…arguably not Stephen Moffat, as many might think. Though even the incoming showrunner might be prepared to acknowledge the brilliance of this writer – who, perhaps more than most, defined the tone, style and rich storytelling that we love so much about Doctor Who. This, after all, is the writer who created the Autons and Sontarans, breathed life into The Master and wrote what many consider the last truly great story of Classic Who. He also stands as the longest serving writer on the series – writing for five different Doctors – penning the most controversial story in the show’s history, as well as turning his hand to social satire, Gothic horror and provocative sci-fi.So – ladies, gentlemen and Mandrels, I present Robert Holmes. And here, then, are six of the best from the man who Russell Davies once breathlessly compared to Dennis Potter.

Students of hyperbole, pull up a chair….

SPEARHEAD FROM SPACE
(1970)
Holmes’ third script for the series since his 1969 debut The Krotons, Spearhead From Space is a landmark of Classic Who by any standards. Here, Holmes introduced Jon Pertwee’s Doctor, new companion Liz Shaw and established UNIT as a continuing presence in the series. And all in colour, for the first time. That Holmes’ story unleashed the Autons on television audiences is possibly what the wider public may best remember it for. The shots of shop window dummies coming to life are as iconic as the Dalek emerging from the Thames, or the Cyberman walking down the steps in front of St Paul’s cathedral. So it’s perhaps no surprise Russell T revived them for “Rose”, introducing their plastic thrills to a new generation. Pertinently, these scenes also put the series in the sights of Mary Whitehouse and her pals at the National Viewers’ And Listeners’ Association – an organisation Holmes would run into again and again with tiresome regularity.

THE ARK IN SPACE
(1975)
You might think Stephen Moffat broke a few rules when he devoted the opening 15 minutes of “Silence Of The Library” to a lengthy dialogue between the Doctor and Donna. Of course, he was just paying homage to Episode 1 of The Ark In Space, where The Doctor, Harry and Sarah spent its duration wandering through abandoned space station Nerva. Here, Holmes – at that point also the show’s script editor – did a predictably brilliant job establishing the dynamic between his new cast. With the parasitic Wirrn he gave us a creepy alien bug whose disgusting breeding habits delighted the less squeamish viewers and possibly made a few others look twice the next time they opened their science book at school to study wasps. And in Noah, the commander of Nerva who becomes transformed by Wirrn larvae, he created a genuinely tragic character whose final sacrifice, to save the future of the human race, gave the story the kind of big, broad strokes ending Davies’ loves.

THE BRAIN OF MORBIUS
(1975)
More than just a Frankenstein rip-off, The Brain Of Morbius is a gripping study of madness and obsession – as well as a sobering lesson in what happens when surgery goes dreadfully, tragically wrong. The Doctor and Sarah find mad doctor Mehendri Solon on the remote backwater of Karn where he’s trying to rebuild renegade Time Lord Morbius – and needs The Doctor’s head to finish the job. Quite bonkers, particularly as Tom Baker and Philip Madoc, as Solon, clearly display more ham than a butchers’ shop window. The source of much fierce debate among hardcore Who fans for the “mindbending” sequence when the previous incarnations of the Doctor flash across the display on the ominous mind testing machine – more, in fact, than we counted on, giving rise to the heretical theory that William Hartnell wasn’t the first Doctor! Yawn. Adding to the geekery, these “Morbius Doctors” were played by members of the production team, including Holmes himself and production assistant Graeme Harper – now best known, of course, as one of the key directors of the new series.

THE DEADLY ASSASSIN
(1976)
Reintroducing The Master after a two-year gap, Holmes’ story saw The Doctor’s now-emaciated foe attempting to seize control of the Eye of Harmony on Gallifrey by framing The Doctor for the murder of the President. The scene where The Master’s henchman, Chancellor Goth, tries to drown The Doctor was singled out by the fragrant Mrs Whitehouse as an example of the nefarious influence the show had on the innocent minds of British school children. Beyond that, it was the first story to be based predominantly on Gallifrey. This gave Holmes almost carte blanche to fully realise the Time Lords – which he did, wryly portraying The Doctor’s race as a fusty old boys’ club, beholden to pomp and ceremony. It was also the only show of Classic Who to feature The Doctor sans companion. A typically rich and layered story from Holmes, during his most creative period.

THE TALONS OF WENG-CHIANG
(1977)
The swansong for both Holmes as script editor and producer Philip Hinchcliffe, this rollicking six-parter wove in elements of Sherlock Holmes, Fu Manchu, My Fair Lady and Jack the Ripper. The Doctor and Leela face off 51st century war criminal Magnus Greel and his deranged pig-brained homunculus Mr Sin in Victorian London. There is a giant rat lurking in the sewers, and young women are being drained of their life force. Surely this isn’t the kind of thing we expect from our Saturday family teatime viewing..? Adroitly mixing comedy and horror, with superb plotting and pacing, Holmes’ script is easily one of the greatest ever in the history of the show – TV (not just Doctor Who) firing at its best.

THE CAVES OF ANDROZANI
(1984)
Holmes’ first story since 1979’s The Power Of Kroll, this was also Peter Davison’s exit from the show. Holmes’ story – a riff on The Phantom Of The Opera – was a masterpiece. Deformed megalomaniac Sharaz Jek lurks in the caves of Androzani Minor, wrestling with for control with greedy corporate boss Morgus for control of the powerful – and valuable – Spectrox. Jek, typically, is more than just a-meat-and-two-veg bad guy, and his obsession with companion Peri gave the story a tragic twist. One of Holmes’ favourite signature devices was to include a subplot featuring two supporting characters – one usually thought he was smart, one was usually stupid – and here we get the brilliant double-act of mercenaries Stotz and Krepler. Briskly plotted, strong characterisations – and a fantastic Episode 3 cliffhanger that pushes Davison to the limits of his acting. To many of us, Classic Who never got this good again.

So – those are my nominations for why Robert Holmes is the greatest writer the show’s ever had. But what do you think – should I have basked in the glory of The Sun Makers, or maybe The Space Pirates shivers your timbers..? And perhaps you’re shocked I’d even consider Holmes to be the equal of Stephen Moffat… Let us know what you think…