How often do you think about the Roman empire? That was the question posed by a highly popular TikTok trend from last year. Women the world over were surprised to find out that, for many men, the answer is “every day”, or at least “several times a week”.
A resulting social media frenzy led to wide range of commentary and op-ed pieces speculating about why this is the case.
Irrespective of how often you personally think of Rome, its influence in the modern world is undeniable – and we need only look at our televisions to prove this.
Storytellers have long embraced the Ancient Roman world as a vessel to explore a variety of themes. Amazon Prime’s recent series Those About to Die is just the latest example. Meanwhile, cinephiles and fans of the genre are waiting to see whether Ridley Scott can recapture the magic of the Oscar-winning film Gladiator (2000) in its forthcoming sequel.
These new and upcoming productions provide the perfect opportunity to reexamine the many stories of Ancient Rome that have graced our screens through the decades.
Those About to Die
The most recent ten-episode Roman historical epic is based on Daniel P. Mannix’s 1958 novel of the same name (and which helped inspire the screenplay for Gladiator).
The series focuses on the power struggles in Imperial Rome at the time of the construction of the Flavian amphitheatre (the Colosseum) under the ailing emperor Vespasian (Anthony Hopkins) and his competing sons Titus (Tom Hughes) and Domitian (Jojo Macari).
The story is backdropped by corruption, represented by a cast of characters from lowly bookmakers through to the powerful families of the Senate who finance competing chariot-racing factions for popular support.
As viewers, we expect a degree of intrigue and corruption in Imperial Roman stories – something akin to “Succession in togas, or at least Suits in sandals” as one critic writes.
Those About To Die doesn’t fail to deliver on the drama. With a reputed budget of more than US$140 million, this lavish production is filled with spectacular chariot races and arena fights.
Its large cast, pacing and interweaving subplots are reminiscent of similar epics such as Game of Thrones. And despite relatively lacklustre reviews and historical inaccuracies, the show has been green-lit for a second season.
Still hooked in 2024
For television producers, Ancient Rome provides the perfect blank canvas: it can represent pagan; decadent and deviant; Christian and honourable; corrupt and overrun; or republican and just.
Hollywood’s fascination was already obvious in 20th-century film, particularly from the 1950s onwards, when studios began releasing sweeping historical epics to bring people back into cinemas as television had become the predominant source of entertainment.
Yet, in many ways, television proved to be a more natural fit for stories set in Ancient Rome.
Many of the modern productions we know are based on just three bestselling 19th-century novels set in Ancient Rome: Edward Bulwer-Lytton’s 1834 novel The Last Days of Pompeii, Henryk Sienkiewicz’s 1896 novel Quo Vadis, and Lew Wallace’s 1880 novel Ben Hur.
Each novel is highly detailed, which is why series and miniseries adaptations – such as the 1984 miniseries The Last Days of Pompeii and the 2010 series Ben-Hur – allow for better plot development compared with the various film adaptations.
Early decades
In many ways, the BBC’s 1976 show I, Claudius remains the gold standard of Ancient Rome on television. Based on Robert Graves’ 1934 novel (which itself borrowed heavily from the ancient writers Suetonius and Tacitus) the show is delivered by a cast of British theatrical royalty.
Through Derek Jacobi’s BAFTA award-winning performance as Claudius, Sian Phillips as Livia, Brian Blessed as Augustus, Patrick Stewart as Sejanus and John Hurt as Caligula, the 12-episode series portrays the salacious lives and court intrigue of the Julio-Claudian family.
Despite being broadcast in 1976 to a largely negative reception, the show is today held in very high regard (voted among the best British series of all time by the British Film Institute). And while it’s somewhat slow in its pacing by contemporary standards, this dramatic story of the Imperial family retains its power after multiple watches.
I, Claudius followed the similarly themed, although less sensationalist, The Caesars (1968). This black-and-white series follows the domestic lives of the Julio-Claudian family from Augustus to Claudius, with each of the six episodes dedicated to a specific family member.
There has also been a surprising series of comedies set in the Roman world. BBC’s Up Pompeii! (1969–70) features comedian Frankie Howerd as the slave Lurcio, who delivers plenty of double-entendres and risqué jokes.
The 2000s
HBO’s production Rome (2007–09) is now regarded as one of the series of “the golden age of television”.
Set in the 1st century BCE, as Rome transitioned from a republic to an empire, the series is seen through the eyes of two soldiers, Lucius Vorenus (Kevin McKidd) and Titus Pullo (Ray Stevenson). Both men find their lives intertwined by key historical events and people including Brutus, Marc Antony and Julius Caesar.
Despite being beautifully shot, having high viewing figures and even Emmy wins, Rome was cancelled after two seasons due to its large budget demands. But it did prove there was a 21st-century audience for such stories.
The 2010s onward
One show that fully embraces the arena fight – one the most popular cliches of Ancient Rome – is the 2010–13 series Spartacus. It vividly tells the story of the historical gladiator Spartacus, who led the slave uprising in 73–71 BCE. The various seasons present a frenzy of violence and graphic sex.
The more recent Domina (2021–23) focuses on the life of Livia Drusilla, the wife of Augustus. This series presents the power struggles of the Julio-Caudian world from a female perspective, as opposed to the male-centred world of previous tellings such as I, Claudius.
The lighthearted Plebs (2013–23) once again mixes comedy with Roman history. With an anachronistic soundtrack of Jamaican ska music, this British series traces the misadventures of three young plebeian citizens in Rome, as they “try to get laid, hold down jobs and climb the social ladder”. This one will feel familiar to fans of The Inbetweeners.
Even if none of the above strikes your fancy, I wouldn’t worry. If history is anything to go by, television producers will be returning to Rome time and again.
Craig Barker does not work for, consult, own shares in or receive funding from any company or organisation that would benefit from this article, and has disclosed no relevant affiliations beyond their academic appointment.
This article was originally published on The Conversation. Read the original article.
