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
Frequently, I’m asked about my current viewing habits, and for the past three weeks, my answer has been consistently enthusiastic. I’ve been championing The Capture with unwavering zeal, assuming that those I speak to would share my fervor. Yet, despite its compelling narrative and stellar cast, the series has flown under the radar, failing to ignite the same level of public discourse as it deserves.
Upon its 2019 debut, The Capture emerged as a slow-burning success, drawing over five million viewers in its first season. This achievement was notable for a new thriller, proving its ability to captivate audiences. The series also launched the career of Callum Turner, a rising star tipped to follow in the footsteps of James Bond. His performance earned him a BAFTA nomination, cementing his place in the industry.
However, the show has never quite reached the cultural prominence its quality suggests. With the same promotional buzz reserved for hits like Line of Duty or the recent revival of The Night Manager, The Capture could have become a topic of widespread conversation. Instead, it remains oddly overlooked, maintaining a small but dedicated fanbase that’s grown more significant in the wake of its prescient themes.
The Capture stars Holliday Grainger as Rachel Carey, a detective whose sharp wit and relentless pursuit of truth anchor the series. Its premise – a world where technology can seamlessly alter CCTV and digital evidence – has gained alarming relevance in recent years. Seven years ago, this idea seemed almost absurd, dismissed as speculative fiction. Today, deepfakes dominate social media, and political misinformation spreads like wildfire, making the show’s central concept feel eerily current.
Its second season pushed the chilling narrative even further, introducing manipulated live broadcasts that could sway public sentiment and influence elections. Now in its third outing, airing Sundays on BBC One, the series is at its peak, delivering a level of tension that’s hard to match. The first episode saw Carey witness a shooting, only for the man she identified as the shooter to later join her team. This twist shattered the viewer’s sense of certainty, creating a disorienting experience that’s rare in modern television.
Despite its merits, the show is being overlooked, partly due to its scheduling strategy. New episodes debut on iPlayer each Sunday morning before the main BBC One broadcast at 9pm, depriving audiences of the collective thrill of live viewing. This approach contrasts sharply with the Netflix-style drops that generate social media buzz and keep discussions alive. Last night’s episode was a major moment for long-time fans, yet online reactions have been minimal, with few dissecting its jaw-dropping twists.
“It was an absolute triumph, but all episodes whimpered onto iPlayer one Sunday morning ahead of transmission.”
More recently, the BBC launched another standout series, Lord of the Flies, adapted by Jack Thorne of Adolescence. While the show was widely praised, its quiet iPlayer rollout led to a sharp drop in ratings, nearly a million viewers lost overnight. This pattern repeats with The Capture, which could easily dominate national conversations if given the platform it warrants.
With its timely themes and gripping storytelling, The Capture has the potential to be a modern classic. Yet, without a stronger push from the BBC, it risks fading into obscurity, even as its relevance grows. The series deserves more than just a quiet release; it needs to be a cultural force, debated in Parliament and celebrated in awards season, not quietly slipping beneath the surface of the public eye.
