Netflix
A modern Greek mythology show starring Jeff Goldblum
Kaos creator Charlie Covell spoke out in response to Netflix canceling the popular comedy series this week, just over a month after its release.
The streamer’s decision not to renew the contemporary Greek mythology show, starring Jeff Goldblum as the mighty god Zeus, has caused surprise among fans of the show, as it appeared in the top 10 charts on the platform during its first month.
“Of course I’m sad that we won’t be making more Kaos, but I don’t want this news to overshadow what we’ve created… I’m so proud of our show,” Covell wrote on the Instagram page of the series’ production company Sister.
The letter also thanked fans for their constant “love and enthusiasm,” with Covell confirming that one of the unspecified online fan theories about the series’ ending was a “bang over the money.”
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Kaos creator Charlie Covell at the show’s launch in London
The comments under their posts confirmed the strength of feeling of those upset by the cancellation.
The top-rated response was: “Please, let’s try with a different streaming service or network.”
Covell previously wrote The End of the F***ing World in collaboration with Channel 4 and Netflix, which reached a natural conclusion after two seasons.
Covel’s statement comes on the heels of an emotional post from actress Aurora Perino, who portrays Eurydice in the show.
She also wrote on Instagram, saying “this hurts” but thanked her cast mates, including Janet McTeer, Billie Piper, Leila Farzad and Stephen Dillane.
“Everyone was amazing and out of their element. Every performance surprised and excited me,” she wrote. “I can’t believe I have to do this with all of you. We have created something strange, dark, funny, distorted, and utterly tragic – something utterly human.
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Home streaming has grown in popularity during coronavirus lockdowns
Netflix’s quick decision to cancel a high-profile, big-budget show like Kaos reflects a changing strategy across the streaming sector as it evolves.
Cancellations of streaming service shows are common, and have regularly frustrated subscribers, such as Netflix ending The OA in 2019, and Shadow and Bone in 2023 — after cliffhanger season finales. Both sparked fan-led petitions for their return.
This year alone, Disney+ pulled the Star Wars spin-off The Acolyte after one season, along with Paramount Plus canceling Halo and Max pulling Tokyo Vice. My Lady Jane has also been sold by Amazon Prime.
These recent examples are arguably part of an industry trend.
The past decade has seen rapid growth in streaming platforms supporting TV and film projects, attracting 1 billion subscribers to the services by 2020 — and growing as coronavirus lockdowns take hold.
Stephen Armstrong wrote in the Financial Times last year that this “tech industry playbook” offered big software budgets but less investment in “the fundamentals of making software.”
When subscriber numbers paused in 2022, streaming giants shifted from chasing subscriptions to seeking profitability.
Brand loyalty?
TV critic Scott Bryan told the BBC: “Live broadcasters are more selective about what they do than they were five years ago.”
“This means that those who are already working have to work, and they have to deliver strong performance.”
He said that while Kaos started off strongly, topping the charts in the UK and peaking at No. 3 for English-language shows, publicly available viewing data indicated waning interest.
The Hollywood Reporter described the show’s initial viewership of 14.9 million during its first four weeks as “average by broadcaster standards.”
Streaming services like Netflix remain private about the details of their financial and programming decisions. However, Wired previously reported on the “process of reviewing viewership versus cost of renewal” in determining reruns. Likewise, Forbes cited overall engagement with the series as a key internal metric.
Shows recently brought back by Netflix, such as Supercell, Bridgerton and The Gentlemen, signal a focus on “series that can spawn multiple franchises and seasons,” Brian said, reflecting the industry’s changing focus.
“Kaos is a very good show, but it’s also a very expensive show given the attached cast and special effects — it clearly doesn’t meet internal expectations of having a second season,” Brian says.
Looking ahead, he feels there’s a potential reputational risk for individual streamers if popular word-of-mouth shows continue to be cancelled, which could make subscribers wary – and weary – of committing to a series just to have it cancelled.
Analysis by The Wall Street Journal indicates that customers already have little brand loyalty, and regularly cancel and renew various subscriptions.
But for now, Netflix’s subscriber base remains strong, buoyed by global hits including Baby Reindeer and a new ad-supported subscription tier.
The company added 8 million subscribers last quarter, bringing its total subscriber count to more than 270 million worldwide.
The BBC has contacted Netflix for comment.
