Empires may crumble more easily than we think, but in Netflix’s new political thriller Hostage, it’s the personal and political worlds of two women leaders that are put to the ultimate test. Released on August 21, 2025, the limited series stars Suranne Jones as British Prime Minister Abigail Dalton and Julie Delpy as French President Vivienne Toussaint—two heads of state whose uneasy alliance is forged under the most harrowing circumstances.
Set in present-day London, Hostage opens just eight months into Dalton’s premiership. Already, she’s facing a torrent of crises: a faltering economy has led her to slash the UK’s military budget, drawing ire from her cabinet, while a supply crisis in the National Health Service (NHS) leaves pharmacies barren and vulnerable citizens without life-saving medication. Despite these mounting pressures, Dalton presses ahead with an Anglo-French Summit—her historic meeting with President Toussaint—to negotiate over refugees and French medical aid.
But politics quickly turns personal. Dalton learns her husband, Dr. Alex Anderson (Ashley Thomas), has been kidnapped in French Guiana while providing medical aid to locals. The kidnappers’ chilling demand? Dalton’s resignation in exchange for her husband’s safe return. According to Variety, this sets off a chain of events that entwines Dalton’s fate with Toussaint’s, who herself is being blackmailed during the summit. The stakes are nothing short of existential, both for the leaders and for the nations they serve.
Suranne Jones, no stranger to playing women under pressure, brings Dalton to life with a blend of vulnerability and resolve. As she told BBC News, “We’re entertaining and we’re in the political world, but it’s in no way a reflection of the world we live in. It’s political with a small p—there’s enough that roots us in the real world but the world is too complicated to link it directly and I think it would be inappropriate.”
Yet, as Hostage creator Matt Charman (of Bridge of Spies fame) explains, it’s impossible to write a show set in today’s climate without it feeling in dialogue with reality. “If you wrote a show that isn’t connected to our world it would feel weird,” he told the BBC. “But I hope the show does have the ability to exist in its own oxygen.”
One of the most distinctive elements of Hostage is the decision to center the story on two female heads of state. For Charman, this was both a creative and political choice. “What was exciting was the idea of women in power and how we explore that,” he said. “There’s a double standard for women, so giving full dramatic freedom to that was very important.” Delpy echoed this sentiment, noting, “We made sure not to play into the female politician stereotypes. What I like is that these women actually have some things in common like they both want change and came into office hopeful.”
To prepare for her role, Jones immersed herself in the realities of political life. She visited the House of Commons, watched Prime Minister’s Questions, and spoke with former prime ministers about the pressures of office. “I’m a bit of a geek when it comes to research,” she admitted to the BBC. “I was fascinated by not emulating anyone but by understanding a life I knew nothing about. And it’s the cost of being in a powerful position in that way that really struck me.”
Drawing on her own experience in the public eye, Jones found parallels with her character’s struggle for privacy and public service. “I’m well known, people recognise me,” she told HELLO! magazine. “I try and keep a private element to my life, but then I do want to show support for the charities I work for. I have a community theatre that I like to give elevation to, so I drew on a lot of that stuff. But I wouldn’t want to be a prime minister.”
Despite—or perhaps because of—her deep research, Jones was unequivocal when asked by Channel 4 News if she’d ever want the top job in real life: “Never.”
The show’s plot is a high-wire act of suspense. As Dalton and Toussaint navigate the demands of their offices, the personal costs mount. Dalton is forced to weigh her ideals against political survival, and the series doesn’t shy away from the inhumanity that can become central to politics. As Variety notes, “It’s easy to see why so many politicians turn cruel and callous to preserve themselves over the people they’ve promised to help.”
But Hostage is not without its moments of reflection and humanity. The penultimate episode is a particular standout, with Dalton and Toussaint contemplating the reasons they entered politics and the sacrifices required to stay true to their beliefs. Charman, ever the optimist, wanted to explore “how there can be decent people in politics who are fundamentally good but get pushed around.” He added, “It’s not inevitable that people give up their ideals once in office, but it’s definitely tough to keep your morals.”
Delpy, for her part, offered a more sober view: “If you have a moderate view you get lost in the noise as people are only listening to the loudest.” This tension—between idealism and the realities of power—runs through the series, giving it an emotional heft that resonates beyond the confines of the plot.
The supporting cast includes Corey Mylchreest, Lucian Msamati, James Cosmo, Martin McCann, and Jehnny Beth, each contributing to the series’ intricate web of alliances and betrayals. The show’s breakneck pace and melodramatic twists have drawn both praise and critique, with The Guardian calling it “quite unusual” and “a little biting,” but never cynical or formulaic.
Ultimately, Hostage stands out not just for its gripping storyline but for its nuanced portrayal of women in power, the personal costs of leadership, and the fragile line between public duty and private sacrifice. It’s a timely reminder that, in both politics and life, the lines between right and wrong, strength and vulnerability, are rarely clear-cut.
