Returning to the main Doctor Who narrative rewatch, today’s retrospective looks at Smith and Jones, first broadcast on March 31, 2007. Written by Russell T Davies and directed by Charles Palmer, this episode marks the beginning of Series 3 and the introduction of Martha Jones, played by Freema Agyeman. Following the emotionally charged departure of Rose Tyler, Smith and Jones had the challenge of launching a new era while proving that Doctor Who could move forward with fresh energy.
From the very start, the episode embraces a different tone. Unlike Rose’s introduction in a council estate, Martha is immediately established as a professional, competent medical student juggling a chaotic family life. Her first scene—calmly managing an argument between her divorced parents and bickering siblings—tells us everything we need to know about her. She is sharp, pragmatic, and more independent than any companion we have met in the modern era thus far. Freema Agyeman’s performance is strong from the outset, bringing warmth and intelligence to the role. She is neither in awe of the Doctor nor easily flustered by the madness unfolding around her. This is a companion who meets chaos with level-headedness, and it makes for an exciting dynamic.
The plot itself is a classic Doctor Who setup—something seemingly ordinary is suddenly, impossibly disrupted. The hospital where Martha works is transported to the Moon, leading to one of the show’s most striking visuals. The idea of an entire building, complete with doctors, patients, and staff, stranded on a lunar surface is a fantastic concept, immediately instilling a sense of isolation and helplessness. The execution of the Moon sequences, from the eerie stillness outside to the panic inside, makes for a gripping first half of the episode.
Enter the Judoon. These intergalactic rhino-headed police are a brilliant addition to the Doctor Who universe, blending comic absurdity with genuine menace. Their rigid, bureaucratic approach to law enforcement—complete with scanning, cataloging, and executing justice with ruthless efficiency—makes them a fascinating new alien species. The way they march through the hospital, methodically scanning every human to find the fugitive, is both hilarious and terrifying. They are not villains, per se, but their unwavering commitment to their task makes them a formidable presence.
The true antagonist of the episode, however, is Florence Finnegan, played by Anne Reid. As a Plasmavore hiding in human form, she is a fantastic one-off villain. Reid plays her with a delightful mix of charm and menace, effortlessly shifting from sweet old lady to calculating predator. The way she drains the blood of her victims using a simple straw is both gruesome and darkly humorous. She is an example of how Doctor Who can make even the most absurd sci-fi concepts unsettling when executed well.
The Doctor himself is in fine form here. David Tennant delivers a performance that balances playfulness with underlying grief. While still reeling from the loss of Rose, he hides his sadness behind manic energy, throwing himself into the chaos with reckless enthusiasm. His interactions with Martha are filled with teasing wit, but there is also an undercurrent of careful detachment—he is reluctant to let her in too quickly. One of the best moments of the episode comes when he allows himself to be drained by Florence to trick her into revealing her identity. It is a perfect example of the Doctor using intelligence over brute force, proving once again why he is the universe’s ultimate problem-solver.
The final moments of the episode are key. The Doctor, after saving the day, offers Martha one trip in the TARDIS as a reward. It is clear that he is testing the waters, not yet ready to commit to a new companion, but curious enough to see where things go. Martha, for her part, is intrigued but cautious. Her observation that he never mentioned Rose’s name says everything about the lingering wounds still present. Unlike previous companions who leapt at the chance to travel with him, Martha is more grounded—she wants adventure, but she also wants to be valued for who she is, not as a replacement.
Rewatching Smith and Jones in 2025, it remains a strong season opener, introducing a fantastic new companion while delivering an engaging, fast-paced story. The visuals hold up well, the humour lands, and the Judoon remain one of the best additions to the Doctor Who rogues’ gallery. More importantly, it marks the beginning of a journey for Martha Jones—one of the most capable and underappreciated companions of the modern era. Her introduction sets the stage for a season that will test both her and the Doctor in ways that neither of them expect.
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