drain, with no further effort on his part? The characters really needed to work for the ending to give it epic magnitude, and clinging to a bar over the Void doesn't count; that scene would make a good capper to an episode of work setting up the ending, but there was no real setup for it to cap. (Unless you count the Doctor's gurning around with the glasses for two episodes; since that could have been anything, I don't. Real foreshadowing should tell us something about what's going to happen, and the glasses didn't tell us anything.)

Ignoring the literary merit of the resolution for a moment, it also has large gaping plot holes. The whole purpose of a void ship was to shield the occupants from the effects of the Void; so why, then, were the Daleks tainted with void energy? If the void energy caused the Cybermen to be sucked in when the breach was opened at Torchwood, how were they able to march out of the breach into Torchwood in the first place? And if the Void's pull was strong enough to yank Rose away from her handhold, how in the heck did Pete avoid getting pulled in when he appeared, much closer to the breach than she was? I'm sorry, but this just reeks of a cheap gimmick the writers pulled out of a hat - to magically get rid of the Daleks and Cybermen, not to mention set up a massive dramatic scene - without taking the time to think it through.

Imagine if the Genesis Ark had revealed something that the Doctor had to try and take back from the Daleks, instead of just dumping out enough Daleks to raise the threat to 'deus-ex-machina required' levels. Imagine if Torchwood personnel had stepped forward and helped in the fight, because they've trained with the hi-tech equipment and can do something useful instead of firing ineffective guns at nigh-invulnerable enemies. Imagine if there was a solution to the situation that required the Doctor to put in more than a couple minutes of 'open the Barrier, boom they all go away'? (Even the delta wave in last season's finale, which never got used, required more work and more thinking about the consequences than this did.) Extra points if this solution involved whatever came out of the Genesis Ark, so that more parts of the plotline tie together. Any of these would have made for a more involved, and thus for me more entertaining, story than what we actually got - which was fun but shallow.

Then there's the Jackie 'n Pete show. By the end of Age of Steel, I really respected Pete Tyler; coming across as a weak opportunist at the start, then turning out to be using that as a cover for gathering intelligence, and finally having the wisdom at the end to realize that Rose's clutching after a lost father wasn't leading anywhere good or healthy - and closing the conversation off when Rose pushed things too far. So I was impressed - though not particularly surprised - to see him show up as an authority figure in the alt-universe. Unfortunately, that led to The Reunion that had been telegraphed in letters of fire at 150+ dB. If the 'void energy' magical resolution was poorly set up and foreshadowed, this went to the opposite extreme, with the idea pounded in with a sledgehammer. I suppose it's another complement to the actors and the production staff that it turned out to be an 'awwwww' moment after all, and made me feel good about it despite my annoyance at how blatently it was set up. I just wish it hadn't been so pat; that it hadn't felt so deliberately manufactured.

And so we come to the part that's probably going to get the most argument - the departure of Rose Tyler.

Just to be clear where I stand: I thought she was a good companion, had some classic moments, but the attempt to set her up as 'the Bestest Companion EVAR' (to quote a friend) didn't just fall flat for me, it grated. The Doctor has had many companions over the years. There's been a few he's formed a special bond with - Jo Grant. Romana II. Sarah Jane. Ace. But they were never given the 'always and forever' tagline, repeated ad nauseam like an infatuated teenager with a crush. One of the best lines of School Reunion was the Doctor's 'I have to go on' - and that holds true for the Doctor and the show. So especially in Rose's later appearances, I alternated between cheering for her moxie in rallying the station crew in Satan Pit, or applauding her for putting together the pieces on Magpie's television operation before the Doctor manages to (only to get trapped because she wasn't ready to handle the situation, drat) - and groaning at cutsey-cute moments where she and the Doctor act like they've stepped out of a John Hughes high school comedy from the 80's. I was, frankly, relieved to see her go while I still liked her, before she wore out her welcome any further. All I hoped for is that she would get a good exit...

...which Doomsday *wasn't*. I give credit to RTD for trying to subvert expectations about Rose dying. But when you open an episode with a character going 'This is how I died,' you'd better darn well have a good payoff to justify it. This didn't qualify. The idea of a metaphoric 'death' can be powerful when used right; but it takes a delicate, sure touch to avoid becoming faux-Romantic teenage-angsty melodrama. Did this example work for me? Sorry, no. (One example that did work for me was The Princess Bride, because it was handled with a light touch, and the actual 'I died that day.' line was almost tossed off and not unduly stressed.) Did she lose everything that made life meaningful to her? Judging the family attachment by how hard she tried to save her alt-parents in Age of Steel, and how much losing Mickey seemed to hurt her at the end of that episode, I'd hardly think so - and so likening her loss of the Doctor to Death came across to me as an artificial and overblown attempt to raise the stakes on the ending. It's a cheap, lazy form of emotional manipulation, and it really put me off.

Looking back, it's almost surprising how much I did enjoy the episode. I think the key was a lot of nice moments that had little impact on the overarching plot. The Doctor's angry speech to the Cyber Leader - "You're in their homes, you've got their *children.* Of course they're gonna fight!" The shot of the family huddled in terror as the Cyber Leader spoke - "Do not fear. Cybermen will remove fear." The Cybermen and the Daleks talking smack at each other: "Daleks have no concept of el-e-gance." "This is obvious." Mickey's growth, and his vastly increased comfort with the Doctor. ("So he's sending the Daleks and the Cybermen straight to hell. Man, I told you he was good.") The problem is that these moments are like cotton candy; tastes good for a moment, but doesn't last and too much of it without a solid meal underneath doesn't sit well. What it feels like is the writer had these moments in mind combined with a couple of big story events (in particular the hanging-over-the-void scene), and then tried to come up with plot devices to make them happen. ("Hey, I want to see an army of Daleks fighting the army of Cybermen, but where am I going to get one? I know, I'll make a Time Lord artifact that's a prison ship...") The problem is that when you come up with these ideas solely as plot devices, and don't take the time to develop them into part of a real story framework, what you get is flimsy storytelling.

I think the key phrase for this episode, for me, is 'entertaining in spite of itself.' In the end, it was still fun to watch, but there were too many points where the plot took very sloppy shortcuts to get a particular scene or a particular resolution, and only some top-notch work in the actual direction/production/performance was able to save the moment. (Which is probably why the epilogue failed for me; the performance wasn't able to carry off a plot/character moment that I disagreed with.) That's why the episode was also ultimately disappointing; if the same talent had been applied to ideas and plot points that had some thought and depth to them, this could have been a truly great episode. As it is, it couldn't live up to the promise of the prior episode, and that's a shame.

Possibly the cruellest Doctor Who adventure ever filmed, certainly the most emotional and easily one of the best.

With all the hype building up around this last story I thought it could not possibly manage to live up to everything that was expected of it but to my surprise (and boy was I surprised throughout this story) it achieved something far greater than the explosive finale I was expecting, it managed to subvert all of my expectations and proved that the show can achieve more than what we have already seen. Emotionally and psychically, Doomsday never stopped pushing until I was quite exhausted in the finale few minutes. Thought Parting of the Ways was hard work? What until you get to the last five minutes of this story!

This story is not really about Daleks crossing Cybermen and having a bloody battle, it is about the classic Doctor Who approach and Russell T Davies’ Doctor Who approach colliding to see which is more important to us now. I think to Russell’s credit (both in strength of writing the script and driving the series) that Tyler family drama overshadows everything else in this story. Can you believe that? The fricking Daleks are firing away at the Cybermen, an awesome sight to be sure but the first moment to give me chills was when Jackie was confronted with her dead husband. Was does the drama lie within Doctor Who these days? Is it between robots shooting away or is it genuine human drama? Is one for the kids and one for the adults? It pleases me to announce that the marriage of the domestic approach (the Tyler family trying to stay alive and save the world) and the action adventure approach (the Daleks pouring from the Genesis Ark and declaring all out war on the Cybermen) works beautifully and blended together makes a superb, dramatic feast of a story which sees season two go out on a massive high.

Firstly lets deal with the Daleks and Cybermen which was an idea that could have sunk the show had it not been pulled off well. I thought one or the other would be belittled by this script but when it comes down to they seem about as powerful as each other. I should hate the bitch off between the two species (I kept getting flashbacks to Rose and Sarah-Jane!) but I just kept making handbag gestures! Simon and I both loved it when the Dalek swung around and said, “This is not War! It is pest control!”

The Cybermen are the ones, which come out as the best tacticians, not just because of their scheme to automatically plant themselves all over the world (“This isn’t a war, it’s a victory.”) but because they can see the potential in an alliance between the Daleks and themselves. Their line, “Daleks and Cybermen, together we could upgrade the universe” is absolutely terrifying because when you think about it, yep, they have a point. Unfortunately (and very true to character) the Daleks are the most prejudiced race in the universe and cannot even imagine joining forces with anybody to subjugate the human race. So here is a chance for the show to prove just how bloody exciting it can be these days with lots of shoot-outs and explosions! Who doesn’t love that?

What impressed me most was the scale of the fight. I thought that everything would be contained in Torchwood, which would have been more than adequate for four Daleks and a bunch of Cybermen to tear each other to pieces. Personally, after Russell’s comment in one confidential that because he thinks of budget all the time it limits his imagination I did not think he had it in him to bring the fight out onto the streets. So when the Daleks start pouring out of the Genesis Ark and swooping over London and the Cybermen stomp through the streets in swarms and start firing at each other my chin had hit the floor. Make no mistake people, this is event television and no mistake but even better than that, it is event Doctor Who. And thanks to the talents of everybody involved it is visually stunning, worthy of a movie on a television budget and that might sound like a throwaway phrase but when you think about it it means something very special about the efforts the technical crew put into this show.

We have all known for a while now that it was going to be Billie Piper’s last appearance in Doctor Who. This ex-pop singer who we cringed at the thought of appearing in our favourite show to start off with who has won our hearts, won awards and won the respect of the public through her intimate and definitive portrayal as Rose Tyler. What Billie has achieved is no mean feat; she managed to bring a human element to the show like no other whilst still maintaining the role of the companion, asking the right questions, fighting the monsters, etc. She managed to make Rose a extremely rounded character, one who loves adventuring, has a strong moral sense and has a strong sense of curiosity and yet still manages to be flawed, getting viscously jealous, remarkably selfish at times and a bit smug too. It has been a pleasure to join her as she has learnt all about the Doctor, the Daleks, the Time Lords, etc and made our favourite hero a very happy man indeed. Her chemistry with both Chris Eccleston and David Tennant has sparkled, making that transition of lead actor was only possible because Billie was so secure in her role to make the crossover almost effortless.

And lets not forget all the other elements that Rose has brought to the show, namely Mickey, Jackie, Pete and the Powell Estate. Together they have given the series a sense of family and place on Earth for the Doctor to return to. From the start of series three the show is going to have to totally re-invent itself again into something entirely new, making these first two years a unique block of Doctor Who all of its own. Jackie has always been a delight, her down to Earth attitude and willingness to stick her oar in with the awkward questions that nobody wants to ask marked her as one to watch and enjoy. Mickey is an absolute babe who made the transition from coward to hero realistically over two years, Noel Clarke’s performance improving each time he appears to a point in this episode where he is giving the performance of the show. And Pete, whilst the least seen completes the family unit here and brings everything full circle in a very satisfying manner.

Honestly, could there have been any other way for this bunch to leave? It feels different from the beginning of the episode, before Jackie’s insistence that Rose is kept safe has seemed like an overly protective mother but with these two alien races standing between them suddenly her protestations seem very real and serious. As Jackie is dragged away by the Cybermen screaming, “You promised me!” Simon covered his mouth in shock and whispered “Oh God that’s horrible.” Rose standing up to the Daleks is one of her all time best moments, as she steps right up to its eyestalk and does not batter an eyelid and negotiates their survival. There are lots of scenes where Russell plays about with the possibility of Rose’s death (where the Daleks and Cybermen are shooting across the room especially) and it almost seems a shame that he doesn’t go through with his (apparent) promise. It would dismiss all ideas of ever seeing this character again. But what we get is much, much crueller, so emotionally cruel it reminded me strongly of Jaime and Zoe having their memories wiped at the end of The War Games (having all their adventures with the Doctor taken away from them bar one). The solution to the Dalek/Cyberman war is ingenious and allows Rose to save the day and be separated from the Doctor at the same time, the way it all falls into place is inevitable but brilliantly dramatic. All these stuff about hanging on for dear life as the Daleks and Cybermen are sucked into the void is a fabulous SF conceit and allows them to pull off an almost-death for the character as she is sucked inside in slow motion (with an almost agonisingly painful scream from David Tennant). It probably would have been easier for Rose than being saved by her father and forced to live her life in another universe, trapped and isolated from the man she loves. Billie’s performance when she realises she will never see the Doctor again is devastating, slapping the wall screaming “Take me back!” is a new emotional high for her character. The coda to this adventure that sees her with her new family (Jackie, Mickey and Pete all holding hands in a tender scene) travelling across the world to follow the Doctor’s voice is beautiful, it is lovely to see that these people will all have each other and will be there to heal Rose’s bruises. How would you fit everything you have to say in two minutes? The Doctor and Rose’s goodbye really tugs at the heartstrings, tears flow and we finally hear those words that we knew all along. Tennant and Piper have always clicked well but this is electrifying.

After re-watching Rise of the Cybermen/The Age of Steel I was awed by Graeme Harper’s astonishingly visual direction but less convinced by his ability to capture the emotion of the situation but Doomsday elevates him to a true A-List Doctor Who director. His ability to marry the emotional and exciting here makes for an intoxicating brew, he provides the gob smacking visuals that we crave but still leaves room for the actors to have their moment and prove why they are such a vital part of the show. There are so many little touches that I love; the lighting shift as they jump universes, seeing the Dalek and the Cyberman from each others point of view, the tear of oil that slips from one Cyberman’s eye, the Doctor’s slow motion scream, the entire sequence on the bridge, the Cybermen marching in formation around the corner shot from such a high angle…and how the show drops the pace entirely to give the characters adequate time to say goodbye. The last five minutes proves without a shadow of doubt that Harper is just as good at human drama with some glorious location work. Murray Gold’s music during these sequences is all the better for being understated and it is easily his best work on the series to date, Rose’s choral theme is used to superb emotional effect.

So there you have it, the end of a rather impressive era. It sucks that we will never see these characters again but it pleases me to see them go out in such style and in such a satisfying manner. The Tyler family were a great contribution to the Doctor Who mythos, they allowed us to see stories that we have seen a million times before in a brand new light. Jackie’s mouth will be missed, Mickey’s growth too. But most of all I will miss the exciting and warm partnership between the Doctor and Rose.

This is the first time I've cast a review of anything to anywhere, but I think 'Doomsday' just about merits that dubious honour. You see... much as I waited patiently for a movie versions of 'Starship Troopers' and 'Judge Dredd', I've been subconsciously waiting for a Daleks/Cyberman confrontation ever since I scribbled the said scenario on the back of a school book, way back in primary one. Good it was too, brilliantly cataclysmic, in a stick men versus peperpots with the space between filled with energy beams and jagged explosions, kind of a way.

Actually... it was crap! But what lay behind it shone through in the way that only a child can impart. This was the war to end all wars. An epic confrontation on a cosmic scale. And that's where that particular war has since languished, locked, seemingly for evermore in a child's drawing. It would never actually happen... would it? I mean... the show was eventually cancelled, and the budget would never have allowed for it, and no producer would ever have been so audacious anyway.

Until now. Suddenly 'Who' was back, with a budget, a quantum leap in effects technology and a fanboy at the helm. So, it was, I suppose, only a matter of time.

And did it live up to expectations.

Well... yes, and no, but ultimately... yes!

I'm not a fan of RTDs episodes for a number of reasons. Too camp, too breakneck, too many undeveloped second hand ideas, too much misplaced humour, too many references to popular culture thus instantly dating the show, too much wonky science. But, what he has brought to the show is a human dimension , more adult in nature to any of its previous incarnations. Thus, 'School' may have on the surface, seemed like a crap Aliens invade a school episode, in actuality, it's merely a hook to hang an examination of what being the Doctors companion entails, his effect on the individual on an emotional level, and how one adjusts to a now savagely mundane life when the ride is over. This for me, is the redeeming strength behind RTDs writing and the show is at it's best when this kind of approach is taken, and 'Doomsday' is a perfect example of this. Its not a so much about a cataclysmic battle for the Earth, as it is the wrenching apart of two people very much in love. That said, the cataclysmic stuff was well handled, given the time and budgetary constraints of television. RTD tied up the various plot threads well enough, and some of the Dalek/cyberman banter was almost comedic, the sequence when they confronted one another had them display all the maturity of two five year old bullies having a spat in the playground. In fact, lets be honest, the Daleks pretty much stole the Cybermans thunder. Suddenly the metal warriors and their emotionless intonations seemed a bit dull, when compared to the hysterical simple minded screeching of the Doctors, it has to be said, greatest enemies. (hearing both races intoning their respective, 'Exterminate', and 'Delete' warcrys continuously during the battle scene two thirds in smacked of an insanity I really appreciated!) The Genesis ark was a well implemented twist and when Pete Tyler turned from the window to state that the Earth was a lost cause, I actually agreed. I'm pretty certain, I could pick holes in the plot from now till tomorrow, typical of RTDs scripts. But, you know... I'm not going to. Story wise it was fast paced, ambitious, did everything it needed to do and ultimately entertained me enough to make any real nit picking seem churlish. So there!

As for the direction... Well, take my hand and as the room goes all misty around us lets travel back to the early eighties to witness Peter Davidson on the verge of cacking it! Directorially speaking 'The caves of Androzani' was a revolutionary piece of work, as far as Who was concerned. Dr who was a largely studio bound show, a show that's method of production involved wheeling in giant cameras to capture the action via a succession of mid shots. (I recently watched an episode of Earthshock and was struck by just how basic the direction was). Anyway, along came Greame Harper and his wides and mids and close-ups and tracking shots and zooms and jump cuts and hand held camera techniques and even the occasional shot that might actually have been storyboarded (phew!... I'm out of breath now). Thus the two stories he helmed passed into Dr Who legend, and to be fair, deservedly so. They were different, and they were good!

So, thus armed with that knowledge, quick... take my hand again and lets cartwheel back through time to the present day and Lo and behold, all these years later, fanboy RTD well remembers Harper, and look, he's tapped him to direct, possibly the biggest show in Who's history and the result is... sadly, unremarkable!

Time has moved on, and the techniques previously described are now de riguer in television drama. Harper is now just another competent director in a sea of competent directors. That said, it was by no means badly done. The bridge battle, albeit brief, was well handled, as was the long moment immediately after the final closing of the rift, and to be fair, choosing to shoot the doctors final farewell to Rose via intimate close-ups was a perfect directorial choice. I just wish the action had been tighter, the main battle in the base was particularly sloppy, and smacked of a succession of second unit shots of well... anything it seemed like a good idea to film any old way, flung together. Joe Ahearn's shoot em up sequences in 'Dalek' had a narrative tightness, I felt was lacking here! I don't want to be too unkind however as overall Harper did a decent (occasionaly nice) job, and considering the complexity of the episode and the constraints of television, perhaps that's the most we could have reasonably expected.

I found the performances fine, the actors involved having had enough time to grow into their respective characters so as to negate any serious slip ups. I'm still, however, unconvinced by Tennant, in the same way I was unconvinced by Eccleston (though admittedly both choices looked good on paper). Too much bug eyed overacting, too much bizarre vocal inflection, too much self important smugness, and while Eccleston angry Northern gravitas occasionally impressed, tennant seemed lightweight in comparison. Yet when reigned in, his comic timing and delivery can work well (the sequence when he passes off Jackie as Rose to Yvonne and her soldiers, outside the Tardis in 'Army') and I do like his more sober and thoughtful version of the Doctor as typified in the closing moments of 'Girl' and his conversation with Ida during the lowering sequence in 'Pit'. Thankfully he was pretty much in this mode for the duration of Doomsday, and I have started to come around to his portrayal. Hopefully He'll settle down in series three, because I do want to like him, I really do, and during the final moments of this episode, I think I did!

Piper has, to my mind, given a considerably more naturalistic performance then either of her co stars, which is quite a feat considering her lack of experience. She's no different here and as, to a certain extent, she's been the lynchpin of the entire relaunch, I don't know if the show will remain as strong without her. despite the Dalek Cyberman mayhem, the farewell sequence on the beach remains the single best moment in the episode (perhaps any of the episodes, full stop) and an entirely fitting goodbye to the character. Some will undoubtedly scorn the fact that she didn't get zapped into oblivion, but it was never going to happen and this humility to the central characters ultimately demonstrates why RTD, despite his failings remains an asset to Who in general.

Quite frankly, I loathed Murray Golds synthesised, drum machine led, 'Mickey mousing' the action, scoring for season one. Though there were glimmers of something going on every once in a while (his 'Dalek' theme, Ecclestons regeneration music) but overall, I thought his contribution more of a hindrance then an asset. So I'm pleased to say, there's been a complete turnaround in season two. With the drum machine seemingly confiscated and given the service's of an orchestra, he's come up with some genuinely exciting action cues, giving the series a welcome sense of scale. His use of thematics has been intelligent and surprisingly subtle on occasion and he's managed to intensify and enhance the shows more emotional scenes with sensitivity and skill .Listen to the score during the last ten minutes of 'Doomsday' and you'll know what I mean.

So to sum up... the producers set themselves up for a fall with this one, and I'm happy to say, despite occasionally teetering on the brink, they managed to just about pull it off, which is praise indeed. An ambitious production, that ultimately extolled the virtues of having the confidence to occasionally 'go for it'. While the action, could perhaps have been better, the part of my brain that remains six years old wasn't disappointed, and it worked for the thirty nine year old bits as well. Okay... so when I watch it again, I'll switch off before the last fifteen seconds, and imagine the Doctor standing, head bowed before the Control console as the Tardis spins off into the void, but I do realise why it ended as it did... life goes on, and so does the show.

I could go on about the effects, the cyberdising of Yvonne Hartman after a promisingly sassy and authoritative introduction in 'Army', the happy ending for the Tyler clan (which I liked), Mickey's assertiveness and the doctors goofy 3D glasses actually being relevant to the plot. But I'm in danger of boring myself, so I'll spare you!

I will however, leave you with a final twist. I have absolutely no idea If I ever really draw an aforementioned Dalek/Cyber war when six years old. Maybe I did, I certainly should have done, and if I had... I'm sure it would have looked like one of the scenes in Doomsday.

And I cant think of a better compliment to give then that!

I find it astonishing that anyone, especially real Dr.Who fans, can criticise anything from this series and having seen Doomsday umpteen times since transmission I still can find no fault.

Quite simply Doomsday rattled along at a ferocious pace with great tight direction from Graeme Harper and an ensemble cast that rode into the sunset on the most glittering beast that could inhabit the regal mind of Russell T. Davies. Cybermen vs Daleks... .every fan's wet dream surely... .and the most heartbreaking finale that you could ever imagine. I am 40... but I wept and wept through the last 20 minutes-friends of mine who are 20 and NEVER cry...THEY wept! My mother wept! Only my dear wife remained immune and at least she had the decency the pass me a tissue and coimment on how Billie and David acted the socks off anyone else on television.

I love the way Russell develops ideas through the series...his hints and catches to reward the viewing regulars...and yet always remaining accessible. There really is something for everyone in modern Dr. Who...and that is what TV should be all about. Doomsday had tons of everything. Pete Tyler... ..! Wow... from a one off story in series one to this amazing return...his meeting with Jackie was just jaw droppingly wonderful... ..and then Mickey the hero...yet again coiming forward to kick butt.

Billie has become in two years, a skilled and subtle leading lady and although there were towards the end too many open mouthed gawps (watch the Satn Pit etc to see what I mean) she really had a tour de force here and her character really did come full circle(great idea to have her waking in her bed-shades of 'Rose'). She had brought an emotional depth to Rose and pulled aspects of the Doctor out of his reserved shell to expose what a vulnerable and shattered individual he is under all the bravura. David Tennant is God! Quite simply he is THE definative Dr. Who already...and he can act like there is no tomorrow. Once again in Doomsday we see him glide effortlessly and totally believably from light comedy to anguish and heartbreaking solitude. He has taken the role to new heights...and pity the man whjo will one day replace him (although please PLEASE stay David...4 years would be a great start!). The parting scenes were just so right for the adventures we have shared with them both... and I defy anyone not to cry when Rose says that she loves him...and he is so close to reciprocating. Yes...the Doctor is an emotional fellow and so he should be! Not bed hopping Kirk but a complex, multi-layered , multi-faceted alien who can experience a range of empotions and he NEEDS that depth to move his character on! More power to your elbow Russell...you are a GENIUS!!!!

And so Rose is no more... .I can't say Catherine Tate is my favourite actress as much of her work is derivative, but I am sure she will do us proud at Christmas... and as for Freema, well, if she isn't the MOST beautiful companion ever then I'll have to ask each one of you to step outside whom so ever disagrees. I can't wait for series 3... but what can Russell do to top this?

I'll miss Rose Tyler. I think many of us will.

Good luck to Billie in her future ventures - she really has helped bring "Doctor Who" back to this new world. I work in retail and I can't help but smile whenever - almost every other day - I see a kid get excited over a new Doctor Who display in store: DVD, book or magazine, these kids are just so enthusiastic about it all.

I criticised RTD last week for poor writing in the sci-fi world. I stand by that - and would ask that he gives more stories to the likes of Matt Jones, Mark Gatiss, Tom MacRae and Rob Shearman (I would love to see a story on screen to match "The Holy Terror")... but oh my does RTD write character stories well.

Sci-fi doesn't seem to be the point of "Doomsday". In deed, the Cyberman/Dalek confrontation is kinda lacklustre in the end, 'though kudos for the work that went in to the scene on the bridge, and the "they will fight you" pay-off... No matter what, we will not lay down.

But this is really Rose's story. And what a send off... From her dying scream to the denial of her Doctor's love, this farewell has to be the most emotional of all of the Doctor's companions... 'Cept, maybe, Sarah Jane's eventual "goodbye" just a few weeks ago.

RTD is a writer of human character - QAF ably demonstrated that, but the scene with Rose and the Doctor parted by a wall a universe apart was the best thing about this whole second series... This gut-wrenching separation was superbly acted by David Tennant and Billie Piper, but was supported by a most emotion-inducing soundtrack.

This 30+ fella had a lump in his throat and I don't mind admitting it!

As for the cliffhanger... I am intrigued.

WOW! That was bloody amazing!. Russel has proved once again that he more than capable of writng amazing stuff ( odd when you consider the pile of drivel that was "Love & Monsters"!) but we'll forgive him for that!. In an episode that rounds off the series it finally raps up Rose's story, and presumably also closes the chapter on the Doctors envolvement with Jackie, Pete etc etc.

I felt a little dissapointed that we didnt see more carnage outside ( i. e people being massacred !, thats allways good ) but ive nothing really negative i can say about these last two episodes, and, like the last season ending, blew me away. I did however notice one large plot hole....

Once the cybermen are in OUR universe they set up a "processing" department behind some plastic sheets ( like you do) at Torchwood. Well whats wrong with that i here you say.. well.. the Doctor explains that because the Cybermen and Daleks have been through the dimensions there covered in this void stuff which eventually leads them to being sucked back though etc, etc, BUT...

The Cybermen processed in our dimension hadn't been anywhere, including poor old Yvonne Hartman who is presumably now sitting back in her office ranting " I did my duty for Queen & country" while sipping a coffee!. maybe she and the rest of them will create a progressive folk duo and go off and conqueror somewhere else!. And did anyone actually see any Cybermen being sucked back through anyway?.

One other thing that baffled me was why do the Daleks refer to the device as a Genisis Ark?. As cool as it may sound, what relation did that bare to the final device which is revealed to be in simple terms as a prison cell?. I was expecting some sort of rebirth or cloning device?. Hmm.

Ive praised him before, and ile do it again. Loved Murray Golds work. The kind of person who can write music that can reduce a grown man to tears must be doing something right!. All praise to him, but credit must also go to Piper and Tennant for wonderfull performances, especially in the last few scenes.

And what of dear old Catherine tate at the end... hillarious!.