On one level, Netflix’s new series KAOS is Percy Jackson for adults; it makes Greek mythology contemporary, bringing it to life in a world not so different from our own. On another level, it’s a cheeky, often clever deconstruction of that mythology, and while that doesn’t always translate to a cohesive story, the show is eminently watchable throughout.
Created by The End of the F***ing World scribe Charlie Covell, KAOS shares that series’ pitch black sense of humor. Prometheus (Stephen Dillane) narrates the proceedings, which involve the all-powerful and increasingly anxious Zeus (Jeff Goldblum, rocking many a jewel toned tracksuit). The king of the gods is worried about a prophecy that he believes will result in the end of his reign, and Prometheus gladly confirms to the audience that his fears are well placed. Amongst godly family feuds between Zeus, Hera (Janet McTeer), Poseidon (Cliff Curtis) and Dionysus (Nabhaan Rizwan), three humans take center stage.
First is Riddy (Aurora Perrineau), short for Eurydice, who feels trapped in her cushy but purposeless life with her musician boyfriend Orpheus (Killian Scott). When she dies a sudden and untimely death, Orpheus gets some help from a sympathetic and industrious Dionysus in his quest to bring her back from the Underworld. While Riddy is down there, though, she meets important human number two: Caeneus (Misia Butler). He’s one of the many unresolved souls in the Underworld, working as a staff member shepherding the newly dead to their afterlives. He and Riddy have an instant connection—and an affinity for looking into things they shouldn’t. The third and final human of note is Ariadne (Leila Farzad), the daughter of Crete’s President Minos. She struggles with her family’s authority and unwavering faith in the gods, thanks to a family tragedy she caused as a child. Somehow, we’re told, these three will bring on the end of Olympus as they know it.
There are plenty of peripheral characters from major and minor myths alike, from Cassandra (Billie Piper) to Medusa (Debi Mazar). An Underworld-weary Hades (David Thewlis) and Persephone (Rakie Ayola) shoulder much of the story too, given that Riddy and Caeneus spend most of their time in their domain. Mythological in-jokes and winking references abound, fleshing out the world of KAOS while effectively executing a kind of nerdy fan service for anyone who ever had a Greek mythology phase as a kid.
In that sense, KAOS works as a show that’s easy to get into and shallowly enjoy. With frequent narration and painfully obvious needle drops, at times it even seems like the series isn’t looking for much beyond your attention. Things move quickly and change often, so the show is never boring, but despite the progress the plot doesn’t move very far. Reveals tend to feel more muddled than major, and the eighth and final episode seems more like a mid-season cliffhanger (laying the groundwork for a potential second season), with much of the story unresolved.
Thankfully, the ensemble cast does well to plug that leaky plot. As Zeus, Goldblum gets to step outside of his kooky character typecasting, playing with his persona to make a godly king whose eccentricities disguise dark impulses. It’s the most range he’s shown in years, and he gets well and truly evil as the series goes on. Rizwan makes a solid impression as the most powerful of Zeus’ bastard children, and the excitement he imbues the series with is palpable (especially when he shares the screen with Dennis, his scene-stealing kitten co-star).
Covell also does a wonderful job of incorporating diversity into KAOS in ways both seamless and significant. People and gods from all backgrounds and of all presentations appear, and none of the representation feels cheap or shoehorned. Caeneus’ complex backstory revolves around the fact that he’s trans, and the show is quick to make a metaphor about how ridiculous religious rejection is when it comes to identity. Skepticism towards organized religion lies at the heart of the series, what with Zeus’ whims dictating how people believe they should worship, and it draws plenty of poignant parallels. The series is smart (and it won’t let you forget it), its world-building is intriguing, and it sets up a story that you want to watch. But despite all that, KAOS still needs to make good on the prophecy it’s laid out and fully realize its potential.
