I knew we were in for a treat. That Gareth Roberts! It's a marvellous tongue in cheek love letter to Elizabethan England shot through with a meditation on female sexuality, fairy tales and the power of words. Fairly unique for 7.00pm on a Saturday night.

?From the opening gags on recycling, the 'water cooler moment' and global warming (one Roberts even dares to pick back up on right towards the end just to see if we're paying attention) through to the spit and cough Queen Elizabeth epilogue homage from 'Shakespeare In Love', the script is packed with one-liners, sight gags and physical comedy (the gurning witches - thanks Amanda and Linda - and the 'we're going the wrong way' bit).

David and Freema are really beginning to work very well here. Tennant in particular is fast becoming a riveting leading man, commanding the majority of the scenes he's in. The standout scenes must be the Doctor's bedroom tete a tete with Martha, the interrogation of Peter Streete (a lovely, twitchy performance from Matt King) and the joust with Lilith (the spectrally beautiful Christina Cole) where he uses Rose's name to give him the strength to fight back.

Freema is a revelation in her scenes with Tennant in the bedroom. For me, this is now the benchmark for the character of Martha and her feelings towards the Doctor. The crushing disappointment when he finds her lacking compared to Rose is sublimely played. He's so very cruel in that moment and it's written all over Freema's face. A lovely scene and one that I assume will now give the audience a better perception of the Martha/Doctor dynamic as the series progresses. And she's constantly seen asking the right kind of questions and thinking about the situation she finds herself in which is consistent character development.

Dean Lennox Kelly puts in a sparky performance and with the help of Roberts well researched and witty script manages to subvert our expectations of the Bard. The whole perception of him is a delicious conceit - the greatest English writer is nothing more than a clever Bernard Manning. He even starts channelling that erstwhile comedian's penchant for race relations in trying to chat up Martha.

References pile upon references - ?from the lines of his plays being dropped into conversations and showing him up for the magpie writer he might have been, to the cultural nods to Back To The Future (explaining temporal paradoxes), Harry Potter (magic isn't just for children) to the more obscure shot across the bows of academia during the 'flirting' scene. '57 academics just punched the air' indeed! The visual references echo everything from 'Shakespeare In Love' to the 'The Wizard Of Oz'.

It's a dizzying brew with assured direction from Charles Palmer. It may not be as flashy as Euros Lyn's work on 'Tooth And Claw' but it is still dynamic and colourful. The matte work and CGI by The Mill add a richness of tone to the proceedings and the work done to populate the Globe theatre was quite magnificent. The production team were pushing out the stops on this and it does show. It's a very handsome looking episode.

Woven through all of this fantastic wordsmithery is an interesting look at female sexuality, particularly in relation to its opposing/complimentary male counterpart. The three witches could clearly be seen as the the 'maiden, mother, whore' symbolic trinity using their wiles to re-fertilise a womb (male utterances to reactivate the crystal and open the portal).

This blind force of nature wedded to techno-magic is set in opposition to two men who lack or have lost an element of their feminine nature. Shakespeare is suffering from the death of a child, a symbolic loss of feminine/masculine creation and the Doctor has lost Rose, a woman he clearly loved and an essential part of his humanisation over the last two series. Both men must convert this destructive female power in order to retain their own humanity and creativity. It's again odd that Queen Liz marches in at the end and claims the Doctor as her sworn enemy - ?what is it with the Doctor and female monarchy?

There's also a thread running through this, often reflecting this battle of the sexes as it were, to do with the fine line between madness and genius. Shakespeare was nearly driven mad by the loss of his child but overcomes this through the act of writing, the Doctor can tip too far into darkness without the balancing aspect of Rose, Donna or, one would hope, Martha. And an architect is driven mad by witches demanding he builds a theatre to their specific dimensions. It's a fine line indeed.

The power of words and their meaning and double meanings, names as weapons and emblems of salvation are also symbolic of making the unconscious conscious and brought under rational control - ?hence the banishing of the Carrionite and the 'spell' to close the portal are interventions in dampening rampant female power. And let's not forget the power of names wherein Lilith is known symbolically as the primitive feminine principle, one that was rejected and repressed. She's often personified as the enemy of family life and children.

All this is subtly shadowing the riot of activity in the story and gives meaning to what might appear to be on the surface as a bit of jolly period flippancy and provides the driving force of the story. Clever man, Roberts!

Smashing. You can have a laugh, check off the cliches and still find enough substance to think about.

It is hard to believe that in twenty-eight years of time-travelling television the Doctor and the Bard have never once crossed paths. Okay, so we saw a brief clip of Hugh Walters' Shakespeare way back in the 1965 six-parter "The Chase", but even then he didn't actually meet the Doctor. Other than that one fleeting glimpse, Shakespeare's appearances in Doctor Who have been strictly limited to the non-televised adventures.

Until now.

"Shut yer big fat mouths!"

Gareth Roberts' script has revitalised Shakespeare for the twenty-first century. Whilst little is known about the man himself, most people have a pretty definite picture in their heads of a bald and austere Elizabethan playwright. Gareth Roberts' script and Dean Lennox Kelly's performance combine to create Shakespeare the celebrity. Shakespeare the rock star. Cool Shakespeare.

His attitude towards the Doctor and Martha is fascinating. I love the mutual respect that the Doctor and Bard seem to share, and I love the idea that the Doctor supplied him with half of his best quotes! What I found the most impressive though, was how Shakespeare almost instantly gets the measure of the Doctor and Martha. He can see that he is an alien and that she is from the future. He can see through the psychic paper. He is, as they say, a genius.

"57 academics just punched the air!"

It's also nice that Shakespeare doesn't automatically gravitate towards Martha. Obviously he's attracted to this "Queen of Afric", but he's equally enchanted with the Doctor. Lovely little lines like the one above demonstrate that, like with all good historical episodes, the writer has really done his homework and squeezed in a little bit of historical truth / scandal / rumour which, along with the pungent smell described by Martha, only adds to the sense of historical realism. Similarly, the loss of Shakespeare's son has the same effect, as well as offering an explanation for the playwright's past (and possible future?) madness.

And of course, it's always brilliant to see the Doctor messing about with our own history. Feeding Shakespeare lines. Giving him his trademark neck brace. Even giving him the idea for the name of a character in The Tempest. The Doctor even wipes a tear from his eye as Shakespeare recites his "Sonnet 18" for Martha.

"Upon this night the work is done, a muse to pen Love's Labour's Won."

The legend of "Love's Labour's Won" was definitely the perfect place to start for a Shakespeare episode. At first, I thought the episode's title "The Shakespeare Code" was purely homage to Dan Brown's blockbuster novel, but it turns out that it does actually fit the story like a glove. This episode is about a "different sort of science" ? a science founded on wordplay, names and codes.

But every Doctor Who story needs a villain and ? again quite incredibly ? in twenty-eight years of television the Doctor has never met a good ol' fashioned Witch. And here we are treated to just that ? broomstick; warts; and magic spells. Doomfinger. Bloodtide. Lilith. The fa?ade of beauty. It's all textbook stuff, executed magnificently by Gareth Roberts with his customary wit and poise.

"Ooh? I hate starting from scratch."

Above all else though, "The Shakespeare Code" is about Martha's first voyage in the TARDIS. The questions that she asks; the way that she reacts; it's all very different to how Rose reacted to being transported back in time in "The Unquiet Dead". Martha's first thoughts aren't about how beautiful the past is ? they're about the Grandfather Paradox. About slavery.

I'm also glad that Roberts didn't go overboard on the exposition. Whilst a certain amount of explaining had to be done for the sake of realism, as an audience now even the newest fans are au fait with all the ins and outs of everything from the psychic paper to the sonic screwdriver. However, each and every explanation that is given is handled masterfully by Roberts ? I have never heard the whole 'time is in flux' lecture explained as succinctly as it is here. Back To The Future indeed?

"Now that's one form of magic that is definitely not going to work on me."

And as for the 'soapy stuff' as my Dad calls it ? once again, full marks have to be given to all involved. Writer. Actors. Directors. The lot.

The bedroom scene is a thing of beauty. It sums up the Doctor so very well; it even sums up Martha's unrequited feelings and growing sense of rejection. "We'll manage, c'mon. You gonna stand there all night?" says the Doctor, lying in bed. When she joins eventually him, he then rolls onto his side to look her straight in the eye. He says out loud that he can't see what's staring him straight in the face. But he doesn't mean the obvious. He isn't even in the room with her. He's off on a beach in a parallel universe.

"Rose'd know."

He calls her a 'novice' and tells her that she's going home. And I'm glad. As much as I like Martha, for the Doctor to suddenly turn up in Series Three and fall head over heels for 'the new girl' would have not only been insulting to Rose, but it would have negated the entire new series to date. The Doctor loved Rose, blatantly. But he doesn't feel so strongly about all his companions, and that is part of the reason why the whole Rose saga was so moving. She was the exception, not the rule. And that's what Martha is beginning to learn in this series.

The finale is absolute spectacular. The C.G.I. of not only the Carrionites but of the Globe and of the city is absolutely outstanding. I'm sure that nearly every kid watching loved the whole "Expelliamus!" bit too; the culmination of an episode's worth of (quite appropriate) Harry Potter references. I also enjoyed the tongue-in-cheek ending featuring Elizabeth I ? it's wonderful when the show incorporates the odd time paradox like that. It's not done enough in my opinion.

In all, "The Shakespeare Code" is another triumph. I'm getting sick of praising the new series so much, but it is becoming increasingly hard to pick fault with. David Tennant in the role he was born to play. Freema Agyeman with another flawless performance. Dean Lennox Kelly as the definitive Shakespeare.

This time last year, I was thinking "the second series won't be as good as the first". And, although I probably won't be able to say so objectively for another ten years or so, I reckon that it was just as good, if not better. And a couple of weeks ago I was thinking "the third series won't be as good as the second," but here I am, two weeks in, lauding it as the greatest series yet. On balance, it's certainly had the strongest start of the three seasons.

Mmmm. Not totally sure what to say about this episode. I'll tackle the good points first: a fairly convincing recreation of Elizabethan London, quite reminiscent of the slightly later setting?of The Visitation, though by no means any more impressive (in fact, I'd say, the latter story's depiction of Restoration London still has the edge in atmosphere); the concept of an alien race who use words like a science (ie, 'magic') is quite unusual, albeit rather absurd; the scene with the deranged architect in Bedlam was nicely disturbing; the necessarily un-pc but authentic references to Martha's incongruous skin colour (forgot to say last review that I am very pleased that we finally have a black companion) was well done;?the leader of the?Carrionites (I thought it was Carrier Knights)?played it well; the period-spiced incidental music; the Doctor was refreshingly alien and detached in the bed scene.

The bad/less good points: the bed scene being there in the first place - utterly inappropriate and irrelevant; the frankly rather silly, hackneyed interpretations of cackling, hook-nosed witches and?their rather jarring and badly composed rhyming speech; the hit-and-miss, rather prattish?depiction of Shakespeare, not as bad as I anticipated, but very much from the post-modern 'laddish' school of historical?interpretation currently in vogue in modern drama (cue Ray Winston's ludicrous cockney portrayal of Henry VIII a few years back); the vapid flirtations between Shakespeare and Martha; the constant and rather clumsy allusions to various famous Shakespearian lines put oh-so-unsubtly into his mouth by the Doctor; the absolutely fatuous allusions to Harry Potter throughout ('Good old JK'), and as always, uttered even more painfully from the Timelord's own mouth rather than from that of his companion (this is simply sloppy and ill-thought-out scripting); token but growingly typical sexual innuendos; the 2,000 mph cosmic explanations hurtled out by the Doctor in one of his typical fits of sudden illumination; the continual references to Shakespeare's 'genius'; and, well, the entire plot... which was frankly utter bunkum from start to finish.

Apart from the odd interesting idea here and there, The Shakespeare Code is still a disappointing mish-mash of 'almost good'?and 'Doctor Who for idiots'. Sadly, chiefly the latter in my view. To have to keep throwing in continual contemporary mainstream cultural allusions - particularly to the tiresome banality of Harry Potter - in order to 'draw in the audience' is a) patronising to most of us watching and b) a sign of scriptural insecurity, in that obviously the writer doesn't have enough confidence in the strength of his own piece of work to let it just stand alone and tell its own story. Stylistically this episode is so blatantly similar to the staid triteness of the Potter films that there is no need at all to bring this similarity into the script itself. That's almost like saying 'Look we know we're just shamelessly ripping your stuff off Miss Rowling, but at least we're flagging it up!'

Then of course there is the title and its obvious pun on the equally tiresome legacy of the Da Vinci Code. Who bets RTD said to Gareth Roberts: write whatever you want as long as it includes Shakespeare, Harry Potter references, Cackling Witches, a zeitgeist-oriented title and a pointless appearance from Elizabeth I at the end!? Not much left for Roberts to do then. Except just shove a shock-haired Doctor and thoroughly bland companion in.

Martha then? Haven't much to say on her at all really. I find her completely bland and uninteresting, and frankly almost exactly the same as Rose, except with a stethescope to her name. What's new? Hardly Liz Shaw is she?

As for the complete arrogance of attempting to invent a lost Shakespeare play, Love's Labour's Won, well... I suppose it's better than Hamlet II or?Macbeth - The Return (and?this time?he means business).

One more thing: I think we've all forgotten that this isn't even the first appearance of Shakespeare in the series. Remember The Chase? Mmmm. Dean Lennox-Kelly hardly resembles that previous depiction of the Bard does he? Bit of a cock up there then.

This episode is certainly a big leap forward from the quite appallingly banal season opener, but is still far far away from not only the majority of the classic series, but also from many previous peak episodes of the last two years (such as Unquiet Dead, Dalek and Impossible Planet).

Next week looks like an equal waste of video tape but I remain stubbornly optimistic as some later episodes, particularly the tantalising Human Nature and its scarecrows running amok, look and sound much more like the kind of thing we should expect from paying such an exorbitant licence fee.

Here's hoping. 4/10

Poor Gareth Roberts. He had a lot to live up to for his first full 'proper telly' Doctor Who. But then again it's entirely his fault for writing such wonderful novels in the first place. The silly man.

Roberts' enthusiasm for his material shines through. The dialogue in this story is a healthy mix of Douglas Adams and the Bard himself. Literary references abound, and such is the verve with which they're employed you find yourself wanting to fire up Google (or a reference book if you're old fashioned) for the ones you didn't get, before firing it up again to look for pictures of Christina Cole in Hex.



However it just didn't...flow as well as you'd have hoped. The dialogue flowed freely, the actual plot did not. Your enjoyment was either spoiled or enhanced by this. In my case I felt the plot was a bit too lightweight to sustain all the action that was taking place. There is also the argument that it is scientific gibberish. Here however I will defend Roberts to the hilt (wherever that may be, I hope it's a pub in Cardiff) here, as his idea is a wonderful one. The story is about wordplay, the power they can have, all tied in with the fact that it's bloody Shakespeare prancing about over there, and the man's a genius (Romeo and Juliet notwithstanding), so the idea of a system of words being used in the same way as numbers in the field of science ? it's up there with the Bistromathic Drive as a bonkers yet brilliant idea. It just seems right, and anyone who is in love with ideas will find much to enjoy in this episode. Similarly, a knowledge of Shakespeare is helpful, but the script sticks to his most famous quotations in a running gag that unfortunately runs out of steam halfway through the story (even with variations on the theme it feels tired around about the half hour mark). The contemporary (well, in Back to the Future's case contemporary-ish) references seemed to grate for some people, but the 'Expelliarmus!' moment was, besides being very funny, a nice way to give Martha some involvement towards the end.

Fortunately Roberts has more than enough one liners to spread around the cast, but donates most of them to David Tennant, as if he needed them. Craziness reigned in there is almost nothing to dislike about his Doctor, give or take a few lines about Rose which will make you sigh ? whether this is a good thing or nor depends on your opinion of Rose. Personally I found the scene where the Doctor and Martha were in bed together to be the kind of Rose reference which grates, as it seems at the expense of Martha, whereas the idea that the thought of Rose gives the Doctor a reason to do what he does is not at the expense of anyone and seems more in character. But then again maybe fandom would like to see Martha's Mum slap the Doctor as well? Let up a magenta flare at midnight on Wednesday if you agree. If anyone asks, just scream 'Gay agenda' at them til they go away.

Meanwhile, Martha does not get too much too do in this episode. She seems sidelined to an almost Jo Grant-esque role of saying the right thing at the right time and prodding the Doctor in the right direction. Freema does well with what she's given and reinforces the convictions most fans found in Smith and Jones but the episode really belongs to Tennant, who just barnstorms through everything with a mix of all the qualities people have enjoyed in the most recent Doctors.

Dean Lennox Kelly did alright. Just sort of...alright. He didn't really do anything for me as he seemed slightly too laid back for most of the episode. To be honest any hint at Shakespeare's genius was given through the script rather than his performance. He didn't do badly, he just didn't seem to raise his game as we'd like him to until the finale, which again only sort of worked. The idea may be good, but good ideas are notoriously hard to realise. Anyone who accuses the show of dumbing down and hiding behind flashy visuals (oh by the way, someone give Charles Palmer something nice out of the Argos catalogue. Anything he wants really, I'll chip in a fiver) should stop and consider the fact that the resolution, instead of simply being a fancy CG explosion, consisted of the man regarded as the greatest playwright that Britain has ever produced ?using his skills in that field to ward off an alien invasion. It's the most complex bit of an otherwise utterly simple plot.

Once you've got your head round the ideas you then might think that Roberts has either been extremely clever or extremely lucky in coming up with such a concept (who's betting on the former?). It's a resolution that's been used in Doctor Who before, notably in The Daemons when the Doctor wards off Bok. Speaking of weird looking superstitious creatures, weren't the witches a bit scary for the kids? Christina Cole, mad cackling aside, was a damn fine villain. In a longer story or a novel her character could've been fleshed out further, but she did well with a role that could've fallen into clich?, although that almost seemed the intention. The other two witches, while played well enough for the mad ol' crone role, did have slightly static faces that looked like half finished Muppet masks from The Muppet Christmas Carol. And the cackling got on people's tits, quite frankly.

This could have been one of the all-time great Doctor Who stories, but two specific elements were allowed to ruin the illusion, making it merely "very entertaining" (and yes, I know most TV barely even aspires to THAT level!).

Let us start with the praise: the cinematography and stuntwork in particular is spectacular. I mean even given how good the last two seasons have been, this story just looks GORGEOUS. Sure, it helps when you get to use the actual Globe Theatre, but I'm referring to everything seen on-screen. Even the matte shots are just stunningly good. If the rest of the season can keep up this visual level, my eyes my explode from sheer delight.

I thought David Tennant really nailed the part right on the head in this one. He was by turns funny and dramatic, serious and whimsical, callous and empathetic, fanboy and hitman, human and alien. Whereas he got a little silly in bits of Smith and Jones, he was just spot-on here.

Freema was a nice change and handled many of her scenes very well, and I look forward to more from her -- but it's still too soon to judge exactly how she's going to work out. Very promising, and RTD wasn't lying when he said she wouldn't be "Rose Lite," but you know I'm almost ready for another male companion on board ... how about someone significantly older?

I should mention that I met Gareth Roberts through the Manopticon crew many years ago and we hit it off very well back then, though we haven't kept in touch -- so feel free to take my review of his script with a grain of salt if you like, but I mostly loved it, particularly the dialogue. There was perhaps a bit more expository dialogue than most of these stories get, but there was more back-continuity to refer to. This could be worrisome -- the new series of Doctor Who has spent more of its time looking forward than back, and I want that to continue because it seems to help the mass appeal -- but if they're only going to be so referential only once in a while I certainly won't mind.

The two things I do take exception with were the stylised performances of the Witches/Carrionites, and the Master of the Revels. Having been unimpressed with director Charles Palmer's direction of Smith & Jones, I'm inclined to blame him more than anyone else for the simply dreadful campiness of the witches. I'll come back to the Master (no not THAT Master) later.

I understand what they were trying to do -- make the witches very much like the stereotypes we all know from childhood of what witches were like -- but it was laid on as thick as Tammy Faye Bakker's makeup, allowing no room for further exaggeration in history. Even small children would find their cackling, rhyming, Monty-Python- Pepperpots voices grating and unbelievable and completely over the top. Was the second unit directory Mary Whitehouse herself? I ask because nobody else could take the menace out of those creatures and render them comically ineffective quite like that harpy do-gooder. The scene in which Doomfinger hysterically confronts the Doctor and company when they visit Peter Street is one of the biggest mismatches of acting since Ralph Richardson had to act alongside Andie MacDowell. "Fan quality" doesn't even begin to describe how bad the Carrionites were on screen. "Porn acting" might just cover it.

The other problem with this story has to do with the dramatically shorter 45-minute format. Important characters, such as The Master of the Revels, are reduced to "pop on and die." This is not the first time this has happened, but it's the most obvious -- I was left scratching my head as to how Martha knew the Master's name was Mr Lynley (answer, after reviewing the episode again -- oops! continuity error ahoy!). Furthermore, what purpose does Mr Lynley serve (other than "expendable extra")? Why is he so set against Shakespeare? What's up with the permits -- and script approval?? These are just some of the things neither Roberts nor Davies bother to answer because there's simply NO TIME to delve into the character, but what they forget is that this also means there's no time for us to CARE about him or his death. He's a prop used almost solely to show off the "death by drowning on dry land" trick. It's unfair to the performer and in service to the story that he gets such short shrift.

I can live with the Doctor's rather feeble explanation of "magic." I can stand discovering that Jor-El's "Phantom Zone" is full of big- nosed old biddies who use words for physics (hey, I bought into "bloc transfer computation," didn't I?). I can even deal with a bisexual Shakespeare and gratuitous -- and I do mean GRATUITOUS -- Harry Potter references. It's just a shame that I have to.

When you've got such a marvelous story, such wonderful actors, such beautiful dialogue, such gorgeous location and model work and so rich a backdrop, you should linger just a bit more over it. Think of how much better The Shakespeare Code would have been as a two-parter: we could have fleshed out Lillith, her suitor, Lynley, the King's Men actors, even Queen Elisabeth! And before you complain that I must be one of those old-school fuddy-duddies who thinks everything should be a six-parter at least, I should point out that this is only the second time in this new series that I've wished for a one-part story to be a two-parter (the other was "Rose," which desperately needed more "there" there).

Overall, The Shakespeare Code is solid entertainment with only minor annoyances to those of us who take it seriously, and I'm sure it will do well in the season poll for its looks, cast and style. To me, sadly, it's tantilizingly close to perfect, but just ruined by ham and cheese -- oddly enough, not on the stage!

A pseudo-historical comedy featuring William Shakespeare? No, it isn't Nev Fountain's Big Finish audio 'The Kingmaker', it's Gareth Roberts' first television script for Doctor Who, and in terms of what to expect it holds no surprises for anyone familiar with his previous work. Which means that it doesn't break new ground, but that it is witty, affectionate, and hugely entertaining.

Shakespeare has now, but my reckoning, met the Doctor on at least four occasions in various different media, so from my point of view including the Bard is old hat. The period setting also feels like Doctor Who-by-numbers, and magic as a different kind of science has been done on numerous occasions in the novels, especially the Virgin New Adventures. So in many ways, 'The Shakespeare Code' has a cosily familiar, almost formulaic feel in the much the same way that Mark Gatiss' 'The Unquiet Dead' did, but like 'The Unquiet Dead' it's no less entertaining for that fact. It is also more overtly a "comedy" episode than anything we've seen thus far in the series since it returned, and it's worth noting that although all the Shakespeare quotes batted around between the Doctor and Will are an obvious route to take, such moments are nevertheless genuinely amusing and don't rely on flatulence and knob gags. And 'The Shakespeare Code' did amuse me greatly: compared to the odd shoe scene in the otherwise very good 'Smith and Jones', the heart-restarting scene here feels far less intrusive given the tone of the piece and made me chortle, as did the "we're going the wrong way" moment. The plot is pure Harry Potter, an obvious way to appeal to the kids, but Doctor Who has always borrowed heavily from other sources and as in the past, as here, rarely bothers to pretend otherwise, so here we get Martha contributing the words that banish the Carrionites with a spell from J. K. Rowling. I also find it easier to cope with pop culture references in a story that also plays spot the Shakespeare quote and throws in some Dylan Thomas, than I have done in previous episodes when presented with Britney bloody Spears.?

Shakespeare himself works rather well, Roberts doing what he did in 'The Plotters' and making a well-known historical figure down-to-Earth and likeable and providing comic relief. On the one hand he's an egotistical flirt, but he's also genuinely intelligent, deducing of the Doctor, "You're from another world like the Carrionites and Martha is from the future. It's not hard to work out." He's also genuinely delighted that the Doctor is clearly more knowledgeable than him, creating the refreshing and unusual impression that in Robert's hands he's not egotistical per se; he's just not falsely modest. ?

Having previously written for the Tenth Doctor in 'I Am a Dalek', Roberts again brings out the best in the character, without making him the pompous ultimatum-deliverer of certain Davies scripts. It also helps that Tennant continues to exercise restraint, and the combination is a Doctor who feels more "Doctorish" than in numerous episodes from the previous season, especially when he bitingly tells the Bedlam warden "I think it helps if you don't whip them. Now get out!", a moment of contemptuous anger delivered in passing that isn't overemphasised by script or performance. And he positively bristles with excitement and curiosity during the bizarre ending, as an enraged Queen Elizabeth sets her guards on him in punishment for something he hasn't yet done and he and Martha leg it back to the TARDIS. The only moment that disappoints is when the Carrionite uses the name Rose, and Tennant snarls out the line, "That name keeps me fighting", which is deeply irritating and has probably been inserted by Davies, who really needs to move on: the Doctor is more important than the companion whatever he might like to think.?

Speaking of which, Martha continues to prove likeable, asking intelligent questions about time travel. In a series that has been overly cluttered with pop culture references, the Doctor neatly explaining to Martha what would happen if her history changed by referring her to Back to the Future is perfectly sensible, and an ingenious narrative shortcut for Roberts. Perhaps inevitably, she ends up flirting with the Doctor (who happily seems utterly oblivious) when they end up sharing a bed, but she also deals smoothly with Shakespeare's advances. It is worth noting though that she is out of her depth: she seems to have the average sort of knowledge about Shakespeare's works that the well educated tend to pick up even if they've never read any of his stuff outside of the classroom, and this and the fact that she's confronted by witchcraft mean that she's less useful than in 'Smith and Jones', forced to defer to the Doctor's superior knowledge at every single turn. This needs watching: after a promising start, I'd hate for her to degenerate into a screaming accessory. Interestingly, Roberts also takes the sensible option of addressing the issue of her race rather than glossing over it, but not making an issue of it here, with Shakespeare simply taken with what he obviously sees as her "exotic beauty". It will be interesting to see however if the writers dare to take Martha to periods in history where it will be an issue, and how they'll handle the subject.?

There's nothing groundbreaking in 'The Shakespeare Code', but it is enormous fun. Actor Dean Lennox Kelly is very good as Shakespeare, which was by no means clear from the trailer at the end of 'Smith and Jones', and the period is evoked with the same sort of bawdy colour that characterises Shakespeare in Love, with buxom wenches and lewd comments aplenty. The witchcraft is by no means novel, but for all the Doctor's technobabble about magic being another type of science, it nevertheless gives the episode a pleasingly distinctive feel. Overall, for me at least, it's just a really enjoyable episode, and that is not a thing to be underrated. That's two good episodes in a row: it'll never last?