The television cup continues to runneth over and like the old adage “Something old, something new, something borrowed, something blue,” “Only Murders in the Building” is both old and new and borrows from previous seasons. Netflix’s audacious new series, “Kaos,” is definitely something new and occasionally rather blue in both language and theme.
“Only Murders in the Building”
The fourth season of “Only Murders in the Building” (OMITB) is here and better than ever, after stalling a bit last season by relying too heavily on star casting that never completely meshed with its convoluted plot. Now that is not to say that this plot doesn’t have its moments of dizzying fantasy or isn’t stuffed to the gills with stars because it does and it is. But all of it works and the star-sightings (of which there are many) are pure, unadulterated fun, integrated well into the various plots.
When last we left, our intrepid trio of Charles (Steve Martin), Oliver (Martin Short) and Mabel (Selena Gomez) were celebrating the solution to their latest murder, the triumph of Oliver’s play and the continued success of their podcast, aptly entitled “Only Murders in the Building.” Charles’ long-time stunt double, Sazz Pataki (Jane Lynch), has joined the merriment and been sent up to Charles’ apartment to bring down a special wine he has been saving for just such an occasion. Sazz, alone in the apartment, reaches for the wine as a shot is fired through the window, killing her. In the chaotic party below, she is barely missed.
Season four opens where three ended, revealing that they are all curious about Sazz’s whereabouts. Returning to Charles’ apartment, Sazz is nowhere to be found. Curious. Ignoring some obvious clues, the short attention span of the intrepid trio is on full display when Mabel tells them that a Hollywood studio is interested in producing a movie based on their podcast. First-class tickets and accommodations await them.
As is so often the case, the studio has charged ahead with their own version of the story they want to tell and have already hired directors, a writer (Jin Ha, one of the stars of “Pachinko”) who has captured their characters uncomfortably on the nose, and a stellar group of stars to portray them. Eugene Levy will be Charles, the hilariously deadpan Zack Galifianakis is a reluctant Oliver, and Eva Longoria will be Mabel. The studio felt that the age dynamic between Charles, Oliver and Mabel was creepy so they aged her up. The interactions between the three are hilarious from the beginning. The unctuous and clueless studio head is played by Molly Shannon whose every move and decree is cringe-worthy and laugh-out-loud.
But there’s still a murder to solve and the siren call of Los Angeles can only hold them so long before it’s back to the Arconia for some sleuthing. Finally, noting the bullet hole in the window, they recognize its meaning. But where’s the body? Their discoveries will be horrifying and lead them to suspect someone in the West Tower facing Charles’ apartment. They uncover multiple plots brewing with the eccentric residents in the various apartments facing his.
Further complicating the action, (this is OMITB so there will always be lots of things complicating the action) their movie counterparts have flown out to shadow them, convinced that they’ll be able to solve the case in record time. And of course, there’s the distracted, lovelorn Oliver convinced that the love of his life, Loretta (Meryl Streep), now a television star, has abandoned him for her hunky co-star. Danger lurks around every corner, almost as many dangers as guest stars. Watch for Da’Vine Joy Randolph, hot off her Oscar win, reprising her role as the skeptical detective and the foul-mouthed Jackie Hoffman as building curmudgeon, with Richard Kind, Kumail Nanjiani, Daphne Rubin-Vega as the weird neighbors, Paul Rudd as the now deceased Ben Glenroy’s stunt double, and Melissa McCarthy doing what she does best—eliciting laughs at every opportunity.
Well written and tightly directed, only the first seven of the 10 episodes were released for review, so I’m like you, waiting impatiently to find out who done it.
Streaming on Hulu. The first episode dropped on Aug. 27 with new episodes every Tuesday.
“Kaos”
There seems to be a trend recently to take history and turn it on its ear. Series like “My Lady Jane,” “The Decameron” and “The Great” all take great liberties with historical figures or literature. The best and most successful example of this genre was “Blackadder,” a traipse through English history following one set of characters through the ages. If you have never seen it, it’s a must; find it on Hulu and Britbox.
Now comes “Kaos,” one of the most innovative television shows to come along in some time. This eight-episode dark comedy takes Greek mythology and gives us the gods and their mortal counterparts locked in a classic conflict of control, autocracy, betrayal, death and torture.
Zeus is presented as an immature, autocratic megalomaniac leader with a short attention span who delights in torturing anything in his path and then whining for the acclaim he feels he is owed. Countering his irrationality is Hera, his wife and queen of the gods, a protector of women unless they sleep with her husband, in which case vengeance is hers sayeth the goddess (and it’s a long list). But, and apologies to Homer, “Kaos” is filled to the brim with other characters from mythology, although in many cases they aren’t quite as you remember them.
The Trojans have just lost the war and are living in exile on the island of Krete where they are the wary refugees under the watchful eye of King Minos. His daughter Ari (short for Ariadne) tries to temper his behavior, but she has her own demons. Actually, those demons are the ones felt by all. Bad acts meet with a visit from the Furies. All of the important citizens and the gods live in fear of the prophecies dictated by the Fates. The appearance of a wrinkle on Zeus’ forehead has sparked a new run of terror as he tries to avoid what he thinks will be his downfall, part of the prophecy of the end of his reign.
On Earth, Orpheus, a popular rock star, is madly in love with the golden-voiced singer Euridice (Riddy). Riddy, not so much. Deciding against going to Orpheus’ latest arena show, she is distracted crossing the road and is run down, dying instantly. Complications ensue when Orpheus steals her entry coin to Hades and she is stuck in the eternal waiting room. A devastated Orpheus makes a deal with Dionysus, an illegitimate son of Zeus granted immortality (and, like his father, immorality). Dionysus, trying to overcome his slacker reputation, decides to help Orpheus enter the underworld to retrieve Riddy. A new set of conflicts are born as Hades and his lady Persephone learn of this plan. No living soul has ever breached the underworld and this can’t happen. Inserting himself into the conflict is Poseidon, king of the sea and Hera’s lover.
As you can see, this is not your father’s (or anyone’s) Greek mythology. But the players are all there, just not necessarily as you remember them or certainly not as you would have imagined them. Prometheus, punished by Zeus for giving fire to mortals, narrates the action, when he’s not being picked apart by eagles as he hangs from the cliff chosen by Zeus. It can be very disorienting if you have any knowledge of mythology; even if you don’t. This is a story unto itself with a cast of thousands, or at least it seems that way. It is an allegory for our times where rebellion simmers beneath a not-so-placid surface with the gods taking offense at the least slight. And Cassandra is there to tell the future, a future that is dismissed by all because her punishment from the gods was that she would tell mortals what was going to happen and they would refuse to believe her, much to their detriment. It happened with Troy, and it continues to happen with King Minos and his daughter.
The success or failure of such phantasmagoria depends on the player and, for the most part, the chaos of “Kaos” is full to the brim with wonderful actors who make both their characters and circumstances, if not believable, at least worth following. Zeus is played by Jeff Goldblum who is only partially successful, depending on your view of his skill. He is most effective strutting wordlessly across his garish threshold; less effective when delivering dialogue in a banal voice absent of much nuance that rarely rises to the level of commanding. Janet McTeer as Hera is magnificent both in delivery and stature. Her passion and devious machinations against a clueless Zeus are marvelous. Her eyes foretell of disasters to come and her luminous face and carriage make her the fantasy lover that all would desire. It is Cliff Curtis as Poseidon who is her counterpart in lust, and he is by turns sexy, threatening and manipulated. One of my favorite actors, he is a commanding presence that cannot be ignored whether cajoling Dionysus to keep a secret or Hades to return to the underworld. Hades, played by David Thewlis, melds fury, fear and insecurity into the god who is losing control of his domain. The versatile Stephen Dillane is Prometheus, unraveling many of the threads for us. Billie Piper is a punk rock mess as Cassandra, still trying her best to be heard. And watch for Susan Eddie Izzard as one of the Fates, dazzlingly frumpy in her skirt, sweater and bright red lipstick.
Like the title implies, “Kaos” is completely chaotic. It’s almost close enough in some of its mythology to follow and then will make a sharp left leaving you at the curb. The anachronistic touches, and everything about it is anachronistic, are guilty pleasures from the motorcycle riding punk Furies, to the yacht that Poseidon prefers to the deep blue sea. Storylines intersect storylines and you can’t tell a player without a scorecard, but then it doesn’t matter so much when Zeus, Hera and Poseidon are controlling the strings of the mortals. And on top of everything else, ”Kaos” has a killer soundtrack.
Streaming on Netflix
