David Farnor | On 24, Aug 2025

It’s been more than 25 years since Jason Momoa first appeared in Baywatch: Hawaii. Ever since his breakout role in Game of Thrones, he’s taken on increasingly macho parts in TV series Frontier and See, as well as Aquaman. It’s only in more recent years, though, that it feels like he’s found what makes his hulking screen presence unique in a sea of blockbuster A-listers. From his warm mentor in Dune to his sadistic peacock villain in Fast X, he’s begun to bring more and more personality and heart to match his formidable action chops. Chief of War, a historical epic about the unification of the Hawaiian islands, feels like the perfect culmination of that journey.

The series, co-created and co-written with Thomas Pa’a Sibbitt, takes us back to the 18th century, as the islands of O‘ahu, Maui, Kaua‘i and Hawai‘i all stand separate from each other. Momoa stars as Ka’iana, warrior from Hawai‘i who has long lost interest in politics – its greed, its lies and its bloodshed. Formerly the spear of the leader of Maui, Kahekili (Temuera Morrison), he now lives a quiet life with his wife, Kupuohi (Te Ao o Hinepehinga), brothers, Nahi’ (Siua Ikale’o) and Namake’ (Te Kohe Tuhaka), and sister-in-law, Heke (Mainei Kinimaka).

That changes when he’s approached by Kahekili, who tells him of the prophecy of the one man who would bring together the islands. He also warns him of the danger posed by O‘ahu, as it gathers a large army to conquer Hawai‘i. And so Ka’iana faces the first of many challenging dilemmas: whether to sacrifice his principles and make peace with the ruler he no longer trusts, in the name of something greater. The decision itself is almost immaterial: either way, he is on a course to be sucked back into violence and conflict, due to man’s obsession with power. Within the first episodes, even Ka’iana’s strained relationship with Kahekili’s son, Prince Kūpule (Brandon Finn), a former ally, is a sign of how the closest bonds can be torn apart by bloodthirsty ambition.

Director Justin Chon certainly doesn’t skimp on the red stuff: gradually escalating the scale and scope of the action, he choreographs some truly epic sequences, ranging from close-up combat and elaborate spear flourishes to set pieces involving beaches, boats and even lava. Our starting point, though, is Ka’iana alone with a shark, as he wrestles it into submission – a wrangling that’s done with respect as well as force, singling him out as a figure of integrity and compassion as well as strength.

As we swoop across the stunning islands, the costumes and production design are beautiful to behold, each one specific and distinct – simultaneously reinforcing the show’s cultural roots and helping audiences visually follow each thread of what is a complicated weave of identities, traditions and tensions. With the majority of the subtitled dialogue in Hawaiian, what emerges is a show that feels singular in the current landscape, as it tells a nation’s story for the first time on a global stage. The closest comparison point is FX’s Shogun, in the way that project fully immerses us in the history of another country with a bold, courageous, atmospheric pride.

It’s all made possible, though, thanks to the colossal creative talent that is Momoa. Paying tribute to his own heritage, and confidently harnessing his skills to attract an audience – not to mention funding and creative support – Chief of War feels every bit off-screen like its on-screen prophecy of one person’s unique part in a bigger picture. He’s a heartfelt, charismatic, gentle and forthright talent to watch in action – and if this ambitious, dazzling project is what he does when his personal passion is turned up to 11, I can’t wait to see what he’ll go on to do over the rest of his career.

Add to Watchlist