So, what did I like about The Long Game?

It was nice to see the (pregnant!) Face of Boe. The way Adam was 'seduced' by the creepy/sexy/maternal nurse into having the implant was believable - the temptation and eventual submission were well portrayed, and I found myself thinking, "Yes, Adam is wrong, but in his place, I'd be sorely tempted."

The editor was exactly the kind of man who will serve an unjust ruler loyally, and take sadistic pleasure in the power this gives him, but will ditch his master without a moment's hesitation when the game is up.

It's true the editor was played as a comedy villain, but I thought Simon Pegg's somewhat pantomime performance didn't reduce the character to a stock meglomaniac. He's not evil, he's not insane, he's an ordinary, everyday bastard, just like your boss. It pains me to say it, but to me the editor felt a lot more real as a person than Davros ever did.

As for what I didn't like...The sets and costumes looked like they were trying to do Blade Runner on the cheap. I'm sorry, but adding smoke and garish colour scheme to burgervans and background characters with punky hair does not look futuristic. It looks like 'futuristic' looked in 1981.

The Doctor has gone from being annoyingly enthusiastic with a big cheesy grin, to being impatient, judgemental, and inconsiderate of everyone except Rose. Why does he almost simper over Rose while being unfair and hostile to Adam (and indeed Mickey). This isn't a love story, and as RTD knows perfectly well, the doctor has never had a sexuality. At least, not the kind that ordinary humans have.

The dead Suki grabbing the editor's foot as he tried to make a run for it. The way the Doctor estimated the duration of technological retardation to a year's accuracy - progress just doesn't work like that! Yet another 'bad wolf' reference. All these things annoyed in small ways.

More than all that, the question I came away asking was not "How did the big monster on the ceiling get there?" It was "Why is Adam in the script at all?"

Perhaps this is just RTD playing games with audiance expectations - introducing a new companion, then instead of having the doctor travel with them for a while, dump them immidiately. So the whole point of introducing Adam was to surprise us by dropping him. This is the kind of pseudo-interesting idea beloved of students on Media Studies couses - and yes, I was one of those a long time ago.

Besides, hasn't it already been done? Wasn't there a female companion introduced in the Hartnall era who was killed in the next adventure?

Maybe Adam is there to keep the gay male viewers entertained. Whereas once there was Louise Jameson's bikini to keep the dads watching, we now have the cute gay boy from that soap opera. Written by gay blokes, watched by more gay blokes, and played by a straight one.

No. I don't think the reason is as vaccuous as that. I think the only reason to give Adam half the plot of an episode, and leave him in schtuck back on earth, is to reintroduce him later. Give us a companion, make us care about him by giving him a sympathetic subplot and lots of screen time, drop him in a dangerous situation ("They'll dissect you in seconds"), leave him - and us - to stew and worry for a few weeks, then bring him back. We'd be pleased to see the familiar face, a dangling plotline gets resolved, and we get to see him saved and redeemed. The doctor admits he behaved like a judgemental arsehole (which he did - very strange characterisation), and lets Adam back on the TARDIS. We'll see, I suppose.

The satire in New Who is welcome. But the problem is, it's just so patronising. In World War Three we had "Massive Weapons of Destruction, capable of being launched in 45 seconds". This is a good throwaway line - it makes it's point, brings a smile of recognition, and doesn't bog the action down by being long or didactic. But then the line got repeated by Andrew Marr. And then again by a TV presenter. It's like RTD assumes we're too slow to 'get' the joke first time. The point is laboured further when Harriet(?) asks something like "Will people believe it, just because it's on television?" and Rose replys, "It worked last time".

Having 'done' the war, we now get Immigration 'tackled' in The Long Game. What the editor says is substantially correct, "A word in the right place, repeated often enough...Create a climate of fear, and it's easy to keep the borders closed". Cathica's vague, puzzled justification for the lack of aliens, about "all the threats", none of which she can specifically remember, is absolutely in keeping with the easily manipulated public who like to think they're well informed and liberal.

Politics is nothing new to Doctor Who. The Masque of Mandragora and The Curse of Peladon were concerned with social manipulation through religion. Full Circle and The Sun Makers used notions of economic class. And so on. The political content is less intrusive in The Long Game than in World War Three - perhaps because it's more integral to the plot - but I still feel like I'm being lectured on basic media theory by a well meaning but finger-wagging teacher.

The Long Game wasn't actually bad. It was just uninteresting. I think we're entitled to more from Doctor Who.

Those in the 'anorak tendency' jumped on the luke-warm previews as proof that this new series of Doctor Who had finally tripped itself up. "The Long Game" certainly does not have the instant impact of the other episodes, but it was not exactly clear why so many vultures were up in the air ready to swoop. Maybe some fans are too eager to jump on every little glitch, for "The Long Game" was understated, but by no means bad.

The episode was a light satire on media power, focusing on an intergalatic organisation which controls the broadcasting of news and information, and where human nature is manipulated for all its negative traits. Certainly this was yet another episode where the money pumped into the new series was spent for all its worth; the effects were fairly impressive, although the "spike" didn't seem to cause its users much affect- even the earlier episodes would have made it clear what was happening without a standard "What's happening Doctor?" explanation. The idea was certainly interesting, with a mysterious upper-level controlling the space station masked by its distance from the 'slaves' in the lower decks. Humans are always going to strive for promotion, and this device was executed well.

The episode felt somewhat deflated because it did suffer from being in 'fast-forward'. Adam's character did have something to do, but it was fairly clear that RTD didn't know what to do with him, so treated him as a kind of modern day Adric. His bumbling into the Medical Floor and operation didn't really have much point to it, and although it was stitched onto the narrative it still felt as though his wanderings were separate to the plot. The Doctor's joking to the effect that Adam was Rose's boyfriend brought to mind the sniping shortness of Peter Davison and Tom Baker, and suggested that the hints of a Doctor/Rose affair are being put to one side in these later episodes.

Rose was not well used in the episode either, but Simon Pegg as the Editor certainly was. His sci-fi kudos was lifted in "Shaun of the Dead" and in this role he managed to weigh up sinister evil with a cool cunning side. He and Christopher Eccleston had a great tussle together, working off each other very well. Yet again, more hints of "Bad Wolf", which was highlighted in a very subtle line from Rose. The Editor and, erm, "Max", were a good team together, with the balance of power shifting in well executed scenes. Sadly, the two female characters seemed too neatly packaged and did not convince.

"The Long Game" may now be shown up by the neigh-sayers as the first loose thread in the fabric, but it was a clever concept which failed to be executed well throughout. It did have too easy a conclusion, although the typical Doctor Who moral tail packed a sting. This episode certainly had some good humourous lines and Christopher Eccleston maintains his high standard of emotion. Playing on the power of the media can often result in less than satisfying stories in many kinds of programme, so it can be excused that it's difficult to put together Doctor Who and such a topic. Certainly this is not the 'beginning of the end', and some fans would like it. Good, just not up to the high standard thus far.

From the outset I must admit that I came to the end of "Dalek" thinking that the following week's episode had a near-impossible task in topping the return of our "pepperpot" friend, however I did expect rather better than we got.

First things first. It seems to be integral to the new series that the Ninth Doctor is not the saviour in all situations that his predecessors tended to be. As has been pointed out, he has only really saved the day in "The End of the World", and in "The Long Game" both the Doctor and Rose seem to be merely bystanders. I am not suggesting that the Doctor SHOULD always be Superman in a police box, but I feel he should provide the answer more than he does thus far, otherwise he comes across as somewhat impotent, possibly even too human...

Unfortunately Satellite Five does look suspiciously like the platform in "The End of the World", and causing the Jagrafess to overheat and explode was exactly how Cassandra was vanquished. It does suggest a certain famine of imagination on RTD's part.

I wasn't at all sorry to see the back of Bruno Langley's Adam, more as I find him irritating than that his crime deserved the punishment it received. The latter was far too ruthless on the part of the Ninth Doctor, I felt, and seemed to be motivated by jealousy over Rose more than anything else. Tom Baker's Doctor and Sarah Jane were close, but you can't imagine him doing the same to Harry Sullivan as Ecclestone behaves here. One could argue he ultimately showed more sympathy for the Dalek.

Perhaps I am being over-harsh, but I found little in this episode from three viewings to make me think other than that it is the weakest of the series so far. Simon Pegg's Editor was predictably excellent and stole the show, and I found myself hoping he would survive to fight another day. Tamsin Greig also shone as the Nurse, gently comic but clearly motivated by money rather than patient care.

In fairness "The Long Game" was weak in comparison with an otherwise fine series so far, and it did keep me watching, disappointed as I was in the end. Next week's episode, however, looks a cracker...

Alanis Morisette are you out there? If so how do you like this for a definition of irony: - A public service broadcaster revives a forty year old television program which, against all the odds, proves a popular move with the Rupert Murdoch owned Sun newspaper, DVDs and merchandise are imminent. One of the episodes of said revived TV show is implicitly about the power of the media and subliminal messages, the result being a intellectual stagnation. Meanwhile on Independent Television channel 1 (ITV1) Chesney Hawkes has just won 'Hit Me Baby One More Time' this is followed by minor celebs making TV comebacks by performing in gladiatorial combat reminiscent of the Roman (human?) empire. I need a piece of paper to work out if this episode is a poor man's 1984, a BBC lead charge against 'I'm a Celebrity...' (but somehow not Strictly Dance Fever) or sombody taking the Mickey. My confusion is not helped by Dr Who Confidential talking about Simon Pegg like HE is the second coming.

Taking this one at face value it had filler written all over it, not that that makes it poor, it was just a bit of a mixed bag. So, what was right, the special effects were on form, Simon Pegg was suitably enjoying himself, although not the Alan Rickman/Sheriff of Nottingham he was made out to be, the sets were great and the script wasn't lacking, embarrassing or silly? Which for me has been a recurring flaw this season. The final scene was like one of the more memorable episodes of the twilight zone, with a grange hillesque wearing clothes in the swimming pool mix of scary, self implicating and also funny and was a refreshing alternativ to the TARDIS dematerialisations were getting used to. I also enjoyed the banter between the Doctor and Rose their relationship being suitably ambiguous to those within, and outside, the diagesis.

So what was wrong? Well not much, more nitpicks than anything else, the year 200,000 seems a bit far in the future for suits to still be in fashion. For that matter the 'future' episodes being set in the year 5 billion and 200, 000 smacks a little of the school playground "lets play Dr Who, lets pretend its the year 50 gazillion, def it lets play conkers". Still its a minor quibble. I also felt that making the episode a crisis threatening all of humanity was a bit ambitious, after all its a bit difficult to contextualise a plan of that magnitude when you can't see its effect, or even the cause for that matter. I also didn't really understand the Jagrophess's plan or how it would make a profit. Like TEOTW, AOL/WW3 the real villain was money which, frankly, is wearing a little thin. Like a bad episode of The Next Generation the moral is plain to see and I prefer my ethical musings to reside in the shades of grey, like a good episode of Deep Space Nine, or Dalek for that matter. I wasn't sure if Adam had had a personality transplant or if his story was a clever cautionary tail? The face of Boe must be a fellow time-traveller or a creature of extraordinary long life, but again intra-series continuity is nice to see.

Overall I enjoyed it but I didn't feel compelled to watch it again on Sunday, Dr Who confidential provided a worrying insight though, Davies seemed to imply that this episode was part of the/a story arc, this completely passed me by and I had no unresolved questions (that I didn't think were attributable to flaws in the script the script) by the episode's end, perhaps all will be revealed and the episode will improve when placed in context? The real twist ending is that despite any criticisms I've made out of all 7 episodes which have aired I'd probably place this one third behing Dalek and TUD in order of preference. I can't decide if that says something good about this episode, something bad about the overall series quality or is a manifestation of my own intellectual stagnation following too much crap telly, wouldn't that be ironic?

I thought this was a good, solid episode witha few salient points to make about the manipulation of the media and how clever distortion of language can lead to overgeneralisation and people not thinking too much as they are bombared with information (All together now, "weapons of mass destruction"....as opposed to "pretty harmless weapons that don't hurt anybody" perhaps?) Things didn't get too preachy and I think Simon Pegg gave an absolutely terrific performance which was the best thing in the story. So, not up there with 'Dalek' or 'The Unquiet Dead' but not at all bad...

BUT, and it's (ahem) a big but.....

I'm a tad worried about how the Doctor is coming across at present. This is no criticism of Chris (he was SUPERB in 'Dalek') . This stems from the writing....

Basically, my worry is that the Ninth Doctor is in danger of becoming far too unsympathetic in his treatment of supposedly "lesser mortals" which is beginning to risk him seeming far too judgemental and, well, that can lead to seeming positively smug! Not an attractive trait in anybody, let alone our favourite time-lord. Adam may have been foolish in his actions, but come on.....he's a young chap who's been thrust into a ridiculously alien environment and not adapted at all well. But the final scene with the Doctor and Rose leaving him behind (with a massive hole in his head!) left me feeling genuinely uncomfortable. Their behaviour just seemed too, well, smug? Callous? I just didn't *feel* right.

I mean, the Doctor didn't exactly cover himself in glory during 'Dalek' and it was terrifically handled. As a big Fifth Doctor fan I have no problem with fallibility in our hero, but a consistant lack of understanding of the fallibility of others? Yes, I do have a problem with that. (Contrast the 5th Doctors treatment of the would-be assassin Turlough. He came good when the chips were down *because* of the Doctors' inherent goodness, y'know?)

Maybe all this is going somewhere and I'll have to eat my words, but whilst I have no problem at all with a "darker" Doctor, it will be a problem for me if these traits continue without being challenged and I end up not liking the Ninth Doctor very much!

Thinking on, it has been the "stupid apes" that have saved the day in most of the stories so far. Rose, Gwynedd, Mickey and now the promotion-obsessed girl in this episode all helped to save his (and many others) ar*e!!! Shouldn't he have twigged that by now?

If this is a subtle 'character' arc and such potential hypocisy is addressed, I'll have my words served with chips, please. But I'm not sure this is the case!

Whole episode...six out of ten.

After the high of last weeks 'Dalek' I sat down to watch 'The Long Game' with much less expectation and a feeling that I just wouldn't enjoy this as much.

I was half right, it wasn't as good as 'Dalek' but I enjoyed it a lot better than I thought I would, considering the last offering from Russell T Davies.

'The Long Game' was Easily as good as 'The End of the World', which had been my favourite Davies script so far. It was quite a nice (but obvious) take on the media and how they can manipulate the public and our beliefs and opinions.

It looked good and the acting from guest as well as regulars was fantastic. The lighting was suitably creepy and the corpses genuinely chilling, which I'm sure will result in a few complaints to the BBC - and as any Who fan knows if parents are complaining then the series is doing something right.

Christopher and Billie shined yet again, I just hope that Billie Piper can generate the same on screen chemistry with David Tennant, though I'm sure the relationship will be different.

Bruno Langley as Adam was far better here than in 'Dalek', chancing his luck for personal profit and being caught out. I feel the only reason for his inclusion in this episode was for us to see that the Doc will not tolerate a companion that tries to manipulate time travel for their own ends. It will be interesting to see if he is so quick to throw Rose out next week as she obviously saves her father and changes history.

Tamsin Greig was very good in this episode, gently, but greedily, encouraging Adam to go for the more expensive surgery.

What a performance from Simon Pegg, easily stealing the show, which is not an easy task with Chris and Billie on form. The Editor was such a fantastically calculating villain. Pegg's performance just reeked of smugness, I was really hoping this arrogant business man he would be a recurring villain. I also hoped for a brief while that he was another Time Lord, though, to be honest, I didn't really hold out much hope for that.

The Editor in Chief (I will not even attempt to spell the full name) looked horrific with some very good CGI, this monster was only let down by my one major disappointment with the episode: The length!

I'm sure I will not be the only one that thought this episode was a fantastic episode 1 & 2 of a classic series 4 parter. The end was wrapped up far too quickly, this episode (like most, if not all of the one parters) could have benefited from a second part. I am so frustrated that the only two parter so far was that pathetic pile of crap 'Aliens of London' and 'World War III', what a damn waste. Davies has written three good single episodes which could have benefitted from a second part and the one that does get two parts is the one that should have been shortened, very frustrating, but at least Davies is back on form.

All in all not the best episode so far - the best two being 'Dalek' and 'The Unquiet Dead' but 'The Long Game' certainly has a good shot at third place.

Oh, and over half way through the series already, time flies when you're having fun.