Unlike the multi-season American attempts that followed, this version was conceived as a finite, two-part epic (often shown as two 90-minute episodes or one 180-minute television film).
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Aired in 2006, this European production (often distinct from the later American Showtime series The Borgias ) stands as a singular artistic achievement. It captured the rot, the glory, and the terrifying piety of Renaissance Italy in a way that few productions have managed before or since. While often confused with its 2011 successor, the 2006 iteration—starring the formidable John Doman and directed by the legendary Michael Hirst—is a grittier, more grounded exploration of power. This article explores the legacy, the making, and the enduring impact of The Borgia (2006) .
It offers something the later series do not: a conclusion. You watch the entire bloody rise and fall of the family in one sitting. It does not romanticize Cesare, nor does it whore out Lucrezia’s innocence. It presents the Borgias as a family of predators whose luck eventually ran out.
: The film is noted for its high production values, specifically its Goya Award-nominated costume design