First broadcast in February 1984, Planet of Fire marks the 134th adventure in Doctor Who. Written by Peter Grimwade and directed by Fiona Cumming, this four-part serial is notable for multiple significant moments: the introduction of new companion Peri Brown, the departure of Turlough, and the apparent demise of the Master. Set against the breathtaking volcanic landscapes of Lanzarote, Planet of Fire blends themes of power, control, and self-discovery, making it a striking, if occasionally uneven, entry in the Fifth Doctor’s era.
The story begins with the TARDIS responding to a distress signal that leads the Doctor, Turlough, and Kamelion to the planet Sarn, a world where the inhabitants worship a fire deity known as Logar. Simultaneously, an American tourist, Perpugilliam "Peri" Brown, becomes inadvertently involved after discovering an alien artifact in the waters of Lanzarote. Soon, the Doctor realizes that the Master is manipulating events, using Kamelion to exert control over Sarn’s people while seeking a cure for his deteriorating condition. As secrets unravel and allegiances shift, the story becomes a battle for survival in a world on the brink of destruction.
Peter Davison’s Fifth Doctor is in fine form here, balancing his usual warmth with a growing sense of weariness. His interactions with Turlough carry an emotional weight, especially as the companion’s past comes back to haunt him. Davison also delivers some great moments of defiance, particularly in his confrontations with the Master, where his disgust at his old enemy’s latest scheme is palpable.
Mark Strickson’s Turlough gets a long-overdue spotlight in Planet of Fire. For much of his time in the TARDIS, Turlough has been a morally ambiguous figure, often operating under ulterior motives. Here, we finally learn his backstory—he is a survivor from the planet Trion, exiled for political reasons. His decision to stay behind and reunite with his people is a satisfying conclusion to his arc, giving him the redemption he’s been seeking. Strickson plays the role with a mix of guilt, resolution, and quiet relief, making his farewell one of the more understated but rewarding departures in the classic series.
Nicola Bryant makes her debut as Peri Brown, bringing an entirely different energy to the TARDIS dynamic. As a young, outspoken American, Peri immediately stands out from previous companions, and her chemistry with Davison is immediately engaging. While Planet of Fire doesn’t give her much to do beyond being a damsel in distress, Peri’s fiery personality and independent streak hint at the dynamic that will define her future relationship with the Doctor—particularly in his next incarnation.
Anthony Ainley’s Master is once again delightfully theatrical, though his role in the story is less commanding than in previous appearances. His plot—shrinking himself with his Tissue Compression Eliminator and then trying to restore himself to full size—is suitably bizarre, but it leads to some wonderfully desperate moments, particularly in the climax where he pleads for the Doctor’s help. The Doctor’s cold refusal, allowing the Master to seemingly perish in the flames, is one of Davison’s most striking moments, hinting at the moral exhaustion of his character.
The inclusion of Kamelion, the shape-shifting android introduced in The King’s Demons, is a mixed success. The character has largely been absent since his debut, and his presence here serves mostly as a plot device. The idea of the Master using Kamelion as a vessel for his will is an intriguing one, but the practical limitations of the prop mean that Kamelion’s role feels underdeveloped. His destruction at the Doctor’s hands carries a degree of pathos, but it’s difficult to feel fully invested in his fate given how little the show has utilized him.
Visually, Planet of Fire is one of the most stunning Doctor Who stories of the classic era. Filming in Lanzarote provides a natural grandeur that enhances the story’s sense of scale. The volcanic landscapes of Sarn, with their bubbling lava flows and rocky cliffs, create an immersive and dangerous environment that gives the adventure a cinematic quality. The contrast between the modern Earth sequences in Lanzarote and the ancient, ritualistic society of Sarn further strengthens the story’s aesthetic appeal.
Thematically, Planet of Fire explores ideas of control and belief. The people of Sarn live in fear of their fiery god, only to discover that their mythology is rooted in long-forgotten technological truths. The Master’s manipulation of their society speaks to the dangers of blind faith, while Turlough’s arc reinforces the power of personal redemption. The Doctor, meanwhile, is once again faced with the burden of responsibility—choosing whether to intervene in the fates of both Turlough and Kamelion.
Revisiting Planet of Fire in 2025, it remains an ambitious and visually rich story, even if some of its narrative elements feel underdeveloped. Turlough’s exit is handled well, bringing closure to a character who has long been defined by secrets and uncertainty. Peri’s introduction is promising, though she will have greater opportunities to shine in future adventures. The Master’s apparent death, though temporary as always, provides a suitably dramatic conclusion to his schemes, while the destruction of Kamelion is a footnote rather than a significant loss.
The climax, which sees the Master’s pleas for help ignored as the Doctor watches him seemingly perish, is one of the Fifth Doctor’s coldest moments. It foreshadows the growing edge of his character as his tenure nears its conclusion, reinforcing the sense that his time is running out. The Doctor’s final glance toward the flames suggests a weariness that will only deepen in the stories to come.
Planet of Fire is a fascinating transitional story, marking both an ending and a beginning. While it may not rank among the absolute classics of the Davison era, its striking visuals, strong performances, and significant character developments ensure its place as a memorable chapter in Doctor Who’s history.
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