Manufacturer: Big Finish Productions

Written By: Mike Maddox

RRP: £14.99

Release Date: 28th February 2011

Reviewed by: Matthew Davis for Doctor Who Online

Review Posted: 6th March 2011

Bringing back an old foe in Doctor Who is always risky, especially if that villain is as iconic as Axos.  With characters like this, simply rehashing old storylines is an easy trap to fall into and one that this adventure seems at times perilously close to.

The sentient parasite is brought back in the latest Sixth Doctor audio and one of the most exciting things about this release is the return of Bernard Holley to the role of Axos, 40 years after playing the role in The Claws of Axos.

The story picks up immediately after the cliff-hanger from The Crimes of Thomas Brewster, where Brewster has hijacked the TARDIS demanding the Doctor take him back to his own time. Of course things don’t go according to plan when they land in the time loop where The Doctor originally trapped Axos many ages ago. Inside the parasite they find a group of astronauts working for Space Tourism billionaire Campbell Irons, intending to revive Axos and use its energy to solve the world’s energy crisis. But of course the newly awakened Axos has other ideas.

What follows is, to put it simply, a slight inversion of The Claws of Axos.

In that story, Axos intended to feed off of Earth’s energy and now the Earth intends to return the favour. Despite an interesting current event twist, it becomes somewhat lost as Axos’ intentions are essentially the same as before though I suppose one can’t ask much more of a space parasite with a large appetite.

What seems to be the focus here are the characters, with the focus shifted onto Brewster yet it all seems a bit of a retread. At end of the previous audio there was potential for a sparky team relationship with The Doctor, Evelyn and Brewster however once again the characters are separated, leaving Brewster to get up to his old tricks. The potential for these characters with such differing personalities working together more is tantalising but to have them separated yet again is somewhat of a let down.

In The Crimes of Thomas Brewster, Thomas was in cahoots with a sentient planet to try and save it from destruction by emulating the heroic nature of the Doctor. Now Brewster, angry and hurt turns his services over to a sentient parasite to punish the Doctor but of course with his own gains in mind. For once I’d like to see Brewster in a non-scheming mode. I know it is a driving force of his character, but it is becoming a little tiresome.

The supporting characters, although serving their parts well, tend to get lost in much of the noise and Campbell Irons, a potentially great villain, seems in the end to be a bit wasted.

Despite this, there are some lovely moments with the Doctor and Evelyn and a rather distressing cliff-hanger to Episode Three however the stand out of this audio is Bernard Holley.  Sounding every bit like he did in 1971, his rich voice really serves well on audio and the impact of Axos, a very strong visual presence in the original television serial, loses none of its impact here, although the same cannot be said of the Axonites. He is so good that he almost dominates the whole adventure.

Despite some flaws there is a lot to like in The Feast of Axos, but like Axos himself, you end up wanting a little bit more.

Manufacturer: Big Finish Productions

Written By: Dick Sharples & Terry Nation (Adapted by Simon Guerrier & Nicholas Briggs)

RRP: £25.00

Release Date: 31st December 2010

Reviewed by: Paul Everitt for Doctor Who Online

Review Posted: 18th February 2011

Big Finish continue their Lost Stories season, with a very special box set dedicated to the second doctor; the great Patrick Troughton.  The box set includes two adventures plus over fifty minutes of bonus material – including interviews and a look behind the scenes. The first adventure sees Earth in a very different light, with a very sinister undertone throughout. The second adventure is rather special in its own right, a lost story involving the mighty Daleks which never saw the light of day...

The first adventure, Prison In Space see’s the Doctor, Jamie and Zoe looking for a little vacation. Even Jamie has become tired of fighting “wee little beasties”.  Promising them a vacation, with perhaps a picnic, the Doctor flies the TARDIS to safe haven – one with plenty of greenery and peace, or so he thinks. 

It’s not long before our heroes find themselves in trouble, arrested for trespassing the soon find that their so called haven is actually run by a mad tyrant – Chairman Babs. Not only do they find themselves arrested, the Doctor and Jamie soon realise that this world is run by women, who see men as inferiors – men are the weakest and are therefore treated like animals, with contempt and disdain. Soon things get even more serious as Jamie and the Doctor are sent to a prison in space, trailed and convicted for their crime – Zoe is left in the hands of the Chairman, forced to choose sides – with the resulting events proving to be explosive and quite unexpected. 

For this adaptation we see the return of Frazer Hines and Wendy Padbury, reprising their roles as the Doctors companions. It’s great to hear the Scottish accent of Jamie return; Zoe is as bright as ever, in a part which really pushes Zoe to the limits. The sound effects bring back the sense of the sixties incarnation of the show, helping to push the narrative along at a great pace. Big Finish has adapted this lost script brilliantly, bringing back the essence of Patrick Troughton’s Doctor. This could have easily proved to be one of the second Doctor’s best TV adventures...

Moving onto the second adventure included in this box set, The Daleks: The Destroyers, is the adaptation of the unmade US TV Pilot. Big Finish has adapted this script into a gripping space adventure, full of tension and scares. This is definitely one to listen to by yourself in the dark. 

The adventure takes place around Explorer Base 1, a human exploration station – located on the surface of meteorite M5. Newly built and protected by a force wall, the occupants have no reason, to think of anything dangerous, from the swamp lands laying, just past the force wall. However in the darkness lurks a terrible threat – The Daleks. Within the first five minutes of the adventure, the station is ripped apart – all personnel killed in cold blood. 

Enter our three heroes, sent to investigate by the Special Space Security forces. Sarah Kingdom, played brilliantly by Jean Marsh is an intelligent, efficient agent, who has a habit of screaming. Mark Seven the android, with an emotion chip, classic good looks and superhuman strength. Played by Alan Cox, who gives the character life, making great use of the lines to inject some life, into what could have been a dull character. Then we have the leader of the squad, one Jason Corey rugged and intelligent. Jason is played by Chris Porter with an authority, which brings the character to life in your head.  The intrepid trio soon find themselves playing a cat and mouse game with the Daleks, trying to remain hidden – whilst discovering the alien’s master plan.

The narration to the story, drags you into this new world – masterfully read and acted making the hairs on your body tingle with excitement. The story is a lot darker than I had imagined, giving the Daleks a meaner darker look, than I can remember from the sixties. Even though there is a definite darker undertone, Big Finish have still managed to make it sound like an original episode from yester year. The main theme brought flashes of sixties TV flooding back, its catchy American style stays in your head, hours after listening to it. The score sets new standards, becoming at times operatic in substance, making you tense up, feel elation all at the right moments. Even the sound effects help you build a picture of what could have been, allowing you to connect to the main characters. A blinding story, which ends on a cliff-hanger, which I hope is resolved.

Also included is a fifty minute documentary, detailing how Prison In Space happened. A fascinating look into how the original script was found and the process that followed. It’s full of fact and gives us an insight into the love that the team had for Patrick Troughton. 

This box set prove compelling listening for any fan out there, showcasing what could have been if things were done a little differently.

Manufacturer: Big Finish Productions

Written By: Jonathan Morris

RRP: £14.99

Release Date: 31st January 2011

Reviewed by: Matthew Young for Doctor Who Online

Review Posted: 3rd February 2011

Part of Big Finish’s Sixth Doctor range, The Crimes of Thomas Brewster marks the return of the eponymous past companion as part of a fine cast in this funny, referential but somewhat unbalanced adventure...

The story begins when The Doctor (Colin Baker) is called to London by the Metropolitan police to investigate a mysterious gangster known only as...‘The Doctor’! The fun of this premise isn’t so much the mystery of who might be behind this (the title gives you a fairly good guess to begin with) but The Doctors reaction to the situation. Investigating, he at first assumes the gang leader could be a version of himself from a forgotten past or yet-to-occur future. Discovering that ‘The Doctor’ is collecting weapons for some unknown purpose, he wonders if his future self could be capable of something which, to him, seems unthinkable; “doesn’t sound like me” he muses. This timey-wimey conundrum is furthered by the inclusion of DI Patricia Menzies (Anna Hope reprising her role from The Condemned and The Raincloud Man) who, previously a companion to The Doctor, has now encountered him from before he has met her. All the while, she must keep quiet about knowing him in order to secure their time line. As well as some humorous scenes where Menzies feigns amazement over time travel, I laughed out loud when Menzies said she figured all of this out by reading ‘The Time Travellers Wife’ (“well, watched the DVD”). It’s a brilliant piece of referential humour that brings a great sense of fun to the story while also playing with the concept of time travel to great effect.

Moments like this reveal The Crimes of Thomas Brewster as a story driven by its appealing characters. It’s strongest when it allows them to let loose with some great humour and energy. I have always loved Evylne Smyth (Maggie Stables) as a companion – an elderly British History professor travelling with The Doctor just makes sense – and her dialogue and relationship with The Doctor is at its best here.  There are also some brilliant Colin Baker moments that will give you the giggles: The Doctor finds a use for that coat; asserts that he is “not captain Kirk!”; and even lets out a well timed “Geronimo!” 

Gangland goings on are not the only thing the Doctor has to contend with, however. He is also being attacked by Terravores; giant and deadly robotic mosquitoes. To continue with the theme of displaced meetings, they have met The Doctor before; but he has yet to meet them. As the story progressed, and The Doctor got involved with the police and murky underworld of London as supernatural goings on transpired, I couldn’t help but be reminded of a contemporary version of The Talons of Weng-Chiang. This, in my book, is a very good thing and the first two parts of the story have a similar sense of referential fun mixed with genuine threat. I wish the story either embraced its setting of modern London more or had picked another time period as a setting. There are references to iPhones, Twitter and Lady Gaga which make it unmistakably modern, but there is also a large cast of stereotypical cockney gangsters which, while causing some serious titters, seemed out of place. 

In fact, the setting of London was so fun that some of the lustre was lost once the action shifted to a mysterious alien world. The storyline involving the Terravore conflict with ‘The Locus’ – the hive mind of a living planet – is interesting in itself, but feels drafted from another story. While modern London and this alien world are linked – quite literally – in the story, I felt that after leaving London the story never replicated the sparkle present in the first two parts. This is made worse by the late introduction of two needless and little used characters and the absence of Evylne’s lively self in the later sections. Most disappointingly, Thomas Brewster (John Pickard) himself isn’t used to great effect. Again, he is closely linked to the story line but, other than a compelling conversation with The Doctor explaining his actions, he is by no means the heart of the story I was hoping for. I felt more interested in his history and activities in London than the story of the Terravores and Locus.  While consistently entertaining, this story had all the ingredients to be much more. Thankfully, the final minutes suggest we might learn more about Brewster very soon...

Manufacturer: Big Finish Productions

Written By: Nev Fountain

RRP: £12.99

Release Date: 31st January 2011

Reviewed by: Matthew Davis for Doctor Who Online

Review Posted: 3rd February 2011

Perpugilliam Brown, or as we all know her: Peri.

Companion to both the Fifth and Sixth Doctor, her importance in Doctor Who history should not be summarized as that annoying American who wore inappropriate clothing in life threatening situations. There is far more to Miss Brown than you would think and we finally get to see who she really is and, incredibly, who she will be in this very complex and rich release from Big Finish.

The second double length release for the Companion Chronicles since The Suffering, you may be forgiven for thinking that to dedicate two CDs to Peri Brown was mere indulgence on Big Finish’s part. You couldn’t be more wrong, because what we have here is a Companion Chronicle that not only pushes the format in a new and interesting way, but for my money is one of the best audio plays Big Finish has ever put out.

The story begins with young Peri, arriving wi th the Fifth Doctor in Los Angeles in 2009, to track down a Piscon by the name of Zarl, intent on causing mischief as only a Fish relative of the Pescatons would do. But the Doctor and Peri are joined unexpectedly in their hunt by a future version of Peri, claiming to work for a government division that protects the Earth from Alien invaders.

So far rather intriguing but what grabs your attention is that the future Peri is not only older, but she is not very likeable. In fact she is so cynical she could give Lauren Bacall a run for her money.

But as with the best of the Big Finish audio plays, not everything is a simple as it seems.

The very nature of the Companion Chronicles is to allow the listener an experience of travelling with the Doctor through the eyes of his companions. It is their perception of him and his actions that make them compelling listening, and here Peri’s perception of the events that unfold are the key to the whole story, but rather incredibly, we get the story not from one Peri, but by future Peri too. This is a simple but brilliant device, as certain heroic events related by the younger Peri, become not so heroic, in fact rather farcical when told by her future self.

Peri, played brilliantly as ever by Nicola Bryant, makes for a very engaging narrator. Shes funny, surprisingly open about her hopes and dreams in life, such as her desire for motherhood, and warm. One of my favourite moments in the play is where she addresses why she is always wearing high heels, referring to them as “Optimism Shoes”, that by wearing them, she hopes the next planet she and the Doctor land one will be a nice one with no danger. It is little moments such as this, which make you fall in love with her character, making the sombre and cynical narration by the future Peri all the more intriguing.

Not only do we get two Peris, we also get two Doctors, with one, unusual for the Companion Chronicles, played by one of the actors himself and not impersonated by the companion.

Colin Baker’s presence in the play as The Sixth Doctor is not there for the sake of it, for he plays a rather important role in events and to say anymore would be a spoiler too far.

This release rather boldly gives us the answer to really happened to Peri after we last saw her in Mindwarp? Did she really go off and marry Brian Blessed? Well we finally get our answer, and it is devastating.

Throughout the play, the madness of the adventure gives way to some heart wrenching moments as we learn of Peri’s fate and it is a credit to writer Nev Fountain that with all the mad comedy and emotional drama going on the tone of the play does not jar, but flows beautifully between the two.

If any criticism could be brought up is that some of the running jokes, particularly those about plastic surgery wear a bit thin early on and some of the supporting characters are merely plot devices, but they are rather small issues when, as a whole, this audio play is a triumph.

Manufacturer: Big Finish Productions

Written By: Eddie Robson

RRP: £10.99

Release Date: 31st January 2011

Reviewed by: Matthew Young for Doctor Who Online

Review Posted: 1st February 2011

Part of the on-going fourth series of Eighth Doctor stories, Prisoner of the Sun marks another great Paul McGann adventure which, although sagging in some sections, is filled with brilliant ideas and sets up a drama-rich dilemma for The Doctor to face...

While all Big Finish dramas help expand the scope of the Doctor Who world, Paul McGann’s recent adventures hold particular appeal to fans. Any story involving The Eighth Doctor allows us to speculate on what direction the ‘lost series’, abandoned following the 1996 TV movie, might have taken. Into its fourth series of Eighth Doctor stories, Big Finish has revealed McGann as a brilliant Doctor. 

The story to Prisoner of the Sun immediately attracts your attention. We find the Doctor a prisoner; having been trapped inside a scientific station, located within a sun, for six years. Assisting a rebel group in their efforts against the sinister ‘Consensus’ – a collection of leaders who, having bought an end to wars in their system, themselves became tyrannical despots – The Doctor has been captured and forced to maintain the base. Having originally being intended as a method of using the sun’s energy as a weapon, the base now needs to be operated in order to stabilise the star and prevent a super-nova that would destroy the two billion lives on nearby planets. 

This provides a brilliant twist to the ‘prisoner’ story line. The Doctor describes himself not as a prisoner of force, but one of responsibility. Perfectly fitting with The Doctor's character, he could escape at any time but instead remains until he can ensure the safety of the planets below. This cleverly shifts the story away from a simple ‘great escape’ focus to more dramatically rich territory. The Mercurials, a mercury-like species hired to guard the base, are a great idea but also are presented as fleshed out characters. The rebels who arrive on the base, however, provide the key drama. Through the majority of the story you are left unclear whether they want to save The Doctor, kill him, or use him for their own ends. 

As The Doctor would be nothing without a companion, he has been provided with an android assistant whose character and appearance he can adapt to his will. In a brilliant scene, The Doctor dictates his preferred personality settings: “why don’t we start off with loyal, eager, earnest...sense of humour.” By doing this, The Doctor in effect ‘creates’ his perfect companion and, while this description could match most past companions, giving the android the voice of Lucie Miller demonstrates that The Doctor has become very attached to the character. Although his choice of voice becomes a story element later on, this is a very clever way to develop the relationship without Lucie being present in the story (having left The Doctor in the previous instalment). It also provides Sheridan Smith with an opportunity to play two very different characters: The Doctors current, sweet android Daphne and his previous, sinister android Sophie. Smith embraces the opportunity and provides some very humorous scenes to those in the know about the real Lucie’s relationship with The Doctor.

Throughout the story, The Doctor is forced to question the very reality of the situation he is in. The drama centres on whether the characters in the story are willing to risk the lives of billions to further their own ends. However, while fun at first, the discussion between The Doctor and Hagan the rebel – during which they each present different theories about nature of their scenario – goes on for too long. While McGann’s Doctor is, by nature, calm and reasoned in his discussion, this is complimented by the performance of Antony Costa which comes across slightly flat in these scenes and detracts from the potential drama.

Still, the story quickly picks up the pace and leads to a very satisfying conclusion. Of particular note is the sound effects used throughout. The use of different alarms in a number of scenes really adds to the tense atmosphere. There is an alarm for various dangerous scenarios and more sound as the situation grows more and more dire. It’s a very simple method, but also very effective. Add to all this a gripping final moment that will have you counting the days till the next release in the series, and this story comes highly recommended.

Manufacturer: BBC Audio / AudioGO

RRP: £13.99

Release Date: 22nd November 2010

Reviewed by: Doctor Who Online

Review Posted: 16th January 2011

Doctor Who: The Essential Companion, could be considered as somewhat of an experiment, as New Series Audiobooks go, but it's most definitely an experiment that works, and one which will hopefully pave the way for future series of the show.

What we have here is a narrated retelling of the stories and events that occurred throughout Series 5 of Doctor Who combined with expositional sound clips from the show.

Alex Price, who portrayed the character of Francesco in the Series 5 story, The Vampires of Venice, provides the narration, and offers a warm and engaging link that knits the audiobook together quite seamlessly.

Spread out over two CD's and at a retail price of just £13.99, the product definitely lives up to its name as the essential companion.  Disc One looks at Series 5 through to the end of The Vampires of Venice, and Disc Two neatly covers right through to the end of The Big Bang.

Even if you own the complete series 5 on DVD, this acts as a great accompaniment - and one that enables the listener to experience those 13 episodes in a brand new, and exciting way.

Freelance Journalist, Ian Wylie has sent DWO his review of the 2010 Doctor Who Christmas Special, from last nights screening at the BFI Southbank. [Beware, minor spoilers below].

If you’re avoiding ALL spoilers, then best go elsewhere. It’s a totally bonkers episode but probably a perfect fit for 6pm Christmas Day on BBC1.

As many fans will already know, this adventure is set on Christmas Eve and features newlyweds Amy and Rory (Karen Gillan and Arthur Darvill) on a stricken space liner heading for disaster. With mayhem up on the Star Trek-style flight deck, Amy emerges from the Honeymoon Suite dressed in the police uniform from her very first episode. With Rory back in his Roman centurion outfit. A nice opening visual joke from Mr Moffat, who was placed in seat K9 for the screening.

He weaves Charles Dickens’ classic A Christmas Carol into this tale from a strange yet still familiar world. High above, the Galaxy class ship is plummeting through banks of thick icy fog towards the surface of the planet. Only rich and bitter old miser Kazran Sardick (Michael Gambon) can save the lives of the 4003 people on board. He controls the skies, despises Christmas and doesn’t care if they all die.

Kazran already keeps some members of Sardicktown frozen in ice, including Abigail (Katherine Jenkins). And appears to have lost every shred of goodness that might ever have been in his heart. Which is when the Doctor, covered in soot, comes tumbling down the chimney. Can he bring this old man out of the dark and into the light?

Older viewers may have to stay off the Christmas sherry to keep track of all the details in this hour. Including sharks out of water, a nod to Jaws and the Doctor’s trips to the 1950s to hang with Frank Sinatra and The Rat Pack. Not to mention Marilyn Monroe, Albert Einstein and Santa. All contrasting with the bleak midwinter under the dark skies of Sardicktown.

We also get more information about the Doctor and girls. A younger Kazran asks him: “When girls are crying, are you supposed to talk to them?” To which the Doctor replies: “I’ve absolutely no idea.”

There are crackers, a kiss (not involving the Doctor) and photographic evidence of trips around the globe.

We also hear Katherine Jenkins – making her acting debut – sing a new Christmas carol, among other vocal performances.

The screening was followed by a trailer for the 2011 series, which included Nazis, The Oval Office, a spaceman, various monsters, the Doctor in a stetson and River Song in cowgirl mode. Plus a line from the Doctor: “The one thing I can tell you – monsters are real.”

 To read Ian's transcript of the Q&A session, visit his website, here.

[Source: Ian Wylie]

Return to Earth, released for the Wii, picks up where the DS game, Evacuation Earth, left off and, in storyline terms, is a very accomplished addition to the Doctor Who fold. That is hardly surprising however, given that it was penned by noted author of Doctor Who novels, Oli Smith.

While purists will refuse to acknowledge it as canon, it stands up well enough in its own right and moves the gameplay along well.

For those who didn’t play the prequel, a brief outline is useful, though not essential. Evacuation Earth saw The Doctor and Amy Pond ensuring, appropriately enough, that the Earth is evacuated in the wake of a Solar Storm. They end up on the SS Lucy Gray investigating both the origin of the Storm and an inconveniently vanished TARDIS.

The outing on the Wii picks up with the baton with the Lucy Gray abandoned, and the Cybermen looming – fans of the Daleks will have no choice but to pick up the DS game if they want to see them as the main opposition.

Where Return to Earth, and Wii Games in general, really stands out is the imaginative use of the controller, as it turns into an analogue of the sonic screwdriver, and makes a good job of recreating its functions, even more so if you can get your hands on the add on that literally turns your controller into a replica screwdriver.

And what an innovation it is. The sonic screwdriver is second only to the lightsabre in terms of science fiction items that the Wii remote appears to have been built for and the implementation hasn’t really let down the promise.

But really, the game doesn’t quite fulfil its promise and the narrative is confined to the interior of the spaceship - a little disappointing given the wealth of landscapes on offer within Doctor Who if a bit of imaginations is used.

If you want to try the game before you buy it you can rent it from www.lovefilm.com who are currently offering a free trial.

[Source: Doctor Who Online]

Manufacturer: BBC Books

Written By: Trevor Baxendale

RRP: £6.99

Release Date: 2nd April 2009

Reviewed by: James Sykes

Review Posted: 11th April 2010

It could be said that the New Series BBC novels have the tendency to be simpler, less engaging and frankly less enjoyable than the old ones. There are a few exceptions, however, and Prisoner of the Daleks is one of them. 

Trevor Baxendale, one of the strongest writers for Doctor Who novels, brilliantly captures the Doctor's character. You can always imagine Tennant saying the dialogue. He also turns one of the staple ingredients for these companion-less-stories on its head, in that the Doctor meets a would-be companion right away, but she is then promptly killed off, leaving him friendless with a group of bounty hunters. The other characters occasionally come off as be ing a little generic, but Baxendale does try to flesh them out a bit, making it vaguely shocking when they are gradually exterminated, although Cutting Edge resembles Cole Train, from the Gears of War Xbox game. 

The Daleks are also well written, and the different font for their dialogue is a nice touch. While Baxendale re-uses a lot of New Series stuff with the Daleks, he also manages to give the story a new spin, and it's a shame that this wasn't used as a TV story, rather than Daleks in Manhattan / Evolution of the Daleks, for example. 

Told at a relentless pace, with the ever crowd-pleasing Daleks, this is certainly one of the strongest, if not the best, of the New Series novels.

Written By: Steven Moffat

Directed By: Adam Smith

Original Airdate: 3/4/2010

Reviewed by: Dale Who

Review Posted: 10th April 2010

It's Saturday, and it's just about to begin. There's a steaming mug of tea and numerous snacks next to me, the telephones are all switched off, the blinds are drawn and the Freeview box is recording. We've reached the much-anticipated, long-awaited and dear-God-I'm-worried-about-it first episode of the 2010 series of Doctor Who. New Doctor, new assistant, new TARDIS inside and out, new show runner and mostly new crew.

I'm not worried for the show itself; it's proven it can change and adapt and survive in today's climate plenty of times since 2005. I'm worried about my view of it. I'm like this every time there's a new Doctor, but that's not a bad or negative thing. I care about the character, I've emotionally invested a lot in my hero since I was knee high to a Zarbi, so it's important to me they get him right. However, mixed with that I'm also very aware it's not "my" show any more, it's for the kids that are growing up today; the family audience. Not aging fanboys with robot dogs in their living rooms... although they're always the most vocal, I find. Some Doctor Who fans do nothing but whine as well, and that annoys me. Usually the ones who still think the show should be exactly how *they* want it, and something Russell T Davies took great delight in proving to be a false claim.

The pre-title sequence begins, and such thoughts are banished from my head. It's straight into the action, more or less from where we last left off; with the TARDIS hurtling towards London out of control and on fire. The main difference is The Doctor is hanging on for dear life to the TARDIS base, having fallen out of the flapping doors. Talk about a different beginning: the TARDIS is wrecked, and the Doctor's not going to get to collapse and sleep this one through . Poor bloke's going to be knackered!

The new titles kick in, and I simply stop breathing and stare. They're *so* different. The vortex is reminiscent of the second Dalek film from the 1960s; rather smokey, and there appears to be a lightning storm happening in there too. The theme tune is very different too, a marked departure from the Tennant era. Again, different is not bad. It just means I need to adjust and let it all sink in. The titles are very slick and clever, and then we're back into the action. And I remember I'm turning blue and start breathing again.

Amelia Pond is perfect. Just wonderful. The best child actor I've seen in many a year; she's instantly likable and you're just on her side from the get-go. The whole idea of parying to Santa at Easter, and apologising if you've woken him up, is genius from Mr Moffat. The TARDIS crash-lands, and The Doctor's first line as he pops up from the new swimming pool/library combo he's got going on in the ruined Police Box is perfect. "Can I have an apple?"

After some perfect silliness with food - mmm, fish fingers and custard - and establishing that little Amelia is more than capable of holding her own already in life, there's the first pang of darkness. The crack in the wall. With draughts and voices on the other side... I think a few younger kids with cracks in their walls will suddenly be awake tonight, a little concerned about what may be behind it...

One thing becomes obvious very quickly indeed. This is not what I was expecting. The direction, the locations and the mood and feel of Doctor Who have all changed. This is a very different show to David Tennant's Who - or more correctly to RTD's Who. Again, this is not a bad thing. I loved RTD's era, and I loved Eccleston and Tennant, but this changes the whole ball game. It's still recognisably the same format it's always been, but somehow this seems bigger, better and more epic than I remember it being at any point before. I'm blown away by this. It's gotten better... again! And it was already stunning! 

The new Doctor is insanely likable. He's mad, clever, funny when appropriate, and has me bonding with him in about fourteen seconds. Not once did I think about how David or Chris or Tom would have played a scene. The Doctor - Matt Smith's Doctor - is in charge, and effortlessly so as well. However, grown up Amy's more than a match for him though; a clever new foil for his outbursts and ingenius insanity. She's going to be an amazing companion, that girl, and Karen Gillan is effortlessly natural in the part. Spot on, nailed performance.

The supporting cast are also brilliant (fanboy squee: OMG! There's Sir Patrick Moore! Brilliant!!) and the scene with Jeff and The Doctor comandeering his laptop has me bellowing with laughter. 

Prisoner Zero is another clever idea from Steven Moffat, a shapeshifter that uses comatose patients as a template; although it's a bit rubbish at getting the voices right. The silent dog and the barking man is hilarious; but the girls and the Mother having the same voice in the hopsital stand-off sequence makes my blood run cold. That's a definite chill. Taking the everyday and making it uncanny, unexpected and creepy. Gas masks. Ticking clocks. Stone Angels. We're definitely in Moffat territory. The alien itself is no more pleasant. It reminds me of a deep sea angler fish, and it's ugly. The Atraxi show up and they remind me of Axos and the Mandragora Helix set from Classic Doctor Who, and the Crystalline Enitity from Star Trek Next Gen. Not as in "nicked", just an influence creeping in.

There's a now almost reverent nod to the previous Doctors, and The Doctor's current incarnation is now dressed properly and ready to save the world from being fried with some decent advice to the Atraxi, which he does with style, before legging it back to his now finished and revamped TARDIS.

We finally get a look inside, and aside from a raised eyebrow at some of the controls (again, not negative, just unexpected!) I'm over the moon at what they've done to the best ship ever. The outside has those echoes of the 1960s series to it, and the inside just takes your breath away with the scale and love gone into it. 

It's all over in what seems like twenty minutes. It was actually an hour and five. The continuity announcers do that very, very annoying thing of talking over the credits and shrinking them to half the screen again, and it occurs to me that's the only negative thing I can find. It also occurs to me that I'm now liking the theme tune, and that I adjusted to that one really rather quickly.

I'm relieved and ecstatic that the character I still care about is in a very, very safe set of hands. More than that, I think I've fallen in love with The Doctor and his TARDIS all over again. Released from my hypnotic trance-like state that television's held me in, I glance around. The snacks are untouched, and the tea's now stone cold but undisturbed in the mug. And I remember that it was ever thus. When The Doctor's in town, everything here stops. 

Reviewed by: Chris Kilby

Review Posted: 15th April 2010

The boy done good. Definitely not sick as a parrot. Yup, it looks like football's loss was Doctor Who's gain. But does that mean there's a parallel universe where David Beckham's The Doctor? Or Wayne Rooney? The mind boggles!

The Eleventh Hour was an episode of two halves. Two halves? Four halves more like!

There was the obligatory "I'm mad, me," post-regenerative trauma malarky which was deftly handled with wit and humour - "fish fingers and custard" sounded like a Dr Seuss book and must have had every eight year old in the country going "Yuck!" And I loved the Fermat gag. And "You're Scottish, fry something." Funny's good. Yeah? Tell that to the average fanboy...

Then there was the new companion and her already-tangled history with the Doctor - "Why did you say 'five minutes'?" It shouldn't have been surprising that the first episode of the Steven Moffat era would be so timey-wimey. Starting as he means to continue? And does this mean the next time the Doctor meets River Song she won't have met him yet...? 

This was followed by the supposedly "main" plot which was a bit perfunctory but served its purpose - alarmingly sub-par CGI notwithstanding (the result of cutbacks or the increased cost of switching to HD?). Ironic after Neil Harris' recent DWM column about not-so-special effects. Did he know in advance?

And finally there was setting up the big "Crack in Time" story arc - silence will fall. Phew! No wonder it over-ran. Is it just me or did that crack look like... a smile? And the Doctor's up to something. Why else would he hastily turn that scanner off before Amy clocked it? "Why me?" indeed. It's the seventh Doctor all over again. But in a good way.

So what of the junior Doctor? Well he's a bit gawky, a bit awkward, and, yes, he is a bit young. But this Matt Smith. He's rather good, isn't he? Loved how he savoured saying "Amelia Pond." And that tweedy look's a real grower: a bit mad professor; a bit young fogey. And, it has to be said, remarkably similar to "John Smith's" getup in Human Nature. "Bow ties are cool"? Well they are now.

"Who da man?" was funny cos it made the youngest Doctor ever look like someone's dad trying to sound cool - classic Moffat! Kids think anyone over twenty's old anyway, so what do I know? As for the new Doctor emerging from the face(s) of the old with a jovial "Hello. I'm the Doctor"? Back of the net! David who...?

But sometimes the Doctor needs someone to stop him. Talking to himself, that is. Which brings us to the new companion.

Amy's a bit brittle. A bit highly-strung. A bit cynical. And who can blame her? The Doctor ruined her life - that's what she gets for talking to strangers! No wonder she clouted him with a cricket bat. This is the most interesting Doctor/companion dynamic yet. I hope the new TARDIS has circuit breakers installed, cos there's gonna be sparks. But where was Amy's auntie during all this? And no mum or dad? REJOICE! REJOICE! REJOICE!

The stunning Karen Gillan's good if a little pouty - she kept reminding me of her spot-on Angelina Jolie on The Kevin Bishop Show. And I still can't look at her without thinking "Gritty BAFTA." (Wee Caitlin was great too. It's a pity we won't be seeing her again. Or will we...?)

But it's hard to believe she's even less fleet of foot than Catherine Tate (the other "Runaway Bride") was. Maybe it was that very short skirt that got the Daily Mail in such a tizzy. A kissogram? "It was this or a French maid." What was the keyword for this episode? sexy? Saucy? Kinky?

It was probably "magical." The Moff wasn't kidding when he likened his Doctor Who to a fairy tale. Allusions abounded: apples (which the Doctor tellingly tempted Amy with); Time Bandits; "The Raggedy Doctor"; music straight out of Edward Scissorhands; and, my, what big teeth Prisoner Zero had!

But fairy tales aren't all sweetness and light. What would a good fairy tale be without the stuff of nightmares? (Who said a Disney film?) And few images are as nightmarish as a giant frickin' eye staring at you. But speaking of eyes, that flashy Doctorvision POV sequence was a bit Matrix-y; a bit Sherlock Holmes (the recent one). And it'll get old real fast if it's overused. Like bullet time did.

The vast new TARDIS is a bit busy. A bit lava lamp-y. A bit, well, orange. I think I preferred the silvery / black version on Confidential. You know, the dark one (natch)? But, like the new feme choon, I'm sure we'll get used to it. And if we don't like it we can always lump it.

I suppose the TARDIS should be a bit overwhelming the first time you see it. And a potentially Ecsher-like TARDIS interior could be interesting. But didn't the Moff (who has said the Doctor shouldn't be "young and dashing" - whoops!) say something once about us kids wanting "Narnia not the wardrobe"? Unless we're treated to Die Hard in a TARDIS! Yippee-kay-yay... er, muddy funsters?

There was no messing about here. BANG! And we were off - hurtling across the London skyline. No reprise of the regeneration. No mention of Rose. Or the Time War. Or recent events even. Good. Time to move on. Doctor Who was getting a bit self-indulgent and fan-fictionish of late (even Russell thought so). But this really did feel like series.

The first episode's never the best but this was great - easily the best series opener yet. And if that blinding trailer was anything to go by, the rest of the season's gonna be even better. Blimey!

They think it's all over. It is now!