Bodkin, the latest addition to the comedy-thriller genre, promises intrigue, humour and a dash of Irish charm. Unfortunately, it falls short of expectations.

The seven-part series transports viewers to the charming yet mysterious town of Bodkin in West Cork, Ireland. American true-crime podcaster Gilbert Power, played by Will Forte, and his diligent young researcher Emmy Scissor, portrayed by actress Robyn Cara, along with an investigative journalist, Dove played by Siobhán Cullen arrive in Bodkin to solve a decades-old mystery: the disappearance of three individuals during the annual Samhain festival.

The opening episode of Bodkin struggles to engage the audience. The pacing feels sluggish and the initial character introductions lack the necessary intrigue. Forte’s portrayal of Gilbert oscillates between endearing and annoying. His comedic timing occasionally shines but his emotional range falls flat. Cara as Emmy brings youthful energy but her character’s growth is stunted by the script. Cullen’s portrayal of Dove, the reluctant journalist, hints at hidden depths but the series never dives deep enough. Meanwhile, the supporting cast, mainly local townsfolk and podcast guests, supposedly add flavour but their interactions lack chemistry. The absence of a standout performance hampers the overall impact.

The initial premise revolves around the mysterious disappearance of three individuals during the Samhain festival. As Gilbert and Emmy dig deeper, they uncover a hidden truth: the missing trio staged their own vanishing act. Their reasons vary with some seeking escape from mundane lives and others driven by revenge or a desire for reinvention. The revelation turns the investigation on its head, leaving viewers questioning who the real victims are.

As for Dove, the investigative journalist, she emerges as an unreliable narrator. Her recollections shift, revealing hidden agendas and suppressed memories. Is she complicit in the trio’s disappearance? Or a victim herself? The blurred lines between truth and fiction keep viewers guessing until the final episode.

The casting choices for Bodkin seem to have been made by drawing names out of a hat. The ensemble lacks chemistry and their performances fall flat. The lead actor, who portrays a brooding detective, delivers lines with all the enthusiasm of a damp sponge. His co-stars fare no better, stumbling through scenes as if they were reading from a teleprompter for the first time. It’s a shame, really, considering the potential that lay within this diverse crew.

Character arcs in Bodkin are about as deep as a puddle after a drizzle. Viewers are introduced to a host of one-dimensional personas, each with an insubstantial backstory. The detective’s tragic past? A clichéd trope that fails to evoke any empathy. The quirky sidekick? A walking punchline with no substance. Even the villain lacks the complexity needed to make the audience care about their nefarious deeds.

‘Character depth’ are two words that seem foreign to the creators of Bodkin. The viewers are left wondering why the detective is so brooding, why the sidekick is so quirky and why the villain is so…villainous. There’s no exploration, no layers to peel back. Instead, the viewers are treated to surface-level interactions that leave them yearning for more. Perhaps the writers believe that mysterious glances and cryptic dialogue suffice, but alas, they do not.

Humour and thrill are conspicuously absent from Bodkin. The former often relies on Irish wit and cultural references. While the occasional attempt at wit falls flat, the suspense feels manufactured rather than organic. The detective cracks a joke and the audience is left wondering if it was meant to be funny or merely a cry for help. As for the thrill factor, it’s buried beneath layers of monotony. A car chase? More like a leisurely drive through a suburban neighborhood. A climactic confrontation? It’s over in the blink of an eye.

The Irish backdrop, with its rolling hills and cosy pubs, lends charm to the show. However, Bodkin occasionally overindulges in contrivances. New-age nuns running a crystal shop and Troubles-era gangsters working at the local bakery strain credibility. These quirky inversions, while interesting, distract from the central mystery. The show also leans heavily on clichés. The rain-soaked alleyways, dimly lit offices and brooding glances — all checkmarks from the detective drama handbook. Not only does the series painfully lack originality, but serves up tired tropes like reheated leftovers.

The viewers are led down rabbit holes that lead nowhere and the resolution (if one can call it that) is as satisfying as a deflated balloon. The writers seem to have forgotten that a coherent plot is essential for viewer engagement. The series ultimately falls short of its potential.

Bodkin teases viewers with tantalising clues but the payoff remains elusive. The slow burn, while effective in building suspense, ultimately fizzles out. The central mystery — the vanished trio during Samhain — holds promise but the resolution lacks punch. The series dances around revelations, leaving the viewer hanging without a satisfying conclusion. It lacks the depth and finesse required for a compelling show. With unexplored subplots and excessive clichés, it’s a forgettable addition to the detective genre.

Final verdict: Bodkin is a whimsical misfire. All it offers is a slow burn that fizzles out before reaching a satisfying conclusion. Its characters, like the town itself, remain charming but unexplored. The cast delivers moments of brilliance but they drown in a sea of missed potential. As the credits roll on the final episode, the viewers are left pondering what could have been — a quirky gem that lost its way.

The author is a freelance contributor