Earlier than there have been single-location idea reveals or Zoom desk reads, there was the unique pandemic-adjacent leisure: Bocaccio’s “The Decameron,” the 14th-century anthology framed round a gaggle of Italian nobles sheltering from the Black Plague within the Tuscan countryside. A millennium-old ebook of quick tales could also be a deep minimize even for our reboot-crazed tradition, however there’s a sure logic to bringing “The Decameron” again within the aftermath of one other society-spanning illness.

“The Decameron,” the eight-episode restricted sequence created by Kathleen Jordan (“Teenage Bounty Hunters”) for Netflix, was — by its personal press supplies’ admission — “very loosely impressed” by “The Decameron” as printed within the 1300s. Gone is the storytelling construction, with every visitor spinning tales to move the time, á la “The Canterbury Tales” or “One Thousand and One Nights.” Jordan’s model focuses solely on the Florentine aristocrats and long-suffering servants cooped up in a villa, every with their very own ulterior motives. In that sense, it remembers “The White Lotus,” the present excessive water mark for confinement-inspired artwork (COVID version). 

Whereas “The Decameron” might not attain the heights of Mike White’s contingency plan turned HBO crown jewel, the sequence is a tartly humorous showcase for a uniformly wonderful ensemble. (Govt producer Jenji Kohan, of “Orange Is the New Black,” is aware of a factor or two about sprawling casts funneled right into a single location.) As the times tick by and desperation mounts, the compelled politeness of strangers compelled to share area and probably poisonous air provides option to mounting chaos. Happily, we’re far sufficient faraway from lockdown to understand the setup as a vessel for black comedy, not only a reminder of what we’d quite neglect.

The roster of “The Decameron” runs the gamut from established comedian veterans to potential breakouts. Between “Arrested Growth” and “Veep,” Tony Hale has the resumé to function grasp of ceremonies. His Sirisco is the villa’s steward, and within the mysterious absence of his employer, it’s his job to place the newcomers comfy, regardless of the raging pestilence outdoors. These outsiders embrace Pampinea (Zosia Mamet), a self-perceived previous maid at 28 who’s keen to satisfy her betrothed, the mansion’s lacking proprietor, and her maid Misia (Saoirse-Monica Jackson, of “Derry Women”), who endures indignities like fetching Pampinea’s “morning cheese.”

Earlier than lengthy, Pampinea decides to easily forgo the groom altogether and faux a status-securing marriage. She’s removed from the one imposter in attendance. In contrast to the obedient Misia, the servant Licisca (Tanya Reynolds of “Intercourse Training”) takes issues into her personal fingers, shoving her bratty boss Filomena (Jessica Plummer) off a bridge and assuming her id. Panfilo (Karan Gill) is authentically of the higher crust, however his household has fallen from grace. His ultra-pious spouse Niefile (Lou Gala) has additionally sworn herself to celibacy, although Panfilo has non-public causes to not thoughts. Lastly, quack physician Dioneo (Amar Chadha-Patel) has his hypochondriac affected person Tindaro (Douggie McMeekin) within the palm of his hand — which doesn’t imply he’s serving to Tindaro really feel higher.

Rivalries, reversals and flirtations quickly begin to unfold, lots of them throughout class traces. Mamet is glass-shatteringly shrill because the insecure, off-putting Pampinea, whereas McMeekin has a Corden-esque knack for taking part in the bumbling idiot. At the very least a few of these sheltering in place earn our sympathy: each Reynolds’ Licisca and Sirisco’s deputy Stratilia (Leila Farzad) claw again some company whereas talking fact to energy. “Presently, you’re taking over all of the concern,” Licisca tells a panicking Filomena. “There’s none left for me.” It’s a succinct tackle emotional labor in a sea of ribald jokes.

Alongside “The Nice,” “Bridgerton,” the current “Woman Jane” and others, “The Decameron” belongs to the shockingly prolific class of anachronistic historic sequence that’s taken over TV as of late. “The Decameron” shot on location outdoors Rome, and retains the Italian names, however in any other case makes few pretenses to accuracy. Fortunately, the present additionally declines to emphasize its parallels with our newer brush with germ-related isolation. The themes it traffics in — social hierarchy, standing nervousness, lust — are evergreen sufficient to face on their very own. The group assembled on the villa might face exterior threats from roving bandits, however their escalating hysteria means the seeds of their downfall are sown from inside. 

All eight episodes of “The Decameron” at the moment are accessible to stream on Netflix.