Protection

Siobhan's Character is a dullard. Wardrobe has her dressed poorly with an awkward walk. When confronted with dangerous situations she's a bit of a deer in headlights. Granted, that's the script she was given so it's her character to do very little in those situations.

While I say this when only viewing three episodes, that is halfway through the show so her character is well established as a poor decision maker. While this drama takes place in the UK, it apparently doesn't have any CCTV every other UK show utilizes. So as I advance to each new episode, I'm having more questions about her decision making skills that have me wanting to just stop watching.

There's no gloss in Protection, and that's exactly why it lingers. Across six taut, emotionally bruising episodes, this BBC drama delivers a quietly blistering takedown of a system that promises safety, then disappears the moment it matters.

Written by Kris Mrksa and led by a career-best performance from Siobhan Finneran, Protection doesn't rely on genre gimmicks or manufactured cliffhangers. Instead, it roots itself in something far more disquieting: the reality of British witness protection, and what happens when even the people sworn to uphold justice are forced to make morally corrosive compromises.

Finneran plays DI Liz Nyles with remarkable restraint. Every decision, every silence, feels loaded. She isn't the usual telly cop with a tortured backstory... she's just a woman doing an impossible job, one compromise at a time, until the ground disappears beneath her. Her performance never begs for sympathy, which is precisely why it earns it.

The pacing is deliberate, but never dull. Each episode deepens the psychological stakes, moving from procedural discomfort to full-blown ethical crisis without ever raising its voice. It's beautifully directed, especially in the moments between action: hushed corridors, flickering eye contact, late-night phone calls. It's in those spaces that Protection truly thrives.

This is not a show about big twists or neat endings. It's about failure - institutional, emotional, human. And yet, it's never cynical. It's simply honest.

Some viewers may find the finale frustrating in its lack of resolution. But that's the point. There are no heroes here, no neat redemptions. Just the question: what happens when the system meant to protect becomes the thing to fear?

In a landscape cluttered with noise, Protection stands out by whispering the truth - and it cuts deeper because of it. Unflashy, unfaltering, unforgettable.

One of the finest British dramas of the year.

As usual, as the plot thickens, the supposedly capable characters start doing stupid things to make it last longer?

I would say that the beginning episodes are the best, the last ones revolve around stupidity by characters. (Like why are they no using prepaid phones, not removing the sim cards, not saving information to an outside cloud,) and the list goes on...

Some good acting by supporting characters, main actor is not even in good enough shape to run without having a stunt double. Much better than American shows. More complex, more interesting. I would recommend if you ignore the logic flaws.

Even her turn in "Alma's not Normal" is excellent.

I have a feeling today's writers are stuck in the SAME tropes. This one uses at least 3 of them. The bratty kid, but wait, there are two in this one. The dementia riddled horrible father, who, surprisingly seems to have clarity at the right times, and of course, the bad bedfellow.

This was a, let's throw a lot of stuff at the wall and see what sticks. Unfortunately, this turns into 6 episodes of non-sense, with the typical 'baddie' guy and his voice, deciphering from his first scene, that he is not just a passing character whom information needs to garnered and forgotten about. Why can't these writers pick anyone of the real life stories that are so hard to believe these days, and build on this?

Siobhan is Liz. She is entrusted with a family in the witness protection and as zero spoilers will tell you, this goes tits up. Liz's sister is seen for a scene and then dunzo...Her superiors are awful humans, those of which can not be modeled on anyone remotely passable (and yet, there are 3!!), all awful. This is doing the laundry watching...hardly engaging.

I am writing this after series 1. I assume there won't be a second. This was a good series until the finale.

Maybe it was the strong cast that had kept me engaged (a lot of familiar B-listers but none of them really top billing) but the story just seemed to fall apart at the end. Maybe 6 episodes was too much for the writers.

I love Siobhan Finneran but this probably goes to show that she is a great support actress rather than a leading lady (even in Rita and Sue and Bob too see came second each time. The one time she came first there was an unsatisfactory outcome and the same goes for this show).

To have Siobhan, Katherine Kelly and Catherine Tyldesley in the first episode won me over but why they got as big a actress as Catherine Tyldesley for such a small role is beyond me (I guess she had a ship to catch) and she and Katherine Kelly are similar in looks and acting style.

I loved David Hayman as the cantankerous father, reluctantly having to give up on his independence as his health wanes and the way he acts with his daughter who dutifully followed him into the force is brilliantly written.

For a story made mainly in Liverpool, it did seem to have very few scousers but some great northern actors seeing the story through to a poor and convoluted conclusion.