As a longtime fan of historical dramas and someone who has lived through the political intrigues and scandals of modern-day sports betting industries, I found “The Roman Empire” to be an engaging and thrilling exploration of both worlds. The way the story intertwines the dangerous allure of power, corruption, and the human desire for fame and prestige in ancient Rome is truly captivating.
TWO ARMIES OF 5,000 MEN FOUGHT TO THE DEATH.
THE SHOW WAS LIT AT NIGHT BY HUMAN TORCHES.
LEOPARDS AND BULLS WERE TAUGHT TO RAVAGE WOMEN.
Approximately 385,000 people could find seats in the arena each year, making it the costliest and most cruel spectacle everlasting, with shows running for an astonishing 350 days a year.
—cover copy, Those About to Die, Daniel P. Mannix, 1958
I’ve recently discovered a captivating series called “Those About to Die” that defies the typical expectations of a sword-and-sandal action epic. In its opening minute, the show presents a chilling cold-blooded murder orchestrated by its main character. Yet, it still holds some resemblance to this genre.
The program primarily relies on Anthony Hopkins’ significant yet minor performance, who gained legendary status over three decades ago, for its appeal. The basis for this production, Daniel P. Mannix’s questionable and excessively graphic account of Roman gladiatorial games and competitions, is a forgotten relic typically found gathering dust on grandfathers’ bookshelves. Despite the abundance of nudity and violence depicted in the CGI introductory sequence set in Rome, “Those About to Die” remains far from pushing artistic boundaries.
I’ve watched a new series that bears a striking resemblance to “Game of Thrones,” reminding me of the classic adaptation “Shōgun” in its scope and fantasy elements. However, this production fails to capture even half of “Shōgun’s” depth and control over its narrative.
At times, I long to watch attractive people dressed as gladiators engaging in passionate kisses and fierce battles, all while adopting old-fashioned accents for an exaggerated ancient feel. Frankly, I enjoy this spectacle, despite the possibility of excess fat in these initial two episodes and a number of underdeveloped characters who could have been given more depth. To put it another way, as the famous line from “Gladiator” goes, I was certainly amused.
A significant portion of the show’s enjoyment comes from Iwan Rheon’s portrayal of Tenax as the lead character. Iwan, known for his chilling performance as Ramsay Bolton in “Thrones,” where he played the most notoriously sadistic character among many, brings an equally captivating yet more subtle villainy to this role.
Tenax is the charming villain beloved by modern-day gladiatorial combat fans, AKA professional wrestling enthusiasts. He’s an unrepentant gangster and race chariot fixer who frequently swindles wealthy clients, manipulates competition outcomes, colludes with the crowd favorite jockey, Scorpus (Dimitri Leonidas), and eliminates indebted bettors. His entire narrative can be seen as a cautionary tale against the perils of legalized sports gambling. However, his status as a commoner, rather than an aristocrat, makes us root for him as he faces off against the corrupt elite.
Tenax aims to form a new alliance with Scorpus, making up the fifth group in the races. Similar to modern sports teams, this partnership offers potential fame, recognition, and the coveted “dignitas” sought after by the elite Romans. However, much like in contemporary sports, it also brings about betrayal, political favoritism, and corruption.
Tenax and Scorpus have an opportunity to profit from this corruption, with Scorpus’s relationship with Antonia, a Blue faction shareholder, adding to their advantage. picture this: instead of Robert Kraft seeking massages at hidden spots, Tom Brady receives favors from him. As a bookmaker, Tenax has insider information about a royal family member who is deeply in debt and ripe for exploitation.
The Flavian Dynasty, founded by the commoner soldier Vespasian (Hopkins) from Rome’s ranks, is currently in power in the Roman Empire. With his mortality on his mind, Vespasian must decide which of his two sons will succeed him as ruler. In contrast to Westeros-like traditions, there is no automatic succession based on age or gender in ancient Rome.
Despite having a deceitful and cunning politician brother, Domitian (Jojo Macari), Titus possesses his father’s talents as a military leader. The elder man regards external dangers from European and Asian barbarians as more significant than political disputes. Consequently, he designates Titus as his successor, prompting Domitian to persist in his opposition.
Tenax and Scorpion could be his next move. These two men present the princeling with a proposition: a 50% share in their new political group, given his approval in his role as Master of the Games. Although it’s less than being a general, this opportunity is not like managing Waystar Royco’s cruise lines: The chariot races, gladiator fights, and other brutal sports entertainments are crucial for Rome’s economy and keeping the masses content. In fact, Domitian averts a palace uprising caused by disgruntled citizens who hadn’t received their expected food supplies by organizing an immediate race as a distraction.
Two families from the empire’s outskirts make their entrance into the story with Elia (Gonçalo Almeida), Fonsoa (Pepe Barroso), and Andria (Eneko Sagardoy) bringing refined Andalusian white horses to the capital for sale, aiming to finance a breeding farm or indulge in the races’ grandeur. Their involvement deepens when Antonia poisons their horses as part of her plan to sabotage Scorpus’s rebellious faction.
In the North African region of Numidia, we encounter Cala (Sara Martins) and her three offspring: daughters Aura (Kyshan Wilson) and Jula (Alicia Ann Edogamhe), as well as son Kwame (Moe Hashim), who is an accomplished hunter. In the most implausible storyline of the episode, all three children are captured and taken to Rome. remarkably, they are reunited there not only with one another but also with their mother, who has travelled to Rome in a desperate attempt to purchase their freedom.
Jula and Aura unwittingly become involved in the power dispute between Antonia and Tenax, working for opposing families with Cala acting as a spy to gather intel for Tenax. Despite his petite size, Kwame utilizes his hunting abilities to secure a position as a gladiator, anticipated to meet an early demise. Defying expectations, he forms an alliance with Viggo (Jóhannes Haukur Jóhannesson), a large, amicable Northman marked for death at the hands of the menacing Flamma (Martyn Ford). Their combined knowledge from Roman weaponry and Kwame’s experience in taking down larger prey could make them a powerful duo if they collaborate effectively.
There’s also a big CGI albino lion, which seems worth mentioning.
There’s nothing exceptionally artistically striking about the show. Rheon, Macari, Pession, and Leonidas seem to enjoy themselves immensely, making it enjoyable to watch. The Spanish and Numidian characters mainly focus on worrying about each other in a noble manner, which is not engaging to observe. The chariot races are somewhat thrilling, and there’s an anticipated gladiator fight against lions. Ultimately, this program offers typical summer television fare.
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2024-07-22 20:06