It seems like streaming services just can’t leave the Gods alone. Amazon has had Neil Gaiman’s American Gods and Good Omens, Disney+ has led the charge with Percy Jackson and now it’s time for Netflix to put its own modern spin on classic mythology with Kaos.
The central story follows the paranoid and narcissistic Zeus (Jeff Goldblum), King of the Gods as he anxiously awaits the next sacrifice the humans will make to celebrate him. But down on earth, not all humans are as in love with the Gods as he would hope. Heracy and dissent are building among the mortals and as an array of disparate storylines slowly intersect, a handful of unwitting humans set into motion a prophecy foretold by fate that may just bring about the end of the Gods.
Over the eight-episode series we meet Greek mythology’s hall of famers, Thesus, Orpheus, Eurydice and even King Minos himself. Baz Luhrmann’s Romeo + Juliet was praised for its modern reimagining of the classic Shakespeare tale, dropping it into the present day and Kaos achieves something similar. The names all stay the same (mostly) but the shift to a 21st-century backdrop works surprisingly well.
While not directly addressing each myth verbatim, Kaos takes a slice of classic Greek mythology, blends it in a Netflix NutriBullet and serves it up with a side of Gen-Z avocado. It plays heavily into modern sensibilities while anchoring itself in the Ethereum of half-remembered history lessons. Having it wrapped up in the garb of bright, popping colours and zingy one-liners provides a level of accessibility and intrigue in some intelligent storytelling.
Goldblum sits at the head of the table as king of the gods, stealing scenes like no one else can (except maybe Nic Cage). But there is no chewing of the scenery here, it’s a smart use of his ability to play aloof with aplomb that immediately cements the ‘us and them’ dynamic of the Gods and Mortals. Janet McTeer helps to balance out the Goldblum kookiness with her portrayal of Hera, Zeus’ wife (and sister), a commanding presence, with acerbic and biting retorts that keep the king of the gods in check. Aurora Perrineau’s Riddy (Eurydice) makes for a compelling lead and a truly complex character whose arc gives her more agency than the classics would typically allow. Anchoring the show, though, is Stephen Dillane’s Prometheus, narrating the unfolding events, weaving together the tapestry of tales that neatly intersect to a satisfying conclusion.
It’s fair to say Greek mythology is pretty bonkers. Kaos embraces that without any pomp, and instead guides you into the Underworld and up Mount Olympus, immersing you in a world you haven’t seen before but instantly recognise. The ancient Greeks were known for their… ahem… sexual fluidity and it’s encouraging to see that has not been shied away from here. Kaos is a celebration of diversity in storytelling, with inclusive casting and a sharply insightful script. It misses a trick or two in failing to provide any real heft or social commentary, which feels like an odd omission for something so progressively packaged, but keeping things whipping along at a fast pace with a deep bench of strong characters makes Kaos very watchable.
All episodes of Kaos are out now on Netflix.
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