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Instead of veiled Easter Eggs the references to the classic series and previous Doctors are not only clearly in show but also hit the viewer right from the start.  There is much in the pre-credits sequence to make older fans of the series smile and the slightly abstract nature, as narrated by Clara, ties the eras and themes neatly together in style.

When the story itself begins it is with a mystery that asks the questions that have surrounded the series since An Unearthly Child.  The story then naturally draws together the cast from different places and times, sending them logically to the only place they really shouldn’t go.  Some viewers may consider the logical jumps required to be a little too far, however for a series with such a huge canon of mystery this is false criticism.

River Song in neatly bought back from the dead, or at least a database, and working with the Paternoster Lane trio and Clara, they set about trying to save The Doctor not only from the Great Intelligence but also himself.

All the cast are on top form, with Jenna Louise Coleman putting in one of her best performances at the Doctor’s companion and Richard E. Grant relishing his return as the Great Intelligence.  Also of note is long time Doctor Who fan, Dan Starkey, as Strax, who has great fun with the role.  The revelation of who Clara actually is makes sense and doesn’t feel forced and the actual name of the Doctor is beautifully side stepped in Moffat’s sparkling script.  Despite all the disparate elements the whole narrative hangs together extremely well.

Arguably the greatest trick that Moffat pulls off is the resolution.  Not only was the genuinely surprising reveal at the cliffhanger kept a closely guarded secret the viewers are also left with a feeling of resolution and questions answered when in fact many key mysteries are left unsolved.  A fitting finale.

Until Nightmare in Silver this had been true of the new Cybermen.  Each successive outing appeared to weaken them further, with their lacklustre appearance in Closing Time a little bit of a nadir.  However, they are back, reinvigorated under the pen of Neil Gaiman and have been completely upgraded.

A species dedicated to improving itself and capable of redeveloping itself has now been given a new lease of life where each individual is a threat in itself.  The latest upgrade brings real threat with it and drags the Cybermen back up to the top where they belong.

The question is, with so much attention paid to the improvement of the villains, does the story keep up?  Fortunately the answer is yes.  Mr. Gaiman has created an action packed, fast paced narrative not only introducing the newly upgraded Cybermen but also a futuristic Earth empire with all its politics and nuance.

Set in an abandoned theme park planet the Doctor inadvertently brings innocent young charges to a location he believes to be safe and fun.  Once inside the twisted ‘fun house’ danger arrives from all sides, including the sad yet sinister impresario Webley, an Empire punishment patrol lead by the excellent Tamzin Outhwaite, the Cybermen themselves and the Cyber-Planner hiding within the Doctor’s mind.  While everyone else gets involved in more physical and practical confrontation the Doctor and the Cyber-Planner go head to head in a dangerous, high stakes game of chess.  The cuts between inside the Doctor’s mind and out on the battlements of a literal castle give the story variety and variation in pace.  In both ‘battlezones’ the stakes are raised and raised again until a last minute twist brings victory inside and outside.

The Doctor’s cheating endgame does not come out of the blue with many years’ exploration of the character revealing of what he is capable.  While there is enough foreshadowing of Porridge’s real identity to satisfy all but the most picky viewer.  The story is neatly rounded off without requiring a MacGuffin or a ‘Deus ex Machina’ in a wonderfully full 45 minutes.

Matt Smith is at his best, relishing both his roles and obviously enjoying every second; Tamzin Outhwaite’s performance where she deliberately waivers between doing her duty, following her orders and keeping a secret is beautifully underplayed, and Warwick Davies is outstanding as the mysterious Porridge.  The entire episode is a lovely blend of classic and modern Who bringing something for all viewers, young and old, and leaves the series nicely set for the season finale.

The Crimson Horror is such an enjoyable romp the delayed appearance of the Doctor is barely noticeable and the triumvirate from Paternoster Row lead the show from the start.  These three, the mysterious Madame Vastra, the reliable Jenny (the maid) and the enthusiastic Strax, are so engaging it is easy to see why some fans would like to see a spin off series.  Their journey northwards and off the cuff plan making cracks on at a terrific pace without feeling rushed.  The mystery and threat of the plot is neatly balanced by some lovely touches of humour, mostly centred around the ever violent Strax.  The Thomas Thomas line is worth watching the episode for alone.

Of course this is the Doctor’s show and his ‘reveal’ in the episode may not have been a complete surprise but was very neatly achieved.  There is a slight worry that, with the Doctor on board, everything may now be wrapped up with a wave of the sonic screwdriver.  However, one scene in a cupboard aside, the narrative progresses naturally and follows neatly on from the beginning.

It is testament to quality of the production that there is still room to fit in an unrushed flashback sequence without the feeling of an over crowded episode.  The threat offered by the villains is believable and the solution satisfying, and this is due, in no small part, to the guest cast.

Rachel Stirling as the blind Ada is excellent, first of all in the underserved loyalty she displays to her mother, through the kindness shown to her monster, to a vengeful and righteous saviour at the climax.  However, the real treat in the episode is Diana Rigg as the insane and villainous Mrs Gillyflower.  Following on from other British greats she ‘chews the scenery’ with relish and steals every scene she is in with a wicked glint in her eye.  Her insane ramblings when the secret of Mr Sweet is revealed raises Mrs Gillyflower to the higher echelons of Doctor Who villainy.

Those yearning for a younger Diana Rigg, from her days in the Avengers, are also catered for with a nice throw back scene involving the Doctor, Jenny (the maid) and a leather catsuit.  In an episode jam-packed with goodies like this it is hard to make note of them all, although it was a nice touch to hear the brave hearted Tegan invoked by the excellent Matt Smith.  All the cast appear to be having great fun, something which is contagious for the viewers as well.  The climax is logical and believable and the story feels well paced without being rushed.  The Crimson Horror is not only not a horror but also a marvellous template in good old-fashioned adventure story telling.