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The strength of DOCTOR WHO, the fresh series and the new, has always been change, and change it has. Over forty-years ago the display began with one actor and now we have 10 actors who have portrayed the 900+ Timelord. The first season of the original series ended by changing leads through regeneration, as the 2nd season ended with the “lost” of not only the companion / care for interest, but the whole “point-of-view” for the recent series: Rose Tyler. Since the PILOT or “ROSE” episode the series has been through her eyes. The viewers could portray to the Human perspective more readily than the sometimes alien POV of the title character. In fact, the series gave up not only Rose, but her family, Mickey Smith, Jackie Tyler; Mum, Pete Tyler ( deceased, sort of) ,all of the anchor characters that added so great emotion to the original series.

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Can the series, even one a clever and frosty as Dr. Who, survive such change.

The acknowledge is yes, definitely, yes. Although, there is a loss, infact the sense of loss that the viewer feels, is surely an undercurrent of the entire season, starting with the Christmas special or THE RUNAWAY BRIDE, the precursor to the suitable first episode of the season. Opening good after series two leaves off, the Bride a.k.a Donna Top-notch played by U.K. comedian Catherine Tate appears in the TARDIS, the Doctor has miniature time to spy his loss before he is literally running for his life again. Like the Christmas Invasion, the special is light-hearted, and introduces a “one-shot” temporary companion (although Donna will be a major-part of season 4) . One highlight of the “BRIDE” would be the sparkling soundtrack provided by composer Murray Gold, a truly cinematic fully orchestral backdrop that sells some fanboy innovative moments like a CAR Toddle WITH THE TARDIS ( I kid u not, the iconic Call-box is zipping though traffic like something from a 70’s cop-show) . Donna sums up the subtle theme as she declines the role of companion, stating that the Doctor needs someone to “conclude him from going to far” as he coldly sticks to his assertion of the previous Christmas: “No second chances” while dispatching the Empress and her brood.

In the second myth in this space, but the trusty season opener, unique regular companion MARTHA JONES is introduced in a satisfying commence to 2007 in “SMITH and JONES” ( a goof reference to the Doctor’s sometimes alias of Dr. John Smith which shows up again in the season, too) . An all too different character than Rose, Martha is Medical Student, so she doesn’t need the Doctor to rescue her from her life as slacker Rose did, she’s intelligent in a less pop culture intention than Rose, more analytical like the Doctor. Like Rose, we meet her family in the episodes opening over several rapid-fire conversations via cellphone. Queer things are afoot at her hospital which eventually ends up on the Moon. More as window dressing, the Jadoon Stormtroopers, beautifully realized alien police are searching for an vampiric alien among the human patients and doctors. Martha and the Doctor immediately compose an appetizing on camouflage chemistry, while storytellers lop to the straggle and give us two instances of Doctor/Companion kisses, the throwaway nature establishes the preoccupied (with love-lost) tone that the Doctor will regard Martha (unfortunately more like a old Dr. Who relationship) . The Doctor spells this out saying, “this doesn’t mean anything,” sadly for Martha, this feeling isn’t mutual and leads to choices made by the kill of the season. So the Doctor sacrifices himself to flush out the fugitive, while Martha literally breaths her final breath in an attempt to place the Doctor’s life, earning herself a non-committal invite to the TARDIS.

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The major portion of the first half of the 13 point to season, 14 with the “Bride” Special (#0) is old-fashioned. Smith & Jones (#1) is strong, the Shakespeare Code (#2) is frankly Incandescent!

GRIDLOCK (#3) is very fine, but the Dalek 2 parter: “Daleks in Manhattan” and “Evolution of the Daleks (#4-5) “, NOT SO Incandescent, nor is “Lazarius Experiment (#6) ” or “42 (#7) ” But the final HALF of the season (#8-13) is GOLDEN, leading up to a 3 fraction finale re-introducing a classic character that will blow you away!!! Away!!!

“SHAKESPEARE CODE”, Martha’s first wobble serve in time, they meet the Bard himself and learn the secret of Shakespeare’s illustrious lost play. This was film partly in the exact rebuild Globe Theater, so it looks substantial. As is Dean Kelly’s rock-n-roll performance as the renown playwright. This contains some of the best dialogue the series has EVER had, so considerable so that you considerable search for it repeatedly to truly savor this one ( I played this one to high-schoolers as a follow-up to Hamlet) .

“GRIDLOCK,” is a enormous sci-fi myth, in which people are living their lives stuck decades and decades on a skyway traffic problem. The is the 3rd memoir in the novel series history to go to the far-future “Unusual Earth” and the Doctor meets the Face of Boe for the prophesied 3rd and final time. A spruce notion with tremendous effects and some genuinely lively moments, like the music montage of the stranded freeway drivers connected by faith and song. The Face reveals a secret to the Doctor which tips us off to the season finale.

The DALEKS in MANHATTAN” and “EVOLUTION of the DALEKS” is the Doctor’s apology to Martha for showing off taking her to Fresh Earth on the rebound as it were, but overall this 2 share doesn’t work. There is some broad integration of footage actually shot in new NYC, reworked to witness like the 1920’s, but the premise that the sole surviving Daleks (the Cult of Skaro, seen escaping last season’s finale) are making not only PIG-Slaves, but the EMPIRE Position BUILDING itself as fragment of a conception to recreate their urge using humans for materials. There are some edifying performances all around, but the “Evolution” of the Human-Dalek (both costume and opinion), is disappointing and distracting. But, the Art Deco 1930s style Empire Dwelling Perform does lend itself to that of the Daleks.

Episodes 6 and 7, “The LAZARIUS EXPERIMENT” and “42″ are both so derivative of Celebrated sci-fi that they are unsatisfying when compared to some of the really substantial shows of the season. LAZARIUS is very distinguished a variation on “the Glide” while “42″ with its valid time opinion (”24″ reversed) and spacecraft claustrophobia is like both Impossible Planet of last season and other movies of the genre. But, Dr. Lazarius himself is afforded an expedient performance by Dr. Who writer Stamp Gatiss ( of “League of Gentlemen” and “Jekyll”) .

Again proving that the producers are suitable fans themselves, episodes 8 and 9, Human Nature and The Family of Blood, are based on a fan accepted Dr. Who Recent (with the 7th Doctor), translating seamlessly to TV. It is a classic anecdote thought, the Doctor becomes Human!! In order to speed a family of aliens ( a notion already borrowed from the new for season one’s Slitheens, an alien surname) the Doctor puts his Timelord identity into a gaze, only Martha knows who he is and is effect in charge of this secret as he really becomes John Smith, History teacher (of course) of a boys school honest before WWI. I can’t say enough about the heart-wrenching excellence of this 2 parter. The Doctor falls in cherish and must obtain some hard choices. This also sets up things to advance in the finale.

Episode 10, “BLINK,” happens to be filler, like last seasons “Admire and Monsters” in which the regular cast is all but absent in order to shoot another episode simultaneously. Like “Worship and Monsters” this episode is a creative triumph, also faulty on a previously published epic. “BLINK” also happens to be the scariest expose of the unique series history!

In a nutshell, the Doctor is sending messages from the past to “the exhibit” through DVD extras or easter eggs, warning about weeping angel statues that go at you when no one is looking, so don’t even blink! Although, no one is killed on mask, not in any feeble sense, this one is tranquil keeping my kids up at night (especially in a city famed for its cemeteries) ! BLINK was written by Steven Moffat, two-time consequtive HUGO winner (both for DR.WHO, series 2 the “GIRL IN THE FIREPLACE” and series one’s “EMPTY CHILD.” Moffat has next year’s Hugo in the bag with BLINK, if his writing in JEKYLL doesn’t split the vote (explore my review for more on JEKYLL) .

The final 3 parter, “UTOPIA”, “The SOUND of DRUMS” and “LAST of the TIMELORDS” are perfection. Really. I can say more without revealing too distinguished (although the U.K. press already did that long before the shows aired), but the season is fat of clues leading up to this (even in TORCHWOODS final episodes there are clues) . Capt. Jack returns for all three of these and there are primary guest appearances such as SIR DEREK JACOBI ( celebrated for I, Claudius), how large is that!! Also, John Sims (from Life on Mars) . The first of these 3 parts, UTOPIA, comes across as a Angry Max deal, don’t give up on it, that is unbiased subterfuge! Form plans to study the three of these back-to-back-to-back, you’re not gonna’ want to close.

Third time’s a charm–that’s the inevitable cliche that pops to mind. If the first series (season) of Doctor Who was helpful with some hiccups and the second quite blooming overall, the show’s creators seem to have really hit their walk with the third series here and brought forth an first-rate range of science fiction adventures at once provocative, inventive, and exciting–innovative and modern but very just to the show’s spirit over the decades. Oh, and loads of fun, of course.

By now David Tennant has a totally surefire recall of the Doctor’s character and has contributed noteworthy to its portrayal–and convincingly developed it in the bargain, especially in light of the events of series two. Eccentric as always, frenetic and off the wall but silently nursing a deep wretched, launch and generous and yet with a clear emotional distance and brusqueness. The Doctor we all know and cherish, but a minute more complex. You will never find me to say that he’s better than Tom Baker as some have, but my sense is that Tennant may very well destroy up putting as definitive a heed on the renegade Time Lord for this generation as Baker did for us old-timers. As for the Doctor’s companion, it’s determined that the writers were wisely avoiding a tell of Rose (whom we all miss, yes) and going instead for a somewhat more worn and shining foil in up-and-coming med student Martha (as played by Freema Agyeman) –a doctor in training, as it were, a bit of cleverness that the writers thankfully capitalize on in her first episode. The chemistry strains a bit to spark at first and the one-sided romance angle is brought in a bit too abruptly perhaps, but unruffled The Doctor and Martha perform a nice, believable team overall.

The storytelling for this series is excellence itself. Not perfection, mind you, which is humanly impossible anyway, but even the lesser episodes are better than most of what you’ll gather on TV nowadays–especially when it comes to sci-fi. “The Runaway Bride” is estimable if slightly zigzag holiday fun in the plan a Christmas special should be, “Smith and Jones” has a hint of Douglas Adams influence in its satirically-edged motifs of galactic bureaucracies and absurd situations, “The Shakespeare Code” is a highly memorable pseudo-historical starring the Bard himself in a manner totally cohesive with the dwelling, and “Gridlock” is a claustrophobic return to Novel Original York with an edgier angle. The “Daleks in Manhattan”/”Evolution of the Daleks” two-parter is kind of like comfort food for older Doctor Who fans–a very typical Dalek yarn of invasion and mutation, but with a few new ingredients like the human/dalek hybrid and the 1930’s Unique York setting. “The Lazarus Experiment” and “42″ likewise conform to tried-and-true Doctor Who formulas but successfully so, “42″ being something of an cocktail mix of “Ark in Plot” and “Inferno” complete with a not overplayed ecological theme.

On the other hand, “Human Nature”/”The Family of Blood” and “Blink” are unlike anything ever before seen really in Doctor Who and really showcase the creativity and never-ending potential of the exhibit. And then finally the three-part anecdote series conclusion, “Utopia”/”The Sound of Drums”/”The Last of the Time Lords” first takes the Doctor to the Substantial Crunch and then builds on countless clues scattered throughout all the season’s prior episodes to expertly spring quite a surprise on the unsuspecting viewer, the return of…well, if you don’t know I won’t give it away, but I haven’t seen this particular character so masterfully portrayed since the current in the early 1970’s. It must be admitted that the climax in section three is objective a tad fanciful and will induce a sense of deja vu in anyone who in their childhood attested their concept in magic and clapped their hands accordingly so as to revive Tinkerbell, but this didn’t really bother me consciously till well afterwards, meaning that the writers succeeded in getting me to suspend my disbelief long enough for them to derive away with their forgivable limited cheat.

All in all then, the show’s creators have struck a comely balance throughout between the futuristic and the pseudo-historical, the cozily familiar and the out-on-a-limb modern, the thoughtfully speculative and the chills & thrills adventurous. Of course tastes will differ, but my impression anyway is that “Doctor Who” has now really arrive into its contain again as a wonderfully worthy science fiction TV program with this compelling variety of storylines in series three, all of which can be watched and enjoyed again and again (along with all the usual extras and behind-the-scenes programs) on this attractively packaged DVD set–a bit sturdier in obtain than the last two, thankfully. Only beware, once you begin watching you won’t even want to blink!
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