Television

I’m too afraid of heights to watch this guy climb this skyscraper in Taiwan on Netflix. I’m sitting on the couch at home but I’m having serious anxiety!

#Netflix #Skyscraper #AfraidOfHeights

So as I mentioned I'm currently in the middle of my, at least, 3rd attempt to watch the BBC's Merlin. I've failed before because I usually stall during season 4. In fact I'm pretty sure I've never gotten through season 4 before. Well I'm in season 4 now and I think I know why I struggle.

Now if you've never seen the show it's the story of young Merlin, a wizard/warlock/sorcerer whatever, and his struggles to protect young prince Arthur as he matures into the kind of king the lands needs. Very monster of the week feel to it. It's good fun. Virtually nothing to do with actual Arthurian legends, check all that at the door and just enjoy.

Through the first 3 season one of the major obstacles, and borderline antagonist, is Arthur's father King Uther Pendragon. Uther hates magic, outlaws it in Camelot. Becomes enraged at it's existence. His stubborn paranoia is a major obstacle to Merlin as he can never go to anyone in authority and explain the threats or struggles he is dealing with that week so he has to deal with them on his own and in complete secrecy.

The problem is though in season 4 that dynamic changes. Uther dies and Arthur becomes king. Yes, spoilers, Arthur becomes Kings Arthur shocking I know. So the major obstacle to Merlin changes. Yet the show does not. The exact vibe that existed in the previous 3 seasons wherein Merlin couldn't tell anybody anything remains. In fact it seems dialed up to 11 because they don't tell anybody anything even when it has nothing with magic for some reason.

Despite the framework of the story changing remarkably the framework of the show itself changes not at all. Its very frustrating and probably why I'm already struggling to finish this show once again.

Archive link: https://archive.ph/qAFmR

If a democracy is only as strong as its capacity to disambiguate between fact and fiction, it’s revealing that so many of the past year’s TV protagonists have been defined by their ability to call bullshit.

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In telling versions of the same story of anti-authoritarian resistance, then, popular culture in 2025 wasn’t just playing out a fantasy. Instead, it provided much-needed counterprogramming to the downbeat, dystopian imagery that has dominated screens for decades.

So if Sony studios hadn’t made that “exclusivity” deal with Netflix recently, I’m guessing this moderately successful show would have been shopped to other networks?

Over half of viewers are outside the US, biggest audiences residing in UK, Germany, and Brazil