TV: Capital case study

Reviews and features

1) What positive points does the review pick out about Capital? What criticisms are made - either of the TV drama or the original novel?

The reviews praise Capital for its brilliant cast, especially Toby and Gemma Jones, who bring depth and warmth to their roles. It is described as gripping, relatable and sharply observed, successfully capturing the tensions of London life. The adaptation of Capital by John Lanchester is praised for squeezing complex themes into three compelling episodes. However, there is some criticism that certain characters, like Arabella, feel slightly exaggerated, and that the satire of bankers and wealth can be a little heavy-handed.

2) What references can you find in the reviews and feature to the idea Capital is a 'state-of-the-nation' drama? How does it capture modern-day London?

 The reviews repeatedly suggest that Capital is a ‘state-of-the-nation’ drama because it uses one London street as a microcosm of the entire city. It captures modern-day London through its mix of bankers, immigrants, asylum seekers and long-term residents, highlighting issues like gentrification, soaring house prices, multiculturalism and financial inequality. The constant references to the City skyline and the booming property market show how capitalism shapes everyday life, making the drama feel like an allegorical portrait of contemporary London.

Trailer analysis

1) How does the drama use camerawork to capture London life?

camerawork is used to reflect everyday life in London through close-ups, street-level shots, and wide establishing shots of neighbourhoods and busy roads. These techniques create a sense of realism and show the diversity of people and spaces in the city. Handheld camera movements and natural lighting often make the scenes feel intimate and authentic, drawing attention to characters’ personal experiences within a large urban setting.

2) How does the trailer introduce the different narrative strands suggesting tension or enigma in the 40-second running time?

The trailer introduces multiple characters and storylines quickly, hinting at how their lives are connected through a shared event or underlying issue. Fast editing, overlapping dialogue, and brief glimpses of conflict create suspense and enigma within the  runtime. It suggests hidden problems and tensions affecting different households and communities, reinforcing the idea that something significant is unfolding across London under the context of the broadcaster BBC.

Capital in Media Magazine

1) What does the factsheet say about the characters on the first page?

Capital uses a multi-stranded narrative focused on residents of Pepys Road to present a “state-of-the-nation” portrait of Britain. Characters such as Petunia (elderly homeowner), Roger and Arabella (wealthy banker family), the Kamals (Asian shopkeepers) and Quentina (overqualified asylum seeker) represent different classes, ethnicities and generations. Their contrasts foreground themes of inequality, immigration and community tension.

2) Focusing on the industrial contexts, how does Capital help the BBC meet its obligations as a public service broadcaster?

Capital fulfils the BBC’s public service remit by reflecting diverse UK communities and addressing contemporary issues such as property inflation and cultural division. Its genre hybridity and high production values meet the BBC’s aim to produce distinctive, quality drama, while its “state-of-the-nation” framing supports the obligation to represent modern Britain authentically.

3) What do we learn about the ownership structure for production company Kudos? 

Kudos is part of a horizontally integrated global structure. It is owned by Endemol Shine UK, which was jointly owned by Apollo Global Management and 21st Century Fox. This demonstrates how British TV drama operates within international conglomerate ownership, enabling global distribution and risk management.

4) How can David Hesmondhalgh's ideas in The Cultural Industries be linked to Capital and Kudos? 

Hesmondhalgh argues cultural industries are risk-averse and rely on integration and commodification. Capital reflects this through adapting an already successful novel and being produced within a horizontally integrated conglomerate structure. Kudos reduces risk through established drama formats and international sales potential, aligning closely with Hesmondhalgh’s theory.

5) How does the factsheet suggest Capital meets the genre conventions of crime and social realism?

The factsheet highlights genre hybridity. Crime conventions include narrative enigmas (the postcards), restricted narration and tension through non-diegetic music. Social realism appears in its authentic London setting, exploration of inequality and immigration, and focus on ordinary lives. This blend reinforces its “state-of-the-nation” identity.

6) How does the factsheet analyse the DVD packaging and what this communicates to the audience?

The DVD cover uses London skyline imagery to signal British identity and financial themes. Medium close-ups resemble mugshots, referencing crime genre iconography, while the bright yellow palette subverts darker crime stereotypes. The tagline “Someone wants what they have” functions as an enigma code, sustaining narrative intrigue.

7) Look at page 5 of the factsheet. Choose one of the audience theories in the table and apply it to Capital.

Using Hall’s reception theory, the preferred reading positions audiences to see Capital as a critique of inequality in modern London. A negotiated reading may accept its themes but question certain representations, while an oppositional reading could reject its portrayal of class or immigration as exaggerated or politically biased.

8) What does the factsheet suggest regarding binary oppositions in Capital?  

The factsheet emphasises binary oppositions such as wealthy vs working class, immigrant vs established resident, and tradition vs modern capitalism. Even Roger embodies opposition between financial success and emotional dissatisfaction. These contrasts foreground inequality while occasionally subverting stereotypes through dialogue and character development.

Industries and production context

1) How does the programme information on page 3 make Capital sound interesting to audiences?

The programme information makes Capital appealing by emphasising its BAFTA-winning writer, strong ensemble cast, and adaptation of a bestselling novel. It foregrounds a compelling enigma — the anonymous postcards saying “We Want What You Have” — which creates immediate narrative intrigue. It also highlights themes of love, greed, family and urban change, presenting the drama as both socially relevant and emotionally engaging.

2) Who commissioned Capital for BBC?

Capital was commissioned for BBC One by Charlotte Moore (Controller of BBC One) and Ben Stephenson (Controller of BBC Drama), signalling institutional backing at the highest level of BBC drama production.

3) Read the interview with Toby Jones. What does he say about the character of Roger?

Jones describes Roger not as an “evil banker” but as a complacent and emotionally adrift man. Although outwardly successful, Roger experiences a creeping dissatisfaction and lacks the language to articulate his internal crisis. Jones emphasises Roger’s contradictions: entitled yet insecure, financially powerful yet emotionally lost, making him more complex than a simple stereotype.

4) Read the interview with Adeel Akhtar (page 10). What does he suggest Capital says about the fictional Pepys Road and the sense of community (or lack of it) in London 

Akhtar suggests Pepys Road represents modern London at a social and economic crossroads. He argues the drama explores belonging and exclusion, showing how some characters feel ostracised despite living in the same community. Pepys Road becomes a microcosm of Britain, reflecting shifting identities and fragile senses of connection.

5) Read the interview with Shabana Azmi (page 12). What does she say about Asian representations in Britain? 

Azmi argues the Kamal family is a fair and contemporary representation of Asian life in Britain. She rejects stereotypes, describing Mrs Kamal as strong and authoritative rather than submissive. She suggests the series reflects a “global village,” where cultures are increasingly interconnected and understood within their own contexts.

6) Read the interview with Derek Wax, the Executive Producer for Kudos (page 16). Why did he produce Capital and what does it say about the way we live now?

Wax was drawn to the novel’s “Dickensian” scope, a panoramic portrait of London through one street. He argues the drama reflects contemporary obsessions with property, wealth and status, exposing a society divided into “haves and have-nots.” However, he stresses its subtlety and humanity, suggesting it questions what real value in life actually is beyond money.

Grade A/A* extension - further reading on marketing and promotion

1) How does the programme information on page 3 make Capital sound interesting to audiences?

The programme information makes Capital appealing by highlighting its BAFTA-winning writer, bestselling source novel and high-profile ensemble cast. It foregrounds a clear enigma — the mysterious postcards reading “We Want What You Have”  immediately creating intrigue. It also emphasises themes of love, greed, family and social change, presenting the drama as both emotionally engaging and socially relevant.

2) Who commissioned Capital for BBC?

Capital was commissioned by Charlotte Moore, Controller of BBC One, and Ben Stephenson, Controller of BBC Drama, demonstrating strong institutional backing within the BBC.

3) Read the interview with Toby Jones. What does he say about the character of Roger?

Jones describes Roger as not “evil” but complacent and emotionally conflicted. Although successful and wealthy, he experiences a creeping dissatisfaction and lacks the language to articulate his internal crisis. He is portrayed as contradictory entitled yet insecure  making him a complex, humanised figure rather than a simple banker stereotype.

4) Read the interview with Adeel Akhtar (page 10). What does he suggest Capital says about the fictional Pepys Road and the sense of community (or lack of it) in London?

Akhtar suggests Pepys Road represents modern London at a social and economic crossroads. He argues the series explores belonging and exclusion, showing how some characters feel ostracised despite living within the same community. The street becomes a microcosm of wider British society, reflecting shifting identities and fragile community bonds.

5) Read the interview with Shabana Azmi (page 12). What does she say about Asian representations in Britain? 

Azmi argues the Kamal family offers a fair and contemporary portrayal of Asian life in Britain. She rejects stereotypes, describing Mrs Kamal as strong, authoritative and complex rather than submissive. She suggests the series reflects a “global village,” acknowledging cultural diversity and increasing interconnectedness.

6) Read the interview with Derek Wax, the Executive Producer for Kudos (page 16). Why did he produce Capital and what does it say about the way we live now?

Wax was drawn to the novel’s “Dickensian” ambition to portray all of London through one street. He argues the drama reflects contemporary obsessions with property and wealth, highlighting divisions between “haves and have-nots.” However, he stresses its nuance and humanity, suggesting the series questions what real value in life is beyond money and status.