There’s no point in being grown up if you can’t be childish sometimes.
Our initial outing with the Fourth Doctor shows Tom Baker clearly setting out his stall—mirthful, slapdash, haphazard, alien, and just a bit brutal. It’s a good thing he strives to differentiate himself from his predecessor, Jon Pertwee, as “Robot” (Story Production Code 4A), by longtime Doctor Who script editor Terrance Dicks, covers much the same ground as several Third Doctor stories. Take one part “Invasion of the Dinosaurs,” one part “The Green Death,” one part “Inferno,” file off the serial numbers, and you have Dicks’ tale of a group of fascist technocrats hiding in a bunker, bent on ruling the planet with the help of technology even they can’t control.
It all feels too familiar, picking up right where “Planet of the Spiders” leaves off, with the newly regenerated Doctor in the Third Doctor’s clothes on the floor of his laboratory, alongside the comforting presence of Sarah Jane Smith (Elisabeth Sladen), the Brigadier (Nicholas Courtney), a newly promoted Warrant Office Benton (John Levene), and the rest of UNIT. The Brigadier has the Doctor sent for observation in the UNIT infirmary, under the care of new arrival Harry Sullivan (Ian Marter), whilst he and Sarah Jane casually discuss the recent theft of classified weapon plans and, as a completely unconnected favor to Sarah, arrange for her to be granted access to the top secret Think Tank so she can write an article. It’s there that she encounters—at the traditional first episode cliffhanger, of course—our titular menace, the Robot.
It’s clumsy plotting, but four episodes leaves little time for nuance, particularly when there’s a new Doctor to introduce. Indeed, “Robot” moves with so much pace that the obligatory threat to the planet (nuclear holocaust, this time) is resolved a scant five minutes into the final installment, leaving most of an episode for UNIT to demonstrate once more its utter incompetence as a fighting force (so, again, not much different from any of the Third Doctor’s stories).
Tacked on to the end of the Season Eleven recording block, with Barry Letts still at the production helm and the Doctor dealing with yet another Earth-bound menace, there’s little reason “Robot” should have a different feel. But by the end of of the story, one can see that changes are coming. It’s hard to suggest that any prior seasons would have dressed up the Doctor as a harlequin while referencing both James Bond and King Kong…