November 8, 2024

Gladiator II

It has been a big year for old men making no-subtext, all-text movies where Rome stands as an analogue to the U.S. First there was Coppola’s Megalopolis (or Centrism Shrugged), and now Ridley Scott’s Gladiator II.

The placement of America as Rome is apt. Rome, like America, is both heavily evidenced and wholly unknowable. The world is filled with their aqueducts and coliseums. But Rome as been made and remade within the cultural consciousness so many times it is hard for most to separate the realities from the fictions. Of course, Rome’s own dedication to self-mythologizing doesn’t help. The past is an unknown land and Rome is perhaps more unknown than most, given how well we think we know it. Our confidence blinds us to our ignorance.

America, even for Americans, can feel much the same. McDonald’s wrappers may litter the globe but they bring no deeper understanding of the American psyche. Sometimes reports from only miles away can feel like they are coming from space. (“What are those folks thinking?”)

Gladiator II’s Rome, like America, is an empire. It is bound by a loose and ineffable Roman identity. Those who assimilate can keep their tongues and their gods; as long as they adopt Roman gods too. But without a larger ideal to the tie to the Roman identity, Roman identity is fracturing and the capital along with it.

The Roman government—led by ghost-faced emperor twins—seeks to maintain its luxury lifestyle by feeding the public an endless stream of violence. Cultural enemies are made of conquered peoples and the violence of the empire abroad is reenacted at home in the blood-soaked arenas.

The rising income inequality threatens the balance. The empire’s gaping maw will never be filled but any material benefits do not seem to filter to the people. Rome is at once glittery and bleak. The rich eat lobster tails the color of Corvettes as the homeless encampments grow. Outside, the cries of the hungry become so commonplace as to be background noise.

You get it yet?

Gladiator II (releasing November 22) is a perfectly timed movie. It felt queued up for today, right now. It is earnest and idealistic. It isn’t bogged down in details and stays laser focused on its message of connection and compassion. Our hero viscerally understands the evil of Rome-the-empire and the nobility of Rome-the-ideal. He posits that fulfilling the latter relies on ending the former. I can’t help but agree. I left the theater feeling cheesy and heartened.

In the times ahead, I am seeking deeper connection—with myself, with art, with others. Over the last year or so, I have made efforts to introduce more intentionality into my life. I buy CDs and keep a curated music selection on my computer, rather than streaming whatever. I reach for a DVD many nights so I don’t have to open an app and inevitably be subjected to the opinions of others. I am just trying to watch Spy, thank you.

It felt like a “life hack” but now it feels like a matter of political importance. The internet—and the algorithmic viewing of streaming apps—are a sea of propaganda both directed and self produced. With the ever-present eye of social media upon us, we seek to market test our ideas to become the perfect product. The internet—once a place for self-expression—becomes a place for self-denial. (“I never talk about X. It isn’t in my niche.”) You can have a niche in study or architecture, but not in art. With art, you must be free to explore, to express, to be honest. You have made yourself content, without any deeper motivation than attention. As my husband shouts any time I look at Instagram—the internet has made us both consumer and product. We have to stop making money for these disgusting rich fucks on their stupid platforms that trap us. There is scant connection to be found.

The hero of Gladiator II knows himself. And, armed with this knowledge, he has the capacity to connect, understand, and forgive. He does not get caught up in the games of others, so focused on realizing his values and encouraging others to see them as well. He’s a really good listener.

In times of uncertainty, it is easy to lose yourself. It is easy to look for others to tell you what you can or should do or be. But we must lean into who we honestly are and connect with the cores of our being. Only then can one earnestly create connection with those around them, with those who share one’s values and ideals. The honesty can feel vulnerable but it is so much more rewarding than the alternative.

Anyway, two hearty thumbs up from me. And even if the movie doesn’t get you hyped enough to write 700+ words, you can at least see Paul Mescal suplex a guy through a table.

PS: If you’re looking for something to do, to connect offline, the Working Families Party has put together a really great toolkit.