Decameron: Aristocrats’ Dark Descent Into Madness

The camera lingers on a goblet of wine spilling across a marble table, the deep red liquid spreading like a plague stain—an apt metaphor for the chaos to come in Kathleen Jordan’s The Decameron. This medieval black comedy, set against the backdrop of the Black Death, follows a group of nobles and servants holed up in an Italian villa, where their lavish retreat quickly devolves into a power struggle rife with dark humor and existential dread. The series, released on Netflix to generally favorable reviews, is a star-studded affair with a multinational cast and a premise that feels eerily relevant.

The Decameron draws inspiration from Giovanni Boccaccio’s 14th-century short-story collection of the same name, but Jordan’s adaptation is loose, focusing more on the human drama unfolding within the villa than on faithful retellings. This approach allows for a fresh take on the source material, though it occasionally feels like a missed opportunity to explore the richer thematic depths of Boccaccio’s work. The series is American-produced but set and filmed in Italy, lending an authenticity to its historical backdrop that is both visually stunning and thematically resonant.

The ensemble cast is the series’ strongest asset. Tanya Reynolds as Licisca and Jessica Kate Plummer as Filomena deliver standout performances that ground the narrative in emotional truth. Reynolds’ portrayal of Licisca, a handmaid who seizes an unexpected opportunity for freedom, is particularly compelling. Her performance is layered with subtlety, capturing both the character’s desperation and her newfound sense of agency. Plummer, as Filomena, brings a sharp wit and pragmatic cunning to her role, making her one of the most engaging characters in the series. Their dynamic is electric, providing the emotional core of the narrative.

Supporting performances are equally noteworthy. Tony Hale’s Sirisco, the neurotic steward of the villa, adds a layer of dark comedy that is both hilarious and tragic. His performance is a testament to Hale’s versatility, as he effortlessly navigates the character’s descent into madness. Karan Gill’s Panfilo is another standout, his scheming and manipulative nature providing a counterpoint to the more earnest characters. Zosia Mamet as Neifile and Saoirse-Monica Jackson as Misia also deliver memorable performances, though their arcs sometimes feel overshadowed by the more dominant storylines.

The series also benefits from its production design, with lush Tuscan landscapes and opulent interiors that contrast starkly with the decay lurking outside the villa walls. The direction is sharp, particularly in moments of high tension, such as a sword fight between bandits or a climactic showdown over control of the villa. The pacing is brisk, and the episodic structure allows for a variety of tonal shifts—from raucous comedy to grim drama—that keep the narrative fresh.

However, The Decameron falters in its attempts to balance its large ensemble. Some characters, like Lou Gala’s Pampinea or Douggie McMeekin’s Tindaro, feel underdeveloped, their arcs overshadowed by more compelling storylines. The series also struggles with tonal consistency; while the dark humor is often effective, there are moments where the comedy feels forced, clashing with the heavier themes of survival and class struggle.

The writing, though witty at times, occasionally relies on clichés and predictable plot twists. The ending, in particular, feels rushed, as if Jordan was more interested in wrapping up loose ends than delivering a satisfying conclusion. The series also misses an opportunity to delve deeper into the historical context of the Black Death, opting instead for a surface-level exploration of class dynamics.

Despite these flaws, The Decameron is a largely enjoyable watch, buoyed by strong performances and a visually stunning setting. It’s a series that will likely resonate with fans of dark comedies and period dramas alike, though it may leave those seeking a more faithful adaptation of Boccaccio’s work disappointed.

In the crowded landscape of prestige television, The Decameron carves out a niche for itself with its unique blend of humor and historical drama. It’s not a perfect series, but it’s one that offers enough compelling moments to make it worth watching. The series is particularly well-suited for viewers who enjoy complex character dynamics and dark humor set against a historical backdrop.

Comparisons to other period dramas like The Great or Bridgerton are inevitable, though The Decameron distinguishes itself with its darker tone and more grounded approach to historical settings. It’s a series that doesn’t shy away from the grim realities of its time, even as it finds moments of levity in the chaos.

Ultimately, The Decameron is a series that succeeds in large part due to its ensemble cast and visually striking setting. While it may not be a masterpiece, it’s a compelling watch that offers a unique blend of humor and historical drama.