Netflix’s KAOS Updates Greek Mythology in a Clever Eat-the-Rich Thriller
As an avid cinephile with a penchant for mythology and a soft spot for British humor, I must say that KAOS has managed to strike all the right chords for me. The series masterfully weaves together ancient Greek tales with contemporary wit and political intrigue, creating a captivating narrative that’s both fresh and familiar.
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In the realm of British humor, intricately multi-syllabic jabs are a distinctive feature, and in this instance, it’s Charlie Covell, the screenwriter and showrunner behind the hit teen dramedy “The End of the F***ing World”, who serves them up. With “KAOS”, Covell reinterprets Greek mythology to fit our modern times, a world where Jesus didn’t appear to displace the ancient deities. This adaptation seamlessly blends comedy and political intrigue, depicting the Olympians as a crime family of sorts in the celestial realm. Jeff Goldblum, known for his smooth, slimeball charm, takes on the role of Zeus, sporting a tracksuit adorned with lightning bolts. The idea is innovative, albeit not entirely new, and is brought to life effectively through shrewd casting, crisp dialogue, and a creative reimagining of timeless myths from Western culture.
The story commences with a potential end to Zeus’ eternal rule. One day, within his own cloud palace, the divine being notices an unexpected wrinkle on his forehead, which contradicts the fact that he should be ageless. This marks the start of Zeus’ growing anxiety, as he suspects that an old prophecy indicating his fall could be fulfilled soon. Although he might be focusing on the wrong omen, his concerns are justified. Prometheus (Stephen Dillane, known for his role as Stannis Baratheon in ‘Game of Thrones’), whom Zeus considers his closest friend yet keeps imprisoned at a cliffside, is secretly planning to use three humans to oust the troublesome god from Olympus.
An intricate narrative unfolds, weaving together various subplots that span the celestial realm, earthly Krete, and a monochrome corporate underworld. As the tale gradually unravels across multiple episodes, Covell skillfully reimagines humorous adaptations of classical mythological figures. Janet McTeer portrays Hera as glamorous, commanding, and more cunning than her vain husband realizes. David Thewlis brings a timid yet well-intentioned performance to the role of Hades. Persephone (Rakie Ayola) is now his reliable assistant, this time around consensually serving him. Tired of socializing, Dionysus (Nabhaan Rizwan) seeks more authority from his father. Debi Mazar embodies a no-nonsense Medusa, wrapping her serpentine hair in a scarf when not using it as a weapon. Suzy Eddie Izzard plays one of three witty and sophisticated Fates.
In the same fashion as seen from above, Krete is experiencing internal strife, fueled by the rebellion of the suppressed Trojan population. When ruler Minos (Stanley Townsend) and his daughter Ariadne (Leila Farzad, equally impressive in this role as she was in I Hate Suzie) reveal a sacred monument, they’re appalled to discover it desecrated with feces and blasphemous graffiti: “F-ck the gods.” This act of vandalism doesn’t exactly ease Zeus’s concerns, so, as they often do, the Olympians intervene in human affairs once more. In a modern take on the myth of Orpheus and Eurydice, Riddy (Aurora Perrineau) is the struggling wife who’s losing affection for her renowned singer-songwriter husband (Killian Scott), suffocating under his overbearing wife-centric affections. Across the world, humans are becoming increasingly bold in their curses and defiance of their divine rulers.
In this series, there’s a large number of characters, more than what you initially see, although many viewers will recognize some faces. Covell cleverly keeps things from getting confusing by progressing at a steady pace and using witty comments from Prometheus when needed. The pacing is both beneficial and challenging; unlike modern genre shows that jam-pack their premieres with too many characters and plot twists in an attempt to grab viewers overwhelmed by streaming choices, KAOS never becomes overwhelming. However, it takes roughly half of the eight-episode season to present all the players; by the finale, Season 1 seems more like a lengthy introduction for Season 2.
This work offers an entertaining introduction, sparking curiosity about what’s to follow. While incorporating pagan mythology into contemporary settings isn’t entirely unique (you might recall Marvel, Anne Carson, and notably in this context, Neil Gaiman), Covell manages to make the sub-genre distinctive with their signature blend of angst and humor that made “The End” a refreshing take on teenage stereotypes. They skillfully interweave ancient rituals and characters into modern life; a transgender boy’s secret identity creates tension for an Amazonian mother who must exile her sons at puberty, and a routine government ceremony involves a routine human sacrifice. Humorous moments are abundant. For instance, Zeus repeatedly calls his estranged Olympian offspring, only to find each one ignoring his calls (“Hermes! Pick up the phone!”). In another scene, a woman in the underworld wonders why she saw Medusa’s serpents yet didn’t turn to stone. The Gorgon replies bluntly, “Because you’re already dead.”
Based on modern insights into the corrupt, unpredictable, and self-entitled nature of influential families, KAOS combines the structure of a political thriller with the emotional depth of a comedic drama. While it may not be sharp or biting enough to offer a cutting critique of our reality, it does provide an engaging escape that people have always desired from stories about superhuman characters who share our emotions, anger, and scheming – love, rage, and plotting just like us.
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2024-08-29 10:06