As a history buff with a particular fondness for ancient Rome, I was initially intrigued but also apprehensive about watching “Those About to Die.” The premise of following multiple characters during the chaotic power struggle that ensued after Emperor Nero’s death sounded exciting, but I feared it might devolve into a clichéd mess of stereotypical characters and unrealistic plot twists.
Around the same period, Domitian, co-owner and future emperor of the Gold faction, ordered the ruthless killing of an innocent child to avenge his anger towards a man who had annoyed him. I couldn’t help but think, “I certainly don’t want this guy to come out on top.” Although Titus, Domitian’s imperial brother, isn’t perfect himself, he enjoys the Cirque du Soleil performances during the Colosseum opening day celebrations. The parts featuring friends being compelled to kill one another or face the consequences of their loved ones’ deaths were not to his liking. Instead, these gruesome scenes left him uncomfortable.
It’s unfortunate that Domitian ultimately prevails. As Titus eloquently lists his brother’s flaws to the Praetorian guards, acting as his executioners, Domitian interrupts with a shrill “Be quiet!” His voice breaks amusingly. Suddenly, Tenax approaches from behind and suffocates the emperor. During Titus’ agonizingly slow demise, Domitian revels in his victory, even drying his own tears on Titus’ face. The murder tool? A flag emblazoned with the Roman eagle and the phrase “The Senate and the Roman People,” two entities that have held no power over Rome since the emergence of the Caesars. Swallow your principles!
However, it’s important to note that when Tenax kills Titus, it’s not only a win for the show’s main antagonist, Domitian, but additionally for Tenax himself. Despite my desire to see Domitian punished for tampering with grain shipments, I found myself rooting for Tenax’s survival and success with his Gold faction, betting tavern, army of street urchins, and unique bond with Cala. I wanted him to continue creating chaos by serving treasonous senators to crocodiles in front of large crowds (amused yokels and appalled senators included).
Robert Rodat’s most brilliant decision in crafting this series is intertwining the fates of our favorite and least favorite powerful characters. Each triumph carries a hint of defeat, and every setback brings a glimmer of possibility. This leaves us with a complex emotion – wanting events to unfold while also wishing they wouldn’t. A case in point is the senators who feebly hail Caesar as Rome’s new leader despite his weak claims to power; we both acknowledge and reject their actions, creating an intriguing narrative tension. This thoughtful storytelling keeps us engaged and invested.
Scorpus, who was both an engaging anti-hero and an intolerable jerk on the show, met an ignominious end. His downfall began when Elia, his younger Spanish brother, returned and retaliated against Scorpus just as Scorpus had done to Andria. This unexpected turn of events marked the conclusion of Scorpus’s tenure on the program. It was a shocking decision, much like benching your star quarterback by running him over with a bus. The audience is left with mixed emotions towards Scorpus, as he never faced the consequences of his actions before his demise. Despite this, Scorpus received a tearful, humorous farewell from Tenax and a large turnout at his funeral, yet none of these people truly knew him.
Adding to the complexity, Scorpus isn’t the only one harmed by Elia’s actions. Sadly, Scorpus’ brother Fonsoa perishes in the wreckage from his injuries. Furthermore, Scorpus and Elia aren’t the only major characters meeting their ends. Titus meets his demise through an assassination. Consul Marsus and Domitian’s lover Hermes become crocodile meals. Viggo sacrifices his life during a battle with Kwame due to Domitian threatening the lives of their children if they refuse. Judean queen Berenice is betrayed by her people, resulting in her assassination as she delivers crucial evidence exposing Tenax and Domitian’s treason.
In the end, Domitian’s betrayal becomes irrelevant due to new revelations: A navigator bribed to lead Titus to Ostia testifies personally about it. Impressively crafted, the series masterfully manipulates these pivotal moments throughout episodes two and three. Each seemingly insignificant missed chance to eliminate or rescue someone, carries immense weight in shaping the narrative, despite an abundance of such instances numbering over two dozen.
I’m still amazed by how the show manages to create depth from seemingly one-dimensional characters. For instance, Antonia, played brilliantly by Gabriella Pession, deeply conveys her sorrow over her husband Marsus’ death. And Alessandro Bedetti as Hermes delivers a heart-wrenching performance of pain, misery, and fear in his final moments, leaving me feeling uneasy and empathetic. (If the themes of spouse killing and child murder are too intense for your preference, I understand.)
In other parts, the Blue-faction’s aristocrat Caltonia performs an uncommon act for her class. She reaches out to her ex-colleague Salena, expresses regret for her past advances, and proposes covering Salena’s legal expenses to regain her shares in the Blue faction from Marsus’s family. Although this move might enhance Caltonia’s reputation compared to Antonia’s, I genuinely believe Caltonia’s sincerity in her attempt to assist shines through. Perhaps I am biased towards characters who reconcile their differences. (Yes, I most certainly am.)
In the climax, Cala’s family becomes the focus, similar to how Kwame takes the limelight for the Amphitheater’s initial events. Due to pressure from Berenice and Antonia, Cala is compelled to betray Tenax to save Jula. The Emperor, giving his consent, bestows the symbolic sword of liberation upon Jula from Kwame instead of Titus. In an unexpected turn, Aura and her partner become gladiators without engaging in combat. Jula shares with Alia that she’s pregnant, and they set off to build their future together. Tragically, Kwame is forced to take lives – those of his closest friend and the white lion – while also witnessing the murder of the boy he had sworn to protect. Seething with anger, Kwame swears vengeance against the Romans.
After Domitian’s triumph over Titus is clear, the significant issue becomes whether Cala, Kwame’s mother, will endure Tenax’s retaliation. By now, we understand that Tenax has a softer side. But when his hidden stash of treasures is stolen and his life is left in the hands of his adversaries by the one person he believed could keep his secrets – it’s a provocation that an accomplished killer like him can’t easily ignore. He bides his time in his grand new residence (previously inhabited by Scorpus, as Tenax reminds us when he wasn’t frequenting brothels) and plans to eliminate Cala. His intentions are unwavering; he attempts to rationalize it for her, but the deed is imminent.
Cala challenges Tenax in several aspects. Firstly, she resembles actress Sara Martins, causing Tenax to be momentarily taken aback when interacting with her. His reaction, evident even from a distance, is unmistakably one of attraction. When Cala places his hand over hers as he chokes her, the situation becomes problematic and sends shivers down Tenax’s spine. The reverberating sound and moonlight casting an eerie glow in the room only intensifies the sensual tension.
However, Cala dissuades him from his decision through her unwavering honesty towards him. Despite her past betrayal and her readiness to do so again for the sake of their children, Cala’s sincerity is complete. This is why Tenax entrusts her with his betting empire and its associated illegal activities, knowing that she’s the only one he can rely on in his new position as Emperor Domitian’s master of the games. It’s a significant role, having been previously held by Julius Caesar himself, and Tenax recognizes the importance of trustworthiness in managing such responsibilities.
After initially being hesitant about Those About to Die, I found myself enjoying it far more than anticipated. The show presented a challenge in introducing over forty new characters within just a few hours without slipping into cliché, but the creators, Rodat, Roland Emmerich, and their team, eventually managed to pull it off. Their success was due not only to the actors’ impressive performances, which suggested they were relishing their roles, but also the intricate writing that demanded more from the characters than expected, revealing their unexpected depths. Despite some initial reservations, I can hardly criticize a series that concludes with a menacing voice-over by Iwan Rheon and an image of Jojo Macari proclaiming himself emperor of Rome and exclaiming “Let the games begin.” All in all, not much room for complaint there.
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2024-07-22 19:51