2020–2022 · Based on 2 seasons through May 13, 2022 ·
Devils follows Massimo Ruggero, an Italian trader who wants to rise inside the London branch of the NYL Bank. His mentor, Dominic Morgan, blocks his promotion after a scandal and then becomes his enemy. Massimo joins his trading team and a hacker to uncover a plan that links bank deals to wars, debt, and political power. The first season moves through the aftermath of the 2008 crisis, while the second reaches Brexit, China, social media, 5G, and COVID. The show has a dark, fast financial thriller tone.
Devils makes its social point through finance rather than identity politics. The show links the euro crisis, Brexit, Cambridge Analytica, Chinese data collection, 5G, and COVID to a wider fight over democracy. Banks, politicians, and tech firms treat ordinary people as tools in a contest for power. The international cast fits the global bank setting, while the main characters remain driven by loyalty, greed, revenge, and survival.
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Breakdown
These are the editorial factors and ratings behind our score for Devils.
Woke representation / casting
Not present. The cast includes Italian, American, British, Argentine, South Asian, and Chinese characters in an international bank. The show presents that mix as part of global finance, not as a diversity message.
0%
Woke political dialogue
Characters often discuss how money, news, and private data shape governments, elections, and public opinion. Season 1 uses the Greek and Irish crises, Libya, the euro, and the dollar as political subjects. Season 2 directly names Brexit, Trump, Cambridge Analytica, COVID, China, 5G, and the threat to democracy. The dialogue is recurring and clear, but it is about finance and geopolitics rather than identity activism.
34%
Identity-driven story themes
Not present. The story follows money, data, loyalty, revenge, and power. Race, sex, and sexuality do not drive a major character arc or continuing plot.
0%
Western institutional / cultural critique
Devils repeatedly shows banks, political leaders, and tech companies using crises, debt, and private data to control public life. Season 1 presents finance as a power that can weaken the euro and protect the dollar. Season 2 expands that idea to Brexit, social media, 5G, COVID, and the danger of losing control over democracy. This is a sustained modern critique of profit-first capitalism and weak political control, but it does not focus on race, gender, religion, or family norms.
42%
Woke character or canon changes
Not relevant. The series adapts Guido Maria Brera's financial novel and does not center an identity-based rewrite of a known character, canon, or historical figure.
0%
Anti-woke backlash and complaints
Not present. The supplied X research found no clear anti-woke posts about this series. Other public discussion focuses on the finance plot, style, and real-world events, not woke or DEI messaging.
0%
Creator track record context
Guido Maria Brera criticizes inequality, unregulated markets, and profit-first finance. Barbara Petronio has spoken about women gaining more authority in writers' rooms and often writes powerful women. Elena Bucaccio has written social-reform dramas. The other cached creators have little or no high-confidence record of identity-driven activism.
12%
Production
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