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
Over the past three weeks, I’ve been tirelessly promoting The Capture to anyone who would listen, convinced that my enthusiasm would resonate with others. Yet, despite its gripping narrative and compelling performances, the show has struggled to capture the public’s imagination in the same way as its predecessors.
When it debuted in 2019, The Capture quickly became a standout series, drawing more than five million viewers in its first run—a remarkable achievement for any new thriller. The show not only established Holliday Grainger as a formidable lead, portraying an unyielding detective, but also launched the career of Callum Turner, whose portrayal of a central character earned him a BAFTA nomination.
However, its potential to become a cultural talking point has been overlooked. With the same level of anticipation as Line of Duty or the recent revival of The Night Manager, The Capture could have sparked widespread discussions and debates about the nature of truth in a digital age. Instead, it has remained quietly overlooked, maintaining a devoted but dwindling audience.
The series explores a chilling premise: a world where technology can alter CCTV and digital evidence so seamlessly that reality itself is in question. Seven years ago, this concept seemed speculative, dismissed by some as far-fetched. Today, with deepfakes dominating social media and political misinformation spreading rapidly, the show’s central idea feels eerily prescient.
In its second series, The Capture escalated its unsettling narrative, introducing falsified live broadcasts that could sway public perception and influence elections. Now, in its third season, airing Sundays on BBC One, the show is at its peak, delivering a masterclass in suspense. The opening episode featured a twist so jarring that it left viewers questioning the reliability of even the most trusted accounts.
Yet, the show’s impact has been muted. The first episode pulled just 1.84 million viewers, well below the expected numbers for a primetime Sunday thriller. While iPlayer streams may boost these figures, they still lag behind the 16 million average seen in the final series of Line of Duty in 2021. This underperformance isn’t due to weak writing or lack of ambition—it’s a result of how the show is being promoted.
Each Sunday morning, new episodes quietly debut on iPlayer before the main broadcast at 9pm. This approach, akin to a Netflix-style rollout, has diluted the collective viewing experience. A more strategic release, timed for live viewing and social media engagement, could have transformed the show into a modern phenomenon. Last night’s episode, for instance, delivered a twist so shocking that it deserved broader recognition.
Meanwhile, the BBC’s other recent series, Lord of the Flies, adapted by Jack Thorne, was hailed as a triumph. But its episodes were also released early on iPlayer, leading to a rapid decline in attention. This pattern suggests a broader issue: the BBC is not capitalizing on the momentum of its most compelling shows.
With its third season now underway, The Capture deserves more than a quiet launch. It should be a focal point of national discourse, debated on prime-time TV and recognized in awards ceremonies. Instead, it’s fading into obscurity, a victim of its own timing and the lack of advocacy for its growing relevance.
It was an absolute triumph, but all episodes whimpered onto iPlayer one Sunday morning ahead of transmission.
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