Myths, with their rich tapestry of gods, humans, and monsters, have always served to illuminate life’s profound mysteries. They resonate with our primal selves, providing answers through epic tales of love, betrayal, and heroism. In this vein, Charlie Covell’s new Netflix series, “Kaos,” intertwines ancient Greek mythology with a gritty, modern retelling, anchoring its narrative in Crete during a vaguely 1980s timeline, evidenced by the use of rotary phones, boxy televisions, and outdated computers.
“Kaos” kicks off on Olympia Day, a festival celebrating the gods. Here, we meet Zeus (Jeff Goldblum), who, decked out in his lavish palace and joined by his wife Hera (Janet McTeer), waits for the grand festivities to begin. This celebration is grimly highlighted by the practice of human sacrifice, demonstrating the darker undertones of the series. Zeus’ son, Dionysus (Nabhaan Rizwan), while often found indulging in extravagant parties, is desperate for his father’s approval and a semblance of seriousness in the eyes of his kin.
Stephen Dillane’s Prometheus, eternally tormented as an eagle pecks at his liver for the crime of bestowing fire upon humanity, serves as the narrator. He sets the stage by introducing three pivotal characters whose lives are intricately woven into this divine drama. We are introduced to Eurydice (Aurora Perrineau) or Riddy, who wakes with the stark realization that her love for her husband, Orpheus (Killian Scott), has faded. Next, we encounter Ariadne (Leila Farzad), daughter of Crete’s President Minos (Stanley Townsend), burdened with guilt over accidentally smothering her twin brother Glaucus (Fady Elsayed) in infancy. Lastly, there is Caeneus (Misia Butler), whose journey takes them through the underworld.
The storyline takes a sharp turn when the Trojans, resentful after their defeat in the Trojan War, desecrate a statue dedicated to the gods, exacerbating Zeus’ paranoia. A foreboding wrinkle on his forehead convinces him that a prophecy foretelling his downfall is imminent. Simultaneously, Riddy meets a tragic end in an accident just as she plans to leave Orpheus, prompting an anguished Orpheus to descend into the underworld to reclaim his lost love.
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Knowledge of Greek myth enhances the viewing experience, but ignorance does not diminish the enjoyment of this sharply written series. The music selection, ranging from Dire Straits’ “Money for Nothing” to ABBA’s “Gimme! Gimme! Gimme!” and Blue Öyster Cult’s “Don’t Fear the Reaper,” injects a vibrant energy against the vividly depicted Costa Del Sol, the primary shooting location. Despite these delights, they are mere embellishments atop the core of outstanding writing and brilliant performances.
Goldblum’s portrayal of Zeus is stellar; his outlandish track suits and vivid dressing gowns epitomize an unhinged tyrant who, much to his horror, morphs into the very figure he abhorred—his father. Janet McTeer shines as Hera, embodying a proud and cunning character always a step ahead, even of Zeus’ brother, Poseidon (Cliff Curtis). Hera’s macabre habit of devouring confessions to the Tacitas and harvesting tongues laden with guilt and shame adds a haunting depth to her character.
The series also ventures into the monochrome underworld where souls are greeted by an orientation video upon crossing the river Styx, narrated by Hades (David Thewlis), the beleaguered king of the underworld. Persephone (Rakie Ayola), his wife, passionately rejects the narrative of her forced captivity as lies propagated by Hera, stating, “I am allergic to pomegranate,” dispelling usual mythic tales.
Characters like Medusa (Debi Mazar), the head-serpent-wielding supervisor, and Charon (Ramon Tikaram), the love-stricken ferryman munching on Ziploc-stored biscuits, add richness to this dark landscape. Even the Fates make an appearance, with Lachesis (Suzy Izzard) demanding Zeus’ watch as a toll for Orpheus’ passage to the underworld. Furthermore, Cassandra (Billie Piper), cursed with prophecies no one believes, and Daedalus (Mat Fraser), imprisoned by his architectural secrets, illustrate the show’s interplay of ancient myth and modern narrative.
“Kaos” delves into themes of love’s endurance and demise, the weight of family and power, and the intertwining of faith and fidelity, all while maintaining its focus on gods, myths, and monsters. The eight episodes whizz by in a psychedelic blur of drama and divine dilemmas. As the curtains close, audiences are left yearning to find out more from the weird sisters about a potential second season.
For those intrigued by mythology and a dark comedic twist, “Kaos” is currently streaming on Netflix, promising a unique and riveting adventure through time and myth.
