Jeff Goldblum is one of the best reasons to watch Netflix’s Greek comedy ‘Kaos’

As a lifelong admirer of Greek mythology and a dedicated binge-watcher of modern television, I found “Kaos” to be a fascinating exploration of the gods’ dysfunctional family dynamics reminiscent of “Succession” and mob stories alike. However, after a while, their endless squabbles, amorous escapades, and thoughtless cruelty became increasingly tedious for me – a testament to the series’ darker tone.

Apologies for any confusion, but the new Netflix series titled “KAOS” is not a spin-off of the classic comedy “Get Smart.” Instead, it’s the third television show in production with ties to Greek history and mythology, following Fox’s animated series “Krapopolis” and Disney+’s acclaimed “Percy Jackson and the Olympians.” (And as they say in journalism, three makes a trend.)

Titled “Kaos,” this series will debut on Thursday, and it’s set in a contemporary, urban version of “Krete” portrayed by Spain, governed from lofty heights by Zeus (Jeff Goldblum), the supreme deity, often referred to as the “boss of bosses.” In local terms, with a military undertone, it’s ruled by President Minos (Stanley Townsend), whom Zeus views as a “joker.” Mt. Olympus is depicted as a grandiose white and gold mansion where Zeus resides with Hera (Janet McTeer), his queen, wife, and sister – the latter title providing clarification.

In the grand tapestry of this cinematic adventure, various figures make their appearances seemingly beyond their control. For instance, Zeus’ brother Poseidon (Cliff Curtis), who can often be found lounging on a lavish super yacht. Then there’s Dionysus (Nabhaan Rizwan), Zeus’ son, who resembles a restless nightclub goer yearning for something deeper. As for our gloomy sibling Hades (David Thewlis), he’s trapped in the monochrome bureaucracy of the underworld, overseeing a drab, uninspiring world characterized by brutalist architecture.

At the outset, Zeus, reminiscing fondly about family gatherings for barbecues in times past, finds himself preoccupied with a fresh wrinkle running vertically across his forehead. This wrinkle stirs a dread within him, as it seems to coincide with an ancient prophecy signaling the decline of the family’s dominance. To make matters worse, a monument erected on “Olympia Day” is found vandalized with sacrilegious graffiti and a pile of foul-smelling waste by those who oppose the divine.

“He laments to Prometheus (Stephen Dillane), who Zeus occasionally transports from the cliffside where he’s chained, ‘I was supposed to be immortal, is that just aging? What’s next, a decrease in bone density, gum recession? A daily bowl of stewed prunes?’ Prometheus, both his confidant and tormentor, calls Zeus a ruthless deity with a plan to bring him down.”

In modern times, the tale of the couple, Orpheus (Killian Scott) and Eurydice (Aurora Perrineau), formerly known as “Riddy,” undergoes a transformation. He’s now a renowned pop star, penning songs about their relationship; whereas before, Eurydice was merely an adored love interest, she now possesses her own agency and independence. The myth necessitates that she will perish, prompting Orpheus to venture into the underworld in search of her, a plot point I assume you are already aware of. (A twist comes in the form of Eurydice’s feelings for him waning, as she plans to leave him.) Along his journey, Orpheus receives assistance from Dionysus, who finds interest in humans and believes this endeavor will enhance his own life.

As a movie enthusiast, I’d say it’s not too much of a stretch to draw a parallel between the intriguing, flawed dynasty of the Greek gods and the cutthroat world depicted in “Succession.” Their relentless pursuit of power echoes the themes found in mafia narratives, as well as stories about oppressive regimes and rebellious factions. (This comparison certainly added a compelling angle to the pitch.)

Your mileage may vary depending on how much this sort of drama appeals to you, but while the rethinking of these characters is conceptually interesting, even intriguing, after a time, I did find their internal squabbling, adulterous sexcapades and thoughtless cruelty increasingly tedious. (I do realize that these very elements will constitute a recommendation to some viewers.)

Under Georgi Banks-Davies’ guidance (“I Hate Suzie,” and the now defunct “Paper Girls”), the show is inventive and skillfully produced. There are some adorable ideas, such as cereal brands like Spartan Crunch and Achilles’ Heels, along with Zeus and Poseidon bobbleheads. The underworld entrance is a garbage bin. All phones are old-fashioned landlines. (Zeus leaving messages on his unanswered relatives’ answering machines provides a humorous montage.) There’s even a fax machine in the afterlife. The Fates, with Eddie Izzard as Lachesis, frequent a bar where bringing back a loved one from the dead is presented like a pub quiz. Debi Mazar makes an appearance as a benevolent Medusa, her snake hair wrapped in a scarf.

The ten-episode sequence is packed with a variety of tones, ranging from comical to tragic, satirical to eerie, and the transitions between these elements can feel disjointed at times. As the series progresses into darker territories, its vibrancy seems to fade somewhat.

The term “Kaos” is undeniably clever, yet it carries a somewhat detached feeling. Characters such as Dionysus, Riddy, Ari (Leila Farzad, Minos’ daughter), and Caeneus (Misia Butler), whom Riddy encounters in the underworld, are more likely to stir an emotional reaction. This emotional response is largely due to the charm of the actors rather than just the story they are enacting.

In any show Goldblum stars in, he’s one of the main attractions, making it worth watching. If Hugh Grant, initially chosen to play Zeus, hadn’t had to withdraw, the series would have been a distinct and arguably less vibrant one. The role appears to have been adapted or reworked to suit Goldblum’s unique, quick-paced style and a performance that maintains an element of humor even in serious situations. Even if the character becomes repetitive, the actor doesn’t.

Charlie Covell, who is known for writing, creating, and executive-producing “The End of the F***ing World,” studied English at Oxford. This means he delved into Greek myths, which form the basis of many contemporary narratives, metaphors, and words. If you’re familiar with Zeus and Hera, Orpheus and Eurydice, or even lesser-known characters like Cassandra (played by Billie Piper), Charon (Ramon Tikaram), or Daedalus (Mat Fraser), you’ll have an advantage in understanding the characters; you’ll catch subtle references to Icarus without needing a retelling of the story. (And it won’t be.)

To put it simply, there’s sufficient information provided so that you likely won’t feel compelled to constantly consult Wikipedia. However, if you choose to do so, feel free!

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2024-08-30 01:01