Unless you’re very new to Tolkien fandom, you know that the rights to The Professor’s creations are shared by various groups, making for sometimes complicated copyright ownership. Tolkien himself sold movie and merchandising rights to United Artists back in 1969; those rights are now owned by Middle-earth Enterprises, which is part of the Embracer Group – now known as Fellowship Entertainment. Rights to television adaptations of eight episodes or more remain with the Tolkien Estate – so Prime Video’s The Lord of the Rings: The Rings of Power is licensed directly by the Estate. Furthermore, the rights Tolkien sold were only for The Hobbit and The Lord of the Rings; so all other literary works by The Professor (including The Silmarillion) remain with the Estate.
Today Curtis Brown Heritage announced that The Tolkien Estate has joined the roster of writers and estates they represent. Curtis Brown are literary agents with a long history, and their ‘Heritage’ department represents literary estates including those of A.A. Milne, Iain Banks, and Douglas Adams. Their press release shared their delight in ‘working with the Tolkien Estate to preserve and celebrate J.R.R. Tolkien’s extraordinary literary legacy’. Here below is the full press release:
Curtis Brown Heritage to represent the J.R.R. Tolkien Estate
Curtis Brown Heritage is delighted to welcome the Tolkien Estate to their list of the literary estates of many of the twentieth century’s most renowned writers.
A writer, artist, scholar and philologist, John Ronald Reuel Tolkien (1892–1973) is best known for his tales set in the world of Middle-earth, widely considered foundational to the modern fantasy genre. Beloved by readers, writers and creators across the world, in almost every language, through literature and artworks, J.R.R. Tolkien set the standard for all that has come after.
Norah Perkins, Head of Curtis Brown Heritage, said, ‘It is a great honour and a joy to be working with the Tolkien Estate to preserve and celebrate J.R.R. Tolkien’s extraordinary literary legacy, and to help to bring new readers (and viewers and listeners) to his writing. I am thrilled to be joining the Estate on the next part of the journey.’
The Tolkien Estate said, ‘As a family, we remain deeply conscious of the responsibility of looking after J.R.R. Tolkien’s literary works and legacy. We are committed to keeping his stories alive for generations to come. In Curtis Brown Heritage we have found partners who share that passion, and we are delighted to be working with them.’
Jonny Geller, CEO of The Curtis Brown Group, said: ‘I’m delighted on behalf of Curtis Brown to welcome one of the great literary estates of the world to the agency. All of us who grew up passionate about reading have been influenced and dazzled by the works of J.R.R. Tolkien, and we are committed to help to bring a new generation of readers to the enduring pleasure of these great books.’
About J.R.R. Tolkien
J.R.R. Tolkien was born in the Orange Free State (now in South Africa) in 1892. He came to England aged three, and was brought up in and around Birmingham. He graduated from the University of Oxford in 1915, and saw active service in France during the First World War. After the war he worked on the Oxford English Dictionary as a lexicographer, and pursued an academic career teaching Old and Middle English. Alongside his professional life as an academic at the University of Oxford, he invented his own languages and began to create what he called a ‘Legendarium’, from which emerged The Hobbit (1937), The Lord of the Rings (1954/55) and The Silmarillion (published posthumously in 1977 by Christopher Tolkien). He was a member of the Inklings along with C.S. Lewis, and he wrote and illustrated children’s stories for his family such as Letters from Father Christmas, Mr Bliss and Roverandom, as well as fairy tales for adults, including Farmer Giles of Ham, Leaf by Niggle and Smith of Wootton Major.
About The Tolkien Estate
The Tolkien Estate (comprising The Tolkien Estate Limited and The Tolkien Trust) is the custodian of the works and legacy of J.R.R. Tolkien published in his lifetime, and the joint custodian with the Christopher Tolkien Estate of the works published after J.R.R. Tolkien’s death in 1973. Christopher Tolkien, J.R.R. Tolkien’s third son, was his father’s literary executor from 1973 until 2017, and produced twenty-four books of his father’s unpublished manuscripts, which significantly extend the accessible Tolkien canon. The Tolkien Estate remains managed directly by the descendants and family of J.R.R. Tolkien.
The Tolkien Trust is a UK registered charity established in 1977 by J.R.R. Tolkien’s children to enable the Tolkien family to give to charitable causes on a regular basis. Through the Trust, the Tolkien family continues to support a wide spectrum of causes and concerns in the UK and around the world.
About Curtis Brown Heritage
Curtis Brown Heritage was launched in 2016 and is the first bespoke literary estates division of a literary agency in the world. Built on Curtis Brown’s 125-year history, Heritage has a track record of success in creatively and sensitively managing the literary estates of beloved British writers (including those of Douglas Adams, Iain Banks, Gerald Durrell, Laurie Lee, Fay Weldon, A.A. Milne and Barbara Taylor Bradford) and some of the finest historians, poets and philosophers of the 20th century (including Isaiah Berlin, E. H. Carr, Nevill Coghill, C.L.R. James, Iris Murdoch and Stephen Spender). We recognise the immense cultural, literary and historical value of our writers, and it is our mission to combine our strong heritage with commercial savvy and passionate advocacy to celebrate, nurture and preserve their work for generations to come.
About The Curtis Brown Group
Founded in 1899 by Albert Curtis Brown, the company has a long and distinguished history as a world-renowned literary agency representing many famous writers, including Daphne du Maurier, John le Carré and A. A. Milne. Today, Curtis Brown also houses many other industry-leading divisions including a global Talent agency, representing leading actors and performers, as well as Unscripted and Entertainment and Musical Theatre & Production Arts. CBG is also home to a prestigious Theatre, Film and Television department (representing leading screenwriters, directors, producers, playwrights, and writer-performers) as well as a Media Rights department. The Curtis Brown Group is now home to over 250 members of staff and a vibrant ecosystem of companies that span the arts and culture sector. The Curtis Brown Group includes boutique literary agencies C&W (formerly Conville & Walsh) and Ed Victor Ltd, our in-house writing school Curtis Brown Creative, talent agencies Tavistock Wood and Markham Froggatt & Irwin and production company Cuba Pictures. In June 2022, United Talent Agency acquired The Curtis Brown Group.
Breaking news: rights to bring The Silmarillion to life have finally been released, but it’s not to any of the media giants you might have expected.
Ever since Prime Video started work on The Lord of the Rings: The Rings of Power, there has been much speculation and anticipation as to whether the Tolkien Estate would finally sell the rights to bring The Silmarillion stories to life. In an exclusive reveal, our friends at Middle-earth Enterprises have told us that it looks like that will happen now; but it is the folks behind The Lord of the Rings – A Musical Tale who have gained the long sought-after permission.
The recent revival of the musical, which features music by A.R. Rahman, Värttinä, and Christopher Nightingale, with book and lyrics by Shaun McKenna and Matthew Warchus, has proved such a hit that it seems to have persuaded the Tolkien Estate that more live Middle-earth on stage could only be a good thing. The latest musical production began at The Watermill Theatre in the UK, in 2023; it has since played in Chicago, Auckland, and is currently touring in Australia, to great acclaim.
In addition, composer Paul Corfield Godfrey has in recent years been given permission by the Estate to release recordings of his operas based on The Hobbit, The Lord of the Rings and The Silmarillion. This indicated to some that there was a move towards allowing more performance work based on the Professor’s writings; but this most recent announcement will nonetheless no doubt take folks by surprise.
Kip Rasmussen’s Eru and the Gods singing the First Song of Creation
What we’ve been told
The same composition and libretto team who brought us The Lord of the Rings – A Musical Tale will now be creating The Silmarillion – An Adventure Three Ages in the Making (working title). It is as yet unconfirmed who the stage director and design team will be for this epic show, but we do know that producer Kevin Walrus is on board. He expressed his excitement to us, and hinted at the possibility for a series of shows:
We are thrilled to build on the global momentum that we’ve already seen in our world tour of The Lord of the Rings – A Musical Tale production, with this expanded opportunity to play in the realms that Professor Tolkien created. Our first task will be to decide how many shows these new landscapes allow us to produce!
Rumour is that the production will open in New Zealand, sometime in late 2027. Middle-earth Enterprises’ Fredrica Doritos told us:
We know that the epic stories of the early ages of Middle-earth, found in The Silmarillion, are beloved by fans. The great drama, romance, peril and poetry of these tales makes them perfect for the stage; and the track record of the team who created The Lord of the Rings – A Musical Tale means that we know these sagas are in safe hands. We can’t wait to see Eru Ilúvatar and Manwë brought to life on stage. What song of Lúthien Tinúviel was powerful enough to lull Morgoth to sleep? Perhaps we’ll hear such a song in this stage show. We hope the fans will be as excited as we are, to see Fëanor forge his gems on stage.
We’ve also heard that artists already known for their Tolkien-inspired paintings may be brought in to be part of the design team. Could some of the folks whose masterpieces we’ve been enjoying in Middle-earth March Madness be part of these future shows? Certainly TORn friend Donato Giancola would make epic scenery designs; and Kip Rasmussen’s ‘Eru and the Gods singing the First Song of Creation’ would make a wonderful show poster.
Donato Giancola’s Beren and Lúthien in the Court of Thingol and Melian
We here at TheOneRing.net are very excited by the news of this forthcoming stage production (or productions!), and staffers have started speculating as to exactly which stories will appear on ‘the boards’. Look for more content to explore our thoughts; and of course we’ll bring you updates as we receive them.
Our first panel, ‘Celebrating Tolkien Reading Day’ will be on Friday, March 28 at 6:00 pm in Room 207. We will be reading some selections from various Tolkien books, and there may be a few little surprises along the way. This panel, in particular, will be very family-friendly, we may even call a few children to the front to join us in storytelling. Follow the link below to see details.
Our second panel, ‘Lord of the Rings: Previewing Upcoming Projects’ will take place on Saturday, March 29 at 2:00 pm in room 211. This panel will be where we discuss all the recent and soon-to-come Middle-earth-themed shows, films, books, games, and more. The link below shows more details.
We were pretty sure it was coming, but today Prime Video have officially confirmed that The Lord of the Rings: The Rings of Power will return for a third season.
Of note – director Charlotte Brändström is back for more; and the show has moved its production home, remaining in the UK but heading over to Shepperton Studios. No word on any new casting as yet. Prime Video did share this on X, re plotline: Jumping forward several years from the events of Season 2, Season 3 takes place at the height of the War of the Elves and Sauron, as the Dark Lord seeks to craft the One Ring that will give him the edge he needs to win the war and conquer all Middle-earth at last.
Here’s the official press release:
Prime Video Confirms Season Three Of The Lord Of The Rings: The Rings Of Power
Acclaimed directors Charlotte Brändström, Sanaa Hamri, and Stefan Schwartz set for upcoming season
Award-winning series is currently in pre-production at new production home,Shepperton Studios
CULVER CITY, California – February 13, 2025 – Today, Prime Video confirmed Season Three of The Lord of the Rings: The Rings of Power is in pre-production and will begin filming this spring in the series’ new production home at Shepperton Studios in the UK. Additionally, we are announcing three directors, two returning and one new, Charlotte Brändström, Sanaa Hamri, and Stefan Schwartz will be a part of this season. The globally successful series, which has attracted over 170 million viewers worldwide, continues to be one of Amazon’s strongest drivers for new Prime membership sign-ups.
“The Lord of the Rings: The Rings of Power continues to captivate audiences worldwide, and we’re thrilled that a third season is underway. The creative team has an extraordinary vision of what’s to come with stories that have left us enchanted and enthralled,” said Vernon Sanders, head of television, Amazon MGM Studios. “We look forward to continuing this epic journey, for our global customers, delving even deeper into the legendary tales that shaped Middle-earth.”
Charlotte Brändström, who served as co-executive producer and directed multiple episodes in Seasons One and Two, returns as executive producer and director for the third season. She is joined by returning director Sanaa Hamri, who helmed several episodes in season two, and veteran director Stefan Schwartz, marking his first involvement with the series. Each director will oversee multiple episodes in the upcoming season.
Brändström’s extensive directing credits include Shōgun (FX), Scarpetta (Prime Video), The Outsider (HBO), The Witcher (Netflix), and The Man in the High Castle (Prime Video). Hamri, an acclaimed director known for her work on The Wheel of Time (Prime Video) and Empire (Fox), brings extensive experience spanning television, music videos, and feature films, having recently directed The Bondsman (Prime Video) pilot while continuing her creative relationship with Amazon MGM Studios through an overall deal. Schwartz, whose credits include The Boys (Prime Video), The Walking Dead (AMC), Luther (BBC), and The Americans (FX), rounds out the talented directorial team.
The Lord of the Rings: The Rings of Power has been an unprecedented success, with a broad, highly engaged, global fan base. Critics have praised the series for its epic scope and production values, and Seasons One and Two are Certified Fresh on Rotten Tomatoes. Season One remains the biggest TV premiere in the history of Prime Video and Season Two the most-watched returning season by hours watched.
The Lord of the Rings: The Rings of Power is produced by showrunners and executive producers J.D. Payne & Patrick McKay. They are joined by executive producers Lindsey Weber, Justin Doble, Kate Hazell, and executive producer-director Charlotte Brändström. Matthew Penry-Davey is producer and Ally O’Leary, Tim Keene, and Andrew Lee are co-producers.
Charlotte Brändström is an award-winning director and graduate of the directing program at the American Film Institute. Recent projects include Shōgun for FX, The Continental with Mel Gibson for Starz, the upcoming Scarpetta with Nicole Kidman and Jamie Lee Curtis for Prime Video, and a pilot for Netflix Sweden titled The Unlikely Murderer. Her other directing credits for television include The Outsider for HBO; Jupiter’s Legacy, The Witcher, and Away for Netflix; The Consultant and The Man in the High Castle for Prime Video; and Outlander and Counterpart for Starz. Brändström also directed the entirety of two European limited series: Conspiracy of Silence for Viaplay and Disparue for FR2, and has also directed over 30 feature films, miniseries, and movies-of-the-week. Additionally, Brändström is an international Emmy award nominee for Julie, Chevalier de Maupin.
Sanaa Hamri is a renowned film, television, music video, and commercial director from Tangier, Morocco. She is currently in an overall deal with Amazon MGM Studios. She recently directed the pilot and episode 2 of Prime Video’s The Bondsman starring Kevin Bacon, as well as episodes from Seasons 2 and 3 of The Lord of the Rings: The Rings of Power. Previously she was EP/Director of Season 2 of Prime Video’s The Wheel of Time. Hamri was also EP/Director of the blockbuster series Empire on Fox from 2015 to 2020. As an acclaimed music video director, Hamri’s prolific career boasts collaborations with high profile hip hop/R&B musicians including Prince, Common, Lenny Kravitz, Rihanna, Justin Bieber, Snoop Dogg, Jay Z, and Mary J. Blige. Hamri has been awarded the NAACP Image Award for India Arie’s 2003 and an MTV VMA for Nicki Minaj’s 2010 blockbuster hit “Super Bass”. Hamri also directed Mariah Carey’s sold-out live arena concert documentary, The Adventures of Mimi. Hamri’s past episodic work includes Shameless, Rectify, Nashville, Elementary, Glee, Hit The Floor, and Desperate Housewives. Some of her feature film credits include Something New, The Sisterhood of the Traveling Pants, and Just Wright.
Stefan Schwartz is an award winning British/Canadian film and television director, writer, and producer. He has directed episodes of The Boys and My Lady Jane for Amazon MGM Studios, as well as The Americans, The Walking Dead, Fear the Walking Dead, Dexter,White Collar, Those Who Kill, Black Sails, and the BBC’s Luther and Spooks. He served as executive producer and directed episodes of Apple TV’s The Mosquito Coast, the Starz series Camelot, and the pilot of the CBC Television series Fortunate Son. His feature film directing debut was Soft Top Hard Shoulder, which starred Peter Capaldi and won two BAFTA Awards in Scotland and the prestigious audience prize at the London Film Festival. He also directed the films Shooting Fish (which he also wrote), The Abduction Club, and The Best Man, starring Stuart Townsend, Amy Smart, and Seth Green.
About Prime Video
Prime Video is a first-stop entertainment destination offering customers a vast collection of premium programming in one app available across thousands of devices. On Prime Video, customers can customize their viewing experience and find their favorite movies, series, documentaries, and live sports – including Amazon MGM Studios-produced series and movies Red One, Road House, The Lord of the Rings: The Rings of Power, Fallout, Reacher, The Boys, Cross, and The Idea of You; licensed fan favorites; Prime member exclusive access to coverage of live sports including Thursday Night Football, WNBA, and NWSL, and acclaimed sports documentaries including Bye Bye Barry and Kelce; and programming from partners such as Apple TV+, Max, Crunchyroll and MGM+ via Prime Video add-on subscriptions, as well as more than 500 free ad-supported (FAST) Channels. Prime members in the U.S. can share a variety of benefits, including Prime Video, by using Amazon Household. Prime Video is one benefit among many that provides savings, convenience, and entertainment as part of the Prime membership. All customers, regardless of whether they have a Prime membership or not, can rent or buy titlesvia the Prime Video Store, and can enjoy even more content for free with ads. Customers can also go behind the scenes of their favorite movies and series with exclusive X-Ray access. For more info visit www.amazon.com/primevideo.
Oaths hold an astonishing power in Tolkien’s Middle-earth. Here, TORn Discord member Narrative Epicure explores how Sauron and Elrond’s understanding of this fact drives each to behave very differently toward others.
~ Staffer Demosthenes
Concerning Oaths in Middle-earth
by TORn Discord member Narrative Epicure
In December 3018 of the Third Age, everybody’s lucky number was nine. After an involuntary white-water rafting trip down the Bruinen, Sauron’s Nazgûl returned to Mordor. These servants, so long bound to him by works he wrought in ages past, gathered once more in the dark shadow of Barad-dûr. In the Elven realm of Rivendell, Lord Elrond prepared a Fellowship whose journey would determine the fate of Middle-earth.
“The Company of the Ring shall be Nine;”1 he declared, “and the Nine Walkers shall be set against the Nine Riders that are evil.”2
Contrasts between the Ringwraiths and the Fellowship are legion, but in their preparations, one particular distinction reveals the nature of the hands that send them: while Sauron insists on sending servants bound to him by rings of power, Elrond demands nothing of anyone but Frodo (to not cast away the ring or deliver it to an Enemy). To the fellowship, he says, “no oath or bond is laid upon you.”3
As they depart on their journey south, he demands no promise from the nine he sent.
This difference between Elrond and Sauron is illustrative of each lord’s perspective on oaths and—to a larger degree—of the way each lord interacts with and treats the people of Middle-earth.
Concerning Oaths
Oaths and promises are fascinating subjects that could fill volumes on their own. On a surface level, an oath is a set of words promising some conduct or restraint. Yet, the way we treat an oath transforms it from a set of words to a power. In our own world, this power is usually subtle, intangible, and typically confined to the effects on psyche, trust, or the occasional legal ramification. In large part, oaths have over us what power we give them. In Middle-earth, this intangible power becomes tangible. Tolkien writes of oaths not only as if they have power, but as if they behave.
Oaths are living things that bless those who honor them, and occasionally impose consequences on oathbreakers. Tolkien describes the Oath of Fëanor (an oath that drives much of the action and conflict of the First Age) as “ever at work,”4 and on other occasions he says it has “slept now for a time.”5
In The Lord of the Rings, we see the terrible result of going back on your word when the Men of Dunharrow break oaths to fight Sauron and Isildur curses them to “rest never until [their] oath is fulfilled.”6
Tolkien’s writing ascribes another unique trait to oaths: they bind people to each other. Tolkien’s Legendarium offers many examples of this: the Oath of Eorl bound Rohan and Gondor together, the Oath of Finrod bound him to aid the kin of Barahir (at the cost of his life), and the sons of Fëanor were “bound by the oath”7 they swore.
But the people of Middle-earth can be bound even without oaths. When Melkor darkened the two Trees of Valinor, the Valar determined that the light of the Silmarils could restore the trees if Fëanor allowed their use. Fëanor refused. The Silmarillion describes him as “fast bound” to the Silmarils. Long before his oath, the love of his crafts bound him.
It was this binding power that Sauron would seek to replicate. In the Second Age, he bent the power of oaths back on itself, twisting it into the shape of rings, “for his desire was to set a bond upon the Elves.”8
Bound by Oaths
In Season 1 of the Rings of Power, young Elrond describes his outlook on oaths. “To some, [oaths] may now hold little weight, but in my esteem, it is by such things our very souls are bound.”9
He sees oaths as Tolkien wrote of them, and he uses them to build a web of collective strength. Elrond gives oaths. He enters them freely as a show of loyalty to those he cares about. Some may argue he enters them too freely.
Yet, despite the impetuous manner in which he binds himself to others, he’s hesitant to let others make oaths to him. When the Fellowship departs, and he asks no oath or bond, he explains some of his reasoning (paraphrased to just dialogue):
Gimli: “Faithless is he that says farewell when the road darkens.” Elrond: “Maybe, but let him not vow to walk in the dark who has not seen the nightfall.” Gimli: “Yet sworn word may strengthen quaking heart.” Elrond: “Or break it.”10
He’s cautious to hold others to promises made without all facts. We see this again in the mines when he stops Durin from sharing his true name—an act that, while not an overt oath, would have bound the two together. And while he freely binds himself, he’s cautious with whom he makes such promises. Note that in Season 2, when Galadriel asks, he immediately refuses to swear any promise “whose asking is born of that ring.”11
But seconds later, he swears exactly what she wishes, only this time to her. He will not suffer himself to be bound to or by her ring, but holds no qualms for his friend. And despite his fears that she is bound to Sauron through that ring, he demands no similar oath from her lips.
At his core, Elrond believes oaths are about people. He cares much more about binding himself to others than binding them to him. He cares deeply about them. When he stumbled into Durin’s Mithril mine in Season 1, he wasn’t looking for mithril itself like Durin suspected. He was looking for his friend. He worried about Durin’s secrets and went there to maintain trust between them.
After swearing an oath to Durin, he’s given a nugget of mithril, which he immediately offers to return. His king sought that ore, but to Elrond, this was always about his friend. Incidentally, this outlook works to his favor. Durin never would have given him the mithril if it were why he came lurking.
Bound in Darkness
If Elrond is the give, Sauron is the take. Elrond builds strength, Sauron builds power. To the dark lord, the purpose of oaths is to ensure those beneath him remain subservient. We see this in the very terminology he uses. He almost always eschews the word “oaths” in favor of “binding.” He doesn’t want to forge webs like Elrond; he wants to forge chains.
Sauron is cautious about oaths he swears. When faced with no alternative, he tries to manipulate them in his favor. “I swear to serve the lord of Mordor”12 is the juicy example that springs to mind. He’s there to bind others to him, not the other way around. Oaths don’t show loyalty or closeness, they keep others in line.
In the finale of Season 1, he asks Galadriel to bind herself to him. What he wants from Galadriel is a promise—an oath—so he can make her a queen, fair as the sea and the sun, stronger than the foundations of the earth. But notice again his subtlety. He offers her effectively nothing. “You bind me to light, and I bind you to power.”13
In exchange for her legitimizing his “healing” of Middle-earth, he binds her to power. But in Sauron’s estimation, he is that power. He binds her to him, and in exchange, she validates his rule. But as Gandalf famously warned Saruman, “he does not share power.”14
He’s promised her only chains.
Since he cannot elicit true loyalty, Sauron must demand it. He can deceive and win hearts, but he cannot keep them. It is this inability to earn true loyalty that—in part—drives Sauron’s need for the rings. Elrond cares for people while Sauron seeks only what he can use from them.
Each ring of power is a literal manifestation of that search for utility. If the people of Middle-earth will not swear to him, he will find some other way to bind them to him.
Frodo observed that “the Shadow . . . can only mock, it cannot make: not real new things of its own.”15
Unable to make bonds and elicit oaths, Sauron mocks, imitating the power of an oath’s bond with his rings. That involuntary bond shreds trust, but he doesn’t need trust when he has control. Dominate some creatures, bind others, make empty promises, and—when your army is threatening enough—maybe some people will swear with less coercion and deception.
And so, nine walkers set out from Rivendell, each a hero, while nine riders set out from Mordor, each a thrall. Sauron told us his plan from a prison cell in Númenor: “identify what it is that [a person] most fears . . . [and] give them a means of mastering it so you can master them.”16
Elrond’s line of thinking would likely be more along the lines of “identify what it is that a person most fears, and swear to protect them from it.”
With that contrast laid out, it’s clear in which fellowship you’d find better company.
About the author:Narrative Epicure is an aspiring loremaster and practicing attorney longing to read or write things that aren’t legal. When he’s not buried in Tolkien’s Legendarium, he enjoys books, board games, and other activities with his Fellowship, which includes his wife and three daughters.
If you have a Tolkien/Middle-earth inspired poem you’d like to share, then send it to poetry@theonering.net. One poem per person may be submitted each month. Please make sure to proofread your work before sending it in. TheOneRing.net is not responsible for poems posting with spelling or grammatical errors.
Webcrawler is back this week to break down the events of Episode 5 of The Rings of Power. Read and enjoy. And, remember, you’re welcome to join our ongoing discussions on TheOneRing.net’s Discord Server.
~ Staffer Demosthenes
Recap: The Rings of Power Episode 5
by TORn Discord moderator Webcrawler
Season 2, Episode 5
Titled “Halls of Stone”, a direct reference to the second line of the Ring Verse.
“Three Rings for the Elven-kings under the sky, Seven for the Dwarf-lords in their halls of stone…”
The Lord of the Rings: The Fellowship of The Ring. Book 1, Chapter 2: The Shadow of the Past
There are four regional plots we follow in this episode:
Lindon
Two very short scenes; the first is High-King Gil-galad reading Lord Celebrimbor’s letter, sent from Eregion. In the letter, Celebrimbor congratulates the High King on the success of the Three Rings in restoring Lindon, and mentions that he has shut down the forge as requested. Invites Gil-galad to visit Eregion when he can. Gil-galad looks concerned and in deep thought; one his commanders ask about sending forces to attack Mordor.
Gil-galad sees visions due to the effect of Vilya, which seem to foreshadow the calamity of Eregion, including the dammed up riverbed. Elrond is seen running back towards Lindon, having left Galadriel to fend off the orcs alone. He arrives at Lindon and offers Nenya to Gil-galad, stating that Galadriel was correct and Eregion was about to be attacked by orcs. Gil-galad says he believes Sauron is the architect of this, and mentions the elves are not strong enough to fight Adar and Sauron.
Númenor
Four scenes; We see a city near the shore, covered in fog with a visible tower; it is Avallónë on Tol Eressëa. Pharazôn speaks to Kemen about it, speculating that the elves put it there on purpose to remind Men of the immortality they cannot have.
Pharazôn has a task for Kemen, which involves removing power from those who would still support Míriel’s claim to the throne of Númenor. Among those are Elendil, who willingly turns in his sword and captaincy, even after Eärien pleads with him to renounce his support of Míriel for mercy. The other Faithful Sea Guardsmen chant ‘Captain’, much to the chagrin of Kemen.
Míriel and Elendil talk in the Elven Tower on Númenor, with Míriel advising Elendil to stay calm and not start an uprising. She asks him what he saw in the palantír. He speaks of a vision of himself leaving Armenelos on horseback; Míriel believes that since his vision is different from the one she used to see, that Númenor’s fortunes have changed and the doom has passed.
Elendil, Valandil, and a group of the Faithful are doing a ceremony to mourn the lives lost on the expedition to the Southlands. It is interrupted by Kemen, who states the temple is to be condemned to make way for a new aqueduct. A conflict ensues, and Kemen and Valandil fight each other. Valandil wins and has a sword pointed at Kemen; Elendil tells him to stand down. Valandil complies and drops his sword and begins to walk away; however Kemen picks it up and stabs Valandil through the back, killing him; Kemen then has Elendil arrested, accusing him of starting the fight.
Khazad-dûm
The Seven rings of the Dwarves are sent to King Durin, who puts on the largest one, with a blue gemstone. Using it, he is able to see everything in the Mountains of Khazad-dûm, including where to dig to open up a light shaft.
Durin IV is doubtful of his father, but nonetheless tells Narvi, who clears out the area of other dwarves while King Durin digs at a foundation wall. King Durin successfully opens up a light shaft, and credits the use of the dwarven ring. Later, he invites emissaries from the other dwarven realms, telling them that if their lords in the other realms offer tribute of gold and jewels, he will give them a ring.
Disa has doubts about the new rings, as they allow the King to do what she used to with resonating. Disa goes down into a cave and tries resonating; but something deep in the caverns bellows out at her. Durin IV tries to tell his father about this, but the dwarven ring has altered King Durin’s behavior.
He chooses to continue forward with digging even deeper into Khazad-dûm for gold and mithril. He reinstates Durin IV as Prince Durin, and offers one of the seven dwarven rings to his son. Prince Durin later goes home to Disa, who asks him to promise her that he will not put on one of those rings.
Eregion
Celebrimbor, along with the Gwaith-i-Mírdain and a group of dwarves are toasting their success on a new project; the creation of the Doors of Durin, to replace the West-Gate to Khazad-dûm after it was damaged by the earthquake. Annatar walks away during the middle of the speech.
Celebrimbor goes to speak with him afterwards, and learns Annatar is still concerned for the well being of Men, and wants Celebrimbor to make Nine Rings. Celebrimbor refuses, stating that men are more easily corrupted by power, and he will not take that risk. Annatar says he will do it himself.
Later, as Annatar and the Gwaith-i-Mírdain are attempting to forge new rings, Mirdania, one of the smiths, puts on the ring and becomes invisible. She starts to throw objects around the forge, until Celebrimbor stops her by taking off her ring.
Mirdania states that she could see the Unseen world, and there is a fiery, evil looking creature among them. Celebrimbor asks about how they made the rings, and chastises them for using too much mithril in the mix. He attempts to explain what they should have done, but doubt begins to creep into his mind.
Prince Durin comes to visit Celebrimbor, and states his concern that the dwarven rings are flawed; they have made King Durin greedy, covetous, as he has increased tributes within the Kingdom and demands more from the other dwarven realms. Celebrimbor balks at this, until Prince Durin accuses the fault not to just be in the rings, but the ringmakers, implying Annatar may be the culprit for their flawed design.
Celebrimbor confronts Annatar with this information, but Annatar turns it around by claiming it was Celebrimbor who brought deceit into the process when he lied to the High-King in his letter. A guilt-ridden Celebrimbor fears telling Gil-galad the truth would result in him never being allowed to forge again. Annatar convinces him to push forward with making the Nine Rings. After giving another speech to his smiths, work begins, but Celebrimbor looks very troubled.
In the outskirts of Eregion, the orcs have created an encampment on a cliff, and are able to see Ost-in-Edhil in the distance. Galadriel is in a locked cage on a cart, which is rolled to the center of the camp. Glûg releases her, and Adar appears, stating to Galadriel that they should ally, as they have a common enemy.
Overall Thoughts on Episode 5, “Halls of Stone”
This was the shortest episode of the season, but it was packed with plotpoints, character development and some very surprising twists. In some ways it felt a bit rushed, particularly with Númenor, which only had about three scenes back in episode 3. Nonetheless, a lot was pushed forward this episode; Ar-Pharazôn is officially King of Númenor. He has an interesting discussion with Kemen about the Undying Lands, that evokes the following passage from the Akallabêth:
“For in those days the Númenóreans were far-sighted; yet even so it was only the keenest eyes among them that could see this vision, from the Meneltarma, maybe, or from some tall ship that lay off their western coast as far as it was lawful for them to go. For they did not dare to break the Ban of the Lords of the West. But the wise among them knew that this distant land was not indeed the Blessed Realm of Valinor, but was Avallónë, the haven of the Eldar upon Eressëa, easternmost of the Undying Lands.”
The Silmarillion, Akallabêth
We also see a quick image of Avallóne at the beginning of the scene, clouded with a fog as described in the text:
But no ship came ever again from the West to Númenor, and Avallónë was veiled in cloud.
The Silmarillion, Akallabêth
Meanwhile, Lloyd Owen as Elendil has a lot of excellent scenes this episode, and you can really start to see his character grow into the one we know from the lore; I have previously talked about Elendil’s journey in S2, and as predicted he has lost his captaincy, and is arrested by the end of the episode. There’s a great moment when Elendil is talking to Eärien and potentially foreshadows her demise in Númenor.
Another interesting point was the funeral memorial ceremony done by the Faithful, Elendil and Valandil. The text states that the Númenoreans were only worshippers of Eru, and that too only during three particular days of the year; and yet here we see them praying and utilizing what appears to be a statue of Nienna.
Mourning the dead does not seem like something they would normally do, but the text does state that even the Faithful felt unease about death. It’s an interesting bit of world-building that the show engages in, possibly highlighting the greater difference between The Faithful and the King’s Men.
“Nonetheless even they, who named themselves the Faithful, did not wholly escape from the affliction of their people, and they were troubled by the thought of death.”
The Silmarillion, Akallabêth
Charlie Vickers continues to put in a mesmerizing performance as Annatar; he’s cold, calculated, manipulative, and yet he feigns a mercurial streak with Celebrimbor. Sometimes he seems to be pleading for Celebrimbor’s help; other times he seems bored, tired of Celebrimbor’s refusal to help him make the Nine. He’s playing Celebrimbor like a fiddle and we all get to watch.
Charles Edwards, meanwhile, puts in a haunting performance near the end of the episode as doubt, fear and guilt begin to creep into his mind. Long gone is the more joyous, ambitious and optimistic Celebrimbor; the trials of making these rings, and the dangers they start to present seem to push Celebrimbor into a more desperate position to set things right.
It is clear that Annatar means to turn the Gwaith-i-Mírdain against Celebrimbor; we see it in his conversation with Mirdania, and his words of encouragement near the end of the episode; he is positioning himself as the one in control while Celebrimbor seems to be losing his.
In those days the smiths of Ost-in-Edhil surpassed all that they had contrived before; and they took thought, and they made Rings of Power. But Sauron guided their labours, and he was aware of all that they did; for his desire was to set a bond upon the Elves and to bring them under his vigilance.
The Silmarillion, Of The Rings of Power and The Third Age
I also finally understand the reason the showrunners made the Three Elven rings first. This episode makes it clear that in this adaptation, Celebrimbor is the one who knows the secret to making the rings, not Annatar; rather, Annatar has been slowly trying to pull the secret out of him, and with each iteration of the forging make more dangerous and corrupted rings.
In my opinion, this version elevates Celebrimbor’s status as a smith, truly second only to Fëanor among the Eruhini. Círdan’s assessment in the first episode of this season was correct; Celebrimbor had achieved perfection with the Three Rings. These new forgings of the Rings of Power are draining Celebrimbor, and with Annatar, introducing corruption into his works.
The dwarven plotline also features some excellent performances from Owain Arthur as Durin IV and Peter Mullan as King Durin. King Durin’s slow decline into obsession with gold and the ring is fascinating, bringing to mind both Gollum and Bilbo’s corruption via the One Ring.
There’s a particularly sad moment when King Durin tells his son that he was right to ally with the elves and procure these rings, a clear reversal of their season one opinions, and the look of sorrow and pain on Owain Arthur’s face highlights how far King Durin has fallen in the eyes of his son.
Of this Ring something may be said here. It was believed by the Dwarves of Durin’s Folk to be the first of the Seven that was forged; and they say that it was given to the King of Khazad-duˆm, Durin III, by the Elven-smiths themselves and not by Sauron, though doubtless his evil power was on it, since he had aided in the forging of all the Seven.
The Lord of the Rings: The Return of the King: Appendix A
Unfortunately, Narvi is given very little to do, except run around and reluctantly comply with the king’s orders. Kevin Eldon does as well as he can with the role, but it does feel diminished. There’s a small amusing moment where both Durin’s are asking him to do opposite tasks, and in frustration, Narvi just silently walks out on them.
Rating: I would give this episode an 8.5/10
It’s a very strong episode with a lot of great acting moments from everyone in the cast; still I wish some of these plot lines were spread out across two episodes and not condensed into one.
I am also a bit disappointed in the very condensed friendship of Narvi and Celebrimbor; one scene to establish a friendship between them, and them working on the Doors of Durin together feels more like an easter egg or fanservice that was put in to appease fans. Contrast that with the great friendship built between Elrond and Durin IV in the first season and I can’t help but feel like Narvi’s friendship with Celebrimbor was greatly diminished.
Númenor also felt rushed; Although there’s not much said about Pharazôn becoming King of Númenor in the text, it would have been nice to see more of the political intrigue after Númenor’s failed expedition to The Southlands.
The Annatar and Celebrimbor relationship continues to be the highlight of season two; using Mirdania as an analogue for how Annatar enamored the Gwaith-i-Mirdain to his side was an excellent bit of storytelling and highlights just how well Annatar was able to work his charm to get what he wanted.
About the author: Webcrawler is a full-time data analyst and a part-time Tolkien aficionado and moderator on TheOneRing.net’s Discord Server.When he’s not working or in the discord, Webcrawler is horsing around on Twitter
