The Decameron, review: The White Lotus meets the Black Death in hilarious historical romp

Based on stories by 14th-century writer Boccaccio, this Florence-based romp is – glory be! – a comedy that is actually funny

Finally, a funny TV comedy! The Decameron (Netflix) is based on a collection of short stories by the 14th-century author Giovanni Boccaccio, which may not instantly strike you as hilarious source material. But thanks to writer Kathleen Jordan and a talented cast, it’s a hoot. Think of it as The White Lotus meets the Black Death, with really silly medieval headwear instead of luxury swimwear.
We’re in Florence in 1348, which is being ravaged by plague. John Hannah makes a brief and pustular cameo. Then, some of the city’s wealthier residents are offered a ticket out of there: a viscount invites relatives, friends and his prospective bride, Pampinea (Zosia Mamet from Girls), to flee to his country villa for an extended stay.
It sounds like heaven for the pampered nobility, and looks like it too: it’s Succession-luxe from the outside. But everything soon descends into madness, skulduggery and farce. “Water and food aplenty. We can hold out for as long as five years – with limited cannibalism, six!” says one guest. The characters are great fun. Pampinea is lacking in self-awareness and brains. Her servant, Misia (Derry Girls star Saoirse-Monica Jackson), has some of both. The others also come in pairs: a manic man-baby accompanied by his dashing doctor; a pious newlywed and her charming husband, both sex-starved; a bratty noblewoman and her long-suffering but clever handmaiden; and the villa’s staff, trying to keep the guests happy and cover for the mysterious absence of their master.
There is a Horrible Histories element, with bodies being chucked into the river and people believing they can ward off the plague by stuffing flowers into their nostrils and wearing an amulet. Having the characters in a confined space also lends a disaster-movie quality. Everyone starts to go mad, although some were fairly mad in the first place.
The period is given a now-customary modern gloss. Actors speak in their own accents, which works: Mamet’s character sounds like an airhead American, wailing about being old (she’s 28). Characters say, “Ugh, you’re so annoying,” and the soundtrack features Depeche Mode (Master and Servant, of course) and New Order. But it never feels as if it’s trying too hard, and the cast’s enthusiasm is – no pun intended – infectious.
All episode of The Decameron are on Netflix now