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New Statesman
01-08-2025
- Entertainment
- New Statesman
With Chief of War, Hawaii gets the Game of Thrones treatment
Photo by Apple tv+ When it comes to subtitles, I'm in tune with the times. Like most young people, I use them a lot. It's something to do with 'dynamic range compression', and the audio being lower quality online than on DVDs or traditional TV. But equally, it's nice to be able to double-check mumbly dialogue, especially since TV shows are so well written these days. And when trying to impress a cultured companion by watching a Fellini down the BFI, they're obviously a must-have. That said, I was still struck by the ballsiness of Apple TV's Chief of War, the first two episodes of which are almost entirely in the language known as 'Ōlelo Hawai'i. As Hawaii's biggest televisual exports to date are Hawaii Five-0 and Lilo & Stitch, and that in Britain the word 'Hawaiian' normally occasions an argument about fruit on pizza, I understand the urge to deepen our understanding of the islands' culture. And Chief of War has reportedly been headed by an entirely indigenous creative team. Still, this is what TV in 2025 amounts to: not just watching, but reading too. We're in late-18th-century Hawaii, long before the high-rise Honolulu of our time – before even the eponymous 'Hawaiian' shirt. This is a land of geometric tattoos, spears and lads in scanty loincloths (about as revealing as thongs). In this period, the archipelago was split into four major kingdoms which try to keep themselves to themselves, but also occasionally feud. Overhanging this is a prophecy, introduced via voiceover, that 'a star with a feathered cape will signal the rise of a great king', destined in turn to unify all of Hawaii. The series is the story of that prophecy coming true – though not in the way anyone expected, since it becomes quickly entangled with European colonialism. We open with Jason Momoa (you'll know him as Khal Drogo, a loinclothed warlord in Game of Thrones). He plays Ka'iana and executive-produced the series, so I have a feeling his character might have something to do with this prophecy. He's in exile from his home kingdom, where he had been a famed warrior. He's living his best life, catching sharks on rafts with his brothers, and considering starting a family. But Hawaii has different plans for him. He is summoned back to his homeland by King Kahekili (Temuera Morrison, familiar as Jango and Boba Fett in the Star Wars saga), who believes the time of the prophecy is upon them. Ka'iana is soon press-ganged into taking up the office of Kahekili's 'Chief of War' and together they attack the nearby kingdom of O'ahu, massacring its inhabitants. (The subtitles during these scenes read, '[grunting]', '[shouting]', '[clamouring continues]'; they may as well have said '[throat-slitting]', '[skull-splitting]' and '[head-clubbing]'.) But it soon becomes apparent that Kahekili is even more bloodthirsty than Ka'iana had accounted for, and he and his family find themselves on the run, pursued as traitors. I'm not ashamed to admit that this was all a bit tricky to follow. There are lots of warriors racing through grassy forests (barefoot, despite the obvious risks of thorns and thistles), and lots of slow-motion punching and pummelling, set to a pounding drumbeat soundtrack. There are – at least for the time being – some baffling side-characters, such as a dead-eyed priestess who apparates into scenes to explain what the gods are thinking, or to deliver vague prophecies. Midway through episode two, the main plot complication looms into view: a British galleon, spied through a storm. Some furtive googling (one eye always on the subtitles, of course, though the arrival of these scraggly sailors and their more familiar speech patterns lent some relief) informs me that the real-life Ka'iana was among the first Hawaiians to travel beyond Polynesia after encountering British explorers. Pursued by Kahekili's men, we see Ka'iana swept out to sea and rescued by the British ship. By episode three, one year on, he's in Alaska, being shown how to work a musket. Subscribe to The New Statesman today from only £8.99 per month Subscribe I was sufficiently gripped by Chief of War to push on. It's nice to see the production values of Troy given to a forgotten, world-historical narrative. The islands look amazing (VisitHawaii will be happy): great green volcanic crags, half-misted in low cloud, lapped by white, splashy beaches. And, thanks to the subtitles, I think I even picked up some 'Ōlelo Hawai'ian. So have a good weekend, folks, and hui hou koke iā oe! Chief of War Apple TV+ [See also: 150 years of the bizarre Hans Christian Andersen] Related
Buzz Feed
08-04-2025
- Entertainment
- Buzz Feed
Tramell Tillman Talks 'Severance' Secrets, Dance Moves, And Milchick's Mysterious Backstory
If you've been watching Severance, then you already know that Seth Milchick is one of the most intense, mysterious, and meme-worthy characters on TV. Apple tv+ Played by the enigmatic Tramell Tillman, Milchick went from being a slightly terrifying corporate enforcer to a fan favourite, and it turns out, there's a lot more to him than big words and dance moves. In the latest episode of Seasoned Sessions, we sat down with Tramell Tillman to talk all things Milchick – from representation and microaggressions to what Seth might be like behind the walls of Lumon. Tramell's route into acting is far from traditional – he was studying in med school before pursuing his passion. Apple tv+ Tramell told us that he 'fell in love with acting' as a child, but due to not having any mentors within the industry, he settled on becoming a doctor. After a pivot, in 2014, he became the first Black man to graduate with an MFA in acting; 'Hopefully I'm paving the way for someone else,' he shared. The famous Milkshake moves were freestyled. Apple tv+ Tramell made it clear that while he did freestyle, Milchick's vibe is very different to his own: 'How he moves is a machine, so it really was just tapping into this other energy he has and just let him fly.' He thinks Milchick may have a different approach to the severed floor than Cobel, and even Lumon as a whole. Apple tv+ Episode eight – Sweet Vitriol – explored Harmony Cobel's backstory, and we learned just how deeply her life was intertwined with Lumon, explaining her dedication to Kier. Since we've not seen much of Seth outside of Lumon, we wanted to know if Tramell thought he may have a similar background to Cobel. While he doesn't know his backstory, he pointed out that though things like the ORTBO and kindness reforms, Milchick's trying to offer the innies something different to what they've had before. Tramell considers the Kier paintings as one of the catalysts in Milchick's character arc. Apple tv+ In the Severance podcast, Tramell asked, 'Does Milchick know he's Black?' He explained what he meant by that, saying, ' Does he identify with his Blackness, with the culture? That's what I meant. Because even in real life, many people assimilate, or suppress parts of themselves to fit in – especially in corporate environments.' And we can all agree that Milchick went on a journey of identity this season. Tramell thinks the stakes were raised once he got promoted, and felt the pressure to deliver; 'I think every decision that he makes from episode three to 10 is influenced by that Kier painting and the cost of what it is to be a leader on the Severed floor without having the support.' The microaggressions and that scene with Drummond were (unfortunately) very relatable to Tramell. Apple tv+ In Season 2, Milchick gets penalised for using 'big words,' and the moment hit hard. 'I've had my speech policed often for being too articulate,' Tramell shared. 'And that scene with Drummond felt very, very real. You know, there is this expectation of Blackness and expectation of how we're supposed to speak and communicate.' Who would Seth be friends with outside of Lumon? Tramell reckons it would be Irving. Apple tv+ Tramell shared that it was painful to watch how things panned out between Irv and Seth, but on a lighter note, 'Irving's got swag. They'd definitely bond over the swag.'
