Contributor: John Keegan
I’m going to start this review with a comment on the very end of the episode. There is a poignant dedication to Andy Whitfield after the credits. All fans of “Spartacus” should take the time to enjoy the new end credits, and then have a moment of silence for the dearly departed. But I would also point out that this is not the only tribute to Andy Whitfield and his performance in the episode. Liam McIntyre honors Andy with a confident take on the lead role.
Honestly, has there ever been an actor in a less envious position? Even with Andy’s blessing in mind, it had to be an incredibly difficult choice to make. Thankfully, McIntyre has approached the fans with a gratifying humility, which instantly grants him benefit of the doubt enough to see what he can bring to the role. And I’m happy to report that he manages very well, despite having huge shoes to fill. It’s hard not to notice that this is not Andy Whitfield on our screens, but Liam brings his own intensity to the role, without a doubt. (And he’s a huge gamer and geek himself. Can’t help but respect that!)
“Spartacus: Vengeance” is technically “Season 2”, despite the fact that it’s the third series in the franchise, following on the original “Spartacus: Blood and Sand” and its prequel “Spartacus: Gods of the Arena”. This particular installment had the difficult job of picking up plot threads that have been lingering for well over a year, while also acclimating the audience to a new lead actor. And with the story expanding in scope, the narrative is hardly simplistic. Yet, in nearly every respect, this pulls you right back into the world that “Blood and Sand” established.
Spartacus and his rebels are at a crossroads. Mere weeks after their bloody exodus from the House of Batiatus, they hide in the shadows of Capua. Spartacus wants the needs of his fellow fugitives to be met, but beyond that, there is no firm plan. Meanwhile, Crixus is driven to take his own faction to find Naevia, his lost lover.
Things get even more complicated when Gaius Glaber, the Roman who betrayed Spartacus to begin with, leading to all the tragedy of “Blood and Sand”, is assigned to hunt down the fugitives. Spartacus is driven to make an attempt on Glaber’s life almost immediately, to the point where Crixus and even Mira question his motives and choices. In the end, the attempt fails, with terrible consequences, but Spartacus is brought to a key decision: if Rome will send an army to destroy him, then he will build an army of fugitives to teach them the folly of their actions.
We know from history that Spartacus has the time and opportunity to build that army, with the help of Crixus, Oenomaus, and a couple others sure to arrive on the scene in upcoming episodes. So it stands to reason that Glaber will be dealing with a great deal of drama on his side of the equation, and that has already begun. Glaber’s position in Roman society is tied to his successes and failures, and he is based (rather conveniently for the budget) in the former House of Batiatus.
This is not pleasant news for Ilithyia, who is pregnant (with either Glaber or Spartacus’ child) and still unstable from her breakdown in the first season. She also discovers, in one of the best scenes of the episode, that Lucretia has somehow survived the massacre. Lucretia becomes a symbol in Glaber’s public relations campaign in Capua, but having lost her mind for the moment, she comes across as more of a ticking time bomb.
Meanwhile, without Batiatus, Solonius, and the Magistrate to drive the politics of Capua, the Magistrate’s relatives step into the void. Seppius doesn’t do much to distinguish himself just yet, but his sister Seppia looks like she’s ready to give Lucretia and Ilithyia a run for their money in the scheming department. It also appears that brother and sister get a bit inappropriate, or enjoy teasing one another in disturbing ways. Whatever the case, given the nature of the show, we ought to get a rather good look at just how twisted and decadent Seppia can get.
This second season premiere has a little bit of everything that one might need to get back into the world of “Spartacus”: extreme bloodletting, ridiculously deviant sexuality, and most importantly, solid and compelling character drama. The writers continue to use the “bread and circuses” to lure the audience to something far more substantial and worthy.
Writing: 2/2
Acting: 2/2
Direction: 2/2
Style: 3/4
Final Rating: 9/10