Rome

Rome follows the clash between private lives and public ambition as the Roman Republic collapses into civil war. The story keeps its feet on the ground by centering on two soldiers, Lucius Vorenus and Titus Pullo, whose friendship and rivalries intersect with the ambitions of key figures like Julius Caesar, Mark Antony, and Atia of the Julii. Everyday concerns, family drama, and battlefield brutality are shown alongside palace plotting and political maneuvering. The series balances gritty personal moments with sweeping historical events, letting viewers see how power, loyalty, and fate shape both celebrated leaders and ordinary citizens without spoiling how events conclude.

Premiering in 2005, Rome was created by John Milius, Bruno Heller, and William J. MacDonald as an ambitious HBO and BBC co-production, notable for its cinematic scope, detailed sets, and emphasis on historical texture.

The series drew awards attention, especially in technical and craft categories. It earned multiple nominations for television prizes, with recognition for production design, costumes, makeup, and other elements that supported its immersive recreation of ancient Rome.

Rome left a mark on how TV approaches historical drama, showing that serialized television could match film-level production values for period storytelling. Its frank depiction of politics, violence, and sexuality helped normalize more adult, complex historical narratives on premium television and inspired later shows to aim for similar scale and authenticity.

Critics and audiences responded well, reflected in a strong vote average and praise for the ensemble performances, notably Kevin McKidd and Ray Stevenson as the two soldiers, and Ciarán Hinds and James Purefoy in high command. Major themes include the corrupting allure of power, shifting loyalties, the tension between public duty and private life, and the human cost of political change. Dialogue and character work often emphasize moral ambiguity, so characters make choices that feel real, messy, and consequential rather than purely heroic or villainous.