The levels of taste and good judgement in the Doctor Who production office in the mid-1980s can be summed up in three words:

Doctor In Distress.

The Caves Of Androzani is, notably, the only actually good Doctor Who story from 1984

How good can a story be before its bad aspects are excusable?

The Talons Of Weng-Chiang
is notable for many things — it’s the last story for Philip Hinchcliffe as producer (and he let the show go so far over budget to make it a good one that the budget was slashed for future series…), it’s the last story that David Maloney ever directed for the show, it’s one of Robert Holmes’ best scripts — but there are two things that make it especially notable — the blatant racism, and the terrible special effect of a rat

Through the millennia, the Time Lords of Gallifrey led a life of peace and ordered calm, protected against all threats from lesser civilisations by their great power. But this was to change. Suddenly, and terribly, the Time Lords faced the most dangerous crisis in their long history…

I deny this reality. The reality is a computation matrix!

1975 was the last year that everything changed for Doctor Who. We’ve seen that there are three main forces behind the feel of Doctor Who , the producer, the script editor, and the star. Season 12, which started in the last week of 1974, was the last time that all three would change at once during the show’s original TV run. (Technically, producer Barry Letts stayed on for the first story of the season, after Pertwee and script editor Terrance Dicks had already left).

This means that Tom Baker’s first series was very different from anything that came either before or after.

And so we get the start of a new show, which for some reason has the same title as that old programme Doctor Who.