Kaos shows why we might think twice before inviting the old gods back

The illusory glamour of Olympian gods titillates us once more.

Theodore Brun

Theodore is author of the historical fiction series The Wanderer Chronicles. He previously studied Dark Age archaeology at Cambridge, and afterwards worked in international law.

A mock classical ceiling painting depicts modern version of the classical gods.

Ye gods above.

Netflix.

The old gods are making a comeback all across Western culture. This is a conclusion increasingly reached by a spectrum of culture-watchers; some religious, some not at all. But, if true, the boldest and brashest example of this comeback may well be the new Netflix series KAOS, starring Jeff Goldblum, released last month.

Kaos is a genre-busting mythological dark comedy-drama. One might say a modern re-summoning of the pagan gods.

Charlie Covell, the writer and mastermind behind the show, and a self-confessed mythology geek, has created a colourful, high production, and often funny depiction of what the world might be like if the gods of Olympus still ruled over us. The plot follows several different strands taken from Greek mythology - most obviously Orpheus’s journey into the Underworld to bring back his dead wife, Eurydice - and weaves them together into a larger narrative, retelling the downfall of the gods.

As the show opens, Zeus reigns as king of the gods from his fantastically kitsch mansion atop of Mount Olympus. So long as the sacrifices and adulation of humankind keep rolling in, he is happy. But when he wakes one day to discover a new wrinkle on his forehead, this triggers not only a kind of mid-life crisis, but also possibly - so he fears - the end of the world as he knows it.

Goldblum plays Zeus as, well, Jeff Goldblum: quirky, nervy, paranoid, and not a little menacing in an understated way. In other words, perhaps more “Jeff Goldblum” than you’ve ever seen him on screen before. It is certainly a compelling and sometimes hilarious portrayal.

“A line appears, the order wanes, the family falls, and Kaos reigns.”

This is the prophecy that has haunted Zeus for aeons. What he doesn’t know is that he shares this personalised prophesy with three other mortals in the story - Eurydice (Aurora Perrineau), Caneus (Misia Butler), and Ariadne (Leila Farzad) - all of whom will play an unwitting role in bringing about the overthrow of the world order under the Olympian gods (hence: KAOS). The early episodes establish who these mortals are and begin to draw their disparate stories together.

Counterpoint to Zeus is his brother, Hades, ruler of a literally black-and-white underworld, with David Thewlis brilliantly cast in the role as the world-weary and ailing keeper of the realm of the dead. Something is amiss down there which threatens the whole system of human souls and what happens to them. When he tries to warn his brother, Zeus’s disdain for Hades and his problems only makes matters worse. Also in the frame of this dysfunctional family are Hera (Janet McTeer) and Poseidon (Cliff Curtis) - brother and sister (and wife in Hera’s case) to Zeus, as well as being lovers behind his back, who are poised to put into effect their own betrayals, if Zeus goes too far off the rails.

Last, but not least, since he proves the bridge between the gods and humans is Dionysus (Nabhaan Rizwan), one of Zeus’s many children. (But the only one who comes to visit.) A hedonistic agent of chaos from the outset, Dionysus seems to be the only one of the gods with any genuine interest or admiration for humans. Impressed by rock-star Orpheus’s passionate love for his wife, Eurydice (“Riddy”), it is Dionysus who helps Orpheus break into the Underworld to get her back when she dies, thus triggering the series of events that could let to the fulfilment of the prophesy.

The illusory glamour of the gods of Olympus seem to titillate us once more. We don’t really believe in them, but we’d kind of like to see more of them all the same.

Smart, stylish, twisty and certainly original - (the entrance to the Underworld is through a dumpster bin around the back of a bar) - Kaos is an ambitious multi-stranded epic about power, fate, love, and family. But perhaps above all, it is saying something about the relationship between humanity and the divine. At one point, one mortal tells another that the only good things in life are human. This feels like a statement of underlying intent. And the way the gods (especially Zeus) become more capricious, more sadistic, more vengeful as the story unfolds, the more it feels like we’re encouraged to agree. Defiance of the gods is the real mark of virtue here. Rebellion against the gods, the natural outworking of that defiance.

The irony is that whatever distaste which Kaos succeeds in cultivating in us, the viewer, for pagan forms of the divine may help explain why, historically, Christianity swept aside all the pantheons of pagan worship of the first millennium in the wholesale way that it did. Jesus Christ literally incarnates that bridge between the divine and the human. And what’s more, the message he preached claimed that, far from disdaining humanity, God loves them so much that he was willing to be the sacrifice for their good. And not the other way round, demanding incessant and capricious sacrifice by humans instead.

Now, centuries later, in Western culture, familiarity seems to have bred contempt with that far more hopeful story. Instead, the illusory glamour of the gods of Olympus seem to titillate us once more. We don’t really believe in them, but we’d kind of like to see more of them all the same. And storytellers like Charlie Covell are only too willing to give the public what they want. If the old gods are indeed trying to make a comeback, Kaos shows us why we might think twice before inviting them in.

Does Kaos succeed? It certainly makes a valiant attempt to marshal a large number of plot lines involving a huge cast of characters, unfortunately not all of whom are interesting enough to keep you coming back for more. And an awful lot is riding on there being a Season 2 - that is, if the threads we have followed so far are to lead on into a satisfying and meaningful conclusion.

Without that, I’m afraid the whole thing may be left standing alone as a work of, well… chaos.

Article

Culture

Digital

20 March 2023

4 min read

What's good – and bad – about cancel culture?

An ancient story of compassion inspires an ethical response to social censure.

Erin Crider

Erin studies and explains modern churches. She is an Adjunct Professor of Biblical Studies at Gordon-Conwell Theological Seminary.

Torn fly posters layered under graffiti on a wall.

Ripped-off posters and graffiti.

Jazmin Quaynor, via Unsplash.

You cannot ignore cancel culture today. In her 2022 BBC Reith Lecture, the writer Chiamanda Ngoni Adichie called it “social censure”. Even beyond universities and other public forums, many of us worry about the effects of cancel culture in everyday social settings. Saying the wrong thing, or trying to respond well when someone else does, can quickly lead to awkward family gatherings, strained meetings, and broken friendships, or awaken the ever-present social media trolls. In a post-pandemic moment, when people are already struggling to re-establish healthy human interactions, cancel culture can make social engagement seem even more challenging. How can we navigate this moment well?

Behind the fraught discussions and growing angst around cancel culture, we can perhaps detect something well worth preserving: compassion. Some of the most heated controversies today involve language concerning people who have been historically disadvantaged. Genuine compassion motivates many who want society to speak more kindly, with more understanding, in order to avoid perpetuating harm to people who have already suffered. People who have been hurt deserve to be acknowledged, and that means taking their pain seriously. This compassion is an important and noble instinct. Many faith traditions call us to honor the vulnerable and pursue justice.

'Silence out of fear of ending a relationship itself ends the relationship.'

At the same time, resistance to cancel culture also includes an element of compassion. Within the voices expressing concern about cancel culture can often be heard a humble awareness that we all are prone to say the wrong thing at times. We cannot hope to learn or grow without honest risk and mutual, human grace. A brief period of silence to let emotions cool can be helpful; ending a relationship permanently seems less helpful. It might seem easier to say nothing than to risk offence, but silence out of fear of ending a relationship itself ends the relationship. Seeking to continue a difficult but important conversation can also be an important and noble instinct. Many faith traditions also encourage humble self-assessment and generous engagement with others. As the Bible records Jesus saying, “Let the one among you who is without sin cast the first stone.” None of us is wholly above reproach, and we all need a bit of compassionate grace.

So how do we balance these conflicting calls of justice and grace?

This conflict might seem peculiarly modern, but in the story we re-tell every Christmas, we see a young man named Joseph wondering how to balance justice with gracious concern for someone who had deeply disappointed him. Joseph is engaged to Mary, but she has been found to be pregnant. Joseph is sure the baby isn’t his. In their culture, a woman who was pregnant outside of marriage brought shame to her fiancé, her family, and the whole community. Matthew’s gospel tells us that Joseph was “a righteous man,” which means that he appreciated the demands of justice. Ignoring her situation meant ignoring the pain they all felt, papering over a grave offense which they wanted no part of. At the same time, though, the text also tells us that Joseph was “unwilling to put her to shame.” Like many people today, Joseph wanted to leave Mary some way to move forward with her life, but their culture did not provide people much opportunity to learn from tragic mistakes. Sometimes, it can feel as if ours doesn’t, either. If you’re familiar with the story, you already know how it ends, but it’s important not to skip too quickly past Joseph’s dilemma. It feels strangely modern, Joseph’s desire for justice coupled with his equally strong desire not to see someone condemned because of a single mistake.

'Courageous compassion creates much needed opportunities to heal, learn, and grow.'

Thankfully, the story also describes a way forward from Joseph’s dilemma: the baby in Mary’s womb, Jesus. In Jesus, we see the depth of God’s compassion for all who suffer. Jesus never ignored the painful consequences evil can create. Indeed, he allowed himself to experience the absolute worst of humanity. As an adult, Jesus was thrown out of his home village and religious community. According to the gospels, he endured one of the most unjust trials ever recorded. Jesus was tortured, beaten, and sentenced to a cruel death. When we suffer injustice, we are not experiencing something alien to Jesus, and therefore, alien to God.

But there is another side to Jesus’ suffering that is equally important: Jesus also demonstrates profound compassion for people have made terrible mistakes. Jesus never mis-stepped or said a single cruel word, but he allowed himself to experience the full shame and isolation of being cast out of society. Crucifixion was the ultimate censure, being publicly put to death outside of the walls of the city. Yet even in this moment, Jesus demonstrated compassion for people who had harmed him. While on the cross, he forgave those who put him there. Jesus offered forgiveness to the man dying on the next cross to his own, who by his own admission deserved his fate. In contrast to aspects of cancel culture, Jesus’ actions at that moment of extreme injustice tell us that human redemption is always possible. Jesus created a compassionate way forward from guilt and shame. Whatever our situation, we can find life-giving grace and healing in Christ.

Compassion isn’t easy. It cost Jesus dearly, and at times it will cost us, too. Courageous compassion creates much needed opportunities to heal, learn, and grow. When we suffer and when we err, cruelty and failure do not get the last word. As it says in the last few pages of the Bible, Jesus is making all things new. Cancel culture ends conversations and damages relationships, but a better balance between the righteous demands of justice and the need for redemptive grace remains possible.