In the spring of 1593, a spate of viciously xenophobic libels appeared throughout London. The most notorious of these, the so-called Dutch Church libel, landed Thomas Kyd and Christopher Marlowe in some trouble, possibly due to its prominent allusions to Marlowe’s plays. This chapter argues that the collaborative, censored playscript Sir Thomas More reprises the incendiary confluence of libel, xenophobia, and drama that took place in 1593. The play’s opening scenes dramatize the anti-immigrant Evil May Day riot of 1517 with an eye to the 1590s, showing the strangers’ crimes and the violent resistance of London’s citizens. The citizens take their grievances public once all legal avenues for redress have failed. Yet libel and riot are not the only extralegal recourses in the play. The latter two-thirds of Sir Thomas More track the rise and fall of its titular character, who himself repeatedly confronts the limits of the law. Thomas More’s career extends the initial dramatization of libel into an extended meditation on the remedies available to any subject afflicted by unjust law, from bills and libels to riot to the vexed administration of equity and the vagaries of conscience.