never quite falls on its face — high praise for a genre whose convolutions reliably start off entertaining and end up infuriating.always makes total sense, but it achieves a healthy balance between amusingly ridiculous and just-plain-ridiculous, with its audaciously high-concept narrative consistently elevated by a top-notch cast and strong production values across several time periods.
So that’s four detectives in four time periods and one body, all connected by a doomsday cult, an unspeakable tragedy in 2023 and a future in which technological advancement and utopian equality are accompanied by the sort of autocracy that — spoiler alert — is rarely benign.creator Paul Tomalin effectively whips around among the four storylines, admirably maintaining at least some level of interest in each throughout.
My investment was rarely as great in the levels of primitive prejudice driving the three present/past threads. Hillinghead, who has a wife, daughter and a predictable Big Secret, is constantly witnessing homophobia. Whiteman, who hides his Jewishness, but finds intriguing rapport with a Yiddish-speaking girl , is constantly experiencing antisemitism.