Spartacus: House of Ashur

Spartacus: House of Ashur follows the rise of one of the franchise’s most notorious figures, Ashur, who navigates a brutal world of power, ambition, and betrayal. Created by Steven S. DeKnight, the series builds on the legacy of the original Spartacus while carving out a darker, more provocative path of its own.

Filmed extensively in New Zealand, the production draws on the country’s long‑standing relationship with the Spartacus franchise. Large‑scale sets, demanding action sequences and stylised combat were supported by experienced local crews accustomed to high‑intensity, long‑form drama. The result is a richly textured world that feels expansive, visceral and unmistakably cinematic — reinforcing New Zealand’s reputation as a trusted home for ambitious, global television. 

Craft That Carries a Production from First Build to Final Frame

Every world seen on screen in Spartacus: House of Ashur was built from the ground up. With no legacy assets to draw from, New Zealand teams designed, constructed, and finished the entire environment — from studios and sets to costumes, armour, and prosthetics — within demanding timeframes. This was large‑scale craft delivered with precision, discipline, and speed.

To support that pace without sacrificing detail, specialist workshops were established in‑house, enabling rapid iteration and close creative collaboration. Costumes were stitched, not simplified; prosthetics were developed on site and refined in real time. Studio partners noted not just the scale of the work, but the depth of finish — craftsmanship that didn’t merely replicate the original series, but elevated it.

That same standard carried through to post‑production. With visual effects and finishing work completed largely in New Zealand, the production drew on a screen ecosystem that has matured over decades — combining experienced heads of department with a new generation stepping into leadership. The result is an end‑to‑end industry capable of sustaining ambitious television, from first sketch to final delivery.

Spartacus: House of Ashur was delivered by a large, highly coordinated New Zealand workforce operating across multiple units and departments. Hundreds of crew worked in step, from production and accounting through to costume, props, and set construction, creating a stable foundation for a complex, long‑form series.

Extras were central to the spectacle. Thousands of days of paid work were generated for local performers, with large arena scenes bringing hundreds of people together on set at once. Managed smoothly and with care, this scale speaks to New Zealand’s ability to mobilise people quickly — and do it well.