There's been no shortage of Greek mythology retellings over the years. From feminist takes on male-focused stories to modern-day spins on traditional tales, from Percy Jackson to The Song of Achilles, there really is something out there for everyone. Fascination and engagement with these tales has never waned, with heroes and their stories remaining household names over the centuries.
The latest to take on this classical canon is Netflix's Kaos, an eight-part series that sees Zeus (Jeff Goldblum) begin to panic that his power is waning, dreading the realisation of his prophecy and the fall of the gods. As his fears grow and he tries to prevent fate (and the Fates) from coming to pass, we see various characters' prophecies intertwine and contribute to the greater picture.
Kaos' worldbuilding is well thought-out and often charming in its nods to the source material. When we meet Euridices — “Riddy” (Aurora Perrineau) — she's buying cereal. Should she opt for Spartan Crunch, or Achilles' Heels? She grabs a pomegranate on her way out for good measure. As time goes on these references become a bit less in-your-face, but as an introduction to this world, a not-quite-modern version of Krete and Olympus, it's engaging.
This initial lightheartedness is also disarming, lulling viewers into a false sense of security. It's not all sugary cereals and comically casual discussions of “the annual human sacrifice” here; Kaos is admirably dark, and doesn't shy away from the brutality of gods or the myths it draws from. Casual cruelty and complex suffering, integral to the original stories, are equally weighted with bright comedy and the fantastical central plot. It keeps things interesting and prevents the series from falling into a Marvel-esque haze of bright colours and snappy quips.
This is perhaps best summed up by Jeff Goldblum, who is excellent as Zeus. At first, it seems like he'll be playing another stock character, entertaining and fun but without much substance. However, as the character develops, Goldblum gives a nuanced performance, granting Zeus depth and letting the campy mask slip to show a darker, more dangerous side to the god. His acts of violence are shown on screen rather than mentioned in passing, cutting through the sheen of well-produced fantasy.
Only a handful of the gods make appearances throughout the season; if the series is renewed, we'll surely meet more of the family, but Kaos doesn't overload us with extraneous characters — those we do meet are more than sufficient to demonstrate the complex family dynamics and power struggles that ensue. Each offers a twist on how you may expect the gods to be characterised; David Thewlis' Hades, for example, is quite a tragic figure, worn down and overworked. His realm, the Underworld, is a monochrome, brutalist bureaucracy, running on paperwork and reminiscent of endless council offices.
For the most part, there's a nice balance between originality and a healthy respect for the original stories; there's a reason they've survived so long, after all. Occasionally it departs a little too far from its origins and risks genericism in its more creative endeavours, but it only teeters over the line a few times over the eight-episode run.
Kaos is complex without being overstuffed with ideas, carefully thought out and smoothly executed. A strong cast, beautiful designs and an absorbing plot make for a solid few hours of television. Hopefully this won't be another promising series axed by Netflix before its time; gods willing.
