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* Crixus looks momentarily alarmed when Spartacus says he smells "like a woman". On the first watch, you think it's just his ego being bruised. Then once you know he's Lucretia's SexSlave, he's possibly worrying that some of her perfume or scent is lingering on him.



* In "Whore", Lucretia tells Naevia to make sure their guest has plenty of wine. At first, you think she's just trying to make sure the cousin of Marcus Crassus is catered to. Then once you know it's Illithyia being tricked into the act, you realise Lucretia wants to make sure she's tipsy enough to not notice that she's with the wrong man. And then Illithyia's blind rage makes even more sense when you think she's quite drunk as well.




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* Fridge Sadness in "Whore". Illithyia warns Lucretia that Licinia never fails to remind those of lower status than her about it when her mood shifts. Illithyia is telling on herself there, but she ends up being unfortunately right about Licinia. Except directed on ''her''.

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** And since Lucretia covered up the exact circumstances, Oenomaus likely doesn't know the wine was poisoned, and possibly believes she may have died from drinking too much or taken a reaction.




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* Kore displays a surprising lack of thought when joining Spartacus's camp, not even bothering to conceal the mark that brands her as Marcus Crassus's slave. Well, because Marcus was her lover, and relatively NiceToTheWaiter, she likely never had to sneak around him or hide too many things from him.
* Mira's determination to protect Naevia isn't simply because she is a caring person and would want to see anyone saved. But remember she had to stand there and watch Lucretia torturing Naevia after the affair with Crixus was revealed, and Mira was also ordered to bring Lucretia a knife; meaning she had to have a hand in the torture and was unable to do anything about it. Her devotion to Naevia is her way of trying to make up for it.
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* Illithyia's death is the ultimate form of karma for her most evil action - convincing Numerius to have Varro killed solely to spite Spartacus. In showing no regard for a slave's life, she tore his family apart; leaving Aurelia a widow and their son fatherless, with Aurelia later having to become a slave and dying horribly herself. So having her baby cut out of her, and then having to watch Lucretia jump off a cliff with him parallels the results her actions had. She loses her life and that of her own child, reflecting how she ruined a family with one callous KickTheDog moment.
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* Agron's CatchPhrase is: "F*cking Gauls!", usually spoken in relation to something Crixus is doing. As Gaul is basically the future France, and Agron is a German, this is almost an ancient foreshadowing of later Franco-Germanic relations across the next 2,000+ years.

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* Agron's CatchPhrase is: "F*cking "Fucking Gauls!", usually spoken in relation to something Crixus is doing. As Gaul is basically the future France, and Agron is a German, this is almost an ancient foreshadowing of later Franco-Germanic relations across the next 2,000+ years.
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* Oenomaus mentions to Spartacus that he does not drink wine anymore, and has not for many years. When Spartacus asks if it is due to religion, Oenomaus replies it is a matter of discipline. It is later revealed in the prequel series that Melitta, Oenomaus's wife, died due to drinking poisoned wine. It is likely the true reason Oenomaus does not drink anymore.
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Ashur removes his own brand, not that of Oenomaus.


* Few slave characters seem to have parents or siblings, or any family to speak of, not even mentioning or alluding to them. Then you realise it's probably because they were separated from their families at a young age to be sold to different Romans. They may not even know or remember their families, or they may be dead.
* When Ashur is torturing Oenomaus, he cuts off the mark of the brotherhood on his arm. Whilst this is no doubt excruciatingly painful, one then remembers how much the brotherhood means to Oenomaus. He has always been proud and honored to be a gladiator of the House of Batiatus and still clings to that after losing everything else. So when Ashur cuts off his brand, he's basically cutting away one of the most cherished parts of Oenomaus' identity.

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* Few slave characters seem to have parents or siblings, or any family to speak of, not even mentioning or alluding to them. Then you realise it's probably because they were separated from their families at a young age to be sold to different Romans. They may not even know or remember their families, or they may be dead.
* When Ashur is torturing Oenomaus, he cuts off the mark of the brotherhood on his arm. Whilst this is no doubt excruciatingly painful, one then remembers how much the brotherhood means to Oenomaus. He has always been proud and honored to be a gladiator of the House of Batiatus and still clings to that after losing everything else. So when Ashur cuts off his brand, he's basically cutting away one of the most cherished parts of Oenomaus' identity.
dead.
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* Few slave characters seem to have parents or siblings, or any family to speak of, not even mentioning or alluding to them. Then you realise it's probably because they were separated from their families at a young age to be sold to different Romans. They may not even know or remember their families, or they may be dead.

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* Few slave characters seem to have parents or siblings, or any family to speak of, not even mentioning or alluding to them. Then you realise it's probably because they were separated from their families at a young age to be sold to different Romans. They may not even know or remember their families, or they may be dead.dead.
* When Ashur is torturing Oenomaus, he cuts off the mark of the brotherhood on his arm. Whilst this is no doubt excruciatingly painful, one then remembers how much the brotherhood means to Oenomaus. He has always been proud and honored to be a gladiator of the House of Batiatus and still clings to that after losing everything else. So when Ashur cuts off his brand, he's basically cutting away one of the most cherished parts of Oenomaus' identity.
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* Lucretia's continued rape at the hands of Ashur becomes especially horrific when you remember the layout of the ludus. The first act is as shocking as it is unexpected, but then he begins blackmailing her to allow it to continue to happen. But consider that it occurs a cell beneath the ludus. This means that Lucretia must continually walk through her home, into a prison beneath it to be raped. She has to UNLOCK the very doors meant to protect her from Ashur, descend into the prison, with the dread of what is about to happen increasing with every step. Afterwards she has to walk back up into her home, lock the door behind her, and put on a happy face, and then repeat the process again the next day.

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* Lucretia's continued rape at the hands of Ashur becomes especially horrific when you remember the layout of the ludus. The first act is as shocking as it is unexpected, but then he begins blackmailing her to allow it to continue to happen. But consider that it occurs a cell beneath the ludus. This means that Lucretia must continually walk through her home, into a prison beneath it to be raped. She has to UNLOCK the very doors meant to protect her from Ashur, descend into the prison, with the dread of what is about to happen increasing with every step. Afterwards she has to walk back up into her home, lock the door behind her, and put on a happy face, and then repeat the process again the next day.day.
* Few slave characters seem to have parents or siblings, or any family to speak of, not even mentioning or alluding to them. Then you realise it's probably because they were separated from their families at a young age to be sold to different Romans. They may not even know or remember their families, or they may be dead.
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[[folder:FridgeBrilliance]]

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[[folder:FridgeBrilliance]]
FridgeBrilliance



[[folder:FridgeHorror]]

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[[folder:FridgeHorror]]
FridgeHorror
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* Lucretia's odd reactions to Illithya's [[GirlOnGirlIsHot kisses]] in ''Blood and Sand'' become much more apparent after ''Gods of the Arena''. Lucretia genuinely loved Gaia, and is in some sense still mourning her. Illithya is similar to Gaia in many ways, but Lucretia just isn't sure if she's ready to let another woman into her life like that again.
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[[foldercontrol]]

!!Fridge for the tv series:
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Ashur

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Lucretia


[[folder:FridgeBrilliance]]



* In S1E1, Sura tells her husband that she'd had a warning dream: an image of him on his knees before a red serpent, his life draining away. It gives the impression that the red serpent is the symbol of an enemy that will claim his life, and in that first episode he does face a gladiator with a red serpent on his shield--and defeats him. But then in S4E10, after Spartacus is mortally injured by three spears and he is slowly bleeding out around them, Agron rushes to his aid and helps him up from the ground to his knees... while wearing a shield with a red serpent strapped to his arm.

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* In S1E1, Sura tells her husband that she'd had a warning dream: an image of him on his knees before a red serpent, his life draining away. It gives the impression that the red serpent is the symbol of an enemy that will claim his life, and in that first episode he does face a gladiator with a red serpent on his shield--and defeats him. But then in S4E10, after Spartacus is mortally injured by three spears and he is slowly bleeding out around them, Agron rushes to his aid and helps him up from the ground to his knees... while wearing a shield with a red serpent strapped to his arm.arm.

[[folder:FridgeHorror]]
* Lucretia's continued rape at the hands of Ashur becomes especially horrific when you remember the layout of the ludus. The first act is as shocking as it is unexpected, but then he begins blackmailing her to allow it to continue to happen. But consider that it occurs a cell beneath the ludus. This means that Lucretia must continually walk through her home, into a prison beneath it to be raped. She has to UNLOCK the very doors meant to protect her from Ashur, descend into the prison, with the dread of what is about to happen increasing with every step. Afterwards she has to walk back up into her home, lock the door behind her, and put on a happy face, and then repeat the process again the next day.
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* In S1E1, Sura tells her husband that she'd had a warning dream: an image of him on his knees before a red serpent, his life draining away. It gives the impression that the red serpent is the symbol of an enemy that will claim his life. In S4E10, after Spartacus is mortally injured by three spears and he is slowly bleeding out around them, Agron rushes to his aid and helps him up from the ground to his knees... while wearing a shield with a red serpent strapped to his arm.

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* In S1E1, Sura tells her husband that she'd had a warning dream: an image of him on his knees before a red serpent, his life draining away. It gives the impression that the red serpent is the symbol of an enemy that will claim his life. In life, and in that first episode he does face a gladiator with a red serpent on his shield--and defeats him. But then in S4E10, after Spartacus is mortally injured by three spears and he is slowly bleeding out around them, Agron rushes to his aid and helps him up from the ground to his knees... while wearing a shield with a red serpent strapped to his arm.
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* The final speech delivered by Agron: "One day Rome shall fade and crumble..." is somewhat ironic as well as prophetic, since the Germanic peoples, especially the Visigoths, Vandals and Ostrogoths, would play a major role in the breakup of the Roman Empire and the sack of the city of Rome itself in 410, 455 and 546C.E. respectively.

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* The final speech delivered by Agron: "One day Rome shall fade and crumble..." is somewhat ironic as well as prophetic, since the Germanic peoples, especially the Visigoths, Vandals and Ostrogoths, would play a major role in the breakup of the Roman Empire and the sack of the city of Rome itself in 410, 455 and 546C.E. respectively.respectively.
* In S1E1, Sura tells her husband that she'd had a warning dream: an image of him on his knees before a red serpent, his life draining away. It gives the impression that the red serpent is the symbol of an enemy that will claim his life. In S4E10, after Spartacus is mortally injured by three spears and he is slowly bleeding out around them, Agron rushes to his aid and helps him up from the ground to his knees... while wearing a shield with a red serpent strapped to his arm.
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None


* Agron's CatchPhrase is: "F*cking Gauls!", usually spoken in relation to something Crixus is doing. As Gaul is basically the future France, and Agron is a German, this is almost an ancient foreshadowing of later Franco-Germanic relations across the next 2,000+ years.

to:

* Agron's CatchPhrase is: "F*cking Gauls!", usually spoken in relation to something Crixus is doing. As Gaul is basically the future France, and Agron is a German, this is almost an ancient foreshadowing of later Franco-Germanic relations across the next 2,000+ years.years.
* The final speech delivered by Agron: "One day Rome shall fade and crumble..." is somewhat ironic as well as prophetic, since the Germanic peoples, especially the Visigoths, Vandals and Ostrogoths, would play a major role in the breakup of the Roman Empire and the sack of the city of Rome itself in 410, 455 and 546C.E. respectively.
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This is too overt to really be Fridge Brilliance


* Agron's CatchPhrase is: "F*cking Gauls!", usually spoken in relation to something Crixus is doing. As Gaul is basically the future France, and Agron is a German, this is almost an ancient foreshadowing of later Franco-Germanic relations across the next 2,000+ years.
* Agron's decision to free Germanic slaves, as opposed to Syrian or Gaulish ones, actually makes a certain logical sense. A common issue with Crixus was that the Gauls among the rebel slaves tended to follow his lead, perhaps to a greater extent than that of Spartacus. Increasing the number of Gauls in their ranks could have led to Crixus becoming the de facto leader of the rebellion, so it makes sense that Agron would favor his own people, who he felt that he could handle better, rather than giving Crixus even more Gaulish followers.

to:

* Agron's CatchPhrase is: "F*cking Gauls!", usually spoken in relation to something Crixus is doing. As Gaul is basically the future France, and Agron is a German, this is almost an ancient foreshadowing of later Franco-Germanic relations across the next 2,000+ years.
* Agron's decision to free Germanic slaves, as opposed to Syrian or Gaulish ones, actually makes a certain logical sense. A common issue with Crixus was that the Gauls among the rebel slaves tended to follow his lead, perhaps to a greater extent than that of Spartacus. Increasing the number of Gauls in their ranks could have led to Crixus becoming the de facto leader of the rebellion, so it makes sense that Agron would favor his own people, who he felt that he could handle better, rather than giving Crixus even more Gaulish followers.
years.
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* Agron's CatchPhrase is: "F*cking Gauls!", usually spoken in relation to something Crixus is doing. As Gaul is basically the future France, and Agron is a German, this is almost an ancient foreshadowing of later Franco-Germanic relations across the next 2,000+ years.

to:

* Agron's CatchPhrase is: "F*cking Gauls!", usually spoken in relation to something Crixus is doing. As Gaul is basically the future France, and Agron is a German, this is almost an ancient foreshadowing of later Franco-Germanic relations across the next 2,000+ years.years.
* Agron's decision to free Germanic slaves, as opposed to Syrian or Gaulish ones, actually makes a certain logical sense. A common issue with Crixus was that the Gauls among the rebel slaves tended to follow his lead, perhaps to a greater extent than that of Spartacus. Increasing the number of Gauls in their ranks could have led to Crixus becoming the de facto leader of the rebellion, so it makes sense that Agron would favor his own people, who he felt that he could handle better, rather than giving Crixus even more Gaulish followers.
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Just saw some humor (and probably unitended irony on the writer\'s part) in Agron\'s catch phrase.

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* Agron's CatchPhrase is: "F*cking Gauls!", usually spoken in relation to something Crixus is doing. As Gaul is basically the future France, and Agron is a German, this is almost an ancient foreshadowing of later Franco-Germanic relations across the next 2,000+ years.

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