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Apr 04, 2011 Web Exclusive By Lily Moayeri

Hot on the heels of The Tudors, Showtime takes further outrageous liberties with 15^th century history in The Borgias. Boldly claiming the infamous clan as “the original crime family,” The Borgias is the story of Spaniard cardinal Rodrigo Borgia who becomes Pope Alexandar VI (Jeremy Irons) and his ruthless family who have no qualms decimating anything and anyone in their path. Irons’ Pope is not quite of the bubble car variety, and neither is the role of Pope during that time. Essentially the most powerful entity, and not just in the Christian world, having children is not unusual and neither is having concubines. Joanne Whalley is Vanozza, the mother of Rodrigo’s children: the rapacious and outrageously smoking hot Cesare (Francois Arnaud), the pleasure-seeking Juan (David Oakes), the deceivingly luscious Lucrezia (Holliday Grainger), and the young murderer-in-training Joffre (Aidan Alexander). Lotte Verbeek plays Rodrigo’s new love interest, Giulia Farnese, smoothly wielding power from between the sheets.

As The Tudors proved (and rival Camelot is also proving) sex and swordplay is what you need to make history immediate. After bribing his way into the papacy, Rodrigo mercilessly does what he has to in order to keep his seat. Swatting detractors off like so many flies, he installs a “court” of cardinals of his own choosing, including son Cesare. The embodiment of cruelty and brutality, Cesare commissions an assassin, Micheletto (Sean Harris) to dispose of unwanted individuals. Michelletto, in turn, is the most emotionless of hitmen, taking care of business with expressionless efficiency. Rodrigo puts Juan at the head of the Papal armies, against his will and marries Lucrezia off to the most beneficial bidder. (Scenes of Lucrezia’s many suitors offer comic relief more modern than its setting, but nonetheless humorous.) Considering the borderline incestuous closeness of Lucrezia and Cesare, and Guilia’s and Lucrezia’s kissing lessons, one has to wonder at the extent of the depravity of the Borgias.

Lavish production and elaborate costumes make The Borgias a painting come to life. There is a richness to the visuals that adds to the opulence of the setting. This is, after all, the Renaissance, the time of Leonardo da Vinci and Machiavelli, both of whom make appearances. The actors are a credit to their surroundings. Each brings a crafted personal touch to their characters, making the questionable validity of the story infinitely more acceptable.

The Borgias have been purported to be who the Corleones, and later, the Sopranos were fashioned after. They prove to be just as bloodthirsty, lascivious, and entertaining. It is television, after all, not history. (www.sho.com/site/borgias)

Author rating: 7/10