Chief of War pulls an Andor, setting episode three a whole year later. Ka’iana gets a taste of the world from the perspective of the Paleskins, fraught with the woes of capitalism. Meanwhile, King Kahekili’s violent campaign for the Prophesied One forces Hawai’i to think ahead as its king nears the end of time on the throne.
Ka’iana has been trained in the livelihood of the Paleskins, taught by the lone African shipmate, Tony. He now speaks English and learns how to fire a musket. After retreating to Alaska, the ship ventures to a trading port where Ka’iana seeks weaponry for the war waging at home. Here, he meets a Hawai’ian trader who promises him all the arsenal in exchange for establishing trade at their native lands. She sees the economic gain begetting real power. Ka’iana believes she has been away too long. He has a right to be wary as Marley, a racist Paleskin, plots to bring Christianity’s imperialism to the isolated islands.
Meanwhile, Ka’ahumanu’s father, Moku, receives word that the king of Hawai’i is in his final days. Moku arranges for Ka’ahumanu to wed the Chief of War, Kamehameha, as he believes he is the destined king in the prophecy. When Ka’ahumanu questions her role in this political scheme, Moku believes she can prepare her spouse to accept his role in unifying the kingdoms. But Ka’ahumanu feels she will fail her Chief because of Taula’s vision of her being barren. Keeping this a secret, the wedding happens that evening, followed by the consecration of their relationship.
The episode’s bold decision to jump forward makes this the strongest entry thus far. With fewer action pieces, this episode is more character-driven, showcasing stronger narrative points. The addition of supporting characters widens our scope and intricately connects the A-plot — the islands’ civil war — with the pending battle with outside usurpers. We’re introduced to Cliff Curtis’s Keoua, who is destined to replace his father as king. However, early sentiments hint that he may not be as beloved as the young Chief of War, who is introduced via a remarkable feat of physical prowess. This could be a great conflict to explore as the series progresses. We also get great work from James Udom as Tony, and Luciane Buchanan as Ka’ahumanu. Much like Mariko in FX’s Shogun, as a woman in this royal space, she is forced to endure war before setting foot on a battlefield.
In addition to the great storytelling, the cultural richness is a touchstone of the series. From the beautiful wedding scene to the casual statement on sexual freedom, it’s great to see this way of life presented authentically. It’s all the more maddening to know this normalcy does not last.
Rating: 8.5/10