Yes, just like Andy Pandy!
The Doctor has certainly been wrong before, but seldom does a story actively use the Doctor’s curiosity and comity against him—and against the audience—like Bob Baker and Dave Martin’s “The Hand of Fear” (Story Production Code 4N). Right from the start, the viewer sees Eldrad, owner of the eponymous appendage, sentenced to obliteration by a people desperate to see him gone, but subsequent events in the story go to great lengths to convince the Doctor, and us, that Eldrad just might be misunderstood.
That it doesn’t quite work that way, at least for the viewer, has much to do with the general tenor of the Fourth Doctor’s stories to date; only once, in “Planet of Evil,” has the trope of “humans are the real monsters” been tried with Tom Baker at the helm, and there the nominal monster was a force of nature rather than an individual. Here, Eldrad’s ability to control the minds of humans who interact with his ring signals to the viewer that he is an evil force, responsible for two deaths by the story’s halfway point. One could see the Third Doctor being moved by Eldrad’s later protestations that he was overthrown and betrayed, but for the action-prone Fourth Doctor to so readily accept this possibility comes across oddly, a discordance that feels more plot driven than organic to the story. The viewer often knows more than the Doctor on Doctor Who, but rarely does the viewer know better.
The story itself spends an inordinate amount of time in the first of four episodes setting the stage, with the Doctor and Sarah Jane inadvertently arriving in a British quarry—which is finally just a quarry—right as a huge explosion takes place, burying Sarah Jane and unearthing a disembodied stone hand in the process. The Doctor and another scientist, Carter (Rex Robinson), discover the hand to be based on a silicon life-form matrix that regenerates in the presence of radiation. Meanwhile, Sarah Jane wakes up in hospital with a ring clutched in her hand that causes her to think, over and over, “Eldrad must live.” A few quick blue blasts from the ring later, Sarah Jane has knocked out Carter, stolen the hand, and overpowered the woeful security at a top secret nuclear research facility located conveniently nearby.
Once she has broken in, Sarah Jane takes the plastic container with the hand to the nuclear power core, locks herself in, and then waits in her red-and-white striped overalls for something to happen. She’s not the only one waiting; in place of the traditional monster revelation at the end of the first episode, we have part of a monster instead, as the hand (of fear!) comes to life—in Tupperware…