Written by Russell T. Davies
Directed by Charles Palmer
“I went to the moon today.”
“Bit more peaceful than down here.”
Doctor Who’s third series opener is light years ahead of the previous series’ New Earth – it’s a heady combination of outrageous action, epic visuals, sparkling dialogue, and a poignant, beautiful coda. Doctor Who’s 21st century revival comes into its own, after two years of astonishing (if immensely successful) trial-by-fire.
If Smith and Jones demonstrates one thing, it’s confidence – supreme & total confidence. It starts with the visuals, which rival most modern day motion pictures. Everything, from the Judoon’s incredible animatronic rhino make-up, to their impressive ships, to the gorgeous moonscapes…this is a show that can achieve miracles with a budget that is positively minuscule compared to Hollywood films. But, this being Doctor Who, the visuals are better than 90% of those very same films!
Boy, that’s something you never (well, rarely ever) got to say about the original series…but I digress. 
The script isn’t so much about plot – which is pretty functional and straightforward – but it’s all about character, dialogue, emotion, and adrenaline. Russell Davies knows how to deliver the goods to get the biggest bang for his buck, and Smith and Jones delivers the ultimate introductory bang. In fact, the only part that really irritated me was the radioactive shoe…but I can’t really complain, because it certainly went over well with the various audiences that I’ve watched this episode with so far…especially kids. 
The Jundoon are fabulous alien creations…if, for nothing else, than the successful realization of big, mean space-cop-rhinos who take the use of magic markers to a whole new level. Ann Reid, meanwhile, takes a straightforward vampire/plasmavore and turns in a stand out performance as a creepy bloodsucker with a straw…and finishes off with the best old-woman-death-scream ever! I swear, only Doctor Who can get away with stuff like this…
David Tennant continues to mine the hidden depths of his character, especially when it comes to play-acting the fool – much like Tom Baker’s 4th Doctor (something my friend James has already noted in his review). His levity is an act…but in Tennant’s case, it seems to mask a much deeper darkness…and a great deal of sadness and loneliness. It’s a wonderful continuation of the themes of a post-time war/emotionally scarred Doctor, and it follows very neatly from similar dark themes explored in The Runaway Bride.
And then there’s Martha. Bold, sassy, beautiful, intelligent, quick-witted, calm under pressure…I absolutely adore her…and after just one episode! No offense whatsoever to Billie Piper – who was a crucial (and stonkingly successful) part of the relaunch of the greatest television show ever – but Freema Agyeman doesn’t just make a splash, she makes an impact, akin to that asteroid hitting the Yucatan! She has instant chemistry with Tennant’s Doctor, and watching their relationship unfold makes for giddy viewing. We’re back to the kind of comradery we had between the 4th Doctor & Sarah Jane back in the mid 1970s. Two confident adults…well, maybe one. Not so sure about the Doctor all the time…
If anything, Smith and Jones is the ULTIMATE season opener: just the right amount of story, spectacle, adrenaline & emotion…packaged into a solid 45 minutes that doesn’t let up for a single moment. It could well be one of the least-padded stories in Doctor Who’s long history…and it’s certainly one of the most self-assured. This is an episode brought to us by people working at the height of their creative powers, determined to bring to the audience entertainment as only Doctor Who can provide. On that level alone, it succeeds brilliantly…
…and Martha’s musical theme is utterly sublime. Bring on the next CD soundtrack release!
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