What a strange, wonderfully enjoyable, yet intellectually disappointing episode this turned out to be, in the end.

Emnotionally, it's absolutely spot on - the shots of Rose as a child being told wonderful daddy stories by her mother which set the tone of wistful longing; the urge to go back and see him which the Doctor can now satisfy for her; the desperate second thrust to save him and create her perfect world for real; the slow disintegration of that dream in the cold light of day, followed by the growing bond between them based on real interaction ; and of course, the final sacrifice.

Lovely, lovely stuff. But questions kept popping up for me all the way along, and DW Confidential didn't answer them, though I was hoping it would. Because this was such a good episode from the touchy-feely angle, I really wanted it to be as good from the cold logical one as well.

But: it isn't. The Doctor is completely happy to take Rose off to an event he must know will be emotionally impossible for Rose to resist interfering with. And sorry, no: after 900 or so years of visiting Earth and similar cultures, and scenes like the one where he rounds on Nyssa and Tegan for asking him to go back and save Adric, it's quite obvious he does - he must - know just exactly what that may invite for both of them. The "alien not in touch with human emotions" just doesn't work at all, as any kind of convenient excuse. A Time Lord - particularly this Time Lord - happy to risk the potential destruction that he knows may be unleashed by this action doesn't work either.

Then there's the "time has been damaged" response to Rose saving her father. Why? What exactly does that mean, anyway? She changes the present, and thus the future. So what? Suddenly "time has been damaged"? How, exactly? Why, exactly?

This, with the appearance of the Reapers, and the car repeatedlyappearing and disappearing in some sort of implied time-loop , is wonderfully eerie, but smacks far more of Victorian pseudo-moralising on the possible dangers of interfering in things that we don't understand, than it does of any real scientific understanding of time and time travel and changing the course of events.

Then there's the disappearing 'inner' Tardis. Hang on a minute, there. The outer shell is just an appearance generated by the Tardis - there is NO matching inside. Again: a wonderfully compact visual statement of the changes that have occurred - but really, no, not possible...

And so on. The finale is deeply touching. But suddenly, conveniently, we are asked to just accept that with his death, everyone reappears as normal and all memory of events is erased. Time, as it were, jumps back to the point when - what?

They were just about to enter the church for the wedding? How, then, to explain that dad is suddenly dead just up the road, and everyone is looking outwards, not in? The final scenes suggest that Jackie doesn't know who the mysterious strange girl is who stays with him until he dies... yet previously she had a three-way fight with her?

Or are we back at the point where it all began - in which case, the wedding party is inside the church, not outside...

So. Greatly enjoyed by all, I'm sure. But like a dream, when you wake up and actually think it through, it's quite clear it couldn't really have happened that way.

Shame.

Well, that was certainly emotional and dramatic television - my wife and I both had watering eyes - but was it Doctor Who?

Rose and the Doctor travel to November 1987 so that Rose can be with her father as he dies. But instead, being an emotional human, Rose saves him and unwittingly causes a rift in time. This brings demon-like "reapers", and we're told their intent is to put right the time rift. They seem to believe they can accomplish this by randomly attacking and eating people.

Good use of location work sees Rose attending a church wedding with her father, mother and baby self. The reapers attacking a church was good symbolism and handled well by the effects team. An amusing moment was Rose meeting a four year old Mickey, who is frightened by the goings on and clings to her.

As the story progresses, Rose's dad realises who she is and why she travelled back in time. He also realises that the only way he can heal the rift is to sacrifice himself and be run over by the car that Rose saved him from. In the meantime He and Rose have a few hours to bond and get to know each other.

All emotional stuff, great television and a lovely story...but what has this to do with Doctor Who? Not a lot really, as the good Doctor admits he doesn't know what to do (in fact he does know, but isn't willing to tell Rose that the only way forward is to lose her dad). He really doesn't do anything much in this story, and seems an inconsequential character.

So, as far as this season of Doctor Who goes it does provide more answers to Rose's past and to the Doctor's own lack of feeling (except anger) at the loss of the Time Lords this was a success. But as a slice of Doctor Who, it didn't "do it" for me.

Eight episodes down and to my mind we have two absolute classics, two duffs and four good episodes. I can't complain but I do seem to prefer episodes not written by RTD. Which is a shame as without him we wouldn't be watching this show at all. I was glad that he stated in tonight's episode of "confidential" that he does not want Doctor Who to become a soap opera.

I have really enjoyed the intro scenes before the theme tune starts, and thought that this was one of the best yet, as the Dr almost takes the role of a genie "Your wish is my command!" but warns Rose to be careful what you wish for.

Well, I think this is THE story all the fans have hoping for since the new programme was annouced, and it was scintillating from start to finish. "Father's Day" is a real emotional rollercoaster ride for the viewer and with excellent performances from the lead cast, this is classy Who and is up there with the best episodes so far in the new series.

Tackling an issue which is of course always brought up with time travel, why can you not go back and save a loved one from dying, the episode certainly pulled on the heartstrings a great deal and this made it all the more watchable. The rising tension in the episode between the Doctor and Rose as things begin to go wrong is dramatic and enticing. Rose's Mum and Dad were excellent, and the dawn of realisation of Rose's father when he realises that Rose is indeed his daughter is one of the most emotionally gripping scenes of the show so far.

Billie Piper deserves immense credit too for her performance which was of an exemplary standard throughout. While the Doctor got huffy with her, I think the viewer had great sympathy for Rose's plight. When Russell T.Davies made the comment that he always envisaged himself as preferring to have been the Dr's assistant than the Doctor himself, I was a bit surprised. But I can understand that comment now following Father's Day because I think many people watching the episode would have acted as Rose did in attempting to save her father.

Christopher Eccleston also puts in one of his best performances as the Doctor as he loses control of the situation for the first time and walks out on Rose ... something I did not ever see happening. But like the Doctor falling out with Jamie in Evil of the Daleks, it had a real dramatic impact and Rose looked to have blown her chances with the Doctor.

One of my favourite scenes of the episode was the Dr walking towards the Tardis only to open the doors and find out that time was already in the process of changing as he looked at an empty shell. Very point blank and to the point. This was a good touch that the writer Paul Cornell brought to the episode. I liked how the Tardis had an important impact on the story with the Tardis key playing a significant part.

I also thought the realisation at the end of what Rose's father was to do to save time at the end was an incredible conclusion. A tear-jerker in every sense of the word, this was Doctor Who with real emotional intensity and impact. I thought the reaper monsters were impressive special fx too and probably pretty scary for young children. When they grabbed the Dr, it was very dramatic, and I was completely befuddled as to how the episode would be resolved after the Dr had gone. It was a fantastic climax and a real gem of an episode. Changing the course of time has never been so frightening and thrilling.

I notice there were a few little nods and winks to Back to the Future too in some of the script. The 1980s music in the background was an interesting choice. After Tainted Love in End of the World, we were treated to Rick Astley!

So brilliant performances all round from the cast, great storytelling, and drama, tears and sci-fi horror. A terrific combination. Paul Cornell has delivered a script of the highest quality. Hard-hitting and full of emotions, Father's Day will live long in the memory as one of the finest ever episodes of the programme.

We're over halfway through the season now. So what does Father's Day show us we haven't seen before?

Well, it brings much more of a touchy-feely emotional side to Doctor Who. We see [through some superb acting by the entire ensemble] depth in the characters and in the script that we wouldn't see otherwise. The BBC keeps up it's reputation for doing 'the past' [does 1987 count as a period drama?] well, as everything seems, well, 1987-ish, besides the large mobile phone [I thought they still had large, briefcase-sized power sources/aerials back then].

The script would, in any other sci-fi series, be excellent, but after some of the Dr Who episodes we've seen here seemed not as good as it could be. In the first half of the show [especially when Rose gets a lift off her dad] there's some incredibly unsubtle hints at the paradox of Rose being in the past, which to be honest made me wince.

We see more of the BBC's favoured 'let's show a monster-eye-view of people being destroyed to lower CGI costs by omitting the monsters', which we saw in the past two episodes too - we saw Max the Jaberwocky come down, and Dalekcam. Nothing wrong with this, but when we already know what the monsters look like from previous weeks' spoilers it seems somewhat pointless.

One thing definately noteworthy is Murray Gould's score of incidental music. It received a panning in previous weeks, but this week it was, in my eyes [or should that be ears?] perfect. Violins were out in full force, beautifully realised, but the touch of genius was having silence when Rose's Dad died [for the second time]. It takes skill and nerve to write good incidental music, to omit said music to heighten the tension, drama and emotion surely takes more. Mr Gould is talented; let's call last week an off week.

What else? The CGI remains impressive. I'm not sure how convinced children used to entire CGI films or PC games found the Reapers, but I found them convincing [although possibly not quite as flowing as a real biological creature would be]. The highlight in CGI terms though would be either the Tardis semi-appearing and glowing yellow, the Doctor [or the passers-by] being "swallowed" by the reapers, or the disappearing and reappearing car [an Austin something? Not my era].

One thing struck me this week - the continuity. The reapers only arrive now [for the first time in Doctor Who canon, I assume] because the Time Lords can no longer control them. That's continuity for you. Plus, we see baby Rose, 5-year-old Rose [who, by-the-by, looks nothing like 21-year-old Rose] and adult Rose. We see wee 5-year-old Mickey [who looks more like adult Mickey, but also gets some cheap shots lobbed in his direction].

So this week showed us a different side to Doctor Who - one where the emotions have higher priority over the flashy CGI, over the plot, over everything else, really. And it's not the worse for it. Roll on World War Two next week.

Rose has begun thinking about the possibilities of time travel, perhaps sparked by Adams attempt in 'The Long Game'. Maybe, she thinks i can see my father, being too young to remember him she asks the doctor to take her to see him, to be there for him on the day of his death.

Not being able to face him after witnessing his death for the first time, Rose tries again under strict instructions by the Doctor to wait until their previous selves have left the scene.

Unable to stand by and watch her father die for a second time Rose rushes out across the road pushing her dad to safety. All seems well and they head together to a friends wedding which her Dad had been out buying a present for.

Things aren't going to well at the church though as very few people have arrived and outside in the streets people are disappearing in a most peculiar way.

I must admit part of me was looking forward to a eighties episode purely for nostalgia's sake and given more time to the story nostalgic padding could have been added for all the twenty-thirty something Who fans watching. This would only have been padding though as the story was far more important than the setting.

Having Rose see the death of her father twice justified her emotions getting the better of her the second time. The emotions experienced will still be fresh in her mind as she prepares to have that final moment with him. Who else wouldn't take the opportunity as she did.

The subjective POV attacks early on are a nice nod to early serials such as The Avengers, The Prisoner and Doctor Who itself where often the monster didn't always live up to expectation. The red filtered kaliedoscopic effect was particulary reminiscent of the Doctor Who's of the eighties which tied in with the setting nicely.

Again the shorter running time of just under 45 minutes is problematic as tension does not seem to have enough time to escalate sufficiently, and the program has appeared to have fallen into the famous 'five minutes finale solution' favoured by Star Trek, Buffy and other American format science fiction serials.

Unlike its contempories the new series of Doctor Who does not appear to have the overlying story arcs that make american dramas serials stand on their own whilst simultaneously being part of a larger story. The Time War is the closest thing the series has to a continuing arc, and that has already happened (at least as far as the Doctor's timeline is concerned). As for the Big Bad Wolf reference this is often contrived and at the moment seems to have little or no bearing on the individual episodes. In fact this reference often appears to have no other bearing than it has been shoehorned into every episode with little or no explanation or effect.

More successfully than in previous episodes the domestic side of of the series (as experienced through Rose's interaction with family and friends) works particularly well. The pathos between her and her father throughout adds an extra dimension that was not fullt addressed or was just not evident before, even in 'Aliens of London' after she had returned home after an unexplained absence of 12 months, although i don't think it was neccessary to have the young Mickey appearing and latching on to her. Showing a connection between her and Mickey makes her leaving him to travel in the TARDIS much less believable.

Back to this weeks big bad...the reapers...wonderfully realised, the dark flow of their leathery wings and the brutality of their assault, terrifies complete with a searing screech reminiscent of the Nazgul (ask a fan boy for the reference). Fitting in to the background of reality far better than other CGI creations, fading in and out of time instead of exploding on the screen with tedious regularity.

The only other gripe was that it was a bit predictable...the denouement being painfully highlighted so that the audience had worked it out seemingly before the Doctor had. This again ties up with the short running time of these self contained episodes. The runtime is even made shorter by the inclusion of a trail for next weeks episode now firmly in place of the famous Doctor Who cliffhangers which kept people tuning in week by week. Fair enough people have many other things to do than watch television these days, but you still have to get people to watch week after week. That is the point of episodic television and without the aforementioned inclusion of a concrete story arc, people are not neccessarily going to rush back each week to see how characters are getting on after they have escaped from danger.

Without getting onto a detailed deconstruction of the failings and/or successes of the new series, 'Father's Day' was an enjoyable and moving episode of the continuing adventures of an incredibly appealing character. Long may the show go on.

And "Father's Day" is very much a rollercoaster. The drama starts off light and simple and then twists and turns through a variety of emotional loops, each getting more and more intense.

This episode offers a very simple premise: What if you could stop a tragedy in your personal history? It's a simple idea, and surprisingly, for something so obvious to time travel, not one that Doctor Who has really dealt with before. It's certainly not a premise that has been taken to it's full emotional potential. Here we see Rose taking a course of action that is so utterly wrong yet so utterly understandable for anyone in her situation; Rose saves her dead father and the Doctor didn't see it coming.

Father's Day works on many levels thanks to its strong character progressions. First and most obvious is Rose, who quite frankly, hasn't had the spotlight I expected her to have throughout the season. The story intelligently takes her through an emotional drama, which, despite it's highly theoretical scenario, feels real. Considering the extent of unearthly circumstances her father has to comprehend in no more than 45 minutes, his character's introduction and evolution works very well.

This is where the story scores so well. It leaves the time techno babble largely to the side and allows the script to deal with the effects of temporal damage has on the main characters. There's a lot to cover if the writing is to convince the viewer that the characters are acting realistically in such a bizarre circumstance, and Paul Cornell really does pull it off.

Shaun Dingwell does a great job as Rose's father, Pete. He breathes the humanity and realism into the character. If Pete had been miscast, the whole scenario would have fallen apart. Piper gets to show off her own emotional skills and does a fine job as always. Eccleston also delivers a solid role; however the events of the episode do somewhat weaken his strength in the lead role as the Doctor.

The Doctor is changing, and that amount is clear. One of the more subtle storylines in this episode is his isolation from humanity. It doesn't seem to occur to him that Rose might try and save her father and this seems surprisingly naive for the character. His isolation is something that Rose has noticed, and in one of her less endearing moments (but certainly one of the most realistic portrayals of a teenager on TV) she makes it clear she knows he'll never leave her and he'll be back like a lost puppy. He needs the emotional human contact she gives him, envies that gift of humanity which he never had with his people and even what he did have is now gone. In someway, it's a very touching perspective, but it does weaken both his character and mystery. Somehow it feels wrong for a 19 year old to have such power over him.

Perhaps that's one of the biggest mistakes of the new series. The creators seem insistent that Rose and the Doctor are equal. Some say that she is more than the Doctor, and that doesn't really come across. Certainly she's not so world weary, but that comes from 900 years of experience, but she doesn't quite seem the gem of humanity the writers and the Doctor see. She comes across as a teenager. Strangely, that's a compliment as there are few dramas that can write a teenager well, however there is a little that makes her seem much more than the average teenager. I don't feel that comes across in the stories as being so special - regardless of Ms Piper's constantly solid acting. She certainly has tough competition to prove her worth too. Ian Chesterton, Sarah Jane Smith, Jamie McCrimmon, Jo Grant, Barbara Wright to name a few.

Overall "Father's Day" is a very good episode. Some small niggles get in the way. There is the occasional cringe worthy time clichй. For instance when kid Mickey, Rose's future boyfriend, is focused upon; there are some remarks about how much he'll cling to his future girlfriend. There is the old "I'm sure I know you from somewhere" line between father and future daughter. These are small, superfluous script gags that were acceptable twenty, thirty years ago, but now actually bring down dialogue quality.

The music is a little over indulgent. The haunting melody that accompanies every sad moment in the episode has no subtlety in its choice of instrumentation or how it's actioned. You can almost punctuate to the second when it's about to pop in and when it does, it just feels overtly artificial.

Aside from some dubious CG and a rather predictable resolution, this episode is very good. After all, the effects, the plot and the music are backseat to the emotional drama. The drama is lead performer in this story and it performs immensely well.

It's wonderful to see this series try so many different styles of drama and pretty much hit each style bang on. Great stuff. Now, go watch it again.