When you call a series Chief of War, you're setting an expectation for jaw-dropping battle sequences and wartime chaos. It's unsurprising, then, that Apple TV+'s new historical epic carries those in spades — and boy, do they deliver. From a horrifying beach invasion to an unforgettable volcanic showdown, Chief of War delivers enough adrenaline-fueled fight scenes to make you feel like you can run through a wall or two.
Yet for as much as those battles stuck with me — and granted, I'm a sucker for epic battles — it's Chief of War's lulls between storms that wound up sticking with me the most. Here, the series tells a tale about the corrupting power of prophecy, and about the compromises people make in order to ensure their survival. These themes undoubtedly heighten the stakes of Chief of War's spectacular battles, although they occasionally risk being drowned out by the spectacles themselves.
What's Chief of War about?
Co-created by Jason Momoa and Thomas Pa’a Sibbett, Chief of War aims to tell the story of the unification of Hawaii from an Indigenous perspective. The show's primarily Polynesian cast, led by Momoa, spends the vast majority of the series speaking in Hawaiian, while an army of cultural consultants worked behind the scenes to ensure cultural and historical authenticity. Their efforts, along with those of Chief of War's entire production team, create an immersive, stunning look back through time, as the series transports viewers to the Hawaiian Islands at the end of the 18th century.
As the series opens, the kingdoms of O'ahu, Maui, Kaua'i, and Hawai'i are trapped in a non-stop cycle of war. A prophecy foretells that one day a great king will unite the kingdoms and end these wars. However, that prophecy has only made kings believe that they'll be the ones to unite the kingdom, further exacerbating conflict.
At the center of it all is Maui warrior Ka'iana (Momoa), one of many real-life figures who appear in the series. His introductory scene involves him lassoing then killing a full-grown shark. If that doesn't convince you how strong he is (or what kind of larger-than-life spectacle you're in for), I don't think anything else could.
Despite his strength, Ka'iana has no illusions that he is the prophesied king. Instead, those illusions belong to Maui's King Kahekili (Temuera Morrison), who kicks off a bloody campaign to unite the kingdoms. In this case, "unite" really means "brutally conquer and kill," all of which horrifies Ka'iana and leads him to desert Kahekili and Maui. Torn between kingdoms, traditions, and calls for war or peace, can Ka'iana help bring the Hawaiian Islands to a united future with as little bloodshed as possible?
Chief of War takes a thoughtful look at prophecy and the threats of colonialism.
The prophecy at the center of Chief of War leads to some of the show's most fascinating developments. Kahekili approaches it with a religious fervor, slowly descending into madness the more he strives to accomplish what he believes to be his right. Meanwhile, in the kingdom of Hawai'i, counselors believe Kamehameha (Kaina Makua) to be the prophesied leader, pushing him towards conflict even as he prefers to choose peace. The two are polar opposites when it comes to prophecy, one actively trying to shape it to his will, the other taking his own course of action. Who is "correct" in their approach to shaping history? That's a question Ka'iana wrestles with throughout the season, especially as he reckons with his own relationship to war.
Described as "a chief of contradictions" by Kamehameha's wife Ka'ahumanu (Luciane Buchanan), Ka'iana sits at several crossroads. He's from Maui but comes to serve Hawai'i. He's a Chief of War who initially wanted peace. He's also one of the few Hawaiian characters to spend considerable amounts of time among Europeans and Americans. In that time, he learns to speak English and how to use a gun, a weapon that he comes to believe will turn the tide of war against Kahekili.
Ka'iana's quest to obtain more guns leads down discussions of trade, of letting Europeans and Americans come to the Hawaiian Islands. If he is to be victorious using guns, Chief of War hints, the price of his victory will be colonization. So even though the conflicts between the various kingdoms take place on an epic scale, there's also a sense of claustrophobia, as the show makes it clear that outside colonial powers are slowly closing in. That creeping fear permeates much of the show, especially the quieter moments when Ka'iana and his friends and family wonder at how much he's changed since his time among white people.
Chief of War's battles are great, but are they too much?
For all its mulling on prophecy and the creep of colonialism, Chief of War also wants to knock your socks off with action. Hey, starting the show with a shark-killing scene sets the bar pretty high for the level of epic you're going to get. That level only gets higher and higher as the series continues, culminating in a literally earth-shattering battle that had me writing "this goes so hard" over and over in my notes. (Again, sucker for epic battles over here.)
But for a show where so much time is spent on debating whether war is the correct course of action, does Chief of War go too far when it comes to creating glorious spectacle out of blood and guts and gore? Are the lingering shots on throat-slitting and bone-snapping meant to shock and awe, or to remind viewers of the horrors of war?
Ultimately, a show can do multiple things at once, including hold those two truths simultaneously. There are certainly moments when Chief of War's violence stunned me into silence, like a massacre that emphasizes the perils of treating with colonial powers. And there are others that made me let out a big "hell yeah," even if they could feel a tad like they were undermining some of the show's broader themes. Look, sometimes you just need to see Momoa rip a man's tongue out with his bare hands.
You'll get plenty of both kinds of moment in Chief of War, and while the balance isn't always right, it's immediately engaging — and an undeniable landmark achievement for Polynesian representation.
