Richard Gadd’s Half Man pushes the BBC to its violence limits but will it ever match HBO’s extremes?

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This article contains references to sexual violence that some readers may find distressing.

The new series, Half Man, begins with a shocking scene: Richard Gadd’s character, Ruben, violently punches Jamie Bell’s character, Niall, causing his head to hit the wall with a cracking sound.

The show’s story begins with a violent event at Niall’s wedding, which happens 30 years after the main story’s flashback begins. This event is described in the show’s overview as a major turning point.

This episode offers a harsh preview of the intense violence that’s coming in the series. Those familiar with the show won’t be shocked; it’s known for exploring the complex and often fragile bonds between men, specifically through the long-term friendship of Ruben and Niall. It delves into themes of brotherhood and the realities of violence.

It’s no surprise that viewers in the US and around the world will be watching the series on HBO, as it’s a collaboration between BBC and HBO.

HBO is famous for its quality, sophisticated dramas, but many of its shows also feature intense and violent content. A clear example is the popular fantasy series Game of Thrones, which included disturbing scenes like beheadings, attacks on pregnant women, and gruesome injuries, including a man having his eyes removed and bones broken.

I expected Half Man to be incredibly violent, but surprisingly, it felt quite controlled in that regard. While there’s definitely some violent and even gruesome content, it never felt gratuitous or shocking – it always served the story. The real surprises came from the plot itself, not from any graphic imagery.

Seeing the BBC and HBO work together more often, especially on a show like Industry with its mature content, got me wondering: could the BBC ever start making shows as graphic and intense as those on HBO, or even on other platforms like Prime Video, AMC, or Netflix? Could we ever see a BBC drama with the same level of violence as shows like The Sopranos, Westworld, The Boys, The Walking Dead, or Detective Hole?

I interviewed Spencer Murphy, a Media and Communications professor at Coventry University, to understand his perspective on how the BBC has historically portrayed violence on television.

Murphy pointed out that the BBC has a unique past when it comes to how people react to violent material on its programs, specifying that this concerns what viewers themselves consider to be violent.

A key finding from a 2023 Ofcom study is that viewers have become more accustomed to violence on television. The study revealed that many people now see violence in shows airing after 9pm as commonplace.

The content was also considered more visually detailed, intense, and lifelike. However, this wasn’t viewed negatively by viewers in the study. They reported that the violence in dramas actually increased realism and excitement, making the stories more engaging and feeling more authentic compared to older, more artificial depictions.

These changes were deemed to be reflective of changes in society and audiences’ tastes.

Murphy pointed out that the BBC has a long history of being innovative and challenging what viewers expect, partly because it’s a public service broadcaster.

Long before shows like ‘The Boys’ or those on HBO gained attention for pushing boundaries, the BBC was already producing thought-provoking content. These programs weren’t simply violent; they captured the spirit of the times, challenged societal norms, and encouraged viewers to question things.

Even classic science fiction from the 1950s, like the show Quatermass, faced public criticism. Surprisingly, even Doctor Who, a major BBC program, caused significant outrage. What seems charming now – like the Daleks trying to destroy people on a Saturday evening – was considered quite controversial at the time.

Thinking about the show ‘Half Man’ reminds me of ‘The Wednesday Play’ from the 1960s – a series of short, impactful dramas shown weekly. Episodes like ‘Cathy Come Home’ and ‘Up the Junction’ were surprisingly intense for that era, and it’s important to remember how shocking they were at the time.

The show tackled difficult and sensitive issues like trauma, homelessness, abortion, and domestic abuse. While it sparked some controversy when it aired, it really showed the BBC’s willingness to be innovative, challenge viewers, and reflect contemporary society. That commitment to pushing boundaries and representing real life continues to this day.

I recently revisited the 1984 BBC drama, Threads, and it’s still incredibly powerful. This film depicts a nuclear attack on Britain and the devastating aftermath, including a truly chilling portrayal of nuclear winter. It’s a harrowing and unforgettable piece of work – one that continues to haunt me long after the credits roll.

Today, shows like Peaky Blinders and Luther demonstrate how violence is portrayed in BBC dramas. However, compared to shows like Game of Thrones or The Boys, the violence shown in these BBC programs is generally less explicit and graphic.

According to Murphy, the core problem with this new show isn’t the show itself, but rather the larger question of the BBC’s role in today’s streaming landscape. He points out that the violence shown in popular series like The Wire and Game of Thrones was aimed at a different audience and served a specific purpose, something to consider in the current environment.

“The question with these shows is, why is the violence there? And what is it trying to accomplish?”

Gadd clearly wrestled with this question during the making of Half Man, and it also preoccupied those working with him.

During his interview for our video series, The TopMob Writers’ Room, I asked Gadd if the show’s violence was something he’d discussed with the BBC, considering their viewers might not anticipate such content as much as those watching HBO.

He explained that the show was developed through constant conversation. “That’s just how television works,” he said, “and we spent a lot of time talking about the level of violence in it.”

He explained that the violence in ‘Half Man’ isn’t gratuitous; it’s essential to exploring the show’s themes. He felt that avoiding the harsh realities of male violence would be strange, especially when the goal is to examine it. To truly understand a character like Ruben, the audience needs to witness the full scope of his actions, rather than simply being told about them.

They claim this character is extremely violent, but I don’t find that believable, and I think it would have ruined the entire show if it were true. I feel quite certain about that.

I agree with him completely. “Half Man” is a truly impressive show – the best I’ve seen all year, and 2026 has had a lot of great options. A big reason for this is how it handles violence. I think the impact would be lessened if we didn’t actually see the violence and its consequences.

According to Gadd, the problem with violence in TV and movies isn’t violence itself, but when it’s used simply to shock, disgust, or generate buzz. He explains that you can often sense when violence is being used unnecessarily, and it feels forced on screen.

Whenever there was a particularly violent moment in the show, I always questioned whether it served a purpose for the character’s development or the overall story. And I consistently believed that it did.

As a long-time viewer, I’ve always felt that whether or not the violence shown is seen as ‘important’ or even justified is really at the heart of what the BBC tries to do. It’s not just about showing it, but how they present it – that feels absolutely essential to their whole purpose.

The BBC is a public broadcaster funded by the government. Its existence and operations are formally outlined in a Royal Charter, and it has an agreement with the Secretary of State for Culture, Media and Sport about what it does.

The BBC’s core purpose, as outlined in its Charter, is to benefit the public by providing trustworthy, excellent, and unique content and services that inform, teach, and amuse everyone.

The report also states that the BBC needs to thoughtfully consider what people – including those who pay the license fee – think and want, throughout the entire UK.

The agreement states that the BBC needs to shield viewers and listeners from content that could be upsetting or damaging, unless there’s a strong, justifiable reason for including it. Specifically, anything likely to cause significant offense will require a very compelling editorial reason to be aired or published.

The BBC needs to find a balance between being able to share new and thought-provoking ideas and avoiding unnecessary offense. When creating content that might be considered upsetting or harmful, the BBC should consider both what most people find acceptable and what its audience expects.

Sharing content that might be considered offensive needs a clear reason related to the situation. This includes things like harsh language, depictions of violence or sexual acts, and anything that causes humiliation, suffering, or treats people with disrespect or discrimination.

Without giving away any plot details, “Half Man” delves into several themes, not just the ones already known. It does this through the stories of its characters, Ruben and Niall, and also by looking at broader issues in society. Violence plays a key role in exploring these ideas.

According to Murphy, this issue comes down to the BBC’s unique position as a public service broadcaster. Unlike companies like Amazon Prime, the BBC operates under a charter with a defined purpose and a responsibility to both the UK and international audiences, built on a long-standing tradition and history.

These platforms release a massive amount of content weekly. The BBC has always defended its programs, even those that have sparked strong moral objections, and it was right to do so. The BBC won’t broadcast anything without a solid, justifiable editorial reason.

This leads us back to streaming services like HBO, Netflix, and Prime Video, which don’t have the same rules. Is the way they show violence acceptable?

In 2016, reporters questioned Casey Bloys, who is now the head of HBO and Max Content, about the portrayal of sexual violence against women in shows such as Game of Thrones and Westworld.

He clarified that the violence wasn’t specifically targeted at women. While shows like Westworld and Game of Thrones contain a lot of violence, he pointed out that it’s not exclusive to female characters, and men haven’t been depicted as victims of sexual assault in those shows either.

Take Game of Thrones as an example – it features incredibly graphic violence, including castration and a father being forced to eat his own children. While I understand that male rape hasn’t occurred in the show so far, I believe the overall level of violence is distributed fairly between male and female characters.

The response initially faced criticism for seemingly justifying sexual violence against women. However, for our current conversation, it seems the author isn’t particularly concerned with the overall level of violence within the series. In fact, many would argue that this acceptance of violence is actually a key part of what makes the series appealing.

It’s not necessarily true, but a recent Ofcom study found that some drama programs now feature more intense and graphic violence. Participants suggested this increase is likely due to competition from channels like Sky Atlantic – especially shows from HBO – and streaming services like Netflix.

This wasn’t automatically considered negative. As we’ve discussed, HBO is known for shows with intense violence and realism, but also for high-quality, captivating dramas. Even when a strong story is the focus, those elements often go hand-in-hand.

There are many reasons why a piece of content might be considered valuable. It could be because it benefits society or discusses important current events. Alternatively, it might be worthwhile because it fearlessly tackles sensitive subjects, or simply because it’s a well-crafted and complete work of art.

Murphy admits to being a fan of the very violent show The Boys, but points out a major difference in how it portrays violence compared to what you’d expect from a BBC production.

Their marketing heavily focuses on showcasing extreme violence. Some shows, like Game of Thrones, were particularly known for creating shocking, highly-publicized violent scenes – almost designed to go viral on social media and generate buzz.

Some viewers might be concerned that shows like Half Man signal a shift in the BBC towards the kind of content you see on other streaming services. I personally don’t believe the BBC would ever go down that path, though I might be biased.

I don’t think the BBC commissioned ‘Half Man’ because of its violence. It’s obvious the show will explore issues related to harmful masculine traits.

It’s interesting how people have responded to “Half Man,” even before seeing it. Reviews have been extremely varied – some critics loved it, giving it a perfect five stars, while others were much less impressed, awarding it only two.

The Telegraph described the show as simply cruel and violent. Even a positive review from The Guardian, which gave it five stars, admitted the violence was incredibly realistic and intense.

The show occasionally uses violence that feels unnecessary and disturbing, which can be hard to watch.

The BBC seems to have anticipated the show’s popularity. They’re releasing episodes weekly, every Friday at 6am on BBC iPlayer, which is a common approach – the previous season of The Capture also premiered new episodes on a weekly basis, but on Sundays.

However, “Half Man” is releasing episodes in a similar way to “Industry,” another HBO series. “Industry” gained attention for its explicit sexual content, which even led to some revisions. Episodes of that show first appeared on BBC iPlayer at 6 a.m. on Mondays, and then aired on television later that same night, sometimes as late as 10:40 p.m.

New episodes of Half Man will air on BBC One every Tuesday, following their initial release on Fridays, at 10:40 PM. This late timeslot, and the fact that it’s also available on iPlayer, suggests the show is aimed at viewers who specifically seek it out – perhaps to avoid accidental exposure and potential offense.

This is typical for shows available only through streaming services – research by Ofcom shows viewers feel strongly about this.

The report found that many users believed streaming services offered more daring content, citing examples of shows with explicit scenes or mature themes that weren’t available elsewhere.

People who highlighted this difference usually appreciated it, saying streaming services offered a wider range of shows, including some they preferred over traditional TV options.

People who took the survey thought British content was generally more cautious and avoided pushing limits, while content from other countries was often more willing to show violence, nudity, and mature subject matter.

As a film buff, I’ve noticed a real difference between what British streaming services offer and what you find on Netflix. It feels like British platforms tend to be a bit more… reserved, maybe even overly cautious and ‘politically correct’. They really seem to filter things. But when I’m scrolling through Netflix, I get a much rawer, more unfiltered experience – stuff that feels a lot grittier and more honest, you know?

Participants also pointed out that streaming services have more freedom to experiment because viewers actively choose what to watch, rather than passively receiving it.

The study found that participants connected this to their experiences with streaming services (SVoDs) displaying content information – like warnings, ratings, and classifications – more clearly than traditional TV. They also noted that streaming services generally offer better tools for managing access, such as PINs and child profiles.

Streaming services give viewers more control over what they watch, unlike traditional TV. With regular TV, it’s easy to start watching something by chance while flipping channels, and information about the program isn’t always helpful. Streaming allows people to actively choose what they want, giving them more autonomy.

According to Murphy, scheduling the show on BBC One at that time is a smart move if the goal is to avoid viewers accidentally discovering ‘Half Man’.

It’s like there’s an unspoken boundary, especially on the BBC after 9pm, where viewers are more willing to accept shows that deal with difficult or realistic topics.

He wonders how prominently the show is featured when you first open the iPlayer app. He believes this is an important consideration for all streaming services, including the BBC – is it easy to find?

Most streaming services offer separate profiles for adults and children, and they’re actively considering how to improve these. This is an important issue for all streamers, especially the BBC, to address: how do they present content appropriately for different viewers?

Murphy believes the BBC doesn’t need to shy away from bold and challenging content, even if it avoids extreme on-screen violence – which is unlikely to be necessary or justified from a societal perspective. He argues the corporation shouldn’t be afraid to create series that truly push boundaries and engage viewers.

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For me, that’s the core purpose of public service broadcasting. It’s not simply about providing programs like nature documentaries; it’s also about engaging audiences and posing important questions for society to consider.

I’m drawn to shows like Half Man specifically because it’s a BBC production. I probably wouldn’t be as interested if it were only available on a service like HBO Max. The BBC connection gives it a certain credibility and context that really appeals to me – it’s not necessarily an endorsement, but it provides a specific background that makes me want to watch.

I think this work will be thought-provoking, encouraging viewers to really consider what they’re seeing. Too often, especially with streaming content, things just don’t make you think much beyond the surface level.

Half Man will arrive on BBC iPlayer at 6am on Friday 24 April.

I’m so excited about ‘Half Man’ and I really think you should check it out! You can add it to your watchlist right now on the TopMob: What to Watch app – it’s a great way to stay up-to-date with all the latest TV shows and get personalized recommendations. Seriously, download the app – you won’t regret it!

Authors

James HibbsDrama Writer

James Hibbs writes about TV dramas for TopMob, covering shows on streaming services and traditional channels. Before becoming a writer, he worked in public relations, first at a business-to-business agency and then at Fremantle, an international TV production company. He has a BA degree in English and Theatre Studies and a Level 5 Diploma in Journalism.

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2026-04-23 10:08