Entertainment
Exclusive: Pendragon's Merlin Reveals The Secrets Of His New King Arthur Series
By Jennifer Asencio
| Published
It should go without saying that a show called The Pendragon Cycle: Rise of the Merlin might just be about the famous wizard, but the show is not about the wizened old man we all know from King Arthur stories. Rise of the Merlin tells a different origin story: the story of the young man who will someday become Camelot’s advisor. Featuring all the drama, romance, and action of Arthurian legend, the show centers around Merlin’s efforts to help the Pendragon brothers, Aurellius and Uther, gather the forces of Britain against invasion by the Saxons in the 6th century.
Newcomer Tom Sharp plays the title role, and I got to ask this incredible actor some questions about the show for GIANT FREAKIN ROBOT. I’ve previously reviewed and commented about the show and its themes, and have interviewed other actors from the show.
Tom Sharp’s Early Career
The first thing I wanted to know about was Tom’s experience leading up to his casting as Merlin. What got him into acting? Like most actors, he admits, “I grew up obsessively watching films. As a boy, I’d happily burn through a load of VHS tapes on repeat, and a trip to the cinema was special.” But it was more than just watching movies for the Merlin lead. “My family introduced me to a wide variety of genres & classics at a young age, which sparked my imagination… I consider it my ‘unofficial training.’”
Hope and determination were important elements in Tom’s career, too. “Acting was considered a pipe dream where I grew up,” he explained, “and with no industry connections, it wasn’t until my 20’s that I considered taking the leap. Independently, I began leading short films and on stage in small indie theatre, whilst trying to get my foot in the door for years… a lot of ‘trial & error,’ taking risks and relying on my instincts.”
Becoming Merlin
For Tom, the role of Merlin was a big leap, since he was a relative unknown. “I applied independently to the series without an agent via a self-tape,” he told me.
And the suspense went on. “After a few weeks of sending off endless Merlin tapes, production flew me to Budapest last-minute for a final audition in person. I had a pleasant dinner afterwards with the producers and directors, but they didn’t give me any answer when I was there, so I assumed the worst, expecting a NO after I flew back. However, when I returned home, I received a call from producer Dallas Sonnier (Bone Tomahawk and Dragged Across Concrete) telling me I got the job and am needed back in Budapest ASAP for what he described will be my ‘Most challenging five months EVER!’… and he wasn’t wrong.”
Naturally, the actor was thrilled to land not just his first lead role, but the lead on an ambitious, well-produced project. “Landing a production of this size for the first time, let alone the lead, was wild,” he told me. “When I applied online to the opening casting call, I didn’t know the scale of it and the script was kept under wraps, obviously. Once I knew it was Merlin, and it dawned on me what this was, I dove in. An opportunity of this size for a lot of actors I know is RARE, and my mantra has always been when something like this finally comes along, that I’d go all out and not leave saying ‘if only.’”
Since movies were such a family affair, there was plenty of joy to go around for the budding actor. “My parents’ reaction to when I landed the role was the best and meant the world. I gave a thumbs up to my Mum & Dad, who both broke down with joy – my favorite memory!”
Tom Sharp’s Approach To Playing Merlin
Once he got on set, he had to get to know the character. What did he think of the venerable magician in his younger years? “I really like how young Merlin grows from a naive, rebellious, and curious lad to a more wild and deeply rooted figure after living with the hill folk,” he said of Merlin’s history. “They taught him to ‘see and heal,’ appreciate the world around him, and [that] ‘the rhythm of life flows through him.’”
He continued, “Merlin’s a deeply flawed character, but has so many admirable qualities. For instance, he could easily rule as High King himself unopposed in a tyrannical position with his power and immortality, yet he doesn’t want it and fears losing control and hurting the ones he cares for. Constantly doubting his destiny, he humbly says ‘perhaps they saw through me to another,’ obviously foreshadowing Arthurian Legend. I really admire him.”
The young Merlin wasn’t all wisdom and counsel. He had a lot of extremes, from stoic to furious to deeply in love to deeply grieving. What was it like for Tom to be playing all of those emotions? “Episode 6, ‘Gaineda’ was my most important episode and has a special place in my heart,” he said of the emotional story of Merlin’s romance with his bride.
“It’s the full hero’s journey, Merlin’s core story, as he goes through every event and emotion. It’s beautifully tragic. When reading the script, I knew this was the ‘tent pole’ of the series, it was vital I land this episode else the character and show would fall apart. Playing opposite Brett Cooper (Gaineda), Steve Varnom (Custennin), and Lynn Hunter (Gern-Y-Fhain) was an absolute joy, which made the job a lot easier. I kept an eye peeled in the film schedule every time a scene from 6 would pop up. It was very challenging, very rewarding, and I was very relieved how it all turned out.”
The Mystery Of Merlin’s Yellow Eyes
I often wondered about Merlin’s distinctive yellow eyes. In some scenes, they were very prominent, and in others, they were very natural. I asked Tom about the use of colored contact lenses, and found out there were none.
“I didn’t wear contact lenses,” he revealed. “They changed the color of my eyes to gold digitally, which I’m very thankful for. You connect to actors on screen through their eyes. The problem with colored contact lenses is the pupil is fixed and won’t dilate when emotional or in different lighting, which is very disconnecting to the audience. We tested it before filming and it looked very wrong. Digitally changing the eye color only was the best decision the producers made, allowing my eyes to dilate naturally and connect with the audience.”
Conveying The Burden Of Immortality
Every good actor puts something of themselves into their part, and Tom Sharp is no exception. I asked him about his own contribution to the character, and he told me, “I’d constantly look for clues in the script and ask questions. For example, in Episode 3, ‘A Fatherless Child,’ Merlin narrates, ‘They say Merlin is Mad’ and ‘the future and past are known to him.’ I didn’t want to simply play him crazy, I wanted to know ‘how mad?’ After all the events and tragedies he has lived through – being abducted as a child, the murder of his loved ones, killing 500 men, his constant visions and how he stares into the fire zoned out like a soldier returning from war… to me his ‘madness’ is PTSD. That was the biggest puzzle piece and gave me a foundation to build upon and make this mysterious figure relatable to the audience.”
Tom explains, “Plus, he’s burdened with immortality, an incredible loneliness as he will outlive everyone, including loved ones, so he keeps everyone at a safe distance. I let the filmmakers deal with the magical elements whilst I focused purely on his humanity. He’s not ‘happy go lucky,’ he’s stoic, but when you threaten the ones he cares for, he snaps, and when he’s around loved ones, he softens. Again, for his voice, his immortality and power come into play, he has all the time in the world so his voice glides, he doesn’t need to bark.”
Living Out Every Boy’s Sword And Sorcery Dream
Some of acting is hard work, and some of it is really fun. With all the conditions the actors had to endure, contrasted with getting to do cool stuff like sword fighting and simulate medieval battles, I asked about what he enjoyed and what was hard to do.
“I grew up watching epics like Braveheart, Gladiator, Last of the Mohicans, Lord of the Rings, and to get to play this genre is every boy’s dream,” he explains. “Charging into battle or running with a wolf or giving a speech to an army with exploding sets and practical effects, whilst on location was a blast.”
Not everything was paradise, he admitted. “Filming was either brutally hot or bitterly cold, yet it was all worth it.” Fans of Rise of the Merlin appreciate both his endurance for these conditions and the powerful optimism that drove him through.
With this in mind, I asked him what scenes he enjoyed from the show, both on set and off. “There were many scenes I loved, especially the second half of Episode 6; however, the very final scene of Episode 7, ‘The Last True Bard,’ is easily my favorite. Without spoiling anyone who hasn’t watched it yet, it was a very surreal out-of-body moment for me because it’s so iconic. We shot that in the middle of the night in freezing, snowy conditions, but I was so euphoric afterward. When it happened, all I could think of was my journey here and my family, which was very rewarding watching it back with them. I’ll never forget it. Whatever the future may hold, I can look back and say, ‘I did that!’”
As the main character of the show, Merlin got to be in every setting the series offered, from the otherworldly Ynis Avallach to the mysterious hills of the Fain Hawk, the spectacular Goddeu set, and the epic final battle. I wondered where he liked filming best. “Budapest is gorgeous and I encourage everyone to visit,” he suggested. “But I have to say the many locations in Italy were breathtaking. One of my favorite shots is riding through Gran Sasso, Italy with Alex Laurence Philips, where Pelleas looks back and sees Merlin riding alone talking to himself just as the sunlight rolls in. That, paired with Kyle McCuiston’s stunning soundtrack, is beautiful.”
The looming mountain vista and lonely green plains provided an ethereal setting for Merlin to be talking to a ghost that Pelleas couldn’t see.
The Brotherhood Of Merlin
Cast and crew who post on social media have spoken proudly of the camaraderie on set and even after production was over. I asked Tom about the “Brotherhood of Merlin” and if he made any new bonds on the set.
“Absolutely,” he confirmed, adding, “We pretty much all stay in contact on a daily basis. It was an incredibly challenging shoot, and we were all in the thick of it together. The cast had a rigorous boot camp before filming, involving horse riding and fight training in the intense Hungarian sun. It was tough, but we all bonded and supported each other from Day One.”
Tom Sharp’s Bright And Shining Future
Now that filming is over, I asked Tom what was next. “It’s very early days, but I’m open to anything,” he told me. But he’s in it for love of the game: “Whether it be Merlin again or something completely fresh, whether it’s another big production or an indie arthouse production, I’m good.”
While I was getting this interview together, I decided to finally replace my lost copies of the Stephen Lawhead novels The Pendragon Cycle: Rise of the Merlin. The second novel is called Merlin, and familiar golden eyes gazed back at me from its cover. I asked Tom how it felt to be the new face of the book as well as the show, and this was big news.
“I didn’t know about the books; they were purely a surprise,” he confessed. “Having my face on a book cover was never on my bucket list, but it is certainly welcome and an honor. It’s a great addition on the family shelf.”
Entertainment
Star Trek’s Most Ambitious Villain Helped Create The Franchise’s Most Complex Hero
By Chris Snellgrove
| Published
When Star Trek: Voyager first came out, the most fascinating character was the Doctor. While Robert Picardo’s performance was superb, it’s fair to say this character was mostly fascinating on a conceptual level. We had seen things like hypercompetent Starfleet captains and exotic aliens before, but what we hadn’t seen was a fully holographic chief medical officer. Voyager’s Emergency Medical Hologram seemed like the perfect embodiment of the Star Trek ethos. He’s a technological strange new world and new life, all rolled into one.
However, what casual audiences didn’t realize is that the Doctor wasn’t completely unique. Long before Picardo’s character ever sawed bones in the Delta Quadrant, Captain Picard dealt with another extraordinary hologram: Moriarty, the brilliant foe of the famous investigator Sherlock Holmes. Over on The Next Generation, Geordi LaForge accidentally created this villain as a sentient hologram when he asked the holodeck to create a challenge worthy of the android Data. Later, Star Trek: Voyager executive producer Jeri Taylor revealed that, in-universe, the holographic Doctor was created because Starfleet took advantage of the same accidental breakthrough that created Moriarty!
It all started in “Elementary, My Dear Data,” the Next Generation episode in which the titular android and Geordi LaForge recreated Sherlock Holmes’ adventures on the holodeck. Thanks to his positronic brain and his encyclopedic knowledge of Sir Arthur Conan Doyle’s Holmes novels, Data is able to easily solve every mystery that is thrown at him. That’s when Geordi makes a seemingly simple request. He asks the Enterprise computer to develop a holodeck foe that could actually defeat Data, one of the smartest beings in the entire galaxy.
The computer obliges and creates a sentient version of Moriarty, Sherlock Holmes’ greatest foe. Following Geordi’s instructions, the Enterprise computer included much of Data’s vast programming, which resulted in the holographic character becoming self-aware. Moriarty ended up threatening the Enterprise on two different occasions, and Picard eventually got rid of him by trapping the unknowing villain in a simulation where he thought he had left the holodeck and could explore the stars. This was meant to be a happy ending for Moriarty, but in the show’s typically bleak fashion, Star Trek: Picard later showed us a different, more hostile version of this character created by a malevolent Section 31 AI.
How A Villain Created A Hero
What does all of this have to do with Robert Picardo’s holographic Doctor on Star Trek: Voyager? Elementary, my dear reader! Very early in Voyager’s development (the show didn’t even have a name yet), executive producer Jeri Taylor was inspired by Moriarty to create a new character. As reported in A Vision of the Future-Star Trek: Voyager, Taylor wrote down notes for a holographic doctor “who, like Moriarty, has ‘awareness’ of himself as a holodeck fiction. He longs for the time when he can walk free of the Holodeck.”
A few days later, she wrote down additional notes that contain a startling bit of Star Trek lore. “The Holo-Doctor represents a new, state-of-the-art technology which has capitalized on the serendipitous incident which created Moriarty, and has programmed a holographic character which has self-awareness of his situation and limitations.” While Moriarty is name-dropped on Voyager a couple of times, the show never mentioned what Taylor’s notes seem to confirm: that Lewis Zimmerman could never have created the Emergency Medical Hologram program if not for Geordi LaForge accidentally creating Moriarty on the holodeck.
From Villain To Leading Man?
If that’s not strange enough, there was a period of time when Voyager’s producers were considering making Moriarty a mainstay character on the show. As reported in Star Trek–Where No One Has Gone Before, Taylor’s notes mentioned that “everyone agreed that was a little too broad, and we couldn’t figure out why anyone would take him along.” After dismissing the idea, they decided “that having a holographic doctor with the full consciousness of being a hologram might be fun, and we’d never done anything like that before, except for Moriarty.”
There you have it, gentle reader. Without the character of Moriarty on Star Trek: The Next Generation, we’d never have the Doctor on Voyager. In this way, Trek’s most ambitious villain helped create the franchise’s most complex hero. Thanks to Jeri Taylor’s notes, we also know that, in-universe, Lewis Zimmerman would never have been able to create the Doctor if not for Geordi accidentally creating a sentient Moriarty so Data could have fun. In retrospect, this does make Zimmerman’s arrogance that much weirder. After all, he has a lot of attitude for someone who owes his entire career to the two biggest book nerds in the galaxy!
Entertainment
Moon phase today: What the Moon will look like on April 19
After days of almost (and complete) darkness, the Moon is finally starting to reappear. We’re currently in the Waxing Crescent phase of the lunar cycle, which means each night until the Full Moon we’ll see it get more illuminated from the right side.
What is today’s Moon phase?
As of Sunday, April 19, the Moon phase is Waxing Crescent. Tonight, 5% of the moon will be lit up, according to NASA’s Daily Moon Guide.
Despite more of it now being illuminated, the percentage of surface is still too little to be able to spot any surface details. Check again tomorrow.
When is the next Full Moon?
The next Full Moon is predicted to take place on May 1, the first of two in May.
What are Moon phases?
NASA states that the Moon takes about 29.5 days to orbit Earth, during which it passes through eight distinct phases. We always see the same side of the Moon, but the amount of sunlight reflecting off it changes as it moves along its orbit, creating the familiar pattern of full, partial, and crescent shapes. We call these the lunar phases, and there are eight in total:
New Moon – The Moon is between Earth and the sun, so the side we see is dark (in other words, it’s invisible to the eye).
Mashable Light Speed
Waxing Crescent – A small sliver of light appears on the right side (Northern Hemisphere).
First Quarter – Half of the Moon is lit on the right side. It looks like a half-Moon.
Waxing Gibbous – More than half is lit up, but it’s not quite full yet.
Full Moon – The whole face of the Moon is illuminated and fully visible.
Waning Gibbous – The Moon starts losing light on the right side. (Northern Hemisphere)
Third Quarter (or Last Quarter) – Another half-Moon, but now the left side is lit.
Waning Crescent – A thin sliver of light remains on the left side before going dark again.
Entertainment
Ryan Gosling’s R-Rated Netflix Thriller With An MCU Budget Is Worth Its Weight In Shootouts
By Robert Scucci
| Published
After watching 2021’s Kate, the almighty algorithm threw 2022’s The Gray Man onto my radar, and I can’t say Ryan Gosling has ever disappointed me, so I figured I may as well give it a shot. He has a built-in level of charisma that lets him do his thing, and most of the time it lands. Going into the Russo brothers’ film expecting to see $200 million well spent on action sequences, with the added bonus of Gosling in the mix, I didn’t quite know how things would play out, but I had a hunch I wouldn’t feel let down.
But here’s the problem with straight-to-streaming action thrillers. Films like The Gray Man never get much time on the big screen, and they kind of need it if you want to enjoy them at the highest level. Across roughly 400 theaters, the film only brought in $454,023, which isn’t really its fault. It had a very short run across a disproportionately small number of screens, meaning it was never meant to recoup its budget this way. It’s a Netflix Original, designed to pull huge numbers on streaming.
The reason I see this as a bad thing is because this is an expensive movie. MCU expensive. Waterworld expensive. When that much money goes into blowing stuff up in spectacular fashion, I want to see it on a giant screen. Living in an apartment, I don’t have a fancy audio setup because my neighbors would murder me if I did, and my 44-inch TV is fine for most things, but less than stellar when entire city squares are getting leveled with all guns blazing.
Long story short, The Gray Man is a lot of fun, but it would be even more fun if you could watch it the way it was meant to be seen.
Let’s Not Get Bogged Down By The Details
The Gray Man also has an extremely convoluted plot. Not in a “too many twists” kind of way, but it’s a “load up the guns, spray and pray” kind of movie that would have been better served by simplicity. It’s executed well, but as side characters keep getting introduced in the second and third acts, part of me gets annoyed that I can’t fully shut my brain off because there’s always a new name or face to keep track of after the blasting has already started.
Ryan Gosling is a black ops agent known as Sierra Six, formerly Courtland Gentry. He was locked up as a minor after murdering his abusive father, and CIA officer Donald Fitzroy (Billy Bob Thornton) decides he’s the perfect candidate for a second chance. The deal is simple: Courtland works for him in exchange for his freedom, knowing he’ll be dealing with some very dangerous people.
Once things get rolling, Sierra Six teams up with Agent Dani Miranda (Ana de Armas), and the first mission we see involves assassinating a target named Dining Car (Callan Mulvey). Complications arise when the job goes sideways and Dining Car reveals he’s also part of the Sierra program before succumbing to his wounds. A flash drive gets passed off with vague instructions, and the wild goose chase begins, centering on CIA officer Denny Carmichael (Regé-Jean Page), who sends a swarm of operatives after Six and Dani to retrieve it.
Along the way, we get more backstory on Six’s relationship with Donald and his niece Claire (Julia Butters), who Six previously worked security detail for. This obviously becomes important later because more collateral has entered the equation. The scenes between Six and Claire offer a surprisingly wholesome break from the chaos in Prague, and they’re a welcome addition.
From here on out, you pretty much know the deal. Double crosses stack on top of double crosses, things explode, and there’s so much inter-agency confusion over who’s good and who’s pulling the strings that you almost wish they’d ease up on the exposition and just keep blowing stuff up.
Solid, Pulse Pounding Action Thriller
The Gray Man’s budget absolutely shows on screen from start to finish. The action sequences are gorgeously shot (something that’s not always consistent across Netflix Originals), and at one point Sierra Six is standing on top of a moving tram, firing through the roof while tracking targets through reflections in nearby windows as the city flies past. This comes after he’s handcuffed to a railing in a town square, picking off attackers before they even get a chance to take him out.
Ana de Armas wielding a shotgun after throwing hands is also worth your time because she fully commits when the moment calls for it.
The only real issue I have is the film’s tendency to overload its premise with complexity for the sake of it. Most people don’t turn on action thrillers to do mental gymnastics. At least I don’t. I love psychological thrillers when I want things to get murky, but with action movies, I just want to sit back and watch things explode.
The convoluted plot isn’t a dealbreaker, just a nitpick. Some people enjoy sprawling shadow government conspiracies. It’s just not really my thing, so take that with a grain of salt. It’s still a great watch, just not one you can fully sink into the couch for and completely turn your brain off.
The Gray Man is a Netflix Original, and you can stream it with an active subscription.
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