Right, here’s the conundrum: how to review the rebirth of Doctor Who without descending into the usual lame clichйs and without saying exactly the same as a million and one other amateur columnists? Well, I got through that first sentence without saying the series has ‘regenerated’, so I may be safe…

Can I get my gripes out of the way first? I hate the fact that the Doctor is listed as ‘Doctor Who’ in the end credits, as was the case in the bad old days until the dawn of the Fifth Doctor’s tenure. HATE it. His name is The Doctor for heaven’s sake; seeing him erroneously named otherwise invariably sets my teeth on edge, and regrettably taking a big backward step is what the producers of the new series have decided to do. Dammit. One black mark. Secondly, the closing music only features the classic main motif repeating and entirely leaves out the euphoric higher-key ‘middle eight’ that was always my favourite part of that magical theme tune. Two black marks.

Two black marks. And that’s it. Not bad going in the grand scheme of things, when I have to scrape such a barrel of pedantry to find negatives to comment on. As for the rest, a whole hatful of gold stars is to be handed out to all departments as far as I’m concerned. The performance of Christopher Eccleston as the Doctor was everything one could have hoped for: human, yet definitely alien; wise, yet silly and on one occasion extremely and hilariously dense; calm, then angry, then comic by turns. He bounds through the direst danger with a ready joke and a dazzlingly broad grin upon his face (strangely reminiscent of an illustrious predecessor) that make it all the more affecting on the occasions when he abruptly sobers up, such as his spine-tingling monologue about feeling the turn of the Earth beneath him. It’s good to see Billie Piper matching him in this regard: her Rose convinces as a bored 19-year-old who accepts the Doctor barrelling into her life in full flow as he does ours, doesn’t flinch when the world threatens to collapse around her ears, and suddenly sees there could be so much more to life than a dead-end retail job – and she leaves the fretting and screaming to others.

For, of course, this is a thoroughly 21st century update to the series we knew and loved. Rose was never going to be a helpless accessory to the Doctor’s mad schemes in this liberated age, but then again that’s old news – the same was true of Ace seventeen years ago. What has changed is the overall look and feel of the programme; considering its age, Doctor Who has never looked better or moved faster. The visual scope has suddenly, dramatically broadened: with immeasurable advances in CGI and bigger budgets to work with the effects are now terrific, the TARDIS interior has had a striking industrial-organic makeover, and a long-overdue emancipation from studio-bound claustrophobia has finally released Who into the great outdoors for a large proportion of the action – literally a breath of fresh air. It was odd, as someone who knows Cardiff well, to see shots of the city centre masquerading as London intercut with views of the real London, but I’ll let that slide. The rate of said action is breakneck: the self-contained format of the new 45-minute instalments will leave no room for the oft-maligned ‘Episode 3 lag’ factor of the old stories, and from the opening zoom into London from Earth orbit to the final shot of Rose running for the TARDIS the berserk pace never lets up. You’re literally gasping for breath on occasion, not least because the programme is surprisingly and enchantingly laugh-out-loud funny at numerous points. All credit to Russell T. Davies for his sparkling script that gives the Doctor and Rose several excellent exchanges, with a cast of memorable supporting characters including a plastic version of Rose’s boyfriend Mickey, her mouthy, flirty mother, and a conspiracy theorist tracking the Doctor’s trail through history while maintaining a website that is a neat nod to the geekier edges of fandom.

Shepherding his baby into the limelight is a task that Russell T. has to undertake while walking a tightrope. On the one hand there is that very base of fandom, established in the forty prior years of the programme’s existence; on the other the new audiences just waiting to be tapped, today’s generation of eight-year-olds sitting down with their parents ready to have their minds opened if the new Who is only good enough to do it. If he can please both camps without toppling too far to one side or the other then he’ll be able to feel very proud of himself. This first roll of the dice was a good indicator: by bringing back the Autons (although they are never referred to as such) he is using a familiar but not too familiar foe that can translate to scaring anew the modern audience whilst being inherently, well, crap enough to be a subtle dig at former production values. Talking of which, the BBC sound error that briefly threatened to turn the opening scenes into Terror of the Nortons was an amusing reminder that nothing is entirely sleek and well-oiled in the Whoniverse… Yet, for the first time in years, the BBC are treating this venerable institution with the respect it deserves. They took it off the air when I was ten years old just as I was starting to really get into it, so my appreciation has until now been almost entirely retrospective, in that almost-shameful, slightly culty way many find themselves adoring Doctor Who. Here and now, though, following a lengthy buildup and mouthwatering selection of trailers there was a palpable sense on Saturday teatime of sitting down as a nation to be transported together to another world, one lost to us for far too long but that is suddenly and joyfully here again to be explored once more.

Coupled with the aforementioned catalogue of plus points, Mr. Davies appears to be successfully out onto the tightrope. If anyone can traverse it, he’s probably the man: he loves this baby, it’s extremely plain to see – and he’s got the whole of time and space to let it play in.

Long may it play.

8.5/10

I don't want to spoil the party. It really is the last thing I wanted to do. But 'Rose' has left me disappointed, and I do so hate being disappointed.

I'll accentuate the positive first. Christopher Eccleston is superb as the Doctor and Billie Piper looks set to be a fine companion. The episode itself was pacy well shot and well directed; the show has never looked better.

Now, however, the viewers can have their say. Russell T Davies and company, who have been so busy with their mutual back-slapping ever since September 2003, can no longer hide behind platitudes. Telling us that something is fantastic doesn't make it so. And 'Rose' was far from fantastic.

According to Mr. Davies and company, they are taking Doctor Who seriously. If they really are lavishing such care and attention on a programme with so much potential then the burping wheelie bin should have been left on the cutting room floor, or completely re-shot. This scene had the potential to be quite frightening, sinister even; an everyday household object turns evil and attacks people. New nightmares for a new generation. Instead, it was shot and played for laughs. Though I had no problems with the character or portrayal of Mickey overall, the appalling, cringeworthy nature of his duplicate in the car signalled exactly the place where the episode took a turn for the worse. The scene in the restaurant was pure slapstick, any tension evaporating the minute Mickey opened his mouth.

And so to the supposed "Best writer writing for television at the moment," the ubiquitous Mr. Davies. Is a clumsy deux ex machina in the form of anti-plastic the best that he could come up with? I know Doctor Who has resorted to convenient outcomes to wrap up a story in the past, but never has it been employed in so unsubtle and unconvincing a way. When the Auton took the phial from the Doctor, seemingly scuppering his plan, I breathed a sigh of relief, thinking that this would not be the source of the denoument. How wrong I was.

I am well aware that this next comment is purely the fan in me talking, and I really have tried to look at this from a detached point of view, but the main problem with the whole episode is that it is a complete rehash of 'Spearhead From Space'. There is nothing new here, nor is it done as skilfully. The only chilling scene in the invasion set-piece were the child-sized mannequins; top marks for that. I was also sad to see Clive go, a testament to the performance and character. Which is more than can be said for Rose's mother. I really would not have cared if she had been massacred by the Autons (why were they never referred to by name?). And therein lies another problem; supporting characters that the viewer doesn't care about. Both Mickey and mother should have been written out in this episode. I only hope they both meet a timely demise later on in the series.

Oh, and the incidental music. Appalling! Apparently, Murray Gold is "The best composer working in television today". Not on the strength of that tinny and irritating drum machine that he left running at the start of the episode. Music speaks volumes and this was screaming "It's for the kids, y'know!"

I am overjoyed to see Doctor Who back on television. I am glad that it is being made for family viewing and not for the fans. But quality television needs quality writers and on the strength of this episode Mr. Davies just hasn't quite got it. Please prove me wrong!

"Rose" is wonderful. A fine first episode with huge potential for the rest of the season. RTD's script is fun, witty, hugely imaginative, iconic in part and most interestingly heavily satirical. There are a number of references to the 'compensation culture' which produce some good gags from Rose's mum Jackie. Plenty of in jokes for fans and even a gag about the relative scarcity of female Who fans. I also especially enjoyed the way that RTD subverted the role of the 'male' within the drama. Just look at Mickey, who is effectivly the damsel in distress. I think some people have so far missed the point completly with Mickey's character, which is a shame, but I look forward to seeing more of him and Jackie during the course of the season. Jackie is clearly heavily reliant on Rose, and I look forward to seeing more of there relationship....... It's gonna be fun to see the Doctor interact with them.

The performances from Chris and Billie are just so enjoyable, the childlike wonder and passion of the ninth Doctor and the sassy energy from Rose are really exciting. It's obvious that here are two actors having great fun together........ I know I really enjoyed seeing them spark of each other, a stand out moment being the Doctors facial reaction (profound disappointment) on being turned down by Rose, when intially offering her the chance to go with him in the TARDIS. It genuinely moved me that moment, quite beautifully played by both actors.

Murray Gold's incidental music is also worthy of mention, its brave and for the most part atmospheric. The new remix of the theme tune is magnificent. I look forward to a soundtrack CD from Murray sooner rather than later! 

The plot of 'Rose' is significantly more substantial that some people have given Russell credit for, this is character driven driven drama for everyone, as it should be!!!..... Indeed he has clearly sowen the seeds for some returning characters and ideas.....It's the insightful, contemporary, satirical wit that shines. 

Above all it serves as a fine introduction to the series, wonderful to see the Autons back (living plastic). I've always liked them. I am now fully invigorated with the lust for life that Russell and the team so clearly want us to have! You would have to be incredibly curmudgingly not to have really liked the first episode. A strong start, however I suspect that the best is yet to come, and I for one can't wait!

I watched 'An Unearthly Child' before 'Rose' and you can really see the contrast between the two eras. Where Hartnell is grumpy, unheroic and perhaps mercenary, Eccleston is joyful, dynamic and even sympathetic to the Nestene Consciousness. While 'An Unearthly Child' was written beautifully with well rounded characters who revealed themselves gradually throughout the 100 minutes, here, bits of information are thrown at us in witty and visually impressive ways. Doctor Who has indeed moved on, and after couple of viewings of the 'Rose', I liked it a lot.

My first overall impression was the pace of the story. It felt like it only lasted about five minutes! It developed at an unbelievable frenetic pace, with dialogue that even Aaron Sorkin [writer of 'The West Wing', a favourite programme of RTD's] would covet! Perhaps this feeling was due to my watching the first ever episode which definitely goes at a more piecemeal pace. Or perhaps it was because of the fact that I didn't want the episode to end.

The actual plot was probably a dumbed down version of 'Spearhead from Space' but very enjoyable nonetheless. The anti-plastic antidote was a bit of a quick fix but the story's climax wasn't without tension. The first scenes of Rose in the department store storeroom was very chilling, and well executed. And the scene where the Doctor asks Rose to come with him but she declines, only to have him return sent a chill up my spine as if I felt like I was Rose. Indeed, what I really liked about Rose's character was that she was (for want of a better word) so human and normal. Dead end job, overprotective mother and an annoying boyfriend. Being a recent university graduate myself, without much career focus, I certainly felt sympathy for her and wished that the Doctor would ask me to accompany him on his travels! Some things never change. No matter how old you are....

Christopher Eccleston is indeed an amalgamation of previous Doctors, but he certainly feels like he is capable of anything at anytime which is nice. He has Tom Baker's grinning danger, Paul McGann's orgasmic excitement, Troughton's wink and McCoy's darkness. I did feel he was trying to do his utmost best to be happy and joyful - to get rid of the image of Eccleston as a miserable actor and it did feel weird seeing Eccleston so happy all the time. However, he has the edge to be a great Doctor. I'm looking forward to his development. Billie Piper is beautiful and I kept wishing that I was her boyfriend! Even when she got out of bed she looked great! She's in for a few shocks on her travels with the Doctor isn't she? Piper was a joy and I'm looking forward to seeing such shocks.

What didn't I like? I suppose I would have liked to have taken a breathe once or twice as it was fast but on second viewing it was a lot more easier. Hearing Graham Norton bleeding through was a bit annoying but anyone with "a sensitive ear" will notice that you can hear the producer chattering from the gallery in the first episode of 'An Unearthly Child". People have said the music was quite intrusive but I found it to be higly complimentary. Then again, this is from a person who loves the 'Remembrance' and 'Battlefield' scores! The plot could have been a bit more sophisticated but I'd be lying if I really cared about that in the first episode. Episode One is about establishing the series in tone, style and scale. This did it and it looks very promising.

I'll let you read the other reviews now as I sum up; fast, energetic and DEFINITELY Doctor Who as we know it. Eccleston is brilliant but weirdly joyous, Piper is drop-dead gorgeous and a character who lives in all of us. Welcome back old friend. It's been a long time.

Rose always had an impossible task - introducing the whole concept of Doctor Who to a new audience, introducing a new Doctor and a new companion, and establishing a relationship between them, as well as telling an exciting adventure to hook that whole new audience.

On the establishing side of things, I think 'Rose' did a very good job. Both Rose and the Doctor are very likeable and very easy to empathise with, and their relationship is set up with the minimum amount of fuss, and develops well through the forty-five minutes. Both characters are given moments to demonstrate their characters (I love the moment when the Doctor rejects Mrs Tyler's clumsy advances) and they are well acted too.

The series' concept is effortlessly painted in. No Gallifrey, no regeneration (though it is alluded to), no pointless continuity references (strangely not even to the Autons, which was refreshing) and none of the unnecessary baggage that so hamptered the TV Movie.

The exciting story part is where the episode suffers, I think. Setting up the above points so well means there's precious little time for a plot, and the whole thing seemed rushed and lacking in genuine danger and excitement. There are no plot twists, and the whole story feels rather shallow and one-dimensional. That the Doctor has a phial of anti-plastic would be fine if it didn't work or he didn't get a chance to use it, but for him to produce this gimmick and then use that gimmick to resolve the plot is frankly poor story-telling.

The element of danger and atmosphere was undercut throughout, first by Graham Norton feeding in from BBC3 (!), then by scenes being played for (I assume) comedy - the arm, the burping wheelie bin, the plasticised Mickey (couldn't Rose tell the difference?!), and the plasticised Mickey losing his head and growing big comedy hammers (which reminded me of 'Who Framed Roger Rabbit', though it was curiously less disturbing than similar moments in this film).

I hope this doesn't matter. I hope the audience will fall in love with the concept and the characters and the relationship between them. I hope with all the exposition out of the way, the series can settle down now to tell real stories filled with real danger, real atmosphere and real excitement.

I liked Rose. Despite its vacuity and slender, brainless plotting, I liked it a lot. The rest of the series should be better, though. Roll on episode 2...

I could do my absolute best to consider Russell T Davies’ ‘Rose’ objectively, but that would be silly, and I would almost certainly meet with failure. I’m far too much in love with Doctor Who, or at least the idea of Doctor Who, to think about this as anything other than a new and special part of myself. So this can’t rightly be considered a ‘review’, since it’s impossible for me to separate myself from the thing in question. Instead, I’m obliged to tell my story.

For a start, I knew too much. A six-second trailer, and I had to go for a lie down. I’d already memorised the ‘falling through space’ sequence long before I had the opportunity to see it in context. And aside from not knowing precisely how the narrative would fit together, I pretty much knew what would happen, thanks to spoilers, speculation and the knowledge that the whole concept, and its associated iconography, had to be squeezed into forty-five minutes of screen time. The cynic in me would say that watching ‘Rose’ was merely a matter of joining the dots, so it’s fortunate I’ve decided to silence him.

What I’ve come to realise, over the fortnight preceding ‘Rose’, is how important the whole ethos of Doctor Who is to me. It’s hardly consistent, except perhaps in its ‘Britishness’, but the show’s multiple aspects – the horror of death, the secular sense of wonderment, the idea that one should ‘never be cruel or cowardly’, the desire to live your life in an interesting fashion – are what I’m working with here, in this life. It’s such a crucial part of my upbringing, I can’t imagine going forward without it.

So what’s important to me, and it’s the reason why the new series had me giggling to myself in the shower last week, is not that He’s coming back, but that He’s been away for so long. He hasn’t, of course, but suddenly it seems like that, because there’s a difference between reading Blood Heat on the train, and trying not to bend the spine of the book, and having the Doctor suddenly bounce into everyone’s lives, not just mine, every Saturday night. On television.

And that’s why it was so important that Davies and Billie Piper (and, to a lesser extent, Christopher Eccleston), got Rose right. She was at least as important as the Doctor, and thank Verity, she worked. A beautiful person leading a dreary life, and immediately the Doctor’s best friend. It’s necessary, I think, that the Doctor-friend (she’s no companion, and definitely not an assistant) dynamic has the suggestion of ‘fate’ scribbled on it somewhere, and that’s the episode’s first big success. The Doctor and Rose have a destiny together; that much was clear from the moment she dragged him playfully through the front door of the house. Rose’s TARDIS entrance is the flipside of the same coin, and played beautifully, as are her subsequent tears and the Doctor’s warm-yet-alien reassurance: ‘It’s OK.’

Attention to the wonderful Piper does Eccleston a massive disservice, of course. His awareness of what is required, and how much he can get away with, is masterful, and the Doctor of ‘Rose’ is a great stride forward for the character. His laughter with his new best friend and his dismissal of Mickey might seem too much like Russell T Davies ticking the boxes marked ‘human’ and ‘alien’ in his masterplan, but these are inevitable flaws for an episode with so much to do, and Eccleston has an unprecedented lightness of touch (unless you were witness to 2004’s Electricity).

Keith Boak’s job, it seems, was to make Doctor Who look like television drama for the twenty-first century, and this involves a corruption of sorts. ‘Rose’ was basically shiny and restless, leaping hyperactively from one jazzy shot to the next. This isn’t good for tension, and the Autons were not as scary as they might have been with a more patient approach to editing, but for the generation of kids we hope were watching, this might, sadly, have been necessary. Visually, ‘Rose’ was never less than interesting, even if there were often too much superficial goings-on, without the depth that would give the show a helpful suggestion of realism.

Murray Gold’s music suffered in exactly the same way, being incredibly ostentatious, and occasionally drowning out the dialogue. It was brash, too exciting for its own good, and incredibly appropriate. The episode had such a frenetic pace, it didn’t require such urgency in its incidental music, but it didn’t jar, because this is the kind of music video-style of television that we – and Doctor Who – are dealing with here. What’s true is that with a budget of millions, Doctor Who can’t yet risk being as downright weird as it once was. Hence the quasi-orchestral theme, relentless pace, and CGI. This is 2005, and the new Doctor Who is, in many ways, a child of the movies.

Thankfully, we’re still on a budget, and Rose having her face menaced by an amputated plastic arm is a fantastically cheap moment, superbly conceived. The hungry wheelie bin works less well, if only because of its ill-judged belch, and Noel Clarke’s obvious struggle with the illusory CGI. And the writing’s rooted in the great Doctor Who tradition of solving the problems of the universe by having a chat with a gooey blob on your doorstep. The difference between ‘Rose’ and ‘The Horror of Fang Rock’, which the climax pays homage to, is that this is so bloody loud, we can hardly hear the Doctor single-handedly conjuring up a whole new mythology for us to deal with. ‘I fought in the war!’ he screamed, and across the UK thousands of fans started to invent their own stories. This kind of half-explanation is exactly what Doctor Who’s so good at. It’s there in ‘An Unearthly Child’, Damaged Goods, and now ‘Rose’. This is just the beginning, and we can excuse the first show its lack of narrative substance. There just wasn’t enough time. Next week, it should slow down, and actually tell a story worth telling. As it stands, ‘Rose’ was the best trailer ever made. He’s come back to save the world, and yes yes yes, it needs saving.