1x03 | Borgia
Moral clarity, happy endings, or characters who bathe regularly. Next episode preview: 1x04 – “The Confession” — Lucrezia makes her first true friend. Rodrigo makes his first true enemy. And Cesare discovers that poison is quieter than the sword.
(Subtract half a star only because the Juan subplot—drinking, whoring, being dull—feels like filler.)
Unlike the glossy melodrama of The Borgias (Showtime), Tom Fontana’s Borgia (Canal+/ZDF) is a gritty, political, and psychological horror show dressed in Renaissance robes. Episode 3 is where the series stops introducing characters and starts vivisecting them. The Price of the Papal Chair Logline: As Rodrigo Borgia settles into the papacy, his first diplomatic crisis—welcoming a deposed Moorish prince into Rome—becomes a crucible that tests his family's loyalty, his mistress's ambition, and his own nascent tyranny. borgia 1x03
Rodrigo’s solution is pure Borgia: leverage. He invites (the eponymous "Moor"), the exiled brother of Sultan Bayezid II, to Rome. Djem is a golden hostage—Bayezid will pay 40,000 ducats per year for his captivity. It’s extortion as statecraft.
His solution is Borgia elegance: he baptizes Djem in a private ceremony... with water, not oil. The sacrament is invalid. Djem realizes he has been used as a prop. His rage is silent. He looks at Rodrigo and whispers: “You will die surrounded by the corpses of your children.” Moral clarity, happy endings, or characters who bathe
Cesare (Mark Ryder, giving a performance of coiled violence) is now a cardinal, but he despises the cassock. In a brutal, whispered scene in the stables, he confesses to his younger brother Juan: “I was meant for the sword. Instead, they give me a censer.” Juan, the handsome, vacuous captain of the Papal Guard, mocks him. The sibling rivalry is no longer subtext; it is a blade being sharpened. Act Two: The Moor’s Lament Djem’s Arrival Prince Djem (an extraordinary turn by actor and musician Moez Kamoun ) arrives not as a supplicant, but as a philosopher-king in chains. He speaks five languages, quotes Seneca, and has more dignity in his little finger than the entire Roman curia. Over a dinner of roasted peacock, Djem quietly dismantles Rodrigo’s theology: “Your Christ said ‘love your enemy.’ My brother pays you to hate me. Who is the true infidel?”
It is the first time Rodrigo is silent.
The episode opens not in Vatican splendor, but in the muddy streets of Rome. A leper approaches the Vatican gates. While guards recoil, Cardinal Borgia (now Pope Alexander VI, played with reptilian weariness by John Doman) dismounts and kisses the man’s stumps. It is a calculated act of humilitas . The camera lingers on Cesare’s face—fascinated, disgusted, learning. This is power as performance. Act One: The Viper’s Nest The New Pope, The Old Problems Rodrigo has been Pope for three weeks. The Vatican is bankrupt. The College of Cardinals, led by the venomous Giuliano della Rovere (Colm Feore, chewing marble), refuses to fund his crusade against the Ottoman Turks. Della Rovere’s logic is icy: “You bought the chair, Alexander. Now sit in it and starve.”
Parallel to the political plot, Lucrezia (Isolda Dychauk, preternaturally still) is being groomed. Her mother, the ruthless Vanozza (Assumpta Serna), forces her to spy on a Spanish diplomat. Lucrezia fumbles the seduction—she is fifteen, terrified, and recoils from the man’s touch. Vanozza slaps her. “Your body is not yours. It is the family’s bank.” It is a chilling thesis statement for the entire series. Lucrezia’s eyes go dead. We are watching a victim learn to become a predator. Act Three: The Pope’s Daughter The Ritual of Humiliation Della Rovere, seeking to destabilize Alexander, secretly offers Djem safe passage to Naples. Djem refuses. In a stunning sequence, Djem kneels before Rodrigo and asks to be baptized. Rodrigo, sweating, knows this is a trap. Baptizing a Muslim prince will enrage the Ottomans (and lose the 40,000 ducats). Refusing will make him look faithless. And Cesare discovers that poison is quieter than the sword
The episode’s climax is not a battle, but a corridor. A Spanish cardinal who voted for Rodrigo now demands payment. Cesare, escorting him to the treasury, stops. He pulls a short blade. The murder is not glorious. It is clumsy, bloody, and Cesare vomits afterward. But he doesn’t drop the knife. He looks at his shaking hands and smiles.
The Godfather Part II , The Name of the Rose , I, Claudius .
