After the entertaining but flawed ‘Rose’, Doctor Who continues with a special-effects laden trip to the far future, full of monsters, thus throwing the Doctor’s new companion right in at the deep end of culture shock. And it’s really rather good.

‘The End of World’ has more plot than ‘Rose’, although it is still rather slight, something I’m starting to realize is going to be a limitation of the single fifty minute episode format. Nevertheless, there is intrigue aplenty as sabotage and murder break out on Platform One, and there are a couple of nice twists. The Appearance of the Repeated Meme are obviously the culprit behind the robotic spiders, but I wasn’t expecting them to be revealed as androids, despite the clue in their name, which the Doctor picks up on. I also wasn’t expecting the deeply unpleasant Cassandra to be the real villain, and the teleport feed hidden in the ostrich egg was also rather a nicely unexpected moment since I’d completely forgotten about it by that point, as writer Russell T. Davies had obviously intended. There is a slightly tongue-in-cheek feel to parts of the episode, which also works very well, an example being the presence within the Platform of a gantry hung beneath three massive fans; from the moment we see it, it is obvious that someone will have to run across it, and it seems likely that this someone will be the Doctor. There is an explanation for why the sun would so slowly expand, with the technobabble explanation being that gravity satellites are holding it back, but even better is the Doctor explaining that the continents look just like they did in Rose’s time because the Natural Trust owns Earth and restored its old layout. This is magnificently silly, especially since the production team obviously has the ability to make the CGI Earth look different if they want. This being written by Davies, there are also elements of adult human scattered throughout the script, usually in the form of innuendo that might go over the heads of the younger audience members. There is Lady Cassandra’s fleeting comment, “when I was a little boy”, and Liana’s gentle flirting with the Doctor, most notably the moment when he tells her “Nice liana” and she blushing replies, “Thank you. I’m not supposed to show them in public.” Rather less subtly, she also casually and non-judgmentally asks if Rose is the Doctor’s wife, girlfriend, concubine, or prostitute, prompting Rose to indignantly respond, “Whatever I am, it must be invisible. Do you mind?” One criticism however, is that the same joke was used in ‘The Chase’ without involving music that makes me want to jam pins into my ear. 

‘The End of the World’ is also notable for showcasing a plethora of new monsters, which works to mixed effect. The Face of Boe and the Moxx of Balhoon both look superb, and the Lady Cassandra looks like a comic homage to Hellraiser and is impressively grotesque. The other guests are perhaps less well advised. The guests from the Forest of Cheem are not exactly Ents; of the Trees, Jabe’s companions look quite good, but Jabe herself is given a more human appearance, with most of Yasmin Bannerman’s face uncovered. This poses various questions, which irritate me, the main ones being, why would a tree have tits and teeth? The other guests look like cast-offs from the Cantina scene in Star Wars, or worse, most aliens from Star Trek: The Next Generation. Then there is the Steward, who looks like Simon Day painted blue, and his various staff members, who like dwarfs and children painted blue. I should also mention the spiders, which would probably have been made of rubber and plastic in the old series, but here are achieved by CGI; they aren’t bad, but occasionally do look like CGI images, whereas the genuinely impressive Cassandra does not. Still, this is Doctor Who after all, so I’m not complaining, but it is interesting to see what effect the budget has had on the monsters. Nevertheless, Euros Lyn does a fine job of directing, and the incidental music this episode is far more effective than in ‘Rose’ except when Munchkin music plays when we first see the little blue men. One oddity however is that we don’t actually see the Steward or Jabe incinerated, which might be something to do with the time at which the story is transmitted, but contrasts with Cassandra rather gorily exploding in a splatter of blood. 

What is obvious about ‘The End of the World’ even more so than in ‘Rose’ is that Davies is more interested in characterisation than plot. Whilst I hope the two don’t become mutually exclusive as the series progresses, it does work very well here, and unlike in ‘Rose’ none of the actors put in a bad performance. Christopher Eccleston is less manic in this episode overall, although the opening scene, in which he is visibly showing off as he pumps away at his lever in the TARDIS faster and faster and taunts Rose in to travelling further and further into the future is extremely funny. But there are darker, more emotional moments here, which give Eccleston a chance to show off his acting skills more in this episode. The Doctor’s quiet speech about humans surviving far into the future seems to be influenced by the Fourth Doctor’s similar speech in ‘The Ark in Space’, but it doesn’t work any less well because of this. Other notable moments include his obvious delight at meeting the other guests, as he improvises a gift by offering air from his lungs. He gets some very good scenes with Rose, who is starting to worry about what she’s got herself into, and it’s interesting that the Doctor gets defensive when she asks about his origins and goes into a very childish sulk. His subsequent scene with the awestruck Jabe is excellent, as she tells him, “I know where you’re from. I just want to say how sorry I am.” Impressively, Eccleston manages to bring a tear to his eye at this moment, adding to the pathos of the scene. We finally learn, “My planet’s gone… there was a war that we lost” and he then adds, “I’m the last of the Time Lords. They’re all gone”, which builds on the hints about a terrible war in ‘Rose’ and suggests that this is definitely going somewhere. The Doctor is also visibly furious at Jabe’s death as well as all the others, and the showdown with Cassandra, as he impassively watches her dry and out and rip apart, is quite disturbing. The fact that Rose whispers, “Help her” and he coldly replies, “Everything has its time and everything has its place” makes the moment all the more striking. The Doctor isn’t all gloom here however; Eccleston grins happily whilst delivering the line, “What you’re saying is, if we do get into trouble, there’s no one to help us out… fantastic!” His “Use the force, Luke” moment with the third fan is also a nice touch. 

Rose and Billie Piper also continue to impress. For the first time since Ian and Barbara, we get a companion who reacts to the sheer enormity of what is happening to her in a realistic way. Piper conveys Rose’s wonder, excitement, confusion and fear when she steps out of the TARDIS simultaneously, largely through facial acting, and she gets dialogue such as “The aliens… they’re just so… alien”, which allows Piper to really emphasize the depth of culture shock that Rose is being subjected to. She looks disgusted when she learns that Rifallo needs her permission in order to speak, but is relieved to learn that plumbers are still necessary five billion years in the future. Her best moment in my opinion comes when she’s telling Rifallo where she came from and starts to realize how bad her tale sounds, looking increasingly worried as she explains, “I just sort of hitched a lift with this man. I didn’t really think about it. I don’t even know who he is, he’s a complete stranger.” She also finds out how the TARDIS translates for her, and reacts in a way that, like the Doctor, I wouldn’t have thought of, angry that it has entered her mind without her permission. Crucially, Piper also proves good at conveying panic and terror, which she gets to do when Rose is trapped in a room with a descending sun filter and she hammers frantically on the door whilst screaming at the of her voice. This prompts the exasperated Doctor to exclaim, “Oh well, it would be you” when he realises who he’s rescuing. The only thing I’m not sure about is the mobile phone scene; I liked ‘Rose’ because it took the mundane and introduced the fantastical into it. Somehow, giving Rose the opportunity to phone home whenever she wants does the reverse for this episode, especially as the scenes on board Platform One are suddenly punctuated by a shot of Rose’s mum doing laundry. 

Finally, there are the supporting characters. Simon Day’s Steward comes across as a put-upon fellow, who is troubled by the day-to-day minutiae of bureaucracy, but Davies gives him a brief scintilla of characterisation that manages, very impressively, to give some impact to his death. It’s the moment when the Appearance of the Repeating Meme gives him a gift, and he looks genuinely honoured to be considered as anything other than a mere Steward by one of the guests. Ironically of course, there is an ulterior motive for this, but it is still a nice moment. Day manages to make his character likeable throughout, and he also screams convincingly when he’s roasted to death in his office. The Moxx of Balhoon, a fussy little fellow who gives the Doctor and Rose “the gift of bodily salivas” is similarly effective despite being incidental to the story; his general air of amiable excitement and his obvious terror when he thinks everyone is going to die makes him strangely sweet, so that the shot at the end of blue dwarves standing unhappily around his charred commode is rather touching. Jabe gets rather more to do, and she’s a great character, who swiftly forms a bond with the Doctor and almost acts a surrogate companion. Yasmin Bannerman gets some great dialogue, especially when she offers a cutting of her Grandfather as a gift, and makes the character utterly likeable. Her sacrifice is so obviously selfless that it plays a large part in the Doctor angrily letting Cassandra explode. Speaking of whom, Zoe Wanamaker is perfectly cast as the last human, a character who manages to by thoroughly loathsome largely by being a distillation of self-important divas of the late twentieth century. The concept of her appearance is mad, but feels perfectly at home in Doctor Who, and although she’s rather unoriginally motivated by greed, she’s effective enough as a villain. Davies deserves to be punished for giving her the atrocious line, “Talk to the Face” though, and I do find myself wondering why the Doctor’s trick with the teleport feed only brought Cassandra back, and not her armed guards.

Overall, ‘The End of World’ delivers on the promise offered by ‘Rose’, and it has a great last scene, as the Doctor asks Rose if she’s sure she wants to continue travelling with him. Trying to articulate what she wants, she’s distracted by the smell of chips and the pair wander happily off in search of food. I’m still not sure about the pre-credits trailer by the way, although it did result in me getting very excited about ‘The Unquiet Dead’, which will be like a cross between ‘The Talons of Weng-Chiang’ and The League of Gentlemen. I hope.

If there's one thing you can say about The End Of The World, it doesn't scrimp on the visuals. In fact, it's got more effects shots than any other episode ever, which is quite an achievement given that it's only half the length of the average original series episode. Russell T. Davies has stated his intention to compete with American science-fiction shows in terms of production values, but I have to say this doesn't quite reach those heights - the CGI effects still look slightly glassy and like a 3D cartoon, which is of course exactly what they are. Nevertheless, it's a big step in that direction and if you turn off your cynicism then there's a lot of fun to be had in this episode.

This is arguably not clear from the beginning, as I am uncertain what to make of the opening TARDIS scene. The bells and bicycle pumps on the console are a worrying pointer to the indulgences to come for the rest of Davies's contribution to the series, and also show a misunderstanding of what makes the TARDIS what it is. The sheer spectacle of it being bigger on the inside than outside is good for a point, but once this is accepted the viewers need more, which they got in the original series with the space-age, gleaming white interior which formed a stark visual contrast to the shabby exterior. Now it's shabby on the outside and shabby on the inside; an all round piece of junk, in other words. Did he really get Rose a bicycle (see The Doctor Dances), or did he just cobble together something himself? Ironic is the fact that the Doctor now has near-total control over it, which he shows us by never leaving Earth (yes I know I keep going on about it but it really bugs me). What did make me laugh though, as a hardened Who nerd, is the fact that the Doctor glosses over the middle of the 22nd century as being boring when he knows full well there's a Dalek invasion in full swing.

One thing that strikes me immediately, even from the pre-titles sequence, is how annoying the music is. Murray Gold has got a rough ride, but I generally quite like his work on the series (his score for Dalek I think is excellent, and his version of the theme beats most versions other than the original). He is especially good when you consider the average score by Keff McCulloch, Malcolm Clarke or even, in truth, Dudley Simpson. Here however, he really is annoying. When I was younger I used to play the fantasy battles game Warhammer and there's a figure in that that attacks by shooting you full of little needles and then sending an electric current through them; listening to that tingtingtingting noise as the Doctor and Jabe make their way through the power ducts, I know how that feels. However, he does improve towards the end when he resorts to more conventional orchestral arrangements.

Right from the start we are presented with little Douglas Adams-esque touches, a Davies trademark, like religion being banned aboard Platform One. These though are not presented to enrich the setting but simply as a joke: things like that and the frozen vomit from The Long Game give me the uneasy feeling that a comedy universe is being established for the programme. Also of note early on is the introduction of the psychic paper - a lazy writer's device if ever I saw one, with the additional disadvantage of making no sense at all, not even the pseudo-sense of the sonic screwdriver. In fact, with the paper, the screwdriver and then later Rose's augmented telephone I get the feeling that Davies is removing all those elements that might cause problems for the writers (or tension in the plot), but seeing as the episode lengths are so drastically cut down I'll let it go.

Put these thoughts on hold, because here come the aliens! On the whole they are very good, with the exception of the blue childlike workers on the station, who look like oxygen-starved Oompah Loompahs. The sitar music as the trees arrive is an unimaginative hippy sound (what's the first thing that comes to you mind when I say "nature", Murray?). The Moxx of Balhoon reminds me of Sil from Vengeance On Varos and The Trial Of A Time Lord, a reference reinforced by Lady Cassandra's constant need to be moisturised. This is in fact arguably the new series's most derivative episode: the Steward's death is straight out of Dragonfire, while the spiders are half Cybermat and half Minority Report scanner. Their heads also look a bit like the droids from the dismal Phantom Menace. 

Lady Cassandra is genuinely impressive and well-voiced by Zoe Wanamaker, with her rude bigotry making her an effective presence in terms of substance as well as style. The jukebox though is very annoying - not least because Christopher Eccleston is so clearly playing for laughs, getting his freak on to Soft Cell. The jukebox is an overwhelming indulgence (there's that word again...it just fits so well), not least because of the music on it. I know I'm heading into dangerously subjective territory here, but if it played out a crackly Robert Johnson record from the 1930s I'd be happy but not many others necessarily would. Similarly, if you don't like Britney Spears then frankly you're screwed. More to the point, it's so camp - not just because of it being Britney Spears, but simply because a mainstream pop record is being used as incidental music. The series no longer looks camp because of the budgetary and technological increases, so Davies is compensating by writing it to be camp.

Meanwhile, Rose has wandered off and met Raphallo before meeting back with the Doctor. Raphallo is a good character, there simply to add detail to the narrative (Davies's strength, but so rarely used to its full effectiveness); we learn nothing from her death as we've already seen the spiders in action. Meanwhile, the Doctor has filled us in on how the TARDIS translates other languages, which was first explained in The Masque Of Mandragora. I'll say this again when I get to reviewing Masque, but it is a good reason to have them all speaking English. Besides, if they didn't then we'd all be inundated with Zygon-English dictionaries and people taking degrees in Raxicoricofallipatorian As A Foreign Language. It did strike me as significant though that what could be passed of as a "Time Lord Gift" in 1976 now needs a proper explanation.

Earlier I mentioned the Steward's death (it's too late at night for me to be thinking about structuring this properly), which leads me to the first of two massive contrivances of the episode, another Davies trademark. The spiders can lower the sun shields with the touch of one button; does this button have "commit suicide" written on it? In fact, why have them able to lower at all, as the only function by doing so is to kill people?

As the Doctor and Jabe the Tree Princess (sounds quite strange when said like that, doesn't it?) investigate the sabotage, we get the first indication that Gallifrey has gone kaboom. This is extremely well acted by Eccleston, and puts at rest any fears of his heart not being in his job...for now, anyway. Now we come to another bone of contention: the air conditioning. It's the year five billion, and the station is kept cool by some whirling blades. Terry Nation once said in an interview that anything you create in you fictional universe is yours to do what you like with; Davies seems to have taken that too literally. Storming back to the plot, Cassandra's threat to moisturise people with acid is straight out of Mars Attacks!. Has anybody noticed that all the life has been totally drained out of the dialogue when it simply concerns the plot? It's as if Davies wants to get it over with as quickly as possible so he can get back to talking about the girl down the post office who looks Greek.

"Sir! One of the machines has gone out of control! We need to find the emergency cut off switch! Where is it!?" "Oh, it's just over on that wall. Watch out for the landmines, though". Yes, now we come to the other massive contrivance: the Doctor is forced into some nifty footwork as some genius has put the emergency override control on the other side of three spinning blades that keep the station cool but don't ruffle a hair on the Doctor's head even though he's right next to one. With Jabe toasted he pulls some grasshopper-zen baloney and spirits himself through the third fan (nice to see the Doctor still has super powers); the fact that he can navigate them himself makes Jabe's sacrifice pointless.

This tells a very simple tale, albeit more didactic than the usual Davies fare, as the end scene shows. This is good for the length of the episodes, something that seems to be lost on Davies in later episodes. Having said that, if it came later I would probably criticise it for being too disposable, but as it's purpose as the second episode is to continue establishing the programme’s credentials then it works well enough in its way.

And so we begin again.

"I'm the doctor. Now run for your life!"

It has been 16 years since the good doctor had a fresh broadcast fr the a person to sit down and enjoy. Certainly I was of those too young to enjoy such a thing and consequently left me on VHS and DVD to explore the past of this wonderful TV show.Thus 'my' doctor was Pat Troughton-the one I loved most.

Enough about the past though-this generation now as a doctor of thier own: Christopher Ecclestone (although this generaions doctor may be the next one). Since September 2003 we have been following the progress of the awaited return, debating the good points (the actors, writers and cast) and the bad (the logo, the jacket, the romance suggestions). Now we get to see the final results.

As was at the beginning, we are introduced with a startling and wonderful title theme. No time is wasted as we are introduced to Rose Tyler, played to perfection by Billie Piper. A hectically paced first few minutes shows us the life she leads: an average one and therefore something to connect us with her thoughts and feelings. 

In only a few minutes we are shown the principle threat of the episode: the plastic autons. If you didn't know, the autons have been in the show before. Did you need to know? No, and thats one of the reasons their use here is so good. The threat of something we see so often also acts in a way as another monster wouldn't have. 

The introduction of the doctor is well handled. The dialogue between him and Rose is emotional and comical, and continues well throughut the episode. The only prblem is the way Chris sometimes garble his lines, resulting in many watchings of certain scenes. The effects are top form for this episode and probably the best produced in an english drama. 

The guest characters here are a very odd bunch for an average setting. Mickey is a little too comical to be taken seriously when he needs to be (although the wheely bin sequence and the plastic replica smashing upth restruant are priceless). Roses mother is a curious but slightly discardable character. The best of all is Clive. His way of revealing the doctor to us is chilling, and his fate is one we care about. 

Roses first view of the TARDIS is a new way of introducing it and a very well worked one; in fact its one of the highlights of the episode. The climax of the episode is curiously effective, although the suggestionof a war we never saw is probably adding the continuity on early (although if we consider The Celestial Toymaker, maybe not). The final freeze frame sets out for the rest of the season.

So, he's back. Did it live up to what we want? Yes, it is certainly what we wanted and sets a promising start for what we hope to be many more years of time travelling.

When the announcement came through that a new series of "Doctor Who" was going into production, ready for a 2005 transmission, I have to admit, my first response was: "oh, no!" Not, I must add, because I was afraid it would be rubbish, but because 2005 was scheduled to be my year abroad from university. I was to spend the first half of the year in Germany, and wouldn't be able to see it! Typical - I became a fan in 1996 (yes, the movie did convert some of us) and they have had almost a decade to bring it back; when they do, I have to miss it!

Still, thanks to the delights of a friend's DVD recorder (she was home for episodes 1 and 2 only) and BBC DVD's quick work, I have now had the pleasure of episodes 1, 2 and 3. I've read all sorts of reviews, and really, some fans will moan about anything, won't they?

"Rose" is, as far as I am concerned, the perfect way to bring the show back. We meet the Doctor through the eyes of Rose, played so very well by Billie Piper. I remember being impressed with her in "Canterbury Tales" but here she is something else. 

I showed this episode to a non-fan friend who sat through it, all the while gasping in surprise at how "cool" it was. "Doctor Who" is cool. Believe it. 

So, why do I love Rose so much? Well, firstly, there's the Doctor. Wild, manic and very very funny, this is the Doctor as he should be, showing up, saving the world and leaving again. Eccleston nails it from his first word - "Run!" and is the star of every scene he is in. Somehow, despite his everyman look, everything about him feels right - I believe in this Doctor, I want to spend time with him, to get to know him. His "I can feel it" speech adds much more mystery to the character than any of the Cartmel stories ever did.

Next up, Rose herself. She balances initial disbelief with a growing realisation of what she is encountering so well, and her first scene in the TARDIS is brilliant. 

Thirdly, the TARDIS. Just what I'd hoped for, the designers haven't simply ignored either the original design or the TV Movie version, and have come up with a cracking set.

Fourth - the Autons are back. Though not named, we know who they are. The plot is a little non existent, but it's fast, it's fun, it's an adventure and it's "Doctor Who", people. rejoice.

There are many magic moments in "Rose". The first time you see the Doctor. The lovely scene where he looks in the mirror. Clive's menacing summary of our hero. The beautiful, haunting scene where the Doctor tells Rose who he is, and the arguably even better bit just afterwards where he walks back to THAT BOX and you hear THAT SOUND over a haunting score as Rose runs back to see the dematerialisation. Rose's first trip in the TARDIS. The Doctor pleading for humanity, suddenly very serious and very scary - "I am talking!" The Doctor and Rose leaving together at the end.

Oh, it has faults, but you know what, I don't care. "Rose" marks the welcome return of a hero who should never have been away for so long. Christopher Eccleston is Doctor Who. Believe it. Watch it. Love it.

My first impressions of 'Rose' are very mixed. I got the feeling that Christopher Eccleston was playing The Doctor as a bit of a smug goof. I can only think this was a gimmick for his initial performance, because there were moments of intensity which made me think, yeah, this is The Doctor after all. These being the skin of the Planet speech, and the regret in his voice for worlds he was unable to save. From the things I've heard I get the impression that these undercurrents are going to slowly accumulate. So, for now, I'm reserving judgement on Christopher, because I think he can be a great Doctor if the script is permitting.

Rose herself, well I knew Billie Piper could act, and she does a good job of making Rose a character who is very self-aware. I thik that's her strength, she has no illusions and also she is very curious. There is one point in the episode where her boyfriend holds her back from helping the Doctor. This seems typical man on the street mind your own business stuff. She isn't like that though, she 's like the Doctor and will not mind her own business, she will get involved. For me Billie was the best thing in it, there being a real sense of her joy as she rushed for the Tardis door at then end.

Supporting characters, well Clive was just Mr Exposition, who met with a tragic end and I didn't care at all. The boyfriend was annoying, cowardly, and the actor who played him was far better as the Auton. Nice body movements and menacing smile, all subtlety was lost, however, when he started speaking too fast. Oh and Rose's mum I simply found annoying, like she wondered in from a certain East London soap with her talk of benefits and shopping. She was a caricature, so again, fear for her safety or caring for her character, nill. Social realism, matter of opinion, yes annoying people like that do exist. IFor me Rose was the only member of the human race who made any emotional impact. The episode sorely missed a human authority figure, who goes through the stages of suspecting, threatening and then trusting the Doctor.

Being a Doctor Who fan I suppose I'm used to a slower buildup of facts, and I even like the padding. There was no padding in this, and as I said, no subtlety, no real buildup of darkness or threat. I'm going to hear things like, this is tv for the 21st century and needs to be fast and sharp, but for me it was missing something. I understand though, that's it's a first episode, and it's going to take a little time. I was very pleased to see the dummies break through the shop windows, nice throwback to Spearhead in Space.

So... mixed bag, but I haven't given up. This was my first taste, and it may take a few weeks to get into. It's good to have the Doctor back and the title sequence was very Tom Bakerish. Shame about the BBC3 audio bleed, as Rose enters a darkened room filled with dummies there is riotous applause.

The anticipation was almost overwhelming; the reality of it almost too unbelievable to be true, but yes after 16 long years it was finally back. The years in between had been almost impossibly bleak years of vague hopes, that made even the most ardent of us consign this series to the graveyard of TV history. We went off to watch Star Trek, Buffy, Babylon 5 and the X Files, but sitting in front of the telly tonight I realized that still nothing had stirred the feelings, had quite stimulated those fan boy urges as much as Doctor Who could.

Video recorder poised and we were off. 45 minutes later, it was all over, and time to be honest. Yes it was enjoyable, yes it had some great moments, but no it was not perfect, and nor did I really expect it to be. I had similar feelings to those I first had when watching the TV movie, very modern, very slick but not edge of the seat stuff. At times I felt the series was trying to be too hip, the lightness of tone was perhaps just a little too flippant. But this time I am not worried because there are 13 more episodes to come and I feel sure that any problems inherent in this first episode can be ironed out.

Eccleston has yet to prove himself but didn't do anything to put me off either, I think after a few episodes he should settle in. Piper too, as Rose gave a solid performance as I was always sure she would. Tardis was great, theme tune and titles were the best since the original, and there were some great moments of humour. It was possibly the first Doctor Who where I have laughed out loud and it worked for the most part. 

I am confident this show is in good hands, but I think that the production team should be confident that they have a winning concept and not feel the need to pander to every conceivable demographic. I think this first episode was trying to throw off the stigma some people have of Doctor Who by throwing too many things in the boiling pot, forgetting a little of that atmosphere just like the 1996 movie did. It was great to see the Autons, but they were to be honest shoehorned in and for the most part played for a bit of a joke. The show needs to slow up just a little, and do its own thing. The audience will go with it if they are allowed, but if every episode plays as if it's seeking admission to the trendy club then there could be problems ahead. But well done Mr. Davies and co, you have done the almost impossible thing and reinvented Doctor Who without it being total crap and that surely deserves some praise. Just one request, please start putting the Doctor's face in the title sequence!