The third episode of Jeremy Boreing’s The Pendragon Cycle: Rise of the Merlin continues in the series’ strengths. Tom Sharp as Merlin (shown above) brings appropriate gravity to the role of a 75-year-old mage who has been an established legend for many years, according to all the people who meet him.

It begins with Merlin in the wilderness and a voiceover telling us what people say about him — that he was mad, that he was a king of renown, a bard, a prophet, and a slayer of hundreds. A figure and voice reminiscent of the old man who confronted Taliesin charges him to “go back the way you came.” And so, our man with falcon eyes returns to the land of the living.

The easiest way for me to review each episode would be to simply recap what happens. I don’t want to do that. I want you to enjoy the show yourself, whether it be on DailyWire+ or on another method of release (surely they will sell DVDs). Still, I’ll share what I can.

Merlin delivers the episode’s theme when telling Aurellius, “First, there is a sword, a sword of Britain and the sword is Britain.” Aurellius is of Roman decent and aims to reclaim his father’s land from the Saxons (or Saecsens, as the show spells it). One historical account says he was the one who directed the building of Stonehenge, which would be an impressive real-world tie-in. Right now, he is avenging his father’s murder and rallying other warlords to his banner.

Aurellius’s brother is Uther Pendragon, who appears as his more pessimistic partner in the fight. The story makes it clear Aurellius is in charge, but Uther looks to be his equal in many ways.

This series isn’t going to put the cookies on a low shelf. Viewers may ask if they are supposed to know who someone is or how to read Welsh, and if you’ve taken a course in Arthurian legend, then yeah, you should know. The rest of us will need to get comfortable with ignorance. I haven’t felt lost yet, and most of my knowledge of Camelot comes from the musical.

I love what they’ve done with magic, so far. Episode one got gritty with the pagan stuff, but when our leading men exercise power, it’s natural and sometimes marvelous.

And there’s a scene in this one that is a bit more thrilling for its close resemblance to the hobbits hiding from the Black Riders. I almost stopped it to stare at the tree roots. It’s not the same forest, but when you see it, you’ll know what I’m saying.

DailyWire+ has released its beautiful, 7-episode series The Rise of the Merlin, based on The Pendragon Cycle, Stephen Lawhead’s six book series, to regular members last Thursday. The first two eps are up along with a podcast that explains some of the details.

The first episode introduces Charis of Atlantis and the destruction her civilization. It’s an impressive scene in a Greek-style arena. Charis is the head of a seven-person team, male and female, who summersault over running bulls (see the photo of a Minoan fresco above). It isn’t just sport. It’s ritual for the bull god, Bel, to whom Charis is praying when we first see her.

The Atlanteans speak a language invented for the show by Spencer Klavan. It has a great, authentic sound. I picked up notes of Indo-European and Phaffinnic intonations under a clear faux-Latin influence. (I say this as a guy who can spot the subtle flavors in a Hersey’s, so I know what I’m talking about. Don’t get me started on peanut butter blends.)

Twenty years after their home is destroyed, the Atlanteans have established a kingdom in southern Britain, where the Cymry find them, having fled their land to escape barbarian raiders. Taliesin, a bard, is the adopted son of King Elphin. On the first evening, we hear him sing for King Avallach, Charis, and the other Atlanteans a moving song about the Welsh king Pwyll meeting the fairie lord of Annwn in the forest. It’s the first of two songs Taliesin sings in these episodes, and I like them, though they aren’t 4th century ballads. (I assume Lawhead wrote them.) This one in particular has been stuck in my ear for days.

The theme of this part of the series is the move from paganism to Christianity. Both main characters reject offers to sell themselves completely to their pagan gods, and at the end of episode one, the Lord catches Taliesin by surprise. “Look upon me then, Shining Brow!” It’s marvelous.

I love the look of this series so far. The actors are wonderful. (James Arden looks and sounds great as Taliesin.) Dialogue is strong. My one criticism is that a few scenes feel clipped. A dramatic scene at the start of episode two could use a few more minutes of explanation. Or maybe it lacks a foundation. They do explain why everyone is angry in that moment after the scene, but I could use three more minutes of talking it over—maybe hearing the offer put on the table and hearing it rejected before tempers flare.

Episodes drop every Thursday. I’ll try to review the next ones as they come out.