Back to Life understands the secret can be more powerful than the reveal

Why the new drama defies comparisons to shows like Fleabag and Broadchurch

Back to Life.
(Image credit: Illustrated | kirilart/iStock, Screenshot/YouTube)

It's too easy to compare Back to Life to BBC shows like Fleabag or Broadchurch, or to American shows like Orange is the New Black or Big Little Lies. Now on Showtime, Back to Life was produced by some of the same people who made Fleabag and features a similarly battered yet resilient protagonist. It's set in a remote coastal community like Broadchurch's "Jurassic Coast," with the same buried-crime ambience (not to mention the availability of cliffs off which characters can be conveniently pushed). Like OITNB, it's concerned with the specific and more mundane details of female incarceration — albeit mostly the returning-to-society part of it — and if we want to throw Big Little Lies into the mix, Back to Life also mirrors its protagonist's troubled-yet-placid demeanor in a variety of sublimely cool and gray shots of the ocean, deep, silent, and vast. It also features an impulsive shove that (a little conveniently) becomes a fatal fall.

I find myself wanting to compare Back to Life to better-known shows because it feels so small and easy to overlook, destined to be seen and forgotten (or maybe a little too quiet and gentle to break through at all). Like its protagonist, it's shy, timid, and tentative. These limited-run BBC dramas tend to fly under the U.S. market's radar — when they get released here at all — and I want to advocate for it, speak up for this one in particular. But the best thing about the show might be that it's actually a lot smaller and humbler than these puzzle-box dramas; it might be that comparing it to the cacophonous genius of Phoebe Waller-Bridge's Fleabag only emphasizes the mildness of this show's gentle and humane ambitions. If detective stories fetishize the revealed secret — withholding the truth of who did it until a big climactic reveal — Back to Life is about how discovering the truth somehow doesn't actually change anything important. Instead, it's a show built on a nesting series of narrative anti-climaxes, of secrets that, when revealed, are somehow never quite the revelations that they had promised to be. Hidden secrets fester, but the big revelation... dissipates.

Subscribe to The Week

Escape your echo chamber. Get the facts behind the news, plus analysis from multiple perspectives.

SUBSCRIBE & SAVE
https://cdn.mos.cms.futurecdn.net/flexiimages/jacafc5zvs1692883516.jpg

Sign up for The Week's Free Newsletters

From our morning news briefing to a weekly Good News Newsletter, get the best of The Week delivered directly to your inbox.

From our morning news briefing to a weekly Good News Newsletter, get the best of The Week delivered directly to your inbox.

Sign up
To continue reading this article...
Continue reading this article and get limited website access each month.
Get unlimited website access, exclusive newsletters plus much more.
Cancel or pause at any time.
Already a subscriber to The Week?
Not sure which email you used for your subscription? Contact us
Aaron Bady

Aaron Bady is a founding editor at Popula. He was an editor at The New Inquiry and his writing has appeared in The New Yorker, The New Republic, The Nation, Pacific Standard, The Los Angeles Review of Books, and elsewhere. He lives in Oakland, California.