What happens when you take Greek mythology, base it in a modern day world and inject a dark-comedy vibe? You get KAOS. The series follows the gods on Mount Olympus led by a paranoia-struck Zeus, whose reign is threatened by three mortals and one prophecy.
The biggest draw of this series is undoubtedly the retelling of Greek mythology in a contemporary landscape. The big question going into the series is just how much would be included, and also how well it will be translated. To answer both of those questions – nearly every minute is viewed through a mythological lens and it’s all greatly executed. The series kicks off on a high, dishing out its two best episodes that introduce us to this strange, quirky and oddly hilarious alternate universe. The biggest compliment I can give is how inventive and original it is from the narrative right down to the comedy. Each an every minute is utilised to the fullest in delivering meta, satirical comedy at the expense of Greek mythology. Many jokes are equal parts subtle and witty, rewarding anyone entering with existing knowledge of mythological figures and histories. The dark comedy angle shines through especially in these first two episodes, creating a fun experience full of laughter and intrigue to hook you in. All the while, it’s setting up a compelling story with a good amount of mystery to keep the binge going.
While the season kicks off firmly in that dark comedy corner, I’d say it becomes less and less comedic with each episode to the point it becomes more of a drama/thriller. This isn’t something that ruins the show, but it is interesting to wonder whether this was always the goal or the focus on humour got lost along the way. That’s not to say there’s no comedic beats – Zeus and Dionysus continue to bring the lighthearted fun – but there’s no doubting it all becomes a lot more serious over time. The story is also very complex in terms of the sheer number of characters and arcs spread throughout the world. Not including the presence of Zeus and the gods, there’s three distinct leads on largely isolated journeys. It means there’s quite a bit of jumping around and times when you’d rather be following another more engaging arc. The bloated nature of the story is a shame since it makes some sequences a bit of a chore, but as most of the arcs are entertaining, it’s not a huge blight. The biggest fault is that some episodes put the Gods on the back-burner while they further the human narratives. Their development is essential, but when it’s at the expense of Jeff Goldblum’s Zeus, it’s a tough pill to swallow.
Speaking of Jeff Goldblum, he’s the undisputed star of the show – whenever he graces the screen with his presence you know you’re about to get some quirky comedic gold. His version of Zeus is so befitting to the world that I can’t imagine a better casting, and he does more than just bring a comedic edge to the show. There’s multiple scenes, especially towards the back half of the season, where he lets rage take over and showcases the true wrath of the Gods. These moments flesh out the character really well, showing how his very lax, comedic persona can switch to fury-driven chaos in an instant. Goldblum has the ability to strike that middleground perfectly, making him the MVP of every moment. Not too far behind is David Thewlis‘ Hades, a much different take on the character that makes him almost sympathetic – about as sympathetic as you can make the God of the Underworld. His performance is a lot more subtle and subdued, and he does a fantastic job at bringing a very human feel to a godly figure. In fact most of the God actors do that, including Janet McTeer (Hera) and Cliff Curtis (Poseidon), but Thewlis handles it best.
Anyway, enough about the Gods. The humans make up a large chunk of the series, with Eurydice (Aurora Perrineau) acting as the lead with the most screen time and impact. Her arc is the most fleshed out and, as a result, the most interesting to follow – there’s multiple layers to her journey and it’s directly tied to the arcs of Caeneus and Orpheus, among others. Her earnest personality and conflicted nature makes her a very likeable protagonist who is easy to root for, even when going up against Goldblum’s loveable Zeus. Then there’s Caeneus (Misia Butler), who we are told is important to the story, but the specifics of how aren’t clear… at least not yet. For someone we spent so much time with, I don’t know too much about the character or his influence. He was very much secondary to Eurydice, which made him feel like too much of a supporting character. Lastly we have Ariadne (Leila Farzad), who rounds out the three human leads. Her arc is the most isolated, happening in a completely different corner of the world with loose connections to the wider story – but we’re told it’s important, so I guess it is. It’s a decent arc, but doesn’t offer much in the way of tension aside from a huge climax.
As far as the human performances are concerned, they all hit their marks. Misa Butler didn’t have many moments to really show his range, so left me wanting more, but executed his moments well enough. Aurora Perrineau was fantastic in every scene, showcasing the character’s inner conflicts with a great emotion-driven performance. She nailed representing the character’s strength and determination, but also her vulnerabilities really well. Leila Farzad also doesn’t have too many standout moments, but delivers on her arc’s big climax in a way that makes her presence satisfying.
In the end, KAOS is a very clever series, taking an intriguing concept and shining with how it inventively weaves in Greek mythological characters and concepts. While it kicks off with a great dark comedy spin, the novelty wears off as it gradually abandons that tone for something a little more dramatic. The broad, bloated story and lack of any clear-cut stakes do lessen the impact of potentially big moments, but it does harbour light thrills and enough comedy to remain a fun watch. Assuming it gets renewed, it’s in a good position to have a stronger second season, but the writing of dialogue and the tightness of the narrative does need to improve.
7/10
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