The Girl in the Fireplace

Steven Moffat's 'The Empty Child/The Doctor Dances' two-parter is widely regarded by many as the best last season had to offer. For me, 'Dalek' and 'Father's Day' perhaps shaded it a little, but story. High expectations, then, for his season two offering.

The premise of 'Girl' is possibly the most boldly sci-fi the new series of Doctor Who has attempted so far and it's a doozy. Future spaceship inexplicably tied to 18th century France gives us the opportunity to to visit two very different and beautifully-realised locales. It is also an immensely clever way for Moffat to write a piece that seems epic but actually makes use of very few sets, one pretty visit outdoors notwithstanding.

'Girl' has a rather odd tone - the first third or so has a distinctly camp feel to it, peaking in the cringe-worthy moment when the Doctor staggers around the imperilled Mickey and Rose sporting a quite hideous combination of tie-bandana and shades which make him look like he has stepped out of The Young Ones. Unfortunately, the normally-reliable David Tennant plays the scene in exactly this manner. This was the one single moment I have wished Chris Ecclestone was still around to play a scene. It is to a deep sigh of relief, then, that it is revealed the Doctor is merely playing drunk and from hereonin the episode picks up immensely.

Reviews of the previous episodes of season two have often stated that the 45-minute format has constrained the stories too far. Up until now I have not really felt this to be the case, but 'Girl' positively screams for more time to develop. Extra time to witness the the burgeoning relationship between the Doctor and Pompadour would have elicited a much more natural empathy from the audience, where the single-episode format here speeds events along at rather too brisk a pace.

Still, come the end, the Doctor's sense of loss is still very palpable - made all the more important in Rose's growing realisation that she is far from the only girl in the universe for him. Her arc this season is developing in a surprisingly dark manner, adding welcome levels to the Tenth Doctor who would otherwise be a little too jolly all the time.

Enjoyable, clever but lacking the tightness of Moffat's orevious tale (the Doctor's mind-reading is a bit contrived, the fireplace parting at the end feels a little forced and the name of the ship only kind of explains why everything has been happening), 'Girl' is yet another change of pace for a season which is demonstrating remarkable variety thus far.

Cybermen to come, hopefully accompanied by some real scares next week.