The BBC’s best thriller has never been stronger – it’s being let down

People frequently inquire about my current viewing habits, and for the past three weeks, I’ve been unable to stop extolling the virtues of The Capture – sharing my admiration for the show with anyone I meet and assuming they, too, are captivated.

When The Capture debuted in 2019, it quickly became a sleeper hit, drawing over five million viewers in its first series. This achievement was rare for a new thriller, proving its initial appeal.

The show also launched the career of Callum Turner, a rising star widely seen as the next James Bond. His performance earned him a BAFTA nomination, further cementing the series’ status as a standout.

Yet, it never quite captured the public’s imagination in the way it deserved. With the same buzz reserved for hits like Line of Duty or the recent return of The Night Manager, The Capture could have sparked widespread discussion and deep analysis. Instead, it remains under the radar, sustained by a dedicated but shrinking audience.

Starring Holliday Grainger as Detective Rachel Carey, the series explores a compelling premise: a world where technology can alter CCTV and digital evidence so convincingly that truth itself becomes uncertain. Seven years ago, this concept seemed far-fetched. Today, however, deepfakes dominate platforms like TikTok and political discourse, making the show’s themes feel eerily prescient.

Now in its third series, airing Sundays on BBC One, The Capture is at its peak. The opening episode delivered a twist so shocking that it left me disoriented, a feeling I haven’t experienced since the early days of watching thrillers. The show has seamlessly adapted to modern concerns, anticipating the societal anxieties that now define our reality.

Despite this, the viewing figures have been lackluster. The first episode attracted 1.84 million viewers on its debut, a number that, while respectable, falls short of the audience numbers expected for a primetime Sunday night thriller. In 2021, the final series of Line of Duty averaged 16 million per episode, a stark contrast that highlights the current disconnect.

It was an absolute triumph, but all episodes whimpered onto iPlayer one Sunday morning ahead of transmission.

More than ever, The Capture should be the subject of national debate. It deserves to be dissected on breakfast TV, discussed in parliamentary sessions, and celebrated during awards season. Instead, it’s quietly fading into obscurity, its potential overshadowed by the way it’s being released.

Every Sunday morning, a new episode is quietly uploaded to iPlayer before the main BBC One broadcast at 9pm. This strategy, while convenient, lacks the collective energy of a live viewing experience. Last night’s installment was a major moment for long-time fans, yet online chatter about its jaw-dropping twist was sparse.

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