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 I’m asked about my current viewing obsession, I’ve spent the past three weeks inundating others with praise for The Capture—a show I’ve championed relentlessly, convinced that everyone would share my fervor. Yet, the response has been lukewarm at best, with few acknowledging its potential as a standout series.
Launched in 2019, The Capture initially carved out a quiet yet steady presence, drawing over five million viewers in its first run—a notable achievement for any new crime drama. Its protagonist, Callum Turner, who plays the sharp-tongued detective Rachel Carey, was hailed as a rising star, earning a BAFTA nomination for his role. Despite these credentials, the show never fully seized the public’s imagination in the way it deserved.
With the same anticipation given to series like Line of Duty or the recent revival of The Night Manager, The Capture could have become a cultural talking point, sparking debates about the reliability of digital truth. Instead, it’s remained obscure, maintained by a dedicated but dwindling audience, even as its themes grow increasingly pertinent.
The show’s premise—technology so advanced it can bend digital evidence to any narrative—has only become more alarming. Seven years ago, the concept of manipulated footage seemed far-fetched. Today, deepfakes and viral misinformation have made such skepticism obsolete. The Capture didn’t just anticipate this reality; it predicted it with chilling precision.
Its second season pushed the boundaries further, introducing falsified live broadcasts that could sway elections or distort public perception. Now in its third series, airing weekly on BBC One, the show is at its peak, delivering a twist that left me disoriented. In the first episode, Rachel Carey witnesses a shooting, only for the suspect she identifies to later join her team—a revelation that shakes the very foundation of her investigation.
Yet, the viewing figures tell a different story. The debut episode attracted just 1.84 million viewers, a number that, while steady, pales in comparison to Line of Duty’s 16 million average in 2021. The BBC’s decision to release episodes early on iPlayer, followed by a later broadcast, has likely diluted the show’s impact. This approach, akin to a Netflix-style drip, misses the collective energy of live viewing, where social media buzz and shared reactions amplify the experience.
“It was an absolute triumph, but all episodes whimpered onto iPlayer one Sunday morning ahead of transmission.”
Comparisons to other BBC thrillers, such as the critically acclaimed Lord of the Flies (adapted by Jack Thorne), highlight a broader issue: The Capture is being overlooked despite its depth and relevance. The show deserves to be dissected on morning TV, debated in political circles, and celebrated across award season. But as its ratings shrink, it risks fading from memory, a casualty of poor timing and underpromotion.
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