Alan Cumming: (sees a bit of unchewed scenery) I'll take care of that.

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“THE WITCHFINDERS – A TRIAL BY MUD AND MONARCH”

The Witchfinders, the final historical tale of Series 11, takes the Fam to 17th-century Lancashire—though not by design. Aiming for Queen Elizabeth I's coronation, the Doctor misfires and lands in the misty village of Bilehurst Cragg, just in time for a grim witch trial. From the very first dunking, it’s clear this is a story unafraid to deal with historical horror, but it does so with a tone that deftly balances the chilling and the camp.

There’s a familiar structure here: an eerie period setting, a real historical issue (witch hunts), and an alien twist hiding beneath it all. But this time, the episode opens in media res, with the TARDIS crew already on the scene—making for a punchy start as the Doctor watches in horror as an innocent woman drowns. That visceral injustice immediately gives the Doctor her mission: stop more senseless executions.

THE FAM DIVIDES TO CONQUER

This is another strong showing for Team TARDIS as they scatter to investigate. Ryan and Graham get paired up with none other than King James himself, fast becoming unwilling witchfinders. Meanwhile, Yaz and the Doctor stay close to Willa, the traumatised granddaughter of the first victim, as strange things begin stirring in the ground—and in the nearby bog.

There’s good thematic material here, especially as the Doctor and Yaz help Willa find courage in the face of abuse from Mistress Savage and her ilk. It’s a reflection on power and patriarchy, and the episode doesn’t shy away from highlighting how women were demonised, oppressed, and silenced—something the Doctor herself experiences when King James dismisses her authority solely because she’s a woman. Her biting line—“If I were still a bloke, I could get on with sorting this out!”—lands well, both funny and furious.

ALAN CUMMING’S MAJESTIC MADNESS

Alan Cumming is the undisputed star here, delivering a flamboyant, scene-devouring performance as King James VI and I. He’s pompous, vain, paranoid—and utterly entertaining. Whether he’s flirting with Ryan, brandishing a Bible, or monologuing about his tragic childhood, Cumming keeps one foot in farce and the other in genuine pathos. It’s a knowingly camp portrayal, but it still lets the darkness in—particularly when James allows his insecurities to drive acts of cruelty.

Siobhan Finneran also impresses as Mistress Becka Savage, the puritanical landowner obsessed with rooting out witchcraft. She’s intense, authoritative, and deeply superstitious, making her eventual fate all the more satisfying. Her refusal to accept reason or compassion until it’s too late marks her as a classic Doctor Who villain in a very human guise—at least until she’s possessed by a mud-dwelling alien.

MUDDY WATERS AND MORAX MADNESS

The sci-fi twist here is pure Classic Who: an alien race (the Morax) imprisoned beneath a tree on Savage’s land, accidentally released when she cuts it down. The Morax infect her with their queen’s consciousness and begin animating the corpses of drowned villagers as mud zombies. It’s grotesque, pulpy fun, and the makeup and prosthetics sell the horror well.

The zombies are classic Who monsters in the best way—simple, creepy, and bolstered by strong visuals. The reveal of Becka as the possessed queen is predictable, but effective. The action ramps up for a fast-paced finale, with the Doctor about to be drowned herself before escaping and rallying the team to re-imprison the Morax. It’s a slightly rushed resolution, but still delivers a satisfying payoff with some spooky visuals and sharp dialogue.

TRIALS, THEMES, AND TARDIS TRUTHS

The story weaves historical commentary through its sci-fi fabric with admirable clarity. The systemic misogyny of the era, the role of fear and superstition in controlling communities, and the danger of unchecked authority are all touched upon. The Doctor’s gender plays a key role in how she’s perceived and treated—adding nuance to Jodie Whittaker’s performance and giving Series 11 one of its most thematically rich moments.

Willa’s arc—from timid bystander to someone who betrays the Doctor under duress, only to find the strength to stand up for what’s right—adds moral complexity. Her fear is understandable, even if it makes her momentarily unlikeable. Her eventual redemption feels earned, tying into the episode’s larger message about courage in the face of conformity.

DRESSED TO KILL (AND TRIAL)

The production design, once again, excels. The costumes are gorgeously detailed, and the foggy, damp visuals of rural Lancashire evoke a fittingly grim atmosphere. Whether it’s the mossy village square or the sinister ducking pond, the setting feels lived-in and authentically oppressive.

📝 VERDICT: 83/100

The Witchfinders is a dark, theatrical, and often hilarious slice of Doctor Who that combines the show’s historical tradition with supernatural scares and some pointed gender commentary. Alan Cumming is an unforgettable King James, both absurd and oddly sympathetic, and the mud-zombie Morax offer a delightfully gory twist. While the ending feels a touch rushed and the sci-fi element isn’t as deeply explored as it might’ve been, the episode holds together through atmosphere, strong performances, and a sharp script. It’s one of Series 11’s more effective blends of history and horror—where the real evil isn’t the aliens, but the fear and ignorance of people.

Witchfinders

It's an episode, I doesn't compare to last episode. Kerblam! Is just that good. Still it's a pretty good episode.

There's witches but actually no, the main with Hunter is possessed by the Morrax queen (which looks very gross) because she chopped a singular tree stood on a hill down. King James is also in this story, telling many lies.

Like most episodes of this era, it's a mixed bag.

I wish it delivered on the themes it establishes in the first act. Here we have the first female Doctor running headfirst into what is perhaps the ultimate sexism. She is actively discriminated against and is facing a (female) villain who is specifically weaponizing misogyny to hurt other women. There's a lot of meat in that premise and I just don't see what we get out of it other than Jodie remarking that she'd be taken more seriously if she was "still a bloke."

I'm not saying the episode has to be a YouTube essay on historical sexism, but this really could have been an all-time classic if it WENT THERE. We get tantalizingly close, too. Comments like "oh, you won't get pockets for a few hundred years" are genuinely funny, but they'd be excellent little asides keeping our focus on the episode's central theme without hitting us over the head if the episode was going to GO THERE.

Instead the resolution is like any other. They figure out the sci-fi bullshit and save the day by touching a tree or something.

I can't help but feel there's a more powerful resolution we're missing, a more powerful resolution that dares to explore what it means for the Doctor to have this face. Basically Jodie never got her Dot and Bubble and it's a bummer. (I'm leaving this review in February 2025 so here's hoping the audios starting this summer GO THERE.)

Cinematography and music are excellent, as they often are in this era.

Compare Ryan's reaction here towards discrimination with that in Rosa, quite ironical.