Jeff Goldblum Shines in Netflix’s Greek Comedy ‘Kaos’

The new Netflix series “Kaos” might initially disappoint those expecting a “Get Smart” spinoff. Instead, it finds itself the third series currently delving into Greek mythology, following Fox’s animated “Krapopolis” and Disney+’s acclaimed “Percy Jackson and the Olympians.” A trend, as they say when two’s company and three’s a crowd.

Premiering this Thursday, “Kaos” transports us to a contemporary, alternative “Krete” (depicted by Spain), ruled from on high by Zeus (Jeff Goldblum). Zeus is the king of the gods, the ultimate boss—if we might borrow a phrase from across the Ionian Sea. On ground level, “Krete” is governed with a military flair by President Minos (Stanley Townsend), whom Zeus dismisses as a “bozo.” In this reimagined universe, Mt. Olympus appears as a grand white and gold mansion occupied by Zeus and Hera (Janet McTeer), his wife, queen—and sister, as an additional title clarifies.

Various characters weave in and out of the narrative, not always by choice. Zeus’ brother Poseidon (Cliff Curtis) enjoys the luxe life on his super yacht, while their son Dionysus (Nabhaan Rizwan) is a restless club kid yearning for more. Their other brother Hades (David Thewlis), burdened with managing the underworld, oversees a stark, bureaucratic realm designed in undistinguished brutalism.

At the story’s onset, Zeus reminisces about happier family barbecues but becomes fixated on a newly appeared “vertical wrinkle” on his forehead. He ties this blemish to a prophecy foretelling the end of the gods’ reign. His worries are amplified when a monument unveiled on “Olympia Day” is found desecrated with anti-god graffiti and heaps of excrement.

“I’m supposed to be immortal—what is this? Aging? What’s next? A dip in bone density? Gum recession? The necessity for daily stewed prunes?” Zeus laments to Prometheus (Stephen Dillane), whom he occassionally transports from his cliffside punishment for companionship and advice. Despite Prometheus’ situation—chained as an eagle pecks out his liver daily—Zeus clings to the notion that Prometheus remains his “only friend.” Prometheus, who also serves as the narrator, describes Zeus as a “transcendent, unmitigated bastard” but teases a plan to overthrow him.

On Earth and beyond, the tale of Orpheus (Killian Scott) and his wife Eurydice (Aurora Perrineau), who now goes by “Riddy,” is refreshingly reinterpreted. Orpheus is a venerated pop star whose songs are devoted to Riddy. However, unlike her mythological counterpart who was merely a love interest, Riddy is portrayed as a self-governing, independent woman. While the myth dictates her death and Orpheus’ subsequent journey to retrieve her from the underworld, her falling out of love and intent to leave him introduce new complications. Along his journey, Orpheus is aided by Dionysus, who finds purpose in assisting humans.

Drawing parallels to shows like “Succession” and narratives dealing with tyrannical ruling families, “Kaos” explores these powerful and dysfunctional deities through a modern lens. The elements of cruelty, adulterous escapades, and internal squabbles might either engage or exhaust viewers depending on their inclinations toward such dramas.

Under the direction of Georgi Banks-Davies, known for “I Hate Suzie” and the prematurely canceled “Paper Girls,” the production flaunts imaginative and well-executed storytelling. It features clever nods—like Spartan Crunch cereal brands, Zeus and Poseidon bobbleheads, and landline phones for the gods. The series also humorously incorporates fax machines in the afterlife and stages a twisted pub quiz for a chance to resurrect loved ones. Various whimsical characters, including Eddie Izzard’s Lachesis and Debi Mazar’s Medusa, enrich the narrative.

Throughout its 10 episodes, “Kaos” oscillates between tones—comedy, tragedy, satire, and horror—that don’t always blend seamlessly. The darker the plot ventures, the less captivating it becomes. Despite its cleverness, “Kaos” can sometimes feel emotionally detached. Characters like Dionysus, Riddy, Minos’ daughter Ari (Leila Farzad), and Caeneus (Misia Butler) stand out more due to the actors’ performances than the strength of the storyline.

Jeff Goldblum’s presence is, as expected, a highlight of the show. Originally meant for Hugh Grant, the role of Zeus has been tailored to suit Goldblum’s unique comedic timing and charismatic delivery, ensuring that even if the character becomes wearisome, Goldblum’s portrayal does not.

Charlie Covell, known for “The End of the F***ing World,” brings her expertise to “Kaos,” working as writer, creator, and executive producer. With an English background from Oxford, Covell infuses the series with references to Greek myths that populate many contemporary narratives. An understanding of these myths—such as those of Zeus, Hera, Orpheus, and Eurydice—provides an enriching context to the series, although explanatory elements within the show can keep viewers from constantly resorting to Wikipedia.

Source: Los Angeles Times