Spring is springing in the Northern Hemisphere, and that means it is time for March Madness! We here at TheOneRing.net always like to join in the fun; and this year, we bring you Middle-earth March Madness 2025: The Art of Middle-earth.
As those who joined us for the livestream launch yesterday know, this year we’ve chosen 64 works of art – artists’ imaginings of the realms and characters created by The Professor. These are then divided into four ‘Regions’: Landscapes, Portraits, Story Moments, and Groups/Montages.
As you can imagine, it was very difficult to narrow the field to 64 artists and then to choose just ONE work from each artist! (But we certainly had fun, exploring and perusing and immersing ourselves in Middle-earth art!) Now we hand the difficult decision making over to YOU! As ever, our March Madness plays out in six rounds, with half the entries getting knocked out each round. So right now you have the challenging task of voting to reduce 64 wonderful art works down to just 32!
How will you choose? That is entirely up to you! But first, a word about OUR choices:
You will notice the absence of Tolkien himself in this ‘contest’. We decided it would be unfair to include The Professor’s own art work – for surely he would be the clear winner! So the pool is made up of artists INSPIRED by Middle-earth, not the creator of Middle-earth himself. We also have not included art from film. There is of course art inspired by film – you can see a clear influence of Peter Jackson’s movies on some of these works – but we have not included, for example, stills from the recent, beautiful anime movie The Lord of the Rings: The War of the Rohirrim, nor from Ralph Bakshi’s 1978 The Lord of the Rings (though you will find the poster from that film in one of the brackets!)
This year’s March Madness, more than ever, is very much ‘for fun’. We didn’t seed our choices this year; we felt it was impossible to create any kind of ‘rank’ for these stunning visuals. Likewise, your vote will be entirely about your own personal taste. There is no ‘best’ piece amongst these 64 – only the ones YOU like best. So, vote however you would like. Toss a coin, if it comes down to it! But DO take some time enjoying all of the art. Our hope is that fans will take pleasure in revisiting familiar works, and also that many people will be introduced to artists whose work they do not already know. We’ve made sure to include links where available, so perhaps you’ll head off down a rabbit hole to explore more pieces by a painter you’ve just discovered. Maybe you’ll even buy some works from that artist, for your own wall! (And that’s actually quite a good ‘yard stick’ for decision making – ‘Would I like to hang this on my living room wall?’)
In short, treat the voting brackets like an art gallery. Stay a while! (You have until midnight EST at the end of March 22nd to vote in Round One.) Gaze, reflect, ponder, enjoy. And then VOTE.
How does it work, you ask? Simple! Click on the button below. This will take you to the voting site, where you can view the entire bracket, and also view individual works in all their glory (and details of the artist). So let’s get voting!
You have until the end of the day Saturday March 22nd to vote in Round One; on Sunday 23rd voting will open for Round Two! Look out for more livestream discussions of the featured art, coming from our TORn Tuesday team, where we’ll also have some very special guests – and some giveaways! Keep an eye on our socials for all details. We hope you enjoy exploring this Art of Middle-earth; let the games begin!
The Lord of the Rings: A Musical Tale has opened in Australia – and staffer Eorl the Young was there for the premiere. Here’s his review of the experience:
As reported previously on TheOneRing.net, the phenomenal production of The Lord of the Rings — A Musical Tale, that had been playing in the USA and New Zealand in 2024, finally made its debut in Australia this month.
The State Theatre, Sydney
I had the privilege of attending the Sydney premiere, and it was an unforgettable experience.
Held at the iconic State Theatre, with its ornate ceilings, art deco charm, and grand ambience, the venue felt perfectly suited for a tale as epic and timeless as Tolkien’s.
From the moment I walked up the street to the venue, it was clear this wasn’t just another night at the theatre — the excitement in the air was palpable even outside the theatre where fans queued up several hours before the show began.
Many dressed as characters from Middle-earth and were in high spirits as they milled about the entrance; Boromir, several Elves (including two Arwens), a remarkably creative “sexy Shelob”, and an Eye of Sauron, all made an appearance.
The State TheatreElves on the Red CarpetThe Two ArwensEowyn & BilboSexy Shelob & The Eye of SauronArwen & Boromir
The evening started on an unexpectedly warm and interactive note.
Before the performance began, the cast embraced the audience, singing impromptu Hobbit-themed songs accompanied by various musical instruments, and playing Shire-themed games like ring toss (the hilarious symbolism dawns on me as I write this).
Hobbits discover a magical object before the show (a mobile phone with a selfie cam!)Arwen tries her hand at Ring-toss in the Shire
When the cast were all assembled on stage, they invited everyone to join in a spirited rendition of Happy Birthday to Bilbo. We thought it was part of the pre-show fun and games, but the Happy Birthday song that we were invited to sing was in fact the beginning (and a very innovative one at that) of the musical itself, with the ending segueing perfectly into the beginning of Act I.
This playful, Hobbity opening instantly set the mood, drawing the audience into Middle-earth with a sense of camaraderie.
THE CAST
Unsurprisingly, the performances were nothing short of extraordinary, as the musical starred some of Australia’s acclaimed musical theatre performers and actor-musicians, including Jemma Rix as Galadriel, Ian Stenlake as Saruman, Rob Mallett as Strider, and Rarmian Newton as Frodo Baggins.
Bilbo (Laurence Coy) was adorable, both on and off-stage, to the point you wanted to talk with him for hours on end, and invite him to breakfast, and second breakfast, like an old friend.
Bilbo (Laurence Coy) mingling with his Birthday Party guests while Hobbits dance the Springle-ring on stage
Gandalf (Terence Crawford) commanded the stage with a voice and presence that perfectly captured his wisdom and gravitas.
Frodo and Sam’s portrayal was heartfelt and deeply moving throughout, their friendship anchoring the emotional core of the production. They were the leads after all, and their casting was as close to perfect as one might hope to expect.
Merry and Pippin brought energy and humor throughout, providing much-needed levity in darker moments.
And Galadriel! Galadriel was a true standout. Jemma Rix’s voice was constantly powerful and haunting, her every performance resonating throughout the theatre. Her solos were an absolute highlight, commanding the room every single time with their sheer vocal power. It isn’t a stretch to presume she left the audience spellbound each time she ended with a rousing crescendo, as I noted that there was always a momentary stunned silence before the audience applauded her performance.
Aragorn and Arwen’s unexpected duets brought tender moments of longing and love (yes, they kissed!)
Boromir (Rohan Campbell)
Boromir’s character brought intensity and humanity to his arc.
Fans will appreciate his performance knowing the fate that befalls him. That scene was a high point of the production, deeply emotional and handled with care.
After the show, the actor (Rohan Campbell) mentioned how much it meant to him to do justice to Boromir’s redemption. You could tell.
Extra special mention must go to Smeagol / Gollum, who was an absolute marvel from his first appearance until his final moment of moments. His physicality, rasping voice, and duality were all executed to perfection – yes, perfection, and perhaps beyond perfection.
This a role that will undoubtedly invite comparisons to Andy Serkis’s Gollum for an entire generation of LOTR fans, and yet the actor (Laurence Boxhall) delivered something fresh while staying true to the essence of Gollum. Chilling, silly, hilarious, menacing, pitiful… I could go on.
MUSIC AND SONGS
The musical took a bold step by introducing original songs rather than adapting Tolkien’s verses. While this might disappoint purists, the new music more than justified its inclusion.
“Forever and Always”, a poignant duet between Frodo and Sam, was my favourite. It brought a particularly memorable tone to the entire show, blending heartfelt emotion with an absolutely surprising, bone-chilling interruption from Gollum that sent shivers down my spine several times (without exaggeration). The actor is absolutely amazing in this role. This song, and the three-way performance, was one of the biggest highlights of the show for me.
Overall, the music wasn’t just functional; it added layers to the story. Each song — whether it was an intimate love ballad between Man and Elf, a melancholic duet between Hobbit mates, a sweeping chorus of Elves, or a raucous Orcish battle-song — felt deliberate and evocative.
While I missed Tolkien’s lyrics at times, the original compositions stood firmly on their own, supported by stellar performances.
I would actually hope the producers are able to record one of the live performances and release in some form of media at least the music, if not the entire live production, so fans who don’t have the ability to experience this performance in person can also have the opportunity to hear these songs.
STAGECRAFT AND VISUALS
The production’s technical achievements were nothing short of spectacular.
Bilbo’s disappearance at his Eleventy-first Birthday Party was executed with dazzling effects — light, fire, and smoke combining to create a truly magical moment.
The Nazgûl’s entrance was one of the most chilling sequences, with the actors weaving through the aisles as eerie lights and sounds amplified their menace. Seeing them so close in the darkened theatre was a spine-tingling experience.
Other standout moments included the Balrog in Khazad-dûm, brought to life through a clever interplay of light and fabric that evoked its fearsome presence without overloading the stage.
And then there was Shelob! A massive spider puppet emerged from the darkness, literally taking up the entire stage, its movements so lifelike and creepy that the entire audience gasped audibly. It was a jaw-dropping moment of stagecraft that has to be seen to be believed.
The show also excelled at juxtaposition. The Battle of the Pelennor Fields was brilliantly interwoven with Frodo and Sam’s climb up Mount Doom, keeping the tension high across both storylines at the same time. Magical!
Even quieter moments, like Frodo slipping into the “shadow world” when wearing the Ring, were handled with inventive lighting, sound, and acting that heightened the drama and left the audience in silence enough to hear a pin drop.
ADAPTATION AND STORYTELLING
Adapting The Lord of the Rings for the stage is no easy task, and compressing such a vast narrative inevitably means sacrifices.
Some scenes leaned heavily on exposition, which felt a little overexplained at times; but these moments helped orient audience members less familiar with the story. On the whole, the streamlined approach worked, focusing on the most essential arcs without losing the heart of Tolkien’s tale. For example, Theoden was the only character from Rohan featured in the Helm’s Deep sequence — a choice that made sense, given the constraints of time and complexity.
What stood out most was the creativity in how the production handled certain moments.
Treebeard was represented through voice acting alone, with Merry and Pippin reacting to an unseen presence in a way that felt natural and compelling. Kudos to both actors for bringing believability and upholding what could have been one of the weaker points of the production.
Likewise, Bree’s doorkeeper was conveyed entirely through sound effects and timing. The actor’s timing, paired with perfectly synced sound effects of the creaking gate, brought the scene to life despite its simplicity. It was a small but memorable moment, with the actor fully committing to the role and adding a touch of humor and authenticity that stayed with me.
These small, clever touches added unexpected charm and ingenuity to the storytelling.
HIGHLIGHTS AND FINAL THOUGHTS
The emotional resonance of the musical was undeniable.
The Grey Havens finale left many in tears, myself included, echoing the bittersweet beauty of Tolkien’s original ending. So many performances and moments lingered with me long after the curtain fell.
The cast bows out after a stellar performance
One thing that did stand out to me though was how understandable the production was. I spoke to a couple of people who had never read the books or seen the movies, and they loved it as a standalone work. It drew them into the story enough that they came away wanting to know more about Tolkien’s world. That’s a testament to how well the production works, as an adaptation, as a piece of theatre, and as a tribute to Tolkien.
Of course, no adaptation can please everyone.
Purists may find things to criticise — whether it’s the absence of Tolkien’s original songs, or the inevitable omissions in the story. But I don’t believe the aim of this production is to recreate The Lord of the Rings exactly as it exists in the books. That would be an impossible task anyway. Instead, the musical offers a fresh, deeply creative interpretation that stands as a testament to the power of theatre and the enduring relevance of Tolkien’s work.
Inside the theatre, I spoke to some of the wonderful designers behind the show’s many costumes, and as I was leaving, I spoke with a lovely couple whose daughter happened to have worked as a dresser for the show. They all shared how hard the cast and crew had worked in the lead-up to the premiere, with 13+ hour days to perfect every minute detail. It’s a testament to their dedication that the result feels so polished, from the acting and music, to the stunning technical effects.
Crew (Costume Designers)Crew (Dresser)
I certainly plan to attend again before the musical completes its Sydney run. There’s so much to take in, and so many blink-and-you-miss-it moments, that it’s worth a second (or third) viewing.
For fans of Middle-earth — or anyone who loves epic, immersive theatre — this is an experience you won’t want to miss. Tickets are available – for Sydney, other locations in Australia, and for the UK and Singapore – here.
We’re thrilled to announce a new partnership between TheOneRing.net and the amazing folks at Signum Studios; and to let you know about an imminent project which you can support! Here’s our official press release:
FOR IMMEDIATE RELEASE
January 11, 2025
TheOneRing.net Partners with Signum Studios to Bring Deep-Dive Fan Content to Audiences Worldwide
For 25 years, TheOneRing.net has been a beacon for Tolkien fans — celebrating the Professor’s works with authenticity, community spirit, and a passion for well-researched stories. Today, we’re delighted to announce a new partnership with Signum Studios, known for producing in-depth, academically informed content that resonates with dedicated fandoms everywhere.
“We’re thrilled to join forces with Signum Studios,” says Chris Pirrotta, Co-Owner of TheOneRing.net. “Both of our teams share a commitment to creating thoughtful, inspiring projects that honor Tolkien’s vision and bring fans closer together. We can’t wait to see where this journey leads.”
Corey Olsen, President of Signum University (of which Signum Studios is the production branch), says, “Signum University has always admired the passion of the TORn community, and we are tremendously excited by what lies ahead!”
A Deep Dive Into Middle-earth: Rings & Realms: The War of the Rohirrim
A project that celebrates just this type of collaboration is a Kickstartercampaign for “Rings & Realms: The War of the Rohirrim.” This documentary-style production channels the beloved “appendices” spirit by exploring the anime feature film about Helm Hammerhand and the origins of Helm’s Deep. This documentary is helmed (pun intended!) by the creative minds at Signum Studios — including Dr. Corey Olsen (widely known as “The Tolkien Professor”) and Dr. Maggie Parke (Studio Director and adaptation specialist) — and will also feature TheOneRing.net’s own greendragon (Kirsten Cairns) as part of the team.
Dr Corey Olsen and Dr Maggie Parke of Signum Studios
• Thoughtful Exploration: The Rings & Realms crew merges scholarly insights with fan-oriented storytelling, aiming to offer a deeper understanding of Tolkien’s lore.
• Community Engagement: Backers gain behind-the-scenes access, Q&A sessions, and even set visits — keeping our vibrant fan community at the heart every step of the way.
• Authentic Fan Spirit: True to TORn’s legacy, this project will invite fans to explore Middle-earth in a welcoming, celebratory way.
By supporting Rings & Realms, you’ll help us continue our mission of bringing richly researched, entertaining Tolkien content to audiences around the globe. Whether you’re a long-time TORn community member or new to TheOneRing.net, we invite you to be part of this exciting new venture.
How You Can Support
Visit our Kickstarter page to learn more about Rings & Realms: The War of the Rohirrim, pledge your support, and explore the rewards we’ve lined up for you. But hurry! The Kickstarter campaign closes at 7pm ET on Monday 13th January. With your help, we can continue celebrating Tolkien’s world — together.
About TheOneRing.net
Since 1999, TheOneRing.net has been a welcoming home for Tolkien fans, uniting a global community that embraces the spirit of exploration, discussion, and fellowship inspired by J.R.R. Tolkien’s works.
About Signum Studios
Signum Studios specializes in fan-focused, academically grounded media productions. Their goal is to bring beloved fictional worlds to life through engaging storytelling and thorough research — offering a fresh perspective for fans everywhere.
If you’re in the UK, this is for you! On Friday November 29 at 14:00 GMT, you can be present for a conversation with Philippa.
Other Minds and Hands: A conversation with Philippa Boyens is free to attend and will take place at Merton College, University of Oxford. Phillipa will be interviewed by Grace Khuri and other other members of the Oxford Tolkien Network: Giuseppe Pezzini, Mark Atherton, Stuart Lee, Catherine McIlwaine.
One week on from the drawing to a close of Season 2 of The Lord of the Rings: The Rings of Power, here at TORn we are enjoying the opportunity to rewatch and reflect on all eight episodes as one story arc. Scenery, design, costumes, music – all are compelling. Perhaps the greatest asset of this show, however, is the extraordinary cast. Brought together by skilled casting directors, they are an enormously talented group who rarely put a foot wrong, delivering even the occasional clunky lines of the script with style and aplomb.
Hazeldine at San Diego Comic Con
Some members of this team are experienced theatrical actors, and their stage craft is evident in their creation of character. One such is Sam Hazeldine, who had the unenviable task of stepping into the role of Adar for Season 2. Joseph Mawle’s rendition of the character was, for many, one of the highlights of Season 1. When I met Hazeldine at San Diego Comic Con, I was curious to know if he felt daunted, taking on the mantle of an already popular performance. He told me that the strength of Mawle’s performance actually made it easier to take on the role; because he enjoyed and admired the choices Mawle had made, he found it easy to run with them, whilst also finding his own way into the mind of the ‘father’ of the orcs (or as Adar would prefer, Uruks).
Actor Sam Hazeldine – and seen as Adar
Weeks later, with the final episode of Season 2 airing, I had the opportunity to chat with Hazeldine again, and see how he felt now that his Adar was out there.
Here’s what he had to say:
greendragon: The last time we met was at San Diego Comic Con. We talked then briefly about stepping in and taking on the mantle of a role that had been played by another actor in Season 1, and you seemed very calm about it. I wonder how you’re feeling now that the season is out, and what reaction you’ve picked up on from viewers?
Sam Hazeldine: It seems to be positive!
GD: Did you have any trepidation at all?
SH: You know, somebody had to take over the role. I was lucky enough it was me! Even if it was a kind of beloved performance [from Joseph Mawle], the fact of the matter is it wasn’t going to be the same actor anymore anyway. So I guess it was just incumbent upon me to try and uphold and continue in the direction that the previous actor was going, and just to do my best. And yeah, I guess I did feel comfortable about that and, as I said before, it made it easier that I really liked Joseph, and the character that he – and the showrunners, obviously – had created. So it was a pleasure, really, that’s all. It’s nice that it seems to have been responded to well.
I think Adar has a new mission in Season 2, anyway; so it is a slight divergence from what went before in those terms. But [I was] trying to keep the conflict that I felt, with Joseph’s performance, was one of the greatest things about it; and understanding why that is. I think that more of that’s been revealed in Season 2 – or it’s been alluded to: what he’s been through, and why he feels this enormous burden of responsibility for his children.
Adar’s care for the Uruks
GD: I wonder – in your interpretation of the character, how ruthless do you think he is? It’s very interesting to me that he’s been, in some ways, a very sympathetic character; surprisingly so, because for most of Season 1, he was the knowable villain that we had, and yet he’s been very sympathetic. But as Season 2 has unfolded, we have seen more ruthlessness from him, and maybe some of the care seems to be falling away, particularly in the last two episodes of the show.
SH: I think it’s a case of … it’s not even cruel to be kind. I mean, he understands the existential threat that the resurgence of Sauron imposes to the Uruk. So it’s just what has to be done, really. You know, he says at any cost, at one point – which worries Glûg immensely. But I don’t think anybody understands; I don’t think anyone else was there, when Sauron was there before. I don’t think they really, truly understand how dangerous he is, and the threat that he poses to the Uruk. It’s Adar’s responsibility to know that, to do something about that, and to try to lead them to victory against Sauron. Even if half of the Uruk are killed, then at least the rest will be free at the end of it. Otherwise it’s curtains for everyone!
And I mean, Adar certainly knows that he himself is done for, but I don’t think he really cares about himself at this point. I think he is doing it just purely to save his children.
GD: There’s that great line where you say something like that you love them so much that you cannot allow them to become slaves.
SH: Sauron’s slaves, yeah, exactly. I believe he’s telling the truth.
GD: He does seem to be a character who tells the truth, which is a contrast [with Sauron].
SH: Yeah… There’s a little bit of cunning and deception, extracting information from Galadriel in episode six. And in the stuff with Charlie [Vickers] – with Halbrand in the jail cell early on [episode one]. Adar is aware that he could be Sauron, and he’s taken the beatings in that jail cell no human could take; but it’s like there’s nothing he can physically do. He needs to know for certain that he is Sauron – and he’s giving nothing away – so we let him go. It was a contentious point at the time; while we were filming it I wanted to understand. I was like well, why would I let him go?
There is a ‘one upman’ thing there, of who can outsmart the other; who’s the smartest? It’s a really bold – slightly foolish! it’s his undoing really – move of Adar’s; but he does try to outsmart Sauron, who is the great deceiver. You know, it’s never going to go well!
Adar leads the Uruks into battle
One of the first Elves?
GD: I wonder if that sense of maybe being able to outsmart Sauron is partly because Adar is one of the most ancient characters in the show. (Forget Tom Bombadil for a minute!) He is presumably one of the Elves from the first awakening of the Elves. How much did you fill in? (I thought we might actually get a name for him when I was watching episode eight!)
SH: I know! We made up a lot of names, some of them very silly – but I won’t go into them!
GD: How much of a backstory did you have in your own mind, about the centuries that this character has been alive?
SH: I thought about it a lot. I loved that there was a line of Joseph’s in his first scene, with Ismael [Cruz Córdova] where he says, ‘I went down that river once. The banks were covered in sage blossoms…’ It had this kind of beauty and nostalgia of a life past, and a life lost, and that sort of sense… I don’t think he [Mawle] necessarily did it with regret, but it felt like there was something of that in there, for me. From then on it made me think that Adar regrets his decision to volunteer [to serve Morgoth] in order to get more power and to have children. He was duped, obviously, but I think that he must have been a very unhappy elf, you know – dissatisfied. He wanted more; I think he must have felt that he wasn’t given the respect he wanted – or felt he should have had, perhaps. And that dissatisfaction led to him wanting more – which is a very relatable thing. All humans want more, really – and that’s where the problems begin!
So I think over these centuries, for thousands of years, he feels he is responsible, in his mind anyway – or in part responsible – for the creation of the uruk as a race who are cannon fodder. He’s created lives that are going to be miserable; and it’s his fault, as far as he is concerned. So his raison d’etre is to take care of these Uruk as best he can, knowing that he is responsible for them. I think that’s all he really cares about.
Morgoth’s crown returns at the end of Season 2
To be returned via Nenya [the ring of power worn by Galadriel], being healed by Nenya [in episode eight]; to have a glimpse, a really stark reminder of his life prior to that deal with Sauron and Morgoth… I think he’s finally got to a place he’s dreamed of millions of times since then – which is that he wishes he’d just been happy with what he had, and remained an Elf, and lived – possibly died – an Elf. But it’s too late now. It’s this incredible moment for him, and I think it stops him in his tracks. And that’s why he doesn’t go on and kill Sauron. He can’t do it; he can’t face him.
You know in Superman 2, when he loses his super powers? I felt like it was like that; it’s like his armour is gone and he’s starkly reminded of his fragility – and his “humanity”, in a way, as well. And so he needs Galadriel to take the mantle and to finish the job for him, because he can’t do it.
GD: It was a breathtaking moment to see him healed whilst wearing the ring; and it felt, to me at least, like an extremely noble gesture that he gave it back. That speaks something of his character. It’s interesting what you’re saying, that he perhaps couldn’t go on and so he had to give it back; but then it shows you something about an inherent depth to his persona, that he doesn’t say, ‘Aha, now I have this ring and it’s given me power!’
SH: And to take the rings from her as well – she’s got nine rings with her! I mean he succeeds, really, ultimately, in gaining the respect of the Elves. Galadriel is a very high Elf; and I think they feel like equals at that point. And that is something that he never had before, and that is the respect that he wanted. You know, it’s like the evil step-sister at the wedding – you’re the same as them, but you just feel like you’ve been cast out. And I think it’s as simple as that, that he finally has the respect of the Elves; or of Galadriel anyway. It’s a kind of homecoming for him, in a way.
GD: Unfortunately, though, he doesn’t have the love of some of his Uruks anymore by then.
SH: Because they don’t understand that he’s doing it all for them. And I think him being in Elven form is the last straw… First of all, he’s trying to make a deal with Elves, and they [the Uruks] don’t like that, and then he is an Elf again.
GD: It’s like ‘He was never really one of us.’
SH: Exactly. Can he be trusted with our fates anymore?
GD: And so you’ve just got your feet under the table, and now (presumably) we’re not going to see Adar anymore! That’s very sad, because he’s been a very popular character. He was created with a lot of regard, I think, for Tolkien’s writing, and cleverly combines various different origin stories that Tolkien had for the orcs: in some of the stories they were made, and in some of them they were corrupted Elves, so the showrunners have kind of combined the two. You’ve got ‘made’ orcs and a corrupted Elf. But it speaks a lot for both, first of all, Joseph Mawle’s performance, and then your performance, that this character has been so loved by the viewers in spite of not being a canon Tolkien character.
SH: Yes. I’m really glad of that. You know, Joseph is the one who started that. It’s a great character.
That kiss in episode 7…
GD: I have to ask you, before we come to the end of our time: there’s been a lot of reaction to the kiss between Galadriel and Elrond.
SH: You know, we talked about that a lot at the time, obviously.
GD: I was just going to ask you how Adar perceives it. He’s the one in the room at the time. From his angle, how does he perceive it?
SH: I was going to say “awks”! [laughs] Really bad pun, sorry! But anyway…
Robert Aramayo as Elrond
I saw a video – I think it was on Instagram – of Rob Aramayo talking about it, and I agreed with him completely. Nobody thinks about things more than Rob does. He is such a massive Tolkien fan and just such a clever and thoughtful guy. And yeah, as humans, we think, ‘Oh, romantic!’ – but it isn’t romantic. It’s a dear, dear friend; they’ve been through so much together – especially within the time of these two seasons. He’s not really sacrificing her, because he’s planning to save her – but there’s a chance [she might die]. But he gives her the thing so (hopefully) she can get away. Which she does! [feigns Adar-ish dismay] Yeah, that’s another story…
I think the kiss is transcendent. It’s a moment of pure beauty, as far as I’m concerned; of tenderness and real love. And it could be… when I say brotherly, sisterly, I’m not suggesting that brothers and sisters should be kissing each other on the mouth here in our world! If my sister reads this… [laughs] But this is different. This is Middle-earth and, you know, they have millennia between them and it’s a beautiful moment.
GD: Hearing you say that makes me think for Adar there’s some pathos there; because maybe that is the respect and love and camaraderie that he would have liked to have had with another Elf.
SH: Absolutely, yes. You’re absolutely right – that’s a really good point.
GD: Now I need to go back and watch it again from that perspective!
SH: I’ve actually watched episode 7 twice, because I loved it so much. Charlotte [Brändström, the director] did such an incredible job; and I love Bear’s music at the end. Bear is just great.
GD: Well, Sam, I’d love to say I’ll see you at the next press event; but unfortunately, perhaps not! – because I think your time in this version of Middle-earth has come to an end.
SH: I know, I know. It’s so sad.
GD: It has been such a pleasure to meet you and to hear a bit of your insight. Thank you for the seriousness with which I know you and all the cast approach your characters – with absolute seriousness. We really appreciate that as viewers, that there’s a professionalism and a depth of approach that is in no way dismissive of the work, or of fantasy as a genre.
SH: Yeah, not at all. It [fantasy] is everything! And thank you as well!
The complete The Lord of the Rings: The Rings of Power Season 2 is now available on Prime Video. Look for TORn’s interview with Trystan Gravelle (Pharazôn), coming soon!
Available for pre-order from our friends at Weta Workshop is this beautiful statue depicting Radagast the Brown in Rhosgobel. This piece is superbly done, as usual, and perfectly recreates the quirkiness of Radagast and his home. There’s also a very cool easter egg that represents the beautiful place in which the films were made, New Zealand. You can pre-order this amazing piece for $999.
If you have been collecting the classic series, then this second statue of Radagast is for you. This classic series piece is available for $399. Both Radagast statues are due to ship in the first quarter of next year.
For lovers of the monsters of Middle-earth, who need a little eight legged friend in their collection, you could grab the very cool mini-Shelob statue for $179, this statue is also due to ship in the first quarter of next year.
