We’ve got to do something, Doctor.
I actually didn’t especially like the opening scene of this episode.
It put me in mind of Thin Ice a little – an episode I love – or indeed the start of The Beast Below. The insistence against interference becomes set up for a joke (“this requires tact and diplomacy”, before immediately punching Lord Sutcliffe) or a character moment (no interference, until you see a child cry) – or indeed both, actually, in each case. There’s never really any serious consideration of non-interference; the suggestion is raised and shot down more or less immediately, the point being to make it obvious just what sort of character the Doctor is.
That’s not quite what The Witchfinders does, though. For all that it’s worth celebrating the fact that the Doctor is finally being positioned as a more active character, it’s worth noting how much emphasis is placed on the indecision of the moment – the tension comes from the fact we’re supposed to believe that the Doctor genuinely would leave the woman to die in a witch trial because of it’s more important not to interfere. It’s a far, far cry from the way non-interference was treated across the Moffat era (or indeed the Davies era).
And I don’t like that especially. I don’t like a vision of the Doctor as a character where they look on at someone being attacked, and you can see the conflict play out on their face as to whether or not to do something. I’ve said already, I think, that one of the benchmarks for each new Doctor is how they – and it’s difficult to imagine this Doctor’s immediate predecessors prevaricating in the same way about saving someone.
What I can’t tell, of course, if is this has been part of a deliberate character arc. I’m a little unconvinced, to be honest; I’m still fairly sure I read that this episode was originally placed earlier in the series, which would mean that any apparent shift towards a more actively interventionist stance on the Doctor’s part since previous historical episodes is just a quirk of scheduling. Frankly, the relative lack of character arcs for the other main cast members doesn’t exactly make me think we’re seeing an international development here: instead, it’s simply the case that the Thirteenth Doctor is the sort of character who probably would leave a woman to die in a witch trial. It’s a far cry from “if there’s one thing I’m certain of, it’s when people need help, I never refuse”.
To coin a phrase, that’s just not my Doctor.
That’s not to say I didn’t like The Witchfinders. I would say I mostly did? Going into it, certainly, I was feeling fairly disinterested about the whole thing – I think this is probably the most “whatever” I’ve felt about an episode of Doctor Who going into it, after the mess that was Kerblam!, coupled with the creeping suspicion that Doctor Who was about to go “well, actually, maybe the witch trials weren’t so bad after all”.
Thankfully, though, that was mostly avoided! And the episode was lots of fun! I enjoyed myself quite a bit, and I think this episode stood up quite well to a subsequent viewing. Probably, in fact, it stood up to this subsequent viewing better than previous ones have – certainly it did in comparison to something like The Ghost Monument, which just sort of fell apart the second time I watched it. There’s enough going on here that it’s perfectly and pleasantly diverting for a second time.
Again, though, there’s the sense that maybe none of these episodes are aiming for more than – or are going to hit more than – a generally competent level of “yes, that’s basically fine”. We’re looking at an entire run of episodes that are about as good as the average midseason episode – not a series of filler, exactly, because I’m not massively keen on the word and its implications, but certainly a set of ten essentially middle of the road stories. They’re defined by that, I think – much as Alan Cumming was wonderful, and is surely a strong contender for second best guest star of the season (I really did love Shane Zaza’s performance in Demons of the Punjab that much), the episode struggles to get its actual monsters up to task. I’ve watched it twice now, and I don’t think I could tell you very much about them – they’re deeply generic to the point of being anonymous, and it hurts the last third of the episode too. (Really, of course, there shouldn’t have been any monsters at all – the episode was doing so well with those ideas of repression and deflection, the way we externalise internal fears – introducing mud monsters to it all sees those interesting ideas just tumble down.)
But you know. Alan Cumming really is very good. And I suspect complaints about the quality of the series are almost missing the point, and remind me again why I am not massively fond of reviews as a format. It’s fine, you know. That’ll do. It basically pretty much works. It’s an entertaining enough way to spend my time on a Sunday evening. Whatever.
It is odd to think that we’re eight episodes into a ten episode series – after tonight’s episode, there’s just a week left. It doesn’t… feel that way. Which is perhaps a silly observation to make, but that doesn’t quite mean it’s any less true; there’s none of the sense of build up that accompanied previous years, none of the anticipation.
Back when Chibnall was first announced, there was a lot of talk about an intensely serialised version of the programme, each episode leading immediately into the next – not a million miles away from a Netflix show, or, the more obvious comparison under the circumstances, Broadchurch. It felt like, and probably would’ve been, a bad idea for a couple of reasons, but at the same time… there’s a part of me that sort of wishes that actually is what we got. The current “no arc” approach didn’t sound so bad on its own terms at first, but chiefly because it sounded like “there won’t be anything like Bad Wolf or Torchwood or the disappearing planets”, which, you know, is fine, it’s been a while since we’ve had that anyway, and it’s not like references to ‘the Hybrid’ weren’t deeply clunky most of the time anyway.
But, man, it seems to me that “no arc” in fact means “you could watch these episodes in literally any order, and it wouldn’t make a difference”. It feels like they’re being written with one eye on syndication, frankly, along the same lines as the average episode of Star Trek: Voyager. It’s not the plot arc I miss, it’s the character arcs, and it’s making all of these episodes feel like less than the sum of their parts – it’s difficult to appreciate a perfectly competent episode like The Witchfinders because it struggles under the weight of series-wide flaws.
So, you know. Okay, sure, fine, whatever.