sci-fi crime thriller BODIES (2023) – streaming on Netflix – beragampengetahuan FILM BLOG – Beragampengetahuan

Winter is always a good time for catching up on TV series I’ve been wanting to see for some time. I actually much prefer limited series, with a predetermined number of episodes that tell a complete story, to regular series that are designed to go on and on for several seasons.

My husband and I were sold on this show just from watching the trailer and reading the brief description on IMDb.

Four detectives in four different time periods of London find themselves investigating the same murder.

Neither of us had any knowledge of the source material, it wasn’t until the third episode that I found out via Wikipedia that the limited series is based on a detective fiction comic book series created and written by Si Spencer, and that a different artist rendered each of the four time periods. Series creator Paul Tomalin is no stranger to sci-fi procedural series, having worked on the British series Torchwood (a Doctor Who spin-off) and The Frankenstein Chronicles.

Procedural and mystery series are very popular but what sets Bodies apart is the time-travel elements that link four characters from four different eras as they work on solving the same murder case. It’s appealing to me as I love period/costume dramas and sci-fi mysteries, so it’s like getting the best of both worlds. It’s the kind of show where continuity is key, jumping from 1890, 1940, and 2014, all the way to the future in 2050.

The detectives are all trying to solve the murder of a mysterious man named Gabriel Defoe (Tom Mothersdale) who’s always found naked as of the day he was born, with a gun-shot wound through his left eye, a gash on his forehead and a tattoo marking on his left wrist. I like time travel themes but it’s a popular trope that’s tough to get right, yet somehow the creator of this show does it in a way that feels fresh and unpredictable. It also takes a seemingly innocent phrase ‘know you are loved’ and makes it so gloriously ominous.

The genius of the show is that within the first episode, it’s evident that the murder is just the beginning. I love that the show gets more and more intriguing with each episode, and the more piece of information is revealed, the bigger the mystery. I’m not going to talk about the story as it’s best that you discover its twists and turns as you watch it. What I can say is the show is addictive and pulls you in deeper and deeper as you become more invested in the characters. The fact that each era reflects the culture and sociopolitical aspects of that period makes it all the more fascinating. While the show can be quite dark and threatening, it’s not gratuitously violent which can be overdone by certain showrunners. I appreciate that the focus is always on the characters that drive the story forward.

The ensemble cast is impeccable, and I love the diversity of the characters, including those of Jewish and Muslim heritage. The casting decision goes beyond inclusivity as the creators make the characters’ ethnicities, persona, and sexual identities integral to the plot, which adds a gripping emotional layer to the story. The one cast member I recognize right away is Stephen Graham and his introduction to the series as Julian Harker, a member of London’s elite society, is wonderfully enigmatic. It’s a juicy role for the talented Englishman that he relishes with aplomb… let’s just say his character is much more than meets the eye. At times he reminds me of Russell Crowe, Graham is magnetic, ruthless, sly, with an air of subtle menace.

The characters playing the detectives are equally excellent and perfectly cast for each era: Kyle Soller (who’s also great in ANDOR) as Edmond Hillinghead (1890), Amaka Okafor as Shahara Hasan (2014), Jacob Fortune-Lloyd (Medici, The Queen’s Gambit) as Charles Whiteman (1940), and Shira Haas as Iris Maplewood (2050). I can’t pick a favorite out of the four, though I find Maplewood’s futuristic storyline as her world is recovering from a technological apocalypse the most intriguing. Nice to see another Medici alum Synnove Karlsen and veteran actress Greta Scacchi in important roles.

The team behind the scenes is diverse as well–while Tomalin is the primary writer, an actress/writer of Kurdish/Polish descent Danusia Samal wrote three of the episodes. Directing duties are split between Marco Kreuzpaintner and London-based Chinese writer/director Haolu Wang who directed four episodes each. Kudos to Sara J. Doughty & her team of script supervisors, they’re the people responsible for ensuring continuity as their eye for detail is especially pivotal for this one. Each era also has a different color grading, a subtle visual effect that adds so much to the sensory experience. Props to set designers, costumes, make-up, cinematographers, editors, etc. All these below-the-line crews are instrumental in creating this superb show.

Bodies has everything one could want in a series: gripping stories, compelling characters, suspense, mystery, intrigue, and even a bit of romance for good measure! I read online that there’s a similar show with a similar theme on Netflix called DARK, a German-language family saga with a supernatural twist where the disappearance of two young children exposes the relationships among four families. I might check that one out too at some point. In any case, if you’re looking for a good series to really get lost in, I can’t recommend this one enough. I’ll be watching for what series Tomalin will work on next!

Have you seen BODIES? I’d love to hear what you think!

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