There were no Zoom table-reads or single-location concept-shows before Bocaccio’s “ The Decameron,” the 14th century anthology that was framed by a group Italian nobles who sought refuge from the Black Plague on the Tuscan countryside. Even though a millennium old book of short stories is a big cut in our reboot-crazed society, there is a logic behind bringing back “The Decameron,” after another disease that has affected the entire world.
The eight-episode Netflix series “The Decameron”, created by Kathleen Jordan (Teenage Bounty Hunters), was, according to its press materials, “very loosely based” on “The Decameron”, a book published in the 1300s. The storytelling structure of “The Canterbury Tales”, “One Thousand and One Nights” and “The Decameron” is gone. Instead, Jordan’s version concentrates on the Florentine nobles and servants who are cooped in a villa with their own ulterior motivations. It is reminiscent of “The White Lotus”, the highest point in confinement-inspired artwork (COVID Edition).
The Decameron’s roster is a mix of established comic veterans and potential breakout stars. Tony Hale’s resume is impressive, with “Veep” and “Arrested development”. In the absence of his mysterious employer, Sirisco’s job is to make the newcomers feel comfortable, despite the raging plague outside. Pampinea, a 28-year-old woman who is eager to meet the mansion owner who has disappeared, and Misia, her maid (Saoirse Monica Jackson from “Derry Girls”) are among these outsiders.
Pampinea soon decides to fake a marriage in order to gain status. She is not the only one. Licisca, the servant (Tanya Reynolds from “Sex Education“), takes matters into her hands. She pushes her boss Filomena off a bridge, and assumes her identity. Panfilo’s (Karan Gil) family is in a sorry state of affairs, despite his being a genuine member of the upper class. Niefile, his ultra-pious and devoted wife (Lou Gala), has also pledged celibacy. Panfilo doesn’t mind though for private reasons. Dioneo, the quack doctor (Amar Chadha Patel), has his hypochondriac Tindaro in his palm. But that doesn’t mean Tindaro is feeling better.
Soon, rivalries, reversals, and flirtations begin to develop, often across class boundaries. Mamet’s glass-shatteringly loud voice is a perfect fit for the uneasy, off-putting Pampinea. McMeekin plays the fool with a Cordenesque flair. We can sympathize with some of the people who are hiding in place. Both Reynolds’ Licisca (Leila Farazd) and Sirisco deputy Stratilia’s (James Reynolds) regain some agency by speaking truth to authority. Licisca tells Filomena, who is in a state of panic: “You’re taking on all the fear right now.” There’s no more for me. It’s an eloquent take on emotional work in a sea full of ribald humor.
The Decameron, along with “The Great”, “Bridgerton”, the recent “Lady Jane”, and others, is part of the shockingly prolific group of anachronistic history series that has taken over television in the last few years. The Decameron was shot outside Rome and uses Italian names. It makes no other pretenses of accuracy. The show, thankfully, does not draw parallels between its story and our recent experience with isolation due to germs. Its themes — social hierarchy and status anxiety — are timeless enough to be able to stand alone. The group assembled in the villa faces external threats, such as roving bandits. But their increasing hysteria is the seed of their demise.
