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It’s one of the show’s stronger dynamics. I’m all-in on Livia and Antigone because we actually have a sense of that bond that was built up over the first two episodes. Livia’s most fiery, fun moment doesn’t have anything to do with her personal ambition but comes when she defends Antigone to Octavia, who tries to force her into banishing Antigone after she slaps a deserving Marcellus across the face. This subplot includes the murder of turtles, which seems rather inexcusable to me, but it also intersects with Antigone’s ongoing arc as a freedwoman who nonetheless gets treated with no respect by anyone because she was once a slave and a hooker. A lot of Domina season 1, episode 3 is devoted to a conflict between Livia’s son Tiberius and Octavia’s adopted son Marcellus. Livia’s ambivalence towards her offspring is countered by the fact that Domina episode 3 can’t get enough of them. Still, though, it’s easy to imagine that Livia is out for herself more than anyone else, especially since she doesn’t seem to pay her children much mind – she obviously got them back, by the way, and the rumor is she killed her husband to do so – and her schemes always work to her betterment, even if they outwardly seem to be furthering her husband’s ambitions. I’m not convinced by the relationship between these two for reasons that obviously include the fact we haven’t seen any of it on-screen, but Livia’s dialogue suggests the idea that she has warmed to the man and I’m not one to argue. Livia and Gaius make a play to restore the Roman Republic under the guise of the latter relinquishing his personal power it’s a con, obviously, but it’s a shrewd, enjoyable bit of politicking. Luckily, though, Domina episode 3 nails a lot of its drama, even if the motivations of the major players are a bit sketchy and it’s sometimes difficult to tell what’s what. It’s a lot and doesn’t make what is already a pretty complex show any easier to digest. We’re expected to simply know about important historical events that have taken place in the intervening years and are obliquely alluded to here, and we’re to also be okay with the fact that what largely amounts to a teen drama (thanks to the aging of Livia, Octavia, and Scribonia’s children) has essentially been grafted onto the main plot. We’re to make some assumptions about Livia and Gaius, romantically and politically, and we’re to accept the former’s desire to restore the Roman Senate. Quoted fromĪntigone by Sophocles, English version by Dudley Fitts and Robert Fitzgerald.But the leap through time isn’t hitchless, and it takes some adjustment to get used to not just the new faces but also the new status quo. This beauty kept Haimon son of Creon hooked to Antigone that he even fought against his father, also kills himself after her death to live with her in ‘the house of the dead’ All these constitute the character of Antigone that makes her the protagonist of the play Antigone, by Sophocles. She does have a pinch of masculinity in her attitude, but she was so beautiful to the eyes, that is compared to the mythological character Danae ( All Danae’s beauty) by Choragos, whose beauty attracted Zeus also kept other suitors hooked. Being killed by someone else is a form of dependency on Antigone.
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She shows her control over her life by killing herself. When Creon pronounces her death sentence she ‘simply’ says to Guards, come let us wait no longer, that shows her eagerness to taste death that she could not wait for it. She calls death as sleepy death as she considers herself more energetic and powerful than death.
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Antigone was not afraid of death and has complete control over her life.