The Daily Wire’s newest original series might surprise even its critics. The Pendragon Cycle: Rise of the Merlin marks the conservative media company’s biggest leap yet into scripted entertainment. Directed and co-written by Jeremy Boreing, who co-founded The Daily Wire with Ben Shapiro, the historical fantasy aims high and delivers.
Based on Stephen R. Lawhead’s acclaimed book series, the show retells the legend of King Arthur from a post-Roman perspective. Instead of knights in shining armor, The Pendragon Cycle opens in a Britain still torn between paganism and the spread of Christianity. The first two episodes, adapted from Lawhead’s Taliesin, focus on the lives of Charis, an Atlantean princess played by Rose Reid, and Taliesin, a mystical bard portrayed by James Arden. Their paths cross through faith, power, and prophecy while Britain’s fate hangs in the balance.
The Pendragon Cycle: Rise of the Merlin | Now Streaming
Boreing’s production, created alongside Bonfire Legends producer Dallas Sonnier, sits within what some critics are now calling the “based faith” movement. Unlike past Christian entertainment that leaned toward sentimental family drama, newer projects like Shut In, Nefarious, and Lady Ballers push into genres like action, fantasy, and even dark comedy. The approach is unapologetically conservative but also ambitious. I’d say the trend is far from over.
The Pendragon Cycle fits that mold. The show’s tone is serious and often somber, exploring the struggle between ancient magic and a growing Christian worldview. “There is a new power at work in the world,” Taliesin tells his rival. “A God who does not ask us to sacrifice what we love but who sacrifices what He loves for us.” The line captures the core theme that separates this story from something like HBO’s Game of Thrones. The faith element is a bold signal, not just background noise.
Visually, the series impresses. Shot in Italy and Hungary, the landscapes feel vast and cinematic even when the geography stretches historical realism. The sets and costumes add richness. While not uniform, the acting is earnest, especially from Reid, whose portrayal of Charis carries both strength and grace. Still, the direction and pacing sometimes fall short. The editing can feel mechanical, and the lack of bold color grading undercuts some of the atmosphere. The story deserves a bolder visual style than what’s currently on screen.
That said, the production avoids the excesses that have defined modern fantasy television. The violence stays close to PG-13. Romance exists but only after marriage. There is sensuality, though limited, and some intense images younger viewers may find disturbing. For parents who have routinely rejected other franchises over their graphic content, The Pendragon Cycle offers a clean but serious alternative.
Lawhead’s novels were known for weaving generational loss and redemption, and the show captures that. The heroes fight noble battles they cannot finish. They build something their successors must complete. This combination of idealism and realism gives the story emotional weight that many big-budget projects lack.
Still, The Pendragon Cycle is not perfect. Its tone is sometimes uneven, its storytelling a bit too on-the-nose. But as part of an emerging slate of what some have referred to as “based faith” entertainment, it represents real progress. The craftsmanship shows care. The scope feels ambitious. And for viewers tired of the shock-value model of mainstream fantasy, the series may be exactly what they’ve been waiting for.
Critics can debate The Daily Wire’s political brand, but dismissing The Rise of the Merlin on that basis alone misses the point. This is an epic told with unapologetic conviction. Whether the studio perfects its formula or not, it’s clear that conservative filmmakers are entering a new creative era and they intend to compete.
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English (US) · 