
Started August 26, 2018 · Ended · Based on 1 season, 6 episodes through September 23, 2018 · TV-MA · 60 min
PS David Budd is a police officer and former soldier who still lives with trauma from war in Afghanistan. He is assigned to guard Julia Montague, a tough Conservative Home Secretary whose hard security policies he hates. Over six episodes, terror threats, a secret affair, and a fight between the Met and MI5 keep him unsure who to trust. A plan for wider state surveillance under a law like RIPA-18 sits at the center of the plot. The story builds toward a violent political thriller ending where loyalty and truth stay hard to pin down.
On screen, several senior power roles go to women, including the Home Secretary and top police chiefs, in a way some viewers found heavy. The script talks about security powers, civil liberties, and anger over the wars in Iraq and Afghanistan. Those debates stay about policy and duty, not identity lectures or diversity slogans. Female leaders appear as part of the job, not as a campaign about empowerment. The real engines of the story are PTSD, conspiracy, and distrust of politicians and spy agencies, not race or gender ideology as the main point.
Community feedback
Was our 27% Woke rating accurate?
Breakdown
These are the editorial factors and ratings behind our score for Bodyguard.
Woke representation / casting
Several women hold top jobs such as Home Secretary and senior police chiefs. Some viewers said that mix felt unrealistic. Minority Met officers and a Muslim plot figure match modern London rather than swapping famous white characters. The gender pattern in power is clear but it is not a full quota-style cast.
24%
Woke political dialogue
Characters argue about bigger surveillance powers and civil liberties. They also show a veteran’s anger about the wars in Iraq and Afghanistan. Budd dislikes Montague’s politics for personal and policy reasons. The show does not lecture about race, gender, or diversity slogans.
10%
Identity-driven story themes
The main story tracks trauma, duty, conspiracy, and power games inside the state. Race, gender ideology, and queer identity do not drive the plot. Women in charge matter as their jobs, not as a lesson about empowerment.
5%
Western institutional / cultural critique
The show doubts politicians and treats the Iraq war as a costly failure. It also fears broad state surveillance and dirty rivalry between police and MI5. Montague is ambitious and morally mixed, not a cartoon of Western guilt. The mood is classic thriller distrust, not activist culture-war framing.
20%
Woke character or canon changes
Not relevant. This is an original scripted series, not an adaptation or rewrite of legacy characters.
0%
Anti-woke backlash and complaints
Some viewers and tabloids attacked the number of women in power as “PC gone mad.” Mercurio answered in public and called those critics sexist. The noise was real but short and mostly online. Left attacks about a Muslim stereotype are not counted in this score.
24%
Creator track record context
Jed Mercurio is known for corruption and institution thrillers, not identity-first activism. Producers and directors in the cache show no activist pattern. The team sits in mainstream British crime and thriller work. Any lean is mild on war and surveillance, not on culture-war identity politics.
16%
Production