🙏🏼66% = Okay! = Mildly recommended!

Thworping through time and space, one adventure at a time! This time: more androids, big-nosed counts, and sunny weather.

Writer David Fisher's second subsequent story of this season is an interesting one. The Androids of Tara takes a very similar premise to the season opener, The Ribos Operation, but gives it a somewhat more polished look. Here, the script keeps aliens and futuristic technology to a minimum, allowing its stars to truly shine. Additionally, this is another one of those stories that heavily borrows from other sources, this time the classic Anthony Hope novel The Prisoner of Zenda from the late 19th century.

STORY:

The beginning of Part 1 feels almost too perfect—it's a beautiful and sunny day, and the Doctor wants to go fishing for a change. The Doctor and Romana engage in some lighthearted banter, and they instantly discover the fourth segment of the Key to Time.

In many ways, The Androids of Tara reminds me of Robot of Sherwood from Series 8 of the new series. Both have a medieval setting with robots or androids; both focus on the villain trying to gain more power, and both are quite lighthearted in style. Of course, the main difference is that this story takes place on the planet Tara, whereas Robot of Sherwood takes place in mediaeval England and features supposedly real historical figures. However, I think Classic Who executed the storyline more effectively. I like the mediaeval setting with subtle alien elements—the androids, the swords with electrical charges (George Lucas' sci-fi hit Star Wars from the previous year must have been a major influence when designing those swords), and the look and feel of the story are more genuine, majestic, and down to earth.

We have another android/clone/shapeshifting story in a long line of them, but with the main twist that one of the key characters is an android copy of the companion rather than the Doctor. David Fisher also explores the relationship between humans and androids better than previous stories have done. The overall plot lacks depth and fails to captivate your attention.

POPULATION:

Tom Baker is yet again in his element. Mary Tamm is sidelined yet again, and the adventure does very little with the fact that she’s playing four characters (Romana, Strella, and their android doubles).

The guest actors once again steal the show, particularly the wonderful Peter Jeffrey (once considered to play the Second Doctor and previously appearing as The Controller in The Macra Terror) as suave and gentlemanly villain Count Grendel. He is the closest thing to Roger Delgado's Master I have ever seen on TV, and he is incredibly recognisable and likeable. His facial expressions are priceless; his delivery of lines on top, as well as his entire habitus, make him feel both dangerous and hungry for power.

Neville Jason portrays the dashing Prince Reynart, who resembles Queen vocalist Freddie Mercury, on the other side of the battlefield. He is also very good, both as himself and as his android doppelgänger.

The acting overall is very sharp, and the casting decisions are spot on. The only exception to this would be Paul Lavers playing Farrah, a young and extremely trigger-happy royal guard. I also love Declan Mulholland's minor supporting role as Servant Till (yes, he's the guy who was originally Jabba the Hutt in Star Wars!). He's not a very fleshed-out or even important character, but he adds that extra flavour. And he just happens to remind me a bit of Samwise Gamgee from The Lord of the Rings or Hodor from Game of Thrones, and why not Quasimodo from The Ringer of Notre Dame?

An extra mention goes to the one and only Cyril Shaps (from Tomb of the Cybermen and Planet of the Spiders) for his fun take on Archimandrite, his final Doctor Who role.

PRODUCTION:

They relied heavily on location filming for this one, which was a wise decision. The adventure evokes a sense of mediaeval times with its green woods, castle grounds, and dark dungeons. But that's not surprising, since the BBC has always excelled with period pieces.

The colourful costume design is also really good, and Dudley Simpson's incidental music helps to create the illusion of a mediaeval setting.

ATMOSPHERE:

The Androids of Tara is not the most exciting or tightly paced among Doctor Who adventures. While the plot, featuring a possessed companion attempting to kill the Doctor, isn't particularly original, the intricacy of the android lookalikes contributes to its depth. Still, I have to admit that the plot is a bit thin; it's mostly just a dragged-out rescue mission.

That being said, The Androids of Tara offers some very well-directed and acted sequences, such as the end of Part 3 and the most awesome fencing sequence (which goes on for quite a bit) between the Doctor and Grendel in the final episode. That must be one of the better action scenes in Doctor Who, even though it looks more like the lightsaber duel between Obi-Wan and Darth Vader in Star Wars than anything depicted in mediaeval-themed films. It's also a highlight for the Fourth Doctor.

FINAL THOUGHTS:

The pace and unoriginal script of The Androids of Tara somewhat hinder its occasionally sharp political intrigues, interesting characterization, lighthearted atmosphere, and impressive production values.