Gladiator 2 Historical Accuracy: Separating Fact from Fiction

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Like a lone gladiator fending off a p*ssed-off rhino, Gladiator II has been mauled for playing fast and loose with history. “A lavish spread of historical accuracy” is how one historian has described it. “Total Hollywood bulls***” was the assessment of another. But for all its shortcomings as a historically accurate depiction of ancient Rome, Gladiator II does get some things right. 

The Real-Life Emperors of Gladiator II

While no Maximus Decimus Meridius (husband to a murdered wife, father to a murdered son etc.) ever rose through the ranks of the Roman legions, the franchise’s evil emperors did in fact exist as historical figures. And director Ridley Scott injects historical elements into each. 

Denzel Washington’s Macrinus is especially faithful to the real-life figure.

Ancient Roman marble bust of Emperor Macrinus displayed in Palazzo Nuovo Capitoline Museums showcasing imperial portraiture and classical sculpture featured in Carpe Diem Tours Rome historical exploration and museum educational experiences
Denzel Washington as Macrinus in Gladiator 2 movie showcasing ancient Roman imperial history and culture featured in Carpe Diem Tours Rome historical exploration and Colosseum educational experiences

Bust of Macrinus in Rome’s Capitoline Museums

Denzel Washington as Macrinus in Gladiator 2. Image Credit: Paramount Pictures

Born in modern-day Algeria, in Northern Africa, the pierced-eared Macrinus was in fact a deft political chancer and shrewd social climber, being the first emperor not born to aristocratic senatorial stock (and the first emperor who never visited Rome). But he still came from quite a wealthy family — unlike the Macrinus from the film, who, it is suggested, has climbed his way up from humble origins. 

Macrinus’ reign was, however, pitifully short (though still more than the few days suggested in the film). The real-life emperor Macrinus ruled for just over a year before being ousted by another ambitious emperor, Elagabalus, and beheaded in Antioch, in modern-day Turkey.

Gladiator II’s terrible twosome of Caracalla and Geta are, by contrast, a far cry from the real-life emperors. Far from wining, dining and presumably applying their makeup together, these young emperors avoided each other like the plague, even going so far as to live in separate parts of the imperial palace. What made their relationship so fraught was the constant fear of assassination which, perhaps inevitably, was the ultimate outcome. 

Caracalla managed to convince their mother Julia Domna (completely absent from Gladiator II) to arrange a meeting with Geta so the two could settle their differences and set out the terms for their joint rule. But before a word could be uttered, the Praetorian Guards stormed into the room and stabbed Geta to death, leaving him bleeding to death in his mother’s arms. 

Caracalla proceeded to enact what we call Damnatio Memoriae, the Roman political equivalent of cancel culture, by removing all traces of Geta’s life and legacy. He recalled coins bearing Geta’s image from circulation and had them melted down. He erased his image from artworks and portraits and carved out his name from epigraphic inscriptions. He even recarved Geta’s statues to resemble other emperors. 

Ancient Roman family portrait of Emperor Septimius Severus with erased figure of Geta showcasing damnatio memoriae and imperial dynasty history featured in Carpe Diem Tours Rome historical exploration and Capitoline Museums educational experiences

Portrait of the family of Septimius Severus. Notice how the portrait of Geta (left) has been erased entirely.

Our sources say that Caracalla carried this guilt for the rest of his life, which he spent mostly away on campaign in Parthia rather than overseeing a Senate chaired by his pet monkey (this is surely a nod to the emperor Caligula who allegedly threatened to make senator). Caracalla met his end not in the Colosseum at Macrinus’ hands, but after urinating by a Parthian roadside when he was stabbed to death by a centurion (though Macrinus may have given the order). 

The Colosseum in Gladiator II

Ridley Scott’s depiction of the Colosseum as something of almost otherworldly scale and ambition pretty accurately depicts how its attendees would have viewed it. He nails this in the first Gladiator film, where a group of gladiators, who may never have ventured beyond their villages, set eyes for the first time on this imposing structure, which looms more like a skyscraper from Blade Runner’s LA than any stone monument from ancient Rome.  

But the spectacles that unfold on the arena floor are fanciful to say the least. Sea battles could have taken place in the Colosseum during its inaugural games, but the existence of an aquatic arena built especially for that purpose beneath Piazza San Cosimato, in the modern-day neighbourhood of Trastevere, surely rendered the endeavour redundant. 

Historical plan of Augustus Naumachia beneath modern Trastevere district showcasing ancient Roman urban planning and imperial naval spectacles featured in Carpe Diem Tours Rome Trastevere exploration and archaeological educational experiences
Reconstruction of ancient Roman Naumachia of Augustus beneath Piazza San Cosimato in Trastevere showcasing imperial naval spectacles and Roman engineering featured in Carpe Diem Tours Rome Trastevere exploration and historical educational experiences

Plan of Augustus’s Naumachia which underlies today’s Trastevere district

Reconstruction of the Naumachia of Augustus beneath Piazza San Cosimato in Trastevere. Image Credit: Maquettes Historiques

What we can say for certain is that no Colosseum combatant was ever eaten by sharks. Not because sourcing Great Whites would have been beyond the capabilities of the ancient Romans, but because these predators would not have fared well outside salt water.  

What the film does get right is the exoticism of some of the animals that were killed in the arena. The rhino is attested by the ancient poet Martial, though it was pitted against other animals rather than ridden onto the arena as a steed. Bloodthirsty baboons are a bit much, though. We have no record of primates ever being set upon prisoners either in the Colosseum or any other Roman arena.  

Ancient Roman Quadrans coin of Emperor Domitian depicting rhinoceros showcasing imperial numismatics and exotic animals in Roman culture featured in Carpe Diem Tours Rome historical exploration and Capitoline Museums educational experiences
Gladiator entering Colosseum Arena on rhinoceros in Ridley Scott's Gladiator 2 showcasing ancient Roman amphitheater spectacles and gladiatorial combat featured in Carpe Diem Tours Rome Colosseum exploration and historical educational experiences

Quadrans of the emperor Domitian (83-85 CE) depicting a Rhinoceros

Gladiator enters the Colosseum Arena on a Rhinoceros in Ridley Scott’s Gladiator II. Paramount Pictures.

The City of Rome in Gladiator II

Perhaps where Gladiator II disappoints most is in its depiction of the city of Rome itself. Ridley Scott’s Rome is devoid of colour, with white marble busts and bare brick walls. It looks like the ancient world we encounter when we visit museums. But Rome, in reality, was a gaudy mess of colour. Pigment residue found on ancient statues allows us to restore these statues to their garish former selves, and the result is quite shocking, with the emperor Augustus looking like a kind of toga-d military Ed Sheeran. 

The second shortcoming concerns the layout of the city. Ridley Scott’s Rome is a city of vast open spaces. Nowhere is this more visible than towards the beginning of the film during Marcus Acacius’ triumphal return into. But nowhere in the imperial city were there these kinds of spaces. Instead, it echoes imagery from the Nuremberg Rallies of the Nazis, who drew heavily from Roman art and architecture for their neoclassical style, retrospectively projecting it back onto antiquity.

Caracalla as depicted by Fred Hechinger. Credit: Paramount Pictures

Not to say this doesn’t serve Scott’s purpose well. By introducing Nazi totalitarian imagery, he gives his audience that powerful, frightening sense of the might of ancient Rome.

Finally, its depiction of daily life in ancient Rome leaves a lot to be desired. In one scene, Macrinus appears to be kicking back in a café sipping a mug of tea or coffee and reading a Roman newspaper. None of these things existed in ancient Rome, and including in the film seems strange at best and lazy at worst. 

What the Ancient Romans Would Have Thought

Despite all these criticisms, the ancient Romans would have quite liked Gladiator II, not for the blood and the CGI but for the underlying message and the fact it plays fast and loose with history. 

Gladiator II is, at its core, a film about an outsider — Lucius Verus — whose values better reflect the “dream” of Rome” than those of any around him, be they crazed emperors, snivelling senators, or the deliciously Machiavellian figure of Denzel Washington’s Macrinus. 

The Romans were well aware of the rot at the heart of their Empire. They situated it not with the war-weary generals on the frontlines of foreign lands but at the heart of Roman politics, with the capricious rule of the emperors and the servile senators who supported them. The eccentric depiction of Roman emperors in the Gladiator franchise mirrors the way ancient authors depicted the emperors of their own time.

How accurate these depictions are is highly debatable, but historical accuracy is not really the point. Rather the point was to cast evil emperors as a symptom of the rotten political system over which they governed. 

Emperor Caracalla portrayed by Fred Hechinger in Gladiator 2 showcasing ancient Roman imperial dynasty and historical figures featured in Carpe Diem Tours Rome historical exploration and Capitoline Museums educational experiences

Caracalla as depicted by Fred Hechinger. Credit: Paramount Pictures

That said, Roman audiences would not have wished for the restoration of the Republic. That idea died after the assassination of the emperor Caligula when the Praetorian Guard forced their man Claudius onto the throne, making it quite clear to any starry-eyed senators that they would not go without a paymaster. However, they would have been content with a humble conservative and decorated military man on the throne – something Pedro Pascal’s General Acacius could accommodate nicely. 

War-weary Marcus Acacius portrayed by Pedro Pascal in Gladiator 2 showcasing ancient Roman military leadership and imperial history featured in Carpe Diem Tours Rome historical exploration and Colosseum educational experiences

A war-weary Marcus Acacius (Pedro Pascal) after the opening battle in Gladiator 2. Image Credit: Paramount Pictures

What the ancient Romans would have hated most about Gladiator II is its utopian “make love not war” vision of Rome. In the speech Lucius delivers after carving up Macrinus, he describes Marcus Aurelius’ dream of Rome as “a city for the many and a home for those in need”. Romulus might have founded Rome as an asylum, welcoming anyone who was anyone to bolster its nascent population. But the idea that Rome in the third century was either welcoming or accommodating for the wandering dispossessed is frankly for the birds. 

Mescal’s Lucius invites Rome’s legionaries to put down their arms, to stop the bloodshed, “to rebuild this dream together”. But the inconvenient truth is that the price of Roman peace was plunder from foreign powers, and if Roman history teaches us anything it’s that when Roman swords weren’t pointing outwards, towards foreign enemies, they were pointing inwards, at pretenders to the throne and the Roman soldiers in their pay. 

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Alexander Meddings
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Alexander Meddings is a professional copywriter and postgraduate in Roman history from the University of Oxford. After graduating with his MPhil, he moved to Florence and then Rome to carry out his research on the ground and pursue his passion at the source. He now works in travel, as a writer and content consultant, and in education as a university lecturer and translator.
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