This story is DT's first 2 parter and achieves an epic status.
It succeeds as a high impact action thriller. The Cybs are impressive and the synchronised stomping is now obvious but was new at the time.
Some of the scenes might be just a little overwrought. I'm thinking of the confrontation between GB President Don and the house party invading Cybs late in p1, not to mention any of the Ricky/Mickey scenes.
But hey it's a ride. Sometimes the story does not need to be complicated..
Graeme Harper makes a bang with his return to DW. (He directed Revelation and Caves about a million years ago and was PA to some guy called Camfield working on Seeds, Invasion and others. Suffice to say he knows what he's doing alright.... and it shows.
Billie and Sean (as Rose and Pete) are tight and pull the strings. The Rose is a toy dog in the alternative reality is a great joke. The Cuba Gooding Junior reference is more and more obscure with each passing second decade.
This one has probably been played too many times in this house as it's getting hard to tell where the story starts and where it goes.
After a slightly bumpy start the 10th Doctor is starting to get good.
It has a complex but clear plot, great performances (Tennant and Sophia Myles are great), the effects are solid and serve the plot (think the horse jump through the time portal).
Specially important is the incidental music... Murray Gold has been scoring goals since the start of the new series but here the music steps up in a way that makes this even better.
The story is interesting and personal and emotional. There is little space opera in this. There's a spaceship but it's not on a 'mission' or anything just broken down... The minor casting is colourblind (yet perfectly acceptable).
The dialogue is noticeably better written than RTD eps. The quips are great but so is the prose...
There is a vessel in your world where the days of my life are pressed together like the chapters of a book, so that he may step from one to the other without increase of age, while I, weary traveller, must always take the slower path.
— Reinette
The best bits are where the celebrity historical figure puts aside internal (imagined) prejudice and ignorance and simply becomes curious and discover-ish. When she does discover that the spaceship really exists and she enters it and discovers her voice from the future she reacts with curiosity and simple fear not disgust or disbelief. Neither does she jump to a disastrous conclusion. That's open mind inquiry right there. It is the Enlightenment in a few sentences: the notion that there is a universe which is unknown and waiting to be discovered and that possibility is not impossible.
King Louis (Ben Turner): We are under attack. There are creatures—I don’t even think they’re human. We can’t stop them. Reinette (Sophia Myles): The clock is broken. He’s coming. King Louis: Did you hear what I said? Reinette (Sophia Myles): Listen to me. There is a man coming to Versailles. He has watched over me my whole life and he will not desert me tonight. King Louis: What are you talking about? What man? Reinette (Sophia Myles): The only man—save you—I have ever loved. 3000 Years Later
Mickey: It’s a spaceship. Brilliant! I got a spaceship on my first go. Rose: It looks kind of abandoned. Anyone on board? The Doctor: Nah. Nothing here. Well, nothing dangerous. Well, not that dangerous. Know what, I’ll just have a quick scan. In case of something dangerous.
The Doctor: Dear me. Got some cowboys in here. There’s a ton of repair work going on.
Rose: Where’d all the crew go? The Doctor: Good question. No life readings on board. Rose: Well. We’re in deep space. They didn’t just nip out for a quick fag. The Doctor: Nope. Checked all the smoking pods.
Reinette: Monsieur, what are you doing in my fireplace? The Doctor: Oh it’s just a… routine fire check. Can you tell me what year it is? Reinette: Of course I can. Seventeen hundred and twenty-seven. The Doctor: Right. Lovely. One of my favorites. August is rubbish though. Stay indoors.
Mickey: You said this was the 51st century. The Doctor: I also said this ship was generating enough power to punch a hole in the Universe. I think we just found the hole. Must be a spaceship with a temporal hyperlink. Mickey: What’s that? The Doctor: No idea. Just made it up. Didn’t want to say “Magic Door”.
The Doctor: Okay, that’s scary. Reinette: You’re scared of a broken clock? The Doctor: Just a bit scared, yeah. Just a little tiny bit. ‘Cause you see, if this clock’s broken—and it’s the only clock in the room… {the ticking gets louder.} Then what’s that? ‘Cause you see, that’s not a clock. You can tell by the resonance. Too big. Six feet I’d say. Size of a man.
Reinette: Monsieur, be careful! The Doctor: Just a nightmare, Reinette. Don’t worry about it. Everyone has nightmares. Even monsters from under the bed have nightmares. Don’t you, monster? Reinette: What do monsters have nightmares about? The Doctor: Me!
Mickey: Excellent! Ice gun. The Doctor: Fire extinguisher.
Reinette: It is customary, I think, to have an imaginary friend only during one’s childhood. You are to be congratulated on your persistence. The Doctor: Reinette. Well. Goodness how you’ve grown. Reinette: And you do not appear to have aged a single day. That is tremendously impolite of you.
Reinette: How could you be a stranger to me? I’ve known you since I was seven years old. The Doctor: Yeah. I suppose you have. I came the quick route.
Reinette: You seem to be flesh and blood at any rate, but this is absurd. Reason tells me you cannot be real. The Doctor: Oh, you never want to listen to reason.
Manservant (Gareth Griffiths): Who the hell are you? The Doctor: I’m the Doctor. And I just snogged Madame de Pompadour.
The Doctor: Rose? Mickey? Every time! Every time! It’s rule one. “Don’t wander off.” I tell them, I do. Rule one. There could be anything on this ship. {sees the horse}
Katherine (Angel Coulby): Speaking of wicked, I hear Madame de Châteauroux is ill and close to death. Reinette: Yes. I am devastated. Katherine: Oh, indeed. I myself am frequently inconsolable. The King will therefore be requiring a new mistress. You love the King, of course. Reinette: He is the king. And I love him with all my heart. And I look forward to meeting him.
Mickey: What’s a horse doing on a spaceship? The Doctor: Mickey, what’s pre-Revolutionary France doing on a spaceship? Get a little perspective.
Rose: We found a camera with an eye in it. And there was a heart wired into the machinery. The Doctor: It’s just doing what it was programmed to do. Repairing the ship any way it can with whatever it can find. No one told it the crew weren’t on the menu. What did you say the flight deck smelled of? Rose: Someone cooking. The Doctor: Flesh plus heat. Barbeque.
Rose: Why her? You’ve got all of history to choose from. Why specifically her? Clockwork Woman (Ellen Thomas): We are the same. Reinette: We are not the same. We are in no sense the same.
The Doctor: It’s back on the ship. Rose, take Mickey and Arthur, get after it, follow it. Don’t approach it, just watch where it goes. Rose: Arthur? The Doctor: Good name for a horse. Rose: No, you’re not keeping the horse. The Doctor: I let you keep Mickey. Now go go go!
Reinette: Fireplace Man. You are in my mind. The Doctor: Oh dear, Reinette. You’ve had some cowboys in here.
Reinette: Doctor. So lonely. So very very alone. The Doctor: What do you mean, alone? You’ve never been alone in your life. {realizing} When did you start calling me Doctor? Reinette: Such a lonely little boy. Lonely then and lonelier now. How can you bear it? The Doctor: How did you do that? Reinette: A door once opened may be stepped through in either direction. Oh Doctor. My lonely Doctor. Dance with me. The Doctor: I can’t. Reinette: Dance with me. The Doctor: This is the night you dance with the King. Reinette: Then first I shall make him jealous. The Doctor: I can’t. Reinette: Doctor. Doctor who? It’s more than just a secret, isn’t it? The Doctor: What did you see? Reinette: That there comes a time, Time Lord, when every lonely little boy must learn how to dance.
Clockwork Man (Paul Kasey): You are compatible. Rose: Well, you might want to think about that. You really really might. Because me and Mickey, we didn’t come here alone. Oh no. And trust me, you wouldn’t want to mess with our designated driver.
Rose: Oh, look at what the cat dragged in. The Oncoming Storm. The Doctor: Mm. You sound just like your mother. Rose: What have you been doing? Where have you been? The Doctor: Well… among other things I think I just invented the banana daiquiri a couple of centuries early. Do you know they’d never even seen a banana before. Always take a banana to a party, Rose. Bananas are good.
The Doctor: Oh ho ho… brilliant! It’s you! You’re my favorite, you are. You are the best. You know why? ‘Cause you’re so thick! You’re Mr. Thick Thick Thickety Thickface from Thicktown. Thickania! … And so’s your dad.
The Doctor: Multi-grade Anti-oil. If it moves, it doesn’t.
The Doctor: Alright. Many things about this are not good.
Reinette: The monsters and the Doctor. It seems you cannot have one without the other. Rose: Tell me about it. The thing is, you weren’t supposed to have either. Those creatures are messing with history. None of this was ever supposed to happen to you. Reinette: “Supposed to happen”. What does that mean? It happened, child. And I would not have it any other way. One may tolerate a world of demons for the sake of an angel.
Reinette: Those screams. Is that my future? Rose: Yeah. I’m sorry. Reinette: Then I must take the slower path.
Rose: Are you okay? Reinette: No. I’m very afraid. But you and I know—don’t we, Rose—the Doctor is worth the monsters.
Reinette: I have made a decision. And my decision is no. I shall not be going with you today. I have seen your world and I have no desire to set foot there again. Clockwork Man: We do not require your feet.
Reinette: You think I fear you. But I do not fear you even now. You are merely the nightmare of my childhood. The monster from under my bed. And if my nightmare can return to plague me then rest assured, so will yours.
King Louis: What the hell is going on? Reinette: Oh. This is my lover, the King of France. The Doctor: Yeah? Well I’m the Lord of Time.
The Doctor: It’s over. Accept that. I’m not winding you up.
Reinette: So here you are, my lonely angel. Stuck on the slow path with me.
The Doctor: Give me two minutes. Pack a bag. Reinette: Am I going somewhere? The Doctor: Go to the window. Pick a star. Any star.
King Louis: And there she goes. Leaving Versailles for the last time.
Rose: You all right? The Doctor: I’m always all right.
Reinette: My Dear Doctor, The path has never seemed so slow, and yet I fear I am nearing its end. Reason tells me that you and I are unlikely to meet again, but I think I shall not listen to reason. I have seen the world inside your head and know that all things are possible. Hurry though, my love. My days grow shorter now and I am so very weak. God speed, my lonely angel.
‘Doctor Who’: 10 Things You May Not Know About ‘The Girl in the Fireplace’ | BBC America
By Fraser McAlpine
8-10 minutes
“The Girl in the Fireplace” began as an idea Russell T Davies had while working on Casanova, to somehow include the character of Jeanne Antoinette Poisson,
otherwise known as Reinette (“little queen”) or Madame de Pompadour, in
a story that showcased The Turk, a mechanical wonder of the age.
The Turk was an animatronic man (head, arms and torso) that appeared
to possess the uncanny ability to play chess. It toured the royal courts
of Europe, confounding onlookers by beating them in every game. It was
eventually discovered that this was no super-intelligent proto-robot, as
there was a human grandmaster hidden inside The Turk’s workings. But
Davies wanted to retell part of that story, giving the clockwork
automaton a more sinister motive.
(Incidentally, Neil Gaiman made a more explicit use of The Turk in “Nightmare in Silver,” although in that story he was a Cyberman.)
Here are a few other things that you should keep an eye out for, the next time you watch.
(The episode is available on iTunes and Amazon.) Early on, as the Doctor explores the spaceship with Rose and Mickey,
he notes, “Dear me, had some cowboys in here! Got a ton of repair work
going on,” then uses the same phrase as he scans Reinette’s mind. The
phrase “had some cowboys in here,” always said with a disapproving sigh,
is a British idiom as used by builders and car mechanics alike. The
“cowboy” in question isn’t a fellow on a horse with a hat; it’s a
disapproving term for a sloppy workman. The inference being that your
previous repair was badly done, and this craftsman (who would never do
such a poor job) will have to fix their errors as well as sorting out
whatever your actual problem is. Sometimes it’s a genuine response to
shoddy work, but it can also be used to gouge up the price of labor.
As if to illustrate this point, the phrase appears again, out of the
mouth of the Eleventh Doctor as he pokes around Amelia Pond’s bedroom
looking at the crack in her wall. The original intention with the clockwork androids—actual working props designed by Neill Gorton of Millennium Effects and constructed by Richard Darwen and Gustav Hoegan—was
that they would be hidden in plain sight, dressed in the same style as
everyone else, but that their wigs would cast a shadow across their
faces until the time came for their big reveal. In a conversation with
producer Phil Collinson the production team realized
there would be very few camera angles that would consistently hide their
faces and not those of everyone else, hence the carnival masks. Alternative titles considered for the episode include
“Madame de Pompadour,” “Every Tick of My Heart,” “Reinette and the
Lonely Angel” and “Loose Connection.” This story had been planned as the
second in Season Two, replacing “Tooth and Claw” as the historical
counterpart to the extreme future depicted in “New Earth.” However the
episode order was changed when it became clear Steven Moffat had written
a script that took the Doctor into new areas, emotionally speaking. The
story was moved to the spot after “School Reunion,” in which Sarah Jane
Smith makes her return, to quell any fears about the Tenth Doctor
departing too far from fan expectations. Paul Cornell deserves credit for creating two items of Doctor Who mythology cited here by Steven Moffat, both of which made their first appearance in his 1992 Doctor Who: The New Adventures novel Love and War.
This was the source for the nickname “the Oncoming Storm,” as used by
the Draconians in the novel, but by the Daleks in the TV series. It is
also the source of a gag Steven Moffat seems to be exceptionally fond
of. Young Reinette asks the Doctor what monsters have nightmares about,
and he replies “Me!” and laughs. That joke also appeared in a short
story called “Continuity Errors” that Steven wrote for the Doctor Who fiction collection Decalog 3: Consequences. Another aspect of the story that didn’t make the final edit
was that of the “Choleric Man” (played by Philip Harries), the owner of
the horse that the Doctor rides through the mirror. He threatens whip
his steed for running off, and the Doctor intervenes.
<noscript><iframe width="500" height="281"
src="https://www.youtube.com/embed/Oj9IpD9BM_w?feature=oembed"
frameborder="0" allow="autoplay; encrypted-media"
allowfullscreen></noscript> The gowns worn by Sophia Myles in this episode all
have a fine history within the British television and film industry.
Some of her dresses have appeared in, for example, the movies Aristocrats and The Madness of King George. One particular gown (as seem below when Reinette walks the grounds with her consort Catherine, played by Merlin star Angel Coulby)
has the finest pedigree of all, having been first made for the 1982
Fifth Doctor adventure “Black Orchid.” It later appeared on one of the
extras in the video for Annie Lennox‘s song “Walking on Broken Glass.” ‘Black Orchid’ / ‘The Girl in the Fireplace’ (Photos: BBC)There were some problems with filming the horse jumping through the mirror,
in that the crew could not bring an actual horse into Ragley Hall,
Alcester (the location of the ballroom scene), and the stunt itself was
initially considered too expensive to film. At first, this caused a
rewrite for Steven Moffat in which he came up with two alternatives; the
Doctor mounting the horse and being thrown off, thereby falling through
the mirror (rejected for undermining the Doctor’s heroic moment of
self-sacrifice) and the Doctor smashing through the glass on his own,
while the horse wanders off. Neither seemed satisfactory, so in the end,
in order to make the horse jump happen, all the separate elements of
the stunt—the horse, the mirror breaking and the background—were filmed
in isolation and then edited together, with David Tennant’s head being
digitally jammed onto that of a stunt rider.
<noscript><iframe width="500" height="281"
src="https://www.youtube.com/embed/I23kzao3EnQ?feature=oembed"
frameborder="0" allow="autoplay; encrypted-media"
allowfullscreen></noscript> The Doctor’s parting shot to the androids is “It’s
over. Accept that. I’m not winding you up”—an excellent pun, based on
the clockwork nature of his adversaries and the British slang term
“wind-up,” meaning a deception or a trick. “I’m not winding you up” in
this context means both “I refuse to recoil your spring” and “I’m not
kidding.” Other rejected script ideas include a script rewrite
that saw Reinette and the Doctor meet out of sequence, as would later
happen with River Song. She would remember having met him at her convent
school, and he would go there after the TARDIS leaves the spaceship
that bears her name. This idea came from Audrey Niffenegger‘s novel The Time-Traveler’s Wife,
in which a man gifted with the power of time travel meets a woman and
falls in love, but their various liaisons are chronologically out of
synch. There was a second plot thread in which the androids were first
attracted to Reinette’s mind by the Doctor scanning it. Rose then offers
her a gem that would erase the Doctor from her memory, leaving her
safe, but she refuses, as she couldn’t bear to forget him.
<noscript><iframe width="500" height="281"
src="https://www.youtube.com/embed/3ao9-22T3d0?feature=oembed"
frameborder="0" allow="autoplay; encrypted-media"
allowfullscreen></noscript> One thing to look out for is the decoration in the
room in which Reinette has placed the fireplace for her home. When she’s
alive and the fire is lit, the room is bathed with a yellow glow and
the panels look white and sky blue. After she dies and the room is dark,
those blue panels take on a darker hue, and the whole wall starts to
resemble the front of the TARDIS. Reinette must have come to appreciate
the significance of blue and white squares from her reading of the
Doctor’s memories.
Bluray actually helps this one cos there's some nice location filming.
Again good direction and action, good characters and good performances, high production values (the cgi werewolf is very good.) The monk-y kung fu stuff is reminiscent of Crouching Tiger Hidden Dragon or Kill Bill or AbFab or something. (So what?)
But the script is tedious. Somehow werewolves are both activated by moonlight and repelled by belief in holly but destroyed by shining concentrated moonlight through a telescope and a whacking great diamond (the world famous Ko-i-noor which Queen Victoria conveniently just happens to have about her person for some reason...)
There's an underused hint of a back story but it isn't used in the plot.
The rest of the story is escape/fight/escape/fight/escape some more... That's pretty much it.
There's mention of Torchwood and almost a call-back to bad wolf (but not quite...)
This is a vehicle for a new Doctor and it isn't great. Tennant himself is good but the plot and the story are a bit ho hum.
Dramatically it struggles. Performances are unconvincing.
The plot is just silly. Killer Xmas trees, "pilot fish", "blood" control, this new hand is a fightin' hand, the marauding bunch of aliens who just follow on from the 'pilot fish' Santas and just give in after a bit of swordfighting on the patio of their giant spaceship.
The end is reminiscent of Thatcher and the possibly/probably retreating ship ARA General Belgrano in the 1982 Falklands War. (Link here)
Whatever its dramatic merits the climax cuts right across the rest of the piece, tonally.
The start of the first episode depends heavily on knowledge or familarity with noughties reality tv game shows (Big Brother, The Weakest Link, Bear With Me (that last one is made up I think)).
The plot is fairly simple.
We're stuck on the Satellite 5 again. The reality behind the reality TV is revealed and the Daleks are behind the curtain waiting to be revealed and they're invding and destroying everything. The Doctor has to choose between the devastating super weapon destroy everything and his own fear of guilt for using it (again).
The performances and the scenes are milked for the anguish and angst.
The stand out moment is when the emergency hologram turns to the camera.
The dialogue is sparkling and well written throughout. The new characters of Jack, Constantine, Nancy are fresh and exciting to watch.
But the triumph is the Empty Child himself. Innocuous horror. This looks like something we've seen before in a movie. It's something that is unusual (a young preschool child in a gas mask in a 20th century city being bombed from the air... sympathetic, cute and yet unnerving...) but turns out to be something that is even more scary but not necessarily malign.
Steven Moffat turns in a masterclass in DW writing... with jokes. ("It's brilliant. I'm not sure if it's Marxism in action or a West End musical")
There's a little UK exceptionalism happening which looks a bit ridiculous more than anything. (The t-shirt, the quip about 20 years to rock n roll. )
Chris is very good as the investigating Doctor and the lucky day Doctor. John Barrowman is outstanding as the sophisticated, far future fugitive con-man Jack Harkness. Richard Wilson (previously TV's Victor Meldrew) is outstanding in what is little more than a cameo role.
There is a slight problem with the term "nanogenes". A DNA base pair is about 340 pm wide (that's 10 to the power of -12 metres). Nanogenes are presumably some kind of autonomously A.I. machines that work at 10 to the power of -9 metres... they may need to be "pico-genes" or even "femto-genes" to achieve what is portrayed in this story.
But hey ho. It's a quibble that I can live with.
The scene late in the second episode where Rose tells Nancy about the future is spine chillingly great even after 15 years.
It's simple and honest and played very skilfully by Florence Hoath and Billie Piper.
(As the patients leave the hospital, Rose mends the
cuts in the barbed wire. Bombs fall on London again.)
NANCY: Who are you? Who are any of you?
ROSE: You'd never believe me if I told you.
NANCY: You just told me that was an ambulance from another world. There
are people running around with gas mask heads calling for their
mummies, and the sky's full of Germans dropping bombs on me. Tell me,
do you think there's anything left I couldn't believe?
ROSE: We're time travellers from the future.
NANCY: Mad, you are.
ROSE: We have a time travel machine. seriously!
NANCY: It's not that. All right, you've got a time travel machine. I
believe you. Believe anything, me. But what future?
ROSE: Nancy, this isn't the end. I know how it looks, but it's not the
end of the world or anything
NANCY: How can you say that?? Look at it.
ROSE: Listen to me. I was born in this city. I'm from here, in like,
fifty years time.
NANCY: From here?
ROSE: I'm a Londoner. From your future.
NANCY: But, but you're not
ROSE: What?
NANCY: German.
ROSE: Nancy, the Germans don't come here. They don't win. Don't tell
anyone I told you so, but you know what? You win.
NANCY: We win?
ROSE: Come on!
This story won the first of new Doctor Who's hat trick of Best Drama Short Presentation Hugo awards in 2006.
And the series won the 2006 BAFTA for best TV drama. Russell T won the Dennis Potter Outstanding Writing Award as head writer and freely admits that he never changed a word of Steven scripts...
This is a huge hitter in great DW stories.
If Head Writer RTD ever decides to move on..... they could give this Steven Moffat a ring too....
A sort of time travel fantasy homily about what if I could meet my dead Dad (or some other relative).
It's effective because of the way it's written and performed. The characters are presented as flawed and ordinary people (with bad taste and dumb decisions to find excuses for). This is unusual for DW which is typically populated by A+ geniuses and heroes (or evil psychoes).
The premise is a bit shaky. The Doctor allows, even encourages Rose to break the 'laws' of time and yet rips her when she goes too far. Perhaps the Doc has reached a who cares state if mind after the Dalek ep? If all Rose wanted to do was talk to her Dad why not dial up the year before death day and try then? (Cos we need a story, kids!)
The denouement is convenient. (Kill off Pete and all better, back to normal but there's only 45 minutes to fill here, so... Fry's law of TV and all that)
Again a major step up for DW where the story is about something other than the monsters and the Timelords and the sonic screwdriver.
Easy contender for best ep of the series... so far.
If Head Writer RTD ever decides to move on..... they should give Paul Cornell a ring....
This one is not well regarded but this rewatch was less of a chore than I expected.
The major theme is manipulation of mass media affecting social and political conditions and thus historical progress seems a lot less naive than it did 15 years ago. (Why is kinda obvious if you watch the news in 2020 I guess.)
This fives an impression of being slower and low stakes. The identity of the baddie is obvious and telegraphed. The resolution is straightforward deux ex machina. The frozen sick joke and the snap fingers->head port thing is what remains memorable about this ep.
Chris gets a chance to flex his acting chops in this one as the tortured victim of the Dalek Time War.
Sadly the plot doesn't quite hang together but this is a very good attempt to reinvent the standard Dalek-y monster tale.
A hidden, secret remnant is awoken by foolish and avaricious unprincipled baddie and the Doctor has to convince 'em not to. Yeah it's the plot of Power of the Daleks but the style is V-E-R-Y distinctly different.
The denouement is a little unconvincing i.e. the Dalek 'gives up' because it's DNA is 'ruined' by 'humanity'. Also it woke up when Rose touched it becuase DNA transferred (or something). These ideas are a bit hand wavey....
But it's outstanding for the ethics and the dynamics of desperation and trauma of war.
This story is an extension of the DW story format which shows for the first time why it has come back.
