‘Was it real or not?’ The script has a charming awareness of its own obfuscations, and Todd becomes a brilliant audience mouthpiece, baffled and irritated by the gnomic comments of Karuna, and demanding rational explanations which, by and large, are forthcoming. The Mara lives in the ‘dark places of the inside’ (‘or wherever’ – the Doctor doesn’t buy into the mysticism either) and has used Tegan to cross into the material world and possess Aris.

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‘You male fool.’ Though the script is dismissive of men, it’s notable that neither of the female companions even appears in the episode. Again, this skirts with being baffling because the script is full of poetic allusions: ‘Wheel turns, civilisations arise, wheel turns, civilisations fall.’ You could write a book on the thematic depth and imagery (oh, they have). On the flipside, if you’re just interested in following on with the story basically Aris the Kinda has been possessed by an evil force and plans to kill the human settlers, even though the wise woman has already planned to defeat the invaders through a mix of the telepathic box, and reasoning with Todd.

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‘I don’t want to understand everything, I want to work things out for myself.’ The difference, I think, between this and the earlier stories this season is the balance it strikes between the elevated SF of the forest, and the rather more robust scenes inside the dome with Simon Rouse’s portrayal of Hindle’s insanity, and Davison’s brilliantly judged “phew, what a loony” reactions. In both strands, madness is creeping in to disrupt the world, it’s just we understand the rules a lot better in one setting than the other.

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‘A perfect fifth.’ While making Doctor Who, Davison was also recording two sitcoms (Sink or Swim for the BBC and Holding the Fort for ITV, and there was a two-month break between the recording of The Visitation and Kinda to allow Davison time to tape Sink or Swim. Maybe the gap gave him chance to assess what he wanted to do with the role, because his performance here is a lot more confident than in Four to Doomsday, bringing the familiar elements of fraying patience, insouciance and sudden manic bursts of energy that characterise the fifth Doctor. Or maybe it’s just that this was conceived for Tom Baker, and Davison’s responding to a script that includes jokes (‘An apple a day keeps the.. Never mind.’) and casual authority.

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‘You may keep the pencil.’ And after criticising Nyssa’s inaction in the previous episode I’m immediately proved wrong by the way she leaps to the Doctor’s rescue. Her evident delight when he tells her she’s brilliant is lovely, and you can see why Davison thought she was a better fit for the fifth Doctor than Adric, who needs to be talked round into not siding with the baddies, and Tegan, whose weepy impetuousness has now put the TARDIS and its crew in peril.

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‘This is the graveyard of all those taken from Earth.’ I really like the macabre turn this episode takes: not only that the crew are android copies of humans abducted thousands of years ago, but the fate of their flesh (Enlightenment talks about being ‘relieved of the flesh time’ with a shudder) after the android duplicates are created: ‘The subject is then terminated and their body used to fertilise the Flora Chamber.’ This is all explained by Bigon, through neat scene shifts back and forth, as Nyssa is prepared to undergo the process. It gives a pungent oomph to this that was lacking in the frothy first half.

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‘If a frog with a funny head who can turn itself into a semblance of a human being in a matter of minutes, there isn’t much of a limit to what it can’t do. To say nothing of the dress-making.’ This is weird. For the sixth episode in a row, not a lot happens: vast swathes of it consist of people watching people – Monarch watching ‘the children’ Adric and Nyssa watching the crew of the spaceship; Persuasion watching the Doctor and Tegan watching the ‘recreationals’. Jeopardy is in short supply; the focus instead is on mystery – how can three billion life forms be on board one ship. Except even the mystery isn’t that taxing: when the crew don’t require oxygen and can be repaired, it’s not a huge leap to Bigon revealing he’s actually an android.

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‘Come along, children. Not in front of our hosts.’ This was the first Davison story recorded, and it shows. The new Doctor is written like a character in a 1940s’ children’s book, with the old-fashioned cadence of a fusty professor: ‘I wonder, could you tell me who or what you are? And where we are?’; ‘Would it be in order for you to take me to your leader?’ But this is just representative of the oddly formal nature of the whole piece, as the Doctor and friends are almost ritually introduced to Monarch and his curious crew.

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‘The Doctor has journeyed dangerously to honour us here in Castrovalva, and look at the outcome.’ Though the Doctor is still in a weakened state, Davison’s cleverly inching his performance closer to “normal” every episode. The scene where he asks Mergrave to draw him a square to prove the impossibility of Castrovalva is great: he plays it with the slightly fusty authority of a professor, but with a streak of youthful impatience, recalling Hartnell’s young/old take on the part.

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‘Sorry. No time. Must dash.’ We’re starting to get more of a grip on the new Doctor: the disarming candour; polite, almost comically so, even in the midst of a crisis. But, crucially, the sense that this is all battling with impatience and frustration causing occasional burst of sarcastic snippiness or brusqueness (for example when he realises Nyssa and Tegan have been hiding the kidnap of Adric). I quite like that. The boyishness – the Doctor looks younger than his companions when he tells a local girl, ‘We’ll have to give you a badge for mathematical excellence’ – is very disconcerting, slightly Troughtonish, and gets dropped as Davison develops his performance.

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