Capital episodes summary

Episode 2- 

The 'we want what you have” threats are getting worse with the culprit now sending dead mice through the mail. The residents of Pepys road believe that the police aren't doing enough to catch the person responsible (shown through a meeting held by the police) but DI Mill believes the actions may be that of a copycat and insists the police are doing everything they can to find the culprit.

Quentina is now arrested but is determined to plead her case to the judge and defend herself against accusations of working and intending to stay in the country illegally. Her love interest is worried about her when she no longer comes to Church and when he finds out what has happened, he goes to visit her. Quentina tries to convince him to not try to help her.

Roger and Arabella's marriage is growing thinner by the minute, especially after Arabella discovers the true bonus amount her husband received. Their relationship seems to worsen when Roger and the nanny Matya grow closer as they go out together on a night out, where they enjoyed bidding. Bodgan the builder takes an interest in Matya (while carrying out more renovations for the family) after his friend criticised his way of dealing with romance in his life and what he witnessed with Petunia. 

Petunia's illness steadily worsens and Mary struggles to cope with the fact that her Mother is about to die. Mary calls in Bogdan to make renovations on the whole house in order to prepare it for sale. There is an evident change in Bogdan after he accidentally witnesses Petunia in a near death state and as he views all the pictures in her house. Petunia's grandson tells her a secret just before she dies. Bogdan then discovers a suitcase filled with money hidden in one of the walls while carrying out his renovations and is in conflict on whether to keep the money or not. 

The Kamal family have to welcome their mother as she arrives to the UK from Pakistan. The closing scene of episode 2 features armed police storming in to the Kamal's shop and house and arresting the three brothers. Mrs Kamal refuses to get down to the ground despite the pleas from her son.

Episode 3- 

Roger is fired from his job after Pinker Llyod suffers the loss of £30 million thanks to his young assistant's fraud. Arabella is hysteric and questions the future of the marriage. They eventually have to let go of Matya and move to the country to start a new life. 

Matya turns to the only person she can after losing her job- Bogdan. They end up dating and Matya convinces him that returning the suitcase filled with money is the right choice. Mary and her son are shocked at the amount of money but learn that the money is no longer usable. 

Smitty (Petunia's grandson) discovers that his assistant was the copycat who was sending the dead mice to the residents of Pepys road. He fires him and turns him to the police. However, his true identity as an artist is revealed by his assistant as revenge. Mary is upset when she discovers that her son didn't even tell her but forgives him when he decides to show her what he has been up to. He reveals the now completed canvas that he has been working on, inspired by the postcards and informs Mary that he told Petunia of his true identity just before her death.

The future of Quentina is left unanswered and unhappy as she is transported off.  

Shahid has been locked in prison over accusations of plotting terrorism and the Kamal family have to enlist a lawyer. It is bought to the audience's attention that Iqbal was using Shahid's internet to search Jihadi websites while staying at his place. Shahid turns to his faith after everything seems to be hopeless and eventually is released from prison as innocent. 

The culprit behind the postcards is revealed to be Usman. 

2) Write an analysis of the representation in each of the key scenes from episode 1 we studied in class:

3) How does Capital use stereotypes? Do the characters and issues represented in Capital reinforce or subvert the stereotypes we typically see in the media?

Scene 1: opening sequence 00:30 – 4.49

The representation of ageing is depicted in the opening sequence. Petunia is the first character we are introduced to in the series and she appears very nostalgic. The audience is taken on a journey through her eyes. We witness her life on Pepys road ever since she got married, to having a baby and, finally, concluding with her husband's death. A span of 40+ years is compressed in to no more than two minutes, allowing the audience to acknowledge Petunia's story and realise how quickly time goes by. 

The director was able to create such a powerful opening sequence using a montage style flashback. The audio and technical codes all communicated the fact that this was a flashback of Petunia's life. The mise-en-scene consisted of vintage cars, old style clothes and furniture. The non-diegetic soundtrack was 1960s music. A sense of domesticity and family was created- the mother looking after her daughter and the father in charge of the money of the household.

The use of slow motion editing in the last few shots of the sequence (as Petunia and her daughter prepare for the funeral) highlight how this is a pivotal moment in Petunia's life as she feels like her life has come to a stop after her husband's death. This sequence shows the audience how ageing is a natural part of life and that the passage of time can change many things in society as well. The skip in front of Petunia's house at the end of the sequence is a perfect reflection of that point.

Scene 2: work in the City 6.28 – 8.10

The inequality between the rich and poor is represented in this scene. The audience follow Roger on the train as he heads to work. The trains are very busy and overcrowded, depicting the magnitude of people in London. The audience can establish straight away that Roger is part of the upper middle class from his suit and briefcase and the fact that he works in central London. There are multiple crane shots of the central city, showcasing the tall, modern buildings in this area of London and highlighting how different it is to the rest of London. 

As Roger enters his workplace, the audience is made aware of the luxury from the bright lighting, floor to ceiling windows and modern furniture. It is also very obvious that people who work here are predominately white males. This is a common stereotype where upper middle class people are thought to be white males and Capital is supporting this negative stereotype. 

Roger goes to his boss immediately to discuss the current situation of the company and the fact that "bonus season" is near. Upper middle class people discuss bonuses while other people struggle to make a living. This will all be made clear further on in the episode and series, especially with Quentina.

Scene 3: “Which of those isn’t absolutely essential?” 14.00 – 15.35

The subject of wealth and inequality is further represented in this scene. Arabella and Roger are discussing all the things they need to spend money on- gym memberships, their children's private schools, the wet room, their beach house and the endless list goes on an on. Roger states that "you'll be surprised how little one million covers." which will come to a shock for ordinary people as most of them can only dream about that type of money.

A caricature of upper middle class values is represented in the scene. The husband is working hard in order to earn money while his wife is spending it on unnecessary things. Their relationship seems loveless which perhaps communicates to the audience that wealth can't buy happiness.

Scene 4: asylum 18.03 – 19.42 AND 31.10 – 32.40

Quentina is probably the character the audience sympathises the most with and its due to how she represents asylum. Quentina has come to London from Zimbabwe and is working illegally in order to make a living. In this scene, the audience witnesses the overcrowded environment she lives in and how disturbing it seems to be- loud music playing. 

She is exploited as a female, both sexually and economically. Her boss not only takes £100 commission from her hard earned money but also refuses to give it to her until she gives him a "kiss". 

When Quentina is discovered for her illegal asylum, she turns to a lawyer for help. The lawyer is also a black female which is Capital's way of empowering the black community and also showing the diversity of London. Quentina states that she will be "raped and killed" if she returns to her home country but the lawyer seems to offer no help at all. This scene gives an alternative representation of asylum seekers that challenges stereotypes of immigrants.  

Scene 5: “What use is 30 grand?” 36.40 – 39.00 

In this scene, Roger is shocked when he discovers he will only receive a 30 grand bonus. A time lapse montage of flashbacks and flashforwards is used to depict the magnitude of outrage he has for the situation. He throws up after leaving his boss' office and we are given multiple flashbacks of his journey to work, perhaps the reason for this is to make the audience sympathise with Roger for all the time and effort he put in to his work. 

Scene 6: life at the corner shop 40.10 – 42.55

The Kamal family represent a typical, yet positive, stereotype of immigrants (particularly Asians) in this sequence. The Kamal family can be seen eating together at the dinner table and conversing at the same time. They are skyping with their mother in Pakistan while they are eating which shows that they are trying to keep in touch with their roots despite their mother's habit to criticise them on everything.

The Kamal family is also shown to be very generous and kind. Ahmed offers Arabella free coriander when she visits his shop which challenges stereotypes of shop keepers being mean and stingy. An element of community is created by his kind gesture and by the fact that their shop has Christmas decorations and Christmas music playing on the speakers. This shows the audience that immigrants also identify themselves as British and follow those cultures while following their own faith and culture as well