Whilst the heart of James Moran’s spectacular and staggeringly dramatic episode may have been torn straight out of The Aztecs, the fundamental dilemma that each of the Doctor’s companions faces when they are taken back in time has never been portrayed as gracefully or as explosively as it was here. And even with a star-studded cast comprised of the likes of Peter Capaldi and Phil Davis, there were still two performers that outshined the rest every step of the way – David Tennant and Catherine Tate, each at their best here. In short, a classic.

Love, tears, laughter, fools, and horses! The Girl in the Fireplace was so nearly my number one: indeed, many of the stories on this list are so close together that you couldn’t wedge a gnat’s wing between them. Beautifully written, performed, shot, and produced, Steven Moffat’s fantasy romance encapsulates all of those wonderful qualities that make Doctor Who the modern day sensation that it is. If I were to introduce somebody to the series today, then I would still start here.

Fans had always dreamed about seeing Daleks versus Cybermen; it was the sort of apparently obvious thing that casual viewers automatically assumed had happened before, but until 8th July 2006 it never had. And Russell T Davies pulled it off with such style, teasing us with the alarming notion of an alliance that could “upgrade the universe” before the inevitable antagonism ensued. But the true beauty of Doomsday is that it won’t be primarily remembered for being “the one with Daleks against Cybermen” – it will forever be burned into the minds of viewers thanks to its agonisingly perfect climax which reduced even the hardest of us to floods of tears. Shame about Journey’s End…

Perhaps the most ambitious story of Doctor Who’s forty-five year existence, the word ‘epic’ is just not superlative enough. Marred only by its despoilment of Doomsday (which has cost this relentlessly entertaining tale a higher place in this list), this absolute slobberknocker of a story sees the Daleks and their monstrous creator at their zenith - this is how I always imagined the Dalek Invasion of Earth should have looked! If ever there was to have been a canonical Doctor Who movie, then this should have been the script (subject to a few redactions).

The end of the universe was a suitably romantic setting for Davies to introduce the Master to a whole new generation of viewers. The Doctor Who equivalent of a small stage play, Utopia was a tight, ponderous affair carried entirely by the colossal gravitas of Sir Derek Jacobi, David Tennant and John Barrowman. And Graeme Harper shot it so very well: the tension that he created with those long, lingering shots on Jacobi’s face was excruciating. The viewer could almost see the wheels turning as the Master struggled to reassert himself…

Talk about thought-provoking! 2008’s 'Doctor-lite' adventure was a truly breathtaking piece of drama; not only written sublimely, but performed and directed with the same aplomb. As well as being a stupendous vehicle for Donna and Rose, Turn Left was more successful than any other Doctor Who story that I can think of in terms of how it conveyed the sheer importance of the Doctor – no small feat considering that he featured for about ninety seconds in all.

I’m sure that I’m misquoting somebody when I say that stories are never finished, they’re abandoned. Except for Paul Cornell’s Human Nature, that is. Times and Doctors and formats may change, but stories as powerful as this one are capable of evolving right along with them. Glossier, quicker, and even more bold than the original novel, this two-parter possessed everything that anyone could ever want from a Saturday Night family drama, and much more besides.

Ten's swansong wallowed in the funerary feel commensurate with the death of a Doctor, whilst at the time offering shock and spectacle on a level that outdid even The Stolen Earth. Timothy Dalton’s Rassilon was positively dripping with elegant evil, and John Simm’s Master was every bit his equal; more insane than we’d ever seen him. But ultimately it was Bernard Cribbins and David Tennant that stole the show, their mutual tears saying more than even Davies’ most eloquent dialogue ever could.

For the series’ first ever bona fide Christmas special, Davies took the familiar and turned it into the stuff of mistletoe-strewn nightmares. In what other show could you find a hysterical woman screeching “I’m gonna get killed by a Christmas Tree” as a very fast, very creepy version of Jingle Bells played and a razor-sharp, rotating Nordmann fir tried to slice her up? Even old Nannan Wolverson was waxing eloquent about the merits of this one when I saw her on Boxing Day…

Whatever your tipple when it comes to scares, I can guarantee that there is something within this story’s ninety minutes that will leave you feeling deeply unsettled. But what set The Satan Pit apart from other memorable scarefests (sorry Blink - this one just beat you to tenth), was its heavy focus on our lead man. This wasn’t a story where the Doctor showed up and saved the world; it was a story about him, and his having to come to terms with the fact that there are things out there that even he does not, and probably never will, understand. Still Doctor Who’s scariest story ever, I reckon. Just...

Not an original choice for number one, but a deserved one. The Doctor may not feature much in this story, but his presence is felt throughout. Carey Mulligan as Sally Sparrow is the best companion we never had, and Billy and Lawrence are both great supporting characters. The Weeping Angles will go down as one of the all-time best monster creation in the series’ history. So good, it could easily be extended and remade as a blockbuster horror movie. Called When Larry Met Sally, perhaps. Or perhaps not...

One of the best of the New Adventures becomes the template for a beautifully written, directed and acted two-part story that combines science fiction, horror, romance and existential angst to incredible effect, and even sets up its own ongoing contribution to mythology in the form of the Chameleon Arch / fob watch. Harry Lloyd needs to return as Baines / Son of Mine one day for a rematch.

An underrated classic, and I’m not the only one who thinks so. It’s not a event episode, it’s not a major part of the show’s history, it’s not a wild risk-taking deconstruction of the show’s premise. It’s just a cracking bit of Doctor Who, which has the cheek to combine new series elements like Cat People and the Face of Boe with the flipping Macra! A top notch bit of entertainment, one I can just watch over and over.

Another 'Doctor-lite' story, but again, one that is defined by him, or rather, by his absence. By this stage, the Whoniverse version of Earth history had veered a long way from our own, but there were chilling echoes of what may yet be in the devastated vision of Britain. Catherine Tate proves what a fantastic actor she truly is, something few of us were prepared for before the 2008 series, and Bernard Cribbins is almost as brilliant. Even Billie Piper’s lisp can’t spoil it.

A Doctor Who love story. Who’d have expected we see that? An honest to goodness romance, albeit one with rampaging clockwork soldiers. A very beautiful piece of work, with sterling performances by David Tennant and Sophia Myles, and one which harks back, in a way, to those old 1960s historicals - how many kids knew who Madame de Pompadour was before this was broadcast?

Another wonderful performance by Catherine Tate; the first that showed us just how good she could be when given the right material, and David Tennant is pretty amazing too. A fine exploration of the show’s premise, exploring the question that every viewer asks at some stage - just why can the Doctor interfere sometimes, but not others? But with lava monsters, and jokes about the Celts. There’s lovely.

Perhaps this deserves to be higher up, but it’s not the sort of episode I can revisit time and time again. Instead, it’s one of those stories that will never be quite the same on second viewing, without the wonderful feeling of not knowing just what is going on. Nonetheless, incredible writing, direction and acting once again come together, providing an intriguing, disquieting experience at any time. A fine example of the show stretching its format into new and bold shapes.

Two-part stories are often extravagant, bombastic affairs, but here is something altogether more intelligent and more affecting. It’s another story that will forever lack the punch it had on first viewing, when the very nature of the story was a mystery. Even without that, we’ve got Alex Kingston putting in a fine, memorable turn as River Song, another excellent turn by both Tennant and Tate, some genuinely tear-jerking moments, chilling monsters and tantalising hints of the Doctor’s own future.

Another two-part story that tries something a bit interesting, one of the first stories in the new series to really go for the horror movie feel. It’s another that I could easily imagine remade as a big-budget feature, excellently combining claustrophobic tension with an epic outlook. The Beast is clichéd, yes, but it’s only become a cliché because it works. This story also gives us the Ood, who were going to become more important than we ever imagined.

I surprised myself by including this. Last of the Time Lords may be a bit of a damp squib when it comes to wrapping up a three-part season finale, and there may be plot holes you could drive an elephant through, but by gum, it’s entertaining. It’s a story that has grown on me hugely on reviewing, something you can really just sit down and watch all the way through. The variety of settings and styles is partly responsible for this, but it’s really down to those two masterful Masters, Sir Derek Jacobi and John Simm. The good guys make there mark too, the tenth Doctor, Jack, and Martha making a fine, wonderfully watchable team. And it’s got John Simm dancing to the Scissor Sisters, which, as entertainment, just can’t be beat.

The Brigadier! The Master may be my favourite villain, but next to the Doctor the Brig is my favourite hero, and when he meets with the current Doctor it’s a wonderful treat. Had all gone according to plan the Brigadier would have appeared with the tenth Doctor on-screen in The Wedding of Sarah Jane Smith, but ill-health forced Nicholas Courtney to pull out of the filming early in 2009. That episode, although fun, seems so empty to me now as the Brigadier has for some reason returned to Peru. Although Enemy of the Bane remains a highlight as the Brigadier indeed made an appearance in Tennant’s era, to date the only story which pairs Ten and the Brig is the Doctor Who Magazine comic strip The Warkeeper’s Crown, which is a fun romp in the style of The Lord of the Rings, with orcs and all manner of dark age style beasts thrown in for good measure. The story is simple, quick, and feels like a good extension of Lethbridge-Stewart’s earlier seventh Doctor adventure Battlefield and the eighth Doctor novel The Shadows of Avalon. No matter what, at least thanks to this Alan Barnes tale, we can say the tenth Doctor met the Brigadier (well, General, really), and with the sadly failed television attempt, we can also hope for an eventual meeting with the Doctor's eleventh incarnation and beyond. Now if only we can get Nine with the Brig (but if not, please see my story Personal Correspondence on this site)…

A growing descent into darkness showed us a Doctor so driven to save lives against the intractable decrees of time that for a moment the hero became almost scarier than the Flood villains that he faced. But the true joys were found in the utter rush of the Master’s return as a ravenous monster driven by blind appetite, the Doctor’s race against his prophesied death, and the veritable detonation of fan awe as the Time Lords returned (led by Lord President Rassilon himself!), and not as ghosts but as a time-locked living race; not destroyed, but deliberately sealed away by the Doctor to stop them from destroying all of creation in a fanatical reach for pure-consciousness. I can only say this is precisely how I hoped the next step of the series’ treatment of the Time Lords should be: not as friends but deadly enemies of the Doctor, who only chose to remember them as glorious. Also, for this fan, who firmly believes that the Master first appeared under the War Chief alias in 1969’s War Games, this closure story a full forty years later perfectly echoed and paralleled the Master and the Doctor’s fear of their people, and sweetly justified the Master’s final defiance of their tyranny, although I imagine when next they appear the villain will have assumed the Presidency and be hunting the Doctor once more. And of course, who can withstand the tenth Doctor’s final sad moments as he bids farewell to Wilf and his many companions before he explodes himself to sleep? And moreover, who can feel no thrill seeing the eleventh Doctor’s first fear of being a girl?

Oh boy, what else can be so big but the Master himself? Well, two more things, obviously, for this list but one of them is with the Master anyway so… Arnold T Blumberg said in an interview I conducted for my Doctor Who column on The Examiner.com that this event was the single best thing the new series had done, and as a die-hard Master fan I must agree with fervent accord! Sir Derek Jacobi’s Professor Yana was a joy to behold as the Doctor’s old enemy in friendly form, which nicely echoed the seventh Doctor audio Master, which featured the villain in an amnesiac, friendly ‘John Smith’ persona. Jacobi’s later chilling return as the true Master harkened back earlier times of the Master as played by Roger Delgado, with his smooth, suave murderous charm. John Simm’s time as the darkly manic Master / Harold Saxon was so different from the Masters we had known, and yet was exactly the way the Master had always been. The Toclafane, the Paradox Machine, the aged Doctor, and The Year That Never Was were all fine elements of a story so bleak it had to be forgotten. A masterpiece, and yes, that is a perfectly intended pun.

Peter Davison and David Tennant, in the TARDIS, being themselves, together.  

‘Nuff said.

UNIT! Sontarans! Earth under a cloudy siege! The Sontaran / Rutan War! Wilf! And Martha Jones! This story felt like the series of old, with car chases, human collaborators with aliens, a classic race raining havoc over the planet with UNIT’s finest standing firm with the Valiant at their command. My favourite moment, however, was definitely the tenth Doctor wishing he had the Brigadier by his side, now a Knight of the Realm. Although the old soldier was absent from the fray, just hearing he was still alive was enough to lift my smile to my eyes. If only he had been in the finale.

The tangentially connected Jenny story was also compelling as we met the first biological relative to the Doctor since Susan in 1963. The fact that Jenny, played by the lovely Georgia Moffett, survived the event makes this fan hope one Steven Moffat can find the narrative space to weave her back into the Doctor’s path someday…

Essentially The Five Doctors of the revived series, the Doctor and his various companions of Doctor Who, Torchwood, and The Sarah Jane Adventures united to face the Daleks with none other than Davros, re-created with unbelievable success by the astounding Julian Bleach. The prequel episode of Donna’s alternate life (complete with a connection to the Trickster of Sarah Jane’s rogue’s gallery) was a haunting look at why the universe needs the Doctor. The mystery of Rose’s return, the creation of a half-human Doctor clone, and the tragic loss / “death” of Donna Noble made the end of Tennant’s regular run a brilliant epic, complete with the universe-ending threat as well. But, when is the series anything but that? Only one very special person was lacking to make this story absolutely perfect.

Good night, what a memory rush! Sarah Jane Smith and K9 Mark #III no less! I think I’m clearly unoriginal in saying I love Sarah Jane and Elisabeth Sladen, and the return of the actress in character was a revelation that time and age are the refiners of humanity goodness and beauty. Sarah’s return also nicely highlighted the plight of companions departed and contrasted with Rose’s then-incumbency as a companion. On the conflict side, the Krillitane and their leader Mr Finch / Brother Laskar were chilling and incredibly designed. And the nods to quantum mnemonics made both Craig Hinton (who was still alive at the episode’s broadcast) and I two very happy fans.

A re-make of a mid-1990s Virgin New Adventure proved once more that the series never really went away after Survival but produced some of the best fiction in any genre. The tenth Doctor’s hope to evade capture by becoming human via a chameleon arch and fobwatch was a new layer to the Time Lord’s psychology and physiology; one which had major resonance later that series with another Time Lord. But this story’s romance, the threat of the Family, Martha’s experience of racism in 1913 England, and the glimpse of John Smith’s normal life the Doctor can never have was heart-playing and breaking. A true gem.

Martha Jones. Plasmavores. Barefoot on the moon. The blue suit. It was a new era for Doctor Who, only the second post-Rose episode and the first since Rose without a pre-titles sequence. The series was starting its third year on-air and the second with Tennant, who was on form with fast, fun, and flippant energy. Freeman Agyeman was a ray of sunshine on a cloudy day and brightened the 2007 year. Plus, Mr Saxon was talking about aliens…

You have to start somewhere, and David Tennant’s song as the Doctor has its first best bars here. Granted, Tennant is barely in the adventure, but the script quite poignantly handles the loss of the ninth Doctor through Rose’s growing despair; seeing the man in place of her friend utterly helpless and comatose while one-third of the world’s population stands upon the precipice under the shadow of a Sycorax invasion. This initial lack quickly evaporates as the new Doctor sword-fights his way to victory and manic success in the story’s climax. Plus the Song for Ten wardrobe scene remains my favourite costume search of the series to date. Matt Smith has much to live up to…

Beautifully acted and heartbreaking. I loved the clever plot but also (sorry Dad) the pygos*. I was very sorry to lose Rose (my fave companion ever) but thought her leaving was full of dignity and left the Doctor able to move on. (Therefore, agree very heartily with my brother's “boo” for Journey’s End).

* Pathos to those English speakers amongst us

Brilliant twists and a truly terrifying alternative universe. Loved it.

A crucial episode in terms of Donna understanding the “rules of time”, but also in the Doctor understanding essential humanity.

I loved the Orwellian spookiness of these two episodes, as well as the impressive array of likeable characters. Good stuff!

My fiancé James wanted this one on – he loved David Tennant’s energetic entrance.

Hard to say why I liked this one so much – I thought it was really well directed and enjoyed the inevitability of the crew’s fate being dangerously reversed. Although the Doctor’s sudden change is a little unconvincing, the actors made it work. I liked the variety of characters.

James didn't want this one in here though!

Scary darey. Sally Sparrow would have, in my opinion, made a cool companion…

I liked the idea of the Doctor being a DVD easter egg too.

I thought Part 1 was a little slow to start, but loved the second one. Excellent acting from David Tennant and Bernard Cribbins – a really moving relationship.

I loved the montage at the end too – tears a’plenty! Also Martha and Mickey – made me and James go “OH MY!”

Funny and the Adipose are sooo cute! I want a cuddly one!

What can I say? I love Shakespeare and, actually, the Globe was really well done. Liked how the Doctor gave Shakespeare many of his essential lines too. In fact, I often use this episode in lessons now!

Complex storytelling and a strong emotional drive, this stands head and shoulders with the best of Doctor Who. Everything from the stunning setting to the terrifying monsters works so well that it bodes extremely well for the future. Moffat has a second stab at a love story for the Doctor, and again gives it a fascinating twist. River Song is an intriguing addition to the mythology of the show, offering a wealth of untelevised adventures we can only dream of. The way that the story develops making the Doctor's first encounter with this woman her last with him is quietly devastating and ends the story on a real emotional high. Silence in the Library is a dark and menacing scene-setter, taking its time to build up the tension and explore the environment, before ending on one hell of a cliffhanger. Forest of the Dead is an amazing piece of work; emotionally charged, extremely chilling and challenging television. The fact that this went out at 7.00pm as a family show is astonishing; it is simply one of the most innovative pieces of work that I have seen in years. David Tennant gets to explore a myriad of emotions but as usual with Series 4 it is Catherine Tate who makes the difference. Her experiences in the virtual world see a whole world of character development and she leaves the story as bruised as the Doctor. The story ends on a terrific note, with lots of questions about the future…

It was so hard to choose between this and my number one but in the end I went for the story that affected me more on first viewing. This and number one are both perfect examples of how good Doctor Who can be in its new format if it really tries. Paul Cornell's scripts are so powerful and moving that I was grabbing at tissues before the end of this two-parter. It is a story that allows both the Doctor and Martha grow so much and gives David Tennant a chance to truly stretch his wings and show his audience what he is capable of. It is a very adult show, a historical with a fine eye for detail and the bravery to tackle some weighty themes. The love story between the Doctor and Joan is very sensitively handled and believable, and Jessica Hynes gives possibly the strongest guest performance in the new series. The Family of Blood are a chilling new monster race and Harry Lloyd gives a fulsome performance as Son of Mine, a terrific Doctor Who villain. I love how the story is not afraid to examine the human condition, to look at warfare and cowardice and to portray the very real horror of sending young men to fight. It is a benchmark Doctor Who story for its experimental characterisation and its novelistic roots.

Quite simply one of the most uncomfortable Doctor Who stories to be aired, this is a huge Hollywood blockbuster that begins as an action piece and ends in chaos and destruction. Far from being a brainless exercise the story has some of the finest development for the tenth Doctor, finally putting to rest his involvement in historical events and showing he has finally gone too far and must be re-invented again. The production is astonishingly good with a believable location, a chilling monster and some dynamic direction from Graeme Harper. With a wealth of unforgettably grisly images, a death count that actually means something and an ending that will leave a lump in your throat, The Waters of Mars saw David Tennant begin to go out in true style.

Russell T Davies goes bananas writing a love letter to his own era. In doing so, he writes the biggest, fastest, nuttiest Doctor Who story of all time, with many stupendous scenes that make you want to break down and cry at how much you love this show. Davros returns and he is creepier than ever. The Dalek Empire has never seemed scarier. The threat has never been this apocalyptic. All of the Doctor's latest companions get a chance to prove just how resourceful they are. All of the spin-offs are bound together with their parent show effortlessly. It is an incredible piece of work, balancing kisses to the past with incredible action, an examination of the Doctor with the tear-jerking farewell of Donna. On first viewing, The Stolen Earth was the most exciting thing that I had ever seen; period. Journey's End felt like a letdown but with subsequent re-viewings I have come enjoy its wacky concepts and its attempts to make this as epic as it can possibly be. Every character gets a moment to shine, even the minor ones. And Donna knocks Rose of the top spot by having the most unfair departure of any companion. Terrifyingly huge and insane, this climax to three seasons of adventures is brilliantly addictive and rewarding television.

I’m not the greatest fan of its conclusion, but there is no denying that The Impossible Planet is a sterling example of what the new series can offer. One of my favourite Doctor Who scenes ever comes when Toby, taken over by Satan, stands outside in the airless vacuum grinning and drags Scooti to her death. Everything about this episode feels real. The filthy, brutal setting is captured in all its glory by director James Strong and there is a palpable sense that the ground beneath might either collapse or be sucked into the black hole. Trapping the Doctor and Rose here is a terrific way to get the audience involved, and Tennant and Piper develop a fabulous chemistry with the stellar guest cast. Everything builds to a gripping climax and one of the best cliffhangers ever.

Look at the versatility of stories on this list already. Another bold step here, a Doctor Who romance for the ladies and who better than Steven Moffat to pull it off? The central relationship between the Doctor and Reinette gives this episode a curiously intimate feel, but not alienating. The plotting is intricate and enjoyable, the mystery of why the clockwork soldiers are after Madame de Pompadour only revealed at the last second. It is another look at how lonely a character the Doctor can be, even when he is surrounded by people that he loves. As a historical, it is blessed with some of the most divine sets and costumes and an emotive musical score. There is a lightness of touch with the direction that really sets this episode apart from others; the episode is not concerned with universal threats, merely the life of a woman that the Doctor has grown to love. This atypical, lyrical and lush piece has gone down as one of the best examples of new Doctor Who and was popular with fans and non fans alike. Simply beautiful.

Gorgeous to look at, with a winding central dilemma and too many good lines to mention, this is top-notch Doctor Who on every level. The writing is crisp and can be both hilarious (“There's lovely”) and terrifying (“The sky is burning!”) The director exploits the script’s action and its character moments, the musical score is atmospheric, and the performances shine. The story grips from the teaser onwards - the second we know that the mountain is due to erupt you simply have to see the episode through. Filming in Italy gives this episode a strong visual identity and the special effects rock. Despite all these strengths though, it is one central performance that wins me over with this episode - Catherine Tate’s. Her confrontation with the Doctor in the console room at the climax is a classic Doctor Who moment, as is the moment she joins hands with him and helps him make one of his hardest ever decisions. A story that demands repeated viewings, The Fires of Pompeii stands proud as one of Doctor Who’s all-time historical classics.

An intoxicating brew of drama and epic science fiction, David Tennant steps out of the series in fine style. There is something rather wonderful about the tenth Doctor having taken on some of the biggest threats that the series has thrown at us and yet it is the simple act of saving an old man’s life that kills him. John Simms’ Master is re-introduced in terrific style; his feral, psychotic characterisation is counterpointed by the bizarre and visually impressive nature of his latest plan. I love the scenes of the Vinvocci ship dodging missiles over the Atlantic but the real fireworks in this climatic tale come between the actors, and several moments between David Tennant and Bernard Cribbins really choked me up. The kisses to the Davies’ era in the last ten minutes left me with the feeling that we had neatly tucked away a superb era of Doctor Who.

A real marmite episode that seems to have gone down very well with fandom, although my husband Simon hated it. Midnight is such a brave piece of work it deserves praise just for its audacity - one scene is half an hour long, the equivalent of an episode of classic Who and then some. It is another sterling example of that old axiom that all you need is one set and some really good actors and you can create magic. The characterisation is some of Russell T Davies' best and his dialogue sizzles. I can't remember ever feeling quite as uncomfortable watching an episode of Doctor Who and it's a feeling that I enjoy when watching. The direction draws attention to itself due to the limitations of the script and the cast deliver some really powerful work locked in a tin box. An invisible threat is always more terrifying than a visible one and Lesley Sharp delivers a marvellously out of this world performance. The moment she turns on the crew for the first time after the crash is truly terrifying

This is truly epic storytelling when taken as a whole, with such a wide variety of locations and set over a vast expanse of time. Concepts such as immortal Jack, the quest for Utopia, the Toclafane, the successful invasion of the Earth, New Gallifrey... this is complicated stuff, but thanks to Russell T Davies' ability to turn his hand to any genre (we have a science-fiction parable, a political thriller, and a post-apocalyptic nightmare consecutively) and fill his scripts full of magical moments makes it all very easy to digest. The Sound of Drums is my favourite episode of the three, effortlessly entertaining and featuring some astonishing sequences (the peek at Gallifrey, Martha's family round up, the Toclafane descending on the Earth). Utopia has Derek Jacobi's season-stealing turn as the Professor (and a tantalising glimpse at a more menacing Master) and its breathlessly exciting finale. Last of the Time Lords puts Martha centre-stage, something that I much admire and Freema Agyeman proves quite adept at stepping into the Doctor's shoes. The Master deserved a wham-bam return to the show and John Simm's delightfully energetic, silly, intimidating and powerful turn as the rogue Time Lord more than lives up to his predecessors. A mention must be made for the production values, which are of a movie quality and rarely topped. Few television shows look this good.

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Copyright © E.G. Wolverson, Daniel Tessier, Chris McKeon, Kory Stephens, Joe Ford Vicki Wolverson & James Bolton 2010.

 The authors have asserted their rights under sections 77 and 78 of the Copyright, Designs and Patents Act, 1988 to be identified as the authors of this work.