Class warfare, sex and death -- HBO charges boldly into 'Rome'

One critic's first take on the first six episodes:

"...we follow two extremely different men of the 13th Legion: Lucius Vorenus (Kevin McKidd), a man of loyalty, honor and duty to the Empire. And Titus Pullo (Ray Stevenson), an enormous fighting machine, a goon who thinks with his genitals, has an extremely short temper and a very quick sword (which often, and with precision, guts someone's throat from front to back).

Vorenus is torn between his loyalty to the 13th and his belief that the Empire is crumbling from years of corruption and greed. He knows that Caesar is likely to speed the decline. Pullo, though dim-witted, is more enlightened about changing times. Rome, and the world, has changed, he tells Vorenus. Don't get hung up on history -- there's no going back.

Into their world -- from senators to slaves -- comes a brilliantly nuanced group of other characters. This is where HBO really shines. A great drama goes beyond two leads and opens up and explores the lives of auxiliary characters, each making the series in question resonate much more powerfully.

That's also true in "Rome" which more than excuses the languid, complicated pace of the first two episodes. And it will be mighty handy, once you get hooked, to have access to the HBO Web site, which has set the standard for character identification, family trees, lines of power, etc.

As the episodes unfold, there are wonderful performances from Polly Walker as Atia of the Julii, James Purefoy as Mark Antony, and Max Pirkis as Atia's son, Gaius Octavian.

This is in addition to four riveting performances from McKidd, Stevenson, Cranham and Hinds. Credit must also go to series writer, co-creator and executive producer Br">Class warfare, sex and death -- HBO charges boldly into 'Rome': "we follow two extremely different men of the 13th Legion: Lucius Vorenus (Kevin McKidd), a man of loyalty, honor and duty to the Empire. And Titus Pullo (Ray Stevenson), an enormous fighting machine, a goon who thinks with his genitals, has an extremely short temper and a very quick sword (which often, and with precision, guts someone's throat from front to back).

Vorenus is torn between his loyalty to the 13th and his belief that the Empire is crumbling from years of corruption and greed. He knows that Caesar is likely to speed the decline. Pullo, though dim-witted, is more enlightened about changing times. Rome, and the world, has changed, he tells Vorenus. Don't get hung up on history -- there's no going back.

Into their world -- from senators to slaves -- comes a brilliantly nuanced group of other characters. This is where HBO really shines. A great drama goes beyond two leads and opens up and explores the lives of auxiliary characters, each making the series in question resonate much more powerfully. When television is done extremely well, you get maybe four additional characters of merit. In HBO gems such as 'The Sopranos,' 'The Wire,' and 'Deadwood,' truly fleshed-out characters often number in double digits -- a grand dramatic achievement.

That's also true in 'Rome,' which more than excuses the languid, complicated pace of the first two episodes. And it will be mighty handy, once you get hooked, to have access to the HBO Web site, which has set the standard for character identification, family trees, lines of power, etc.

As the episodes unfold, there are wonderful performances from Polly Walker as Atia of the Julii, James Purefoy as Mark Antony, and Max Pirkis as Atia's son, Gaius Octavian.

This is in addition to four riveting performances from McKidd, Stevenson, Cranham and Hinds. Credit must also go to series writer, co-creator and executive producer Bruno Heller, who has turned "Rome" into an addictive, open- ended, page-turner of sorts. Each episode is like a chapter in a book, and you don't want to wait another seven days to move forward." - Tim Goodman, SFgate.com