As a seasoned gamer of mythology-infused narratives, I must say that Netflix’s dark comedy “Kaos” initially had me hooked with its intriguing premise and star-studded cast. However, much like Zeus himself, it struggled to live up to its potential.
In the vein of a mature Percy Jackson tale infused with elements from American Gods and Hadestown, Netflix’s dark comedy Kaos offers an abundance of thought-provoking concepts that its creator, Charlie Covell, finds challenging to delve into thoroughly.
Initially, I was captivated by “Kaos,” anticipating its innovative twists on mythology. However, my initial excitement gradually transformed into skepticism as episodes passed, feeling it would lead nowhere substantial. Eventually, my enthusiasm waned to mere indifference – “Meh.” Despite a talented ensemble and playful atmosphere, the series failed to deliver on its potential, shifting from intriguing to frustrating to underwhelming, yet occasionally offering glimpses of what could have been a remarkable tale.
In this portrayal, Jeff Goldblum embodies the character of Zeus, the strong yet anxious king of the gods, stationed on Mt. Olympus alongside his sister-wife Hera (played by Janet McTeer). Zeus is preoccupied with the authenticity of human offerings and a cryptic prophecy he fears could lead to his demise. His petty and insecure nature has led him to exile his brothers Poseidon (Cliff Curtis) to the sea and Hades (David Thewlis) to the Underworld, while punishing Prometheus (Stephen Dillane) with eternal torment. Despite his irritating behavior, only his son Dionysus (Nabhaan Rizwan), a disenchanted club-goer, bothers to take his calls.
On Earth, people carry on with their daily lives, convinced they’re mere playthings of the gods, the Fates and the Furies. However, could they be poised to overthrow these divine beings and assert dominance over free will? Possibly! Perhaps! The one thing that’s indisputable is that Cassandra (Billie Piper) has already attempted to forewarn everyone about whatever may unfold.
The destiny to overthrow deities might lie with three ordinary individuals: Eurydice (Aurora Perrineau, often called “Riddy”), who’s growing disenchanted with her husband Orpheus (Killian Scott) because she feels more like a muse for a globally renowned pop star than a partner. Ari (Leila Farzad, also known as “Ariadne”) is a princess, but she’s weary of being solely identified by her childhood traumas. Lastly, there’s Caeneus (Misia Butler), who works in a humble position in the Underworld and mourns a familial betrayal.
Initially, it’s evident why Covell found the concept of a contemporary world where Greek gods appear to be the dominant religion appealing, as shown in the early episodes.
In “Kaos,” for approximately an hour or two, the world-building presents a unique, somewhat off-kilter atmosphere. Although primarily set in Greece (particularly Crete), filming locations are actually found in Spain. The show’s oddity piques my curiosity as I attempt to decipher the cultural and spiritual undercurrents that shape aspects such as their cereal varieties, clothing styles, and architectural designs.
If you’re a fan of mythology, you’ll find enjoyment in discerning whether Covell stays true to the original tales, subtly revises them for modern audiences, or simply preserves the name while reinventing everything else. The show aims to explore the process of myth-creation, the narratives that guide our lives and provide meaning, as well as the question of authorship in these stories. I wish it provided more insightful commentary on these themes and had a deeper underlying message.
Unfortunately, as a gamer, I found myself drowning in an unending tide of cool features, each one blending together due to an overbearing soundtrack and bothersome Promethean narration instead of being tied together by a coherent storyline. The so-called “plot” seemed more like squabbling gods interspersed with Riddy’s descent into the Underworld, alternating with whatever Ari was up to, lacking any real forward momentum. It all culminated in an ending that managed to embody chaos – just like Kaos itself – but by then, my interest had waned.
It’s not common for good ideas to be acted upon, so the fact that a trans man raised by the Amazons is mentioned again, even subtly, is almost significant, although I feel it deserves its own TV series rather than being a side note in this one. Often, the most compelling concepts are overlooked or weakened by premature retreats. For instance, the black-and-white bureaucratic depiction of the Underworld loses its impact as it becomes monotonous, leading to a poorly thought-out “twist” that seems less impactful than the twist in… Sausage Party.
In an ideal scenario, tales such as this gradually reveal their universe as they unfold. However, the realm of “Kaos” seems to shrink and lose depth – it’s arguably too complex for younger audiences, yet perhaps not sufficiently sophisticated for adults.
As the storyline becomes less engaging, the enjoyment derived from the series primarily comes from the captivating performances delivered by its talented actors.
Every Goldblum line-reading is a small treasure. Especially in the current political climate, there’s something very funny about an interpretation in which a lifetime of omnipotence and insularity have left Zeus as a tyrant who’s at least as weird as he is evil. None of the supporting players feel, necessarily, like they’re in the same show or even in the same five or six shows — Goldblum’s doing Wes Anderson, McTeer’s doing Shakespeare and Curtis is working on his tan on a yacht.
Alone, it’s clear to see that McTeer exudes a regal demeanor and devious plotting, Rizwan revels in worldly debauchery, Thewlis ponders the afterlife with melancholy (he shares screen time with Rakie Ayola, whose Persephone character presents a significant departure from traditional portrayals). Among the human actors, Butler’s performance stood out most to me. Appearances by Piper, Debi Mazar, and Suzy Eddie Izzard add an energetic spark.
Netflix initially commissioned “Kaos” as far back as 2018, and since then, we’ve faced a global pandemic and numerous industry strikes – quite some time indeed! I’ve eagerly awaited its arrival, particularly given that Charlie Covell’s prior work on the streaming platform was the darkly funny road trip romance “The End of the F***ing World.” However, while “Kaos” does feature a touch of sharp dialogue and minimal structure in terms of a consistent worldview, it’s less nihilistic than its predecessor.
You can still sense what I assume was an enticing outline that displayed Covell’s enthusiasm and made Netflix want to come on board. But you can also sense the places somebody hoped to come back and replace the generic gap-filling with high drama or comedy, and instead just left the filler.
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2024-08-29 10:25