Is alessandro bedetti gay

It’s clear from the moment we meet him that he’s queer, and not just because he’s snarling and campy; he explicitly has a male lover, the slave boy Hermes (Alessandro Bedetti). There’s something deliciously decadent about Jojo Macari’s performance in the role. In this interview, Alessandro shares his journey, the challenges he faced, and the emotions he experienced on the set of such a grand production.

He shares amusing anecdotesand profound reflections on acting and his personal experience, revealing the human side behind the actor. Discover the filming locations of Those About to Die with our daily gay tour in Rome! One of the most fascinating aspects of the series is the relationship between Domitian and his slave Hermes (played by Alessandro Bedetti).

K Followers, Following, 37 Posts - Alessandro Bedetti (@alessandrobedetti_) on Instagram: " Cinema: Fabrizio@ Adv: ti@ 🇮🇹 BOLOGNA. ROMA.". Alessandro Bedetti was born on 25 October in Bologna, Emilia-Romagna, Italy. He is an actor, known for Bridget Jones: Mad About the Boy (), The Tearsmith () and Headshot (). Hello, dear reader! Do you like what you read here at Omnivorous? Do you like reading fun but insightful takes on all things pop culture?

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K Followers, Following, 37 Posts -

These are the characters that entrance and entertain and revolt us, sometimes all three at the same time. Omnivorous is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber. I must admit that I was very wary when I heard about Those About to Die, the new gladiator-themed series streaming on Peacock.

To begin with there was the fact that it was being released on one of the less-prestigious streamers. I mean, not to be cruel or dismissive, but Peacock is not particularly well-known for its prestige productions. Then there was the fact that Roland Emmerich was going to be directing several episodes. Amidst all of the charioteers, crime lords, daring heroines, and enslaved gladiators, one character captured me from the moment he appeared: Domitian, the younger son of the aging emperor Vespasian played with suitable Shakespeearen gravitas by Anthony Hopkins.

With his thin, almost reptilian features, his bulging eyes, and his perpetual sneer, he always seems ready to burst out of the frame. I applaud Macari for being willing to lean into the villainy and the snarling camp of it all rather than going for something more restrained. Whereas Titus is for the most part a man of honor and firm principles—though he continues to conduct an affair with the exiled Judaean princess Berenice, all while keeping her people in bondage—Domitian always has his eye on the main chance.

Even though he is passed over by his father when it comes time to declare an heir, he bides his time and, when the chance comes to assassinate his brother and ascend the throne he takes it. Queerness has triumphed, but at a terrible and bloody cost. He loves the pulse of blood in the arena, and he is one of the motivating forces behind the construction of the Colosseum.

Unlike Titus, for whom bloodshed is always a means to an end and to be avoided when possible, Domitian seems to savor it to an almost obscene degree. More to the point, he also realizes that entertaining the masses is a key element of the Flavian hold on power. To use a well-worn aphorism, they want bread and circuses, and they will worship the one who gives it to them.

Yet even here his power is challenged, particularly by the Numidian Kwame Moe Hashim , and Domitian derives sadistic pleasure from trying to destroy him. In what is perhaps the grimmest and most horrifying scene in the entire season, he even goes so far as to have a child executed just to spite the upstart gladiator who has, against all the odds, managed to secure his freedom.

The closest he comes to any sort of meaningful connection is with his slave boy Hermes. There are some remarkably tender moments between the two of them, and for his part Hermes does seem to have some genuine feelings for his master.

In particular, he intervenes at crucial moments in order to keep Domitian from giving in to his darker, more sadistic impulses. These are clearly not the actions of a devoted lover, but they are definitely those of a Roman noble who believes that his slaves really are his property and that his feelings for them will always be dictated and determined by their power difference.

This tragic queer love story—if we can call it that—reaches its dreadful climax when Domitian has Hermes tied to the brow of a ship and set afloat in the Colosseum. As the emperor pithily puts it, the goddess Discordia seems to live inside of him.