Ben Hur : Season 1 Episode 1

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\"The Stolen Eagle\" is the series premiere of the British-American historical drama television series Rome. Written by series creator Bruno Heller and directed by Michael Apted, the episode first aired in the United States on Home Box Office (HBO) on August 28, 2005, and on the BBC in the United Kingdom and Ireland on November 2. Rome was given a budget of $100 million, making it the largest amount both networks had ever spent on a series. Heller centered the series' narrative on the perspectives of two common soldiers, similar to Rosencrantz and Guildenstern from Shakespeare's Hamlet. Apted shot the episode at Cinecittà, the Roman studio where the epic films Ben-Hur and Cleopatra were filmed. On the set, realism and authenticity were emphasized more than grandiosity, with depictions of a cosmopolitan city of all social classes.

\"The Stolen Eagle\" was written by executive producer and co-creator Bruno Heller and directed by Michael Apted, who also directed the following two episodes.[1] Heller said the era of the Roman Empire was \"pivotal in Western history. If things hadn't turned out the way they did at that particular point, the world that we live in now would be very different.\"[2] He decided to tell the story of the series from the perspectives of two common soldiers, Lucius Vorenus and Titus Pullo. According to Heller, \"They are the only two ordinary soldiers mentioned by Caesar in his book, so the idea was to do a sort of Rosencrantz, and Guildenstern take. I essentially took the seed of that idea to try to tell a big historical epic, but from the street level, the everyman's point of view.\"[3][4]

The episode title is a reference to the standard of the Roman legion, a symbol that represents the legion's unity. While the storyline detailing its theft was based on fiction, Heller believed that it showed how Caesar could turn \"misfortune into opportunity. He was always one step ahead of his enemies.\"[4] Certain characters were changed from their traditional images; for instance, while Brutus has been portrayed as the noblest Roman, Heller and historical consultant Jonathan Stamp thought it would be interesting to have him forced into his later role through his ancestry. Alluding to the fact that Brutus' great great great grandfather \"drove the last king out of Rome\", Stamp said that \"his family history was pushing him in one direction, his emotions in another.\"[4]

The series was given a budget of $100 million (58 million),[10] the largest both HBO and the BBC had ever devoted to a series.[1][11] The season was filmed between March 2004 and July 2005,[2] at locations in or around Rome,[12] and on a set considered \"to be the biggest and most expensive ever built for television.\"[5] It was built at Cinecittà, where the epic films Ben-Hur (1959) and Cleopatra (1963) had been filmed.[6] Production designer Joseph Bennett built a set that emphasized authenticity and realism rather than grandiosity. He said,

Heller was responsible for writing the episode's voice-over, despite his dislike of the task. He said that despite it being his \"400th version,\" he was \"still not happy with it.\"[4] He believed that an early scene in which spoils are distributed from a cart in front of Pompey represented the first real sense of how the series would depict city life. He said, \"I think this is the first time that we get a sense of the version of Rome that the show is pushing,\" which was a very different version than viewers may have been used to. To him, Rome was \"colorful and painted\" and cosmopolitan.[4] A later scene featuring Cicero the Younger in the Senate proved difficult to film because of a large number of Italian extras who did not speak English. In the DVD audio commentary, he said that \"this is one of those scenes where you need really great assistant directors, because all of these Italian extras who have no idea whatsoever what [Cicero's] saying, so to keep them interested and focused and concentrated on what's going on is a real trick.\"[4]

HBO said its marketing plan for the series was, \"its largest, most aggressive push for a new series\". The channel broadcast the first three episodes seven days a week at various times during the day. Non-subscribers could preview the first two episodes during the first week of September 2005.[1] HBO implemented an outdoor marketing campaign in major cities and produced movie-style trailers which preceded a number of films in cinemas. Entertainment Weekly, Vanity Fair, Time, and GQ published full-size articles about the series.[15] The History Channel broadcast five nights of documentaries featuring the Roman Empire, which were hosted by Stevenson, McKidd, and Varma, a collaboration which was the first of its kind between the two networks.[15]

\"The Stolen Eagle\" was the first broadcast on August 28, 2005, in the United States on HBO and in Canada on The Movie Network and Movie Central.[17] An estimated 3.8 million viewers watched the episode, less than the series premieres of Carnivale and Deadwood but consistent with the series finale of Six Feet Under.[18] In the UK and Ireland, the premiere was broadcast on BBC 2 on November 2, 2005. According to The Independent, more than 6.6 million viewers watched the episode.[19]

\"The Stolen Eagle\" received generally mixed reviews from television critics, many of whom criticized its slow pace. Mark A. Perigard of The Boston Herald wrote, \"Less perverse than I, Claudius, more entertaining than American Broadcasting Company's (ABC) toga twister Empire, \"Rome\" gets off to an uneven start.\"[20] Terry Morrow of the Dayton Daily News criticized the premiere, writing that \"the opener, like most pilots, is so bogged down with introducing faces and setting up the story that it turns into a long and tedious journey.\"[21] Morrow also said the episode suffered from lacking one \"standout, signature character\", though he believed that the \"flaws in Rome should clear up in time, given HBO's knack for winning dramas. It's an epic story, and one worth savoring if you can muddle through the demands of slow storytelling in the beginning.\"[21]

The Scotsman's Robert McNeil thought that the premiere was \"shocking, but also rather slow, as characters are established. Maybe it'll get better. In the meantime, to paraphrase Roger McGough, I came, I saw, I concurred with those who say: Rome wasn't built in an hour.\"[22] Similarly opinionated was The Cincinnati Post's Rick Bird, who said that like other HBO series, Rome \"takes a while to get going. After the first episode you will mostly be confused with a dizzying array of characters, intrigue and subplots. Hang in there. By the second episode things take shape and one should be hooked by episode three with this steamy romp through antiquity and its lusty intrigue.\" Bird found some positive elements; the episode, he said, was \"enhanced by marvelous filmmaking including elaborate sets and costumes. Small-screen film art has rarely painted such a realistic picture of ancient Rome.\"[3]

Paul English of The Daily Record wrote that \"Rome is visually dazzling, full of vim and tantalizingly seductive,\" adding that \"McKidd's growling turn as Ceasar's [sic] footsoldier Lucius Vorenus will undoubtedly propel him into the US major league.\"[23] Writing for the Los Angeles Daily News, David Kronke failed to find the series very remarkable, writing that \"notwithstanding some lurid sex and gruesome violence, [it is] as conventional as anything the network has ever done. Sword-and-sandals epics have become familiar Hollywood staples ... and those expecting something that takes up where the legendarily decadent BBC/PBS series I, Claudius left off may be in for something of a disappointment.\"[24] Television Without Pity graded the episode with a B.[25]

Global initially ordered six episodes, which aired once a month in the fall of 1976; they then ordered a further seven, which aired twice a month through May 1977. This was expanded by another 13, which aired in the fall of 1977, for a total of 26. In exchange for providing the production facilities, Global broadcast SCTV without paying a fee. Starting in the fall of 1977, all 26 shows were bundled as a single series for syndication in the U.S., where they started airing for the first time, a full year after the show's debut in Canada.

The show started with a very loose framework - the Sunrise Semester show, SCTV News, Words to Live By to finish off, and borrowed heavily (both sketches and characters) from The Second City stage show. By the second set of 13 episodes, the show had a new director (George Bloomfield) and was growing by leaps and bounds as they mastered the medium.

The inaugural show introduces several major characters, including Johnny LaRue, Earl Camembert, Floyd Robertson and Moe Green. It features a somewhat tenuous wraparound concept involving LaRue - according to Dave Thomas' book, the running time for this episode ran well past 30 minutes, much of the linking material for the wraparound being cut to achieve the final running time. This episode also introduces four programs that would feature frequently throughout the show's run: Sunrise Semester, a vehicle for an assortment of characters to educate viewers, would end up appearing in every series except the last; Words To Live By, the inspirational station signoff, would also appear frequently in the first three series; SCTV News; and Masterpiece Theatre, hosted by Alistair Cook.

The SCTV format still isn't entirely worked out, as Ramis, Candy and Thomas appear as themselves in the opening announcement. Ethnic humour and Gypsies provide the running concept for the episode. Lin Ye Tang's first appearance. The music for the Leutonian Hour is taken from the first part of the polka medley 'Emilia's/Always In the Way/Helena' by the Stanislawski Polka Band. 59ce067264

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