The BBC’s best thriller has never been stronger – it’s being let down
The BBC’s best thriller has never been stronger – it’s being let down
People frequently inquire about my current viewing habits, and for the past three weeks, I’ve been zealously promoting The Capture—recounting my admiration for the series to anyone who would listen. I assumed my peers would share the same enthusiasm, yet the conversation remains subdued.
When it premiered in 2019, The Capture was a slow-burning triumph, eventually attracting over five million viewers—a remarkable achievement for any new thriller. Its gripping narrative, centered on a world where manipulated CCTV and digital evidence blur the line between fact and fiction, was hailed as a standout entry in the genre. The series also propelled Callum Turner, the rising star often compared to the James Bond legacy, to a BAFTA nomination for his compelling performance.
Despite its solid foundation, the show never quite surged into the mainstream discourse. With the same anticipation as Line of Duty or the recent comeback of The Night Manager, The Capture could have become a cultural talking point, sparking debates about truth and technology. Instead, it languishes in relative obscurity, its devoted fanbase dwindling but steadfast.
Seven years ago, the premise of doctored footage seemed farcical, dismissed as overly imaginative. Today, however, deepfakes are ubiquitous—ranging from TikTok videos to political disinformation—making the show’s concept feel eerily prescient. The Capture isn’t just keeping pace with current trends; it’s anticipating them.
The second series pushed the show’s chilling ideas further, introducing falsified live broadcasts that could sway public sentiment and alter election outcomes. Now in its third season, airing Sundays on BBC One, the series is at its peak, delivering a gripping narrative that has left me more disoriented than ever. In the latest episode, Rachel Carey, portrayed by Holliday Grainger, witnesses a shooting, only for the man she sees pulling the trigger to later join her team—an twist that dismantles the very reliability of human perception.
Yet, overnight viewership figures have been underwhelming. The first episode drew just 1.84 million viewers, well below the expected primetime numbers. While iPlayer streams may boost viewership, it still falls short of the 16 million average seen in Line of Duty’s final series. The show’s quality, ambition, and relevance are undeniable, but its lack of traction suggests a problem with how it’s being marketed.
The BBC’s strategy of dropping episodes on iPlayer early, followed by the main broadcast, seems to dilute their impact. Last week’s installment was a defining moment for long-time fans, yet the twist received scant online attention. This approach mirrors the release of Lord of the Flies, adapted by Jack Thorne, which premiered with a muted reception before fading from public view. The show’s potential is being undermined by its scheduling, leaving it vulnerable to cancellation as ratings decline.
At this stage, The Capture deserves more than a quiet release—it needs to dominate headlines, spark discussions on morning shows, and make waves in awards circles. Without a stronger push, it risks becoming another casualty of the BBC’s cautious approach to its most daring series.
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