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
Recently, I’ve been bombarded with questions about my current viewing habits. For the past three weeks, my answer has been the same: The Capture, a BBC thriller that’s captured my attention in a way I haven’t felt in years. I’ve shared my excitement with anyone who’d listen, assuming they’d share my enthusiasm for the show’s gripping narrative and relentless tension.
When The Capture debuted in 2019, it quickly became a standout series, drawing over five million viewers—a remarkable achievement for a new crime drama. The show also launched the career of Callum Turner, an actor widely regarded as the next James Bond, who earned a BAFTA nomination for his performance in the first season.
Yet, despite its quality and timely premise, the series never quite became the cultural sensation it deserved. With the same promotional buzz as Line of Duty or the recent revival of The Night Manager, The Capture could have sparked widespread conversation and deep intellectual engagement. Instead, it remains under the radar, with a modest but dedicated fanbase.
A chilling vision of reality
Starring Holliday Grainger as Detective Rachel Carey, the series explores a chillingly believable scenario: a world where technology can manipulate CCTV and digital evidence so convincingly that truth itself feels fragile. This premise, once considered speculative, now feels alarmingly relevant in an era of deepfakes and political disinformation.
Seven years ago, the idea of doctored footage being indistinguishable from reality was dismissed as far-fetched. Today, however, the concept has become a reality, with deepfakes permeating TikTok, news outlets, and even election campaigns.
The second series pushed the show’s unsettling premise further, introducing falsified live broadcasts that could sway public opinion and alter the course of political events. Now, in its third season, airing Sundays on BBC One, the series has reached its peak, delivering a masterclass in suspense and psychological depth.
Last night’s episode left fans stunned, as Detective Carey’s eyewitness account was revealed to be a fabrication. The twist, so bold and unexpected, should have ignited debates across social media and television. Yet, the BBC’s quiet rollout—posting episodes on iPlayer before the main broadcast at 9pm—has dampened the impact.
Overnight ratings for the first episode were a mere 1.84 million, well below the primetime numbers typically seen for Sunday night thrillers. In comparison, the final series of Line of Duty drew 16 million viewers per episode in 2021. While the show’s writing, acting, and ambition remain strong, its lack of visibility is holding it back from its full potential.
Earlier this year, the BBC also released Lord of the Flies, an adaptation by Jack Thorne, which was hailed as a triumph. But like The Capture, it faced a similar fate, with all episodes quietly posted on iPlayer before their official broadcast. This approach has led to a rapid decline in ratings, with nearly a million viewers lost in the first week.
At this point, The Capture deserves more than a footnote in the BBC’s lineup. It should dominate headlines, spark discussions on morning TV, and challenge competitors in awards season. With its timely themes and masterful execution, the series has the power to redefine modern thrillers—but only if it’s given the platform to do so.
