SOPRANOS!! ROME!! SCRUBS!! TICK!! BATMAN!! SIMPSONS!! MUPPET SHOW!! HercVault!!

I am – Hercules!!

Season two of “Rome” picks up only minutes after the events of season one, with Marc Anthony squatting over what’s left of Caesar on the bloody senate floor. Lucius Vorenus cradles the corpse of his wife. Titus Pullo sits in the meadow with his pretty ex-slave. James Purefoy takes center stage is season two, stepping up heroically as the fierce, profane and gratifyingly vengeful Antony, the Brock Samson of ancient Europe. Set upon by a dozen of Brutus’ knife-wielding thugs the minute he leaves Caesar’s corpse, he manages to fend off the throng of assassins as he embarks upon his long, cunning and brutal sprint toward justice. Antony is not the only attraction as the series’ final episodes unspool. There’s Gaius Octavian (Max Pirkis, then Simon Woods), who has evolved into a being of extraordinary persuasive ability - and improbably proves himself even gutsier and brainier than Antony. There’s Marcus Junius Brutus (Tobias Menzies, never more Rickmanesque), Antony and Octavian’s sneering, scheming nemesis. There’s David Bamber as the cowardly, duplicitous Marcus Tullius Cicero. And there’s Pullo (Ray Stevenson) and Vorenus (Kevin McKidd), whose post-Caesar stories build toward adventures brimming with horror, tragedy, heartbreak and mayhem. I adore this series, and believe I prefer this second season of “Rome” to the excellent first; the later season’s plot zips along like rocketships, owing to what I’d guess was an abbreviated episode order from HBO. (It makes my temples throb to think that ten times as many people were watching “Desperate Housewives” Sunday nights at 9 p.m.) The 10 season-two episodes are augmented by extras designed to enhance one’s appreciation of the series: * “A Tale of Two Romes” (20:30). Twins Romulus and Remus are said to have co-founded Rome in 753 B.C., and this minidoc looks at the city’s dual communities: the 30-odd richest patrician families who resided on Palatine Hill with Atia and the not-so-rich plebeians who resided on Aventine Hill with Vorenus, where there was no real police or courts. * “The Making of Rome, Season II” (22:52). Learn that extras on treadmills in front of bluescreens were computerized and electronically cloned to form Rome’s sprawling civil-war armies. Learn that one episode required 768 costumes. Learn that beautiful Kerry Condon, who plays Octavia, actually speaks with an Irish accent. Learn that series director Tim Van Patton still talks like he did when he played Salami on “The White Shadow.” * “The Rise of Octavian: Rome’s First Emperor” (20:44). While Caesar’s heir was highly self-interested, he also turned out to be a spectacularly productive and popular dictator. Learn that as Rome’s first emperor, Octavian ended a century of civil wars and ruled for 41 years. (I happened to catch the Elizabeth Taylor “Cleopatra” on cable this week, and it’s striking how differently Octavian is portrayed in that movie by Roddy McDowell, all sickly and sinister.) * “Antony & Cleopatra” (14:48). Historian Jonathan Stamp suggests that both Caesar and Antony were attracted by the Egyptian monarch’s undisguised ambition. A coin bearing Cleopatra’s profile demonstates that she was considerably less attractive than Elizabeth Taylor or Lyndsey Marshal, but Stamp allows that she had other virtues: “She’s very clever! She’s speaks lots of languages, she was the first Ptolemaic pharaoh to speak ancient Egyptian, so she’s super-bright, super-accomplished, brilliant singer, brilliant dancer, plays lots of instruments, obviously great at chit-chat and talk and schmoozing and all the rest of it. One has to suspect fabulous in bed. Quite a package.” * Each episode comes with “All Roads Lead To Rome,” an optional scene-specific pop-up text feature that adds historical context to the proceedings. Commentaries include: * Co-creator/showrunner Bruno Heller and co-producer/historical consultant Jonathan Stamp on 2.1, “Passover.” * Director John Maybury and actress Lindsay Duncan (Servilia) on 2.7, “Death Mask.” * Producer John Melfi and director Carl Franklin on 2.8, “A Necessary Fiction.” * Actor James Purfoy (Mark Antony) on 2.9, “Deus Impeditio Esuritori Nullus.” * Co-creator/showrunner Bruno Heller and co-producer/historical consultant Jonathan Stamp on series finale 2.10, “De Patre Vostro.”

As with “The Tick Vs. Season One,” “The Tick Vs. Season Two” cannot be billed as a complete season set because it’s short an episode. 2.2, titled “Alone Together,” about the Galacticus-like Omnipotus, is the missing component, and presumably sits out the set due to copyright issues. Sadly, this was the only season-two episode script credited to future “Venture Bros.” mastermind Christopher McCulloch. (One wonders why the “Venture Bros.” season sets, which feature the Impossible Four, don’t stir Marvel’s ire. Perhaps because litigation-happy Disney isn’t behind that production?) The 12 second-season episodes that did make the new set pit the slow-witted superhero and his mothman sidekick against the Swiss Commandos, Venus & Milo, Leonardo, the Deadly Bulb, Brainchild & The Idea Men, El Seed & Rosebud, the Ottoman Empress, Queen of the Ants Betty, Santa Clause, The Whats and the Heys, the Fin and the Terror. In 2.8, originally aired in 1995, we learn that The Tick’s universe boasts a TV series titled “Heroes,” about superpowered people.

Super Friends: The Legendary Super Powers Show was the 1984 almost-final season of “Super Friends.” It was the first cartoon to feature the interplanetary mass murderer Darkseid, a character Marvel legend Jack Kirby introduced to the DC Comics universe in 1971. Darkseid had largely vanished from DC comics by 1984, and “The Legendary Super Powers Show” restored him to the comics' supervillain A-list. (Note that Darkseid and his minions utilize the wormhole-like Boom Tubes in the series, but for some reason they’re renamed “stargates.”) Another notable aspect is TV’s live-action Batman, Adam West, with this season took over from character actor Olan Soule the role of “Super Friends’” Batman. The season introduced the chrome Terminatoresque honeycomb-brain version of Brainiac, as he appeared in Action Comics the previous year. On the hero side, the show brought to Saturday-morning animation the insanely powerful comic-book character Firestorm, who could turn instantly turn anything into anything else. Non-funnybook Hanna Barbera ringers like the Apache Chief, Samurai, Black Vulcan, El Dorado and the Wonder Twins were brought forward from previous seasons, but at the expense of bona fide DC heroes like Flash, Atom, Hawkman, Aquaman and Green Arrow, who may appear in the title sequence, but do not appear in the episodes. (Green Lantern cameos in only one segment.) More negatives. Standards of the era prevented the heroes from actually beating on anybody. Only eight half-hours (comprised of 16 11-minute stories) were produced for the season. Extras include two documentaries: “Evolution: New Heroes, Vilier Villains and Ethnic Additions” (17:43) and “The Super Powers Collection: The Effect of the Toy Industry on the Super Friends” (7:37). Five segments feature DC historian (and “Kingdom Come” author) Mark Waid interviewing those five segments’ writers.

The beginning of the end. I never saw a “Simpsons” episode wholly devoid of funny until the series’ 10th season rolled around. Not every episode was a dud, but I remember the dud-to-decent ratio falling to about 50:50 with this era. Sadly, this season does not represent the series’ nadir; season 10 looks downright spectacular when compared to its 21st century counterparts.

“Marvel at our superior gate-sliding technology!” Killers From Space represents the first sci-fi effort mocked by the Film Crew comedy collective, comprised of latter-day “Mystery Science Theatre 3000” vets Mike Nelson, Kevin Murphy and Bill Corbett. They make great sport of the movie’s interstellar props, its muppet-y bemittened aliens, star Peter Graves’ history with “Mission: Impossible” and “Biography,” and how long it takes for killers from space to actually turn up in this budget 1954 RKO thriller.

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