First broadcast in February 1985, The Mark of the Rani marks the 139th adventure in Doctor Who and introduces a new Time Lord adversary, the Rani. Written by Pip and Jane Baker and directed by Sarah Hellings, this historical science-fiction hybrid brings the Sixth Doctor, Peri, and two rival renegade Time Lords into an industrial-era England teeming with Luddites and experimental schemes. While the serial boasts a refreshing setting and a charismatic guest villain, its reliance on contrived plot devices and a convoluted structure make it a mixed but interesting entry in the Sixth Doctor’s tenure.
The story takes place in 19th-century Killingworth, where the Doctor and Peri arrive amid rising tensions caused by Luddite protests. Unbeknownst to the townspeople, the brilliant but ruthless Rani (Kate O'Mara) is conducting unethical experiments, extracting brain fluid from humans to enhance the stability of life on her own planet. Meanwhile, the Master (Anthony Ainley) is also on the scene, manipulating events for his own chaotic agenda. As the Doctor struggles to thwart both his old enemy and this newly revealed rogue scientist, the battle of wits escalates in a clash of intelligence, deception, and survival.
Colin Baker’s Sixth Doctor is at his most theatrical here, with his bombastic delivery and unapologetic confidence in full force. While this iteration of the Doctor is still abrasive, The Mark of the Rani gives him opportunities to engage in witty repartee and outmaneuver his foes, showing a keener intelligence beneath the bravado. His interactions with both the Master and the Rani are some of the story’s highlights, particularly when he exposes the absurdity of their respective plans. Nicola Bryant’s Peri once again finds herself somewhat sidelined, but she remains an essential voice of reason amid the Doctor’s unpredictability.
Kate O'Mara’s Rani is an undeniable highlight. Unlike the Master, who thrives on megalomania and chaos, the Rani is driven by scientific curiosity and ruthless pragmatism. Her disdain for both the Doctor and the Master, whom she sees as childish and egotistical, adds a fascinating dynamic to their encounters. O'Mara plays the role with icy precision, making the Rani an instantly memorable and distinct antagonist. Unlike the Master’s theatrics, the Rani has no time for unnecessary grandstanding—she simply wants to get on with her work, regardless of collateral damage.
Anthony Ainley’s Master, by contrast, is starting to feel like an overused presence. While Ainley’s charisma is undeniable, the character’s repeated reliance on deception and manipulation lacks originality at this point. His alliance with the Rani is uneasy at best, and much of his role in the story feels superfluous. That said, his rivalry with the Doctor still generates entertaining moments, particularly during their verbal duels.
Visually, The Mark of the Rani benefits from strong location filming. The lush countryside and authentic period details give the serial an atmospheric authenticity that enhances its historical backdrop. The industrial-age themes, with the Luddites resisting technological change, provide a compelling setting, even if the sci-fi elements sometimes feel awkwardly integrated. The Rani’s TARDIS, disguised as a Victorian wardrobe, is a clever design choice that underscores her ability to blend into different time periods.
However, the story falters in its plotting. The Rani’s method of extracting brain fluid, which results in violent behavior from her victims, is intriguing but underexplored. Likewise, the presence of both the Master and the Rani creates a narrative imbalance, as neither villain is given enough focus to develop fully. The infamous scene where the Doctor and Peri are menaced by a ludicrously slow-moving, rolling mine exemplifies some of the serial’s misjudged execution, undercutting its dramatic tension.
Thematically, the story touches on progress versus resistance, scientific ethics, and the consequences of unchecked experimentation. The Rani’s amorality presents a refreshing contrast to the Doctor’s moral convictions, making her an opponent with a perspective grounded in logic rather than outright villainy. Her contempt for the Master’s theatricality and the Doctor’s sentimentality makes for an intriguing dynamic that could have been explored even further.
Rewatching The Mark of the Rani in 2025, it remains a visually engaging but structurally uneven story. The setting and guest performances elevate it above some of the more forgettable entries of the era, yet its lack of narrative cohesion prevents it from reaching its full potential. The Doctor’s clashes with the Rani are enjoyable, and O'Mara’s performance alone makes the serial worth revisiting. However, the overcomplicated plot and the Master’s increasingly redundant presence dilute its impact.
The climax, which sees the Master and the Rani trapped in her sabotaged TARDIS, is an amusing if somewhat predictable resolution. The Doctor and Peri’s departure leaves behind a world still grappling with the social upheavals of industrialization, reinforcing the show’s ongoing theme of progress and its consequences.
The Mark of the Rani is a solid but flawed entry in the Sixth Doctor’s run. While it introduces a compelling new antagonist and makes great use of its historical setting, its narrative shortcomings and reliance on overused tropes hold it back from greatness. Nonetheless, it remains an enjoyable, if occasionally frustrating, chapter in the show’s rich history.
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