Ringquisition — our little segment that takes a slice of The Rings of Power and puts it under the microscope — returns. One this occasion yours truly (Staffer Demosthenes) and TORn Discord Moderator DrNosy turn the lens on the goings-on of the Noldor in the opening two episodes of The Rings of Power.
Editor’s note: this is an edited summary of a live discussion hosted last weekend on our Discord.
Is there truly no evil in the beginning?
DrNosy muses…
Let’s consider Galadriel’s statement that opens the series and its context.
`Nothing is evil in the beginning. And there was time when the world was so young there had not yet been a sunrise. But even then there was light.`
Galadriel, The Rings of Power: S1.E1
A few key observations upon this theme:
A young Galadriel sets sail to an origami Swan Boat in Valinor. This opening scene foreshadows the journey of the Elves from Aman (Valinor) to Middle-earth in the Swan Boats of the Teleri, which were subsequently destroyed.
The Burning of the Ships by Ted Nasmith.
Even in paradise (Valinor), there is discord amongst the children (the innocent) — is there truly no evil in the beginning? This concept is an undercurrent in Tolkienian writings. Arda had been marred by evil (by the actions of Melkor, also named Morgoth (‘Black Foe of the World’) after Manwë cursed him) even before the awakening of the Children of Illuvatar.
The strife among the Elven children is a reminder that ‘evil’ is an inherent aspect of the Children. Therefore, Illuvatar’s decree of the fate of Men and Elves (the acceptance of death and facing the judgment of Mandos) is a personal and spiritual decision made by nearly every character in Arda. (Of the Beginning of Days, The Silmarillion)
“Don’t you dare sink my battleship.”
Another place this appears is in her dialogue with Elrond:
And in the West, do you think my fate would be better? Where song would mock the cries of battle in my ears? You say I have won victory over all the horrors of Middle-earth. Yet you would leave them alive in me? To take with me? Undying, unchanging, unbreaking, into the land of winterless spring?
Galadriel, The Rings of Power: S1.E1
This dialogue implies that if Galadriel returns to the Far West, the evil within her will live on forever. Yet I feel this dialogue is a slight oversimplification in light of Tolkien’s texts. Specifically:
Death was a concept that existed from before the arrival of the Children of Illuvatar. The Elves are immortal, but this does not mean they are eternal beings (`Of the Beginning of Days`,The Silmarillion).
Fading, for the Elves, is a process that occurs slowly in Aman, and rapidly in Middle-earth (‘Difficulties in Chronology’,The Nature of Middle-earth). The purpose of the Elven rings (`artificer`) was to slow the effects of fading on Middle-earth.
Galadriel, as a bearer of such a ring, is protector of Lothlórien and her continued presence on Middle-earth also meant her inability to accept death and accumulate power to help resist the fading.
With this perspective, it is interesting to read these words from The Fellowship of the Ring:‘I pass the test,’ she said. ‘I will diminish, and go into the West, and remain Galadriel.’ (The Mirror of Galadriel’, The Lord of the Rings).
Why does Finrod make a vow to pursue Sauron?
Demosthenes explores…
In The Silmarillion, Finrod does make an oath — and remember that oaths are not lightly sworn in the “Tolkienverse”! — but it’s an oath to Barahir. Barahir, of course, saves him from an evil fate during The Battle of Sudden Flame.
Thus Felagund escaped, and returned to his deep fortress of Nargothrond; but he swore an oath of abiding friendship and aid in every need to Barahir and all his kin, and in token of his vow he gave to Barahir his ring. Barahir was now by right lord of the house of Bëor, and he returned to Dorthonion; but most of his people fled from their homes and took refuge in the fastness of Hithlum.
Of the Ruin of Beleriand and the Fall of Fingolfin, The Silmarillion
In the Episode 1 prologue, Galadriel’s voice-over tells us that “My brother vowed to seek [Sauron] out and destroy him.” The conflation of dialogue and visuals suggests that’s what we’re seeing in this particular flashback. That — despite superficial appearances — it’s not the Oath of Feanor made in Tirion (as Finrod takes no part in that). Instead, it’s something else; somewhere else.
What might fit is a rough adaptation of Finrod making good on his promise to Barahir. Yet, frankly, this is still not a vow to pursue Sauron. Not even close!
Felagund seeing that he was forsaken took from his head the silver crown of Nargothrond and cast it at his feet, saying: ‘Your oaths of faith to me you may break, but I must hold my bond. Yet if there be any on whom the shadow of out curse has not yet fallen, I should find at least a few to follow me, and should not go hence as a beggar that is thrust from the gates.’ There were ten that stood by him; and the chief of them, who was named Edrahil, stooping lifted the crown and asked that it be given to a steward until Felagund’s return. ‘for you remain my king, and theirs,’ he said, ‘whatever betide.’
Of Beren and Luthien, The Silmarillion
The other point of contention around this whole vows affair, I think, is the choice of the showrunners for Galadriel to take it up. I would ask: is our book-driven understanding that she is the sort of person to take oaths? I think that this suggests no:
Galadriel, the only woman of the Noldor to stand that day tall and valiant among the contending princes, was eager to be gone. No oaths she swore, but the words of Fëanor concerning Middle-earth had kindled in her heart…
Of the Flight of the Noldor, The Silmarillion
Is Galadriel deceiving us by saying it’s a vow? Is she deceiving herself? Is she reliable on this point? I think that Halbrand says something very interesting — and, potentially, very insightful, on the matter:
If you want to murder orcs to settle a score, that’s your affair. But don’t dress it up as heroism.
Halbrand, The Rings of Power: S1.E2.
A simple vendetta isn’t an oath in Middle-earth.
Why did the showrunners make Galadriel Commander of the Northern Armies?
Demosthenes observes…
There’s an interesting section of the History of Galadriel and Celeborn that outlines one scenario for Galadriel’s story. Simply titled “Concerning Galadriel and Celeborn”, it describes how they “did not go West at the Downfall of Melkor, but crossed Ered Lindon… into Eriador … and for a while dwelt in the country about Lake Nenuial (Evendim, north of the Shire)”.
Galadriel as Commander of the Northern Armies, might be an instance of the showrunners cribbing from that concept. She doesn’t merely lead the army (comprised, seemingly, of nine fellow-Noldor). Instead, she serves as a protector for that entire northern area of Eriador. Of course, it also serves as natural way to push her north into Forodwaith on the great Sauron-hunt. It’s her patch; she’s taking care of it.
It also provides an opportunity to evoke a short, but gripping, scene from The Silmarillion (I ask that readers excuse my rather inferior screencap).
Into a blizzard while crossing the Forodwaith. Rings of Power Episode 1.
We’re crossing the grinding ice. In miniature. I think that’s pretty neat. (Aside: Nasmith is underappreciated as a Tolkien artist.)
Fingolfin leads the Host across the Helcaraxe by Ted Nasmith.
The crossing of the Grinding Ice by the Noldor was a rough trip! But The Silmarillion also dispenses with this arduous journey in little more than a paragraph.
The fire of their hearts was young, and led by Fingolfin and his sons, and by Finrod and Galadriel, they dared to pass into the bitterest North; and finding no other way they endured at last the terror of the Helcaraxë and the cruel hills of ice. Few of the deeds of the Noldor thereafter surpassed that desperate crossing in hardihood or woe. There Elenwë the wife of Turgon was lost, and many others perished also…
Of the Flight of the Noldor, The Silmarillion
Galadriel’s journey’s end-point in The Rings of Power is undoubtedly less hospitable than that of the crossing of the Grinding Ice. But at least she has a map to point the way this time!
Why it’s necessary to use a dagger to point at the map I’ll never understand.
And it’s bloody cold! Why? Utumno’s ruins are basically here (probably under the ice-bay of Forochel though there is plenty of debate on that matter) and they continue to exert a localised chilling effect on the climate.
Finally, that mountainous location from the trailer — it’s not Thangorodrim after all. It’s just an evil Disney castle. Bit of a disappointment — who wouldn’t have wanted to see a visualisation of The War of Wrath?
Not!Thangorodrim. We are all sad.
What did the elves (other than Galadriel) think had actually happened to Sauron?
Demosthenes ponders the matter…
This is a key point, since the conflict about the fate of Sauron drives the story.
Galadriel believes he’s alive, out there and doing nefarious things. She states in Episode 1: “Evil does not sleep, Elrond. It waits.” That’s a definite crib from The New Shadow, by the way.
‘Deep indeed run the roots of Evil,’ said Borlas, ‘and the black sap is strong in them. . That tree will never be slain. Let men hew it as often as they may, it will thrust up shoots again as soon as they turn aside…’
The New Shadow, The History of Middle-earth
In fact, the attitude of Borlas is more or less Galadriel’s! That is, unceasing vigilance is required.
On the other hand, Elrond’s opinion is much more lackadaisical in The Rings of Power. He states that “The evil is gone”. This continues to puzzle me on a couple of counts.
Does he mean he believes Sauron is dead? That’s possible in the sense that a Maia can be completely and irrevocably severed from any physical form and unable to assume a bodily shape any longer. We see this both with Sauron and Saruman at the conclusion of The Lord of the Rings.
To the dismay of those that stood by, about the body of Saruman a grey mist gathered, and rising slowly to a great height like smoke from a fire, as a pale shrouded figure it loomed over the Hill. For a moment it wavered, looking to the West; but out of the West came a cold wind, and it bent away, and with a sigh dissolved into nothing.
The Scouring of the Shire, The Lord of the Rings
It seems likely that this was the fate of the Balrogs that Glorfindel and Ecthelion slew at the Fall of Gondolin.
Returning to The Rings of Power, if that had happened to Sauron you would think that such an event would be both marked and known? Or could it just be lost in the general chaos of the War of Wrath? I guess at least one Balrog escaped, so… perhaps.
Once the mark on the anvil at the Evil Disney Castle proves Sauron escaped and still exists in this, the Second Age, they (Elrond and Gil-galad) ought to be rethinking their assumptions. Elrond kinda pushes it with Gil-galad: “Then the shadow she sought… You believe it does exist?” But he also seems unwilling to be truly forceful about it!
What are the Elves up to?
DrNosy analyses…
Elrond: `Galadriel was so certain her search should continue.`
Gil-galad: `We foresaw that if it had, she might have inadvertently kept alive the very evil she sought to defeat. For the same wind that seeks to blow out a fire may also cause its spread.`
Elrond: `Then the shadow she sought, you believe it does exist.`
Gil-galad: `Set your mind at peace about it. What you did was right. For Galadriel and for Middle-earth.`
Elrond: `It is hard to see what is right. When friendship and duty are mingled.`
Gil-galad: `Such is the burden of those who lead and those who would seek to. Galadriel sails to the sunset. You and I must look to the new sunrise. To that end, are you acquainted with the work of Lord Celebrimbor?`
Elrond: `The greatest of the Elven-smiths, of course. I’ve admired his artistry since I was a child. Why do you ask?`
Gil-galad: `He is about to embark on a new project. One of singular importance. And we’ve decided that you will be working with him. But I’ll allow you to explain the details, Lord Celebrimbor.`
Lord Celebrimbor appears from out of the bushes to surprise Elrond in Lindon.
Reading into Gil-galad’s use of “we”, it appears that political decisions in Lindon often involves Gil-galad and a council of other Elven Lords of the realms. We are introduced to Lord Celebrimbor of Eregion. We are yet to be introduced to the other Elven Lords, most notably Círdan of the Grey Havens, Celeborn of Lothlórien (lore: Amdir/Amroth for Lorien), and Elvenking Thranduil of Mirkwood (lore: Oropher as King of the Woodland Realm).
Gil-galad is likely using “we” as a royal we’ but it doesn’t negate the point of an Elven council.
Gil-galad and the Council had determined that Galadriel’s concerns were accurate. Elrond is obviously unaware of the Council’s plans. It could be that the Council has determined that the solution isn’t pursuing an invisible enemy to banish evil.
Instead, it might involve the work of `artificers`, a concept that Arondir explains.
`Most wounds to our bodies heal of their own accord, so, it is their labor instead to render hidden truths as works of beauty. For beauty has great power to heal the soul.`
Arondir, The Rings of Power: S1.E1
Tolkien mentions the term ‘artificer’ in a letter to Milton Waldman.
But the chief artificer of the Elves (Fëanor) had imprisoned the Light of Valinor in the three supreme jewels, the Silmarilli, before the Trees were sullied or slain.
Letter #131, The Letters of J.R.R. Tolkien
Considering this show is about the Second Age, Celebrimbor, the greatest artificer of that Age, will play a significant role in the creation of the titular Rings of Power. It seems, therefore, that the tactic of pursuing war and battle with the enemy isn’t one that’s viable. Especially since Galadriel has now returned empty-handed from the last known stronghold of Sauron.
Actually called Ost-in-Edhil? Rights issues may get in the way.
Consequently, the Elves are more interested in returning to their old ways of smithing and fashioning objects that create great beauty and help slow-down the effects of death and fading on Middle-earth itself. While the pursuit and creation of powerful objects imbue deathlessness into the world around them, it is simply that much evil can also result from things that have a `good root` (Letter #131).
We shall see what is ahead in future episodes.
Our chat participants
DrNosy is a scientist (physical science), scholar, and Tolkien enthusiast. Her primary interests lie in review and analysis of The Lord of the Rings: The Rings of Power. She is an active contributor and Moderator on TheOneRing.net Discord where she also hosts live open-forum panel discussions on The Rings of Power, The Silmarillion, and a variety of Tolkien-related topics. You can reach her on Twitter.
Staffer Demosthenes has been involved with TheOneRing.net since 2001, serving first as an Associate News Editor, then as Chief News Editor during the making of the Hobbit films. Now he focuses on features and analysis. The opinions in this article are his own and do not necessarily represent those of TheOneRing.net and other staff.
If you have a Tolkien/Middle-earth inspired poem you’d like to share, then send it to poetry@theonering.net. One poem per person may be submitted each month. Please make sure to proofread your work before sending it in. TheOneRing.net is not responsible for poems posting with spelling or grammatical errors.
The following is a guest review from TORn Discord Ringer Amandawrites:
Sharing your joys with loved ones isn’t always easy. My husband, Eric, is a New York Mets fanatic.
When we started dating, I thought baseball was only marginally more interesting than the proverbial drying paint. But because he watches every game he can, and listens when he can’t watch (and checks game updates on his phone when he can’t listen), I soon found that spending time with him between April and October meant learning to appreciate, if not love, baseball (and particularly the Mets). Twenty-odd years later, I’ve come to appreciate the game and even enjoy it (sometimes). But love? Well, let’s just say I have other priorities.
As baseball is to Eric, Tolkien is to me.
Shortly before we were planning to leave for the theater the evening Return of the King opened, I accidentally drove an electric drill bit into my palm. (Unhandy people like me really ought not attempt carpentry projects, especially minutes before going somewhere important.) Eric sensibly suggested we go to the ER, but it was Return of the frickin’ King—for me, the fantasy equivalent of a Subway World Series—so seeing the film took priority. I bear the ensuing scar as proof of my love of LOTR. Yet Eric views Tolkien as I view baseball—it’s something he has come to appreciate and sometimes even enjoys—but love? He had other priorities.
September 2: Rings of Power or the Mets?
Our separate loves came in conflict on Friday, September 2, when I insisted we watch the premier episode of The Rings of Power while the Mets were playing. My husband, in an expression of love for me, acquiesced with only a little grumbling. He knew I’d been itching to watch the episode for months and granted me the boon foregoing his joy in favor of mine. (There’s a reason we’ve been married for two decades.) Incidentally, my daughter loves LOTR, although she might prioritize the ER over the theater if she had a puncture wound in her hand. So last Friday night, we all sat down together to watch ROP, me with fingers crossed and palms sweating in hopes that the show wouldn’t end up RIP in our family viewing line up.
A family fit: of kin and kindred
It was fitting to watch as a family, since family is the cornerstone of the series. Galadriel’s mission to find the missing Dark Lord Sauron is driven by her love for her elder brother Finrod, whom Sauron killed. Nearly everyone else we meet — harfoot, human, dwarf, or elf — has a family to protect and care for, or aspires to forming those bonds. I love that the series has begun on this footing, centering motivations on kin and kindred rather than the standard-issue Great Evil That Will End All Things.
The lesser evil of playground bullies
The show also rapidly establishes the little evils that get in the way of defeating the big ones—a regular theme throughout all of Tolkien’s work. This was one of my favorite things about the first two episodes. In the opening voiceover narration, Galadriel tells us “nothing was evil in the beginning,” but she’s lying to us and herself. Right away, before we see any evidence of a Great Evil, we see the ignorance and casual cruelty of Galadriel’s own people. This lesser evil of playground bullies foreshadows the conflicts and motivations that will drive Galadriel for the rest of her life (and the series).
Underestimated, undervalued, and undermined
Before she can confront Sauron, she must contend with peers who doubt and foil her, friends who betray her, and a king who pushes her out of the way. She may be Commander of the Northern Armies, but she is still underestimated, undervalued, and undermined. It’s easy to read this as a feminist take on Tolkien, where a brilliant woman is hindered by the petty jealousies and hubris of a bunch of men who think they know better and want her to sit down and shut up (and think getting her to stand down is for her own good). But whether you love or hate the feminist angle, it’s entirely consistent with all of Tolkien’s work.
Family roadblocks and bad@$$ sisters
From the Sackville-Bagginses to Denethor to Fëanor, who started the whole mess that led Galadriel’s people out of Valinor in the first place, Tolkien always dwells on the roadblocks put up by the hero’s friends and family as much or more than the threat posed by the Great Evil Enemy. And Galadriel certainly isn’t the only heroine in his work to succeed where men fail. From Melian to Lúthien, Haleth to Eowyn, there’s a long list of badass sisters doing it for themselves in Tolkien’s work.
Another favorite thing is the dialogue, which I thought brilliantly crafted (despite a few awkward expository moments). Every word carried its narrative weight, especially when Galadriel was speaking. There were plenty of Easter eggs for Tolkien nuts, but not so much Deep Lore that the more casual viewers in my house were lost.
Questions
There were questions, of course, like why hobbits are called harfoots, and why there is no mention of the family Galadriel is leaving behind when she’s shipped off by the king. The first question was easily answered with a look at my trusty Complete Guide to Middle-earth, but the second has me wondering if showrunners J. D. Payne and Patrick McKay have dispensed with Celeborn or delayed Galadriel’s relationship with him. I hope he’s somewhere in the wings, and Payne and McKay are sticking to the established genealogy. It would tick me off if Elrond doesn’t marry Galadriel’s daughter, Celebrían, the mother of Arwen in the books
It’s personal.
I’m also not entirely thrilled with the implication that Finrod died in battle rather than in Sauron’s prison (while helping Beren with his quest for the Silmarils), but I understand that film requires some narrative streamlining, and what’s important is the end result: Sauron killed Galadriel’s brother, and that’s what drives her now. In fact, I love that the series is founded on this classic narrative trope. It’s not just about saving the world for Galadriel, it’s personal. Very personal.
We’re in for the season!
Time constraints and other obligations had us watching only the first episode Friday and the second on Sunday night. All in all, the show got a big thumbs up from the family and will be on the viewing roster for the next 7 weeks. And if I somehow injure myself minutes before we plan to watch? Don’t worry — I have my priorities straight.
This review was written by TORn Discord Ringer Amandawrites and reflects her opinions only. Check out her blog and more writing here!
The debut of The Lord of the Rings: The Rings of Power on Prime Video is in many ways a new age of Middle-earth adaptation. Set firmly in the Second Age, thousands of years before the events of the The Hobbit, this TV series sets out to explore the the age of settlements in Middle-earth when the civilizations of elves, men and dwarves were at their peak.
It’s an era many Tolkien fans never expected to see on screen, as J.R.R. Tolkien had only bullet-pointed the big things that end up relating to the events of the Fellowship. So how did a TV series based on the appendices, or notes at the end of The Return of the King, end up with a billion dollar budget?
Must be in production within two years (to avoid development issues like what happened with The Hobbit films)
Cannot retell what’s been told on screen
Tolkien Estate or family must be involved
Additional rights to characters and stories may be available on a case-by-case basis
$1 billion budget for Season 1 (including the rights purchase price)
Illustration by: Tim Peacock / THR
How does this differ from the rights Peter Jackson used to win all those Oscars? J.R.R. Tolkien had sold the film rights to United Artists (founded by Charlie Chaplin) back in 1968 to help his family cover any death & estate taxes that were to come upon his passing. Later he claimed it was his own naivety that these rights were sold in perpetuity — basically for all time. The film rights would never again revert back to the Tolkien family for total control, and Saul Zaentz bought those rights from UA in 1976, immediately making animated films from Rankin & Bass and Ralph Bakshi, then later working with Peter Jackson. Saul Zaentz died in 2014, his LOTR rights were sold to Embracer Group in 2022, and Amazon acquired United Artists/MGM in 2022.
The only thing not included in those forever rights were to a TV series “over 8 episodes long”, and the family realized TV production may actually be able to tell some stories at quality and scale. They requested pitches from all of Hollywood, and it was Jeff Bezos personally who shared his love for the books and offered an amount showing that passion: $250 million. It was perfect timing as the streaming wars were just heating up, and Amazon had just created a department called “Amazon Studios” which had been searching for a major franchise to use as the tentpole and foundation for their video experiment.
November 2017
Christopher Tolkien announces he is handing over management of Middle-earth to the next generation. His life-long focus on the expansion of Middle-earth was primarily through book form. With his oversight, the deal with Amazon was done, creating a canvas for the next generations of Tolkien family to make their mark on the Legendarium. Christopher Tolkien would pass on to greener shores three years later in January 2020, at the age of 95.
May 2018
After receiving Spy Reports, TheOneRing.net reports that Amazon’s massive TV series will be about YOUNG ARAGORN. The single-sourced news breaks the internet and trends above the royal baby’s birth, but is never confirmed by the studio. Four years later, ESQUIRE confirms the early rumors as one of many pitched to the studio.
[BREAKING] We have confirmed from multiple sources that @AmazonStudios new billion-dollar #LOTR series will open its first season centered on a young Aragorn.
Dream job confirmed! Writers J.D. Payne and Patrick McKay announced as the showrunners for the Lord of the Rings TV series. While unknown to any fan, and with an empty IMDb credits page except for an unproduced Star Trek script, these guys were well known to Hollywood insiders as insanely talented script doctors (a job that never gets credited) and Tolkien uber-geeks. They couldn’t help but be compared to another big fantasy show with two unknown showrunners: Game of Thrones.
Patrick McKay (who no longer wears glasses in press photos) with writing partner J.D. Payne (who always has glasses)
March 2019
After nearly a year of of silence, innuendo and discourse, LOTR on Prime springs to life with a single tweet: Welcome to the Second Age. A map is revealed showing Númenor, a place fans never thought they would ever see.
— The Lord of the Rings on Prime (@LOTRonPrime) March 7, 2019
July 2019
Who’s in charge of LOTR? Amazon drops a surprise creative team video introducing showrunners JD Payne and Patrick McKay, along with an all-star team of peak TV writers, legendary Tolkien artist John Howe, and Tolkien scholar Tom Shippey.
The inclusion of Tom Shippey allows fans to breathe a sigh of relief as a trusted name in Tolkien scholarship is on board to make sure the lore is managed fairly. Amazon later chooses to abandon this LOTR youtube channel and posts all future content on the broader Prime Video channel.
We needed to find somewhere majestic, with pristine coasts, forests, and mountains, that also is a home to world-class sets, studios, and highly skilled and experienced craftspeople and other staff. And we’re happy that we are now able to officially confirm New Zealand as our home for our series.
Patrick McKay & JD Payne, Showrunners
Another sigh of relief from fans! New Zealand IS Middle-earth! Rumors started flying that Amazon really was “getting the band back together” with Weta Workshop, Weta FX and the Oscar-winning teams jumping on board. These rumors were never confirmed by the studio and the rumors persist three years later. In the end, Rings of Power involved 1,500 digital artists around the world with over a dozen VFX studios.
Other TORn Spy Reports start getting picked up by mainstream media as Deadline confirms Howard Shore involved with the new LOTR show. TORn-folk knew about this six months prior!
January 2020
Production begins in New Zealand as Amazon finally announces the cast of of what NZ locals called “Untitled Amazon Project.”
April 2020
COVID-19 takes the world by storm. Production is shut down as the entire island nation of New Zealand goes into lockdown. Nobody is allowed into the country.
Summer (or NZ Winter) 2020
Production resumes in NZ under new pandemic protocols, one of the first countries in the world to get back to work. Tons of movies & TV shows try to film in NZ but find that LOTR is so large it has hired nearly all the best entertainment people in the entire country. The country’s covid-zero policy limits who can fly into the country on a very selective basis with long hotel quarantines. This in effect leaves the LOTR creative team to film the show they want with minimal studio involvement (Amazon Studios are based in Los Angeles). It also limits what marketing can do, as there are no press set-visits due to lockdown. The entire show basically becomes a big dark secret and leaks are few and far between.
October 2020
Reports of nudity in Amazon’s LOTR show reach fever pitch. Based on casting descriptions for background extras “comfortable with sheer clothing” and the hiring of an “intimacy coordinator” the fan reaction was loud and swift. Clifford “Quickbeam” Broadway eloquently laid out the responsibility to the lore here on TORn.
January 2021
Show synopsis leaks to the TheOneRing.net as this site begins to receive bits of information from people excited about the work they are doing on the production.
April 2021
TORn reports that Tom Shippey is off the project, later confirmed by Dr. Corey Olsen (The Tolkien Professor), beginning a long and tense conversation between fans and studio. In the absence of official releases, incomplete information will continue to fill the air for the next year and a half.
In the weeks after we reported several other high-profile departures include lead designer Rick Heinrichs, the pause or possible disbanding of the writers room, and an unsubstantiated narrative began taking form of a troubled production playing loose with lore.
Whereas we had a constant trickle of information and leaks during Peter Jackson’s productions, this was an explosion of information on the secretive show — and a method of delivery that Amazon would employ for official releases going forward.
August 2021
Aug 2 – Untitled Amazon Project (UAP) wraps production in New Zealand with a massive party for the large crew & cast. NZ is still in lockdown with strict restrictions on travel into the country.
Aug 3 – First OFFICIAL image from the LOTR show is released featuring… the light of the Two Trees before the First Age! No context is provided of who the foreground character is or what we are looking at, only that it is a still from the opening of the first episode. Fans debated what is going on as this is clearly not the Second Age, not Numenor, not even in the Middle-earth map they had released earlier. Does Amazon have rights to this era? What story are they telling? Without any context, an all-star fan group spent hours analyzing every pixel.
Aug 12 – Amazon Studios in Los Angeles announce Season Two production is moving to the UK – allegedly to the surprise of all involved including actors, producers, vendors, workshops and even the NZ government who had offered a generous tax break on the basis of a production keeping kiwis employed for multiple seasons.
December 2021
An unmarked package arrives at TORn HQ — a wooden box with a copy of the complete LOTR saga — and leather bookmark at the first page of the Appendices. We confirm for the first time that Amazon’s rights begin and end within the pages of that one book — The Lord of the Rings (and any Second Age references they might glean from The Hobbit) — but every single word is up for expansion. For example , the two-sentence mention of Harfoots in Chapter One begat an entire storyline for a set of TV show characters.
January 2022
The title of the show, after nearly 5 years of mystery, is revealed to be The Lord of the Rings: The Rings of Power
February 2022
Amazon reawakens with a new name — Prime Video — and launches a deluge of official releases
Feb 3 – 22 character posters given to 22 influencer and media outlets (without context of who the torsos belong to) keep fans guessing who and what we are looking at.
Feb 10 – Vanity Fair publishes a FIRST LOOK with photos from the production, interviews with the showrunners, and a complete overview of the billion dollar mysterious show. TORn chatted with the co-writer of the article for even more details.
Feb 13 – Super Bowl trailer. FINALLY some footage! We spent 6 hours analyzing the trailer!
Feb 15 – The infamous “Superfans” video
While TORn parterned with some of the best voices in fandom for an epic 6-hour trailer review livestream featuring Ph.Ds, tiktokers, studio and media execs, stan twitter and lore YouTubers, Prime forged in secret another Super Bowl trailer review. Flying out dozens of fans to the Spanish island Mallorca to an old castle ruins in the middle of the night, they showed them the trailer, then filmed an hour long discussion about the excitement of the trailer. But the final edit posted to YouTube was three minutes of cringe with very little discussion about Tolkien or Middle-earth, instead focused on inclusion and diversity. Participants in the video were shocked how it was edited. While nearly all fans agree that representation matters, the video was tone deaf for the time and place and target audience. Given the frustrations of a near-blackout of information for three years combined with a series of no-context releases, it was a stunningly bad effort that was quickly deleted. They do know that what matters to Tolkien fans is… Tolkien. Right?
Online discourse really heated up in the wake of this monster drop of releases. A lot of the old, tired voices of hate and bigotry — some of the same ones that took issue with Ian Mckellen playing Gandalf because he was gay — now started criticizing the idea of diverse cultures in Middle-earth. To be clear, Tolkien rarely describes skin color, and he made a conscious effort to write stories that everyone around the world could see themselves in. This would come to dominate social media chatter about the show for the next six months, but cooler minds knew better than to focus on it.
May 2022
Prime Video flies out Tolkien influencers from around the world to London for a preview of the show. The “London 30” represented nearly 10 million core followers from eight different countries, with over a dozen published books on Tolkien between them. This second effort at working with Tolkien fans went much better, with an intimate setting and controlled environment. Some got more enthusiastic about the show, but more importantly most everyone came away with confidence in the creative leadership — a vacuum that had existed since the Tom Shippey news a year earlier.
The Rings of Power debuts a full proper trailer online while San Diego Comic-Con fans get an extended look at some extra footage, plus a giant Hall H panel with the showrunners and actors hosted by Stephen Colbert. Fandom seems united in positive impressions! They have a balrog! Prime Video also collaborated with TheOneRing.net for an SDCC party which the entire cast attended. It was the first time fans really got to see and know who is doing this next LOTR thing, and it was the first time many in the cast had interactions with the fandom. Everyone had a great time as the conversation turned very positive.
Separate from Amazon and Tolkien Estate, the film rights to LOTR long-held by Saul Zaentz are sold to video game publisher Embracer Group for a rumored $2 billion. Everyone expected Amazon and Jeff Bezos to win the auction for the rights — after all, they had already spent $250 million just for TV rights, half a billion dollars producing one season, and $8 billion for MGM which included some Hobbit rights. Spinoff movies and games are going to happen no doubt, independent of the TV show.
The screenings of power! Prime begins previewing the first two episodes to fans around the world. LA, Mexico City, NYC, Mumbai and London all got big preview event screenings, which fans were invited to.
Then on August 31, Prime Video rented hundreds cinemas in eight countries for free screenings of the two-part pilot directed by J.A. Bayona.
September 2022
The Lord of the Rings: The Rings of Power debuts on Prime Video streaming service at 9pm ET Thursday Sept 1, before settling into its weekly release of 11:59pm ET every Thursday night.
Since that first announcement in November 2017, this five-year journey to TV screens, full of rumors, leaks, fan events and a pandemic, has been an incredible experience for all involved — but especially the hard working cast and crew that have grown closer together through all the trials and tribulations. We can’t help but see many parallels to the Peter Jackson films, where that cast formed lifelong bonds of family and friendship. This new cast of LOTR really feels like a family as we journey into the next five seasons of this Middle-earth adaptation. Congrats to all for a well-reviewed start to the show!
As the co-owner of this website, having been here from the very beginning, I’ve seen my share of online Tolkien community related collective anxiety. Our massive community is not dissimilar to that of Star Wars – we have our whacko fringe segment and we have the numbers to attract a matrix style army of Russian bots.
Weeding through all … of … that … noise (if that sounds exhaustive, that’s intentional) is so hard to accomplish in 2022. Apparently with age, comes wisdom, and apparently with wisdom comes the ability to dissect myself from most of the drama in the lead up to ‘The Rings of Power.’
Sure, did I occasionally get caught up in the tasty morsels of ‘Tolkien with nudity’ or the ‘Gam(of Thrones)ification’ of Tolkien? I admit – it caught me every few months. But all in all, through most of this journey to September 2nd, I found myself more concerned about aggressively protecting the ‘good’ in our community. Protecting those of us who don’t tell you how to enjoy your Tolkien. Aggressively pursuing the bad actors, trolls and goblins of the online space. Yup, I’m looking squarely at you Twitter. Your cesspool of existence had me pretty close to closing down our official account a few times!
Calisuri & Xoanan get One Rings
Just a Casual Fan…
All that said, I decided to write my thoughts on ‘The Rings of Power’ today because I feel I may represent a segment of our community that simply is Tolkien adjacent these days. Sure, we were avid fans and very active 20 years ago, but work, families, and simply time have calmed that passion down…just a tad.
I should also mention, for the umpteenth time, that I am a ‘Hobbit’ and ‘Lord of the Rings’ reader. I tried to read the Silmarillion ages ago…not again. Nope, I didn’t read the Histories of Middle-earth or the new books that mystically appear every few years. I’m just a fan of Tolkien’s most popular works – judge me if you will.
With the multiple premiere’s happening around the globe, TORn staff were attending and reporting through the generosity of Amazon. Last week, I had actually scored a pass to the NYC Premiere, but after an enjoyable vacation I came back with a cold worthy of Sauron’s envy. I had even bought a sweet outfit for the occasion, but alas, it was not to be. (Nope, it wasn’t COVID, oddly enough.)
So like everyone else, I waited patiently until the show premiered last night on my Amazon Prime account. I should also note, that I’m such a casual fan these days, that I ended up watching the first half of the Penn State vs. Purdue American football game (PS – Penn State is where this website found its genesis), before deciding to check to see if ‘The Rings of Power’ was out a bit early. And yay…it was!
So it begins. Lights off, Apple AirPods Pro Max activated, and let’s do this!
My first thought… my first reaction… Welp… this is exactly what I wanted to see. They got me. I’m in.
I’m going to share a minor-spoiler stream of thoughts. I’m doing this for those of you who are like me – casual, Tolkien adjacent fans. Folks who may not be the most educated Tolkien scholars of the bunch – nor – *gasp* – really want to be. Folks who don’t want to participate in the drama of the community and just want to watch a good show and celebrate with the community.
So my quick review: this show nails it.
I wanted – no, needed – a thread – a connection to the films I so loved 20 years ago. ‘The Rings of Power’ delivers big time.
Just a few clear reasons why…
We get Galadriel, one of the best characters in all of Tolkien’s works, as the lead, the main focus of the series. I’m pretty sure I had not seen Morfydd Clark in any other show/movie before this show, and she is simply a gem. The strength she exudes with just a stare is mesmerizing, and her acting prowess is top notch. This series is in great hands with her in the lead role. The decision to focus on Galadriel from the very start is genius. I truly want to know her story, and I can’t wait to learn more.
We get breathtaking action and visuals. How cool is it to see battle sequences of Middle-earth in such gigantic scale. Did I really just watch a Fell Beast take out a giant eagle?!
We get amazing music from the talents of Bear McCreary. Throughout both episodes, it is clear Bear understands the musical ethos that is required for this world. So amazing. (Yes – already listening on loop while working!)
We get a taste of the innocence and simplicity of Hobbits with the whole Eleanor Brandyfoot plot. Markella Kavenagh is wonderfully cast in this role as a bright eyed mischievous Hobbit…err…Harfoot. In fact, when I look at her, I think of those quick takeaway shots of those cute Hobbits watching fireworks. (Pretty sure those were PJs kids?) And I’m pretty sure, by the end of this series, we are going to get the clear implication that Bilbo and Frodo are descendants of Eleanor. (Oh wait, my lack of Tolkien knowledge might be coming through…is that already spelled out in a genealogical chart somewhere?)
We get an Elf military that is stationed throughout areas of Middle-earth to protect her ungrateful residents? Noice! Wait – a Legolas 2.0 with Ismael Cruz Córdova’sArondir? YES. If you aren’t excited to see him kick some major arse in this series, check your pulse. BTW – he’s okay right? I mean…we did get a bit of a cliffhanger with him in Episode 2. (Obviously we do)
We get to see a whole thriving Dwarven culture. Am I really under the mountain and watching the genesis of semi-familiar names and their eventual (spoiler!) downfall? After all, I did see that Balrog in the trailer…you all are going to delve too deep…aren’t you…?
We get some REALLY impressively designed baddies. That orc/goblin that shows up in Bronwyn and Theo’s house…nightmare fuel. The ‘worm’ of the ocean – can I can get a fine art print of that in someway? That brief look right before taking out the raft…yikes!
Who the heck is this Meteor Man? How cool would that be if that’s Gandalf? Probably won’t be – but I’m game for having no clue, and finding out as the show unfolds. I do get a baddie vibe, but obviously they are trying to lead the viewer in that direction.
Hold up. I was worried this show might not be something I could watch with the family. Sure, the baddies are a bit scary, but as of right now, this is a family (10+) show. Well done, Amazon!
Two episodes in, and there is so much to love about this series.
You know you got it right when…
The biggest compliments I can give this series are twofold:
I did not look at my phone the entire time. This is pretty impressive, considering the Penn State game was very close at halftime and I had relatives and friends dinging my phone and watch. The ‘tap’ of the watch was going mad at some points during the show, but I was so engaged in the show, I didn’t bother. And also…I ALWAYS look at my phone during shows.
I usually will make myself some popcorn during shows. I’ll get up, walk away from the TV with my headphones on and watch from the kitchen. Nope – not in this case. Popcorn was only made when the first episode ended.
In summary, I’m fully in. Well done to the entire team involved in this production. Sure, it was insanely expensive, but for this Tolkien adjacent fan, you’re nailing it.
If you are a casual fan of Tolkien and Peter Jackson’s The Lord of the Rings, you are going to absolutely love ‘Rings of Power.’
While McCreary has crafted Season One’s score, Shore’s contribution to the show is the title theme. Shore has won three Academy Awards for his music for The Lord of the Rings and The Hobbit feature film trilogies. McCreary is an Emmy and BAFTA winner for his music scores on Outlander and God of War.
In this new segment, two of our Discord regulars, Reading Room Moderator DrNosy and composer Mike T, debate the show’s title theme and whether it is ‘musically’ suited to the score of The Rings of Power.
DRNOSY
The French horns.
It is that instrument that I closely relate to the music of The Lord of the Rings, particularly in the soundtrack Prologue: One Ring to Rule Them All. Hearing them again, in the first second of the Main Title, I was immediately pulled back towards the story and events that launched the Third Age — Sauron with the One Ring in hand laying waste to the armies of the Last Alliance of Men and Elves.
However, as I keep listening to the track, I start to feel something is off. This music sounds like a watered-down version of that track from The Lord of the Rings. A “lite” version of The Lord of the Rings is absolutely not what the Second Age should sound like. It is also almost completely at odds with the rest of the themes in the album.
Listening to the entire album, it is clear that McCreary (following in Shore’s footsteps with the film tracks) has created a succinct soundscape for the Second Age, complete with themes for each character and narrative arcs for the events of Season One. Shore’s theme does not seem to fit with any of McCreary’s tracks.
MIKE T
I think this might be the biggest thing driving negative reactions to Main Title, as well as the opposing negative reactions that favor the theme over the score, and it’s definitely a misstep on the part of the people behind the show, but is it a problem with the music itself?
Not from where I stand: both composers have done what they were tasked with, and done it well.
If there is a question to ask, it’s this: why wasn’t part of that task, for either of them, to strive for more musical unity with each other. For now, it seems pointless to speculate on that.
Perhaps we’ll get more insight into the circumstances of the composition eventually, or maybe we’ll even have a situation where Bear does start to weave some of Shore’s ideas in. In any case, some of us just seem more willing to “bridge the gap” ourselves, and to take Shore’s theme as a welcome bit of torch-passing that will nicely frame each episode of the series.
DRNOSY
While I take your point about “bridging the gap” between the films and the show, I simply do not see how or why they should be linked in Main Title itself.
Main Title’s fairy-esque tones simply do not fit with the characterization of the factionalized, bloodied, and catastrophic ending of the many races of Middle-earth in the Second Age. Not to mention how it completely seems to miss the themes and leitmotifs of the other peoples of Middle-earth, i.e., the Dwarves, Harfoots, Númenor, and Orcs.
I appreciate Shore’s use of the musical leitmotif representing Galadriel (ethereal ‘Elven’ feminine vocals at 0:35), but that moment also rings along the lines of a ‘fairy lady in the woods singing to the birds’, which is closely followed by ‘evil has come to the woods and it threatens the lady and her birds’ (0:53). It is the ultimate mischaracterization of the Galadriel of the Second Age, especially as the Galadriel we meet in The Rings of Power is an Elf at war with herself.
Why is it that we don’t hear that conflict in Shore’s theme?
MIKE T
As you noted at the outset, from the very first notes heard it is clear, from both the voicing of the chord and the way it is orchestrated, where this music is supposed to take us. It follows exactly the rhetorical and stylistic precedents Shore first set over 20 years ago. And yes, his writing is indeed always committed to very tightly-woven leitmotivic processes. His Main Theme does in fact seem to make reference to a number of musical structures that are present in his previous Middle-earth music, related to the various story elements you mention.
Whether this is explicit enough for every listener, I certainly can’t decree… but there is an argument to be made for their presence (the specifics of which I will not bore readers with here!).
As for your feeling that the theme mischaracterizes Galadriel, I would simply argue that the vocal element in question is not meant to represent Galadriel in the first place. It sounds to me more like an incidental orchestration choice by the composer, rather than being intended as a direct evocation of anything or anyone previously associated with that specific color, and likewise, the darker turn you mention is a more abstract musical turn to represent the overall tumult of the events of the Second Age, not anything specific to Galadriel’s arc.
The whole piece in fact centers around this dramatic “triptych” structure, in which we are introduced to familiar-sounding material which begins confidently but then takes a darker turn, and is briefly restated in a more pure way before ending in a quite unresolved place.
This feels like an apt encapsulation of what we’re going to see play out here, a sort of grand overview of events rather than a focused musical commentary on specific characters. Does it do so in weighty enough tones for what we will experience in the substance of the show?
Again, I can’t decide that for everyone, I can only explain the possible thinking behind things.
DRNOSY
I see Galadriel as the main protagonist of The Lord of the Rings: The Rings Of Power.
If the feminine vocal element isn’t Galadriel, it would seem that Main Title doesn’t weave any element of McCreary’s sounds for the Second Age, which is curious to say the least. I was also disappointed how Main Title drastically falls short of iconic sounding title themes we hear in other fantasy/epic shows such as A Game of Thrones, The Wheel of Time, The Witcher, Westworld, His Dark Materials, The Sandman, and others.
The whole purpose of title music is to leave a lasting impact or memory of the show on the audience every single time they tune in to watch. I still remember how I binged the entire glorious Season One of The Crown in one night. At that time, I did not dare to skip the titles (even to save time) because of my need to let the music (and title sequence) wash over me as I savored and reflected on the episodes I’d watched previously. I did the same with The Witcher, His Dark Materials, and The Wheel of Time.
It is hard to ignore the impact of ‘good’ and ‘catchy’-sounding theme music, especially because its sole purpose is to transition the audience from the opening events of the episode (or even the previous episode) into the central story arc.
I find myself forgetting Shore’s title track music even after having listened to it about 20 times now.
MIKE T
It’s true, there are ways to open with a bang and to set up a musical hook that will immediately grab the audience. It may simply be that Shore’s approach as a composer tends more towards subtlety than the expectations formed by the examples you mention, for better or worse.
There are surely important musical structures in Shore’s prologue to “The Fellowship of the Ring” which, if not for the subsequent hours of music building on them, might not be clear to us as meaningful, and which would not grab us by the heart, so to speak, without that reinforcement.
I think we have a situation similar to that hypothetical here. Nothing of Howard’s new theme is, at least based on what we’ve heard so far, built on in Bear’s score.
Those elemental structures are not reinforced. We go right from an echo of the Middle-earth sound that we know, to a younger and more vibrant Middle-earth, with no real bridge between that and the grand but poignant “civilization in decline” soundworld we’re used to.
The power of familiarity shouldn’t be underestimated though. Given what I’ve seen happen with some other scores’ themes over the years, I’m willing to bet that quite a few of those who are currently unimpressed by and unattached to this one will feel differently once they’ve heard it fifty or so times accompanying each episode, when this new journey reaches its end.
About our chat participants
DrNosy is a scientist (physical science), scholar, and Tolkien enthusiast. Her primary interests lie in review and analysis of The Lord of the Rings: The Rings of Power. She is an active contributor and Reading Room Moderator on TheOneRing.net Discord where she also hosts live open-forum panel discussions on The Rings of Power, The Silmarillion, and a variety of Tolkien-related topics. You can reach her on Twitter.
Mike T is a composer and near-lifelong Tolkien aficionado. After obsessively relying on TORn for spoiler reports during the early 2000s, and pursuing a musical life in large part due to the experience of hearing Howard Shore’s scores in darkened theaters dozens of times, he is delighted to find himself back amongst the TORn community for this new journey through Middle-Earth. You can listen to his music at https://michaeltrapasso.bandcamp.com and reach out to him on Twitter.
Editor’s Note:we reported in September last year that McCreary was being brought onboard to work with Shore on scoring the series. It was rumored at the time that Shore didn’t “necessarily want to compose the whole series”. We now know that Shore and McCreary ended up composing the music separately.
