As a seasoned gamer and avid fan of historical epics, I’ve seen my fair share of sword-and-sandal stories that transport us to the grandeur and brutality of ancient civilizations. With the recent buzz surrounding Peacock’s new series “Those About to Die,” based on Daniel P. Mannix’s novel of the same name, I couldn’t help but get excited. However, after watching the first few episodes, I must confess my disappointment.
It’s no mere coincidence that Peacock has released their new sword-and-sandal show “Those About to Die,” based on Daniel P. Mannix’s novel, in the same year as Ridley Scott’s “Gladiator II” – the long-awaited sequel to a genre classic. Cashing in on the increasing interest and appetite for gladiatorial action is a shrewd business decision. However, Robert Rodat’s series for “Those About to Die,” which he wrote following “Saving Private Ryan,” challenges our assumptions from the outset.
Although “Those About to Die” boasts a grand production and substantial funding, it falls short of reaching the heights achieved by renowned TV series such as “Rome” and “Spartacus.” This revelation underscores the exceptional caliber of those shows and the challenge of recreating a proven formula. Regrettably, despite its promising premise and an abundance of characters, Peacock’s newest production struggles to deliver an impactful and original experience.
Overstuffed with forgettable characters and worn-out clichés
In the year 79 CE, following Nero’s demise, Rome is riddled with corruption and decay (as history tells us). Amidst this chaos, four individuals covet the title of sole ruler of the Roman Empire. However, our focus shifts to characters situated lower on the societal ladder. One such character is Tenax, portrayed by Iwan Rheon, a cunning and sly businessman who operates one of Rome’s most prosperous gambling dens. His ambition lies in seizing power and wealth as swiftly as possible.
He holds a central role in this large group of characters, functioning almost as the lead. Many of the secondary storylines and significant figures revolve around him. For instance, there’s Scorpus (Dimitri Leonidas), his chariot racer friend who is both infatuated with him and a heavy drinker with an inflated ego; Cala (Sara Martins), a new tavern employee seeking to buy her three enslaved children; Domitian (Jojo Macari), the immoral and cunning son of Emperor Vespasian (Anthony Hopkins); as well as Titus (Tom Hughes), Vespasian’s capable son vying for the throne; Kwame (Moe Hashim), an enslaved gladiator dealing with mortality; and Viggo (Johannes Haukur Johannesson), a friend who aspires to win the wooden sword in order to free his family. However, this is just the beginning, as the pilot introduces an overwhelming amount of characters and locations, leaving us struggling to keep up with their motivations and connections to one another.
The primary issue with this show lies in its characters, who fail to captivate on a deeper level due to their lack of depth and intrigue. It takes several episodes (which can be a challenge to get through) before they become more defined, enabling viewers to form an emotional connection. However, the narrative moves swiftly with numerous soap operas and intense action sequences, leaving scant room for developing a genuine understanding or reaction towards these characters. Essentially, it’s challenging to feel strongly about someone when their true character remains elusive.
Robert Rodat’s writing lacks distinct character voices, making everyone sound uniformly, whether they have accents or not. The unremarkable direction of Roland Emmerich and Marco Kreuzpaintner doesn’t add much either. Although the visuals are decent with their typical color palette for period pieces, the explicit violence fails to elevate the overall mediocre experience. Unfortunately, this flatness extends to the cast as well. Not even Sir Ian McKellen (the show’s major draw) escapes being underutilized in a minor role that adds little value to the narrative. Consequently, most actors struggle to leave an impact despite their talents and acting abilities.
When everything else fails, old-fashioned scheming still works
Despite its numerous flaws, I must acknowledge that “Those About to Die” effectively brings its premise to life in the latter half of the show. After unveiling the complex power struggles, background stories, and malevolent intentions, the series shifts focus to showcase the intricate plotting and betrayal that characterizes this historical period. Jojo Macari’s Domitian, with his performance driven by envy, hatred, and shameless malice, offers a delightfully guilty pleasure for the viewer. Tenax’s cunning schemes to escape from debts and dangerous situations are equally captivating.
If you’re open to an excessive amount of provocative sex and empty violence to keep yourself entertained, this is the aspect of the series that shines. However, be prepared to overlook the feeble efforts at character development and pretentiousness. Instead, immerse yourself in the delightfully ridiculous thrill of deceit, vengeance-driven tasks, and senseless killings driven by power, greed, and pleasure. If you can accept this, you may find enjoyment spanning the entire 10 episodes.
In summary, Robert Rodat’s television production of the historical epic is a challenging suggestion due to numerous issues that significantly undermine its overall structure. While it’s not the most disappointing show about chariot racing, gladiators, emperors, and the ruthless Roman Empire, it falls short compared to the numerous classics that have graced our screens in recent decades. If you’re craving the grandeur of these stories at their best, it might be worth holding out for Ridley Scott’s “Gladiator II.”
Season 1 of “Those About to Die” premieres on July 18 on Peacock.
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2024-07-17 18:30