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
When someone inquires about my current viewing habits, the response has been repetitive for the past three weeks. I’ve been championing The Capture with unrelenting fervor, assuming that others would share my excitement. Yet, the show’s potential to spark widespread discussion remains unfulfilled.
Launched in 2019, The Capture initially gained traction as a slow-burn success. Its debut series attracted over five million viewers, a remarkable achievement for a new thriller. The show also catapulted Callum Turner into the spotlight, with the actor earning a BAFTA nomination for his performance as the relentless detective Rachel Carey.
A Timely Reassessment
Seven years ago, the premise of manipulated CCTV and digital evidence seemed like speculative fiction. Today, however, deepfakes and algorithmic misinformation have made the show’s central idea feel eerily prescient. The concept of truth being eroded by technology is no longer a distant fantasy—it’s a daily reality.
The second series pushed the show’s chilling narrative further, introducing falsified live broadcasts that could sway public sentiment and influence elections. Now in its third season, airing Sundays on BBC One, the series has reached its peak. The first episode alone had viewers questioning their own perceptions, as the protagonist’s eyewitness account of a shooting was later revealed to be misleading.
Despite its compelling storyline and bold direction, the show’s ratings have underwhelmed. The opening episode drew just 1.84 million viewers, a figure that pales in comparison to the 16 million who tuned in for the final series of Line of Duty in 2021. This discrepancy is not due to weak writing or acting, but rather the show’s scheduling strategy.
The Third Series
Each Sunday morning, a new episode of The Capture quietly debuts on iPlayer before the main broadcast at 9pm. This approach, while efficient, has diluted the show’s impact. A Netflix-style “drop” would have created more buzz, allowing for real-time reactions and social media engagement.
Last night’s episode marked a significant moment for long-time fans. Yet, the jaw-dropping twist that redefined the narrative received minimal attention online. The BBC’s recent release of Lord of the Flies—adapted by Jack Thorne—followed a similar pattern, with all episodes dropping on iPlayer before their scheduled debut. The result was a swift decline in viewership, nearly a million lost in the first week.
At this stage, The Capture deserves more than a quiet airing. It should dominate national conversations, be dissected on morning shows, and claim its place in awards season. Instead, it’s slipping into obscurity, its relevance overshadowed by a scheduling approach that fails to match its quality.
This site is protected by reCAPTCHA and the Google Privacy Policy and Terms of Service apply. Your information will be used in line with our Privacy Policy.
