The Capture; The Anthrax Attacks: In the Shadow of 9/11; The Boys from Brazil: Rise of the Bolsonaros

”This nonsense was a shame, because The Capture was utterly gripping when it came to set pieces. The episode in which two hitmen were advancing towards the hospital room of stricken DS Patrick Flynn (Cavan Clerkin) was a masterpiece in tension. And the whole series succeeded in unsettling the viewer by making us question what we were seeing. Yet the plot moved so fast in the last episode that I struggled to keep track of what was happening. When did Carey put together her deep fake, which replaced the original deep fake, which replaced the non-deep fake interview with Khadija Khan? And was it really necessary for DSU Garland (Lia Williams) to fake Frank Napier’s CT scans? The ending was satisfying, as the “correction” programme was finally exposed. The most fake thing of all though: that someone could time a drive through the capital to pull up at Piccadilly Circus at a precise moment.”
Anita Singh, The Telegraph

“The Capture ended with a 70-minute finale that was implausible, elaborate, daft and had more twists than a cheap garden hose. It was also fabulously entertaining. There are lazy TV dramas and there are the ones that graft to keep you on your toes until the last frame. The Capture definitely fell into the latter camp, for which the writer Ben Chanan deserves credit…Although the deep-fake premise was (hopefully) a little far-fetched, it’s not totally beyond the bounds of possibility for the future. The message as outlined by the faux Isaac Turner was eerily apt in an era of fake news and corrupted imagery: “We need to challenge everything we’re told and question everything we see.” 
Carol Midgley, The Times

”The series did however dramatise some important real-world issues, mainly political manipulation through data crunching.”
Gerard Gilbert, The i

“What did we learn from all this? That if the Liberal Democrats could find a charismatic leader and a social media genius, they might surprise us all. A programme that tries to understand the British sense of humour must either have some new and profound things to say, or a string of good gags.”
Roland White, Daily Mail

“I could have done with more of Harry Hill meeting funny people and less of the celebrity panel, which featured Suggs of Madness, Chris Packham, Lorraine Kelly, Liza Tarbuck and the comedian Reginald D. Hunter (although Hunter was admittedly good on the differences between U.S. and British humour. Americans, he said, don’t understand sarcasm). At one point Harry interviewed the actress Bonnie Langford, who was billed as an expert on pantomime. But is she really?” 
Roland White, Daily Mail

“A bold shift into dramatised scenes, starring an excellent Clark Gregg as the mercurial, troubled accused, deftly sketches the character of a man who is either obviously the killer or someone susceptible to becoming a fall guy, depending on who is looking. A bewitching, maddening true story – crisply told here – concludes with just the ending a fiction writer would choose if they wanted to explore how, when it matters most, official accounts of events have a spooky tendency to become incomplete.”
Jack Seale, The Guardian