For a while, film and television have been trying to modernize Greek gods. But other than Disney’s Hercules, a flick that raised many bisexuals, nobody has come close to blending the ancient legends and contemporary culture with any richness — until now. Charlie Covell (who wrote both seasons of The End of the F**king World), has finally demonstrated greater ambitions and a more assertive edge in their dark Netflix comedy Kaos. The series chronicles the power struggle between Gods and humans, and is brimming with inventive concepts and an adept execution.
The series is set within a Beverly Hills version of Mount Olympus (envisioned as a mix of Los Angeles and Rome) where the Gods rule with little responsibility and a lot of debauchery. Everyone reports to Zeus, (Jeff Goldblum) the king that runs Olympus with an eccentric ego more than an iron fist. He has every other God under his thumb from the likes of Poseidon (Cliff Curtis) as his enforcer, a hapless Hades (David Thewlis) ruling the greyscaled colored underworld, and his shapeshifting wife Hera (Janet McTeer) who spends her time tapping that Poseid-ass. Yet, according to the deadpanned 4th-wall breaking narrator, Prometheus (Stephen Dillane) — Zeus’ frenemy that is chained up to a cliff with a vulture pecking at his flesh, unless Zeus needs advice — there’s a prophecy that three mortals would cause a rebellion against the Gods, unbeknownst to all the players.
That includes Eurydice, nicknamed Riddy (Aurora Perrineau), who has fallen out of love with her rock star musician boyfriend Orpheus (Killian Scott). Right when she’s on her way to break up with him she’s involved in a car accident and dies.
Orpheus, distraught, is about to just give up on life himself until he meets the God of pleasure Dionysus (Nabhaan Rizwan) who informs him that Riddy is on her way to the Styx in the Underworld. With Dionysus’ assistance, they embark on a rigorous mission to find her and bring her back.
Then, there’s Ariadne (Leila Farzad), a diplomat tortured for smothering her twin brother when they were babies. As the daughter of corrupt president Minos (Stanley Townsend) she soon discovers a harrowing truth about her past.
Among all the meticulous world building and chess piece designing, Covell visualizes this Greek and Roman world with an engaging visual flair. The environments on the three realms resemble different classes — like Olympus resembles Beverly Hills, Earth resembles Roman-infused metropolitan teal, and the Underworld feels like a cross between films by Ingmar Bergman and Terry Gilliam. It’s those touches that kept me engaged and entertained throughout.
Mainly, Kaos is fueled by Charlie Covell’s signature strength: their writing. Covell’s well-known dry humor works perfectly for this environment. There are endlessly funny gags backed by either your knowledge of Greek mythologies or recognizable character dynamics with a Greek twist. Aside from the wry humor, the characters also feel very fleshed out. Covell gradually reveals the humanity of each specific party — whether human or God — and explores their characters as they’re on their respective paths.
I was completely entertained by Jeff Goldblum who, as the neurotic Zeus, who is the latest entry of 2024’s “utilize my defining skillsets for psycho characters” streak alongside Channing Tatum in Blink Twice and Hugh Grant in the upcoming Heretic. As each episode unfolds, his ability to keep sanctity on Earth and the Underworld dwindles, and he descends into madness. It’s delightful to see him go crazy in his Goldblumiest way possible.
Because I entered this with little knowledge of the cast, each appearance from a recognizable talent added to the gradual grin on my face. How could I resist a series that features Cliff Curtis as a horny Poseidon or Suzy Izzard as one of the Fates? These are the things that scratch the serotonin in my brain. And also reveal a deep appreciation of older actors and actresses I didn’t know I had before.
As the season furthers, the humor lessens as the overarching story dips into drama. But by its later half, the sharp writing has held so much Godly power that even in its self-seriousness, the absorbing essence remains.
Kaos is another Charlie Covell classic. It is a perfect marriage of creativity and dark comedy under its own unique epic Greek odyssey. If you haven’t watched it yet, please take the time to do so. It’s one of the best debuts on Netflix this year.
Kaos is now streaming on Netflix.
