Not bad, not good. Never really been a fan of the medieval/fantasy stories in doctor who, they are attacked bit slow and no sense of danger. They android doppelgangers are a good part of the story though

This is the best story we’ve had since Horror of Fang Rock. The budget goes a long way on this one with well realised medieval costumes and props serving a futuristic setting. The pacing is perfect and the Android human copies gives rise to a series of fun, comedic and gently dramatic situations. Tom and Mary are on their top form in this one. It feels like Baker is reinvigorated (perhaps by the quality of the script or cast). K-9 is weaved better into this serial than many others before it.

The quality of the direction has increased significantly too, bringing to mind the moodier, darker shots of Talons. The shots of Baker and K-9 on a canal boat at night are particularly enchanting.

The competing factions provide some good drama and push the plot along nicely. The lead villain (who has some serious Master energy) is particularly good. I like that they leave his ending open for a potential sequel… showing the production’s confidence in his performance! The body double drama is pushed to such a ridiculous extreme - more than any other show I’ve seen. The fact that Romana just happens to have a real life lookalike in a story featuring several android lookalikes, including one of Romana herself is mighty convenient! It is the definition of a romp and I’m here for it.

Thworping through time and space, one adventure at a time!

"THE ANDROIDS OF TARA: A SWASHBUCKLING ROMP WITH A THIN PLOT"

David Fisher’s The Androids of Tara is a lighthearted adventure that embraces its Prisoner of Zenda-inspired premise, blending classic swashbuckling intrigue with subtle sci-fi elements. With its minimal focus on futuristic technology, the story allows its period-drama aesthetics, witty performances, and grand sword fights to take centre stage. While not the most original or gripping instalment of Doctor Who, it remains an entertaining, if somewhat shallow, entry in the Key to Time arc.

A RELAXED START AND A FAMILIAR FORMULA

The adventure opens in a refreshingly uncharacteristic way—on a beautiful day, with the Doctor more interested in fishing than in galactic heroics. Romana casually discovers the fourth segment of the Key to Time within minutes, seemingly setting the stage for an easy mission. Of course, things don’t stay simple for long.

The story’s core premise—android duplicates and political power struggles—is nothing new for Doctor Who. It shares strong similarities with The Ribos Operation, and in some ways, it even foreshadows Robot of Sherwood from the Revival. Both stories feature medieval settings infused with robotic elements, a villain striving for power, and a playful, high-energy tone. However, The Androids of Tara arguably executes the concept more effectively, with its lush location filming, refined costume design, and a distinct sense of regal intrigue.

AN UNDERUSED ROMANA AND A SCENE-STEALING VILLAIN

Tom Baker is in top form as the Fourth Doctor, leaning into the lighthearted tone with his trademark wit and effortless charm. Mary Tamm, however, is largely sidelined, despite having the opportunity to play multiple roles (Romana, Princess Strella, and their android duplicates). The script fails to take full advantage of this setup, and Romana once again finds herself more of a damsel than an active participant in the action.

The true highlight of the story is Peter Jeffrey as Count Grendel, one of Doctor Who’s most entertaining villains. With his suave arrogance and theatrical flair, he feels like a medieval precursor to the Master, exuding charisma even as he plots treachery. His fencing duel with the Doctor in the final episode is a standout moment, delivering one of the series’ best action sequences—more reminiscent of Star Wars than historical swordplay, but thrilling nonetheless.

Neville Jason makes for a suitably noble Prince Reynart (and his android double), bearing an uncanny resemblance to Freddie Mercury. Meanwhile, the supporting cast is filled with recognisable faces, including Paul Lavers as the overly enthusiastic Farrah and Cyril Shaps in his final Doctor Who role as the Archimandrite. A special mention goes to Declan Mulholland as the hulking Servant Till—a minor but memorable character whose presence adds a certain fairytale charm.

STRONG PRODUCTION VALUES BUT A THIN STORY

For all its strengths in character and setting, The Androids of Tara struggles with its pacing and depth. The plot is little more than a stretched-out rescue mission, with the android lookalike element adding some complexity but not enough to make it truly engaging. The stakes never feel particularly high, and the political scheming lacks the weight of The Ribos Operation’s more intricate intrigue.

That said, the production values are excellent. The heavy reliance on location filming lends the story a rich, cinematic quality, with lush forests, castle grounds, and atmospheric dungeons creating an authentic medieval feel. The BBC’s expertise in period dramas shines through in the costume design, while Dudley Simpson’s score enhances the illusion of a grand historical adventure.

📝VERDICT: 7/10

The Androids of Tara is an enjoyable but ultimately lightweight adventure. While it lacks narrative depth and originality, its charming performances, witty dialogue, and well-staged action sequences make it an easy and entertaining watch. Peter Jeffrey’s Count Grendel steals the show, and the lavish setting adds to the story’s appeal. Though not the most memorable of the Key to Time arc, it delivers enough swashbuckling fun to be worth a visit—just don’t expect too much substance beneath the spectacle.

This season started off quite poorly in my opinion, but each serial has been better than the last.

Romana gets to show off and prove that in some ways she really is better than the Doctor, which is great to finally see. Four is more fun than he has been in a long time, and it was pleasantly refreshing. I was definitely experiencing Four fatigue before, but now I'm invigorated and ready to see more of him.

The side characters were mostly enjoyable, though I found the Gracht a little too one-note for my liking. He only had one plan and one lie.

The sward fight at the end definitely dragged too long, but Romana getting to actually do things while the Doctor was stuck in that endless fight made up for it, as did K9 stuck in the boat.

And of course, I'd be remiss if I didn't mention how much my cat enjoyed this episode. An extra point just for the joy of watching him watch it.

This is part of a series of reviews of Doctor Who in chronological timeline order.

Previous Story: Ferril's Folly

Season 16 is shaping up to be one of my favourite seasons so far, I think it might be that I'm familiar with the overarching series arc having stared with New Who, but even putting that aside it's just such a fun season and I think the dynamic between the Doctor and Romana I.

The worldbuilding of these latest seasons is absolutely brilliant, every world they visit feels real and a joy to watch. This story in particular had a familiar-but-still-alien feel to it, with a medieval setting interspersed with androids and laser guns. The characters are all solidly thought out and brilliantly acted, from the charming Prince Reynart to the evil Count Grendel. I think Tom Baker is at his best here, as opposed to his earlier seasons where I felt his characterisation was unsure.

The bit at the end with K9 floating around on the boat was quite funny, and a nice ending to an enjoyable story.

Next Story: The Power of Kroll