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“THE FACELESS ONES: SHAPE-SHIFTING SHENANIGANS AND A FAREWELL FIZZLE”

As we wave goodbye to Ben and Polly, The Faceless Ones delivers a six-part alien invasion mystery set against the bustling, very '60s backdrop of Gatwick Airport. The setup is immediate: the TARDIS arrives, the gang gets split up, and a creeping menace begins to reveal itself. Though only Episodes 1 and 3 survive, the 2020 animated reconstruction does an admirable job filling in the gaps—injecting colour, movement, and even a few fun in-jokes for keen-eyed fans.

THE DOCTOR AND JAMIE: A BUDDY COP ACT BEGINS

Patrick Troughton leans further into his Sherlock Holmes persona here, investigating with twitchy brilliance while Frazer Hines’ Jamie at last takes centre stage as the primary companion. The easy chemistry between the two is instantly enjoyable, and this story marks the true beginning of their much-loved double act—equal parts banter, bafflement, and bravery—that would carry them through to The War Games.

Pauline Collins’ spirited Samantha Briggs essentially steps into Polly’s role for much of the story. Sharp, determined, and undeniably companion-worthy, she more than holds her own alongside Jamie, and it’s no wonder she was reportedly offered a spot on the TARDIS crew. Her refusal to join is history’s loss.

SHAPELESS HORRORS AND YOUTHFUL ABDUCTIONS

The Chameleons themselves—while not the most famous of classic monsters—are a genuinely unnerving concept: faceless aliens stealing the identities of young people and hiding in plain sight. Their chilling half-reveal at the end of Episode 1 is a textbook Doctor Who cliffhanger—one of the best of the Troughton era.

Their sinister plan, gradually teased out over the episodes, is surprisingly grounded. These are not snarling, frothing monsters—they're logical, even diplomatic invaders, willing to parley with the Doctor. It's refreshing. That said, even with their creepy new animated designs, they never quite deliver on their early promise, ultimately becoming underwhelming as the plot wraps up.

THE AIRPORT ADVENTURE: AN EVERYDAY SETTING TURNED SINISTER

The decision to set the story in a working airport is a stroke of genius. It’s the perfect example of classic Who turning mundane modernity into a theatre of mystery and menace—long before Moffat did it with statues or shadows. The idea of aliens running a shady travel agency abducting youths en masse is creepy and clever, and the script keeps that tension simmering for most of its runtime.

The move to the Chameleon space station later on gives the story some much-needed variety, and the visual transition—especially in the animated version—is handled well. However, like many six-parters, the story suffers from padding. There are only so many times you can swap between the airport, the Commandant’s office, and another interrogation before the tension starts to sag.

GOODBYE BEN AND POLLY... SORT OF

Alas, for a farewell story, Ben and Polly are shamefully sidelined. After appearing in Episodes 1 and 2, they vanish entirely until a rushed goodbye scene at the end of Part 6. It's a particularly Dodo-like departure—off-screen, unearned, and undeserved. Given how charming and engaged they’ve been in past stories (The Highlanders, The Moonbase), it’s a bitterly anticlimactic exit. Still, it’s a sweet touch that they leave on the same day they first entered the TARDIS in The War Machines.

A STRONG SUPPORTING CAST AND A DASH OF BOND

The guest cast is a highlight. Bernard Kay (in his third of four Who appearances) plays it straight as the no-nonsense inspector, and Donald Pickering brings a chilly menace to the Chameleon leader. Pauline Collins lights up every scene she’s in as Samantha, and even the dour Commandant and cheerful Jean Rock are solid additions.

There’s also a cheeky Bond-style laser trap in Episode 3, complete with a very Goldfinger-esque vibe—one of the few action flourishes in an otherwise talky tale.

ANIMATION AND ATMOSPHERE: A MODERN REDEEMER

The BBC’s animated restoration is strong—simple, yes, but functional, and occasionally even stylish. The expressive movement, clever camera angles, and updated Chameleon designs make the story feel a little more alive than it might have done in 1967. While the facial likenesses are hit and miss, the animation enhances the setting's scale and gives weight to the action scenes. The incidental music is low-key and atmospheric, accentuating the creeping dread around the airport and aboard the alien ship.

A STORY WITH STRONG BONES BUT TOO MUCH FLAB

Ultimately, The Faceless Ones has some great ingredients: a solid mystery, a terrific setting, a fresh monster, and a new dynamic between the Doctor and Jamie. But like many six-part stories, it takes too long to get to the point and doesn’t quite know how to end. The plot circles itself too often, and the finale is a tad too tidy. Still, it's an important story, not least for its place in Who history as the swansong of two original companions and the real start of the Troughton/Hines double act.

📝VERDICT: 77/100

THE FACELESS ONES is a story full of potential—clever villains, an inspired setting, and a reshaped TARDIS dynamic—but it's dragged down by filler and a criminally weak send-off for Ben and Polly. The animated reconstruction helps breathe new life into it, and Jamie and Samantha shine, but this is a six-parter that would’ve soared as a four. Fascinating, flawed, and frustrating in equal measure.