Right now, nothing about our shiny, new Rings of Power trailer is exercising my mind more than Galadriel’s statement to Elrond “You’ve not seen what I’ve seen”.
Key teaser discussion image 1: Galadriel gazes on something.
So you wouldn’t think that Galadriel means something similar, like that one time at Aqualondë when Fëanor decided to requisition some boats (or, later, when he decided to use said boats for tinder on the beach at Losgar).
It’s also likely that Elrond was involved in the The War of Wrath and present at Thangorodrim for the defeat of Morgoth at the conclusion of the First Age. It’s implicit in his statement during the Council of Elrond when he speaks of the Last Alliance.
Elrond declares “I have seen my share” … with some justification.
“I remember well the splendour of their banners,” he said. “It recalled to me the glory of the Elder Days and the hosts of Beleriand, so many great princes and captains were assembled. And yet not so many, nor so fair, as when Thangorodrim was broken…”
The Council of Elrond, The Lord of the Rings
Arguably that’s the defining event of the First Age (even if it’s the most-sketchily recorded). A dragon falls on and destroys a mountain chain. Later, an entire sub-continent sinks as a result. It is, quite literally, a world-changing event.
Let’s say your preferred canon is that Galadriel remained in Doriath into the later stages of the First Age (one option CJRT outlines in Unfinished Tales), the sacking of Menegroth doesn’t remotely meet that benchmark. Even were you to place Galadriel at the Nirnaeth Arnoediad (I wouldn’t), or the Dagor Bragollach (a big stretch, but I do wonder if the showrunners might), it’s just not comparable.
So what’s left?
I broached this with fellow staffers, suggesting that only one thing in Galadriel’s history is truly incomparable: the destruction of the Two Trees by Morgoth and Ungoliant.
But, generally, we agree that the description of that event given in The Silmarillion is a poor match for the imagery from the scenes that Galadriel’s voice-over cuts across in the trailer. The Silmarillion describes that Laurelin and Telperion wither as Ungoliant drains them of life. They do not burn. The assault causes a vast, ever-expanding gloom and darkness, and it is entirely unexpected and unanticipated.
That’s very unlike what we see in the Rings of Power trailer scene. There’s a the red-hued background, flickering embers pass behind Galadriel, and there are bodies that seem to hang in space. Further, whatever Galadriel is looking on seems to centre on something that looks like a tower, or a fortress. Not trees.
Key teaser image 2: Galadriel seemingly gazes on this scene.
If it’s not something in Galadriel’s (distant) past, what is it then?
Perhaps it’s some Second Age event around or during timeline that The Rings of Power covers.
Here, fellow-staffer Garfeimao cleverly suggests that we should keep in mind that Galadriel has powers of foresight. This, after all, is how Sam is able to see a vision of The Shire getting, let us say, redeveloped.
“Many things I can command the Mirror to reveal,” she answered, “and to some I can show what they desire to see. But the Mirror will also show things unbidden, and those are often stranger and more profitable than things which we wish to behold. What you will see, if you leave the Mirror free to work, I cannot tell. For it shows things that were, and things that are, things that yet may be. But which it is that he sees, even the wisest cannot always tell. Do you wish to look?”
So … it’s probably not the destruction of the Two Trees.
I could see some pointing out that Elrond also has a mighty foresight. And that’s true.
For example, his concern for welfare of The Shire is not at all misplaced. But he also doesn’t intuit how critical Merry and Pippin would prove to the Quest to destroy the Ring. That’s not to say his foreknowledge is less, it’s more to showcase how imprecise such things can be in Tolkien. No-one ever sees the full picture — even the memories of the Valar of the Music are said to be fuzzy.
And a vision might explain the subtle differences between the two shots: Galadriel is not physically present at the second scene. Instead she’s perceiving it through the lens of vision — just as Frodo and Sam did in Lorien — from somewhere else that is distant in both place and time. Somewhere else that — in a sneaky bit of misdirection — just happens to have endured some sort of fire or assault.
Recall, also, that such visions and dreams in Tolkien can be the cause of great restlessness in the receiver. In The Silmarillion, Turgon and Finrod each receive a vision from Ulmo while resting by the banks of the Sirion.
“Unquiet was upon them ever after, and doubt of what should befall, and they wandered often alone in untrodden lands, seeking far and wide for places of hidden strength…”
Of the Return of the Noldor, The Silmarillion
This might be a key reason why Galadriel is unable to, as Elrond suggests, put down her sword.
Elrond calls on Galadriel to put up her sword but Galadriel is adamant.
A vision opens up possibilities of things that we, as an audience, might not see come to pass in the first season of The Rings of Power.
Staffer Josh suggests that it might just be a vision of The Downfall of Númenor: Akallabêth, and perhaps even the Temple in Armenelos as it sinks below the waves.
Now, that seems appropriately apocalyptic.
It would explain why all the figures look like they’re floating — they are. And it explains the odd ripples through that scene — it’s distortions caused by the surface of the water.
The mist cleared and he saw a sight which [Frodo] had never seen before but knew at once: the Sea. Darkness fell. The sea rose and raged in a great storm. Then he saw against the Sun, sinking blood-red into a wrack of clouds [my emphasis], the black outline of a tall ship with torn sails riding up out of the West.
The Mirror of Galadriel, The Lord of the Rings
There might be powerful reasons for Amazon Studios to tip people to this end-scenario early. The fact is that most viewers won’t know what a Númenor is, let alone that it was an island-continent that was sunk after an entire people went off their collective trolley, implemented a system of human (and, presumably elven) sacrifice, and decided to invade the “land of the gods” out of a misplaced belief that conquering it would confer immortality.
Sure, even the most casual watcher will understand Ring Bad(tm), but this is vastly more tangible and visceral.
This would be one way to drive home the wider audience what’s at stake and, conceptually, I like it a lot.
Unfortunately, neither The Lord of the Rings nor its Appendices mention the “mighty temple” that Sauron has built in Armenelos, nor the sacrifices of the Faithful that are conducted inside. Those details are only found in the Akallabêth story in The Silmarillion.
However, Appendix A and Appendix B do mention that the Faithful are persecuted, and that rebellion and “civil war” occurred in the final years of Númenor.
That may be enough for the purposes of a vision. That may also satisfy a quite accurate objection that Staffer Earl raises — that the scene does have the appearance of being the outcome of battle. In fact, the most prominent floating figure seems to be run through with a spear.
Perhaps it reflects that, in those final, doomed years, “men took weapons … and slew one another for little cause; for they were become quick to anger.” Chaos and violence as the apocalypse literally occurs should not, I think, be unexpected.
But let’s say that’s incorrect and we’re not looking upon a scene of Akallabêth.
Is there something else it might be?
Here, I’m indebted to one of our Discord chatters DrNosy who informed me that the fan hivemind suspects that the trailer aerial of a city at the confluence of two rivers is Ost-in-Edhil, the chief city of Eregion.
This seems to be Ost-in-Edhil, the chief city of Eregion and the place of the forging of (most of) the Rings of Power.
“…the Elves of this land were of a race strange to us of the silvan folk, and the trees and the grass do not now remember them: Only I hear the stones lament them: ‘Deep they delved us, high they builded us, fair they wrought us, but they are gone.'”
The Ring Goes South, The Lord of the Rings
While not as apocalyptic as the end of Númenor, it is still the end of Eregion. More, it’s the civilisational high mark of the Noldor. Although Elrond establishes subsequently a refuge in Rivendell, never again would they attempt anything on a similar scale.
A vision of the dreams of the Noldor going up in flames might just suffice.
About the author: Staffer Demosthenes has been involved with TheOneRing.net since 2001, serving first as an Associate News Editor, then as Chief News Editor during the making of the Hobbit films. Now he focuses on features and analysis.The opinions in this article are his own and do not necessarily represent those of TheOneRing.net and other staff.
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The newly released teaser trailer for Prime Video’s The Lord of the Rings: The Rings of Power dropped on July 14 and sent ripples of excitement throughout Tolkien fandom, including through the ranks of TORn staff. Here below is a presentation of spur of the moment reactions; there will be another post soon that delves deep into some of the lore being presented in this teaser trailer.
But first, if this two and a half minutes is a ‘Teaser Trailer’ in Amazon’s estimation, we can’t wait to see what they consider a full Trailer! Check out our post from Thursday morning about the teaser trailer; and not to be lost in all the flash and bang from the teaser trailer, take a moment to read the official Amazon Press Release at the bottom of the post, and note that when the show debuts on September 2, it will be an 8-part series. It’s still not clear if the episodes will drop all at once or one episode a week. Hopefully we’ll find out that answer during Amazon’s panel at San Diego Comic-con next week, so keep an eye out for our reports from the panel and exhibit hall floor throughout the week.
It seems like Middle-earth March Madness 2022, A Battle of the Ages has only just begun, and already we’re down to the Sweet Sixteen round! To make it to Round Three, the events in our four brackets have had to win two duels thus far.
12,000 folks voted in Round Two; we’ll take a look at how those match ups played out, below.
Round Three Sweet Sixteen voting is open now until the end of the day Tuesday 29 March. Below is the updated bracket, and the buttons for voting.
Instructions: Click on one of the orange division buttons above. Then click the ‘Vote Now’ option that appears above the divisional bracket. This year you get to vote in each divisional match-up in one convenient and visual interface. Note – you need to click each division to vote in their respective brackets. So let’s get voting!
At the outset of the Second Age all of the peoples of Middle-earth had to start over, after their kingdoms and homes were lost in the destruction of Beleriand. Entire rivers, coastlines and regions were gone forever. Moreover, most of the great leaders of Elves and Men perished or left Middle-earth during the First Age. Fingolfin, Fingon, Beren, Lúthien, Húrin and Eärendil were all gone. The ‘baddies’ also lost many of their greats, including Morgoth, Gothmog, and most of the Balrogs and dragons.
Those filling the void of leaders and heroes in the Second Age included Elrond and his brother Elros, Celebrimbor the Elven smith, Gil-Galad, now High King of the Noldor, and Númenorean faithful, Elendil. On the side of evil, any remaining Balrogs and dragons had gone into hiding, so that particular void was primarily filled by Sauron and his legions of orcs and corrupted men. Sauron’s forging of the One Ring in the Second Age and his powers of persuasion also managed to blur the lines of good and evil that were so easily delineated during the First Age. The One Ring’s power over lesser rings to turn once good and noble men to evil, and Sauron’s powers of persuasion, corrupted Elves, men and Kings of men.
Suffice it to say that the events of the Second Age are no less dramatic and compelling than those of the First Age. So, with that let’s delve into 16 of the most important events of the Second Age of Middle-earth, shall we?
Elros & the Edain reach Númenor (SA 32): Given the choice of the halfelven by the Valar, Elros chose to be counted among the race of Men. As such, he led the Edain (Men) to the island of Elenna, a gift of the Valar for the help the Edain provided to defeat Morgoth in the First Age. The Valar wanted to provide a special place for the Edain separate from Middle-earth and closer to Valinor, though the Edain were strictly prohibited from going far enough west that they lose sight of Elenna. The name of the realm Elros founded, which became synonymous with the name of the island, was Númenor. As king, Elros took the Quenya name of Tar-Minuyatur setting a tradition for all the kings of Númenor to follow.
Migration of dwarves to Moria & Khazad-dûm (c. SA 40): Moria’s origins began prior to the First Age when Durin awoke. Looking into the lake of Kheled-zâram, he saw a crown of stars reflected in its waters and took it as a sign to stay. In the caves above the lake, Durin and his folk delved from the east side of the Misty Mountains eventually reaching the west side, and Moria became one of the greatest strongholds of the Dwarves. Unique among its natural resources was the rare metal Mithril. After the destruction of Beleriand at the end of the First Age, many Dwarves migrated to Moria, making it possible to mine more Mithril, and making the caverns even greater and more beautiful.
Moria
Sauron builds Barad-dûr in Mordor (c. SA 1000): Sauron, originally a Maia of Valinor, was among the servants of Morgoth who escaped the wrath of the Valar and the destruction of Beleriand. Thinking that the Valar had once again forgotten Middle-earth, he began ensnaring Men and orcs alike to his service. Alarmed by the growing power of the Númenorean visitors to Middle-earth, he decided to hedge his bets and construct his own fortress. To that end, he constructed the fortress of Barad-dûr near Mount Doom in the land of Mordor. To complete it, Sauron eventually used the power of the One Ring, making it impregnable as long as the One Ring existed.
Celebrimbor crafts the Rings of Power (c. SA 1500): Celebrimbor, a grandson of Fëanor, founded the realm of Eregion on the west side of the Misty Mountains around SA 750. Its proximity to Moria was no accident, as the Elves were drawn by the availability of Mithril, and they traded freely with the Dwarves of Moria. Around SA 1200, Sauron began visiting Eregion in fair form under the name of Annatar, ‘Lord of Gifts.’ Imparting some of his knowledge of magic, he assisted Celebrimbor’s smiths in creating a number of rings of power.
The Three Elven Rings are completed (c. SA 1590): After Sauron/Annatar left, Celebrimbor created the three great Elven rings of power: Vilya and Narya (made of gold), and Nenya (made of Mithril). As they were forged without the knowledge of Sauron, they weren’t subject to his will.
Sauron forges the One Ring (c. SA 1600): During his time with the Elven smiths and Celebrimbor, Sauron took as much knowledge as he gave regarding the forging of rings of power. Having left Eregion, he returned to Mordor and forged the One Ring in the fires of Mount Doom, putting a large amount of his own power into the Ring. Celebrimbor immediately realized he had been betrayed, and a war between Sauron and the Elves ensued, leaving Eregion destroyed. Celebrimbor was captured by Sauron. Under torture and before he died, he revealed the location of all the rings of power except the three Elven rings. Sauron eventually used the power of the One Ring to dominate and control the owners of all the lesser Rings of Power, save the Three which were hidden from him.
Elrond builds the refuge of Imladris/Rivendell (SA 1697): After the fall of Eregion, Elrond founded the refuge of Rivendell, or Imladris, near the western slopes of the Misty Mountains. Rivendell became a shelter for the Elves fleeing the destruction of Eregion by Sauron’s forces, and would also become a safe haven for many a traveler throughout both the Second and Third Ages. Elrond had received the Elven Ring, Vilya, from Gil-Galad, and it was partially through its power that he was able to protect Rivendell throughout the Second and Third Ages. At the end of the Second Age, Rivendell served as a gathering point for the forces of the Last Alliance of Elves and Men, prior to crossing the Misty Mountains to eventually confront Sauron.
The Ringwraiths arise (SA 2251): After sacking Eregion, Sauron gave nine rings of power to mortal men. As with many of the rings of power, the life of the ringbearers was prolonged and they enjoyed great power while it lasted, but being mortal men they eventually turned into shadows of their former selves, or wraiths. The recipients of the nine rings are referred to in Tolkien’s writings as nine kings of men. However, only one of the Ringwraiths was ever named. Khamûl was a king of the Easterlings during the Second Age, and one of the wraiths to enter the Shire in search of the bearer of the One Ring in the Third Age. The Witch-king was the greatest of the Nine, but Tolkien never revealed his origins or his name. Nevertheless, the Ringwraiths, or Nazgul, were Sauron’s most terrible servants, and turned the tide of many future battles to Sauron’s benefit.
Ringwraiths
Sauron is “defeated” & brought to Númenor (SA 3262): After destroying Eregion, Sauron and his forces continued westward with the goal of dominating all of Middle-earth. At the request of the Elves, the Númenoreans came to their aid, eventually driving Sauron and his forces back. When Sauron realized he was losing, he allowed himself to be taken as a prisoner to Númenor by King Ar-Pharazôn. Using his considerable powers of persuasion, he converted many Númenoreans to the worship of darkness, and convinced Ar-Pharazôn that the Valar were selfish to retain immortality only for themselves. At Sauron’s urging, Ar-Pharazôn eventually decided to openly attack Valinor, convinced that in doing so he would become immortal.
Ar-Pharazôn builds the Great Armada & assails Valinor (SA 3319): Ar-Pharazôn the Golden was the twenty-fifth and last King of Númenor. In a bid to wrest the gift of immortality from the Valar, Ar-Pharazôn gathered a mighty armada with which to sail to Valinor and assail the Valar. The fleet eventually sailed far enough that they could no longer see Númenor on the horizon, which was strictly forbidden. When the fleet passed the island of Tol Eressëa and anchored near the coast of Valinor, the Valar called upon Eru for aid. Eru then changed the shape of the world, making it round so that Men could never again sail to Valinor.
Destruction of Númenor (SA 3319): In the turmoil caused by Eru changing the shape of the world, Ar-Pharazôn’s fleet was pulled into the chasm that opened between the Blessed Realm and mortal lands, and Númenor sank beneath the Sea. All of its inhabitants were killed. However, Elendil, his sons Isildur and Anárion, and others who had not been swayed by Sauron, realized that Ar-Pharazôn’s assault on Valinor could be disastrous. Just before the island was destroyed, they set sail for Middle-earth in nine ships. Reaching Middle-earth, they founded the kingdoms of Arnor in the north and Gondor in the south. Sauron’s body was destroyed, but he was still in possession of the One Ring – and his spirit also escaped to Middle-earth.
Destruction of Númenor
Arnor & Gondor are formed; the White Tree is replanted (SA 3320): Nimloth, the White Tree of Númenor (and a descendant of Telperion), had been destroyed by Sauron. However, Isildur had planted a seedling in secret, and carried the sapling to Middle-earth during his escape from the destruction of Númenor. It was planted in Minas Ithil. When Sauron took Minas Ithil (which became known as Minas Morgul), he again burned the white tree. However, Isildur once again rescued a sapling, and early in the Third Age, planted it in Minas Anor (later, Minas Tirith).
Isengard & Orthanc are built by Númenorian exiles (SA 3320): The Ring of Isengard and the tower of Orthanc were built by the Dúnedain, Númenor exiles. The fortress and tower provided protection for the northwesternmost region of the kingdom of Gondor. Its imposing tower and encircling, rocky walls were almost impregnable, having only one entrance to gain access. During his escape from Númenor, Elendil brought with him the palantíri, the seven seeing stones, and one was placed in Orthanc. It was used to communicate with other stones in various places around the kingdoms of Arnor and Gondor.
The Last Alliance of Elves & Men is formed (SA 3430): With the One Ring and the Ringwraiths at his disposal, Sauron’s strength grew to be almost insurmountable by the end of the Second Age. It became apparent to the leaders of the free people that only through their combined strength could they hope to stop the Dark Lord. To that end, an alliance was formed between Elendil and Gil-galad. After gathering and making plans in Rivendell, the armies made their way to the plains of Dagorlad outside of Mordor. Forcing their way into Mordor, they besieged Barad-dûr for seven years. Elendil’s son, Anárion, perished during the siege.
The Last Alliance of Elves and Men
Sauron overthrown by Elendil & Gil-galad, who both perish (SA 3441): In a desperate attempt to end the siege of the Last Alliance, Sauron sent out his host once more to confront the forces of the enemy. To bolster his forces and intimidate the enemy, Sauron himself left Barad-dûr to engage in direct combat. After a long battle, Sauron was felled by Gil-galad and Elendil, who both perished in the attempt.
Isildur cuts the One Ring from Sauron’s finger (SA 3441): As Elendil died, he fell on his sword, Narsil, which broke under him. Immediately thereafter, to help ensure Sauron’s power was truly ended, Isildur took the hilt shard of his father’s sword and cut the One Ring from Sauron’s finger. Without the power of the One Ring, Sauron’s spirit dissipated and disappeared from Middle-earth until later in the Third Age. Elrond and Círdan, lieutenant of Gil-galad, urged Isildur to destroy the Ring once and for all. Instead, Isildur claimed it for himself as wergild for the deaths of his father and brother. Thus, both the One Ring and Sauron survived to wreak havoc once again in the Third Age.
Isildur takes the One Ring
P.S. a word about Galadriel!
Given the important role she played in the events of the Third Age, the absence of Galadriel as a player in the important events of the history of Arda is noticeable. It’s not that we’re ignoring her, it’s just that Tolkien didn’t write her into many, if any really, of the large events, such as the founding of kingdoms and the great battles. From sources like The Silmarillion and Unfinished Tales, we know that she was born in Valinor, made her way to Middle-earth by crossing the Ice of the ice of the Helcaraxë, and spent much of the First Age living in Doriath with Thingol and Melian.
At the beginning of the Second Age, she and her husband Celeborn led many of the Noldor who lived in Eriador, eventually settling in Eregion, ruled by Celebrimbor. When Annatar/Sauron came among the Elves of Eregion, it was Galadriel who was mistrustful of him. She counseled Celebrimbor to keep the Three Elven Rings safely hidden from Sauron, which he did, sending Vilya to Gil-galad, Narya to Cirdan the Shipwright, and giving Nenya to her. After living in various places throughout the rest of the Second Age, she and Celeborn finally settled in Lórien.
So, Galadriel was always in the picture, just not as closely involved in the ‘greatest’ events as others were. Her time to shine would, of course, come in the Third Age and the War of the Ring.
Refresh your memory on Pre-First and First Age events in our previous posts! Ready to VOTE? Click here! You have until end of day Thursday 24th March to vote in Round One; winners will be declared and Round Two launched on Friday 25th. Which event is THE crucial one in the history of Middle-earth? You decide!
There’s a particular letter in The Letters of J.R.R. Tolkien where Tolkien writes about his experience of dealing with a proposal from Forrest J. Ackerman to make an animated film of The Lord of the Rings.
Within that letter, there’s one revealing sentence.
Stanley U. &: I have agreed on our policy : Art or Cash. Either very profitable terms indeed ; or absolute author’s veto on objectionable[my emphasis] features or alterations.
Letter #202, The Letters of J.R.R. Tolkien.
The deal never happened, though Tolkien did subsequently sell film rights in 1969 to United Artists under the looming pressure of inheritance taxes.
These days, I suspect there’s no such pressure. More, the “Middle-earth universe” is seen as a proven starter for the world’s media companies. I think that has given Tolkien Estate leverage: the power to demand not just Cash, but Art as well.
In the context of the recent Vanity Fair feature, this explains not just the starting price for the Tolkien Estate’s rights auction a “gobsmacking” $200 million, but the documented demand for input into the direction of the series. In an early, seemingly unauthorised, interview, Tom Shippey described this “input” as a “veto power”.
It also says something about the power of Middle-earth that even with that eye-watering starting price and the attachment of certain pre-conditions, Netflix, HBO and Amazon all put their hand up and bid.
Still, even if Tolkien Estate was willing to put its foot down to get that capital-A Art, it was always going to take an equally ambitious (and well-resourced) studio to come through with the goods.
Despite Vanity Fair’s assurances (it’s pretty stunning that they’ve seen the first three episodes already), it’s too early for us ordinary punters to declare The Rings of Power a sure bet — in either the commercial sense, or the Art sense.
However, Vanity Fair’s first look under the bonnet shows there’s no lack of promise: the images are intriguing and suggestive, sets and costumes look suitably spectacular, and the production staff are making the right sort of noises about respecting the integrity of the source material.
But a show with the resources of The Rings of Power should (by default) have stunning production values and a real, lived-in feel. That’s just a given.
And it’s politic for showrunners to make the right noises (I would, too). The question is, can we identify instances of real substance to back those noises? Has the objectionable — as Tolkien might have seen it — been excised?
An Atlantis-like Númenor, the full glory of Khazad-dûm —- that vast dwarven metropolis carved out of the bones of the Misty Mountains, the puissance of the elven smith Celebrimbor, whose skills with metals and magic are crucial to the forging of the rings are all lore-friendly inclusions.
They’re also easy wins.
In a way, so too is the centrality of Galadriel.
Galadriel is a key player in the Second Age (fighting the long defeat, as she expresses in The Lord of the Rings). After the publication of that book, Tolkien increasingly came to view her as one of the most remarkable elves to play a role in Middle-earth’s history, and his later essays and notes paint her as an increasingly exceptional individual. She’s also incredibly peripatetic throughout the Second Age — wandering from Lindon, into Eriador and eventually south to Eregion, under the Misty Mountains to Lórien, back across to Imladris (Rivendell) and finally the south coasts of what would later become Gondor.
During all that, she’s a key participant in events. She joins Gil-galad to reject the approaches of Annatar, alternately collaborating and at loggerheads with Celebrimbor (and later advising him to hide Nenya, Vilya and Narya), before strengthening then-Lórinand (later Lórien). Unfinished Tales states that she views the dwarves of Khazad-dûm “with the eye of a commander”.
That bespeaks a driven individual — and this is something that the teasers from Vanity Fair support. I want to see lots of ambition from Galadriel — someone with just as much inner-belief and determination to make things happen as Fëanor, but with (even at the start of the Second Age) a touch more wisdom. I think you should too.
As showrunner McKay Patrick tells Vanity Fair: “This young hot-headed Galadriel… how did she ever become that elder stateswoman [who we meet in Lórien in The Lord of the Rings]?” The awareness of that difference is present; if the show is able to intelligently show this change, it will have taken a large step toward something that accords with J.R.R. Tolkien’s own musings.
Reassuring also is the gradual emergence of the Second Age threat — one that’s recognised by some, but not by others. After all, up until the forging of the One, Sauron (as Annatar) uses the velvet glove, not the iron fist. Very late writings recently published in The Nature of Middle-earth even suggest that his minions mocked him behind his back for this.
Again, direct statements from the McKay seem to back this: “We didn’t want to do a villain-centric thing. We wanted it [the first season] to be about introducing these worlds and the peoples who dwell in them and the major heroes and characters.”
And what is potentially one of the most contentious decisions — to include Hobbits as “Harfoots” — accords somewhat with both Gandalf’s description of Gollum’s folk (yes, I know those are, more correctly, Stoors): “a clever-handed and quiet-footed little people.”
And a note in the prologue chapter of The Lord of the Rings, “Concerning Hobbits” details that “even in ancient days [Hobbits] were, as a rule, shy of ‘the Big Folk’, as they call us, and now they avoid us with dismay and are becoming hard to find … [and] they possessed from the first the art of disappearing swiftly and silently, when large folk whom they do not wish to meet come blundering by…”
Is this one decision Tolkien Estate has weighed in on? Regardless, much will hinge on the execution of the concept.
Set against the above is the compression of the timeline that the showrunners discuss. First, kudos to the production staff for being clear on this. In fact, it recalls Peter Jackson’s bald statements that his films would include no Scouring of the Shire — a very real cause of fan angst at the time. (I still think that writing decision undersold some of the character development of the four key hobbits, but, weighing in at 201 minutes, PJ’s The Return of the King is already very long.)
I get the fact that it’s probably really difficult for any television series to traverse a 2,500-year history in a way that is not choppy and disjointed, and remains compelling viewing. Being able to see characters such as, say, Isildur and Ar-Pharazôn across a span of 5 seasons allows a great deal more screentime (and thus development and insight) than would be possible in a couple of seasons. A strictly linear structure would introduce them only at near the very conclusion of the entire series.
Still, I would have liked (as many speculated before the Vanity Fair article came out) to have seen Amazon be really daring and attempt to run two split, simultaneous timelines — one leading up to the forging of the One (and Sauron’s defeat by the elves and Númenor’s fleet), and another focused on Akallabêth and, perhaps, the War of the Last Alliance (also culminating in Sauron’s defeat, this time by the elves and the Dúnedain of Arnor and Gondor).
Doubtless, it would be demanding on the audience. But if it worked, it would have been amazing.
It’s worth noting, though, that J.R.R. Tolkien in his appraisal of the Morton Grady Zimmerrnan’s 1958 script made specific reference to his displeasure with time contraction of events.
There he states that:
I fail to see why the time-scheme should be deliberately contracted. It is already rather packed in the original, the main action occurring between Sept. 22 and March 25 of the following year. The many impossibilities and absurdities which further hurrying produces might, I suppose, be unobserved by an uncritical viewer; but I do not see why they should be unnecessarily introduced.
Letter #210, The Letters of J.R.R. Tolkien
Does that make this particular contraction objectionable?
In Letter #210, Tolkien points out that he doesn’t want to see “his work treated as it would seem carelessly in general, in places recklessly, and with no evident signs of any appreciation of what it is all about.” He does not want the tone lowered “towards that of a more childish fairy-tale.” Lastly, he does not wish for deliberate alteration of the story, in fact and significance, without any practical or artistic object [my emphasis].”
At least, those are my key takeaways.
Now, one observes that if the time scheme of The Lord of the Rings is packed, the precis account of the Second Age in The Tale of Years is most certainly not.
Tolkien also notes in Letter #210 that he closely observed the passing of seasons in The Lord of the Rings. He suggests that such pictorial representations could be used to non-explicitly indicate the passage of time. Similar effects might be employed for The Rings of Power series. Maybe not the thousands we are familiar with from “The Tale of Years”, but certainly dozens — or even the 100 to 200 that might encompass the lifespan of a Dúnedain of Númenor, or a dwarf of Durin’s line.
How much time is being contracted? Vanity Fair is not precise: the writers say that events are compressed “into a single point in time.” That might mean a span of a generation.
Here is where it would have been fascinating to be a fly on the wall in the discussions between Amazon Studios and Tolkien Estate.
Finally, keep in mind J.R.R. Tolkien’s letter to Milton Waldman outlining his artistic vision:
I would draw some of the great tales in fullness, and leave many only placed in the scheme, and sketched. The cycles should be linked to a majestic whole, and yet leave scope for other minds and hands, wielding paint and music and drama. Absurd.
Letter #131. The Letters of J.R.R. Tolkien
Absurd. Yet, here we are.
With this in mind, I think there are promising signs that Tolkien Estate (and indeed, Amazon Studios) is seeking Art, not just Cash. Early shoots with the promise of beautiful spring, you might say.
But there’s still an awfully long way to go.
As Galadriel says in The Lord of the Rings: “hope remains while all the Company is true.” We’ll see in September how true this particular company has been.
About the author: Staffer Demosthenes has been involved with TheOneRing.net since 2001, serving first as an Associate News Editor, then as Chief News Editor during the making of the Hobbit films. Now he focuses on features and analysis.The opinions in this article are his own and do not necessarily represent those of TheOnering.net and other staff.
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I’ve read a lot of responses to, and hot takes on, The Rings of Power in the last 24 hours (you can check some of them out here if you’ve missed our roundup). But, without a doubt, this is the most insightful and useful one so far.
In it, Vanity Fair writer Joanna Robinson puts 10 key questions about Amazon’s Rings of Power production to showrunners J.D. Payne and Patrick McKay, and adds her own lore-based thoughts on their answers.
It’s just a terrific read, chock-full of amazing details.
An excerpt:
In studying the language from the first three episodes Amazon let Vanity Fair screen, we found a mix of cleverly repurposed lines of Tolkien’s dialogue as well as a few snatches of Biblical text. “Both Patrick and I have religious backgrounds,” Payne says. “I spent a lot of time just reading those sacred texts. I was an English major at Yale and loved Shakespeare at the time and still go back and reread the various plays. I’ve also spent a lot of time studying Hebrew poetry and parallelism and inverted parallelism and chiasmus and all these cool rhetorical strategies that poets and prophets from thousands of years ago would use to communicate sacred material. And Tolkien, sometimes, will play in that kind of a sandbox.”
McKay explains that they tailored the dialogue to fit each kind of character. The harfoots speak with an Irish lilt whereas the elves speak in elevated British phrases. “We even came up with hero meters for each different race in Tolkien,” Payne says. “Some of them will speak in iambs. Some of them will speak in dactyls. Some of them will speak in trochees.” That in-depth approach might please Professor Tolkien, whose specialty was philology, a.k.a. the history of language.
One of the best revelations is clear, direct confirmation on the rights situation simply because it immediately clears away so much fan debate:
So what did Amazon buy? “We have the rights solely to The Fellowship of the Ring, The Two Towers, The Return of the King, the appendices, and The Hobbit,” Payne says. “And that is it. We do not have the rights to The Silmarillion, Unfinished Tales, The History of Middle-earth, or any of those other books.”
So if you’ve been wondering (as I have), everything in the trees image must be explained by LOTR and The Hobbit alone. And if you can’t find it in those books, don’t expect to see it in The Rings of Power.
BOOTNOTE: Writer Joanna Robinson will be joining TORn Tuesday tomorrow from 5pm PT, 8pm ET to discuss her Rings of Power experience with Staffers Quickbeam and Justin. Join us then, and be sure to bring your own burning questions!
Galadriel, commander of the Northern Armies. Matt Grace/Amazon Studios.
