The first season of KAOS dives headfirst into a modern retelling of Greek mythology, creating a disorienting and intriguing concoction of the divine and the mundane. The show reimagines the pantheon of gods as flawed beings grappling with their own insecurities, power struggles, and mortality led by a paranoid and erratic Zeus (played by Jeff Goldblum).
Charlie Covell, known for The End of the F***ing World brings a similar dark humor and offbeat style to KAOS, but this time, the stakes are cosmic. However, despite its ambitious premise and stellar cast, the series struggles to balance its sprawling narrative, leaving the viewer both entertained and occasionally overwhelmed by its chaotic structure.
Set across three realms—Mount Olympus, the island of Crete, and the Underworld—KAOS presents a world where gods still meddle in human affairs while grappling with their own problems. The story kicks off with Zeus discovering a wrinkle on his forehead, a seemingly trivial moment that sparks his paranoia about a prophecy threatening his reign. Goldblum’s portrayal of Zeus is, unsurprisingly, one of the show’s highlights. His blend of neurotic energy and comedic timing makes Zeus both amusing and terrifying, especially as his paranoia drives him to increasingly irrational actions. Goldblum’s performance, while similar to his portrayal of the Grandmaster in Thor: Ragnarok, adds a layer of menace that makes Zeus feel like a god on the edge of a breakdown.
The other gods, too, are given a modern makeover. Hera, played with icy precision by Janet McTeer, is a far cry from the long-suffering wife often portrayed in mythology. Here, she is cold, calculating, and just as ruthless as her husband, if not more. McTeer’s Hera exudes power and control, often overshadowing Zeus with her quiet authority. Meanwhile, David Thewlis’ Hades is reimagined as a weary bureaucrat, overseeing the Underworld with a sense of exhaustion that is both endearing and tragic. These reinterpretations of the gods are one of the show’s strengths, grounding these larger-than-life figures in relatable emotions and conflicts.
However, these modern reimaginations could also be a double-edged sword. While KAOS offers fresh takes on familiar characters, it also juggles too many at once. The show introduces a vast array of gods, mortals, and mythical creatures, from Medusa to Orpheus to Cassandra, each with their own subplots. This abundance of characters and storylines makes the narrative feel overcrowded at times, with some characters getting lost in the shuffle. For example, Aurora Perrineau’s Riddy, a reimagined Eurydice starts off as a compelling character with added depths—no longer a damsel in distress, but a woman searching for purpose in the afterlife. However, as the season progresses, her storyline becomes muddled amid the chaos of the other plots, leaving her arc feeling underdeveloped.
The show’s pacing is another challenge. While KAOS takes its time introducing its characters and setting up the overarching prophecy, the story often feels like it’s dragging.
By the time the various plotlines begin to converge, it’s already halfway through the season, and the final episodes feel rushed in their attempt to tie everything together. This uneven pacing is frustrating, especially when considering the rich potential of the show’s premise. Covell’s vision is ambitious, but the execution doesn’t quite match the scope of the ideas at play.
One area where KAOS undeniably excels is in its performances. The cast, led by Goldblum, McTeer, and Thewlis, brings a sense of gravitas to the often absurd situations their characters find themselves in. Nabhaan Rizwan’s Dionysus, the god of wine and revelry, is a standout, bringing both humor and pathos to the role of a party boy struggling under the thumb of his domineering father, Zeus. Rizwan plays Dionysus with a mix of cheeky rebellion and vulnerability, making him one of the more sympathetic characters in the show.
Stephen Dillane’s Prometheus serves as the show’s narrator, offering dry, witty commentary on the unfolding chaos. His sardonic observations provide some of the show’s best comedic moments, as he watches Zeus unravel while plotting his own rebellion against the gods.
Visually, KAOS is a mixed bag. The show’s depiction of the Underworld is striking, rendered in a stark black-and-white palette that contrasts sharply with the vibrant colors of the mortal and divine realms. This visual choice helps differentiate the various settings, adding to the show’s mythological atmosphere. However, the production design of the earthly realm, particularly Crete, feels out of place. The island, with its food trucks and God-themed cereals, lacks the epic grandeur one might expect from a show about gods and legends. Instead, it often feels like a strange blend of modern-day Mediterranean life and a low-budget fantasy setting, which can be jarring.
The tone of KAOS is another area where the show struggles to find its footing. Covell’s trademark dark humor is present throughout the series, but it doesn’t always land. The show attempts to balance comedy, drama, and fantasy, but the result is an uneven mix that sometimes undercuts the more serious moments. This tonal inconsistency makes it difficult for the viewer to fully invest in the story, as the stakes are often undermined by a misplaced joke or an overly lighthearted moment.
Despite these flaws, there are moments of brilliance in KAOS. The show’s exploration of power and control, particularly within the divine family, offers a compelling commentary on the corrupting influence of absolute authority.
Zeus, Hera, and the other gods are depicted as deeply flawed beings, driven by their insecurities and desires to maintain their power at all costs. This portrayal of the gods as petty, narcissistic, and often cruel adds depth to the show’s framework, making them feel more human than divine.
The show also touches on themes of rebellion and resistance, as mortals like Ariadne (Leila Farzad) and Riddy begin to question the gods’ authority and fight back against their oppressive rule. These moments of defiance offer a glimpse into the potential of KAOS to be more than just a quirky retelling of Greek mythology. There is a sense that the show is building towards something greater, a deeper exploration of the relationship between gods and mortals, and the consequences of unchecked power.
As the season progresses, the various plotlines begin to converge, culminating in a series of events that hint at the prophecy’s impending fulfillment. However, the final episodes feel rushed, as if the show is trying to cram too much into too little time. The buildup to the climax is slow, but once the action begins, it moves at breakneck speed, leaving little room for the characters or the audience to fully process the events. This rushed conclusion is frustrating, especially given the show’s earlier attention to detail and character development.
Despite its uneven pacing and narrative excess, KAOS manages to entertain, largely thanks to its cast and Covell’s unique vision.
The show’s reinterpretation of Greek mythology is fresh and inventive, offering a new take on familiar characters and stories. While it doesn’t always succeed in balancing its many moving parts, there’s enough here to keep viewers engaged and curious about what’s to come.
KAOS is a show that thrives on its chaos.
Whether it be in its storytelling or its visual style, it is messy, ambitious, occasionally brilliant, and also flawed. It offers a fresh take on ancient mythology, filled with dark humor, quirky characters, and moments of genuine drama.
While it may not reach the heights of other myth-based series like American Gods or The Sandman it’s still worth watching. If KAOS can refine its pacing and focus its narrative in future seasons, it has the potential to become a standout in the growing genre of mythological retellings.
