BODYGUARD:
TX: BBC1, Sundays*, 9pm, 26/08/2018 – 23/09/2018 (six episodes)
w: Jed Mercurio, d: Thomas Vincent & John Strickland, p: Priscilla Parish & Eric Coulter, m: Ruth Barrett & Ruskin Williamson (World Productions / Netflix Distribution)

“Whose ideology will really win out, the Prime Minister or the Home Secretary?” – Laura Kuenssberg, Bodyguard, episode 3, 02/09/2018
Bodyguard was by far the most successful British television drama of the autumn 2018 season in terms of viewing figures; its significance is in its popular reach and how we see the world through this drama serial. Bodyguard is a hi-octane Bourne and Bond-style thriller which is deliberately foregrounded in political consciousness today. This review recognises the popular as important, perhaps even more so, as Mercurio’s British outlook is being projected internationally via Netflix.
Bodyguard is successful at retaining interest and generating excitement through the first five episodes; it contains suspenseful plotting and nurtures the sort of establishment conspiracy narrative that British television drama was especially good at in the 1980s. However, this troubling vortex is forsaken in episode 6 for a pat resolution, revealing one single bed egg in the police force was behind it, in league with petty criminals. We’ve landed adrift in Touch of Frost (ITV, 1992-2010) terrain, not the sort of current-day take on Edge of Darkness (BBC1, 1985) or A Very British Coup (C4, 1988) that was potentially suggested.
Lead character David Budd is also a sphinx without a secret; a sort of everyman come ‘troubled family man’, showing little inkling of Scottish identity despite his accent. He lacks the depths initially suggested through his friendship with the maverick former army Sergeant and member of ‘Veterans for Peace’, Andrew Apsted (Tom Brooke, giving one of the best performances). Afghanistan is simply where Budd and Apsted served together and the cause of Budd’s PTSD. The complex geopolitics are elided as Mercurio provides us with a straightforward dialectical binary of the arguments: bad politicians led us into it for ‘nothing’ (Apsted) vs. ‘I can’t see any justification for believing the Taliban would govern Afghanistan in peace and harmony, or Iraqi insurgents would ever have formed a stable democracy, or Isis would ever form a state with which the world could have diplomatic relations. And, Andrew, I certainly do not miss the tyranny of Saddam Hussein.’ (Budd, who could be Alastair Campbell’s latest mouthpiece). In addition, the resolution, wherein it is proved that Budd simply needed to open up about his feelings and admit weakness in order to re-join the nuclear family, is too simple by far.
While the trope of using actual BBC journalists within a fictional drama was fresh and amusing in Russell T. Davies’s revival of Doctor Who (BBC1, 2005-), it is here deployed with a routine, annoying inevitability.** Witness the roll-call who appear in image or voice: Laura Kuenssberg, Sophie Raworth, Martha Kearney, Nick Robinson, Andrew Marr, John Pienaar, the absurd John Humphrys. This BBC drama’s use of BBC journalists is seemingly to create verisimilitude, appealing to the ‘real’, in an era when the Corporation really is being assailed from the left for being too close to the Conservative-DUP government. Former BBC employee Owen Bennett-Jones is right in the LRB to characterise the BBC’s actual position as: ‘We can’t afford to tell the truth if it means alienating a politician who could in the future have power over our funding’ – which he evidences by BBC journalists’ lack of serious questioning or correcting of Brexiters’ erroneous on-air claims. The BBC has, for better or worse, a role in promoting consensus about national identity and tends towards the ‘received wisdom’ and ‘centre ground’ of the day – making its job all the harder in polarised times.
When the actual UK Prime Minister now is the former Home Secretary, Mercurio and the BBC’s blending of fact and fiction becomes concerning. Indeed, the only ideological divergence depicted is within the governing party, as Kuenssberg asserts. The opposition may as well not exist in this ‘family quarrel’ between PM and Home Secretary, as no dissenting individual voices or characters are presented – instead, the civil liberties protesters are presented as an angry mob and are merely given a glib and not so catchy chant: ‘RIPA-18! No police state!’ Ominous shots of everyday London locations are backed by the familiar voices of the BBC journalists, delivering portentous ‘news’:
NICK ROBINSON: We’ve had confirmation this morning from the Home Office that Home Secretary Julia Montague will go ahead with her speech at St Matthew’s College.
MARTHA KEARNEY: Civil liberties groups plan a major protest outside St Matthew’s College later today.
JOHN HUMPHRYS: Julia Montague was, of course, the target of a recent assassination attempt and she’ll use today’s platform to address the challenges in the fight against terrorism.
It is easy to imagine founding Director-General John Reith’s incensed bafflement at the casual, glibly relativist involvement of this roster of BBC journalists, whose already battered credibility is not exactly enhanced by their insertion into a sensationalist fiction. The BBC doesn’t just have to fear its perception by the political right as hapless, ‘inclusive’ liberal-left bureaucrats (W1A) but how the political left perceives its cautious cleaving to an unstable “centre-ground” rather than its former – broadly Suez-Secret Society era – spirit of independence, inquiry and truth-telling to power. Unfortunately, the BBC has been ‘brought to heel’ too many times – the sackings of DGs Milne (1987), Dyke (2003) – to give us any confidence that it’ll start standing up for genuine plurality and truth above following the power.
Bodyguard’s cavalier use of the journos-in-fiction trope is part of its terrorscapist essence. Terrorscapism is a new sub-genre of sensationalist topical drama based around exploiting fears of terrorism in the collective unconsciousness for the purposes of vicarious entertainment. In it, morality is usually painted in broad brush-strokes. Hare’s relatively successful, if more infernally plodding Collateral (TX: BBC2, 12/02/2018-05/03/2018) is merely a more liberal-left variant, with its more ‘concerned’ portrayal of Syrian refugees and shadowy MI5 dealings. Terrorscapism tends to eschew overt, complicated politics, with caricatured figures like Collateral’s John Simm playing David Mars MP (a Peter Hain-esque exemplar of New Labour’s liberal side) and Bodyguard’s Keeley Hawes playing Tory Julia Montague MP (a composite of Theresa May and Amber Rudd’s authoritarian stints in the Home Office). These figures are presented as ‘above’ the fray in being more ‘principled’.
This terrorscapist drama’s most entertaining and tense sequence is its first: the attempted suicide bombing of the train, a crisis shrewdly defused by the empathetic Budd. His human interaction with would-be bomber Nadia is compelling while we feel the latent threat of horrific pyrotechnics. Unfortunately, the silent, scared Nadia is about the best that we get from her character. As the series progresses, too many scenes revolve around the dull likes of Anne Sampson (Gina McKee), Counter Terrorism Head in the Met, speaking in clipped terrorscapist clichés. We hear much of “national security” (9 mentions), somewhat less of “civil liberties” (4), which is admittedly a good measure of where our political discourse is at.

Worse, Bodyguard lacks ideas. It gets by on thrills and suggested depths for five hours, but the final 75 minutes amounts to one ponderous, drawn-out ‘spectacular’ set-piece, followed by banal ‘revelations’ of ‘culprits’. A disgraced police officer is cuffed; conferring retribution. Nadia is revealed, in hackneyed ‘wolf in sheep’s clothing’ style, as an ‘empowered’ Islamist mastermind behind the terror attacks; confirming prejudices. This is unforgivable not just for its self-congratulatory smugness, but for its irresponsibility in the current political climate of Islamophobia and increasing far-right terror activity, given that she is the primary Muslim woman in the drama. One other particular drama in BBC’s Autumn 2018 season does it significantly better, and avoids such easy Other-ing. We will come to it later.
This absurd ‘surprise’ revelation functions as a comforting sop to our all too sour Britain of 2018 – and even more so, six months on. Yes, Jed, challenge the stereotype of the submissive Muslim woman victim, but not in aligning her with Jihadi ideology without there being any additional in-depth individuation of Muslim characters. The Muslim terrorist is thus affirmed in a certain viewer’s mind as a quiet, but definite threat to British values and security.
Ultimately, Jed Mercurio had 375 minutes which he could have used to explore a few ideas alongside the suspense and set-pieces, or engage with political complexities like W. Somerset Maugham, Eric Ambler or Graham Greene or John le Carré. However brilliant much of it is a thriller, episode 6 leaves a profoundly nasty taste in the mouth as a drama of today. In a documentary on radical television drama, Jimmy McGovern once said, semi-jokingly, that he hoped that, on Judgement Day, God would let him into heaven, “but that bastard over there who wrote 282 episodes of Casualty with his talent, and counted the money, he can go down there…”
Now, where does that leave Jed Mercurio?
*Episode 2 was on Monday 27/08
** Conspiracy drama academic Joseph Oldham has rightly told me that Spooks (2002-11) uses this device three years before RTD: Joanna Gosling appears in series 1 episode 4. Also, Lez Cooke’s history of British television drama has reminded me that an actual TV journalist appears within the fiction of Edge of Darkness (1985), interviewing Craven on TV, as well as pro-CND Labour MP Michael Meacher, which rather reflects that drama’s greater political radicalism compared with Bodyguard.




