I have rarely returned to rewatch “The Power of Kroll” because the script has next to none of Robert Holmes’ trademark wit and energy. It’s also got these green-skinned squid-worshipers. The other characters tell us that they are primitives and savages, but they’ve all taken courses in BBC Villain. Every other line out of John Abineri’s mouth is something awful like “Have a care, Doctor!” or my favorite, “Let not thy wrath fall upon thy true servants!”
Happily, our son was much, much more thrilled than I was. He loved the giant monster stuff so much he was yelling at the screen. At one point, the Doctor is outside on a gantry at the refinery and a tentacle appears behind his head. Our kid shouted “Look out, Doctor!” before hiding his face. He’s enjoying the Key to Time stories so much that he somehow convinced himself there are seven segments, not just six. I guess he just didn’t want the fun of chasing them down to end in a few days.
Fire Breathing Dimetrodon Time 
That’s funny…this story (along with the – admittedly superior – STONES OF BLOOD) are my two favorite stories from this uneven “Key to Time” season. Just goes to show how different Doctor Who fans are…
Really enjoy your blog, BTW.
Thanks! I’m glad you are enjoying reading our recaps.
Funny anecdote… back in the early 1980s when I first became a Docotr Who fan I soon discovered the Target novelizations, which in those pre-home video days were a godsend for revisiting old stories. The very first novelization I ever bought was The Power of Kroll, which I chose because it had a gigantic monster on the cover. As a kid reading it I was convinced that it had to be one of the greatest Doctor Who stories ever, and I couldn’t wait to watch the actual TV version. A year or two later it finally showed on the local PBS station… and to say I was disappointed would be a massive understatement. Therefore I have to conclude that The Power of Kroll is actually a perfectly good Doctor Who story when it “plays” inside the head of an eight year old kid, and therefore has the unlimited budget & cutting edge SFX of your imagination, which of course is a far cry from the realities of the BBC in the late 1970s.