#frodo i would die for you

[unscientificbalderdash]

a kiss on the mouth to the writing team for A Quiet Place Day One for giving the main character a cat and not letting anything happen to him or to people retrieving him when he happened to get away

[maglorslostsilmaril]

hello maybe someone has already said this but uhhh do some of y’all realize how wrong it sounds out of concept to say that Sam was the true hero of LotR?

“Sam was the true hero! He had to carry Frodo because Frodo failed!” -> “All of Frodo’s contributions fail to matter because in the end he needed help. A hero is only valid if he doesn’t have to rely on anyone else.”

Like obviously not everyone who says that always means the second part, but overall like. That’s kinda the implication that’s being given. And it’s kinda messed up.

[llycaons]

yeah wq and wn are both good choices (tho not perfect for different reasons - wq did end up giving in and sacrificing herself, in the end :( and I don't think wn would have the mental fortitude) but ultimately I've gotta go with lan wangji, reigning champion of self-repression for the 20th year running

[evedaser]

TENGWAR TATTOO!!!

Merlin is a 24-year-old rock band leader. Arthur is a 32-year-old who by coincidence is their manager. Merlin comes from a normal, unpretentious family. Arthur comes from old money and has decided he wants to pursue a career of his own without the help of his father. Both are nerds, although Merlin shows it more with his tattoos. Both have always liked music and both, in some way, live for it. Arthur is aware that he has no practical musical talent, but he has an excellent ear for music and a sixth sense for up-and-coming artists. So he may not be the talent but he discovers talent. Merlin is a guy who likes to be around people and is friendly with everyone (although he needs moments to be alone and quiet or he gets anxiety attacks), Arthur is a more reserved type. The first time Merlin flirted with him Arthur told him that he does not do casual, much less with clients, Merlin replied that then they are very lucky because he does not do casual either. On their first anniversary, Merlin got Arthur’s crest tattooed because “I know it will be forever” and Arthur gave him his mother’s ring and sigil. As Merlin soon found out Arthur is quite a possessive and jealous person (and if he has to admit it at least to himself he rather likes it) so at every concert Merlin wears Arthur’s presents because even if Merlin is on a stage in front of millions of people Arthur has to know that he is only his.

Have I thought about this AU too much? Yes. Do I regret it? Never.

(P. S. The band consists of Merlin, Gwaine, Lancelot and Gwen. Morgana is a wedding planner and is already planning the wedding between her brother and Merlin, although the only one who knows at the moment is Gwen (who wants to have the last word on the cake even if the wedding is not hers))

Thank you Damiano (Maneskin) for the pose reference

My other Merlin art

[incorrect-lord-of-the-rings]

I will be a Frodo defender till I die. You guys who are like "well Sam wise Gamgee was the REAL hero and Frodo didn't do almost anything" really don't understand that he was carrying such a magical and evil item of unimaginable power that Gandalf was afraid to touch it in fear it would consume him, and y'all say he's weak? I just want you Samwise Gamgee stans who hate Frodo to know that Sam would not like you one bit.

Mr. Frodo is his best friend for life who he was protecting and caring for as his BEST FRIEND carried the LITERAL EMBODIMENT OF EVIL with him in a trek across the world to destroy it. He watched as he best friend who he loved so dearly was slowly destroyed by the Ring but kept going because someone needed to be strong enough to complete the task and carry the Ring to Mordor. He watched as his friend descended into giving into the Ring at the last moment, when nearly all others would have given in moments after first holding the Ring. He watched as Frodo chose to take on the impossible task and never gave up on the quest, even when the Ring was so heavy the chain was ripping into his skin.

Sam knew how brave Frodo was, and he would stand by his side to help him no matter what. If you said Frodo was weak and pathetic in front of Sam, you'd get a frying pan to the face.

[giantkillerjack]

I've said it before and I'll say it again:

If you are disabled and you need to lie to get the accommodations you need or to escape ableist social harassment, then it is not just morally acceptable to lie in that scenario, it is morally GOOD.

I say this with no irony or satire whatsoever (unlike the original post, which is very much meant to be sarcastic).

Abled people are always trying to be the "hero" who finds the "fakers," as though "fakers" are actually a concern for disabled people. - When instead I don't know a single disabled person who hasn't been denied the care they need by being called a faker on multiple occasions. That's what we ACTUALLY live in fear of.

(Also, notably, finding the "faker" is not actually about protecting disabled people for these self-appointed "heroes". It's actually about finding an ego-boosting outlet for personal aggression and frustration. They don't care that the government has the funding to care for all of us and yet refuses. They just want to pretend this isn't about them, and are using other disabled people as a moral shield.)

Besides, every person I've met who is actually LYING about their disability has done so not because they are faking being disabled (for all the AWESOME benefits that DEFINITELY exist - ????), but because their ACTUAL disability is not taken seriously by the gatekeepers who can deny them the help they need.

Lying in this scenario protects a disabled person from stigma, injury, pain, death, and/or social neglect. This is a moral good. Lying to protect people from abuse is good, yourself included.

You shouldn't get a wheelchair, walker, cane, shower chair, or any kind of assistive technology mobility aid because then you might become dependent on them. Just like how you also shouldn't get glasses if you have bad eyesight because then you might become dependent on those.

For instance, if you end up stuck using corrective eyewear, you could actually lose your ability to tell what things are even when they are extremely blurry! You need to get used to having migraines from seeing unclearly because if you wear glasses all the time, you are basically giving up!! You don't need to see things coming at you from far away! You just need to get good at dodging, and if you can't, then you have no one to blame but yourself!!

For example, I read a really heart-worming article recently about a girl who was stuck using glasses - just absolutely, tragically trapped in her eyewear from dawn to dusk, even though she was good and never ever complained; and I heard she trained herself to discern the blurry faces of her loved ones with 60% accuracy! - she was even able to walk down the aisle at her wedding WITHOUT forcing the discomfort of seeing a woman in glasses on all her guests!!

Sure, she had to give her vows with a splitting headache, and she couldn't see her husband's expression when he said "I do," but overall, SO inspi-ration-al!!! So up-lifting!!

(She didn't even have to use a seeing eye cane, which would have been the worst-case scenario, obviously, because she worked hard to make sure she looked LESS disabled, not MORE disabled!!! Everyone knows blind people exist solely to be a cautionary tale to sighted people!!)

Also, did you know some people get glasses when they only need them a little bit?? How selfish of them! Sure, there's not a shortage, and an increase in demand would result in overall increased accessibility to glasses--but emotionally it's like taking glasses away from someone who needs them more! After all, if everyone who needed glasses got them, then...... um...... more people would have glasses! Which is probably bad!!!!

I also had a friend who was trapped in glasses who saved up all her money for laser eye surgery, and I don't know why everyone doesn't just do that! Sure, some doctors say some people don't "qualify" and it "won't help" those people, but that's why you can't give up!! You don't want to be one of those people!

After all, what's the worse thing that could happen with an unnecessary laser surgery to the face that comes with crippling debt??? It's worth the risk to gain your FREEDOM back, and I'm so proud of my friend!!

Tragically, she did die later that year while driving Uber and squinting at street signs, but at least now I know my friend is finally free from the shackles of her terrible eyesight. #ripAshley #rippedAshley #justripit 😌😌😌❤😇😇😇

And that's why you shouldn't get used to using a mobility aid!! Because, like glasses, they are inherently embarrassing to be seen with; and - like glasses - it is more noble to silently suffer than to depend on unnatural technologies that force you to rely on them!!! (Besides, everyone else will be SO much more comfortable if you look normal!)

I hope you learned something today. 💖

[jedimaesteryoda]

Every once in a while on Twitter (not X, Elon can go screw himself), someone circulates a complaint about A Song of Ice and Fire that is basically some version of "GRRM's series is nihilistic where everyone is gray, there are no heroes and villains, or heroes die and villains win compared to Tolkien's magnum opus where there are clear heroes and villains with the heroes being upright and good always wins."

It's written by people who either never read nor understood the series nor understands the author.

Firstly, Martin himself is a fan of Tolkien stating "I revere Lord of the Rings, I reread it every few years, it had an enormous effect on me as a kid," and is such a huge fan of Tolkien he complains of "Tolkien imitators" who "cheapened it. The audience were being sold degraded goods. I thought: 'This is not how it should be done.' "

Tolkien was a clear inspiration for Martin's magnum opus given in the same interview he stated "I wanted to combine the wonder and image of Tolkien fantasy with the gloom of historical fiction." You can even find nods to Tolkien throughout the series from names like "Oakenshield" to a dwarven heir to a mighty mountain fastness filled with gold. Underneath the gloom on the surface, there is a layer of Tolkien-esque romanticism.

ASOIAF isn't nihilistic. No one would call characters like war criminal and murderer-rapists like Gregor Clegane, Ramsay Bolton and Euron Greyjoy or the vivisectionist and torturer Qyburn morally grey. There are heroes like Brienne of Tarth who risked her life in a hopeless fight to save an inn full of orphans, Sam who stayed with Gilly and her babe beyond the Wall in a forest filled with wights and Dunk who defended a puppeteer from a prince. Then, there is Daenerys whose experience as a domestic abuse victim and child bride lead her to put her plan to take back the Iron Throne on hold to liberate slaves.

My own heroes are the dreamers, those men and women who tried to make the world a better place than when they found it, whether in small ways or great ones. Some succeeded, some failed, most had mixed results… but it is the effort that’s heroic, as I see it. Win or lose, I admire those who fight the good fight. -George R.R. Martin

These characters go out of their way to help others and live up to their ideals in a world they know won't reward them for it. That's what helps to make their actions truly heroic. In the end, it's their striving that sets them apart.

The ones who are villains don't seem to win in the end. Tywin was killed by his own abused son on the privy over his mistreatment of a peasant girl, and his legacy is already crumbling. Jaime lost his sword hand and is becoming increasingly disillusioned with his house, slowly realizing that they're not the good guys. The Boltons are facing a rebellion and their new bannermen don't want Ramsay as their liege lord. More Freys have been killed as a result of the Red Wedding than fighting for Robb, and they're being overextended. Not to mention, one of their victims has come back from the dead to enact vengeance on their house. House Greyjoy is destined to fall to ruin as the Greyjoys suffer and die in their fruitless pursuits for crowns.

It's also a superficial reading of Tolkien. Tolkien has moments in his series where heroes fail like Isildur, the guy who slew Sauron, failing to do the one thing he needed to do to end the threat for all time by keeping the One Ring, and Frodo, the purported hero of the series, doing the same thing at the end. Thorin Oakenshield refused to provide money to the people of Lake-town over the destruction of their city at Smaug's hands as a result of his party's actions. There's also plenty of stories of heroes failing in The Silmarillion like Turin.

Both are great series in their own right, and if you don't like Martin's series, that's okay, no series is for everyone. But don't mischaracterize it and pit it against a dumbed down, mischaracterized version of Tolkien's work.

[velvet4510]

Y’all, I love Samwise Gamgee. He is loyalty incarnate, stout-heartedness incarnate, purity incarnate, love incarnate. I would die for Sam. I would do anything for Sam. Just as any of you would. Please bear this in mind before you read on.

Y’all need to stop claiming that Sam is “immune to the Ring.” He’s not. Besides Tom Bombadil (who is an entirely different kind of being), NOBODY is immune to the Ring. Not even the purest of heart are immune.

Gollum and Boromir are the most obvious examples of this, but it applies to everyone.

Gandalf isn’t immune to it. That’s why he refuses to take it from Frodo; he knows what it would do to him.

Galadriel isn’t immune to it. She gives the same reason.

Faramir isn’t immune to it. He gives the same reason.

Yes, some people are able to resist it better than others can.

Look at Bilbo managing to give it up.

Look at Frodo, one of the most pure-hearted characters in the book, winning the battle against it until the LAST possible moment, holding out ALL the way to Mordor until he reaches the one place where he has no chance, where the Ring’s victory over his exhausted mortal will is inevitable.

But they’re not immune.

And Tolkien makes it quite clear that Sam isn’t immune either.

He devotes whole passages to Sam’s temptation by the Ring, his visions of power and glory, of turning Mordor into a garden. But it’s not just that.

Between Bilbo, Frodo, and Sam, it’s quite clear that the Ring’s first course of action in preying on its bearer is making them want to put it on. Reaching into their mind so that their first direct course of action to handle a situation is to put it on. This is what Sam does not once, but twice. The second time is after the Orcs have already gone, and nobody can see him anyway. He has no need to put the Ring back on, but he does.

Then, multiple times, he offers to carry it for Frodo. Yes, this is born from concern for Frodo’s burden, but this is exactly what the Ring is using. The Ring is whispering to him, “save him from the burden, save him from the burden, take me for yourself, take me for yourself.” And Sam falls for it. The Ring uses the bearer’s greatest fears and desires to carve a path in their mind that leads them toward the thought of claiming it. It uses the same tactic on Frodo. By the time they’re in Mordor, Frodo is fully aware of what the Ring is doing to him and doesn’t want it to destroy Sam like it’s destroying him. This is his heart’s reason for demanding the Ring back from Sam and refusing to give it up again. Then the Ring twists this in Frodo’s mind to make him think it’s because he wants it for himself. This is exactly what it would’ve ultimately done to Sam if their roles were reversed.

I do think the fact that Sam’s time as Ring-bearer is so brief does cause it to have a lesser impact on him overall, especially compared to Frodo. But, my dear friends, he’s not immune. And there’s nothing wrong with admitting that. Loving Sam as a character should not be equivalent to putting him on a pedestal and thinking he’s somehow above the canonically-indomitable will of the Ring. Tolkien wrote a lore and created stakes that are quite unique in that there’s no “exception” among our mortal protagonists. None of them are immune to the power of a Dark Lord. That doesn’t make Sam any less pure, or Frodo any less pure. It’s just a canon fact.

And it makes me love both of them even more. They both are vulnerable to its power, but both resist it as far as anyone possibly could because of the power of their love.

[she-who-fights-and-writes]

Ideas for subverting popular character tropes? I've started a story and am having difficulty making my cast of characters unique. I'd love it if you had any fresh takes on tropes like the mentor, the sidekick, etc...

POPULAR CHARACTER TROPES AND PROMPTS TO SUBVERT THEM

A character trope, sometimes called a character archetype, is a “recognizable element within a story or plot that defines or conveys information about a character. Character tropes can either define a character's entire role in a plot or the character's personality or motivations.” (source: arcstudiopro).

Many people bash “tropes,” but what you have to remember is that there is no such thing as a unique idea; everything has been done before, and the reason why tropes are so popular is because (a lot of time) they work!

It is totally possible to have a "normal" trope in your story without making it a cliché. However, if you’re looking to subvert these expectations, here’s a list of ideas I’ve come up with!

(This is me brainstorming on the fly to help get your gears turning, so I apologize if these aren’t fully fleshed out or if they’ve already been done before!)

1. THE CHOSEN ONE

The “Chosen One” is a trope where “one character is framed as the inevitable hero or antihero of the story, as a result of destiny, unique gifts, and/or special lineage” (source: Wikipedia). The Chosen One is often depicted as naive or unwilling at the beginning, and has a progression of growth through the narrative when they “accept their destiny.”

Examples:

Luke Skywalker (Star Wars)

Harry Potter (Harry Potter)

Frodo (The Lord of the Rings)

Neo (The Matrix)

Subversions:

1. The protagonist who was believed to be the chosen one from the very beginning discovers that it was actually someone else the whole time and must come to terms with the realization that they no longer have this title that they’ve based their entire life (and perhaps personality) around. (Bonus points if the new Chosen One is someone they’re close to).

2. Every solstice, the “Holy Order” sends a Chosen One to defeat the monster that has been ravaging their town. None ever return. The protagonist is selected as the next Chosen One, only to find that being Chosen does not mean “Chosen to defeat the monster” but rather “Chosen as the sacrifice to appease the monster.” (Bonus points if the reason the Chosen Ones always die is because the “Holy Order” misguides them (gives them broken weapons/drugged food/faulty armor/directs them into traps/etc.)).

3. Having the Chosen Power comes with a price. After someone is Chosen, it is a death sentence. The protagonist must find a way to defeat the villain AND purge themself of the Chosen Power before it’s too late (Bonus points if the villain helps them purge the Chosen Power).

2. THE SIDEKICK

The sidekick is a friend and helper of the main protagonist. They are often depicted as a loyal comic relief character made to emphasize the hero’s greatness, and may be killed off to advance the hero’s journey.

Examples:

Robin (Batman)

Samwise Gamgee (The Lord of the Rings)

Chewbacca (Star Wars)

Pan (His Dark Materials)

Subversions:

1. The “sidekick” is actually the hero of the story; the narrator just has an inflated ego and believes themself to be the hero. Meanwhile, their “sidekick” is the one saving the world.

2. Sidekicks are often depicted as younger than the hero. Perhaps an older sidekick might do good to spice things up (Bonus points if it’s without turning them into the mentor trope).

3. The sidekick is a former hero who had to watch their own sidekick sacrifice themself, and was convinced to leave hiding by the current hero. (Bonus points if the sidekick dies in a poetic way that is a narrative foil to the way his own sidekick died, perhaps in a “I didn’t understand why they would sacrifice themself for me but now I get it”).

4. A ridiculously strong/powerful Mary Sue type character is the sidekick to a Normal Guy™ (Bonus points if they are incredibly content in this position).

5. The sidekick is not a willing sidekick; they were kidnapped by the hero because they have an object/bloodline/power/etc. that is essential to defeating the villain.

3. THE MENTOR

The Mentor is the protagonist’s teacher, who helps them transition from a “normal” person into a hero. The Mentor is often depicted as wise and virtuous, teaching the protagonist not only the ways of fighting or magic, but also the ways of good and evil. The mentor is often killed off to advance the hero’s character arc, due to the fact that they are sometimes seen as a parental figure.

Examples:

Dumbledore (Harry Potter)

Yoda (Star Wars)

Uncle Iroh (Avatar the Last Airbender)

Mr. Miyagi (Karate Kid)

Subversions:

1. The mentor is the narrator. After spending so much time training the Chosen One and raising them like their own child, they must hear news that they have been killed by the villain. While still grieving (or perhaps fueled by revenge), the mentor must venture out and defeat the villain themself.

2. Have the mentor be a woman! You would be shocked at how overwhelmingly male-dominated the “mentor” archetype is!

3. The mentor turns on the protagonist that they trained…not because the mentor has turned evil, but because the mentor believes that the protagonist has become a monster (à la Kung Fu Panda). (Bonus points if the mentor is actually right and the protagonist really has become a monster).

4. The bright-eyed Chosen One thinks the world of their mentor, only to realize through experiences with others that the mentor trained them horribly, and that the mentor only used their training to boost their renown—without expecting them to survive their fight with the villain. (Bonus points if the protagonist is an unreliable narrator, and we as the readers feel just as betrayed by the mentor because we, too, thought they were a great person).

5. The mentor is the former Chosen One, desperate for the current Chosen One to not make the same mistakes. The current Chosen One resents the mentor for pushing them so hard and treating them so cruelly, but in reality the mentor is just overprotective (Bonus points if it’s not revealed that they were the legendary “Defeated Chosen One” until later).

4. THE DAMSEL IN DISTRESS

Although a Damsel in Distress is often associated with female characters, any character is capable of falling into this archetype; mostly known for being a passive figure who exists mostly as an object for the hero to save.

This is one of the few character tropes that is difficult to break the negative stigma, due to its root in misogyny and the disadvantages that come along with having a character without personal goals or motivations. In my opinion, if you have a character that follows this archetype to the T, perhaps you should consider some revising.

Examples:

Lois Lane (Superman)

Princess Buttercup (The Princess Bride)

Mary Jane Watson (Spiderman)

Ann Darrow (King Kong)

Subversions:

1. The passive, meek damsel in distress whom the hero has been working relentlessly to save actually turns out to be a villain! Their supposed rescue efforts were used as a distraction while the evil plot unfolds, and ends with a fight to the death!

2. The damsel in distress gets in a huge fight with the protagonist when they come to the rescue; they were undercover the entire time, and the protagonist has ruined their plans!

5. THE FEMME FATALE

The femme fatale is usually characterized as a mysterious woman who seduces and entraps men with her body. This doesn’t necessarily have to be a gendered archetype, but often errs into sexualization and misogyny (especially in works written by men).

Examples:

Jane Smith (Mr. & Mrs. Smith)

Nikita (La Femme Nikita)

Catwoman (Batman)

Catherine Tramell (Basic Instinct)

Subversions:

1. The Femme Fatale doesn’t know they’re a femme fatale. They are a master of seduction and gaining valuable information through licentious wiles, but it’s all an accident; they just-so-happen to sleep with rivals and they just-so-happen to say important information. The femme fatale casually brings this information up in conversation, rendering the team awed by their “impressive skill set.”

2. The Femme Fatale is male or nonbinary (Bonus points if they will seduce any gender).

3. There is a Femme Fatale team; an icy power couple dedicated to killing through threesomes.

6. THE GEEK (OR MAD SCIENTIST OR NERD OR KNOW-IT-ALL ETC.)

The Geek, or the Mad Scientist, is the character known for knowing everything. They often have a lack of social skills, and their vast knowledge of random things helps the characters when they’ve been backed into a corner…though they sometimes tend to be a quick fix for writers who’ve written their characters into a corner and need an easy solution.

Examples:

Sheldon (The Big Bang Theory)

Spencer Reid (Criminal Minds)

Spock (Star Trek)

L (Death Note)

Subversions:

1. The Geek has leadership skills and ability to inspire others. Awkward is not the complete opposite of charismatic; just because someone may have trouble talking to people doesn’t mean they can’t foster intense loyalty from their comrades. (Think along the lines of L from Death Note. Bonus if they’re the leader of their organization, and their subordinates would face God and walk backwards into Hell for them).

2. Combine the Geek with another archetype, perhaps an antithesis archetype like the Dumb Jock. For example, a Geek that enjoys the outdoors and extreme sports like rock climbing (but rather than to get buff, they just want to look at the fantastic granite deposits on the side of the mountain they’re climbing). Or perhaps a Geek Femme Fatale, whose “special interest” is the psychology of seduction.

3. The Geek hates what they do. The “passion” that Geeks usually have for machines/non-humans/their chosen expertise is forced upon them because they’re super smart. In reality, they’d wanted to take it easy going to business school but nooooo the world was at stake so they had to become an expert in the intergalactic space-time continuum.

4. The Geek is useless. Their musings are more mania than genius, their explanations and ideas incomprehensible to a normal human being, and the group only keeps them around with the hopes that one day they’ll come up with an idea that actually makes sense. (Bonus if that idea comes at the climax of the story).

8. THE DUMB JOCK (OR HIMBO)

The dumb jock, also known as “the brawn,” is an archetype that is often categorized by being all buff and no brains. They often are, or at least begin as, the antagonist of the story, and if they aren’t, they’re considered the “Himbo” character (with character traits being buff, dumb, and respectful to women), who are often reduced merely to their attractiveness and stupidity, without much depth.

Examples:

Jason Carver (Stranger Things)

Mitch Downe (ParaNorman)

Kronk (The Emperor’s New Groove)

Bolin (The Legend of Korra)

Subversions:

1. The himbo and/or jock is frustrated with the way that their comrades always reduce them to the brawn. They feel left out and isolated because they can’t understand the lofty conversations of their peers, and know that they, in a way, look down on them for not being as smart (Bonus if this becomes a major plot point in the character’s arc, causing a huge blowout fight that fissures the group because of it).

2. The himbo/jock’s stupidity does not reduce them to comic relief. The himbo/jock is well-respected and has incredible emotional intelligence and charisma/street smarts, but merely lacks in textbook intelligence.

3. The himbo/jock is a woman! Break through the stereotype of dumb strong people being men and put some herbos in your story (Bonus if you don’t sexualize her and just let her be herself).

4. An idea from the jock/himbo becomes an integral part of the plan to save the world!

9. THE ANTIHERO

The antihero archetype is categorized by their lack of conventional heroic attributes, their execution of their goals through morally gray means, and their frequent reluctance to be the one saving the world. Their motivations may be vengeance, hatred, or any other less-than heroic inspiration besides “the greater good.” In fact, the antihero is sometimes the antagonist of the story, but due to the fact that the audience is seeing things from their perspective, they often tend to root for them.

The antihero used to be its own subversion of the “Chosen One” archetype, but became so widespread that it itself became its own archetype. That’s why antiheroes are so varied, to the point where you may not even need a subversion due to how many possible ideas there are to choose from. (This was the hardest list to make!)

Examples:

Barry Berkman (Barry)

Harley Quinn (DC)

Cassie Thomas (Promising Young Woman)

Deadpool (Deadpool)

Subversions:

1. The antihero feels guilt. Oftentimes, an antihero is depicted as stone-cold and dead-set on their actions (and sometimes they’re right! If someone killed my family, I wouldn’t care about “being the bigger person”). However, an interesting subversion may be guilt or self-awareness surrounding their actions playing a large role in the execution of their goals.

2. The antihero is not a lone wolf, and develops meaningful and positive relationships with others rather than having it be 90% snarky banter. Sometimes, antiheroes suffer from a lack of three-dimensionality due to most of their dialogue being cheeky one-liners. Anchor them solidly into the story by building a web of relationships to support them! (They don’t have to all be lovey-dovey, either! Even enemy relationships can be more than snark).

3. An honor code. Giving an antihero with an interesting honor code regarding killing, stealing, or any of their other morally gray deeds could be an excellent subversion! Having characters who are stone-cold killers but draw the line (perhaps in an odd way, such as refusing to steal cars or kill pets), somewhere can be a great way to develop their personality and show the readers their motivations.

Hope these all helped, and happy writing!

[rey-jake-therapist]

Sorry but the more they try to justify the Elrond/Galadriel kiss, the more it's becoming awkward and sus lol

Morfydd Clark: Well, I kind of wanted the elves kissing on the mouth all the time from the very beginning. I kind of see it as an ultimate show of love and admiration, but in a platonic way. And I quite like that. It was kind of felt, to us as humans, quite like, "[Gasps] It's romantic." I quite like the idea that the elves do move through the world quite differently, and kind of a little bit bohemian. But when I read it, I was like, "[Gasps] Ooh." But I also think that this idea that romantic love is the greatest, most important form of love isn't something that I necessarily kind of — it's wonderful, but there are also so many different types of love, and the love that Elrond and Galadriel have for each other, which is millennia long and filled with respect and loyalty and admiration, is something that I think is so beautiful. Patrick McKay: To our minds, the kiss is not romantic in nature. But also, he loves her, and he's very scared she's going to die, and he needs to create a distraction to slip her a way of breaking out of her locks. And this is an expression of his love and regret, and apology for starting to realize that he was maybe wrong about some of the things she was arguing earlier in the season. I don't know, it grew organically out of the material, and felt like where it wanted to go. But certainly, it does not auger a romance between these two friends in the future. And elves are different, you know. Elves express their love in different ways. JD Payne: They're a little more European. Patrick McKay: Yes, yes, a little more European. [Chuckles]

(Source)

So first as an European lady, I feel low key offended by JD Payne's remark. Seriously, if American people genuinely think that everybody in Europe goes around kissing their friends on the LIPS, I'm afraid I'm going to break their fantasies but it's not true?! LOL Kissing in my country is actually very coded, like we've got "la bise" that almost everybody does which is two or three or even four kisses on the cheek to say 'hello', and it's very annoying because you're at risk of catching someone's bacterias, also it's gross in principle. But kisses on the lips are only for our lover/mistress/boyfriend/girlfriend/spouse! Yeah, even if our platonic best friend is at risk of dying we will probably hug them, cry and maybe even scream in pain, but one thing we probably won't do is weird them out by kissing them on the lips lol

Seriously, I feel like Charlie when Morfydd told him he would do well in the wild because he's Australian lmao

Now, on the Elves being "different". No shit, they're different indeed. But I have yet to find one shred of evidence that Elves are demonstrative folks. It always seemed to be the other way around to me, like... they always seemed rather aloof, physically speaking? I mean, I remember Legolas and Gimli, seems we lost the opportunity to see Legolas plant a kiss on Gimli's hairy lips if it's such an usual thing to do for Elves...

I just find very sus that they keep insisting that it's just a cultural thing, while we never, ever saw Elves even give a kiss on the cheek to show their affection (I think in LOTR we see Galadriel kiss Frodo's forehead, that's it?)... Let alone lip kisses. The only characters I remember seeing kiss on the lips were lovers: Arwen and Aragorn of course, and I guess, the couple in the Hobbit, sorry they were so boring I always forget their names. And I'm actually surprised that people like JD Payne and Patrick McKay, who seem to have a very deep knowledge of Tolkien's world and of the PJ movies, keep saying things like that. I mean, I'm sorry but it seems to come straight out of their heads, that Elves were like "bohemians". Morfydd wanted Elves to kiss on the mouth, I mean yeah cool, and if after season 2 we suddenly Elves kissing on the mouth at every corner, I'll just say "okay this is like this now" and I'll take it, but so far... the Elrond/Galadriel kiss is a first. And Galadriel thought she would never see Celebrimbor again and that he would die at the hands of Sauron, but she didn't kiss him on the lips, mind you.

Anyway, these fishy explanations just make me suspect that it was not always supposed to be Elrond in that tent. Yes, I'm still hanging on the Elrond = Sauron theory, because I watched the scene and listened to the music playing over and over again, and despite it being an Elrond centric scene... I can't hear Elrond's theme anywhere.

If someone can hear Elrond's theme in this scene, please let me know, maybe I just can't? Maybe I'm too biased to hear it? If someone can prove me that Elrond's theme is playing somewhere in the background of this scene, that will be the end of this theory for me tbh. I believe in plot holes, I believe in bad writing, but music... Music doesn't lie. Not with Bear McCreary at the helm, anyway. This man's a genius.

The entire scene:

The kiss:

Elrond's suite:

Elrond's theme is pretty easy to recognize, in every shape and form, so I'm deaf or it's just not there.

It especially hit me when I realized that Elrond's theme was playing again when Elrond joined the battle later (and as several people noticed, it seemed strange that there was a battle going on while... the Orcs were supposed to have stopped fighting, the time of the negotiations?), and threw that Orc who killed his horse on the walls of Eregion (poor narrative choice because why would he throw rocks on the Eregion walls, but he was angry, poor boy).

And I know that for most of you, it means nothing, but for me the music means everything. When a scene is character centric, his theme is playing at some point. I made a comparison with the Galadriel/Adar scene; in the firt scene, we can only hear Adar's theme playing, which makes sense because he's entirely dominating the situation. I think I can hear a few notes of Gal's theme inserted here and there, but it's very subtle because yeah, she's Adar's prisoner, he's the one doing most of the talking.

There's a bit of Sauron's theme when Adar describes how Sauron's eye "bores a hole and the rest of him slithers in" ;) Again, it makes sense, because the discussion was focused on Sauron. When I say that Bear McCreary is a musical genius, I'm not exaggerating: THIS is the kind of subtlety this man will bring.

But in the second scene, Galadriel is now Adar's equal in terms of occupation of the stage, so her theme is playing along with Adar's:

EDIT: This is Galadriel's theme by the way:

In the Elrond/Adar scene, it's not just Adar dominating the stage: Elrond is right there basically playing a dick contest with him, so I just find a bit weird that Bear McCreary didn't think it would be appropriate to, you know, include Elrond's theme in there?

And what about the kiss? Only Galadriel's theme is playing from what I can hear. It's very unusual. Especially since Elrond's the one initiating the entire exchange, including the kiss itself.

Elrond's theme blasts during the soundtrack of the Battle of Eregion, which makes sense since it was Elrond's battle.

There are also Adar's and Celebrimbor's themes, which also makes sense. But at 4:06, there's another theme playing, which corresponds to the moment Elrond (apparently) sees Galadriel in a cage. It's a theme that I remembering hearing twice in the TROP soundtrack: when Galadriel drowned in season 1, both times she did. The first time, Halbrand saved her, the second time Sauron let her drown. Anyway, each time it was about him, even if it's a variation on Galadriel's theme. It may be just the music that Bear McCreary chose to accompany scenes where Galadriel is in danger tbh, but I find this coincidence interesting.

This theme then evolves towards the music that preceeds the kiss, a music which is also a part of Galadriel's theme. There are choirs with low male voices playing in the background, which are slightly different from the choirs that play in the background of Galadriel's theme; these are sung by women, and seem more... idk, lighthearted, less present too? It may not mean a thing, but I can't help remembering Bear McCreary saying he wrote Galadriel's and Sauron's themes to be quite similar.

Anyway, I can't hear Elrond's theme anywhere during this break which is the kiss scene, which I find very sus considering the intense moment he's believed to share with Galadriel.

I may regret this, but I had to post it in its own post. For the record, as delulu as I am, I don't hold the hope that they will reveal anything of the sort in season 3. As certain as I am that it was supposed to be Sauron in that tent, I also believe that it was meant to be revealed in the finals of season 2. They chickened out for some reason (probably because after Sauron tortured and killed Celebrimbor, and ordered the killing of all remaining Elves in front of Galadriel, romanticizing Sauron wouldn't have been a good look? I can see that tbh). So it will always be Elrond who kissed Galadriel, this theory will remain a crack theory that will make people laugh, and suddenly Elves are like Europeans who casually kiss their platonic friends on the mouth to say goodbye.

[ladysternchen]

The Aging Of Elves

In his later years, Tolkien spent much time and energy trying to explain the concept of aging regarding the Elves (read here: he needed to explain Círdan's beard and how he looked old). He came up with a whole lot of theories, one that said Elves age 1 year per x human years, one that talked about life-circles, others again that tried to determine when Elves reproduced- and ended up contradicting himself with every single one (though admittedly, the life-circle-one is the one that fits best).

Now, it is always difficult to contradict the author of a book, but given that Tolkien created not only a book but a whole legendarium, a history of an ancient world that is now lost, I think each of may try to explain what Tolkien in the end could not, and be it only because he ran out of time.

I, personally, go with the 'the life of the Eldar is bound to the lifespan of Arda', at the end of which they at last grow weary of life even in Valinor. But that is still eons away, and even then, would they show their age physically? I think not (partly because the age of their body isn't really relevant. An elf can die, probably even multiple times, and spend a varying amount of time in Mandos, and then be allowed to rebuild their body. Would that make them then somehow younger than someone who has never died? Hardly, would it?).

No, if you ask me, Elves do not change their physical appearance past their 100th year (which is the age by which all of them are full-grown). As for the infamous beards? Well, Círdan just liked it that way, maybe Ossë or Ulmo appeared in the form of a bearded being and he wanted to honour them (like Mahtan wanted to honour Aulë with his beard?). Or maybe it was just warmer with that beard. Like, chap spent almost all his life be the sea.

Why did the Hobbits think him old, then? Well, there's an easy explanation, one that has already been given by so many people over the years- Círdan's hair and beard were silver, which is a perfectly natural hair-colour for an elf and just something that runs in Círdan's family, but a sign of old age for Mortals. Bilbo and Frodo and Sam would probably have thought Olwë and Eärwen aged as well, given that their hair was completely white, even though they had spent their entire life (or in Olwë's case all his adult life) in Valinor, where things don't fade nor age.

That said, there can be no doubt that Elves did age nonetheless, only not physically (with one exception, but I will come to that later)- they are born, learn to walk, talk, sing and dance by the time they turn one (convenient, I call it), but then their (physical) development falls behind that of human children- or really, cannot be compared to the aging of Men anymore (which I think is the real reason Tolkien never found a formula that fitted). Because Mortals age by years. Elves, at least in my imagination, age by experiences made, or probably even by their choice. And many things that are affairs of adult life for Mortals (like marriage, the bearing of children, taking up rule etc) MAY fall into the period that would still be considered childhood- or else they may not, and wait with building their family until much later.

Also, do Elves ever really grow up? They are at once the wiser of the Children of Il��vatar, and become skilled past anything that Mortals could ever hope for, and the more child-like ones, rejoicing in dancing and singing and losing themselves in the joy of arts and crafting, joking and feasting.

They are at once like happy children and bearing all the griefs of the world at once- Elves are no Humans, and cannot be compared.

But speaking of griefs- that is the thing that does make them grow older. Not physically, perhaps (with exceptions), but mentally. And maybe that also added to Círdan appearing old to the Hobbits- because they could see in his eyes all he had loved and lost. It was just his aura, if you like.

And then there are those instances where pain, torture and grief can physically change an elf- Gwindor is the most prominent example of that. Still, that fate may be reversible (at least if we take the other given example, 'Thingol's winter', at face value and believe that a real physical change came over him rather than 'just' depression*)

Plus, there is a fun-fact to just f**k with your minds today and the ultimate proof for myself that Elves can never be compared to Men- Fëanor and Maedhros were closer in age than Maedhros was with the twins (depending on which dates you believe, by quite a significant amount), and that was -if one believes the Laws and Customs Among the Eldar- by no means a rare thing.

So, to sum this headcanon or meta or whatever up, Elves age by what they live through. They may fall in love, marry and become parents when hardly past their own childhood, or they may do so after already living for a thousand years. Lúthien, despite being thousands of years old already, still very much acted a teenager when she met Beren (yes, no, sorry, Lúthien my dear, you did. You behaved like a child and were treated like a child, and to be honest, girl, for all your power, you never really grew up), while Gwindor, despite likely being a relatively young elf still, appeared as an old man when he returned from Angband. Círdan looked to Frodo old, while Celeborn and Galadriel, who were also both born during the Years of the Trees, showed no sign of age whatsoever. Elvish aging has no rule to it, and they don't age physically per default. And there is certainly no old elf in the FA.

*you'll never hear me say JUST depression ever again. I don't mean that mental illness is by any means less terrible than any physical illness or hurt, I meant the 'just' as in 'not visible'. And yes, it is important for me to stress that point!

[oda-cipresi]

Omg you have so many dragon requests but I have to add. Do you think you could write head canons about how it would be for the fellowship include a reader with a dragon companion? If not the fellowship then Frodo x reader with a dragon companion. Sorry if that’s confusing. I’m a confusing girl 🤷‍♀️ I love your writing and I hope your doing well ❤️❤️❤️

Thank you so much for the compliment :D I went with the entire fellowship but did focus relatively more on Frodo (somewhat). I honestly like the dragon requests but I always think too much into what do you guys imagine the dragon as so I try not to specify too much. I hope you like it :)

(This is not proofread so I apologise for any grammar mistakes. If you find any please point them out)

~Cipresa <3

Fellowship with a reader who has a dragon companion

-I think that in general they would all be scared at first, except Gandalf who has seen similar things in the distant past.

-I think Aragorn would be the first to accept the fact that there's a dragon in their company.

-Second would be either Marry and Pippin or Legolas, for for the latter I can't quite decide since he did fight in the Battle of Five armies and has seen the damage dragon's flame did to his father, but then again with his personality he would be more understanding and would eventually make peace with the dragon.

-Frodo and Sam wouldn't be that thrilled, especially Sam since he can get quite worried but would put up a brave front for Frodo, and Frodo, while wary due to the stories about Smaug Bilbo told him, would still be quite quick to accept, especially due to his curiosity taking over.

-Boromir and Gimli would be the last. GimlI would hold his ground and call the dragon every name under the sun until the very end, and would accept the dragon only after realising how helpful the “overgrown lizard” is in battle. Boromir would be fascinated but also not thrilled, though he couldn't wait to tell Faramir about it one he returns home (he doesn't die in this because I said so)

-Mary and Pippin would use the dragon in their pranks, oddly enough the dragon would comply with them.

-Everyone did start appreciating the warmth that radiated off of the dragon and the fact that they didn't have to carry all the luggage

-The dragon adored Gandalf and ended up acting like an overgrown cat with him.

-The dragon didn't like Frodo at first due to him being the ring bearer, but eventually got over it after you scolded him. Frodo managed to bargain with him by secretly giving him snacks and you started wondering why you precious companion was gaining weight and suddenly started being around Frodo more. Once you caught on you banned Frodo from feeding the dragon which resulted in the overgrown fire lizard sulking.

-At the battle of black gate they saw the dragons full potential when it burned the orcs by thousands, frying them completely, and they started respecting it even more.

-I think after everything is over Frodo and Aragorn would over to to live there, if you chose Shire, the kids there would be using the dragon as a playground, of you chose Minas Tirith then the dragon would be the guardian of the city

[thefallenangelsgang]

I'm losing my fucking mind

Or: I just saw Lord of the Rings the Musical at the Chicago Shakespeare Theater and my brain chemistry has irreversibly changed

I'm too genuinely scrambled at the moment from travel to make a solid post (I am multiple states away from Illinois and I hate city driving) but I cannot shake the life-changing experience that was.

SPOILERS AHEAD

(Spoiler free tldr: story is changed sometimes severely to make a sub-3hr runtime or to simplify, but the message doesn't get completely lost. Tolkien fan approved)

First issue I can see everyone having is how much the story changes because it does change a lot. Rohan and Gondor being merged is probably the most glaring. I think it works because the show is more focused on the Hobbits (specifically Frodo and Sam). Personally I can look past it. My one issue is the missing Sam monologues (mount doom is a rather swift sequence, I'd have liked to see Sam give his devotion speech and his speech about the shire while waiting to die) those would have made insane songs but alas. The ending still was a gut punch though so it's more a personal preference thing.

First thing that blew me away was the technical aspect. The lighting and set design was GORGEOUS and EVOCATIVE. There were multiple times lighting alone drew me to tears.

The puppetry is immaculate. The nazgul chase is singularly some of the most beautiful choreo I've seen and I'm a slut for puppetry

The cast play all of the instruments live on stage, sometimes while doing choreography (nothing will prepare you to see Legolas holding a fucking trumpet or Boromir strapped into a goddamn accordion)

The costuming is more accurate to the original editions' illustrations which I found endlessly charming. One difference is, for safety (probably OSHA), all the hobbits (and Gollum) wear Sandals. This is never discussed. I love that.

BOROMIR IS KILLED BY HIS OWN SWORD WHICH I CANNOT EXPRESS HOW PERFECT THAT IS NARRATIVELY

GOLLUM PLAYED BY TONY BOZZUTO IS NEARLY INDISTINGUISHABLE FROM ANDY SERKIS

(I am not joking about this. Somehow he has mastered Andy's physicality and voice work. It truly was a sight to behold.)

Saruman/Elrond's actor (dressed as a hobbit) was hanging out in our section during preshow and was having a grand old time.

Bilbo and Frodo were in the main audience bothering people. Frodo was playing a stick and ring game and got absolutely shown up by some 10 year old he invited to play.

The Entmoot took literally 2 minutes (the way I had to stop from HOWLING at that)

I was SOBBING at the end, like actually.

Somehow this production managed to keenly make me feel the ending of Frodo leaving for the Grey Havens more than the movies did. The Irony of Frodo leaving being both a hopeful prayer that there is a place where people bound with trauma and wounds too deep to heal can live in peace without pain and also a grim acceptance that sometimes people cannot recover was STARK

Frodo and Sam really push the narrative of this show up until the end and it hits HARD. God bless this cast with steady work, they all deserve it.

[live-laugh-legolas]

can you do headcanons for when they're sick?

preferably the fellowship+faramir

Absolutely!

When the fellowship members are sick (+Faramir)

Aragorn:

-Insists he’s fine

-If the tables were turned he would go all doctor like on you and tell you how rest will help

-But he’s built different so it doesn’t apply to him apparently

-Knows all the remedies but refuses to use them because he wants to “build up his immune system”

-You have to be pretty firm with him

-But after being his friend for so long you know this already

-Possibly threaten him

Legolas:

-Can elves even get sick?

-I imagine he would be confused in the same way he was when the alcohol was “effecting him”

-“My nose…It’s leaking”

-He’s probably a bit stressed but outwardly he seems pretty normal

-Will do whatever you tell him to do

-One of the easiest to take care of, plus he gets better after a day or so

Gimli:

-Grumpy and in denial

-Seriously, dwarves are so stubborn

-“dwarves don’t get sick!” Then proceeds to lose his lunch

-Tbh you probably have to drug him

-I read this fic by CheveronChick last year at some point and I did a deep dive to find it again because it’s a perfect example of how I think Gimli acts when sick

-I recommend giving it a read

Boromir:

-Tries to act tough and pretend nothings wrong

-But ends up being very dramatic

-Convinced he’s dying

-“you will die one day Boromir but not from this cold”

-He is used to being the one to take care of others, so when you force him to rest and let you take care of him he feels special

-I’ve mentioned before that I think despite his outgoing nature he doesn’t have many close friends

-So he genuinely loves having you to be there for him

-Side note, he may pretend to still be sick so you dote more but you know what he’s doing and he gets a pillow to the face

Frodo:

-Just sleeps it off

-Seriously doesn’t even act that sick

-You just don’t see much of him because he is asleep

-He could be dead…you honestly aren’t sure

-Would probably show up a few days later totally fine and just be like “sorry I had pneumonia” “Thats serious Frodo wtf”

Sam:

-Knows he needs to rest, but he doesn’t like to sit around doing nothing

-Actually one of the hardest to take care of

-Feels bad when he needs to be taken care of

-Also worried he will get you sick

-“Stay away y/n, I’m contaminated”

Merry:

-Very nonchalant and responsible

-Drinks so much tea and takes all the drugs

-Maybe I should take back the responsible part

-He seems like the type to genuinely like the taste of pepto and will chug it

-Takes shots of whatever the ME equivalent of night-quill is

Pippin:

-Standing in the doorway in the middle of the night; “I threw up”

-Cries when he gets sick, but me too Pippin I get it

-You will get sick too because he insists that you stay with him because he’s dying

-You would never forgive yourself if he died and you weren’t there (That’s what he tells you)

-But to be fair, I feel like he doesn’t get sick much but when he does it tends to be worse than a normal cold

Gandalf:

-I have no idea if he can get sick

-But don’t you dare suggest he might be

-You may lose your head

-No he’s not sick

*Bonus Faramir:

-I feel like he has two reactions and it depends on who he is with

-To most people he will refuse to seem weak, you probably wouldn’t even guess it

-Just maybe a bit sluggish

-However with people he trusts, mainly you and Boromir, he will happily let you take care of him

-Won’t verbally admit that he enjoys the attention, but you know he does

-So kind about it and appreciative

-Although he would feel bad, he would be secretly a little pleased if you got sick too because he could return the care you gave him

[amuseoffyre]

Since insomnia is kicking my arse of late, I naturally tilted into the thoughts about the nature of the 3-act structure and why S2 of OFMD may have felt off and incomplete to a lot of people.

I am fully in agreement that we lost a lot of valuable time with only 8 episodes and a lot of it did feel rushed, but for the amount of story and set-up and growth and development they needed to fit into 4 hours of television, they did astonishing things.

DJenks has said from the very start that this is a story that has been planned out to take 3 seasons. It's literally a 3-act play and we are currently right in the middle of the worst part of that timeline according to every traditional 3-act structure.

Act one/season one is self-explanatory. Like New Hope in the Star Wars Trilogy or Fellowship of the Ring, this is the set-up. We're introduced to our protagonists and antagonists, the relationships are given a foundation.

The beginning is Stede's journey to becoming a real boy. The inciting incident, the one that actually pushes his change beyond "playing pirates" is meeting Ed. The second thoughts come together in episode 8/9 after his confrontations with Jack and Chauncey and episode 10 is the climax.

Act 2/season 2 is never going to be as smooth and simple as act 1/s1. A big part of the A2/S2 job is set up for A3/S3 and this is what we're seeing and why a lot of story threads seem to have been left dangling.

Again, to call back to Empire Strikes Back and The Two Towers, the structure is much the same: the original batch of people are divided and scattered, the big enemy from A1/S1 is looming, new allies make themselves known. In SW, this meant the introduction of Lando and Yoda as allies plus the hint of the Emperor lurking in the background. In LotR, we have the Rohirrim, Gondor and the Ents as allies and the expansion of Sauron's forces in Helm's Deep, Osgiliath and the winged wraiths.

There's a clear trajectory following the A2/S2 structure:

obstacle 1 - the crews separated and struggling

obstacle 2 - the end of episode 2 and the repercussions of his actions

twist - just when things start to settle, the Ned Low situation happen and Stede kills for the first time

obstacle 3 - Ed's struggle with his identity leading to him leaving

disaster - Ricky's assault on the Republic

crisis - do-or-die battle because they have no other choice

climax - the last 15 minutes of ep. 8 live here.

As with SW and LotR, there's an ending, but weighted with the knowledge of a story that is meant to continue. Each of those act 2 films end with the heroes still aware of the looming threat, some of them heading out on new missions, and some of them resting and healing. There's brief pause, brief respite, a moment to take a breath.

We have all the characters in place now and the battle-lines have been drawn. Luke still needs to confront Vader (I see you, impending Ed and Hornigold confrontation), Frodo still needs to destroy the ring, Aragorn still needs to lead the army against the Black Gate, the second Death Star is still hanging in the sky.

I'm so excited to see what S3 brings because we have so many arcs ready to go: Zheng's vengeance trip, the inevitable enforced out-of-retirement arc for Ed and Stede, Hornigold, Ricky trying to maintain his tenuous control of the republic given how many of his people were killed when the crew escaped, the pirate rebellion gathering forces.

Also how often do we get shows/films where the supporting cast are given this much storyline? We have a named/speaking-role cast of upwards of 15 central characters. That is a staggering amount of people to work with, when most shows would only focus on the leads and a couple of their friends. Six is the average for most TV shows, while comedies can inch higher because ensembles, but most ensembles don't get as much as our crew did.

I know a lot of people aren't happy about Izzy's death. I know I would have liked to see him a lot more, because he's such a grumpy old bitch and I love him and him affectionately roasting Ed and Stede would have made my entire month. But I'm also aware that narratively, as a figurehead of the old ways of piracy and "we were Blackbeard", it was a symbolic death as well - a sign of the death of the old ways of piracy and of Blackbeard as was.

(Also, they Obi-Wanned him. I'm not over that. Gave him the "if you strike me down I will become more powerful" speech. I'm just... guys, your star wars nerdery is showing XD)

So while it was flawed in places and pacing, given the scale of the story they're telling, the number of pieces and characters they had in play, and the arcs they have been setting up while also still keeping the humour, I am giving a standing ovation for a remarkable piece of work.

[apoloadonisandnarcissus]

Has anyone noticed the similarities between Sauron and Gollum in “Rings of Power”?

Deep down here by the dark water lived old Gollum, a small slimy creature. I don’t know where he came from, nor who or what he was. He was Gollum. The Hobbit

Riddles were all he could think of. Asking them, and sometimes guessing them, had been the only game he had ever played with other funny creatures sitting in their holes in the long, long ago, before he lost all his friends and was driven away, alone, and crept down, down, into the dark under the mountains. The Hobbit

They cursed us. 'Murderer', they called us. They cursed us, and drove us away. And we wept, precious. We wept to be so alone. And we forgot the taste of bread, the sound of trees, the softness of the wind. We even forgot our own name. Return of the King (2003)

“What a pity Bilbo did not stab that vile creature when he had the chance!”

“Pity? It was Pity that stayed his hand. Pity, and Mercy: not to strike without need. And he has been well rewarded, Frodo. Be sure that he took so little hurt from the evil, and escaped in the end, because he began his ownership of the Ring so. With Pity."

“He deserves death"

“Deserves it! I daresay he does. Many that live deserve death. And some that die deserve life. Can you give it to them? Then do not be too eager to deal out death in judgment. For even the very wise cannot see all ends. I have not much hope that Gollum can be cured before he dies, but there is a chance of it. And he is bound up with the fate of the Ring. My heart tells me that he has some part to play yet, for good or ill, before the end, and when that comes, the pity of Bilbo may rule the fate of many--yours not least"

Fellowship of the Ring, Shadow of the Past

The “my precious” face:

Gollum looked at them. A strange expression passed over his lean hungry face. The gleam faded from his eyes, and they went dim and grey, old and tired. A spasm of pain seemed to twist him, and he turned away, peering back up towards the pass, shaking his head, as if engaged in some interior debate. Then he came back, and slowly putting out a trembling hand, very cautiously he touched Frodo’s knee – but almost the touch was a caress. For a fleeting moment, could one of the sleepers have seen him, they would have thought that they beheld an old weary hobbit, shrunken by the years that had carried him far beyond his time, beyond friends and kin, and the fields and streams of youth, an old starved pitiable thing.” The Two Towers

This is not random, because not only Sméagol was corrupted by the One Ring (Gollum), but he was also captured and tortured by Sauron himself for information in Barad-dûr (Mordor) to learn who had the One Ring, in the Third Age (in the books, Sauron is not a giant eye ball on the top of a tower).

However, Sauron let him go (instead of killing him), which is odd not only by Sauron’s standards, but because Gollum knew Sauron’s plans, and releasing him would be a terrible risk (especially for a being as secretive as Sauron). And indeed it was, because it allowed Gandalf to know that Sauron was planning to use the Nazgûl to get the One Ring, and that he was aware that Bilbo had it, and the Nine Riders were headed for the Shire.

However, that’s what Sauron does. And why? Tolkien himself answered, in the Unfinished Tales: Sauron saw something on Gollum.

“He [Sauron] did not trust Gollum, for he divined something indomitable in him, which could not be overcome, even by the Shadow of Fear, except by destroying him.”

What did Sauron see? We don’t know, because Tolkien does not say. Only that Gollum made him uneasy, and he was not able to discern why.

Some theorize that Sauron might have seen Eru’s plan for Gollum in the creature (he would be the one to take the One and cast into the fire), and couldn’t kill him by “divine intervention”. To me, this theory doesn’t make much sense, because if this was what Sauron saw, why release Gollum, in the first place? Why not keep him a prisoner in Mordor to prevent this from happening?

Others say that Sauron did not trust Gollum but knew he would seek out the One Ring, and he could use this to his advantage, and that’s why he let him go. This is more likely, but still doesn’t explain why Gollum stir something in him.

And it seems that “Rings of Power” might be exploring this angle by giving Sauron some Gollum inspo. Which might mean that Sauron shared a recognition with Gollum. Which makes sense, since the he was corrupted by the One Ring, which holds a part of Sauron’s soul.

This makes me wonder, if we’ll get a scene like this in future seasons:

Frodo looked straight into Gollum's eyes which flinched and twisted away. 'You know that, or you guess well enough, Sméagol,' he said quietly and sternly. 'We are going to Mordor, of course. And you know the way there, I believe.' 'Ach! sss!' said Gollum, covering his ears with his hands, as if such frankness, and the open speaking of the names, hurt him. Two Towers

Frodo's calling Gollum by his true name has opened a door within him that had long been shut. It’s Gandalf that tells Frodo Gollum’s real name in the chapter The Shadow of the Past in “Fellowship of the Ring”.

Gandalf uses the name “Sméagol” in the past, never in the present (he calls him “Gollum”): this establishes a duality between the two names: Sméagol vs. Gollum. Pretty much the same as Mairon vs. Sauron. Sméagol is the “forgotten things” of Gollum’s past; like Mairon the Admirable is to Sauron. Gandalf admits he has hope that “Gollum can be cured before he dies”, meaning redeemed. This was Halbrand in Season 1; the Repentant Mairon.

Frodo, by addressing Gollum as Sméagol, evokes (or hopes to) the memory of these “forgotten things” (like Gandalf told him). Of course, Gollum is far into his corruption (being a ring-bearer to the One for over 500 years), for a mere evocation of his true name to redeem him, however, it could open the door to the hope of.

Indeed Gollum himself makes the distinction between the two: “Don't ask Sméagol. Poor, poor Sméagol, he went away long ago. They took his Precious, and he's lost now.” Or “No precious, no Sméagol”. In Gollum’s mind, “Sméagol” was lost not with the murder of Déagol centuries before, but when he lost the One to Bilbo.

In the Peter Jackson adaptation, this scene translated into this:

Frodo: Who are you? Gollum: Musn't ask us. Not his business, gollum, gollum. Frodo: Gandalf told me you were one of the river-folk. Gollum: Cold be heart and hand and bone, cold be travellers far from home. Frodo: He said your life was a sad story. Gollum: They do not see what lies ahead, when sun has failed and moon is dead. Frodo: You were not so different from a Hobbit once, were you... Sméagol? Gollum: What did you call me? Frodo: That was your name once, wasn't it? A long time ago. Gollum: My... my name. Sméagol....

In Season 2, it was Gandalf who had to earned his name via finding his staff. His character arc parallels Sauron’s in “Rings of Power”, which makes me wonder if his real name (Mairon) might come into play in Season 3.

Especially since we had so many mentions of him having “many names” in “Rings of Power”, already.

Which raises another question: did he, like Gollum, forgot his real name?

But who could come into play in this scene? The character who’s paralleling Frodo and Bilbo, of course: Galadriel.