Bodies

It is a truth universally acknowledged that any plot involving time travel, especially any that attempts to deal with the so-called grandfather paradox, will necessarily be so full of holes that, if it were a fishing net, only the great whales would be endangered by it. In that regard, Bodies certainly does not disappoint, piling impossibility upon impossibility at a head spinning pace. However it is the panache and insouciance with which such concerns are dealt that determines whether a show will emerge battered to death or greatly loved. With great performances from the lead characters, particularly Jacob Fortune Lloyd as the thoroughly corrupt wartime cop whose heart is melted by a child (a charming live-action debut for Chloe Raphael), and a brilliant script that revealed only as much as necessary at each stage and kept you guessing until the very end, Bodies easily triumphs over its unavoidable absurdity.

I can't count the number of Netflix movies and series I have invested in only to be hit with what I call "The Netflix Non-Ending Ending". You know the ones - dead stops where it feel as if the writers just ran out of steam, and finally said eh, forget about it...let the audience figure it out for themselves. So frustrating! Bodies stands out to me if for no other reason than it has an actual ending. There is a lot going on so pay attention or you'll find yourself constantly rewinding to figure out what they're talking about. Time travel stories are exhausting to some degree but I found this one fun and engaging. Worth the binge!

As a weaving of four stories this works well. The sets are great and even the thirty years into the future thread wasn't too out there.

There are a few good characters, some good light and shade and some that develop nicely as the series progresses.

Everything starts with a body being discovered in a lane in London and develops with four different time lines, Victorian, World War Two, present day and thirty years into the future. At first there is a lovely kind of what-is-going-on feel to the story, but come the middle of it, you realise that it's just the same thing that's been done so many times in so many other sci-fi programmes and films that it becomes more and more disappointing and eventually so incredibly and sadly predictable.

Initially, I was 'only' a little interested because it was kind of slow to start AND I knew next to nothing about it except that a friend had recommended it. We have very similar tastes in shows, so I trusted them, obviously.

Anyway, I was hooked by about halfway through the first episode but I didn't realise HOW hooked I was until the episode ended and I went straight to the next rather than to bed like I should have.

The core conceit may not be anything new (most time-travel-hijinks movies and shows seem to stick to the same two or three ideas for some reason) but the cast, and the way the story unfolds, is just REALLY well done, especially Gabriel Howell as young Elias in the 'now' timeline. He's really only kind of an afterthought for most of the show but he absolutely comes into his own at the end, and absolutely steals the entire series in his relatively short but powerful spotlight moments. That being said, the rest of the cast are equally good, especially Amaka Okafor and Jacob Fortune-Lloyd as DS Hasan and DS Whiteman respectively.

A small part of me wants more of this, because it was so well done, but that small part is an idiot because 'more' would likely ruin it since they told a complete story. I guess I just want more of each of the cast?

I am enjoying the series, if I close my eyes during the gorey scenes where history is being mutilated....

It's impossible to be 100% accurate, but sometimes the mistakes are distracting. Like many contemporary productions, this series fails to understand how people behaved in the past. There are two instances in particular that particularly stand out.

In 1890 London, the molly house with two men dressed up in corsets on the street simply wouldn't have happened in daylight in front of the police because they would have been immediately arrested. It wasn't okay to act gay in any way in public in 1890.

The other most egregious errors occur in the 1941 blitz scenes, with people screaming and running for shelter from their apartments while bombs are falling in the neighbourhood, and the crowds then being denied access to an underground station for shelter. Anyone who has ever talked to anyone who lived in London during the Blitz knows that Londoners were prepared and calmly resigned to the bombings. There were usually many minutes between the first alerts and the first bombs - enough time to make a thermos of tea and dress warmly. There were also alternate street-level shelters to the undergrounds, and many people just defied fate and waited it out at home. As well, the cars have too much light being projected from the head lamps, and the detective's apartment had no blackout curtains, so sitting in the apartment with the lights on was illegal, and he would have been fined or arrested. Covering light from windows would have been tested in drills by ARP officers from the home army in the early months of the war, well before the Blitz began.

It's too bad these blatant errors exist because they pull down the quality of the production. Period set films really need historians to check basic facts, and directors need to LISTEN to them.