Bring Back Kaos

By Herman M. Lagon

Just as Kaos is starting to gather steam, Netflix has canceled it; it seems as though Zeus himself knocked down something holy before it could peak. Drawn to its clever, chaotic interpretation of Greek mythology, fans hung about and demanded more. Netflix pulled the plug despite critical acclaim and a strong cast—including Jeff Goldblum as a neurotic Zeus – leaving still another great series unfinished.

Kaos rewrites Greek mythology in a contemporary world where gods still shape human events, but not always for good. The narrative centers on Zeus, who starts spiraling into paranoia upon finding an enigmatic wrinkle on his forehead and interprets this as a sign of the beginning of a prophecy foretelling his death.

Lesser gods like Prometheus, Dionysus, and Orpheus as well as mortals find themselves enmeshed in the chaotic power conflicts of the divine. Kaos distinguishes itself by revitalizing old stories and giving every character surprising complexity. Hera is a shrewd strategist now, not only a jealous wife. Carefree god of celebration Dionysus struggles with his own identity. Weary but strong, Hades dominates a political intrigue-filled underworld. The love narrative of Orpheus and Eurydice veers tragically modern. The show’s sharp humor and strong themes help these ancient gods to seem quite relevant now.

This is turning into an annoying trend. From 1899 until The OA and Inside Job, Netflix has a tendency of cutting original, creative ideas before they really flourish. Typical justifications are: Viewership counts and financial cutting techniques. Like Charlie Covell’s earlier smash, The End of the F**ing World, Kaos had the ingredients of a cult classic. Growing takes time, thus Netflix’s hasty cancellation feels like a miscalculation.

Beyond entertainment, Kaos explored power, identity, and fate by means of comedy and sharp commentary, so giving new relevance to old stories. Greek mythology has always mirrored the challenges of its day, and this production was no exception. Losing it is more than just missing a season; it’s a lost chance to keep ageless stories alive in a contemporary, provocative manner.

Still, all hope is not gone. Before, fans have effectively brought back shelved shows. Campaigns have returned shows like Lucifer and Brooklyn Nine-Nine after networks cut them early on. Should enough voices call for a second season, Netflix or another streaming service could pay attention. One could change things by means of social media movements, petitions, and direct platform comments. Executives might change their minds if they find Kaos has a vocal and expanding audience.

The fight for Kaos Season 2 transcends one show to include more. It is about the idea that excellent narrative has opportunity to flourish. It is about bucking the annoying trend of early cancellations. It reminds streaming services that participation develops over time rather than always showing up right away. What does that mean about the future of serialized storytelling if viewers believe their beloved shows could be pulled away without notice?

The gods of streaming are silent for now, their choice steadfast. But mythology has shown us that even gods fall, and upheavals have been started against Olympus. Should fans direct their frustration into a movement, the authorities in charge will probably pay attention if the social media uproar is loud enough. Maybe Zeus will change of view. Maybe Kaos will climb once more.

Also, if not? Then Netflix could discover that the fury of a devoted fan is something even a behemoth of streaming media cannot overlook.

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Doc H fondly describes himself as a “student of and for life” who, like many others, aspires to a life-giving and why-driven world grounded in social justice and the pursuit of happiness. His views do not necessarily reflect those of the institutions he is employed or connected with.