The Most Progressive Show You’re Not Watching

Spartacus, a retelling of the famous slave rebellion currently airing on Starz, somehow never seems to get mentioned in conversations about "prestige television." While a few critics (and a decently sized audience) champion the show, the premiere of its final season this Friday isn’t being greeted with anything close to the fanfare accompanying, say, Game of Thrones, the show’s most natural peer. That’s a shame, states Zack Beauchamp from Think Progress. Over the course of its past three seasons, he argues, Spartacus creator Steven S. DeKnight (of Buffy and Angel fame) and his team have developed one of the most insightful progressive social critiques on television, blending a bone-chilling depiction of the effects of structural oppression on individual lives a society with a quietly egalitarian take on gender and sexual orientation...

Spartacus’ basic approach is that gladiators aren’t, aside from their combat skills, all that special: they’re one type of slave in a society constructed around human bondage and class oppression. As one Roman puts it, Spartacus is "admired as a gladiator, yet despised as a slave" — someone whose bloody exploits are to be celebrated but, when push comes to shove, exists to be used and abused in the same way as any other kind of slave. The systematic abuse inflicted on slaves motivates the main plot arc, the gladiator revolt and its growth into a real military challenge to the might of Rome. But the show’s dynamic isn’t as simple as "Romans are evil, hence slaves rebel." Each of the main rebel characters is vividly drawn, fighting despite hopeless odds for their own reasons — reasons that are themselves provided by machiavellian Romans.


In a twisted way, the Roman oppressors are as, if not more, interesting than the gladiators and other slaves. Roman society is depicted as an unending quest for social standing, where those lower on the totem pole are targets of constant abuse by their so-called betters. While not subject to the routine, legally sanctioned murder and rape that marks the lives of the show’s slaves, wealthy Romans experience everything from petty social humiliation to the extra-judicial slaughter of their entire households by a rival for power. In Spartacus‘ Rome, standing is worth everything – up to and including your life.

In that world, cruel abuse of slaves is made brutally rational. Because currying favor and building alliances with Romans who can secure your standing can make-or-break your family’s fortunes, it makes sense (from the point of view of the Romans) to use every tool at your disposal to do so. Slaves are unique in that they are human, and hence can be used to put on glorious, bloody spectacles or to satisfy the most depraved sexual desires without any legal recourse. So when powerful Roman Varis asks that gladiator Oenomaus’ best friend (Gannicus) and wife (Melitta) have sex, the Roman who owns them, Batiatus, has little choice but to accept, as doing otherwise would lose him the favor of a social better. Even if Batiatus cared that he was forcing his slaves to rape each other (though he probably didn’t), the class structure of Roman society forced his hand.

By treating oppression as something that’s basically structural, rather than a thing inflicted by individual bad apples, Spartacus gives flesh to a core progressive insight about the power and character of social oppression. Progressives often speak about racism, sexism, and classism as impersonal forces, things that exist in the world independent of how individual people think about them. It can sometimes be hard to connect concrete acts of discrimination and violence to this airier description. But Spartacus is a vivid illustration of how a system founded on a particular form of classism directly, inevitably leads to individual acts of brutality. The social logic of Rome corrupts people’s incentives, giving even Romans capable of extending sympathy to slaves (like Batiatus’ wife Lucretia) cause to treat them in the most inhuman fashion imaginable.

Spartacus‘ critique isn’t just limited to class. The show’s Rome is unmistakably gendered: Roman women, denied prestigious posts in the military and the Senate, can only exercise power indirectly, participating in the struggle for social power through behind-the-scenes politicking. These Roman women are by no means helpless damsels — perhaps the two most effective, intelligent operators on the show are Lucretia and the high-born Illythia — but when they attempt to assert equality in familial or political decisions, they run up against the limits of what Roman society will allow them to do. And while slaves male and female are both subject to sexual abuse by Romans, there’s no doubt that female slaves bear by far the worst of it. One of the clearest markers of the rebels’ moral superiority, by contrast, is their comparatively egalitarian approach to gender. The season 3 relationship between rebel gladiator Crixus and Naevia, a survivor of repeated sexual assaults, is an honest, touching depiction of a supportive partnership. The rebel army also allows women to serve as equals in combat, to deadly effect.

The show’s method of challenging other sexual norms is more indirect. Two of the most formidable gladiators we meet, Barca and Agron, are in what are almost certainly the most consensual, loving relationships ever to show up on the screen — with other men. In Barca’s case, at least, it’s clearly depicted as an orientation. But no one on the show treats this as wrong or strange; LGBT relationships are treated in the same fashion as heterosexual ones. That homosexual partnerships are seen as unproblematic in Roman times serves to point out how arbitrary the elevation of heterosexuality as morally unique in some contemporary circles really is.

That’s not to say the show doesn’t have its rough spots. The pervasive, graphic violence and nudity — really, it makes Game of Thrones look like Mr. Rogers’ Neighborhood — arguably undermines the show’s critique of deriving pleasure from the pain and humiliation of others, especially in the first few episodes where that theme wasn’t particularly well developed. But there’s an equally persuasive case in the reverse. Spartacus is, in my view, asking its audience to reflect on why it likes seeing sex and violence packaged together, and what the relationship is between today’s television viewer and the vicious Romans they’re ostensibly rooting against. That one of the second season’s most emotionally satisfying moments involves the destruction of a gladiatorial arena, with spectators lining the stands, sharpens the point.

So Spartacus doesn’t deserve the 300-lite reputation it has in some circles. It’s one of the most deftly executed, socially conscious shows on television. And it’s certainly worth your time.
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Is The Fairytale Over?

Once upon a time, in a lounge room far, far away, people would have fainted at the sight of nudity on television. But as our culture progresses away from T.V.’s modest conventions, are we becoming more and more accustomed to adopting jaw-dropping sex scenes as our source of entertainment rather than finding it in a well scripted plot? asks Tea Tripping...

These days it seems most shows are trying to scream out ‘screw all those right wing, conservative knobs, let’s be edgy and show as much sex as possible!’ And if a show isn’t screaming that out (or at least showing one pair of breasts per episode) it’s considered a little mundane, a little underwhelming and a little cultureless; that, or it might actually have to rely on it’s script, what has the world come to!


Though most audiences are looking for something quirky and a little out of the ordinary in their shows, do we really see these programs with an abundance of boobs, sex and violence as doing something on edge? Sure controversy has always been a good tool for the publicity of a show; make it as grotesque and erotic as discerningly possible and people will watch, and we already know sex sells; but does this mode of address actually encapsulate ‘the fan’ when so many cultural spheres would find it tasteless?

My beef is that much of the time I find that shows with a lot of these explicit themes are compensating for lacking in the script and narrative department. The new Underbelly Razor is a perfect example of a show using this kind of ‘re-directing attention’ tool. It’s easy to see through the snappy one-liners, flamboyant costumes and dangerous nudity that attempt to bring Underbelly together, and while the basis for a good story might be there, the charm and wit that come with true creativity is not.

Deadwood, on the other hand, manages to incorporate violent and sexual themes without that same desperate reliance. It is T.V. shows that depend on such themes in place of a good script that really annoy me, not the idea of them altogether.

In saying that, however, there are probably more brilliantly written shows out there now than ever before. It is the blossoming of transmedia that has really made it necessary for some shows in the T.V. biz to use outrageous, risky and unashamed styles, as with such a vast array of mediums and platforms that television can now be received on, maintaining and capturing an audience is harder than ever.

Obviously there are many cultures that would still never allow shows such as True Blood and Californication (two American dramas both very adept at making soft core porn for television) to be aired, so how do these shows reflect the tastes of their audiences? Do the people who watch shows like Underbelly and Spartacus (that show in which you can see ten pairs of breasts and one hundred men brutally slaughtered in the first two minutes) watch it purely for the naked people and disturbing violence, or do they honestly enjoy the program’s ‘qualities’?

The most brilliant of scenes are the ones filmed with suggestion rather than crassness. T.V. shows should be admired for their ability to leave their audiences dangling, not by making the plot and characters blatantly obvious.

Whatever happened to leaving some things to the imagination? While nudity and sexual references can be a tool adding to the culture of some shows, like it does with Deadwood, using those themes just for the sake of getting attention or making up for drab content is lazy and reeks of try hard rebellion.
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Sauce For The Gander

Niall Anderson looks at the knotty history of sex and nudity on television...

In an earlier life, I used to catalogue DVDs. My duties were to look at the contents of the box, view the contents of the disc, and make sure the details matched. I’d check the technical specifications (region code, aspect ratio, audio set-up) and enter all the details in the catalogue. I never had to watch a whole film, and only ever did on flat Fridays or when I wanted to waste time.

Quite a number of these films – say 5%, conservatively – were pornographic; usually the semi-hardcore things you find gummed to the front of skin mags (which I was also cataloguing). These films feature real sex you can never quite see. There is a lot of sound, and circumstantial evidence of fury, but they signify literally nothing.

I bring this up because whenever I came to match the contents of the pornodisc with those of the pornobox, I could almost never do it. If the box promised you ten chapters, you’d only get five. If the box promised you a certain performer, it was touch and go they would actually appear. On one occasion, only a few weeks apart, I saw the same porno under two different titles with completely different listings for cast and crew. From this I learned that almost everything to do with filmed sex is based on lies.


Looking into the history of sex and nudity in mainstream film and television, you notice subtler iterations of the same blunt trend: we don’t seem to be able to approach sex without some sneaky sleight of mind or marketing. In porn, of course, the trick lies in promising more than you actually get; in drama, it lies in dressing up the pornographic so it looks like something else.

These disguises have varied over time, but they seem to have settled for now on three main types: literary respectability, strict realism, and realism’s slightly iffy cousin, historical accuracy. Since the turn of the century, it’s the last category we’ve seen most of.

It started, perhaps, with HBO’s Deadwood, continued with the HBO/BBC co-production, Rome, and has reached a kind of dazed apotheosis with Starz’s hack-and-fuck spectaculars, Spartacus: Blood and Sand and Spartacus: Gods of the Arena. It’s not a surprise these four shows were all produced primarily for US cable television, away from network TV compliance rules. What’s really striking is the extent to which each grabbed the licence for smut from its forerunner and ran with it as fast and far as it could.

Nonetheless, it began pretty austerely. In Deadwood, sex is an integrated part of the show’s political economy: it is both an engine and a function of power in the pioneer community the show describes. Sex most often happens for money, and even where it doesn’t there are usually grim consequences for at least one participant. But because Deadwood is perhaps the most democratic piece of TV ever made, you do at least see the consequences from the point of view of those exploited. If the show overplays its hand in terms of its sheer explicitness, at least it does so for intelligible reasons.

In Rome, the bodices get looser, and the social framework fuzzier. There is still a political trade in sex, but in contrast to Deadwood, the people furthest down the social ladder rarely have a voice. This is perhaps as it was in a slave economy, and it’s a fiction writer’s absolute privilege to present it this way, but the result is a kind of thinness to the presentation of sex in Rome. For much of the time, you’re just watching people having sex because people in Ancient Rome had sex. There’s a circularity to this that doesn’t answer the simplest question: why so much sex?

Some of it comes down to an authentic – and even admirable – historical revisionism. The Ancient Rome of film and TV series’ past tended to pivot around the advent of Christ and the resulting elision of Rome’s empire with God’s. There’s not a lot of room in such a story for pagan sensuality. (More generally, it’s entirely possible to watch something like The Greatest Story Ever Told and wonder what, exactly, Jesus came down to reform, so civilised and reasonable is his opposition.) Programme makers want to put the blood, guts and sex back into history: great.

But some of this revisionism is less authentic, and might better be described as generational. The showrunners of some of the most explicit US programmes – Deadwood (David Milch, b. 1945), Rome (John Milius, b. 1944) and The Sopranos (David Chase, b. 1945) – are all from the Boomer Generation, which, if you’ve been reading your National Review, is the generation that conservative critics tend to blame for inventing permissiveness, and maybe even Satan. In one sense, it’s unfair to yoke these three names together – their expressed politics are very different – but each of their main shows has pushed deliberately against the idea that certain permissive (and even destructive) ideas were born when they were.

This is one of the reasons the explicitness of these shows still feels explicit: there is a political edge to it that stops the more extreme ingredients from ever seeming casual or natural. Under the guise of realism or plausible historical reimagining, ideological points are being scored.

That drama can be a vehicle for ideology isn’t news; nor is it bad news. But a problem occurs when the dramatic methods for expressing those underlying ideas harden into mannerism. A parody HBO show would these days need to include an epigraph from a respected author of antiquity, a leering tittyflash or two, some manly grunted oaths, and some grunted manly violence. You see the problem? How radical and how different can these shows really be if the ingredients intended to mark them out are all the same?

And this is where we get into the last and most knotty reason there’s so much sex in these shows: somewhere along the line, what US TV networks call ‘content suitable for a mature audience’ began to be taken as proof of actual maturity. The boobs and blood are not just your reward for watching grown-up television: they are the proof of how grown up it all is.

This may be cynical, but it isn’t necessarily ruinous. Only a joyless prude would deny that the big HBO imports of the past ten years or so have been among the best TV of the era. But there is a creeping laziness, nonetheless. To take a single example applying to everything from The Sopranos up to Game of Thrones: the trend for scenes with long expository dialogue to have a naked woman, or several of them, just hanging around, listening. Or the trend, whenever a male anti-hero might be getting a little too likeable, of having him commit an act of violence against a woman. Or the complementary trend – short of actual sexual violence (of which there is plenty) – of making every act of violence against a woman be about her being a woman.

This one is worth examining because it can be done right. When Detective Kima Greggs is shot in a sting operation in the first series of The Wire, the ferocity of the cops’ response is partly tribal, but also to do with her male colleagues’ sense that shooting a woman is worse than shooting a man. A complicated and commonly held idea is beautifully and reservedly dramatised. By contrast, you have the murder of Lorraine Calluzzo in season five of The Sopranos. A money-handler for a Brooklyn crime family, Lorraine’s murder is to do with her inappropriate closeness to a rival New Jersey mob: it is about power. But, aware of the novelty of having an independent woman so close to power, the writers also make it about sex. So she is attacked leaving the shower one morning and chased naked across the floor of her house, being slapped with a towel, before being shot in the head.

The scene is repulsive (and, it goes without saying, NSFW). But it’s repulsive beyond what its creators intended: it makes a point that the show has already made a hundred times – that mobsters like women to know their place – and reaches into the big bag of exploitative imagery to do so.

A show as lengthy and as generally strong as The Sopranos can survive this kind of miscalculation. In this instance, it’s partly the show’s awareness of the gender politics of the world it describes that leads it into miscalculating, but it’s also the lazy ease with which it feels it can be explicit. If you can do it, why resist?

This sort of scene has drawn the producers a certain amount of flak over the past decade, but none has exactly taken a vow of chastity. Indeed, the most common response has been to leave the material that people have found objectionable but offer a corrective in the form of beefcake and cock. True enough, there have been valid complaints about the plenitude of naked female flesh and the relative paucity of male flesh on display, but the double-standard argument is actually the most trivial: it amounts to sauce for the gander. A stray shot of Ian Somerhalder’s cock (NSFW) in HBO’s Tell Me You Love Me doesn’t make exploitativeness disappear.

Likewise with the argument, ‘If you don’t like it: don’t watch. It’s obviously not for you.’ This is fine as far as not watching The Sopranos goes, but the larger issue is that just as boobs somehow came to equal dramatic maturity, the HBO model has come to be the dominant one for quality drama in the English language.

Quality in the last sentence should come with a payload of quotation marks around it: what it means in practice is a mini-series with higher than average production values, usually about the past, and not infrequently based on the kind of middlebrow novel that TV people think is a classic. Channel Four’s 2010 adaptation of William Boyd’s Any Human Heart is a case in point. Whatever the novel might have to say about life in the last century, the TV version is clearly agog at the mere possibility of sex and swearing among the well-brought-up of the 1920s. ‘How good it is to feel the sun on one’s tits,’ announces a pretty bohemian at a picnic, flinging her top off and then disappearing from the action forever. As an insight into the fact that women had breasts in the twenties, I feel this could hardly be bettered. Otherwise, we’re back where we started – with the glamour of the past and the prestigiousness of the source being used to justify material that producers would struggle to include without it.

In such a climate, it seems perverse to give a welcome (however guarded) to Starz’s two Spartacus series. But at least here the legitimising disguise of the past is the barest fig-leaf, and the Cormanesque unseriousness of the whole enterprise means that, for once, what you see is what you get. Still, it won’t be long before somebody comes along and intellectualises the silly honesty out of it: witness the raised eyebrows about Starz’s newest pilot, a series about female NASCAR drivers. Its working title is Tits in the Pits, but it nervously describes itself as “a Red State Mad Men“. Which emphasis will win out: the frankly immature or the wannabe classy? Experience suggests an awkward and unwelcome compromise. Each generation of TV producers starts out with the intention of correcting its forbears’ dishonesty about sex, but ends up creating dishonesties of its own.
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Extras Strip For Big Payday

Wannabe movie stars with no acting skills can earn $1000 a day on the set of a raunchy American show starring Lucy Lawless - if they take their clothes off. Companies casting extras for sex-and-sandals epic Spartacus: Blood and Sand are struggling to find takers for the roles.

Insiders have revealed the daily pay packet for "bedroom scenes" starts at $750 and jumps to $1000 or more with a couple of basic lines to read. Women comfortable with baring their buttocks or breasts earn $500 a day without having to say anything. And amputees, required for gory battle scenes, get a minimum of $240. General extras get to hide beneath togas but are paid the lesser rate of $180 for a 10-hour shift. Perks include free buffets for breakfast, lunch and dinner.


The R18 show is set in the heyday of the Roman empire and follows a slave leading a violent revolt against his gluttonous rulers. It screens on pay TV in the United States. Movie star looks are not essential. Recruitment websites are calling for "amputees, character faces, weathered people and unique looking people" aged 18 to 99. Tall, muscular men are needed to play gladiators.

Kam Talent agent Kim Tian would not comment on pay rates but said the show's producers were desperate for anyone "Roman-looking" with European and African colouring. "We need a lot of people, they just need a good personality." She said the set was "very professional. There's lots of nudity, violence and blood but it's not sleazy."

Extras could count on between two and seven days' work a week between April and September. With a shortage of takers, strippers and prostitutes have been rung in, including Levi Holley, former weatherman for now-defunct Alt TV's Naked News. Auckland escort Carmen Thomas landed a role before her violent death last year.
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Starz greenlights Spartacus prequel

Don't put away the swords just yet. As suggested last month, Starz has ordered a six-part prequel to its original series Spartacus: Blood and Sand, the network announced Tuesday. Andy Whitfield, who starred as the title character in the original series, will resume his role briefly in the prequel; the actor has been battling non-Hodgkin's lymphoma. But this time around, social climbers Lucretia (Lucy Lawless) and Batiatus (John Hannah) get the Roman treatment in the story about the rise of the House of Batiatus and its gladiators before the arrival of Spartacus as a slave.

"The prequel story maintains the excitement and entertainment value of the first season of ‘Spartacus,’ giving audiences the engaging experience they’ve come to expect," said Starz President and Chief Executive Chris Albrecht in a statement. "Fortunately, Andy is responding to his treatments, and will be able to be part of this prequel in a limited capacity. As soon as he’s able, we look forward to continuing the Spartacus story."

Other returning actors include Peter Mensah (Doctore), Manu Bennett (Crixus), Antonio Te Maioho (Barca), Nick E. Tarabay (Ashur), Lesley-Ann Brandt (Naevia), among others. New characters join the mix, including the gladiator who preceded Spartacus and Crixus at the House of Batiatus.

Production for the untitled prequel will begin this summer in New Zealand and is scheduled to air in January. A second season of Spartacus: Blood and Sand, which was on hold due to Whitfield's illness, is expected to continue where it left off after the airing of the prequel.

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Spartacus S01E13: Blood and Sand

The Use of Sex in Spartacus
by Katrina Law, Katrinalawspartacus

Sex. We all like it, right? But this show offers us a valid excuse to shrug off our hang-ups and wade right on in to the orgy with every episode. It is valid to show the sexuality of the time and to have naked bodies on display because that was so much of a part of Roman Society…so we’ve got that excuse. And thank Heavens for it! All those dangerous woman and scantily clad gladiators roaming around under the hot sun…it’s a recipe for addiction!

I think my favorite things to read are the comments on the Spartacus Fan Page on Facebook where couples come on and talk about how this humble television show, Spartacus, has become “date night” or “role play night” for them every Friday night. They mention how it’s livened up their OWN sex lives or inspired them to stop eating junk food and get back into the gym and get in shape so they can look sexy for the person they love. I think that is just absolutely FANTASTIC. Who would have thought that the show would have had that effect?


Television Series: Spartacus: Blood and Sand (S01E013- Kill Them All)
Release Date: April 2010
Actress: Katrina Law
Video Clip Credit: DeepAtSea
Video Clip Info: [DivX5 at 2800 Kbps; 1280 x 720; 25mb for 1mn20s (x5 videos)]



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Starz developing a Spartacus: Blood and Sand prequel?

New York Magazine is reporting that Starz is developing a six-episode miniseries prequel to its freshman hit, Spartacus: Blood and Sand, in order to keep the series' momentum after its star, Andy Whitfield, was diagnosed with non-Hodgkin's lymphoma a month ago and production on a second season was indefinitely postponed.

The series (the finale of which airs next week) has been Starz's first original-series hit, averaging a million viewers each week; the network green-lighted season 2 a month before it even premiered, but now, with Whitfield in treatment, Starz finds itself with empty sets, actors, producers, and writers very expensively standing by. A prequel (Gladiator Babies, perhaps?) would keep the sets and creative staff productive, while holding on to the original show's fans. Network execs are now in Cannes at the annual MIP TV international programming marketplace, looking at other options, but this spin-off is looking like a tempting bet to fill their January hole. More as this story develops.

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Spartacus S01E12: Blood and Sand

The swords and sandals are about the only similarities between Spartacus: Blood and Sand and Xena: Warrior Princess, Lucy Lawless says. "They're so different from each other in almost every way. From the technology, the fight sequences, the sex scenes."

Ah, yes, the sex scenes. In addition to the copious amounts of blood spilled on-screen, the Starz ancient Rome epic features boundary-pushing sex scenes that are about as explicit as you can get on television. Lawless, who had not done nudity prior to Spartacus, is at the center of a number of them as manipulative man-eater Lucretia. "When you talk about it, it sounds like you're doing a lot of sex scenes, but I don't feel like I do that much," she says. "My concern was that it fit with the story and that there wasn't any gratuitous sex in this, and it doesn't really trouble me as long as it's relevant to the scene. It's part of the story that they're around in various states of undress. Human beings have always had sex, and a lot of business got done during these transactions. That's what the sex is about."

For Lucretia, the business of sex is to provide her husband, gladiator school owner Batiatus (John Hannah), with an heir — any which way she can, including sleeping with the gladiators at the camp. "She begins, what I think, is quite an abusive relationship with the chief gladiator, the champion, hoping that he might impregnate her," Lawless says. "She's desperate." In her first nude scene, Lucretia and her husband happily discuss political plans while stripping for bed. Meanwhile, off-screen "fluffers" prepare them to consummate. The fluffing is off-screen, but that's still something you've never seen on TV before, said series creator Steven S. DeKnight.

"In the first draft it was written they were engaged in the act and having this conversation," DeKnight said. "[Executive producer and Lawless' husband] Rob [Tapert] felt like this is something we could see anywhere in TV. How can we make it different for our show? There were a lot of extremely graphic, crazy suggestions thrown out that I can't even repeat. They shocked even me, but, finally, I really started thinking about it, and I thought this first scene really needs to set up the master/slave relationship. Why not use that in the sexual connotation and actually have them be fluffers, but not just the woman fluffer for the guy, but also have a fluffer for the woman? It's interesting, because the way it's shot, you really don't see anything with the fluffing going on, but it's the implication that just makes it extremely racy."

That Lawless performed her first full-on sex scenes with British actor Hannah, who she insists was the perfect co-star, was some comfort. "I couldn't have had a better partner... You have to make the unsexy look incredibly sexy." But the actress insists the sex scenes were anything but pleasant: "It's the first time I had to do a sex scene; I try to think of myself as a modern woman but, honestly, I went home and had to go straight to bed. It was so stressful."

There is, of course, even more outrageous debauchery to come. "They would have conversations while I'm in a bath with slaves," Lawless said. "So naturally you are in a state of undress, but there is something going on in the scene that is more riveting than me." Oh yeah? "I will say with regards to the nudity, you get kind of used to it," Lawless said. "It's historically accurate that there are slaves standing around in states of undress, and after a while it becomes a non-issue. It loses its taboo, and it's irrelevant to your day."

So Lawless subsequently shot several further nude sex scenes for the show, with both men and women. While renowned for her buff bod on Xena, Lawless said she's been able to be more natural on "Spartacus." In fact, the actress sets a whole new standard for fitness among 41-year-old mothers of three. "I think I would have been stressed by the idea of doing any form of nudity at any age," she admits. "But if you're an artist of any sort whatsoever - if it seems important to the role or telling the story, or authentic, or historically accurate, then I don't see that you would have an excuse not to do it. Besides, my character is not supposed to be ripped. She's a woman. It's Ancient Rome. It's not like they were popping off to the gym every two seconds, but they were very image conscious, that's for sure."

And apparently, both the male and female actors on the show had prosthetic sex parts available, should they want or need them! "I think everyone's got [a merkin] just for fun," she admitted. "Mine, I haven't had to break it out yet. Though [laughs] next season, maybe! Yeah, wait for it! I'd never actually seen one, certainly never owned one," Lawless continued. "I have one that’s never ever been worn. For all the sex scenes, it has never really been necessary." So what did she do with it? "It’s a virgin merkin," she told us. "It’s in a frame, they gave it to me at the end of the season. I'm too embarrassed — I don’t know what to do with it. I can’t show the kids: 'Mummy, what’s that?' 'Nooooothing!'" But can't she hang it somewhere? "In the deepest, darkest corners of my closet, maybe."

And for the guys? Prosthetic privates! "A couple are stapled to the wall," Lawless said. "I'm not sure if they've used them yet. Nobody's telling!" She insists Spartacus is a must-watch for lusty women as the newcomer, Andy Whitfield, has a terrific body, which he shows off in the mini-series. "There's full frontal male nudity," she adds. "You see plenty, trust me. I'm a little traumatized. I think Starz was really courageous to hop onboard this train," Lawless says. "This is a wild ride and very intense to shoot. And we have so much good stuff coming up. You get to see that the women are more vicious than the men. My lover, Crixus [played by Manu Bennett], is falling in love with my handmaiden, and it is good. Things get very hot and heavy. And very sticky."

To that end, DeKnight said that the series won't shy away from further sexual depictions, but he seconds Lawless' assertion that there's more to the scene than the physical. "Everything I've read is it was a very visceral place, both in its regards to sex and its regards to violence," DeKnight said. "Particularly with the sex scenes, I certainly don't shy away from it, but it's always about something else. You'll see some background sex going on that's obviously part of a bigger scene, but when it's our main characters, there is always something else going on in the sex scene. It's a discussion, it's a power play, it's an exploration of love. It's never just for the sex or titillation."



Television Series: Spartacus: Blood and Sand (S01E012- Revelations)
Release Date: April 2010
Actress: Lesley-Ann Brandt, Lucy Lawless & Viva Bianca
Video Clip Credit: DeepAtSea
Video Clip Info: [DivX5 at 2800 Kbps; 1280 x 720; 25mb for 1mn20s (x5 videos)]



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Spartacus: Blood and Sand S01E11

A few thoughts on nudity
by Katrina Law, Katrinalawspartacus

I have received several letters asking me about how I handled all the nudity on the show and I thought it was a really good topic to blog about. I wanted to try to explain all the things that an actor goes through when he or she is both considering handling such a scene and also when they are actually shooting it.

When I was given the audition for Spartacus, the very first question I was asked was if I was okay with doing nudity. My initial reaction was to say, “No!” But I asked the Producer what sort of nudity was being done on Spartacus and why was it being done. Was it simply to titillate and for shock or was there a deeper motivation behind those scenes?

The answer I was given was that the nudity was based on a strong desire for historical accuracy first and also as an effort to “push the envelope” along with the graphic violence and relationships in the story. This was certainly a good answer, but I still wasn’t sold. I’m really a shy person and am not in the habit of running around skimpily dressed and I’m especially unused to getting naked in front of a roomful of strangers. So the Producer sent me the trailer to view so I could see some of the finished product and make an informed decision.

As soon as the trailer started I knew that Spartacus was a show that I wanted to be a part of. I loved the cinematography, the direction, the acting and the overall feel of the show. I loved the lighting and the atmosphere and was struck by how everyone looked gorgeous whether they were high society or a slave. It was the kind of series that I would watch whether or not I was in it, and if I wasn’t in it, I knew it was the kind of show that I would be dying to audition for. But I was still nervous about the entire nudity issue. I had never done it before in my career and wasn’t sure if I was willing to do it now. So I went back to the producer we had a little chat. He assured me that everything was being shot so as to get the best angles with the best lighting, and was being handled in the most tasteful and artistic way in order to guarantee that the scenes were high quality and artistic rather than what you would see in late night “soft core porn.” Then he said the key words that finally sold me on the idea, “The men are as equally naked and exposed as the women.”

As an audience member, I have no issues with nudity on the screen. I think that both the male and female forms are breath taking and I’m as red blooded as the next girl. I applaud all the people that have come before me with the courage, confidence, and artistic integrity to be so vulnerable and bear it all and still be able to step out in public with their heads high. The problem that I have with nudity on screen, in general, is that it is almost always the women who bare all and are the ones who are exploited sexually. There are countless scenes on TV and film where the female character is completely naked in the scene while the man stands there fully clothed. More often than not, if anyone is getting naked, it is the woman. But on Spartacus: Blood and Sand, both are treated as equals so rather than feeling like the nudity is an exploitation of both sexes, it feels more like a story which is staying true to its time.

So with the blessing of my parents and a word of encouragement and support from my fiancé, I went ahead and accepted the role of Mira on Spartacus.

In the show, one of my favorite scenes is the one where Ilithyia decides that she wants to see Crixus naked in order to “accurately gauge his worth” and, with the help of Batiatus, Crixus is ordered to drop his subligaria. Ilithyia (fully dressed) then proceeds to circle around Crixus (devoid of all clothing and in a straight on wide shot, which is the MOST unflattering angle for ANY person to stand naked in) and eyes him up and down like he is a sticky piece of caramel chocolate. On a selfish note, it was great to see the roles reversed for once and to have the man be the one being marginalized. I thought that was surprisingly daring. Usually the man has the power while the woman stands bare and helpless before him, but not so on Spartacus. However, from an acting point of view, I am so incredibly proud of Manu (the actor who plays Crixus) for being as brave and as dedicated to his craft as he was. What a tremendously vulnerable situation to allow yourself to be in, and he looked great doing it! (must have been the lighting ;-) )

From firsthand experience, I know that standing naked before a camera with the knowledge that you are about to put it ALL out there for the world to judge is a scary endeavor. Outside of standup comedy, it is easily the scariest thing I have ever done, and I’ve jumped out of planes, white water rafted class five rivers and SCUBA dived below 157 feet. In other words, I don’t scare easily.

In my first episode I had a total of six scenes, and out of those six scenes, four of them were nude scenes. I distinctly remember finally getting a full script and, after reading it and realizing what I had gotten myself into, I just sat in my trailer for a few minutes and willed myself to breathe normally; not to panic. Then I jumped on my phone and unloaded all my fears and insecurities to my fiancé for the next hour. He’s good at talking me off of ledges.

Luckily for me (whether or not this was intentional, I’ll never know) my shooting schedule kind of eased me gently into the mix. My first shot on Spartacus was the one where the slave girls are all wearing various white masks. Yes, I was naked, but I was surrounded by other women who were just as naked and the two featured actors in the scene were Lucy Lawless and Brook Harmon. It was a closed set (which means only necessary crew and no guests allowed) so I felt relatively safe and somewhat invisible.

The entire crew and camera department were great. By this point in their shooting schedule it was already Month Six into production and by then they had seen and done it all. I think they were interested in the ‘new girl’ for about half a second before they got bored and moved on. They had also perfected the art of only looking when they needed to and looking at the floor, wall, or ceiling the rest of the time. Everyone was extremely respectful and the wardrobe department was very protective, trying to cover up all the girls as soon as possible whenever the cameras stopped rolling.

My second scene was the bath house scene with Lucretia and Naevia. By this point I had decided that “Merkin” (the name for the fake wig of hair used to both create a historically accurate nether region and to protect an actress from unwanted exposure while also ensuring that there is no actual physical contact) was an ugly and awkward word. So I named mine Priscilla. As crazy as it seems, tiny little Priscilla made me feel like I had on a bit of clothing and, thus, a little bit of protection from the world.

Without question the bath house scene was the hardest for me to do. I remember the director telling me that they were going to shot from straight on and I thought, “But what about the best angles? Straight on is a terrible angle and quite possibly the least flattering out of all the angles! What about triangles? Or how about an angle that happens to be located behind a plant or shoots through gauze? Shouldn’t this scene be shot entirely with the lights off??” Instead of whining though, I just channeled all of my fear, insecurities, and anxiety about the nudity into the emotions my character would naturally be feeling in the scene and left it in the hands of the director.

After going through all of that, when I finally got to my scenes with Andy (Spartacus), it was a breeze.

In the end, I viewed the entire situation as if I was jumping into a freezing cold river. I just had to quit crying, “man up” and do it. I had to put all of my faith and trust into Michael Hurst (director for Episode 9), the crew, my cast mates, the producers, the writers, the editors and most importantly of all, the camera men. And from what I saw when I watched Episode 9, I am glad I did. Though my mom did think it was strange to see me that naked considering that I was six years old the last time she had seen me like that.



Television Series: Spartacus: Blood and Sand (S01E011- Old Wounds)
Release Date: April 2010
Actress: Erin Cummings & Katrina Law
Video Clip Credit: DeepAtSea
Video Clip Info: [DivX5 at 3200 Kbps; 1280 x 720; 14mb for 25s+10s (x2 videos)]



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Spartacus: Blood and Sand S01E10

Viva Bianca plays the young Roman noblewoman Ilithyia in “Spartacus: Blood and Sand,” set in the brutal Roman gladiator era. The spoiled, selfish daughter of Senator Albinius is also the loyal wife of Legatus Claudius Glaber. She may be trolling for male flesh, but her heart belongs 100% to her "gone on Roman business" Glabby. As Batiatus and Lucretia continue their social climbing, entertaining the Magistrate and the Roman snooty snoots along with Ilithyia, their ludus serves as the hippest hot spot in all of Capua, replete with glistening male flesh that does the bidding of their Roman overlords. Ilithyia engages in a subtle power struggle with Lucretia (Lucy Lawless), whilst admiring the attributes of the gladiators, yet harbors deep-seated ill-will towards Spartacus...

You are pretty naked in these future episodes. Is it all you or are you employing a body double? And what is it like acting sans clothing, more stressful or no big deal?

Viva: It's pretty nerve racking, I don't think that ever goes. But these scenes are always dealt with very sensitively on set and you only ever end up being exposed for a few seconds at a time before the director calls "cut!" and someone wraps a robe around you.

Sometimes these scenes are the funniest to shoot because it's hard to take yourself or the person acting opposite you seriously and the whole thing becomes very absurd. We had some bad laughing episodes!

The only other savior to any kind of nudity is the story. When it is story driven, when there is a reason for it and it makes sense in the world you are creating, then you can commit to it.



Television Series: Spartacus: Blood and Sand (S01E010- Party Favors)
Release Date: March 2010
Actress: Lesley-Ann Brandt, Lucy Lawless & Viva Bianca
Video Clip Credit: DeepAtSea
Video Clip Info: [DivX5 at 3000 Kbps; 1280 x 720; 28mb for 44s+24s+15s (x3 videos)]



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Spartacus: Blood and Sand S01E09

The dog is finally house-broken...

Television Series: Spartacus: Blood and Sand (S01E09- Whore)
Release Date: March 2010
Actress: Lucy Lawless & Katrina Law
Video Clip Credit: DeepAtSea
Video Clip Info: [DivX5 at 2600 Kbps; 1280 x 720; 38mb for 1mn57s (x3 videos)]



http://rapidshare.com/files/365716521/Lucy_Lawless__Katrina_Law___Uncredited_Actress_-_SBaS0109720p_by_DeepAtSea.zip
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Television Series: Spartacus: Blood and Sand (S01E09- Whore)
Release Date: March 2010
Actress: Katrina Law & Viva Blanca
Video Clip Credit: DeepAtSea
Video Clip Info: [DivX5 at 3400 Kbps; 1280 x 720; 96mb for 4mn10s (x5 videos)]



http://rapidshare.com/files/365723968/Viva_Blanca__Katrina_Law___Uncredited_Actresses_-_SBaS0109720p_by_DeepAtSea.zip
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Spartacus: Blood and Sand S01E08

Your gods, do they answer your prayers?...

Television Series: Spartacus: Blood and Sand (S01E08- Mark of the Brotherhood)
Release Date: March 2010
Actress: Lucy Lawless
Video Clip Credit: DeepAtSea
Video Clip Info: [divx5 at 3500 Kbps; 40mb for 30s+27s+39s x3 videos]



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Spartacus: "Rome" on steroids, Viagra and crack

From full-frontal nudity to splashing blood, is this the future of TV or just a pornographic video game gone mad?
By Heather Havrilesky, The Salon

What's wrong with modern life? When did our spontaneity and imagination and appetite for glory leave us, replaced by bloodshot eyes and a hard knot in the stomach, failure wrapped in neuroticism dripped with anxiety covered with dissatisfaction? When did we trade in our vibrant, lusty, devil-may-care recklessness and red wine-glazed dreams for the carpal tunnel and coffee breath of the professionally compromised? When did we go from carefree iconoclasts to distracted, sallow lumps who've wasted the better half of a decade rewriting inter-office e-mails so that they're less of a reflection of our bitter, dying souls?

Sure, when we're not impaired by the relentless drumbeat of empty tweets and Googled tragedies and breathless press releases about the latest jackhole to sign up for "Dancing With the Stars," we do try to reach out to each other, tenuously, through Facebook and Twitter and sometimes even by picking up our telephones, which haven't held a solid charge since Monica Lewinsky was running around the White House in capri pants.

But it's not the same. One decade into the new millennium, one too many irresistible up-to-date blurbs and blogs and snippets and tweets have smeared our once-lively spirits across the dirty windshield of life.

Except when we're in a really good mood, and then everything's fine.

Butt cheek of the gods

Thank the lords "Spartacus: Blood and Sand" (10 p.m. Fridays on Starz) is here to show us exactly when, where and how we went astray. Apparently, back in 73 B.C., human beings were gigantic and horny and all they did was have great sex and slash each other with steely blades, resulting in big bursts of blood that splashed everywhere. Hurray!

It seems that ever since that time, humans have steadily grown more vague and sullen, losing more muscle mass and joie de vivre each century that they walked the earth. With each passing decade came another reason to slouch and feel discouraged: the spinning wheel (ouch), barbed wire (drag), pasteurization (enough already), the electric nose-hair clipper (please). All of it led up to where we are today, namely, watching "House" while sobbing into a laminated cup of cherry Jell-o.

But fear not, because our new hero Spartacus is here to lead us out of the darkness, demonstrating exactly how we might get our souls back: namely, by having lots of frisky humpy time with meat-Chiclet-adorned macho men, then throwing big sharp knives at offensive strangers from across the room!

Of course, it all starts with the raping and pillaging of our home villages after being betrayed by the Romans. Next, our lovers are carried away and enslaved by Roman fiends and we're made to fight four men at once in the Colosseum (much like the Superdome but with more people sporting the then-fashionable boobs-out look). That ends in lots of blood splashing, and a rowdy mass of boobs-out heathens yelling out our (new, fake) name, which forces powerful men to harness our 15 minutes of fame for evil, rather than good. Next come the muscle men who lecture us menacingly in the shower while their gigantic penises bob along with every step, and then we do some defiant stuff that almost gets us killed, but finally we give in and agree to lug around huge logs and spar with other greased-up ding-dongs, so that, eventually? We're all puffy and fierce and ready to beat people's faces in until blood splashes across the camera. Mmm, it feels good to be alive, doesn't it? Who knew that our deliverance would come in the form of hand-to-hand combat, impromptu orgies and around-the-clock sipping out of fancy chalices of red wine? All right, I had some inkling.

Even if it doesn't free humanity from our current lackluster path, "Spartacus: Blood and Sand" exists on an entirely different planet from other televised entertainments. This is HBO's "Rome" on steroids, Viagra, LSD and crack: The sex scenes feature bare asses, bare breasts, slaves on hand to help masturbate their masters into the proper state of excitement, and haunted lutes playing in the background. The fight scenes are half "300," half "Mortal Kombat," replete with rotating severed heads, slow-motion flying buckets of blood that occasionally expand to fill the entire screen with a sea of red, and warriors who bellow, "We'll fuck your women. We'll fuck them all!"

Hell, even the straightforward conversations between two characters typically feature some gratuitous twist: Spartacus' archenemy stands, berating him while fully naked, his big cock practically piping up with its own sidekick tag lines ("Yeah, like my boss just told ya! You're dead meat, mister!"); Lucretia (Lucy Lawless) lounges in a see-through top, having a long conversation with her husband that we can't understand because we're being glamoured by her huge breasts; some character whispers "cunt" or "fuck whore" or any number of salacious things (like this nastiness, from Lucretia: "It all comes back round to a pair of tits and a tight little hole"). Sure, it worked on "Deadwood," but without the Shakespearean adornments, "fuck" often feels like an extra bucket of fake blood that you didn't really need to get your point across.

But then, the point or story is just window dressing to the slugging and screwing that we came to see here. When extremely fit human beings growl their paint-by-numbers Hollywood historical epic lines ("Nothing will keep me from returning to your arms, not the Romans, not the gods themselves!"), making sweet lyrical Abdominizer love, then slash their opponents knees in half with their glittering hatchets, we're offered a glimpse into an animal world we traded in for the sterilized, vacuum-sealed alienation of modern life.

No wonder this basic formula -- seethe, slash, screw, repeat -- dressed up as it is by CGI effects and blue-eyed star Andy Whitfield, isn't shocking more audiences with its over-the-top flashiness and pandering. Sure, some have called it "too rude for British TV," but who are we sleazy, foul-mouthed Americans to judge? The blogs certainly lit up last week when the gay gladiator, Barca (Antonio Te Maioho), made athletic love to his partner Pietros (Eka Darville), who grinned from ear to ear as if to say, "This is really my favorite perk of being a slave boy."

But those two are actually fond of each other, and are engaged in the equivalent of a standard under-the-sheets, missionary position compulsory routine, compared to the frenzied humping unfolding elsewhere: Batiatus (John Hannah) takes his ample-bosomed slave woman from behind, Lucretia (Lawless) rides her gladiator Crixius (Manu Bennett) into the sunset, and all of it is merely foreplay for the decapitations and gory mess that comes after it. Somehow the special effects, the sandals, the swords, and the mystical lutes distract us from the fact that this sex-followed-by-blood-bath may be the closest TV has come to snuff.

Naturally, ratings are through the roof for Starz -- 1 million at last count. So what does this tell us about the state of cable television in 2010? Maybe that if you throw out the rules and boundaries of middlebrow network television and create something depraved and lascivious and gruesome, with plenty of slashed throats and greased-up abs and CGI flourishes, you will emerge triumphant.

Or, as Doctore (Peter Mensah) puts it, "Forget everything you learned outside these walls, for that is the world of men. We are more, we are gladiators!"
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Spartacus: Blood and Sand S01E07

The gods led me to your bed...

Television Series: Spartacus: Blood and Sand (S01E01- Great and Unfortunate Things)
Release Date: March 2010
Actress: Erin Cummings & Viva Bianca
Video Clip Credit: raziel02
Video Clip Info: [28,10 Mo; 3 min 04 sec; 2 videos]



http://www.megaupload.com/?d=CMHVTXQH

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Spartacus: Blood and Sand S01E06

Have the girl's arse pet, and I'll watch...

Television Series: Spartacus: Blood and Sand (S01E06- Delicate Things)
Release Date: February 2010
Actress: Lucy Lawless
Video Clip Credit: raziel02
Video Clip Info: [40,40 Mo; 4 min 27 sec; 4 videos]



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Spartacus: Blood and Sand S01E04

Does it excite you to know that your very footsteps moisten my thighs?...

Television Series: Spartacus: Blood and Sand (S01E04- The Thing in the Pit)
Release Date: February 2010
Actress: Lucy Lawless
Video Clip Credit: raziel02
Video Clip Info: [15,70 Mo; 1 min 41 sec; 2 videos]



http://www.megaupload.com/?d=MDSPHPDE

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Spartacus: Blood and Sand S01E03

I need your cock inside me and I need it in me now...

Television Series: Spartacus: Blood and Sand (S01E03- Legends)
Release Date: February 2010
Actress: Lesley Ann Brandt & Lucy Lawless
Video Clip Credit: raziel02
Video Clip Info: [25,60 Mo; 3 min 20 sec; 3 videos]



http://www.megaupload.com/?d=PFQJZXI3

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Spartacus: Blood and Sand S01E02

I will always be with you; the Gods themselves could not keep me from your side...

Television Series: Spartacus: Blood and Sand (S01E02- Sacramentum Gladiatorum)
Release Date: January 2010
Actress: Erin Cummings & Lucy Lawless
Video Clip Credit: raziel02
Video Clip Info: [24,50 Mo; 3 min 16 sec; 2 videos]



http://www.megaupload.com/?d=EQ1OQ0I8
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Spartacus: Blood and Sand S01E01

There is no life without you...

Erin Cummings discusses her graphic role in an exclusive interview with iesb.net...

Did you ever have any hesitation in doing the nudity on this series, or was it just about the context of it?

Erin: The way I feel about nudity, and how I think a smart actor approaches it, is that nothing can be done without putting thought into it. Every nude scene, for me, is on a case by case, show by show, episode by episode and even scene by scene basis. I don't think that there should be a general assumption of, "Oh, she'll do nudity," for any actress or actor. And, if you're going to do nudity, there is a way to do it.

In Spartacus, I'm the love interest to the lead actor and I am playing a character that is very well-rounded. Sura is not just there for the purpose of showing a naked body. She is there for showcasing a relationship, and it takes a very strong actor to be able to portray that role. The sex scenes are just one small part of that. In that context, I went, "Yeah, okay." I always look at it and say, "Is this a role that I would play otherwise? If she didn't have the love scene and there wasn't any nudity, would I really want to play this role?" And, if the answer is, "Yes," then you really have to go, "Okay, well then let me figure out what they're asking me to do, sexually speaking, and what I'm comfortable with."

IESB: Did it help that you knew and had worked with so many of the people involved with the series?

Erin: Knowing that Rick Jacobson had been brought on really made it a lot easier for me because I knew that Rick would never put me in a position of doing something that I felt uncomfortable with. And, I had read the script, so I knew how it was described. There was love scene that I had read, in a very early draft, and I called Steven DeKnight and said, "I am not doing that. That is not going to happen." Starz and the producers never made me feel pressured to do anything that I didn't feel was right and true for the character. When there was something that I went, "You know what? I don't know if this is really how Sura would go about this," they were very open and willing to make it work for the character. With most actors, if they want you to do X, Y and Z, whether it's sexual, physical or whatever, unless you give the actor a reason why their character would do it, they're not really going to be interested.

For me, playing the wife of Spartacus, I felt like the love scene was integral to telling the story of who they were. If you have the perfect marriage, it's not just about communication or having an understanding of one another. It's also about the chemistry and the passion that two people have for one another, and I think our scenes really showcase that. It was beautifully shot and I'm very proud of those scenes because I think they were very well done. I never found any of the love scenes to be gratuitous, in any way. Also, because of the fact that Andy was with me, every step of the way, wearing just as little clothing as I was, we went into it together. We said, "If we're going to do this, we're doing it together," and it made it a lot easier to be able to have him going through that with me.

Television Series: Spartacus: Blood and Sand (S01E01- The Red Serpant)
Release Date: January 2010
Actress: Erin Cummings & Viva Bianca
Video Clip Credit: raziel02
Video Clip Info: [25,60 Mo; 3 min 20 sec; 3 videos]



http://www.megaupload.com/?d=5ZXIRVC8

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