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
I’ve been asked countless times about my current viewing habits, and for the past three weeks, my response has been a relentless pitch for The Capture. I’ve shared my enthusiasm with anyone who would listen, convinced that its brilliance would resonate with others. Yet, the show remains largely unnoticed, despite its gripping narrative and cultural relevance.
A Slow-Burning Success
When The Capture premiered in 2019, it was a quiet but significant hit. Its first series attracted over five million viewers, a remarkable achievement for a debut thriller. The series also launched the career of Callum Turner, an actor once seen as a future James Bond contender, who earned a BAFTA nomination for his role.
However, the show never became the cultural touchstone it deserved. With the same level of anticipation as series like Line of Duty or the recent revival of The Night Manager, The Capture could have sparked widespread discussion. Instead, it lingered in the background, maintaining a small but dedicated audience.
The Concept That Stays Ahead of the Curve
At the heart of the series is a chilling premise: a world where digital evidence can be altered so convincingly that truth becomes questionable. Holliday Grainger stars as Detective Rachel Carey, whose unyielding pursuit of justice is challenged by manipulated footage. Seven years ago, such a concept seemed far-fetched, but today, with deepfakes saturating platforms like TikTok and political misinformation, the show’s vision feels eerily prescient.
With its second season, the series pushed this idea further, depicting falsified live broadcasts that sway public opinion and influence elections. Now in its third season, airing Sundays on BBC One, the show is at its peak, delivering a narrative that’s more unsettling than ever.
Underestimated by the BBC
The opening episode of the latest season saw a shocking twist: a man Carey witnessed pulling the trigger later becomes her colleague. This moment left me deeply unsettled, a feeling I haven’t experienced in a long time. Yet, the show’s viewership has been disappointing, with the first episode drawing just 1.84 million viewers on its debut night.
Though streaming figures on iPlayer may eventually boost numbers, the primetime slot on BBC One has not translated to the expected impact. In contrast, the final series of Line of Duty averaged 16 million viewers per episode in 2021. The BBC’s approach of quietly dropping episodes on iPlayer before the main broadcast has diluted the show’s potential for collective engagement.
Similarly, the network’s recent release of Lord of the Flies, adapted by Jack Thorne, was met with critical acclaim. Yet, its episodes were quickly released on iPlayer, fading from public memory before they could gain traction. This pattern suggests a missed opportunity for The Capture to dominate the national conversation, debate, and awards season.
It was an absolute triumph, but all episodes whimpered onto iPlayer one Sunday morning ahead of transmission.
Without a strategic push, the show risks being overshadowed. It’s a series that deserves to be dissected on breakfast TV, debated in Parliament, and recognized across the entertainment industry. But with its audience slipping under the radar, it may soon face the axe as ratings continue to decline.
