From this week and onwards, if I don’t mention any killing or tits, it should go without saying that the episode has plenty of both.

The gladiators finally discover Naevia’s location, which according to a nearly dead Roman, is the afterlife. Crixus goes into emo-Gaul mode (due to lack of unfiltered cigarettes he just sits and broods), but not for long. It seems that one of Spartacus’ lackeys, Aggron, chose not to disclose the information that Naevia was sent to the Mines. In the first season, the only place to be sent to worse than the gulling Pits, was the Mines. Because we never glimpsed at them previously, this twist provides us with enough anticipation of the newfound horrors the place will possess. Spartacus urges everyone to stick to through the original plan, first free Naevia and then as many slaves as possible. Aggron disagrees; the reason he didn’t share the original information was to protect the greatest good. A noble gesture that introduces a philosophical debate about the worth of human life and its position in this new society of free people. Heck, with this material Starz can create another show next year called Socrates (as long as they cast Hugh Laurie it should be alright).

Worth noting are the several flashbacks to scenes from the previous seasons. Different scenes featuring Spartacus and Naevia were framed almost identically to showcase the new actors assuming their roles and provide a certain continuity.

Back in Capua revelations are in place. Ashur takes a more prevalent role as he taunts and tortures an ever silent Oenomeous. The actor playing Ashur really shines in these scenes as he goes through a variety of emotions during the torturing process. Two characteristic shots come to mind: Ashur’s evident discomfort from whipping his old Doctore for too long; the latter never making a sound as he receives blow after blow. And second, a short flash of dread as Oenomeous divulges to Ashur his eventual fate in the hands of Spartacus and Crixus. Still chained and harmless, Oenomeous stands a fearful presence. But once more, it is the writing team behind the show that gets all the credit, bringing forth old storylines into light so they can finally be concluded: the events that transpired between Oenomeous’ wife and his best friend 5-6 years ago, and Lucretia’s recovery. It was Ashur that had stitched her up and nurtured her after the massacre, a discovery hinting at a much longer plan in play.

Typical political maneuvering and simple interactions with his wife provide further insight to Glaber’s character but he’s not half the schemer that Batiatus was, leaving us indifferent for the time being. Moving past Glaber we meet the gladiators divided. On one end is Aggron and his gladiators, taking fleet to Neapolis in order to free some captured warriors so they can aid them in their cause. Spartacus, Crixus and the remaining fighters go naked so they can infiltrate the Mines. A wide open space framed in minimal bleakness yet filled with mud covered people, from children to cripples. As our favorite characters descend deeper in the claustrophobic mines, unbeknown to them, Glaber’s legionnaires are at their heels. Crixus finally reunites with Naevia only for a few brief moments before the fighting begins between the armored Romans and the naked gladiators. The scenes alternate between a fight in the wide-space arena, contradicting the restricted space of the Mines as the gladiators flee and fight for their lives. Crixus tries to hold back the Romans, as penance for Naevia’s torment, succeeding but then captured.

Like last week’s episode, this one focuses more on character development and a thick-plot. Save for some contrived and anticipated plot-twists, the show continues to build around the overall mythology and of course examine major issues through its characters’ actions. The dialog is more poetic than usual and the well-chosen alternating of specific scenes makes one wonder why the show isn’t listed next to some of the industry’s heavy hitters from HBO, Showtime and AMC. Of course if on the script there’s something along the lines of, ENTER CRIXUS, who with moroseness and elegance delivers a Shakespearean speech (full of sound and fury), then tough luck convincing the critics that the show is something more than hedonism and bloodlust.