Netflix’s eight-part miniseries is a perplexing enigma that demands attention, but the journey is well worth it. DS Hasan (Amaka Okafor), a Muslim woman of color, is among the police officers trying to maintain order. She stumbles upon an Asian youth hiding behind a bin, armed and seemingly ready to shoot someone. As Hasan calls for backup, the youth escapes. She chases him, eventually discovering him standing over a naked man with a peculiar tattoo and a fatal gunshot wound to the left eye. It becomes apparent to Hasan that the youth is not the killer; he is terrified and lacks experience with firearms. Furthermore, why is the victim unclothed? It’s almost as if he fell from the sky. Don’t rule out that possibility just yet.
While this mystery would be sufficiently bizarre for any other thriller, it falls short of the strangeness found in the eight-part miniseries Bodies (streaming on Netflix starting Thursday), adapted from the graphic novel by the late Si Spencer. In the opening episode, the same body reappears in the same spot in a London alley in three different time periods: 1890, 1941, and 2053. Consequently, four different detectives unknowingly investigate the same murder across different timelines. Although these narratives will eventually converge, the exact details and timing remain a mystery after the two episodes I’ve seen.
Nevertheless, there’s a lot happening and a lot to ponder. In 1890, DI Hillinghead (Kyle Soller) takes charge, but his seemingly straight-laced, content married life might not be all that it appears. His interaction with a curious photojournalist named Henry Ashe (George Parker), who is part of the city’s underground gay scene and possesses his own connection to the case, threatens to unsettle Hillinghead’s hidden sexuality—an extremely dangerous revelation for a police officer in Victorian England.
Similarly, the 1941 protagonist, DS Whiteman (Jacob Fortune-Lloyd), is not exempt from danger. He exudes confidence but faces antisemitism within a predominantly prejudiced police force. Nonetheless, Whiteman himself is not without reproach. He accepts bribes from shadowy benefactors, as instructed by a woman who contacts him and orders him to collect and transport a body—yes, the same body—in the trunk of his car. However, a sudden German air raid disrupts the pickup, conveniently eliminating a despised colleague who suspected Whiteman’s corruption. This allows Whiteman to shift blame onto the deceased and demonstrates his willingness to cold-bloodedly murder an associate to cover his tracks.
Fast-forward to 2053, and DC Maplewood (Shira Haas) steps into the role of the investigating detective. Sporting a futuristic haircut reminiscent of Gary Oldman’s in The Fifth Element, Maplewood bears her own personal challenges. She was born paraplegic due to an unexplained illness, but thanks to a spinal implant, she can walk. However, this advanced technology comes at a price: absolute obedience to the oppressive governing body known as the Executive, which controls this sterile and ominous version of future London.
Bodies showcases recurring motifs, words, and names, reminiscent of Cloud Atlas. Maplewood’s implant takes the shape of the dead man’s tattoo, and the phrase “Know you are loved” repeatedly surfaces. Stephen Graham serves as the strongest link, playing Elias Mannix, the founder of the Executive in 2053, while also appearing as Elias, a troubled teenager in the 2023 timeline. In one of Ashe’s crime scene photos from 1890, Graham’s face is reflected in a window—another intriguing connection.
Attempting to unravel the entire narrative might leave you feeling perplexed, but the intrigue alone makes it a risk worth taking.
Denial of responsibility! Vigour Times is an automatic aggregator of Global media. In each content, the hyperlink to the primary source is specified. All trademarks belong to their rightful owners, and all materials to their authors. For any complaint, please reach us at – [email protected]. We will take necessary action within 24 hours.
