How often do you think about the Roman Empire? If you’re anything like me, the answer is probably more than you’d like to admit, which is why I naturally had to tune into Peacock’s latest big-budget swords-and-sandals epic Those About to Die. Based on the book of the same name, which served as the inspiration for Ridley Scott’s Gladiator, this a pretty melodramatic and inconsistent look at Rome during the Flavian Dynasty. But despite its flaws, it serves its purpose as a digestible mid-tier show.

To say the ten-part miniseries Those About to Die is a busy show would be an understatement. Set in 79 AD (or CE, depending on your preference), the show chronicles not only the Flavian Dynasty, involving Emperor Vespasian (Anthony Hopkins) and his two sons, Titus and Domitian (Tom Hughes and Jojo Macari, respectively), but is also a portrait of gladiators, chariot racers, and scheming nobles, the criminal underworld, and the slave trade. A lot is going on and some of the subplots work better than others, creating a rather disjointed experience.

Despite being very prominent in the marketing, Hopkins’ Vespasian is very much not the series lead and doesn’t feature much in the show. The protagonist is arguably Iwan Rheson as Tenax, the fictitious bookie operating in the shows and jocking for power. He’s essentially Peaky Blinders’ Tommy Shelby but in a toga. Tenax is a bit of a douche, especially at first, but he’s also one of the more interesting characters as his position puts him at the intersection of all of these stories, rubbing shoulders with the likes of Domitian, as well as those bound into slavery. His ambition and cunning make him ruthless yet with just enough sympathy to make us care about his goals. His business partner is the very historical Scorpus (Dimitri Leonidas), a champion chariot racer said to be blessed by the gods but is also a drunkard and one in the crosshairs of the Roman nobility.

But the most interesting story is that of Cala (Sara Martins), a Numidian mother whose three children have been sold into slavery by the Romans for pretty dubious reasons. She’s determined to get her children back and thus, becomes the most likely and sympathetic character on the show, as her intentions are the most just and pure whereas the other characters are in search of riches and/or glory, which makes them either harder to root for, or just a bit of a slog to enjoy. One of her three children though is a fearsome hunter who finds himself embroiled in the gladiator schools, which naturally sets him on the path to the newly constructed Flavian Amphitheatre, perhaps best known as the Colosseum, something that Vespasian commissioned during his tenure as Emperor. As a note, it does take awhile for the Colosseum to factor into the show, with most of the action taking place in Circus Maximus.

Those About to Die is developed by Robert Rodat, best known for writing Saving Private Ryan, with half the episodes being directed by Roland Emmerich and the rest by Marco Kreuzpaintner, best known for Bodies and The Lazarus Project. The show, overall, is all over the place however and nowhere is this more apparent than the look. On the one hand, the practical sets look great, thanks in part to filming at the legendary Cinecittà Studios in Rome, and the costumes are also equally impressive. But some of the chromakey and other digital trickery shots end up looking cheaper than even Spartacus did in its early episodes, creating a very inconsistent experience. Close-ups of the chariot racers look very rough and certain shots, such as drummers against the backdrop of the Circus Maximus, look flat. Many digital cityscape shots are detailed enough to be interesting, even if they look more like a video game than a set. I think the biggest issue with these scenes looking subpar is how insanely overlit the show can be, which in combination with the high-res digital cameras, can create an overly shiny and clean look. I also wonder if there was AI used for the background extras, as sometimes there’s a weird motion blur as they walk around. Some of the one-on-one action also left me wanting, as the staging and camera placement relative to the hits made resulted in some hilarious gaps between limb and face.

The story leans more into the soap and melodrama than something more prestigious like Game of Thrones or, for a more apt comparison, HBO’s Rome. Everything is very accessible, with clear heroes and villains, and a decent amount of exposition to keep the audience on track with what’s going on. Yet despite the show not exactly being peak writing, it’s still fun to watch for all its faults. On that note, the first episode is fairly rough, but there was an improvement in quality as of the second episode.

On the flip side, the show does feel at least competently researched, showcasing the transitions within the Flavian Dynasty and the use of the coloured teams used by the chariot teams, including the short-lived gold team of Domitian, as well as the use of colour on the buildings of Rome (which is often visualized solely in white marble). Likewise, the action is fun to watch, especially the chariot racing, which isn’t something we get to see displayed as often on the screen. As mentioned, the green screen is rough during these sequences when the cinematography focuses on the characters, but the wider shots are practical and much more effective.

Those About to Die is far from perfect, but it’s not a total disaster. It’s a perfectly acceptable mid-tier show trying very hard to be something more than it is. Overall, it gets the most unenthusiastic thumbs up, which in this period in history, would allow it to live on. If you can watch Those About to Die with that in mind, you’ll probably enjoy it for what it is, especially if you’re a fan of this period in history as I am. It’s no Spartacus or Rome, but it serves its purpose well enough as an appetizer as we await the release of Gladiator II, which will hopefully be a winner.