EVERY DOCTOR WHO RENAISSANCE SERIAL RANKED

16) The Android Invasion: The penultimate script written by Terry Nation for Doctor Who makes one question as to whether or not he put in any actual effort into his writing. Too many plot holes and loose ends to account for are both inexcusable and irritating that make the viewing experience feel like an intergalactic marathon rather than a pleasurable solar system stroll. Another impressive location shot, equally remarkable visual effects and some well-rounded secondary characters provides some saving qualities; but these are too few and far between to save everything else in-between. The ending is seriously weak (it just ends), and the Kraal invasion supposedly terminates off-screen; its unconvincing and unbelievable that Philip Hincliffe allowed this major hiccup slip through the pre-production stage. The Android Invasion is far from being downright terrible, but it makes for middle-of-the-road Doctor Who that’s very hard to get excited about.

The bottom of the pile. The Hand of Fear is a hand throw away from poor 'Doctor' Who.

15) The Hand of Fear: The main problem with The Hand of Fear is its so boring and uninteresting on so many levels, that’s its almost impossible to be care about anything that’s going on. It’s also very repetitive (episodes 2 and 3 are basically one and the same), and the ‘horror’ and ‘gothic’ elements are poorly realised and the lamest compared to the entire renaissance era. The acting is generally poor, and the villain (the male Kastrian) is basically Azal meets Omega (both roles played by Stephen Thorne). The final episode is clunky and cartoonish and Sarah Jane’s exit is particularly badly handled (a contender for the worst companion exit of all time). Overall, The Hand of Fear is a prime example of Bob Baker/Dave Martin over-over writing for the confines of Doctor Who, resulting in an inadequate instalment in the critically claimed Philip Hinchcliffe era.

14) Revenge of the Cybermen: Much like any and all classic-Who Cybermen stories, Revenge of the Cybermen is ultimately flawed on countless levels and is quite humorous to the point one can only laugh at how ridiculous the story is. The writing seems more interested in mocking Harry Sullivan and calling him out for being such a buffoon; but in an oxymoron kind of way, he puts in his best performance here. Sarah Jane puts in her worst appearance, and even the Fourth Doctor seems off-key. The design work is nice, but a little bit lazy since the Nerva Beacon sets from The Ark in Space are reused, and the acting is questionable at the best of times. Its not horrendously bad or a poor adventures (the location filming provides seems eerie imagery and iconography), its too easy to skip over.

13) The Brain of Morbius: Good acting/poor-written characters(?) or poor acting/well written-characters(?) that’s the question with The Brain of Morbius. An obvious homage to Frankenstein provides a mixed back of a production. Its aesthetically pleasing and an (almost) original idea, but the dialogue is often awkward, and the direction stilted and dull but the opening few minutes are superb, but the story unfolds in a disconjointed way with too many plot conveniences to move the narrative forwards. Its surreal but humorously surreal (Sarah Jane manages to walk down a steep flight of stone steps completely blind) and the Sisterhood of Karn are perhaps the most surreal band of misfits the show will ever know. The Morbius monster is marvellous, and the make-up and costumes are equally commendable, but the finished product is second-rate at best, and best viewed episode-by-episode rather than in one-sitting.

12) Terror of the Zygons: Whilst exceedingly mysterious in narrative and a change of location provides some sought-after new material; the whole Zygon invasion plot seems fragmented and almost unclear to comprehend. The final episode seems to be the beginning of a new adventure, whilst episode three is the finale of the ‘whole’ adventure. Impressive monster designs, and sets are absolute highlights and even the ‘Loch Ness Monster’ isn’t too bad, but there is a lack of energy at times, and some convenient plot progressions which help the story move into second gear when the whole thing labours for the umpteenth time. Despite the unique location setting, there is very little reason why the serial takes place in Scotland; one could change the setting and ‘legendary monster’ for any other setting/monster, and nothing would be lost. Its not entirely set in Scotland anyway, episode four just had to take place in London just so the final episode could have a spectacular finale (it isn’t), and provide another loose-end final moments which feel unsatisfactory. On the perfect upside, the narrative finally provides a monster which The Brigadier could dispose of with a round of bullets. A decent adventure, worthy of a few viewings but on the whole its nothing that special, with some very forgettable moments and characters.

11) The Sontaran Experiment: Coming in surprisingly high is The Sontaran Experiment, a highly experimental two-part narrative with a strong plot which gradually unfolds as time goes on. Shot entirely on location The Sontaran Experiments has several memorable moments and includes a tight-knit band of characters a marvellous performance by Kevin Lindsay as Styre. The two-part narrative was something unique in the show’s format (the last 2 parter broadcasted in 1965!) and wouldn’t be visited again until 1982. The Sontaran Experiment was obviously meant to be a budget saving venture; but the money is well spent here, and the final product is something much to be desired. The ending is sadly botched, but the demise of Styre is perhaps the most horrific throughout the renaissance era, truly emphasising the direction the show would take for the next couple of years.

10) The Ark in Space: Yep, The Ark in Space comes in at 10th place, its not bad or anything, it’s just not a five-star classic. There are plenty of horror overtones, and the plot is very original, its basically Alien before Alien did Alien. The scripts are very dialogue-heavy and most secondary characters are redundant at best, and the lead secondary characters are very unconvincing. The Wirrn are cool, until they start to move, and the production values are generally sloppy and in shambles at the best of times, and there are constant inconsistencies which bring the marvellous production designs and values down. The tense atmosphere is helped by ominous lighting and generally well-directed claustrophobic scenes; but these are few and far between at the best of times. The ending is again a loose-ending, but its interesting the final moments led directly to the following adventure The Sontaran Experiment. Its easy to see why this is a beloved classic for some, its wholesome Doctor Who, and began the renaissance era in a decent light; its still a joy to see just how far Philip Hinchcliffe evolved the show over the two years he was in charge.

9) The Face of Evil: For all the hate and mediocre reviews The Face of Evil gets, its one of those serials that only gets better with each subsequent viewing. It takes a unique take on The Doctor travels throughout the universe; showing that sometimes his meddling and helping does have its consequences. A strong four-part narrative from Chris Boucher introduces one of the best female companions of all-time Leela. The rest of the cast are also incredibly strong. The production values remain constantly high throughout and the resolution is one of more imaginative and albeit plausible in the show’s history. Xoanon is a strong villain who has a unique backstory and brings new angles to the mad-insane computer within the science-fiction genre, its also a pleasure not to ‘him’ being destroyed at the end. Its takes time to getting used to, but The Face of Evil only goes from strength-to-strength, it just needs time getting used to.

8) Planet of Evil: It’s the best light show in the galaxy or universe. Perhaps better remembered for its unique lighting designs, Planet of Evil is a simple but effective narrative about a group of space explorers who must battle a space invader from an area beyond their understanding, as they are picked off one by one. The gothic and horror elements are prevalent right through, the cliffhangers are literally edge-of-your-seat stuff, the camerawork is first-rate, and even the body count seems a little restrained considering every is literally disposed of. The opening moments are some of the best the show will ever see, and the writing is generally mature (even though there is a bit of playground bickering and yelling), and the finished product is anything beyond a fancy light show.

7) The Masque of Mandragora: A highly effective period drama incorporating many themes and issues and several subplots which successfully mesh together to create a cohesive story; something many Doctor Who serials have failed at. The writing is again very strong from Louis Marks, you know this when the cast are having tremendous fun that the writer must have had fun writing it. A strong band of supporting characters albeit two bland and uninteresting ones provide many memorable moments for better or for worse. The location shoot was a major asset to the production crew, and they took full advantage in creating fifteenth-century Italy in twentieth-century Wales. The Masque of Mandragora is an absolute gem which must be savoured and enjoyed just as every bit as its strong counterparts.

6) Genesis of the Daleks: Here is what Doctor Who can provide, the absolute crème de la crème and finally answering the question: who created the Daleks? People can say what they like, Terry Nation truly loved his Dalek creations, and even had all the time for the science-fiction that he tried to distance himself from. The writing is perhaps the highlight providing a major conundrum for so ever moral driven Doctor to face. It a challenging situation, the likes of which will never be truly revisited again. Whilst the episodes are generally repetitive, and borrow ideas from other Dalek serials, there is enough fresh material here to provide a unique narrative which progresses naturally and almost flawlessly. There is impressive iconography, brutal imagery, surreal moments, and a resolution which perhaps helped shape the Fourth Doctor for the rest of his tenure. A chilling performance by Michael Wisher provides the best Davros, and the rest of the villains are deviously delightful. It’s almost unreal to the point where the Daleks are ‘literally’ being introduced to viewers for the first time, even though they have been around for a long time. A fan favourite, a five-star narrative and a top contender for the best Dalek serial all for the right reasons.

5) The Deadly Assassin: Everyone remembers this one for the controversial horror inducing cliffhanger where The Doctor’s head is held under for water, and for every captured with the use of a freeze frame; but the scene is utter brilliant. Its also artistically different; the opening scrolling monologue, the non-linear story structure, the use of POV shots, flashbacks, and a voice over from The Doctor, the descendance into Time Lord history and culture and society, and the return of The Master (most viewers in 1976 probably assumed he would never return). The first episode and opening moments are perhaps some of the finest, making it seem The Doctor is indeed the assassin of The President of the Time Lords; its not until later that all is revealed and the trust in The Doctor is returned. The Matrix makes it first appearance, providing some true-Doctor Who renaissance moments where everything is real and unreal at the same time. It’s a situation never seen before and one which The Doctor himself is truly uncomfortable battling against, he doesn’t seem to know whether he’ll survive. Another strong supporting cast strengths the espionage murder-mystery but perhaps Peter Pratt is a little underwhelming as The Master, but he still provides a chilling performance. Its also slightly humorous with its satirically take on politics, but its subtle and provides a change of pace for short moments, and the exposition provides some sought-after answers behind the mysterious Doctor all of which are truly satisfying. A true delight and the best Doctor Who story to take place on Gallifrey.

4) The Seeds of Doom: Its hard to take about The Seeds of Doom without first looking behind-the-scenes: Douglas Camfield makes his final contribution to Doctor Who, and the announcement that Elisabeth Sladen would be leaving occurred during production, these are factor which shaped Doctor Who over the space of three serials. Now looking at everything else, boy is this one good, it’s a perfect television movie which takes place at one end of the globe and transports the entire narrative to the other side effectively, and efficiently whilst cutting out any unnecessary filler. An original story provides another fresh Doctor Who monster for The Doctor to battle. A series of believable antagonists provide moments of hilarity, run-and-hide-behind-the-sofa, and spine-chilling terror as the story progresses from one plot point to the next. There is also some slight social commentary during The Seeds of Doom emphasising how money, greed, power, and ambitious ideas can literally destroy one’s entire world. The horror levels are prevalent throughout but many of these moments are hidden off-screen which up the stakes and provide some necessary pushing-the-boundaries moments to give the show fresh new angles. The scripts are also a lot more disciplines and structed by Robert Banks Stewart compared to Terror of the Zygons perhaps the six-part narrative time-slot allowed his ideas to be broaden, and explored/developed in more depth, he used the allowance to his full advantage, and provided a heart-stopping adventure which is almost, (almost) flawless.

3) Pyramids of Mars: A fan-favourite for many years and its not hard to see why. The setting, the villain, the monsters, and the resolution are all unique and cleverly written to provide a Hollywood-esque take on the classic Mummy monster movie. Pyramids of Mars has everything going for it, and even directly addresses the implications that come with time travel, and perfectly addresses them with one small scene and very few words exchanged between The Doctor and Sarah. A sinister vocal performance from Gabriel Woolf as the equally brilliant Sutekh create one of the best villains ever to be seen in the show’s history. Sutekh’s backstory is brilliant, his character is brilliant, he provides chilling monologue and deliveries, this is villain writing at its finest. The Mummies (although done on the cheap) are also brilliant, the simpler the design and execution, the more effective the outcome. The quiet running about and hiding moments are also sinisterly delightful, Doctor Who can be a chaotic show at the best of times, its nice to see it slow down and breath occasionally, its literally a breath of fresh air. The final episode is the weakest and a bit confusing at the best of times, but the writing is intelligent, respectable and competent in its own right. The resolution is also a bit botched and undermines the power of Sutekh, but again one has to admire of how originally unique it is. Pyramids of Mars could also make a decent TV Movie that many Doctor Who love to revisit over and over again.

2) The Talons of Weng-Chiang: Most Doctor Who places the next serials in the top two spots, but the divide between 2nd and 1st is constantly the same, except for this one. The Talons of Weng-Chiang is obviously inspired by Sherlock Holmes/Jack the Ripper/Phantom of the Opera plus several others, but it doesn’t feel like plagiarism or is it a rehash of things seen many times before. A multilayered script provides plenty of twists and turns and surprises to keep things unpredictable and extraordinary over the six episodes. The star of show is Louise Jameson as Leela; the distinguished and honourable setting juxtaposes her savage-tribal ways and customs well, providing some moments of subtle humour and laugh-out-loud moments. The rest of the cast are also incredibly strong, perhaps the best ensemble the show has ever known. The brighter, but restrained colour palette, and the production design are the grandest thing that featured on the show (up to 1977), and the artwork is simply define. Despite the controversy and some racial overtones, The Talons of Weng Chiang directly explored areas which Doctor Who had failed to do so in the past and provided a unique and sometimes ‘questionable’ execution concerning Chinese culture. The Talons of Weng-Chiang is a triumph in its own right, and firmly remains as one the all-time classical classic Doctor Who serial that is almost the best serial broadcast in the 1970s.

1) The Robots of Death: Now the pièce de resistance, The Robots of Death the best serial in the renaissance era. Its amazing just how simplistic the story and production values are but everything seems perfect – except for the reveal of who the villain is, and the poor attempts to hide their identity throughout. Writer Chris Boucher combines Murder on the Orient Express and I Robot and creates a world totally reliant on the service and deployment of robots, and brilliantly captures just how arrogant the average human can be when ‘he’ refuses to listen to logic and reason when the entire world around ‘him’ collapses. Brilliant camera work, and iconography capture many sinister and heart-bounding moments, and the silent performances of the robots adds all new unease on the locked room, or rather locked in sandminer murder-mystery. The four-parts unfold in a fast, but pleasurable pace, which is helped by some of the cleverest writing and best lines ever uttered on the show. A strong cast of supporting characters, and equally strong performances create a realistic Agatha Christiesque scenario where everyone appears to have their own agendas and plans working away in the background. Stylistically, The Robots of Deaths proves that a little can go a long way, and one would be foolish to call the serial a budget saving exercise. The renaissance era of Doctor Who was littered with gruesome deaths but surprisingly all of the gruesome murders occur off-screen; it’s a striking juxtaposition paradox that subtly shows how clever Boucher formatted his scripts. The Robots of Death is a joy from start to finish, and the best thing to come out during the Philip Hinchcliffe era.