The Netflix algorithm is a presumably all-knowing yet unknowable piece of math that can make kings and tumble empires. It has allowed shows like “Arrested Development” and “Lucifer” to get a second chance at life after their original networks canceled them. The algorithm has made Netflix shows into huge worldwide phenomena, like “Squid Game” and “Stranger Things,” but it has also made big productions disappear into the ether as no one knows when they get released, let alone watch them — like “The Irishman.”
No one knows whether a show will be a hit or not, as even if one tops the charts upon its release, there is no guarantee that it will remain there and prove itself worthy of more episodes. The latest show to embark on the herculean task of climbing the Netflix charts, the odyssey of trying to reach enough subscribers to guarantee a second season, is a tragicomedy worthy of the great myths. It’s the latest British comedy-drama “Kaos,” which stars Jeff Goldblum as the almighty King of Olympus himself, Zeus.
From “The End of the F***ing World” writer, Charlie Covell, “Kaos” is a modern retelling of the Greek myths. The story imagines our modern world as if it were ruled by the Greek gods, with everything that implies; from human sacrifices still being a thing, to prophecies ruling the rules of all humans, to Zeus being a real god that can walk amongst humans while also being so powerful they could destroy us all on a whim. If that wasn’t bad enough, the insecure Zeus goes through a mid-life crisis when he notices a wrinkle on his forehead and becomes convinced the end of his world is approaching, as three humans start to discover they are part of a large conspiracy and prophecy that could reshape humanity’s fate.
A treat for fans of Greek mythology
“Kaos” is a phenomenal take on the Greek myths, serving as Baz Luhrmann’s “Romeo + Juliet” but for Mount Olympus and bringing a modernist look and feel that — mixed with some “Succession” style family drama — makes this stand out from other recent reinterpretations of the mythos like the YA adventure “Percy Jackson and the Olympians” and the hyper-violent “Blood of Zeus.” Here, every aspect of the mythos is ripe for a reimagining. Mount Olympus resembles the Versace mansion, Cerberus is a cute dog, Orpheus is a Bastille-like indie pop singer, Prometheus is a rebel, and Hades is finally the competent administrator and loving husband we’ve all been waiting for (more on this later).
The show cleverly integrates mythology into modern life in satirical ways. There is a Demeter cereal, a Troy cereal “with a toy inside,” temples to each god, and human sacrifices as offerings to the gods. And like any Greek myth, there is plenty of messed up family drama. We see this in the Zeus and Hera relationship, and how Hera turns all of her husband’s human mistresses into bees, and forces Zeus to literally snap the necks of his newborn bastards, or in Zeus’ clearly playing favorites with his many offspring — none of whom ever want to see him or even call him.
For Greek mythology nerds, “Kaos” is a real treat, one that acknowledges the fun, the silly, and the ugly of the myths — particularly poignant is the portrayal of Caeneus as an explicitly trans story — as well as the way the myths have been retold and reshaped in our reality for millennia. That’s right, this show’s biggest achievement is that it does Hades justice. Fans of the “Hades” video game will find plenty to like in this version of the Hades and Persephone tale, and the relationship between the king of the underworld and his siblings. Hopefully, the mighty algorithm sees “Kaos” worthy of a second season so we can get more gods to join the fold. In the meantime, “Vero!”
