The intricate tales of Greek mythology, often perceived as challenging and distant by modern audiences, are intended to shed light on the human experience. The new Netflix series “Kaos,” created by Charlie Covell, explores the demise of the Greek gods, depicting immortals who succumb to their primal desires and insecurities. While the eight-episode show comments on the perils of greed and power, it struggles with convoluted plots and unengaging characters.
The series opens with Prometheus, played by Stephen Dillane, anticipating the downfall of the increasingly tyrannical Zeus, portrayed by Jeff Goldblum. Bound to a rock and tormented by an eagle, Prometheus recalls his once-close friendship with Zeus that deteriorated after he challenged the god. As he hangs in torment, he hints that a prophecy intertwined with unsuspecting mortals will lead to Zeus’s downfall.
Viewers are first introduced to Goldblum’s Zeus, who resides in a lavish Mount Olympus estate. Dressed in a flamboyant attire adorned with rhinestone lightning bolts, he delights in watching the Olympia Day festivities from the city of Krete, accompanied by his scheming sister and wife, Hera (Janet McTeer), and his dim-witted son, Dionysus (Nabhaan Rizwan). However, his joy turns to fury when a statue honoring the gods is unveiled, covered in excrement, igniting Zeus’s anger and leading him to remember a troubling prophecy: “A line appears, the order weans, the family falls, and chaos reigns.” This revelation causes him to panic about avoiding this fate.
On Earth, three characters are entangled in Zeus’s prophecy. Eurydice, known as Riddy (Aurora Perrineau), is contemplating leaving her rock-star husband, Orpheus (Killian Scott). Ari (Leila Farzad), the daughter of Krete’s president, begins to see cracks in his leadership and society’s reverence for the gods. In the Underworld, Caneus (Misia Butler), who has been dead for ten years, exists between life and death, but a serendipitous encounter alters his afterlife.
“Kaos” shares a tonal resemblance with Netflix’s horror series “The Fall of the House of Usher.” Unfortunately, this dramedy struggles to maintain its appeal. Although the gods, including Zeus’ younger brother Poseidon (Cliff Curtis), seem intriguing at first, they ultimately lack depth, revealing themselves to be self-serving and malicious.
Despite Goldblum’s charismatic portrayal of an outlandish Zeus, even his talents cannot elevate the character enough for viewers to invest in his fate. While McTeer, Rizwan, and Curtis deliver solid performances, the characters are devoid of complexity, merely reflecting the unsavory traits of wealthy individuals familiar in both fiction and reality.
Episodes often feel overly long and disjointed, however, Episode 6 introduces meaningful themes. As Caneus, Ari, and Riddy uncover their ties to the gods, flashbacks reveal the perils of blindly adhering to rituals without true understanding or faith. Additionally, “Kaos” features striking visual representations of the Underworld and the journey from Earth to renewal, showcasing Dick Lunn’s exceptional production design.
In the end, “Kaos” disappoints as its ambitious narrative collapses under its complexity. Several plots exist independently before colliding at a lackluster conclusion. The gods rarely wield their powers in compelling or thrilling manners, leaving viewers questioning the relevance of their trivial conflicts, especially amidst pressing issues on Earth.
“Kaos” is set to premiere on Netflix on August 29.