As a classicist with a deep appreciation for Roman history and culture, I approached “Those About to Die” with great anticipation, eager to witness the grandeur and brutality of ancient Rome brought to life on the small screen. However, my experience watching this series left me feeling rather underwhelmed and disappointed.
In many Peacock promos for the new 10-part drama “Those About to Die,” Anthony Hopkins appears with an eerie, lifelike stillness, resembling a weathered marble statue coming to life. Advertisements that acknowledge the ensemble nature of the series still heavily feature Hopkins, who has won multiple Oscars, atop a manipulated pyramid, his recognizable face serving as the summit in promotional Eye of Providence images.
Instead of criticizing the unexpected shift in focus from Hopkins’ character in “Those About to Die,” I’d rather emphasize that there are other compelling aspects of the show worth exploring. For a brief period, Hopkins contributes significantly to the ensemble, but his importance diminishes considerably for the remainder of the series.
Based on my experience as a long-time casting director, I can assure you that there’s always a backstory behind an actor’s decision to join a production. It could be a personal connection to someone in the cast or crew, an exciting opportunity to wear a toga and immerse oneself in ancient history for seven to ten days, or simply the lure of compensation. While I’ve seen many talented actors swayed by compelling scripts and intriguing characters, Hopkins striking involvement without such reasons seems unlikely based on my observations.
In the midst of a growing sea of gladiator-themed productions, I find myself drawn to “Those About to Die” by Peacock. Amidst the chaos, this premiere stands out, arriving just 10 days before the unveiling of Ridley Scott’s “Gladiator” sequel trailer and during the casting process for “Spartacus: House of Ashur,” another graphic Starz series.
As a film critic with over two decades of experience under my belt, I’ve seen my fair share of productions that try to pass off as historical pieces but are heavily laden with unnecessary fiction. This particular expensive-looking placeholder leaves me feeling disappointed and underwhelmed.
As a longtime fan of Roland Emmerich’s “fun-bad” movies, I was eagerly anticipating his latest production, “Those About to Die.” Having seen both “Moonfall” and “2012,” I was expecting a similar level of over-the-top spectacle and wild storytelling.
I’m a gamer, and I’ve come across an intriguing storyline from the book “Those About to Die” by Daniel P. Mannix. This tale is set in ancient Rome around AD 79. As Vespasian, the emperor with a decade-long reign under my belt, I find myself pondering the issue of succession. I have two sons: Titus, a renowned military leader, and Domitian, a cunning politician. While Titus follows in the footsteps of a brave warrior, Domitian resembles every manipulative, twisted Roman schemer from Claudius to Caligula to Commodus. The story doesn’t specify any reason for these adaptations, but as a gamer, I can imagine the intrigue and challenges that come with this complex family dynamic.
Instead of pondering his own replacement, Vespasian focuses on leaving a lasting legacy. He is particularly concerned about preventing a peasant uprising, with a wry nod to Juvenal’s observation (made decades later) that common Romans only crave their daily bread and entertainment. The people are not receiving enough grain due to imports being delayed because of the power struggle between Titus and Domitian. However, there seems to be no shortage of entertainment for them.
I’m a gamer, and my first foray into the thrilling realm of competitive sports is through the character of Tenax. He was once a penniless street urchin, but now he runs a lucrative gambling business that thrives on the excitement of the chariot races in Circus Maximus. Yet, Tenax harbors ambitions beyond mere success; he yearns for something greater.
Historically, there have been four distinct groups or colors vying for victory in chariot races. Each of these teams was backed and controlled by prominent Roman families. However, Tenax harbors ambitions of starting a fresh new faction, using his wealth, influence with Emperor Domitian, and friendship with popular charioteer Scorpus (Dimitri Leonidas, known for his amusing intentionality) to bring about the first major shift in chariot racing dynamics in centuries.
Near Scorpus, there’s a group of three Spanish horse trainers introduced: Eneko Sagardoy, Pepe Barroso, Gonçalo Almeida. These men are so poorly developed in the text that my notes simply label them as “Boring,” “Bearded,” and “Fond of Prostitutes.” They barely have distinct names or personalities to set them apart.
Chariot racing may be a notable event at the Flavian Amphitheater, which is nearing its inauguration under Emperor Vespasian’s supervision. However, this architectural marvel is not the only attraction. Gladiators, including the captivating Kwame (Moe Hashim), engage in battles. In one scene, Kwame bravely subdues a colossal CG lion. In another, he and his sisters Aura (Kyshan Wilson) and Jula (Alicia Edogamhe) are kidnapped and taken to Rome.
Kwame learns the skills of gladiatorial fighting under Viggo’s guidance, a Northman who is usually kind-hearted. Meanwhile, Jula and Aura look for support from their protective mother Cala. She eventually shows up in town and forms an uneasy partnership with Tenax.
At a glance, the connection between athletic competitions and gambling in “Those About to Die” mirrors the reality of modern-day sports and the growing financial disparity between those profiting from it and those spending their limited funds for enjoyment. While I don’t believe there are profound similarities between our contemporary situation and ancient Rome’s extravagances, some parallels can be drawn on a more apparent level.
Robert Rodat’s adaptation of this historical story is brought to life with vibrant details and intriguing interactions, thanks to the generosity of history. While Domitian’s true ideological traits are simplified into a reptilian caricature and Titus bears an uncanny resemblance to Josh Radnor in Roman armor, Macari and Hughes deliver my top two performances in the series. These brothers are cunning schemers, and Rodat skillfully unravels their complex motivations, making their mental games engaging. Hopkins puts in a solid performance as well, even if his character seems insignificant in comparison.
Instead of asking who would watch “Those About to Die” or any Roland Emmerich production for the intellectual challenge, you might consider watching because you’re intrigued by the prospect of seeing grandiose spectacles. For instance, an amphitheater will eventually be flooded, and enormous CG creatures like alligators (or possibly crocodiles) will feast on flat characters. In this aspect, the presentation does not disappoint.
Most of the show’s impressive visuals are created with computer technology. Initially, one might miss the raw thrill of live-action stunts or gore. However, there is still enjoyment to be had in watching CGI lions pounce, chariots flip, and countless drone shots of Roman stadiums filled with cheering CGI Romans and racing CGI horses, all presented in stunning detail. (I must admit that there could be some genuine stunt work involved, but on a large TV screen under ideal conditions, everything appears completely unreal, yet the CGI animals and other elements are truly captivating.)
“The tricky part is what keeps it engaging and profitable, Domitian remarks at one point. This line made me cheer more enthusiastically than any arena victory, as I failed to find anyone in “Those About to Die” worth cheering for.”
Additionally, whenever you depart from the supposedly absurd sections of the play, you enter the areas that accidentally become absurd. In other words, these parts occur when the authors deviate from real-life facts and instead create fictional scenarios.
Instead of authentic human connections, the show features at least three “instant love” romances where no names were exchanged. We’re expected to believe that whenever attractive people are near each other, they will inevitably fall in love. In place of complex human motivations, there are several scenes where young characters are introduced solely to be threatened or even killed. When that doesn’t work, the program focuses on endangered animals, most of which are computer-generated, so you don’t have to worry.
The fabricated elements in this story seldom add value, such as the four-episode sequence where Tenax is portrayed as endearing after being threatened by a grotesque antagonist with a cartoonish appearance. Unfortunately, the fictionalized historical parts are frequently disappointing as well.
As a dedicated fan, I can’t help but feel disappointed about how Titus’ partner Berenice, portrayed as Lara Wolf in the series, is poorly represented and unfortunately mishandled throughout the story. Berenice, a captivating Judean woman, deserves more justice and respect. Unfortunately, her characterization pales in comparison to what historical records suggest, leaving me with concerns about the authenticity of the depiction of Judean slaves during that era. I can’t shake off the uneasy feeling that certain scenes come dangerously close to perpetuating antisemitic stereotypes.
Instead of “But who will be checking Those About to Die for accuracy? It’s disappointed viewers who will be doing so! You’ll be tuning in for the graphic violence and gore, which is definitely delivered. Some might be drawn to Anthony Hopkins’ performance, but I hope I’ve dissuaded you from making that mistake.”
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2024-07-17 18:26