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When in Rome

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Watching a drama series has become like reading a book – in the case of ‘Rome’ it is something of an epic. Though produced in 2005 it has the qualities that make a series for the era of Netflix. It is a lesson too from HBO and the BBC. A cracking pace, without becoming vulgar or repetitive (though there is always violence and sex, and sex with violence), the ‘upstairs/downstairs’ balance has two complementary and intertwinned strands. The conflict and jeopardy is relentless. At times the casting is a touch weak – Cleopatra is no Elizabeth Taylor but the strands wrap around eachother in a way that is Shakespearan – as is some of the language. And the last words of the series leave you with a smile on your face – a clever twist that must have been planned early on so that the two stories effectively roll into one – the son of Ceasar and Cleopatra actually that of a bull of a soldier.

The contrast with other series I have tried to watch is telling: V and Battlestar Gallactica are like badly written trash mags in comparison – after a few episodes it not only becomes repetitive, the same events and dilemmas repeating themselves as if on a loop, but the internal dynamic constantly trips itself up with the original need for commercial breaks every seven minutes or so.

My own efforts at the TV Series include ‘Escape from Alien Zoo’, ‘The Little Duke’ and ‘CC and Susie’. The first got me through the door at the BBC to develop the scripts, the second secured me an agent, third was too kid’s TV. Tessa Ross saw me about a TV film version ‘Rewind’. I will work on the paper version of ‘The Little Duke’ as it concerns the Normans in France in the 10th century and has enough violence and power struggles in it to think of it as a cross between ‘The Vikings’ and ‘Rome’.

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