It is the scream that stays with you. Not just a generic horror movie shriek, but that chilling, high-pitched wail echoing across the moonlit Spanish Flats. If you grew up watching ITV on a Sunday night, you know exactly what I’m talking about. Midsomer Murders Bad Tidings isn't just another episode of a long-running procedural. It is arguably the moment the show transitioned from a quaint village mystery into something darker, weirder, and much more cinematic.
Honestly, I’ve rewatched this one probably five or six times. Each time, I catch something new in the background of the Cully Barnaby reunion or a subtle look between Tom and Joyce. It’s the first episode of Season 7, originally airing in early 2004, and it feels like the production team finally realized they had a hit on their hands and decided to flex their muscles. It’s got the quintessential Midsomer ingredients: a bizarre motive, an isolated community, and a murder weapon that is just specific enough to be unsettling.
But let’s get real. The reason we’re still talking about this specific mystery two decades later isn’t just the plot. It’s the introduction of Sergeant Dan Scott. Remember the look on Tom Barnaby's face when he realized his new partner was a city boy who didn't want to be there? Pure gold.
The Cully Barnaby Factor and the Midsomer Murders Bad Tidings Plot
The episode kicks off with a 10-year village reunion. Cully Barnaby, played by Laura Howard, returns to Midsomer Mallow with her old school friends. You’ve got the typical mix of people who stayed and people who escaped. This is where the writing shines. It captures that awkward, slightly claustrophobic energy of meeting people you haven't seen since you were a teenager. You’re all pretending to be adults, but the old hierarchies are still right there under the surface.
Then, the body shows up.
Fiona Thompson is found dead on the Spanish Flats. It’s a brutal, open-air crime scene that contrasts sharply with the cozy village greens we usually see. This isn't a "poisoned tea" kind of death. It’s visceral. The investigation immediately dives into the local residents, including a birdwatcher who sees more than he lets on and a grieving family with way too many secrets.
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What makes the Midsomer Murders Bad Tidings narrative work so well is how it uses Cully. Usually, she’s just "the daughter" who appears for a quick breakfast scene. Here, she is the emotional tether. Her friends are the suspects. Her friends are the victims. It raises the stakes for Tom Barnaby in a way that feels personal. John Nettles plays this beautifully—balancing the objective detective with the concerned father.
Sergeant Scott and the Culture Shock
We have to talk about John Hopkins as Sergeant Dan Scott. Following in the footsteps of Gavin Troy was no easy feat. Troy was the local lad, the one who understood the rhythms of the countryside even if he was a bit clumsy. Scott? He’s a fish out of water. He hates the mud. He hates the silence. He definitely hates the fact that people keep getting murdered in "boring" villages.
The dynamic between Nettles and Hopkins is prickly right out of the gate. In one of their first scenes together, Barnaby is basically hazing him with the sheer amount of local lore he’s expected to absorb. It’s a brilliant move by the writers. By bringing in an outsider, the show allows us to see Midsomer through fresh eyes. Scott asks the questions the audience is thinking: Why does everyone here have a secret? Why is this village so cursed?
The contrast between Scott's leather jacket and urban cynicism and Barnaby’s well-worn Barbour jacket defines the era. It’s a shame Hopkins didn't stay for more than two seasons, because his chemistry with Nettles provided a necessary friction that the show sometimes lacks when the sergeants are too eager to please.
The Weirdness of the Spanish Flats
The location itself—the "Spanish Flats"—is a character. It’s this desolate, marshy area that feels totally disconnected from the thatched cottages. The cinematography in this episode utilizes wide shots to make the characters look small and vulnerable.
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- It breaks the "cozy" trope by showing the harshness of the landscape.
- The lighting during the night scenes creates a genuine sense of dread.
- It serves as a metaphor for the isolation of the characters' lives.
Most people forget that this episode was directed by Peter Smith. He had a knack for finding the "uncanny" in the everyday. A birdwatching hut becomes a place of voyeurism and menace. A simple village hall dance feels like a masquerade where everyone is wearing a fake face.
Why the Ending of Bad Tidings Still Divides Fans
I won't spoil the exact identity of the killer for the three people who haven't seen it, but the motive is... classic Midsomer. Some fans find it a bit far-fetched. Others think it’s a perfect representation of how small slights can fester over decades in a small town.
Basically, the killer's logic is twisted, rooted in a deep-seated resentment that only makes sense if you’ve lived in the same square mile for your entire life. It’s about legacy. It’s about who belongs and who doesn't. When the truth finally comes out in that climactic confrontation, it’s not a moment of triumph for Barnaby. It’s a moment of exhaustion. You can see it in his eyes—the sheer weight of human pettiness.
Factual Details and Production Trivia
- Original Air Date: January 4, 2004.
- The Script: Written by Douglas Watkinson, who was a staple for the series’ best years.
- The Cast: Look out for guest stars like Ruth Sheen and Michael Siberry. The show was always incredible at casting top-tier British character actors who make the most of their twenty minutes of screen time before getting bumped off.
- The Music: Jim Parker’s score is particularly haunting here, using the Theremin in ways that feel more "slasher flick" than "village mystery."
There is a common misconception that Midsomer started getting "weird" only in the later seasons with the cupcakes and the giant wheels of cheese. Not true. Midsomer Murders Bad Tidings proved that the show was always willing to go to dark, psychological places. The murder of the second victim, Noel Wooliscroft, is a masterclass in tension. It happens in broad daylight, yet it feels unavoidable.
The Legacy of Season 7
Season 7 is often cited by purists as the peak of the show. It’s the bridge between the early, almost grainy film look of the late 90s and the high-definition gloss of the modern era. Bad Tidings set the tone for this. It showed that the series could survive a major cast change. It showed that Cully could be more than a background character.
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Most importantly, it leaned into the "folk horror" elements that make the show unique. There’s a specific kind of British dread that comes from ancient landscapes and modern grudges. This episode nails that. It’s not just about who held the knife; it’s about the environment that allowed the knife to be picked up in the first place.
If you’re planning a rewatch, pay attention to the sound design. The wind whistling through the grass on the flats isn't just background noise. It’s used to mask footsteps, to build anxiety, and to make the final reveal feel like a release of pressure.
How to Get the Most Out of Your Rewatch
Don't just have this on in the background while you're folding laundry. To actually appreciate what they did here, you have to look at the framing. Notice how often Barnaby and Scott are separated in the frame during their early scenes, reflecting their lack of trust. Watch the way the color palette shifts from the warm, golden hues of the village to the cold, blue-grey tones of the flats.
Actionable Insights for Mystery Fans
- Analyze the "Red Herrings": This episode uses the "grumpy local" trope to distract you from the more subtle psychological clues. Follow the money, not just the tempers.
- Observe the Sergeant Transition: If you're a writer or a fan of TV structure, study how Scott is introduced. He isn't "Troy Lite." He is a complete opposite, which forces the protagonist (Barnaby) to change his approach.
- Check the Filming Locations: Many of the scenes were filmed in Dorchester-on-Thames and Little Wittenham. If you're ever in Oxfordshire, these spots are eerily similar to their on-screen counterparts.
- Watch for the "Mirroring" Technique: The secrets of the older generation are mirrored by the tensions among Cully’s friends. It’s a dual-layered narrative that rewards paying attention to the subtext.
To truly understand why this show has lasted for dozens of seasons, you have to look at episodes like this. It isn't just about the puzzles. It’s about the atmosphere of a world that looks perfect on the outside but is rotting on the inside. Bad Tidings isn't just a title; it’s a warning.
Final Tip: Keep an eye on the birdwatcher. In the world of Midsomer, anyone with binoculars is either a witness or a creep. Usually both. Once you finish this episode, jump straight into "The Fisher King" to see how the Barnaby-Scott dynamic evolves. You’ll see a massive shift in how they handle the local eccentrics once they've survived the "Bad Tidings" of Midsomer Mallow.