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Georgia Gov. Brian Kemp waits to speak after touring a Bridgestone golfball manufacturing facility Thursday, Nov. Brian Kemp certifies election results, calls for another hand recount Georgia Gov. Brian Kemp certified the state's presidential election results Friday in favor of President-elect Joe Biden -- but called for another audit of the votes. Two Michigan lawmakers summoned to the White House Friday in apparent connection with President Trump's efforts to overturn the election results in that state To go out a winner, Trump must acknowledge defeat.

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Rome, title screen credits 1st season.

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One consequence of this search for verisimilitude is the variety of accents heard in this series, which is a multinational co-production American, British and Italian. As is still the case in Britain today, accents are one of the most important markers of social class and represent the differences in wealth and social status of the characters, from the well-taught Patricians to the uneducated Plebeians.

In that respect, the contrast with the very R. Only then does the camera pan across the triumph and the cheering crowd This dichotomy seeps into the narrative itself and is visible in the very structure of the episodes. The series pointedly tries to picture both sides of the same buildings, suggesting that the educated, refined Patricians are in fact just as ruthless and violent as the Plebs they so despise. Numerous characters are poisoned, stabbed, etc. This violence however is not gratuitous. Both I, Claudius and Rome play on deliberate dissonances between the values of our world and that of Ancient Rome.

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The world of Rome being depicted is that of a harsh, pagan, pre-Christian society with a strong moral code which is in a complete contrast of our own, a society where compassion, mercy and pity were seen as weaknesses, not virtues, where might was right and where the institution of slavery, for instance, was seen as totally normal and was never questioned.

I, Claudius however, favours the telling over the showing as violent scenes most of the time take place off screen and are suggested or reported rather than acted out on screen.

For example, young Claudius is the laughing-stock of his entire family because he does not like watching the bloody games that the Romans enjoyed so much and he even faints during the first fight in the games dedicated to his father Drusus episode 4. Ridley Scott, The director and the historical consultant, as well as some of the actors, repeatedly say in the bonus DVD how, thanks to the series, their immersion into that pagan, albeit fictional, world made them realize how much our Western world today is both totally impregnated with and repressed by Judeo-Christian morality. According to Jonathan Stamp, in order to try and understand ancient Rome, the viewers have to free themselves from their Christian point of view, which they are steeped in, whether they are aware of it or not, and which is totally foreign to the world of ancient Rome.

This is also very clear in the way religion is depicted. The characters in Rome seem to have a fairly contradictory attitude to religions. On the one hand, the Roman clergy is somewhat traditionally seen as greedy and corrupt, both by the upper classes Caesar himself bribes the chief haruspex in episode 4 and by the people.

The depiction of various Roman religious rituals is also carefully orchestrated to highlight their — to us — outlandishness. For example, as early as episode 1 the viewers are shown the spectacular ritual associated to the cult of Cybele, the Great Mother, when the Patrician Atia goes and prays the Goddess for the safety of her son Octavian, who has gone missing in Gaul.

It involves chanting, self-castrated priests, the sacrifice of a black bull and a blood bath Plate 4. Plate 5: I, Claudius , the Sybil and the dying Claudius, episode In episode 7, Livia on her death-bed makes Caligula and Claudius promise that when they become emperor they will make her a goddess so that she can escape punishment in the after-life for the numerous crimes she committed during her mortal life. The viewers do not get the sense of the omnipresence of religion throughout all the social classes which Rome conveys so successfully.

Moreover, Christian morality and symbols sometimes seem to pervade the series: for instance, in the credits the serpent slithering across the mosaic of Claudius plate 2 is clearly endowed with negative Christian symbolism treason, danger… whereas in ancient Rome the serpent was seen as a positive spirit.

However Judaism is mainly seen as the origin of Christianity: in the final episodes, discussions about the coming of the Messiah become more and more frequent, as first Caligula, and then Herod himself believe they are this Messiah episode By comparison with other cultures in the ancient world, they had more freedom and latitude and, generally speaking, more of a life outside the confines of the home.

She is eventually successful, poisoning in the meantime a large number of rivals and in the end Augustus himself episode 5. The same story repeats itself a few generations later with Agrippina, who also poisons her husband Claudius to make sure her son Nero becomes emperor episode For the women of Rome Atia and Cleopatra in particular sex or, in the case of Livia and Agrippina in I, Claudius , poison, is a means to that end, for they have no official political power and so resort to sex to manipulate men. L ivia.


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And all I ever wanted was for you and for Rome. Nothing I ever did was for myself. Only for you and for Rome.

Messalina is one of the more complex female characters of the series and is not only portrayed as the sex-crazed wife of poor, trusting old Claudius that Suetonius, for one, described. However, in the series as well as in the novel,. In I, Claudius even the orgies are relatively quiet affairs. The series was, after all, adapted from novels written in the s and aired in primetime on public television at a time when homosexuality was still considered as a criminal act One example is the scene in episode 6 where Octavian is watching his mother having her bath.

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It establishes how very different from ours Roman attitudes were to nudity and what we would see as lack of physical modesty. Contrary to Judeo-Christian principles, the series emphasizes that sexuality was in no way linked to sin 51 and that nudity and more generally the body was nothing to be ashamed of in ancient Rome.

The same can be said about privacy: Atia, for example, has slaves fanning her or handing her water to drink while she is having sex with her different partners for example with Antony in episode 6. The situation is totally different with I, Claudius , and there are in fact more common points between this series and Les Rois Maudits ORTF , broadcast on French television in , than between I, Claudius and Rome : both are typical TV products of the s, are also extremely well played, were written for public television with a mission to entertain, but also to educate the viewers — tastefully.

Both also share a similar vision of history as the more or less exclusive story of great men and great families: the Julio-Claudian emperors of Rome for the first one, the Capetian kings of France for the second, with very little consideration for the people they ruled over. This is what makes it possible for 21 st century viewers to feel that they can identify with the protagonists who are after all seen as not very different from them As Florence Dupont has pointed out, however, more than the occasional anachronism, the vision that they convey of human nature as never changing is perhaps the greatest falsification of them all.

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