What is the woke score for Call the Midwife - Season 15?

Wokeometer rates Call the Midwife - Season 15 (2026) a 6/10 on the woke scale. This is a moderate woke score, indicating some ideological elements are present.

Is Call the Midwife - Season 15 Woke? TV Show Woke Score: 6/10

Q: Is Call the Midwife - Season 15 woke?

Call the Midwife - Season 15 has a woke score of 6/10 on Wokeometer. Season 15 integrates Women's Liberation themes and social advocacy subplots into its 1971 setting without letting them overshadow the core midwifery narratives. This balanced approach earns a moderate 6/10 score.

Is Call the Midwife - Season 15 Woke? TV Show Woke Score: 6/10 | Wokeometer

TL;DR Verdict

Season 15 integrates Women's Liberation themes and social advocacy subplots into its 1971 setting without letting them overshadow the core midwifery narratives. This balanced approach earns a moderate 6/10 score.

Detailed Analysis

Season 15 of Call the Midwife, set in 1971, centers multiple episodes around the Women's Liberation Movement as a major subplot.

Episode 1 explicitly shows midwives Trixie, Rosalind, and Joyce attending meetings, reading Germaine Greer's The Female Eunuch, burning bras outside Nonnatus House, and marching with placards; older characters like Nurse Crane initially resist the "sloganeering" but are persuaded to join. This framing celebrates the movement's arrival in Poplar and ties directly into broader NHS modernization and social change themes across the season. The season also features an interracial romance between Rosalind and Cyril as a recurring subplot that highlights parental racial objections.

In the finale arc, the Mullucks family leads a victims' rights campaign around thalidomide, emphasizing advocacy and systemic issues. These elements together establish progressive themes as a recurring structural presence rather than isolated moments.

Key Factors

Prominent Women's Lib storyline with bra-burning, marches, and feminist texts in Episode 1 and recurring references
Interracial romance between Rosalind and Cyril featuring parental racial objections as a subplot
Thalidomide victims' rights campaign by the Mullucks family as a central finale arc emphasizing advocacy and systemic issues

Methodology: Each score synthesizes audience discourse, critic and aggregator reception, and press coverage — weighed against the work itself, not any single source.