As a seasoned cinephile who has weathered the storm of prematurely cancelled shows on streaming platforms, I can’t help but feel a sense of deja vu when yet another gem like Kaos bites the dust. It seems that Netflix, once a beacon of hope for quality television, has become a graveyard for promising series.
Once more, another fantasy series produced by Netflix has been terminated – a story that’s becoming distressingly familiar to us.
Yes, unfortunately, Kaos has met a similar fate as Lockwood & Co, Dead Boy Detectives, The Society, Fate: The Winx Saga, Warrior Nun, Archive 81, 1899, Sense8, The OA, Jupiter’s Legacy, and others – all of these series were abruptly ended by their streaming service.
Similar to many other series, Kaos has been canceled following its first season, leaving both the viewers, cast, and creator Charlie Covell yearning for a satisfying conclusion, and disappointing those who have grown fond of it in merely 40 short days since its debut.
Even though we might expect some surprises when becoming engrossed in a Netflix fantasy series, the termination of “Kaos” was still an unexpected blow, demonstrating that not even highly-acclaimed productions are safe from the streaming service’s cancelation.
To put it simply, Kaos appeared to be a surefire success. It boasted an impressive cast, with Jeff Goldblum portraying a paranoid Zeus, Janet McTeer as the shrewd Hera, David Thewlis as the cunning Hades, and many other talented actors making guest appearances, such as Billie Piper as Cassandra and Suzy Eddie Izzard as the Fate, Lachy.
Indeed, an outstanding cast and exceptional performances are important, but they aren’t enough by themselves. What truly sets this apart is Charlie Covell, a creator who has proven their mettle with the critically acclaimed series “The End of the F***ing World.” Interestingly, that show was given the freedom to conclude naturally. This addition to Netflix’s roster is undoubtedly a significant win for them.
In a daring move, Covell penned a reinterpretation of Greek mythology at a point when one might assume everyone was tired of the subject matter. However, rather than regurgitating familiar gods, they managed to offer a novel perspective, serving up a fresh narrative while maintaining the essence that has kept these stories and characters relevant throughout history.
Covell skillfully preserved and expanded upon the compelling aspects of the stories while discarding parts that felt incongruous. For instance, Covell remained faithful to Canaeus’s historical identity as a transgender character (a detail reflective of Greek mythology) but didn’t overemphasize this aspect in defining Canaeus’s personality. The captivating portrayal of Canaeus by Misia Butler promises that Kaos’s version of the character will resonate with fans for years to come.
Instead, Persephone is portrayed differently in this version. Covell and actress Rakie Ayola chose not to present a stereotypical version of Persephone (Ayola described it as a “crying in the corner” version, which she found uninteresting). Instead, they created a strong, humorous, and eccentric character who genuinely loves Hades. These subtle changes significantly improved the story and set Kaos apart from other retellings. It’s unfortunate that we won’t get to see more of these gifted artists and their complex characters as crafted by Covell.
However, what’s particularly frustrating is that Kaos fans are denied a fitting conclusion (only if there’s a miracle and the series gets revived somewhere else). Covell has admitted that they had planned for three seasons for the show, which is hinted at by the fact that season 1 doesn’t wrap up the storyline completely.
The conclusion of Act 1 is satisfying enough, but it’s still only Act 1. The series finale finds our protagonists preparing for future missions, yet since we now know those missions won’t materialize, it leaves a sense of emptiness. This isn’t to criticize Covell or the show’s creators in any way. It’s a common trope in television to leave viewers eager for more; it’s up to the streaming platform to make sure that “more” does indeed follow.
It’s possible that we might never learn the exact number of viewers Kaos attracted, given Netflix’s tendency to keep viewership data private. Perhaps it struggled badly or was simply too expensive to continue, considering its lavish sets and high-profile cast. However, is 40 days truly enough time to make such a call? It seems hasty to judge so quickly.
As a devoted film enthusiast, I can’t help but notice the pattern: time and again, series with a captivating slow-burn effect have left audiences hooked long after their initial broadcast. Shows like Lost, Friends, Gilmore Girls, The US Office – these are all gems that Netflix has come to be synonymous with.
Essentially, Kaos has now become part of the cemetery of Netflix fantasty series that were unfortunately cancelled prematurely, leaving fans questioning when they should cease trusting Netflix’s fantasy productions since most of them share a similar unfortunate ending.
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2024-10-08 20:34