The corpse lies in the gutter, rain-soaked and unmoving. It’s 1890, but we’ll see this same body again in 1941, 2017, and even 2053. Bodies, Netflix‘s latest time-spanning mystery, opens with a corpse that becomes the linchpin for four detectives across centuries, each trying to solve its murder to save Britain’s future. Created by Paul Tomalin, this limited series is a high-concept blend of crime and sci-fi, with a twisty plot that demands attention.

The premise is undeniably intriguing: Jacob Fortune-Lloyd as Charles Whiteman in 1890, Shira Haas as Iris Maplewood in 1941, Amaka Okafor as Shahara Hasan in 2017, and Kyle Soller as Alfred Hillinghead in 2053 each investigate the same body found on a London street. The series weaves their stories together with escalating stakes, revealing how the murder ripples through time. Tomalin’s writing is sharpest when exploring the thematic core of loneliness and the fragility of human connections, a depth that lingers long after the twists and turns subside.

The performances anchor the series, particularly Okafor as Shahara Hasan. Her portrayal of a detective grappling with personal demons while unraveling a time-bending mystery is compelling. Haas brings a quiet intensity to her role, while Soller’s Alfred Hillinghead delivers a standout performance in the dystopian future timeline. The chemistry between the actors, even when separated by centuries, creates a sense of unity that keeps the narrative cohesive.

Visually, Bodies excels with its period-appropriate cinematography and production design. Each era is distinctly rendered, from the foggy streets of Victorian London to the grimy, rain-soaked alleys of 1940s Blitz-era Britain. The transitions between timelines are seamless, though the series occasionally stumbles in pacing, particularly in its latter episodes where the plot becomes convoluted for its own sake.

The narrative’s biggest strength is also its weakness: the time-travel mechanics. While the premise is engaging, some of the logic behind the time loops and paradoxes feels shaky, requiring suspension of disbelief that borders on credulity. The series leans heavily into its sci-fi elements, which may alienate viewers looking for a more grounded crime drama.

Bodies is a bold experiment in genre-blending, but it’s not without flaws. The series’ ambition sometimes outstrips its execution, particularly in the way it handles its time-travel plotlines. For fans of shows like Dark or The Devil’s Hour, Bodies offers a similarly complex and layered narrative, albeit with a British sensibility that grounds it in historical and cultural specificity. The series is at its best when it focuses on the human stories behind the mystery, exploring themes of isolation, duty, and the weight of history.

The supporting cast adds depth to the story, with standout performances from Stephen Graham as Mannix and Greta Scacchi as The Lady. Their characters add layers to the narrative, providing crucial context for the time-travel elements. Tom Mothersdale’s portrayal of The Body is particularly noteworthy, serving as a constant reminder of the mystery that binds all four timelines together.

The series also benefits from its limited run format, allowing it to build momentum without overstaying its welcome. Each episode adds a new layer to the mystery, with cliffhangers that keep viewers engaged. However, the pacing in the final episodes feels rushed, as if the writers were struggling to tie up all the loose ends.

Bodies is a series that will appeal to fans of intricate puzzles and historical dramas. It’s not for casual viewers looking for a straightforward whodunit. Instead, it rewards patience and attention to detail, with a narrative that demands active engagement. The series’ strengths lie in its performances and production design, but its reliance on convoluted time-travel mechanics may frustrate some audiences.

In the end, Bodies is a compelling, if flawed, addition to the genre. It’s a series that takes risks and, for the most part, pays off.