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Doctor Who The Girl in the Fireplace (2005– ) HD online

Doctor Who The Girl in the Fireplace (2005– ) HD online
Language: English
Category: TV Episode / Adventure / Drama / Family / Mystery / Sci-Fi
Original Title: The Girl in the Fireplace
Director: Euros Lyn
Writers: Steven Moffat
Released: 2005–
Duration: 45min
Video type: TV Episode
The Doctor, Rose and Mickey materialize in the 51st Century on-board a derelict space craft. While searching for the crew, they discover that all of the ship's energy is being diverted to maintain "time windows" - two-way portals in space and time - all of which are pointed at France at various points in the 18th Century. Who is the young woman on the other side who calls for the Doctor by name, and what is the crisis that is about to befall her? And who in the 51st Century is watching all this?
Episode complete credited cast:
David Tennant David Tennant - The Doctor
Billie Piper Billie Piper - Rose Tyler
Noel Clarke Noel Clarke - Mickey Smith
Sophia Myles Sophia Myles - Reinette
Ben Turner Ben Turner - King Louis
Jessica Atkins Jessica Atkins - Young Reinette
Angel Coulby Angel Coulby - Katherine
Gareth Griffiths Gareth Griffiths - Manservant (as Gareth Wyn Griffiths)
Paul Kasey Paul Kasey - Clockwork Man
Ellen Thomas Ellen Thomas - Clockwork Woman
Jonathan Hart Jonathan Hart - Alien (voice)
Emily Joyce Emily Joyce - Alien (voice)

Sophia Myles was David Tennant's girlfriend at the time.

Take a look at the cup the Doctor is holding in the scene where Rose and Mickey are tied up. That is not the traditional wine glass, but one that is based, according to an urban legend, on the shape of the breast of Madame De Pompadour, the lady this story is about.

When the Doctor returns to Mme de Pompadour's room for the final time, the wall behind the fireplace has been painted blue with paler rectangles that resemble the TARDIS and its outer panels.

Steven Moffat was dismayed to discover that the key exchange between Rose and Reinette in which they discuss the Doctor and the monsters had largely been trimmed down to just a few lines. He subsequently convinced Euros Lyn to reinsert the remainder of the dialogue.

Steven Moffat was inspired by Audrey Niffenegger's novel "The Time-Traveler's Wife".

Arthur, the horse, was not allowed to set foot in the ballroom in the climactic scene. The various elements of the Doctor riding Arthur through the mirror (the horse, the mirror breaking and the reactions of the extras in the ballroom) all had to be filmed at separate times and then composited together. David Tennant's head was superimposed upon that of the stunt rider in post-production. Initially, the programme's staff considered the use of special effects but realised this would be very expensive and rejected the idea.

This was planned as the second episode of the 2006 series, however when Russell T. Davies realised how experimental it had become in Steven Moffat's hands, he decided to move it to fourth in the running order between Doctor Who: School Reunion (2006) and Doctor Who: Rise of the Cybermen (2006).

The clockwork robots originally wore wigs which completely hid their faces in shadow. Phil Collinson was concerned that this would limit camera angles too severely and risked appearing comical, so the creatures were given carnival masks to wear instead.

In the original script, it was that the "mind meld" with the Doctor is what actually attracts the clockwork robots to Reinette. Rose then offers Madame de Pompadour a gem which could erase all signs of contact with the Doctor from her mind, but she refuses because she does not want to forget him.

Mickey mentions to Rose about the Egyptian Queen Cleopatra, whom The Doctor had a relationship with in an earlier incarnation. Later, in Doctor Who: The Pandorica Opens (2010), River Song pretends to be Cleopatra. Both episodes were written by Steven Moffat.

The working titles for this episode were 'Madame de Pompadour', 'Every Tick of My Heart' and 'Reinette and the Lonely Angel'.

Because the horse was not allowed in the ballroom, Steven Moffat was asked to rewrite the story's climax, and came up with two alternatives: one in which the Doctor is thrown from the horse's back through the mirror (which was felt to be too humorous) and another where the Doctor simply smashes through the glass himself (while the horse is described in dialogue as having retreated to the TARDIS, where it proceeded to void its bowels). After episode writer Steven Moffat threw, in his own words, "the biggest queeny strop yet done on Doctor Who (2005), the effects team did it anyway.

Sophia Myles's gold and jewel encrusted gown in the final ballroom scene was previously worn by Helen Mirren in The Madness of King George (1994) and Jodhi May in Aristocrats (1999) (during the scene at the court of George III).

The actual clockwork apparatus was a working prop, designed by Neill Gorton of Millennium Effects and constructed by Richard Darwin and Gustav Hoegen.

The robots driven by intricate clockwork and mechanical gears are based on self-operating machines called "automatons" which were present in 17th century Europe.

The Spaceship is designed in the shape of a key.

The weather was appalling for a lot of the day filming, and due to the very intricate nature of the costumes, the cast were not allowed out of their trailers or the set before a crew member ensured they had umbrellas bought to them.

Various members of cast found their costumes tight and would eat lunch standing up to avoid costume damage such as lost buttons.

The script originally contained out-of-order meetings between the Doctor and Reinette in which she recalls seeing him at her convent school, which he later visits.

Russell T. Davies came up with the episode while doing research for Casanova (2005).

In a deleted scene, the Doctor met the cruel owner of the horse (Phylip Harries) that gets trapped on the Spaceship; he is trying to find the horse and threatens to hurt it when he finds it.

For the dialogue between the Doctor and the seven year-old Reinette, Steven Moffat drew upon The Virgin New Adventures novel Love And War by Paul Cornell. This was the original source of the Doctor's claim that he is what monsters have nightmares about.

This episode takes place in the 51st Century, 1721, the 1730s, the 1740s, 1753, 1758 and 1764.

Reinette is the first non-companion character to kiss the Doctor on-screen.

This episode was watched by 7.900 million viewers on its original transmission.

In an interview with The Independent, Russell T. Davies said the episode is "practically a love story for the Doctor ... It's very understated, very beautifully done, but it's nonetheless a Time Lord falling in love and Rose's reaction to him falling in love with someone else."

"The Girl in the Fireplace" won the 2007 Hugo Award for Best Dramatic Presentation, Short Form.

This is Mickey's first trip in the TARDIS as a companion. His name does not appear in the opening credits; the first triple opening credit would not occur until John Barrowman returned temporarily in Doctor Who: Utopia (2007) the next season; it's not until Doctor Who: A Christmas Carol (2010) in 2010 that an ongoing "third companion" receives a credit in the opening.

Jessica Atkins' only acting role.

The episode's script was nominated for the 2006 Nebula Award.

Various VIP people from the BBC visited the set for this episode.

When reading each other's minds, Reinette says 'Doctor who? More than just a secret isn't it'. This theme is played out over the Matt Smith era where Steven Moffat is show runner. He also wrote this episode.

Sophia Myles stated in an interview on Doctor Who Confidential (2005) that she did not have to audition for the role of Madame de Pompadour, she was offered it.

After the Doctor comes back from the ball, he sings "I Could Have Danced All Night", which is from the musical "My Fair Lady".

Two horses were used in the episode; one was used for the scenes in close quarters on the spaceship, and another for jumps.

Throughout this episode, Mickey wears a T-shirt which has a picture of the Nintendo Entertainment System controller over the caption, "Know Your Roots". This particular T-shirt, a limited edition, could be obtained either by subscribing to the British Nintendo Official Magazine, or by being purchased at selected GameStation outlets. In Doctor Who Magazine #367 Noel Clarke admitted to being a Nintendo fan and to being the owner of a Nintendo DS console. He also comments upon the T-shirt in the commentary which accompanies the episode on the BBC Website. Appropriately, Mickey is involved in a video game-related adventure in the spin-off novel "Winner Takes All". Mickey also mentions playing a Playstation in Doctor Who: The Age of Steel (2006).

Star Trek: The City on the Edge of Forever (1967) (TV Series) is speculated to be an influence behind (#2.4). Both The Doctor and Captain Kirk travel back through time to Earth in the past and falls in love with beautiful and important women in those time periods and both stories end with the women's deaths which The Doctor and Captain Kirk regret.

It received an Appreciation Index of 84, considered "excellent".

The horse "Arthur" also appears in the 50th anniversary special "The day of the Doctor" also written by Steven Moffat

Although Reinette dies before she is able to accept the Doctor's offer of travelling in the TARDIS, she does briefly experience time travel when she steps through one of the holes in time and ends up aboard the vessel bearing her name millennia later.

An alternate ending would had seen Reinette leave with The Doctor, Rose and Mickey aboard the TARDIS.

Reviews: [25]

  • avatar


    During the original run of Doctor Who, the mere idea of any kind of romance between the Doctor and his companions was deemed ridiculous (although we know that he had a family at one point, what with Susan calling him "grandfather" and all). The new series, on the other hand, has a lot of fun with the main character's attitude (or lack thereof) towards the opposite sex: by the admission of writer Steven Moffat, his episode The Doctor Dances was, starting with the title, a blatant sexual metaphor, and it's only fitting that his third Who script deal with the unthinkable - the Doctor in love.

    Having solved the Krillitane mess, the Time Lord, Rose and Mickey end up on a spaceship in the 51st century that, weirdly enough, contains bits of the 18th century, specifically the life of French noblewoman Madame de Pompadour (Sophia Myles). The Doctor communicates with her at various points in her life through a fireplace, and a bond forms between the two. Unfortunately, time is running out, and the Doctor needs to figure out how he can save her from the attack of clockwork "monsters".

    Touching, poetic and magical, The Girl in the Fireplace continues the fairy tale motif present in Moffat's previous scripts, explicitly borrowing from C.S. Lewis to concoct a truly timeless and tragic love story between the dark future and the brightly lit, stunningly executed past. Whereas previous episodes were meant to establish Tennant as the new Doctor, this story sees him go beyond that and play a wide range of emotions alongside the equally superb Myles, who is the real heart of this beautiful tale. Not that the romantic feel gets in the way of some traditional Doctor Who silliness - no other show would probably get away with a brilliantly daft shot of a horse on a spaceship.
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    Everything came together to perfection in this episode - the best ever. The chemistry between Sophia Myles and David Tennant was electric and the Murray Gold's music caught its poignancy to perfection. The costumes were sumptuous and there was just enough menace to keep kids behind the sofa now and again, and certainly will stop them looking under their beds at night. And a great one to put before next week's Cybermen as a complete foil to it. It went a long way to explaining a lot of the Doctor's motivation as a character in a variety of other situations. If this episode doesn't win some kind of award, I will eat my sonic screwdriver.
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    The best Doctor Who episode I've seen. Although there are some major plot discrepancies and they could probably explain the clockwork droids a little more, this episode really hit it right home.

    I could watch it over and over again and feel this weird tingly sensation after. And what gorgeous music. Kudos to the music guy...whoever you are.

    This episode did not have too much visual effects and action so I thought it was going to be rather plain but I was astounded as to how the emotional part of the story really carries it through the end. Writer Steven Moffatt penned a wonderful script and the contrast between Mickey/Rose's more colloquial, modern speech and Reinette's flowy poetic period piece was beautiful.

    We've always seen the Doctor as some sort of superhuman being but this episode really emphasizes on his humanity. It puts his feelings on the line and I like how the audience got a glimpse of him when Reinette read his mind. One question though: How come she had that ability? The ending always gets me choked up and teary...damn that sweet sweet music *sob*! But for all the space age action (well of course being a sci-fi series), it's such a fresh change to see Doctor Who in 18th century France.

    Ah...the end.
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    I think this was the best episode of this season so far, and it was even better than The Empty Child and The Doctor Dances of the previous season (which, incidentally, are by the same writer: Steven Moffat, also responsible for the brilliant sitcom Coupling).

    The plot of The Girl in the Fireplace is brilliant, complex and intricate, and surprisingly free from the gaping holes that complex plots usually have. It can be a bit confusing, but it'll all make sense in the end. The acting was good: David Tennant was a bit too hyper as usual, but tense when he needed to be, and Sophia Myles was absolutely brilliant as a very convincing Madame de Pompadour. Downsides? The end may be a bit too easy, but this is Doctor Who, after all. I think this will be my favourite episode for a long time. Or at least until next week.
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    David Tennant just gets better and better! A fantastic episode, definitely the best from this series so far. It was great to see the Doctor connect on an emotional level with someone else other than Rose. By the end I really believed in the relationship he had built with Madame de Pompadour, who was portrayed to perfection by Sophia Myles. Very cleverly written, and I love the way the Doctor is becoming more human (if that makes sense) every time we see him. As well as being visually dazzling, this episode plucked at the heartstrings on a deeper level than previous episodes have. I also thought that the enemies in this episode were some of the most frightening I've seen in the past series and this. I've never really been into sci-fi fantasy, but I am proud to admit Doctor Who has converted me! Keep it up BBC!
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    After the third episode of the series 'School Reunion' where David Tennant started to get to grips with the part of the Doctor thanks to the reappearance of Sarah Jane and K9, he finally nailed it here. Although the quick changes of mood are still there, they are smoothed out by an increasingly roguish charm previously unseen in the portrayal of the Doctor. Dedicated, and narrow, Doctor Who fans may not like the increasing propensity of the Doctor to open his heart(s) to love, but his relationship with Rinette was beautifully played. Sophia Myles was utterly superb and made viewers believe that here was a mortal who was a match for the Doctor. The final scenes were as heart rending as the early scenes were playful. Now that he is into his stride, the rest of this series and the forthcoming third series will be classic Doctor Who.
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    The Doctor, Mickey and Rose land on a Spaceship which has a link to Reinette, Madame de Pompadour, but why are there so many windows to her life, and what do the Clockwork robots want with her?

    It is utterly beautiful to look at, the production values look worthy of a massive budget film, it is gorgeous, from the ship, to the views of Paris, the bedroom, Versailles, Sophia Myles, the robots, everything is perfection. It looks like it cost big bucks to put it together. It always leaves me with a little tear.

    Murray Gold's music is wonderful, it fits in so well and enhances the script without overtaking or being intrusive. It's romantic.

    The connection between Tennant and Myles is wonderful, what a brilliant beautiful actress she is, a casting masterclass.

    David Tennant's Doctor gets better and better, he's taken the show to another level. He connected with Sarah Jane last week, Madame de Pompadour this time, was there a plot to get him away from Rose's clutches I wonder?

    I just knew this was going to be a heart breaker, one of the best, 10/10, the show is going through a bit of a purple patch isn't it.
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    Masterpiece. That is the one word that sums up The girl in the fireplace. Everyone says Blink is Steven Moffat's best story. While I adore Blink, this episode is even better. In fact, it might be the best doctor who story ever. OK, we all know that Caves of Androzani is the best doctor who story ever, but Girl in the fireplace is an extremely close second. Almost everything about this story is brilliant. It is perfectly paced and enjoyable, complex but all ends up making sense to most viewers, has terrifying villains in the clockwork androids, has a touching and realistic love story, Rose is actually bearable in the episode and it is very cleverly written. The ending of the episode where everything that has happened all ends up making sense is just brilliant. Also, this possibly David Tennant's best performance as the doctor, delivering comedic and serious lines with perfection, and he's only been the doctor for about 5 episodes. I just cannot review this episode without giving it a 10/10.
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    This episode is the reason for me to watch the dr. Who series again. Really, after the famous (and me being 6 years old) 70's Tom Baker dr. Who , I hardly took interest in watching the series again. Every time I was disappointed. But this episode/season stroke me. It think it was even much better than the 70's best episode. The music is great, the story is wonderful, David Tennant and the other characters make this the best dr Who so far :) So after re-looking all of the 2006 episodes I can only say that to me this series is the most catching series until now. I'm really looking forward 2 what's to come :)

    The story lines are so great, the music is beautiful and finally, the characters are chosen perfectly.
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    I've seen a lot of the Doctor over the last thirty-odd years, and this episode has the greatest emotional depth I've ever encountered. It doesn't hurt that it presents a complex story with skill, charm, and sensitivity. It also doesn't hurt that the twists of the story surprised me regularly through the entire hour, or that the performance by Sophie Miles was superb. It was also nice that Rose was in great form, and that Micky was finally showing solid promise as a character.

    Still, the best parts for me were the personal interactions, and the new slant on some of the questions raised in Schoold Reunion. This has helped make the Doctor a more complete character, and also one who is more sympathetic. It's a powerful reply to the questions raised throughout the New (and the New, New) Doctor as to whether evil follows him, or whether he goes where it is inevitable in order to try to prevent its effects.

    This is a great episode, and it is my favorite of all I have seen thus far.
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    This episode was the best in the current series by far. It had everything in it - a great cast, brilliant gags and was incredibly historically accurate. This was about the only episode in the current series that actually sent shivers down my spine with monsters under the bed and all that and Arthur the horse - marvellous! Also, in my opinion, it had to contain the ultimate Micky gag - The Doctor's "I let you keep Micky!" Had me in stitches!

    One of the creepiest things about the clockwork robots had to be the grinning carnival masks - great choice by the costume people there.

    Congratulations to all the cast and crew here, and especially to the writer - Stephan Moffat.

    10 out of 10.
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    I've only really started following Doctor Who consistently this series and this has to be the best episode I've seen so far. One worth watching over and over if only for the beautiful music which suited the mood perfectly. Sophia Myles was engaging as Riennette (beautiful and strong) and had some great lines which I thought she delivered very well. I especially like the mind reading scene between her and the Doctor and also her discussion with Rose (loved her summary of the situation). The romance was believable even though they had only met a few times and was well scripted and acted by both actors. I like period pieces and as usual, the sets were stunning. The clockwork droids were SCARY! This is why I don't like clowns. That first under-the-bed scene...chills. Their inner workings were interestingly detailed. And ick - the eye and heart.

    I liked this episode a lot, great acting, a touch of romance, beautiful sets, a sad farewell (poor Louis was no match for the Doctor). I thought the ending only half answered the big question (why on earth is the ship named after her is still up in the air) and was a bit...disjointed...but the episode itself had class. Definitely re-watchable. And did I mention how much I love the music?!
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    /* SPOILERS */

    To introduce myself: I am a huge science fiction nut. Name a science fiction series or movie and I most likely have seen it or plan to with my limited time. I am also a huge critic when it comes to entertainment and when I first started off the new 2005 series I was VERY skeptical. The first episode was plain terrible. But, at the constant nagging from friends, I watched the next couple of episodes. I was hooked and was extremely angry when they 'killed off' Christopher Eccleston and brought in David Tennant (loved Mr. Eccleston's huge, goofy smile). The Girl in the Fireplace cemented my Doctor Who fandom and David Tennant's credibility as 'The Doctor'.

    The episode was on epic proportions. To paraphrase The Princess Bride; it had (almost) fencing, fighting, true love, pain, and death. As a guy who has never cried for any entertainment, I came pretty close in the end. The romance between Sophia Myles and David Tennant was (to steal another reviewer's word) electric. The two excelled together to bring about a feeling of longing and sorrow in the end. While her death was somewhat predictable from what happens earlier in the episode it still takes you back that she does really die. You feel the Doctor's loneliness on a whole new level and begin to understand what a burden he, or anyone who might live forever, must take on. Her letter to him was very well written and the writers should be given props. Also the music throughout, especially in the last 10 minutes is spectacular and really sets the tone. The very last few seconds is a nice touch as well, makes you think.

    Overall: this goes down as one of my favorite science fiction episodes of all time. 8.8/10
  • avatar


    I've been watching Doctor Who for ages -- I won't say how long, but let us say that it's more than a few decades.

    But this episode -- it's brilliant -- one of the best episodes of Who of all time. Heartbreaking -- and what's more, you see a great dark side of Tennant's doctor that is very rarely shown.

    Sophia and Tennant have brilliant chemistry -- I loved Mdm DePompadour more in 40 minutes than I've even liked other assistants in Who after several years. She has more character and personality than more than half the assistants all of the series have ever had, I wish desperately that she had become the new assistant when Billie left.

    I don't want to spoil the best Who episode over, but I will tell you that this episode is brilliant, it's some of Tennant's best performances, and Sophia Miles is brilliant. If you ever watch one single episode of Doctor Who, let it be this one.
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    This episode is, like many classic series greats, not perfect but better than the sum of its parts. It has a few flaws but they are totally outweighed by the great aspects so that it just about still manages to get full marks from me.

    The Doctor, Rose and Mickey travel to a 51st Century spaceship where they mysteriously find parts of the ship replaced with human body parts and scenes from 18th Century Versailles apparently taking place on board with menacing clockwork robots to deal with.

    The motivations of the Doctor and Madame de Pompadour do not always seem immediately to fully make sense and the human body parts are a strange idea but there is a magic to this episode that transcends that just as Talons of Weng Chiang transcends its giant rats. The clockwork robots are very creepy and effective and they look fabulous. The acting of Sophia Myles is great and her character is brilliant, engaging and remarkably deep for a one off guest. Rose and Mickey add some nice dynamics and humour. David Tennant is superb and the story is fun, exciting and, at times, moving.

    Future showrunner Moffatt shows his characteristics here with a 'timey wimey' plot which does not necessarily make sense entirely but with some ambitious ideas and some quality entertainment.

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    I'm not a film critic, just a 19 year old fan of the Doctor and in my opinion this has to be the best episode yet, which I think will be hard to best. I wasn't into the first series as much and wasn't the greatest fan of Eccleston. But David Tennant just has that charm about him that makes him (in my opinion) a great Doctor. Team that with Sophia Myles, a brilliantly crazy plot, and a random horse and it just gets better. The sets and costumes were great and the space-age clockwork work was indeed beautiful. As for Rose and Mickey I reckon it was kinda cool seeing the Doctor go alone an show a bit more feeling and emotion. The music was fantastic and ticking clocks will never be the same again. Even down to the title I reckon it's a jem. Reckon that letter may turn up again some time (hope so).
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    "GIRL IN THE FIREPLACE" was a very good Dr. Who episode. David Tennant is the best Dr. Who since Tom Baker, and i think he was born to play the character. "Girl in the Fireplace" is one of Tennant's best episodes. There was good acting from Sophia Myle who well cast in the role of Madame de Pompadour. It was especially well-acted by Tennant especially at the end of the episode when he learns Reinette died and he reads her letter when he closes down the "Time Windows". The new series does it best to not take the drama too serious and still funny. I thought Tennant was funny in one scene, where he's wearing his tie around his head and wearing a pair of sunglasses (That scene cracked me up). The music (especially at the end of the episode) was beautiful. "GIRL IN THE FIREPLACE" is recommended for all Dr. Who fans and fans of Sophia Myles. Good drama, Good humor. I hope David Tennat stays on longer than Christopher Eccleston. I think it will be a real shame when he leaves the series.
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    This has to be my favourite episode of Doctor Who of all time. It is so well put together, well acted, cleverly made and touching. The premise is rather complicated, but told very well. The episode is missing a decent set of bad guys - the clockwork men and women are chilling but hardly a match for the doctor and his companions. The music in this episode is particularly good, the song 'Madame de Pompadour' is used particularly well throughout. And of course, when Reinette eventually dies, the acting and dialogue is pulled off remarkably well, the music is chilling, and even Billie Piper pulls off her reduced role very well. By far the best episode of the series, and even better than last series' 'Father's day'
  • avatar


    I can only echo what most of the others thought was good about this episode.

    Great acting. A well-conceived story. A touching heart.

    Interesting premise. Brilliant visuals. Intricate design on the clockwork androids. A great twist at the end.

    But at least one glaring plot hole . . .

    The Doctor should be able to visit Reinette any time he wishes in the TARDIS. The excuse given for this is that they were "already involved," but this has never been a limitation on TARDIS capability before (and indeed, the Doctor has run into/observed himself on several occasions). It's enough to cost the episode a star, because it takes away the power of the ending. Why is it such a tragedy that he just missed her death when he can visit any time and as often as he likes? The gimmick with the horse was more than a little corny as well, and takes away from the general heart of the episode. Yes, yes; he rode in on a white horse to save her . . . and that's the point. Cheesy. Another star lost.
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    Overall a very impressive episode, especially since there was more than just simple acting going on between David Tennant and Sophia Myles (currently seeing each other in real life - wrote this in early May 2006).

    What bothered me was that the plot was a bit of a mess with a lot of different things to take in, maybe too many things. I found the bits on the space ship a bit confusing at first. It only really made sense in the final shots. Maybe I'm just a bit slow! Apart from that I thought the special effects were great, set pieces were great, stunts were great. I doubt it is the best of the season, but then I couldn't say until I've seen all of them.
  • avatar

    The Sinners from Mitar

    This episode makes no sense in the continuity of season 2. it's okay on its first watch, but its problems become more glaringly obvious every time i revisit it. everyone is incredibly out of character and the episode does not fit into the doctor and rose's story arc at all. i could buy the doctor's fling with madame de pompadour post season 3, but its placement right after 'school reunion', in which the doctor promises rose he'll never leave her, is confusing seeing that he has no problem sidelining her here, only for everything to go back to normal in 'rise of the cybermen'. it's like this episode never happened. apparently moffat didn't even read the script for the previous episode, which makes a lot of sense given the lack of respect for the continuity, arc, and canon of season 2. honestly, the season as a whole makes more sense if you just skip this one.
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    What can I say- even as an avid fan I am never one to repeatedly watch individual episodes over and over and yet Stephen Moffatt has done the impossible. He has written a belter of an episode that is so emotionally overwhelming that it blows you away, and makes you want to watch it again and again. At the last count I have seen this episode 12 times and each time it gets better and better.

    I don't think I've seen chemistry between two actors at the peak of their powers get anywhere near Sophie and Mr Tennant in this episode. Absolutely the most moving ending to anything I have seen on TV eclipsing even the final episode of this series (although it's a close call in my opinion).

    Not wishing to repeat what many others have said i will add only this- this episode should be required viewing for any TV production / creative writing course - How to tell a great story in 45 minutes. From script through to post production this episode drips with class- the DVD set will be worth the money for this episode alone.
  • avatar

    Gold Crown

    It is strange that I have come to love the nature of the 'Doctor Who' series seeing as I found it incredibly dull in the first series. I wasn't interested much in the next series because I believed it had already disappointed me. I'm saying this after watching the whole second series for the hundredth time and i believe that David Tennant has a part to play. 'The Girl In the FirePlace' has got to be one of the best written doctor who's I have seen so far (apart from the last episode which was just brilliant) Although this episode still hangs onto those cheesy lines, this episode also produced something I have yet too see in most t.v programmes of today. The acting by David Tennant and Sophia Myles is passionate and the chemistry is so overwhelming (although I did feel for Rose, seeing as the doctor is the man she loves) The monsters were the best by far in the whole series, scary and somewhat funny in the light of the entertainment. Athur the horse was a dip back into the comical side and had me laughing none stop and the ending to this episode was phenomenal.

    I certainly believe that this is well worth the watch, brilliant script and fantastic setting, I only hope that the new series in the new year can do just as well as this and so many before and after this particular episode.

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    These were the days that cemented the 21st century Doctor Who as a cult classic and it is episodes like this that did it. This is one of the all time great episodes and it was not even a season premiere, or finale, or Christmas special. Steven Moffat shows why he is the real genius, not Davies.

    The last episode was about Rose seeing a companion who was left behind and parsing the emotions that go with that. This episode is about Rose looking at the wonder in another woman's face who appreciates what Rose is living. Rose gets to think about that. And what a companion MdP could have been. MdP was a genius in her own right and her intuition is brilliant. Had she become a long term companion, she would have surpassed them all.

    The genius of Moffat is in giving us a love story within the sci-fi mystery and adding nostalgia to it. Through the Madame we get a peek into the heart of the Time Lord. Despite the confusion and sadness and even anger that must be in that mind, she falls in love with someone greater than the King of France.

    This is a story, which for Moffat, is relatively simple yet still filled with the Doctor's brilliant deductions. This is the Tenth Doctor at his best, and he is probably the only one of the new Doctors who could have made this connection with this woman.
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    The Doctor and his companions arrive on a seemingly derelict spaceship in the far future to find that it has a link into a little girl's bedroom in 18th Century France via the fireplace. Said girl is being threatened by clockwork robots and the Doctor saves her at several times throughout her life. This episode is a marvel of ingenuity and plotting. The clockwork robots are fabulous and the reasons why they are after Madame Pompadour is saved for a brilliant last shot revelation. It also showcases real chemistry between David Tennant as the Doctor and Sophie Myles as Madame Pompadour. It is their relationship that forms the core of the story. It's funny and exciting and if the ending doesn't break your heart then there's a good chance that you haven't got one.