Review of ‘Spartacus: House of Ashur’: Starz's Spinoff Continues to Deliver Sexy, Gory Spectacle

Though both set in ancient Rome, 2000s Gladiator and the Starz series Spartacus (20102013) share little beyond the sword-and-sandal genre. Yet, while watching Spartacus: House of Ashur, the new spinoff, echoes of the iconic line Are you not entertained?! kept replaying in my head. This series is unapologetically focused on delivering sheer spectacle, mixing sexual exploits with graphic violence in ways that make Game of Thrones seem restrained, and layering enough treachery to rival a Ryan Murphy drama. After viewing the first five hours of the ten-episode season, the answer to whether it entertains is an emphatic yes.

The premise itself highlights the shows commitment to thrill. Fans of Spartacus know Ashur (Nick E. Tarabay) died violently in the original series second season, yet he is resurrected here as the centerpiece, a creative choice explained in-universe by a brief, alternate-timeline nod from Lucy Lawless. In this version, Ashur, once a slave and gladiator, was responsible for killing Spartacus and has since risen to run his own house. Despite his elevated status, the established nobility constantly belittles him as the Syrian, emphasizing his outsider status.

A key element of his plan to climb socially involves the arena, where he manages a ludus. The most controversial addition is Achillia (Tenika Davis), the first female gladiator in this realm. The series embraces its own absurdity, reveling in over-the-top indulgences: opulent orgies, savage combat, and elaborate schemes, all presented without pretense or restraint. Characters are as likely to humiliate their enemies publicly as to kill them, and the dialogues playful faux-Latin adds to the shows irreverent tone.

Historical accuracy is not a priority. Julius Caesar (Jackson Gallagher) is depicted with bleach-blond hair and a sculpted jawline, more reminiscent of a social media influencer than an ancient figure. The intention is not realism, but to highlight his manipulative and self-serving nature within this story.

Despite its hedonistic surface, the storytelling is surprisingly robust. Plot developments feel earned, and Achillias journey from newcomer to accomplished gladiator is gradual, reflecting the grueling reality of her path. Ashurs schemes initially fail, making his eventual successes all the more satisfying. Tarabays performance captures Ashurs arrogance and selfishness, yet he remains compelling against adversaries like the cunning nobles Cossutia (Claudia Black) and Proculus (Simon Arblater), who aim to suppress outsiders challenging societal hierarchies.

While House of Ashur maintains a tone of indulgent chaos, it hints at deeper emotional threads. Achillia may have a meaningful backstory, and Ashurs veteran trainer Korris (Graham McTavish) shows potential for tender moments. These arcs unfold slowly, but they suggest the series balances its NSFW thrills with character-driven storytelling.

Meanwhile, the show never misses a chance to thrill audiences with the visceral excitement of gladiatorial combat, making viewers feel like participants in the action. By combining outrageous spectacle with gradual character development, House of Ashur promises both immediate thrills and long-term engagement.

Author: Ethan Caldwell