This is a pretty good story. There's some great worldbuilding, and the costumes, sets and locations look good. The plot is fun and sensible. The blend of sci-fi and fantasy works well. There are some dislikable characters, and they are really dislikable, which is good.

The fourth segment of the Key to Time is upon us...but where will the search for the Key to Time take us now?

Well, until the land of The Prisoner of Zenda it seems. Sorry, I mean 'The Androids of Tara'. The serial was written by David Fisher as Doctor Who's take on 1961's popular U.S. adaptation of the adventure book The Prisoner of Zenda. It's basically the equivalent of if the new series of Doctor Who decided to make a pastiche of Game of Thrones. The new series has taken influences from popular forms of media (Last Christmas is clearly inspired by Alien) but they appear more as forms of inspiration rather than direct copies.

Now I'm not sure how much The Androids of Tara's plot copies that of The Prisoner of Zenda as I have neither read the book or seen the U.S. drama. I am not a fan however when writers make a conscious decision to mimic the plot of something else as David Fisher and producer Graham Williams decided to here. Whilst it is true that all ideas have been done at some point and no idea is truly original, it seems unimaginative to make that decision to use another writer's plot.

The plot sees the Doctor (Tom Baker) and Romana (Mary Tamm) arrive on the planet Tara; at first, their trip seems rather straightforward when Romana finds the segment of the Key to Time straight away. When she is attacked by a Taran Wood Beast, Count Grendel of Gracht (Peter Jeffrey) comes to her rescue and takes her into his castle. However it turns out that he thinks he's one of her androids: an android replica of Princess Strella, who looks exactly like Romana. Grendel has taken Tara's next in line to be king Prince Reynart (Neville Jason) captive and plans to marry Strella so he will be crowned at Reynart's coronation in his absence

Whilst I do not approve of the intentions to copy The Prisoner of Zenda, on its own merit The Androids of Tara is a lot of fun and certainly better than The Stones of Blood. The sword fight between the Doctor and Grendel is brilliantly staged by director Michael Hayes and looks like something out of a movie rather than a TV Show. The android doubles and not knowing who is or isn't an android is well-executed too, especially with the added complication that Romana looks exactly like Android Strella and real Strella.

Speaking of Romana, Mary Tamm does an excellent job of playing essentially three different characters - android, Strella and Romana. She manages to make each feel distinct and yet also similar enough to cause confusion over their same appearance. Mary Tamm's portrayal of three different roles really shows her capability and skills as a Doctor Who companion actor. It's a shame she has since passed so cannot return to the show but luckily Mary Tamm managed to record some Big Finish audios before her passing. It would have been sad if the average Key to Time season had been her last in the role.

The Androids of Tara also has some of the classic series' best location work. The use of Leeds Castle works well for this story as it has a nice medieval feel that adds to the visual aesthetic of Tara whilst also providing a nice contrast with the futuristic android technology. More importantly: it feels like a setting from an adventure story and fits the fairytale-esque tale of knights, damsels in distress and sword-fights the story is trying to tell. It looks like particularly expensive location work too; nothing in the serial looks cheap, which is impressive given the shoestring budget.

Overall, The Androids of Tara is not the most imaginative serial - it was thought up as 'Doctor Who does The Prisoner of Zenda' - but it is a lot of fun to watch. There's a brilliant sword fight between the Doctor and Grendel and the android doubles adds a nice complication to the plot. Mary Tamm is outstanding at playing three different characters in the android Strella, the real Strella and Romana, giving them enough differences to feel like separate characters yet also maintaining certain similarities so you're not entirely sure who is who. There's some great location work too; the Leeds Castle location makes for an effective medieval adventure setting and allows for a nice contrast between the old fairytale and the advanced android technology in the serial. Just don't expect anything original.

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

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.