#elendil critical

[aadmelioraa]

When your oldest brother dies on a religious crusade just as you feared he would and your father refuses to deal with his grief just as he refused to deal with it when your mother died (you were a baby btw) and then again when your other brother left home (because your dad was impossible to live with) and in spite of feeling entirely abandoned by your dad you use your newfound higher status to put yourself out on a limb in order to downgrade his punishment and that of your close friend despite grieving their involvement with the queen who led your brother to his death but instead of your father acknowledging your pain and your attempts to do what you believe will bring justice he lashes out at you by comparing your current position to the horrific way your mother died…just Eärien things

[zorosroronoas]

I felt so bad for earien this episode. And elendil is so set in his way he doesnt realize that if he just put in some effort earien would fully take his side. Also earien is somewhat placing herself in danger advocating for elendil when pharazon clearly wants to get rid of him.

yes! i agree 100%. he's not trying to have an actual conversation with her at all. he just talks AT her, which is not the same thing. he doesn't actually listen to what she has to say.

like i said in the tags of one of my posts, he will be quicker to listen to miriel than his own daughter. he'll actually care for & accommodate miriel's feeling, but he won't do the same for earien (or isildur) & it's so heartbreaking bc she KNOWS this. like i can't get over her begging pharazon to let miriel talk to elendil, bc she knew he wouldn't listen. the shot of her standing there watching her father comfort & talk to miriel breaks my freaking heart.

elendil has completely shut himself off to earien & yet ppl complain that she won't listen to him? has he ever listened to her? fuck, it's so clear they've never had good communication between them. elendil didn't even know she'd reapplied to the builder's guild last season. isildur was the one who pushed her to do so & she LOST HIM. & elendil won't even speak of him! does she even fully know what happened in middle-earth?

honestly i do love elendil & i love mirendil too, but the neglect elendil subjected his children to is obvious & it's okay to admit it.

[starsoftheeye]

it's absolutely wild that after outright hearing that the king is manipulating his daughter into believing her father hates her and accidentally confirming that to his daughter, elendil not only didn't attempt to reassure his daughter at all or ask her about this, but also just did not react to that piece of information whatsoever?

elendil ily you're great but you're not beating the emotionally neglectful father allegations my guy!! talk to your daughter!!!

[middle-earth-mythopoeia]

No, Amazon’s Rings of Power is not “woke”

It annoys me so much when people complain about Rings of Power being “woke.” First of all, because of the way they overuse the word, woke has become a next-to-meaningless term that can be applied to anything conservatives don’t like. Second, Rings of Power is only progressive in the most surface-level way; underneath that it is in fact extremely regressive. People who whine about Rings of Power being woke are not only annoying, they’re also just plain wrong.

Ever since the casting was announced, right-wing idiots have been shrieking about Black actors being cast in Rings of Power. These trolls have made all kinds of dumb statements about how Middle-earth = Europe, but they seem willfully ignorant of the fact that Europe has never been exclusively white, and there is no reason to exclude people of color from the cast of any Tolkien adaptation. Still, this didn’t make the show progressive in its casting (which was tokenistic) or its writing (which ranges from bad to horrible).

For instance, the only storyline Amazon writers could apparently think of to introduce Arondir was literally him being enslaved. I mean, really? Is that really the best plotline to go with? To be clear, I’m not criticizing the actor, I’m criticizing the writing. In addition, Amazon cast actors of color overwhelmingly in parts invented for the show—rather than as actual Tolkien characters—which more easily allows them to be sidelined by the narrative, and the casting overall was in no way diverse enough. So I find it bizarre that people criticize the show for its so-called wokeness, when very little effort was made from a diversity and inclusion standpoint.

Right-wing nutjobs also threw a fit about Amazon portraying Galadriel as a warrior, to the point where they started calling her “Guyladriel.” They whined about Galadriel being too feminist and too masculine in the show, but that’s the opposite of what happened and betrays a fundamental misunderstanding of Galadriel as a character. First of all, she fought at Alqualondë in one version of the story, so no one should have a problem with her wielding a sword. What IS a problem is everything else about her portrayal.

Amazon’s writers took one of Tolkien’s most interesting characters and stripped her of her power, her authority, her gravitas, her wisdom, and her ambition. They had Gil-galad, her younger cousin, order her around. They had Elendil compare her to his children, even though she’s older than the sun and moon. And they made her a petty, naïve, incompetent brat whose entire first season involves being manipulated by Sauron, and as if that wasn’t bad enough, having a bizarre will-they-won’t-they relationship with him. In addition, Galadriel is canonically tall and strong, and one of her names means “man-maiden,” but they made her short and waif-like instead.

Galadriel in Amazon’s show doesn’t even resemble the character Tolkien wrote—the character named Nerwen, who never trusted Annatar, who certainly never had some creepy Reylo thing with him, who was powerful and wise and authoritative, who had a marvelous gift of insight into the minds of others—not a quippy, rude, annoying idiot who is constantly being controlled by the men around her. I don’t know why anyone would look at Rings of Power and think this portrayal is progressive. It’s actually a failure of imagination: Amazon’s writers literally cannot conceive of a powerful woman even when all of the work of imagining her has been done for them.

In addition to the faux-feminist-and-actually-sexist portrayal of Galadriel, Rings of Power is also on the whole weirdly regressive from the standpoint of gender roles and gender expression. Tolkien’s Elves are canonically tall, beautiful, and long-haired, regardless of gender. Tolkien’s Dwarves all have beards. So what did Amazon do? They gave most of their male Elves short hair, while the female Elves still have long hair, and they did away with female Dwarves’ beards. They patted themselves on the back for “letting” Galadriel fight, but don’t show other female warriors—in battle scenes, for instance, why are all the soldiers male? In general, they made their characters adhere to conservative gender roles and gender expression, which is especially glaring because it contradicts what Tolkien actually wrote.

On top of all this, they decided to throw in some anti-Irish stereotypes with a side of classism, just for fun. They had the ragged, dirty, primitive Harfoots speaking in Irish accents, while the regal, ethereal, advanced Elves speak with English accents. None of the actors playing the Harfoots are Irish themselves, to my knowledge, which makes the choice to have them speak this way especially questionable. Seriously, who thought this was a good idea?

All in all, it makes absolutely no fucking sense to criticize Rings of Power for being woke. It may look progressive on the surface because there’s a Black Elf and a woman with a sword, but that’s as far as it goes. The show isn’t particularly diverse to begin with, and it treats its characters of color poorly. Galadriel’s portrayal is disgustingly regressive, as is the show’s overarching take on gender. This is to say nothing of the caliber of the writing in general, which is unsurprisingly low. There is so much to criticize—like the nonsense about mithril, or the fact that Celebrimbor of all people doesn’t understand alloys, or the fact that you can apparently swim across the Sundering Seas now—which makes complaining about the show’s supposed wokeness especially irrational.

I also have to wonder if the people still whining about wokeness know anything about Tolkien’s works. Do they know that the crown of Gondor was based on the crown of the Pharaohs of Egypt? Do they know that Tolkien considered Byzantium the basis for Minas Tirith? Do they know that female warriors already exist in Tolkien’s books? Do they know when they rant about how much they hate “Guyladriel” that Amazon’s portrayal is actually too feminine? Ultimately, people who complain about wokeness in Rings of Power—or any Tolkien adaptation—are just betraying their own idiocy. I honestly think if Tolkien’s books were published now conservatives would scream that they’re woke too.

[thegreatzombieartisan]

It was revealed that Isildur’s mother died while saving him from a strong tide.

Some criticize Elendil’s character for still believing the “sea is always right”, saying it must mean he believes it was right for his wife to drown. But they don’t get it.

If the sea is always right, Elendil can’t blame Isildur for his wife’s death — and tear father and son apart.

But if the sea is always right, what if his mother’s death is a part of the Music (even Ulmo’s doing?) Because survivors guilt is what drives Isildur to do something great with his life. Something worthy of his mother’s sacrifice — or as Estrid says, a gift.

[gnomescarfcomics]

Rings of Power: Episode 7 - The Eye

Rewatch mini review. Chaotic and out of order.

The grief episode.

Southlands: Galadriel's scenes with Theo were surprisingly poignant. It was great to see her slowly coming back to her true self after years of obsession, hate, failure, and grief. I don't dislike Theo, but he was probably one of my least favorite characters. This show finds a way to make good use of every character though. Seeing the world through his eyes helps Galadriel come to terms with how much she's changed since her hunt for Sauron began. I wish they'd spent a little more time with that though, even just another short scene or two. I think it could have softened the blow a little for how people reacted to Galadriel's personality throughout the show.

As I mentioned in my other review, another fake out death for Bronwyn feels extra unnecessary after the events of season 2. But it is what it is. Now I actually miss Bronwyn more than I thought I would. She was another one of my least favorite characters, but her storyline did have a lot of heart behind it.

Elendil's various stages of grief are played out well, even if most people know Isildur isn't actually dead. It's not always about what the audience knows but how the characters react. Miriel's blindness was a creative choice that has some nice symbolic implications, and it was nice seeing it hardening her resolve rather than sinking her into despair.

Halbrand being wounded and needing "elvish medicine" was a little hokey and felt like a lazy way of getting him to Eregion. I know Galadriel later says "we rode without rest", but I would have liked at least one scene with them on the road. Season one suffers from kind of ignoring the time and distance between locations. Even with the inclusion of map cutaways, which I grew to love, there isn't enough traveling for me. Maybe they took the complaints of Lord of the Rings having "too much walking" to heart.

And speaking of maps, I think the Southlands to Mordor visual transition should have been done over a shot of the whole map rather than just showing the text over a wide shot of the land. But that's a bit of a nitpick.

Harfoots/Harfeet: This part feels a little sloppy in some places. How much they fear the Stranger and his magic (and why) feels a little inconsistent at times. As does the sense of community of the harfoots. I get what they were going for: they're a superstitious clan that have become overly obsessed with survival, basically at the cost of their true unity as a people. The Stranger's mere presence fills them with fear, despite his kindly nature and attempts to help them. And when anything goes wrong, it's hard for them not to instinctively blame him. Their decisions are all based in fear, including leaving people behind.

Just as Isildur says Numenor is "not the true Numenor" anymore, I think the same is true of the harfoots. They've literally lost their way. But who they once were still lives on, and it's strongest in people like Nori and her father. Just as the heart of true Numenor lives on in Elendil and Isildur. As Nori says when she refuses to leave the Stranger behind, "That's not who we are." And Poppy corrects her, "That's not who YOU are."

I think Largo's speech and Malva admitting her faults do a pretty good job of communicating this, but it could have been clearer in my opinion. And like Galadriel, a little more clarification and time could have helped alleviate some of the criticisms. Because I think the writers' intent is good and makes sense overall.

Khazad-dum: The smoothest of the storylines. Elrond and Durin's relationship (and Disa) continue to be the heart of the show. Not even the somewhat clunky mithril stuff can hold them back. And to its benefit, this episode focuses more on the emotional impacts rather than the detailed intricacies of how the fading and the mithril supposedly works.

It may not be immediately apparent, but most of the characters on the side of good are "right" in their own ways. Even the grumpy dwarf king makes valid points and is doing what he thinks is best, just as everyone else is. He may come off as harsh, but he's not acting out of malice. This idea of people being both right and wrong in their own ways becomes especially important in season two.

I remember this episode feeling a little disappointing when it first came out. After such an impactful previous episode, it was hard not to want things to keep going at the same pace. But as Sadoc said, everyone needed "a moment to grieve" and regroup before the final reveals of the season came to light.

[eomerofrohan]

was suddenly hit with some cultural feels tonight, and then equally suddenly felt the need to express it here, but through a Tolkien metaphor lmao

so anyway here is some insight into how Elendil and his followers may have related to their heritage in the wake of. you know.

~

sigh "yes I'm from Numenor. no, I am not going to erect a temple to Melkor, I don't even like him. no, we're not all like that. do you understand there's more to Numenorean history than just Ar-Pharazon and Sauron? do you understand we're not a monolith?"

"no, I am not going to denounce my Numenorean heritage. I'm proud of it. yes I know about what happened. I can be proud of the culture and how I was raised while also still able to criticize what went wrong with us. no, that's not a contradiction."

[edennill]

Comparative Studies, or Twice on the Verge of Falling  

The Rimôn fresco of Elwing is considered to be one of the greatest artworks of the Late Classical Era. Found in the courtyard of the old Helcaril Villa (itself a marvellous example of architectural trends during the reign of Tar-Elendil), it occupies a relatively modestly-sized, but excellently exposed niche across from the entrance. Aside from the considerable fame the artist had later gathered, it remains remarkable both for its vividness of emotional expression, contrasting to the usual art style of the era, and for the number and fame of its copies.  

The best known of these is the one gracing the lesser courtyard of the villa Surë-or-Falmar. Indeed, the glory of the two is so closely interwined that it seems impossible to ascertain which had contributed to the fame of the other more. And yet the effect of the copy wildly differs from that of the original artwork.

The Rimôn Fresco depicts the figure of the young Elwing standing on the cliff with her back to the churning waters below. She is poised halfway toward the drop, as if on the verge of throwing herself in, one hand clasping the Silmaril at her neck. Wind whips at her torn dress and loose hair. A rarity among artworks confronting the subject, it depicts neither the enemy she is facing, nor the the transformation into bird itself. The figure stands alone - and seems strikingly young. Beholders oft remark that it is hard to believe she is meant to depict a wife and a mother.  

The wild and violent atmosphere of the fresco, even though, as with most Classical works, it depicts no blood, and despite the aforementioned lack of actual fighting shown, made its artistic quality fall under scrutiny in its day. From diaries, journals and letters of the period we can, however, see that it proved intriguing enough that people would come visit the Helcaril Villa only to see it in person - and that it won over many of those who were originally critical. Thus it is difficult to ascertain whether the changed nature of the Surë-or-Falmar villa Fresco was intentional on the part of the copyist, or the sign of an inexperienced hand.  

The name of the copy's painter has unfortunately escaped history. The style is typical to the reign of Tar-Meneldur, though an exemplary of its genre rather than a dull attempt at imitating fashion. The colour combinations are soft, slightly more so than in the Rimôn Fresco, the lines clean, and the light hazy. The figure depicted is in the exact same position as that in the original artwork.  

Viewers of both frescoes predominantly agree, however, that despite the technical skill the painter has exhibited, the Surë-or-Falmar Fresco lacks something of Rimôn's Elwing. The posture is just a little less dynamic; the cliff's edge (perhaps unconsciously or accidentally) removed slightly father from Elwing's feet, making her situation seem something less desparate. The wind's effects hardly seem those of a real gale, and more an aesthetic choice. One of the most interesting judgements has been pronounced by Herunimon of Eldalondë in a letter to his cousin, Rilendur, son of Verahil, dated 24th Nárië, 901: "The S.o.F. figure seems less the Lady Elwing fenced in by foes and making a tragic choice, but more the heroine of one of those new romances, unsure whether to flee the scene after a man has confessed his love to her, or to accept his proposal - or, I hardly know, perhaps such heroines lead more exciting lives than I would guess (...) - but anyhow, the fresco seems more like a coloured plate in a rich novel, than a mural depcting a tale of the Elder Days. All in all, there is not one element which does not fit. But taken together, the effect is incongruous." (Collected Letters, volume II, as accessed from the Royal Library in Romenna)  

(from the Romenna Journal of Artistic and Literary Studies)  

***

Editor's note: Remembering the considerable public outcry after the publication of Songs of the Elder Days: Lyrics, History and Analysis, the University of Romenna along with its subsidiary organisations seek to make it understood that the views of authors, as regards the addition or not of Lord and Lady before the names of Lord Eärendil and Lady Elwing, do not necessarily represent its own. Were the University to be flippant, it might also seek to ask why proper respect being accorded to the Lord and Lady seems to be held in greater importance than that it be accorded to the Valar, but the University understands that this would bring on public outcry against it from people on both sides of the moro-political divide, so it shall keep its silence.

[incorrectringsofpower]

Elendil: Hey Pharazôn do you take criticism?

Pharazôn: I do not, and do not speak to me or my son ever again.

[sillylotrpolls]

If you recall, a little while ago I manually scraped data regarding popular LotR ships from Ao3 using an extremely rough methodology. I had a request for the data, so what the heck, here you go.

Now, these numbers are ridiculously rough. In fact, you might even say they're bad. The first 10 are approximately correct. But, as explained in that link, every group of 10 after that is undercounted by more and more because I excluded fics from my search that contained the ships already on the list. Also, anything tagged in the Hobbit movies/book but not LotR was really, really undercounted.

Let this be a lesson in data sources! In fact, the best use of this data is to use it as a starting point for getting good data. Instead of checking every permutation of ships (like idk, Merry/Elrond) for proper numbers, you would start by checking the top 50 on this list. This is of course assuming you didn't have a better method of getting data out of Ao3 than using the work and tag searches like I've done here.

(The second-best use of this data is to go "lol, really?" which is what I assume/hope you're here for, because otherwise you're probably gonna be disappointed.)

(The third-best use of this data is to note that because the Hobbit movies came out 2012-14, right when Ao3 had achieved critical mass, it is much, much easier to find Hobbit-related fic on Ao3 than LotR, the films of which came out in 2001-03.)

For ships that intrigued me I've included the "actual" results in purple. But even those numbers are probably undercounting because some people don't use tags that map to the canonical tags.

Anyway, the top 140 ships for "Lord of the Rings - All Media Types" on Archive of Our Own using a Very Bad counting method are:

1 Frodo/Sam (2207) (2,250) 2 Gimli/Legolas (1918) (2,121) 3 Aragorn/Arwen (1509) 4 Aragorn/Legolas (1492) 5 Éowyn/Faramir (1055) 6 Bilbo/Thorin (996) (12,085!!!) 7 Erestor/Glorfindel (955) (1,158) 8 Aragorn/Boromir (766) 9 Celebrían/Elrond (752) 10 Galadriel/Halbrand (688) (691) 11 Legolas & Thranduil (439) 12 Legolas/Original Female Character (347) (539) 13 Legolas/Thranduil (308) 14 Merry Brandybuck/Pippin Took (305) (488) 15 Thranduil/Original Female Character (294) (653) 16 Legolas/Reader (269) (328) 17 Gimli & Legolas (248) 18 Elrond/Lindir (244) 19 Éomer Éadig/Lothíriel (233) 20 Thranduil/Thranduil's Wife (232) (512) (this tag cracks me up) 21 Celeborn/Galadriel (216) 22 Frodo & Sam (196) 23 Boromir/Faramir (157) 24 Aragorn/Frodo (155) 25 Boromir & Faramir (153) 26 Rose Cotton/Sam (147) (331) 27 Morgoth Bauglir | Melkor/Sauron (145) 28 No Romantic Relationship (128) 29 Elrond/Thranduil (123) (325) 30 Thranduil/Reader (114) (620) 31 Elrohir/Legolas (122) 32 Aragorn & Legolas (119) 33 Original Female Character/Original Male Character (117) 34 Aragorn/Faramir (99) 35 Aragorn/Reader (89) 36 Kíli/Tauriel (80) (2,604!!!) 37 Elrond/Reader (78) 38 Elrond & Maglor | Makalaurë (75) 39 Haldir of Lothlórien/Legolas (71) 40 Thorin/Original Female Character (68) 41 Merry Brandybuck & Pippin Took (82) 42 Denethor II/Finduilas of Dol Amroth (80) 43 Elladan/Elrohir (78) 44 Haldir of Lothlórien/Original Female Character (77) 45 Boromir/Original Female Character (70) 46 Bard the Bowman/Thranduil (67) (1,727) 47 Bilbo & Frodo (64) 48 Minor or Background Relationship (60) 49 Elladan & Elrohir (58) 50 Éomer Éadig/Faramir (57) 51 Elrond/Ereinion Gil-galad (72) 52 Éomer Éadig/Reader (59) 53 Celebrimbor/Sauron (55) (783!!!!) 54 Fingon | Findekáno/Maedhros | Maitimo (51) 55 Éowyn/Gríma Wormtongue (48) 56 Other Relationship Tags to Be Added (48) 57 Celebrimbor/Talion (Shadow of Mordor) (47) 58 Frodo/Faramir (46) 59 Arondir/Bronwyn (46) 60 Elrond/Legolas (45) 61 Arwen/Éowyn (52) 62 Aragorn/Éowyn (49) 63 Glorfindel/Original Female Character (48) 64 Legolas/Original Character (43) 65 Aragorn & Elrond (39) 66 Thorin/Reader (37) 67 Elendil the Tall/Tar-Míriel (34) 68 Legolas/Original Male Character (33) 69 Aragorn & Boromir (33) 70 Elrond & Elros Tar-Minyatur (32) 71 Durin IV & Elrond (37) 72 Ecthelion of the Fountain/Glorfindel (32) 73 Legolas/Harry Potter (30) 74 Original Character/Original Character (29) 75 Haldir of Lothlórien/Reader (29) 76 Glorfindel/Legolas (27) 77 Boromir/Reader (27) (85) 78 Legolas/Tauriel (26) 79 Elrond/Erestor (26) 80 Boromir/Legolas (26) 81 Frodo/Rose Cotton/Sam(25) 82 Diamond Took/Pippin Took (23) 83 Thorin/Thranduil (23) (723) 84 Sherlock Holmes/John Watson (22) (48) lol 85 Thranduil/Original Character (21) 86 Boromir/Théodred (21) 87 Éomer Éadig/Legolas (21) 88 Merry Brandybuck/Éowyn (20) 89 Aragorn/Original Female Character (20) 90 James "Bucky" Barnes/Steve Rogers (19) 91 Éomer Éadig & Éowyn (25) 92 Elrond & Glorfindel (22) 93 Éomer Éadig/Original Female Character (20) 94 Sean Bean/Orlando Bloom (18) 95 Éowyn/Legolas (18) 96 Erestor & Glorfindel (18) 97 Sean Bean/Viggo Mortensen (17) 98 Frodo/Merry Brandybuck (17) 99 Fëanor | Curufinwë/Nerdanel (17) 100 Elladan/Glorfindel (17)

101 Éowyn/Tauriel (20) 102 Frodo/Boromir (17) 103 Isildur/Valandil (17) 104 Elrond/Glorfindel (16) 105 Aragorn/Elrond (15) 106 Legolas & Original Female Character (14) 107 Lindir/Reader (14) 108 Elrond/Original Female Character (14) 109 Arwen & Elrond (14) 110 Elladan/Legolas (13) 111 Arathorn II/Gilraen (16) 112 Aragorn/Haldir of Lothlórien (16) 113 Galadriel/Sauron (16) 114 Elrond & Ereinion Gil-galad (14) 115 Human/Orc (13) 116 Sauron/Original Female Character (13) 117 Aragorn & Gimli & Legolas (13) 118 Witch-King of Angmar/Reader (13) 119 Bungo/Belladonna Took (12) 120 Frodo/Original Female Character (12) 121 Elendil the Tall/Reader (17) 122 Fíli/Kíli (15) 123 Frodo/Legolas (14) 124 Fíli/Original Female Character (13) 125 Ratbag the Coward/Talion (Shadow of Mordor) (13) 126 Estella Bolger/Merry Brandybuck (12) 127 Elladan/Elrohir/Legolas (12) 128 Celebrimbor & Talion (Shadow of Mordor) (12) 129 Loki (Marvel)/Thranduil (12) 130 Imrahil/Legolas (12) 131 Orlando Bloom/Viggo Mortensen (15) 132 Tom Bombadil/Goldberry (12) 133 Halbarad/Maglor | Makalaurë (12) 134 Frodo/Merry Brandybuck/Pippin Took (11) 135 Goldberry/Lady of the Blue Brooch (11) 136 Celebrimbor/Narvi (11) 137 Sauron/Reader (11) 138 Beren Erchamion/Lúthien Tinúviel (10) 139 Erestor/Reader (10) 140 Aragorn/Arwen/Boromir (10)

[aadmelioraa]

Eärien and Valandil parallels Rings of Power Season 1

[inquisitorhierarch]

so i think it’s been long enough since the post i’m going to vague about was last in circulation anywhere near me that i can finally talk about it without getting a flood of harassment in my inbox like i Always do every time i talk about people Lying on here about lotr. (a HUGE number of posts about lotr on here are either misleading or simply Made Up lmfao. it’s really infuriating)

anyway there’s a post going around about. the weakness of man and tolkien incorporating what he knew firsthand about the horrors of war into the story - and that part’s all totally fine. but Somebody chose to add on a widely-reblogged addition that stated something so incredibly and offensively wrong that i honestly think maybe i died at some point and read that awful reblog here in hell.

they talk at length about how the “moral” of humanity’s failing is somehow represented by. rohan “failing in its border obligations to gondor” and theoden having to die to redeem himself. and i just have one single thing to say about that

what in the good love of fuck fascist divine right of kings bullshit are you on mate

you couldn’t possibly be missing the point More you fucking weirdo

one criticism of lotr that i am very vocal about (which i for some weird reason Never see popular criticisms touch on) is that Of Course tolkien’s biases as a heavily christian british man gave him certain worldviews that obviously affected the worldbuilding of middle-earth, and he Loved him some divine right of kings rubbish. but even HE would NEVER have said or thought something so oppressively fascist about rohan’s response to gondor’s failure, because let’s be clear - the ONLY human kingdom that failed in the course of the war of the ring was fucking gondor. theoden had his problems, but the vast majority of the kingdom of rohan remained either uninterested in his descent into madness or tried to save him from it.

gondor had already been off the rails for ages at this point.

gondor, and its predecessor Numenor, represent the Higher Race of Man, God’s Chosen People (in a christian sense) - the Norman Kings who came from across the sea to civilise the British Isles and drive out the Wild Men and their offensive scottishness/welshness/cornishness/etc. the men of rohan, and other indigenous inhabitants of middle-earth ranging from dunlendings and the druedain (most likely pictish and cornish analogues) to the haradrim, easterlings and lossoth (spain/the moors, the ottoman empire, and vikings, respectively), are literally termed Lesser Men, because they’re not iluvatar’s chosen, and they are literally Expected to submit themselves to gondor’s rule, or become bad guys if they won’t. rohan literally came into being as a vassal-state of gondor, and their Happy Ending is eomer swearing himself back into that form of service and following aragorn on all his wars in the south.

now, because of tolkien’s biases, this turns out Well for them of course, but from the perspective of readers it’s easy to notice that this is actually fucking dystopian and horrific. in fact, the Most horrific example is the dead men of the Stone of Erech who fight for aragorn at Minas Tirith in order to be released from their oaths.

from their perspective, all those years ago, they were living their own lives on their own land in southern middle-earth doing their own thing, and then some tall dickheads pitched up on a boat after their island home sunk and just Declared that they were the chosen kings and all men have to submit to them. literally anyone in these circumstances would probably be justified in saying “yeah sure okay bro” and hoping the guys would go away - because they don’t have the omnipresence to know that tolkien’s version of christian god said elendil really WAS the true king and they’d be punished for not randomly right off the bat obeying some arrogant jackass walking onto Their land and insisting it all belonged to Him instead and also that their “sure thing buddy” was legally and magically binding. they literally suffered constantly for centuries because of a mistake literally anybody without magical fourth-wall-breaking genre knowledge would make.

sauron might be The bad guy of lotr, but anybody with a capability for analysis can look at the actual worldbuilding and see that gondor is also. Absolutely Horrific

and then we come to Denethor. motherfucking Denethor

DENETHOR is the one who failed in his “border obligations”. to rohan. the idea that rohan failed to guard its borders is fucking gibberish. because even if it HAD been their obligation (which it fucking WASN’T), the reason they failed was an overwhelming flood of orcs massacring their soldiers - you know. a thing that it’s pointless to blame someone for on account of all the Deaths being punishment enough you weird Freak. rohan was constantly begging gondor for help as they were being overrun... as the isen was taken and the first AND second marshals of the mark were killed. and denethor didn’t give a shit. he didn’t even want to light the beacons to call rohan for help - he was only angry that theoden supposedly didn’t answer in time because he was so twisted by the palantir that he saw defeat and betrayal in everything.

to claim that the failure in the disaster that befell the kingdoms of man in the war of the ring was rohan’s is to so totally misunderstand everything tolkien was trying to convey that i have to wonder if you even Read the fucking books or if you just Really like to wax lyrical about how great kings are. the point of theoden’s hesitation to go to gondor’s aid is that he has been through absolute hell and gondor sent NO AID WHATSOEVER so he intended to do the same thing back. and instead chooses to be the bigger man and give help even though gondor has no right to ask for it after offering nothing of its own. to do good for no reason other than it IS good. 

THAT is the motherfucking point of theoden’s change of heart - not some fucking bullshit about being a good little slave to gondor’s king and laws, but the idea that in his heart of hearts, theoden couldn’t even let the people who allowed his son to die due to their inaction to suffer if he could do something about it. rohan’s entrance to the battle of the fields of pelennor is literally about how showing up for no other reason than because it’s right will win the day, even if you’re “lesser” than the big hero guys.

“rohan failed to uphold their border obligations” literally go fuck yourself you fucking prick lmfao

[anghraine]

Have you ever imagined what could have been Boromir's fate had he not redeemed himself after following under the ring's influence ? I admit the opposition between Aragorn and the House of Hurin fascinate me. I had even read an alternative where Aragorn had to kill Boromir after the ring was destroyed.. although I have a hard time envisioning Faramir allowing it to be honest.

Hmm, I will admit I haven't.

If the question is what would happen if he remained under the Ring's influence, I think he'd confront someone fairly soon. Aragorn would likely feel forced to kill him and might well judge it a mercy kill. The idea of Aragorn only killing him after the destruction of the Ring, i.e. when Sauron's thralls are freed, seems extremely unjustifiable to me.

And yeah, I think doing so would go over very badly with Faramir (to understate things!). I know some people think Faramir doesn't actually love or like Boromir because he airs his criticisms of him in a situation where it is advantageous to do so, but I strongly disagree. Faramir refers to him as "beloved" and clearly grieves him even with the conviction that Boromir died nobly. If Boromir somehow survived to the destruction of the Ring, killing him after would IMO destroy Aragorn's rapport with Faramir, even if Faramir couldn't stop it from happening.

If the question is what would happen if he's free from the Ring's influence but doesn't redeem himself in action—well, it's hard for me to envision, given his penitence + him being such a man of action temperamentally. If he didn't redeem himself the way he did canonically, I feel like he'd work towards it in some other way, which might or might not be fatal to him. If not, it dovetails into a generic Boromir Lives scenario; if he does die, not much changes, big picture-wise.

I do find the House of Húrin's immediate responses both interesting and rather funny. Faramir hears the whole spiel and just says "maybe"; Boromir is like "cool but do you have Elendil's muscles"; Denethor is just "fuck the house of Isildur anyway." I do think it'd be interesting if it played out in a way that's less convenient for Aragorn tbh—the narrative gives us their reservations/objections, and then steamrollers them into submission or death. So it'd be interesting to see a scenario where the obstacle they pose isn't wiped away but has to be seriously contended with.

[apomekhanes]

surrendered at the start of the game - chapter 17

the rings of power | elendil x míriel x valandil ot3 | rated E

-

He drifts in and out of sleep, in and out of dreams. Míriel features regularly in his dreams—he has given up trying to control his subconscious, though to make up for it he is very strict about the conscious—as does the labyrinth of halls and rooms that is the palace. He dreams sometimes of the Sea, and of sailing or flying like a bird. He dreams of impossible tasks that he cannot hope to fulfill but must attempt anyway.

Shamefully often he thinks of Elendil’s gaze on him—occasionally critical, occasionally approving. Shameful because so much of his mood relies on the approval of whatever figment his mind has summoned to torment him. Shameful because in his dreams Valandil cannot summon the force of will to not dwell on Elendil’s strikingly blue eyes, and his large sea-roughened hands, and his smile that is more of a smirk, and his broad back with muscles that strain beneath his tunic. In his dreams Valandil may look his fill without fear or embarrassment, drink him up, but no matter what he does he remains unsatisfied—thirsty when he wakes, with his head spinning.

[read more on ao3]

[trans-elrond]

Rings of Power ask: 11 & 12 please!

hello thank you!! <3

11. What is your favorite quote?

"I have a daughter who runs fast, and a son who runs blind. Your eyes bear a striking resemblance to both"--WHAT A LINE. for the characterization of Galadriel, but also that of Elendil, and Isil, and Earien!! i want to kiss the writer on the mouth who wrote this <3

12. Which outfit do you like the most?

ahh so hard to choose!

Elendil's blue outfit and Galadriel's blue dress are probably my favorites! also i love Míriel's outfits SO MUCH; the one she wears when Galadriel is supposed to leave is probably my favorite. what can i say, i love a woman in Greek/Roman-inspired fashion:

also, special shoutout to the Dweller's costume (she's literally so hot…… no pun intended) and the dwarves' costume vibes in general (Disa's costume when she sings to the rocks!!!!!!!!!) and Adar's whole costume look, especially the scar/burn marks on his face!!!

quick vent: to this day it's insanely frustrating to me that people are dunking on the ROP costumes, and pretending that the real Real Costume Enthusiasts of the world are united in that hatred...? like even if they used some modern printing tech for some of the armor, i'm a pretty avid costume fan and the weird criticisms people have harped on are such a non-issue ¯\_(ツ)_/¯

there's visible hand-stitching on the costumes if you zoom in, e.g. Elrond's shirts. so many things are handmade, including the costumes/props for hundreds of extras in multiple 'worlds' (numenor, lindon, the southlanders, the harfoots, the Orcs...) and the Orcs are practical, with prosthetics, which is more than PJ can say for the Hobbit films! the attention to worldbuilding and characterization via costuming detail is wonderful, and something very very few modern shows have, since not many shows have this big a budget for costumes.

normally in TV, so many things are reused from other shows and not made for the show in question, so ROP is very special in that regard. besides, Kate Hawley is literally the darling of costume enthusiasts everywhere (crimson peak! pacific rim!!!) which tells you something about how the general dislike of the ROP costumes has more to do with their preconceived biases of the show and less about the actual quality <3

rings of power asks

[cineaura13]

The Lord of the Rings: The Rings of Power (2022) — A Journey Through Middle-earth’s New Epic Adventure

The Lord of the Rings: The Rings of Power (2022) is an American fantasy television series developed by showrunners J.D. Payne and Patrick McKay. It is based on the works of J.R.R. Tolkien, particularly his appendices and writings from The Lord of the Rings and The Silmarillion. The series was produced by Amazon Studios in collaboration with New Line Cinema and debuted on Amazon Prime Video on September 1, 2022. They immediately became one of the most anticipated TV shows in recent memory. This article explores the rich lore, production, and critical reception of The Rings of Power and its place in the ever-expanding world of Tolkien's Middle-earth.

A New Age of Middle-earth

The Rings of Power is set thousands of years before the events of J.R.R. Tolkien’s The Lord of the Rings trilogy and The Hobbit, during the Second Age of Middle-earth. This period, known for its epic battles and the rise of powerful entities, is crucial in the larger history of Middle-earth. The show focuses on significant events like the creation of the Rings of Power, the rise of Sauron, the fall of the island kingdom of Númenor, and the final alliance between Elves and Men that set the stage for the War of the Ring depicted in Tolkien's later works.

The Second Age is a vast and complex period in Tolkien’s legendarium, spanning over three millennia. Much of it is documented in the appendices of The Lord of the Rings and The Silmarillion but with limited detail compared to the Third Age. The showrunners, therefore, had the creative challenge of expanding Tolkien’s sparse notes into an epic television series while staying true to the spirit of the source material.

Plot and Storylines

At the heart of The Rings of Power is the exploration of how Middle-earth’s different races – Elves, Dwarves, Men, and Harfoots (ancestors of Hobbits) – are drawn together and divided in their struggle against the growing threat of evil. The series weaves multiple storylines, each focusing on key regions and characters.

Galadriel’s Quest

The central storyline revolves around Galadriel, an Elven warrior played by Morfydd Clark. In The Rings of Power, Galadriel is portrayed as a younger, more battle-hardened version of the ethereal character we see in Peter Jackson’s films. She is on a personal quest to avenge her brother's death and to stop the rising evil in Middle-earth – the Dark Lord Sauron. Her relentless pursuit of Sauron drives much of the early narrative.

The Kingdom of Númenor

One of the most anticipated aspects of The Rings of Power is the depiction of Númenor, the great island kingdom of Men. Númenor was at the height of its power during the Second Age, a place of grandeur and culture unmatched by any other kingdom of Men. The show introduces key characters like Elendil and Isildur, who would later play vital roles in the defeat of Sauron during the Last Alliance of Elves and Men. Númenor’s political intrigue, coupled with its eventual downfall, is a critical storyline that sets the stage for many events to come.

The Rise of Sauron

Sauron’s rise to power is a shadow looming over all the events of The Rings of Power. The Dark Lord’s influence spreads gradually as he manipulates and deceives the various races of Middle-earth. His eventual forging of the One Ring – designed to control all other Rings of Power – is the ultimate goal of the series. Sauron is a master of disguise during this period, and the show leaves hints about how he will reveal himself to the world, sowing distrust and chaos.

The Dwarves of Khazad-dûm

Khazad-dûm, also known as Moria, is depicted in its full splendor in The Rings of Power, long before the kingdom fell into ruin. The Dwarves of this time, led by Prince Durin IV and King Durin III, play a crucial role in the events surrounding the Rings of Power. Their relationship with the Elves, particularly the Elven Smith Celebrimbor, is central to the creation of the Rings.

The Harfoots

The Harfoots, ancestors of Hobbits, provide a more light-hearted and adventurous storyline, reminiscent of The Hobbit. They are a nomadic people, and their journey introduces an enigmatic character known as "The Stranger," whose identity remains a mystery. The Harfoots’ simple lifestyle contrasts with the political and military machinations of the larger powers in Middle-earth, offering viewers a look at the "common folk" caught up in the grand events of the age.

The Making of The Rings of Power

Production Costs and Scope

Amazon’s decision to invest in The Rings of Power was nothing short of monumental. The show’s first season alone reportedly cost around $465 million, making it the most expensive television series ever produced. This staggering budget reflects not only the scale of the production but also Amazon’s commitment to delivering a visual spectacle on par with big-budget films.

Filmed in New Zealand, the same location where Peter Jackson shot his Lord of the Rings and The Hobbit trilogies, The Rings of Power benefits from the breathtaking landscapes that have become synonymous with Middle-earth. The show’s production design is meticulous, recreating the grandeur of Númenor, the splendor of Elven realms, and the depths of Khazad-dûm with remarkable detail.

Casting and Performances

The cast of The Rings of Power is a mix of veteran actors and newcomers, each bringing a fresh perspective to their roles. Morfydd Clark’s portrayal of Galadriel has been praised for its intensity and depth, showing a side of the character that has not been explored in previous adaptations. Other standout performances include Robert Aramayo as Elrond, Owain Arthur as Durin IV, and Cynthia Addai-Robinson as Queen Regent Míriel of Númenor.

The casting decisions have sparked some debate among fans, particularly regarding the physical depictions of characters like Elves and Dwarves. However, the showrunners have emphasized that their goal is to reflect the diversity and complexity of Tolkien’s world in a way that resonates with modern audiences.

Visual Effects and Worldbuilding

The Rings of Power is a visual masterpiece, utilizing state-of-the-art CGI and practical effects to create a believable and immersive world. The landscapes of Middle-earth, from the sweeping plains of Númenor to the towering peaks of Khazad-dûm, are brought to life in stunning detail. The costume and set designs are equally impressive, drawing inspiration from both Tolkien’s writings and previous adaptations.

The worldbuilding in The Rings of Power is one of the show’s greatest strengths. It delves deep into the cultures, politics, and histories of the various races, giving viewers a more comprehensive understanding of Middle-earth. The attention to detail in the Elven cities, the Dwarven halls, and the Númenórean ships highlights the complexity of Tolkien’s universe.

Themes and Symbolism

Like Tolkien’s original works, The Rings of Power explores themes of power, corruption, and hope in the face of overwhelming darkness. One of the central themes is the corrupting influence of power, as embodied by the Rings themselves. The creation of the Rings of Power and Sauron’s manipulation of the various races are cautionary tales about the dangers of greed and ambition.

Another key theme is unity versus division. Throughout the series, we see how the different races of Middle-earth are divided by mistrust and prejudice, yet they must come together to face the growing threat of Sauron. This theme of unity in the face of adversity is a hallmark of Tolkien’s works, and The Rings of Power continues to emphasize its importance.

The show also delves into personal journeys of redemption and self-discovery. Galadriel’s quest for vengeance is not only a pursuit of justice but also a journey toward understanding her role in the larger conflict. Similarly, the Harfoots’ nomadic life and their encounter with "The Stranger" reflect the theme of adventure and the search for identity.

Reception and Critical Analysis

The Rings of Power premiered to generally positive reviews from critics, though it also faced mixed reactions from some fans of Tolkien’s works. Many praised the show’s visual grandeur, intricate worldbuilding, and strong performances, particularly Morfydd Clark’s portrayal of Galadriel. The visual effects and production design were widely lauded for their attention to detail and ability to capture the essence of Middle-earth.

However, some fans criticized the show for its pacing, with certain episodes feeling slower compared to the action-packed nature of modern fantasy series. The decision to introduce new characters and expand on lesser-known aspects of Tolkien’s lore also led to debates within the fan community. Some felt that the show took too many creative liberties, while others appreciated the fresh take on the Second Age.

The portrayal of Galadriel as a warrior figure received both praise and critique. Some viewers enjoyed seeing a more dynamic and proactive version of the character, while others preferred the more serene and wise depiction seen in Tolkien’s writings and the Jackson films.

Despite these debates, The Rings of Power succeeded in drawing a large audience and keeping fans invested in the storylines. The show’s ambitious scope and its connection to Tolkien’s legendarium make it a compelling addition to the world of Middle-earth, even as it navigates the challenges of expanding upon a beloved literary universe.

Future Seasons and Legacy

The Rings of Power is intended to be a multi-season epic, with the first season laying the groundwork for many of the major events of the Second Age. Amazon has already committed to producing multiple seasons, and the showrunners have hinted at the larger story arcs that will unfold in future seasons.

One of the key developments that fans are eagerly anticipating is the eventual forging of the One Ring by Sauron and its catastrophic consequences. The fall of Númenor, the rise of Gondor, and the final alliance between Elves and Men are all events that will likely be explored in future seasons.

The legacy of The Rings of Power will be determined not only by its narrative success but also by how it fits into the broader tapestry of Tolkien adaptations. The show has the potential to introduce a new generation of viewers to Middle-earth while deepening the understanding of long-time fans. As the series continues, it will face the challenge of balancing fidelity to Tolkien’s vision with the demands of modern television storytelling.

Conclusion

The Lord of the Rings: The Rings of Power (2022) is a bold and ambitious attempt to bring Tolkien’s Second Age to life on the small screen. With its sweeping visuals, intricate worldbuilding, and exploration of timeless themes, the show offers a new perspective on Middle-earth while paying homage to the works of J.R.R. Tolkien. Although it has faced some criticisms, particularly regarding pacing and creative choices, The Rings of Power has captivated audiences with its epic scale and rich storytelling. As the series progresses, it has the potential to become a defining piece of fantasy television, cementing its place in the legacy of Middle-earth adaptations.