Riot Women - Season 1 (2026) TV Series Review: A Raw, Raucous, and Resonant Anthem for the Overlooked on BBC One and BritBox

Following the monumental conclusion of Happy Valley, the television world waited with bated breath to see where Sally Wainwright would turn her sharp, empathetic lens next. The answer arrived in the form of Riot Women, a six-part drama that premiered on BBC One in late 2025 and made its way to BritBox for North American audiences on January 14, 2026. Set once again in the ruggedly beautiful Calder Valley of West Yorkshire, the series is a production of BBC Drama that finds Wainwright at the height of her powers. Moving away from the police procedural and historical biopic genres she recently mastered, Wainwright delivers a contemporary "ensemble dramedy" that centers on five women of a certain age who decide to form a punk rock band.

The cast is a veritable "who's who" of British acting royalty. Joanna Scanlan leads as Beth Thornton, joined by Lorraine Ashbourne as Jess Burchill, Tamsin Greig as Holly Gaskell, Amelia Bullmore as Yvonne Vaux, and Rosalie Craig as the enigmatic Kitty Eckersley. The supporting cast is equally impressive, featuring seasoned veterans like Sue Johnston and Anne Reid alongside newcomers like Taj Atwal. In a television landscape that often relegates women over fifty to the roles of "mother" or "grandmother," Riot Women feels like a necessary, thunderous interruption. It is a show about reclaiming identity at a time when society often expects women to fade quietly into the background.

Narrative Arc and Pacing: From the Edge of the Abyss to the Center Stage

The narrative engine of Riot Women is ignited by a moment of extreme desperation. We first encounter Beth Thornton in a South Yorkshire home, preparing to end her life. This harrowing introduction serves as a stark reminder that beneath the surface of "ordinary" lives, profound battles are often being fought. The catalyst for change arrives via a phone call from her friend Jess, who impulsively suggests forming a band for a local talent contest. This setup might sound like the premise of a lighthearted romp, but Wainwright ensures the stakes remain grounded in reality. The journey from a makeshift ABBA tribute act to an original punk outfit called Riot Women is a slow-burn transformation that mirrors the characters' own internal awakenings.

While the series is tightly plotted across its six episodes, it doesn't shy away from heavy themes. The pacing is deliberate, allowing the audience to sit with the characters in their moments of quiet devastation—be it the grind of caring for a parent with dementia or the isolation of a failing marriage. There are no "filler" episodes here; every scene serves to either deepen our understanding of the ensemble or push the band closer to their debut. The narrative occasionally lurches between pitch-black comedy and soul-crushing drama, reflecting the messy, unpredictable nature of the "midlife sandwich" these women inhabit. Themes of menopause, domestic abuse, and systemic misogyny are woven into the fabric of the story, not as "issue of the week" tropes, but as the lived experiences of the protagonists.

Character Evolution and Performances: The Power of the Female Ensemble

The performances in Riot Women are nothing short of extraordinary. Joanna Scanlan delivers a career-defining turn as Beth. She portrays a woman who has spent decades shrinking herself to fit the expectations of others, only to find that punk music offers her a way to finally scream back. Her chemistry with Rosalie Craig’s Kitty is the emotional anchor of the season. Kitty, a volatile addict with a "Joker smile" and a traumatic past, represents the chaos that Beth’s orderly life has been missing. Watching these two disparate souls find a creative and spiritual connection is one of the most rewarding aspects of the show.

The supporting members of the band are equally well-drawn. Tamsin Greig brings a quiet, heartbreaking dignity to Holly, a recently retired police officer who is struggling to navigate the slow loss of her mother. Lorraine Ashbourne’s Jess is a masterclass in wearied resilience, playing the pub landlady who holds the group together even as her own family life begins to fray. While Amelia Bullmore’s Yvonne is perhaps the least explored of the quintet, she provides much-needed levity and comic timing. The evolution of these women—from being "invisible" to standing under the spotlights—is handled with a sensitivity that makes their eventual triumph feel earned rather than manufactured.

Direction and Production Value: Gritty Realism and Northern Soul

Sally Wainwright’s vision of the Calder Valley remains as distinctive as ever. The visual identity of the show is one of "gritty elegance," where the bleakness of a rainy West Yorkshire afternoon is offset by the warmth of a crowded pub or the neon glow of a karaoke bar. The cinematography captures the beauty of the landscape without romanticizing the difficulty of living there. There is a tangible sense of place that grounds the show’s more flamboyant moments, such as Kitty’s explosive grocery store introduction.

The production design meticulously recreates the lived-in environments of middle-class and working-class Yorkshire. From the cluttered kitchens to the makeshift rehearsal spaces, everything feels authentic. The world-building extends to the social structures of the town, where everyone knows everyone else’s business, adding an extra layer of tension to the women’s "rebellious" new hobby. The consistency of the direction ensures that the shift from slapstick humor to intense emotional confrontation never feels jarring, maintaining a unified tone that is uniquely "Wainwright."

Trailer Riot Women - Season 1 (2026) TV Series

Soundscape and Atmosphere: The Anthem of the Angry Woman

As a show about a punk band, the soundscape of Riot Women is vital. The score, punctuated by the raw energy of original songs written by the alternative rock duo ARXX, acts as the heartbeat of the series. Tracks like "Just Like Your Mother" and "Seeing Red" aren't polished pop hits; they are messy, loud, and honest reflections of the characters' internal states. The atmosphere is further enhanced by the use of licensed music, including a stirring karaoke cover of Hole’s "Violet" and a subverted take on The Rolling Stones’ "(I Can’t Get No) Satisfaction."

The sound design effectively contrasts the silence of Beth’s initial isolation with the cacophony of the band’s rehearsals. This auditory progression mirrors the characters finding their voices. The theme music itself serves as a "manifesto," a roaring call to action that sets the stage for each episode. By the time the band reaches their final performance in a local school auditorium, the music has become more than just a soundtrack; it is a cathartic release for both the characters and the audience.

Strengths and Weaknesses

• Joanna Scanlan’s Lead Performance: A powerful, nuanced portrayal of a woman reclaiming her life from the brink of despair.
• Authentic Character Writing: Wainwright’s dialogue is sharp, funny, and devastatingly accurate to the experiences of middle-aged women.
• The Beth and Kitty Dynamic: An explosive and deeply moving central relationship that defies traditional "buddy" tropes.
• Balanced Tone: The seamless blending of laugh-out-loud humor with heavy subjects like depression and domestic abuse.
• Underdeveloped Subplots: While the leads are fantastic, some members of the band, particularly Yvonne, feel like they could have used more individual screen time.
• Slow Initial Setup: The "gathering the team" phase takes up a significant portion of the early episodes, which may test the patience of some viewers.
• Occasional "Twee" Moments: Some of the band’s punk "posturing" can feel a little self-conscious or overly simplistic compared to the heavy drama elsewhere.

Final Verdict: A Triumphant Roar Into the Dark

Rating: 4.5/5 stars

Riot Women is more than just a show about a band; it is a profound exploration of what it means to be a woman in the 21st century. It justifies every second of its six-hour runtime by providing a platform for voices that are too often silenced by age and expectation. Sally Wainwright has once again proven that the most compelling stories are often found in the most "ordinary" places. While the premise might suggest a lighthearted comedy, the emotional weight and raw honesty of the performances elevate it into the upper echelons of modern British drama.

Fellow TV enthusiasts who value deep character arcs and rich world-building should consider this essential viewing. It is a show that celebrates the power of friendship and the subversive act of simply refusing to be quiet. Whether you are there for the punk rock energy or the heartbreaking family drama, Riot Women delivers a performance that will stay with you long after the final credits roll.

Who should binge-watch it: Fans of Sally Wainwright’s previous work (Happy Valley, Last Tango in Halifax), anyone who appreciates character-driven dramas with a strong feminist core, and those who enjoy seeing veteran actresses given the meaty, complex roles they deserve.

Who might find it frustrating or skip it: Viewers who prefer fast-paced, plot-heavy thrillers without much emotional "heavy lifting," or those who are sensitive to depictions of suicide and domestic abuse, as the show does not pull its punches.