Yeah, that was a pretty big improvement on The Unquiet Dead. I’m not sure why everyone got his and her face back at the end. There wasn’t even a line in there, that I heard, to justify it. (Why are their faces taken anyway? And how do they breathe? You just need a sentence!)

Sort of a weird episode, with the social commentary. Mix of nostalgic nationalism and commentary on the unfortunate social concepts of the time. The whole “faceless drone” thing as a result of television seems… pretty intentional. In a Twilight Zone sense. TV aerials looking like swastikas and all. Neither glorifying nor damning the period. Just.. noticing.

I think it’s intended that the kid might be gay, though it’s… not made clear, since I guess it’s not important.

The Father’s another sorta Roald Dahl adult.

The Tenth Doctor does have a sensitive tongue, doesn’t he.

Too bad they didn’t work in that Logopolis reference. It could have been shortened: “It’s nothing… I just have this thing about broadcast towers.” Then he shakes it off, and continues. It could have worked. Needn’t have been distracting.

I also thought it went by a little too quickly, much like — say — Tooth & Claw and The Christmas Invasion. It’s written to the format more well than last year’s, though. The tone and internal pacing, in particular, were much, much more well-composed. It’s a fun piece, with little except that weird plot point against it. Certainly better than most of the series two episodes, so far. I’m looking forward to the next Gatiss episode.

As for the production: as much as I love The Third Man, I find myself agreeing with some people that the camera here could have used a carpenter’s level in a few scenes. There are times to get all impressionistic; there are times when it’s just distracting. It’s a pretty minor quibble, though. Most of the artsiness was put to practical effect.

So. After Girl in the Fireplace and School Reunion, I’d say this is probably the strongest episode of series two. That says more about the other episodes this year than it does about Idiot’s Lantern. Still, there we are. The Twilight Zone factor and the handsome direction are the big plusses here.