Chasing Riddy, Causing Kaos
- w v
- Nov 10, 2024
- 3 min read
Watch KAOS, a delightful modern spin on classic mythology. it’s beautifully crafted
Netflix’s new British fantasy-comedy, KAOS, is a richly layered, contemporary reimagining of the Greek and Roman myths.
The series opens with the voice of Prometheus who introduces us to the world, its characters and the prophecy that is pivotal to the unfolding events, as sub-plots intertwine to make for its inventive storytelling.
Mount Olympus, the starkly depraved world of the Zeus, King of the Gods, and his family is visually juxtaposed with the black-and-white Underworld, run by his brother Hades and his wife, Persephone, and the graffitied city of Heraklion. The self-serving Zeus influences the life of mortals and expects complete subservience from them. He uses them for pleasure and entertainment… even has a live celestial TV.
His son, born of a mortal mother, Dionysus, wants to rise in the hierarchy, simply in search of his own purpose, not power as Zeus and his consort, Hera, assume. To persuade his father into giving him a better role, Dionysus decides to help a lovelorn mortal, Orpheus, bring his wife back from the Underworld – a task never accomplished by mortals before.
The main theme is the love for power versus the power of love. Prometheus, Zeus’ best friend and long-time prisoner, acts as the narrator who tells us of a prophecy that foretells the downfall of Zeus. The story unfolds a series of events as per his master plan, seamlessly weaving in the lives of the three unwitting humans who share this prophecy: Eurydice, the wife of a much-loved musician; Caenus, an Amazonian trans male; and Ariadne, daughter of President Minos of Krete. Their stories neatly intersect to realise the prophecy to its natural, and very satisfying, culmination.
In cahoots with Prometheus are the Fates, who wrote that prophecy; the Furies, who punish people for crimes; and his lover, Charon, whom he is compelled to kill so he can play the ferryman of the Underworld.
Charlie Covell’s sharply insightful and inventive storytelling embraces diversity – unabashedly exploring sexual fluidity, characteristic of ancient Greeks – with inclusive casting for its well-adapted characters. (Covell has previously created the cult teen drama-comedy The End of The F***ing World.)
If you’re acquainted with Greek mythology, you might appreciate this series better. If not, a little reading will offer context and enrich your viewing experience.
The production is visually rich and wonderfully quirky. The Fates are a trio of game show judges at a desert bar called The Cave. The Underworld functions like a robotic bureaucratic organisation, complete with Medusa as an operations manager. Mount Olympus reeks of a garishly opulent vibe, underlined in its opening monologue: “Power can give people many things, taste is rarely one of them.”
Kaos features a roster of talented performers, and the directors bring out their best.
Jeff Goldblum’s deadpan look as he spouts witty lines in athleisure makes for a convincing Zeus. The glamourous Janet McTeer delivers biting retorts with poise as Hera, the icy queen of Olympus, and holds our attention. Stephen Dillane’s Prometheus in blaring red gym shorts and Cliff Curtis as the under-dressed Poseidon are a bit much on the eye, although they’re fine actors. Nabhaan Rizwan is likeable as the party-hopping Dionysus, who, while looking for his purpose, inadvertently plays catalyst to the story.
Isabella Summers has chosen a diverse soundtrack for this series, featuring some classics. Actor Killian Scott, who plays Orpheus, belts out Eurydice, an original composition, written and produced by Dan Smith from Bastille. It’s beautifully shot, as is the rest of the series. You can watch the sequence here.
This well-crafted eight-episode comedy makes for a rewarding watch. KAOS culminates with some loose ends to set up a promising second season, but Netflix has cancelled the show already. Kudos to the entire cast and crew though, this really comes across as a labour of love.
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