The arena calls for clemency. This marks the inaugural occasion on which Titus Vespasianus, the son of Vespasian, confronts the citizens of Rome as emperor within the newly constructed arena. It is his first engagement in this distinctive dynamic between the emperor and the populace, a phenomenon made possible solely in the arenas of Rome. The Colosseum, the most renowned of these venues, serves not only as the backdrop for the brutal games that once captivated the public and continue to intrigue future generations, but it also represents the singular platform where the autocrat and the collective will of the people intersect. It is the exclusive arena where the authority of the common citizen can influence the ruler. Hollywood frequently revisits these moments, depicting the populace compelling Caesar to elevate his thumb, thereby demanding mercy. This gesture has been the subject of extensive historical debate and misinterpretation in cinematic portrayals, and in a pivotal scene from "Those About To Die," it does not reflect the people's desires. For Titus, the eldest son of Vespasian and conqueror of the Judeans, who has only recently taken the throne, mercy is not an option. He insists on the execution of the vanquished gladiator, making a statement aimed more at his brother Domitian, who harbors ambitions for the throne. In showrunner Robert Rodat's depiction of Rome, it is not the populace or the law that governs; rather, it is the capricious will of the ruler. This reality is not merely observed but is acutely felt by the common people who bear the bloody repercussions. Gladiator Kwame is compelled to execute the death sentence against his own wishes. The young African, along with his family, has been forcibly taken from his homeland to Rome. In the provinces of Rome, a single inebriated legionnaire can invade a household and seize whatever he desires. Cala and her daughters Aura and Jula endure this very violation, as the soldier attempts to assault her.
The series "Those About To Die" has already provided a detailed portrayal of Rome, the city at the heart of the powerful empire. Rome is depicted as the den of sin in antiquity, the mischievous sibling of ancient Greece, forsaking thirst for knowledge in favor of bloodshed, and replacing intellectual pursuits with frivolity. It is no coincidence that in this historically controversial depiction of the ancient empire, all paths lead to the grand arenas, with the Colosseum being just one of them. The Circus Maximus is where the masses gather for chariot races, elevating noble faction leaders, charioteers, and cunning betting operators like Tenax to wealth and fame. While Tenax, a plebeian by birth, initially prospers, his ruthless nature and ambition propel him towards social advancement. Cala joins forces with him, engaging in intrigues and expanding their "business" within the chariot racing circuit, as Tenax establishes connections with the imperial residence on the Palatine Hill. "Those About To Die" revolves around the arenas, uniting individuals from various social classes. The narrative encompasses patricians, slaves, plebeians, and emperors, with historical liberties, deus ex machina, and copious amounts of blood. The opening credits foreshadow the bloodshed, flooding Rome's digital landscape with a deluge of blood, while also hinting at the involvement of Roland Emmerich. Emmerich's name, akin to the reputation of the world's largest amphitheater, promises a spectacle - a Rome transformed into a colossal playground where gladiators and chariots collide like Playmobil figures in a child's room. This promise is only partially fulfilled by "Those About To Die," as the Colosseum is inundated, wild animals are unleashed on condemned individuals, and chariots overturn, trampling drivers under their hooves.
The series "Those About To Die" aims for excessive sensationalism, craving the extreme spectacles of the arena, including severed limbs, decapitated heads, and other graphic elements. Robert Rodat seeks to transform Daniel P. Mannix's novel into a brutal soap opera, drawing inspiration from "Game of Thrones" to weave a web of intrigue and assassination. The Roman imperial era is envisioned as a mix of "Good Times, Bad Times" and Shakespearean drama, blending historical accounts with fictional, bloody twists. The narrative delves into political conspiracies, bedroom espionage, and ruthless executions, lacking subtlety in its portrayal. The show overlooks the nuances and complexities that define ancient society, failing to explore the intricate dynamics between slaves, superstars, and the divine. In the power struggles of the Flavian Empire, whether among the mob, patricians, or rulers, betrayal and violence reign supreme, culminating in fatal confrontations with no room for mercy. Read More at:
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