SPOILERS FOR THE WHEEL OF TIME BOOK FOUR: THE SHADOW RISING, AND POTENTIAL SPOILERS FOR THE WHEEL OF TIME SEASON THREE, AHEAD!
Amazon’s The Wheel Of Time would need a much larger budget to visit every single location from Robert Jordan’s fourteen-volume series of books, but the show has managed to cover a fair bit of ground in just two seasons; and the upcoming third season looks to be the most ambitious yet in that regard, with characters scattered in every corner of the world, from Emond’s Field to the Aiel Waste, from Tar Valon to Tanchico. Each of these locations has a history and a culture that shows through in every aspect of the lavish production design, set design, VFX environment design, costume, hair and makeup design. Via Nerdist, we now have our first look at how The Wheel Of Time is bringing the city of Tanchico from page to screen, with new images to pore over and discuss.
Nynaeve al’Meara | nerdist.com
Tanchico is the capital city of the nation of Tarabon. Before that, it was the capital of Balasun, a kingdom that ceased to exist when it was annexed by the emperor Artur Hawkwing; and before that, it was named Mainelle, and was the capital of the kingdom of Aelgar, which arose out of the Breaking of the World. Tanchico is thus considered to be one of the oldest cities in the world, and indeed there are sections of the city that date back to before the Breaking, including the foundations of the palace complex sprawling across the hills above the city, where the ‘Panarch’, one half of Tarabon’s ruling diarchy, resides. The Panarch is always a woman, elected by the Assembly of Lords to counterbalance the male King whose power is inherited. Among other duties, the Panarch oversees the court system and civil affairs in Tarabon, while the King commands the nation’s army. Tarabon is locked in a perpetual power struggle with its neighbor to the north, Arad Doman, over Almoth Plain (the unclaimed territory between the two that encompasses the free city of Falme), and with its neighbor to the south, Amadicia, which is ruled by the Whitecloaks. In the books, the Whitecloaks who fought at Falme were there not to liberate the city from the Seanchan, but to try and set up a vassal state of Amadicia on Almoth Plain, which would have put pressure on Tarabon from both sides to submit to Whitecloak rule, if they had succeeded. That nuance was sadly lost in the show, and frankly, I wouldn’t expect most of what I’ve just written to make it into dialogue or anything, but I think the context is valuable regardless.
The Panarch’s Palace in Tanchico is also home to the world’s largest collection of pre-Breaking artifacts, many of them ter’angreal — objects sculpted from the One Power itself by the Aes Sedai of ages past, designed to fulfil specific tasks. Among these are the ‘Domination Bands’, comprised of a collar and two bracelets, which in both function and design very closely resemble the a’dam, the mass-produced ter’angreal which the Seanchan use to control female channelers. Just as the a’dam consists of a collar that prevents the woman wearing it (called the damane) from independently accessing the One Power, and a matching bracelet with which another woman (called the sul’dam) may wield the One Power through the damane, the Domination Bands are meant to be worn around the throat of a male channeler and the wrists of not one but two female handlers (because, for reasons I refuse to believe are anything but sexist, both the base level and ceiling for male channelers are much higher than for female channelers). Where the Domination Bands differ greatly from the a’dam is that with time, the collared male is able to gain the same power over the woman/women wearing the bracelets that they possess over him (again, feels sexist), and neither collar nor bracelet can be removed without the cooperation of the collared and braceleted: essentially meaning they’re on for life. And because male channelers tap into a strain of the One Power that is ‘tainted’ by the Dark One, invariably leading to a fatal madness that can be transferred through the Domination Bands, those lives will be short and painful for everyone involved.
Mat Cauthon, Min Farshaw, and Elayne Trakand | nerdist.com
Nonetheless, the Domination Bands are coveted by many for the potential they might have to decide the outcome of the fast-approaching Last Battle where Rand al’Thor, the strongest male channeler since the Breaking of the World, will face the Dark One. A woman or two women wearing the bracelets could theoretically prevent Rand from joining the Dark One on that fateful day, or alternatively, force him to do just that (obviously, Rand’s free will goes out the window in both these scenarios, but neither side is particularly concerned about that, to be honest). In book four, The Shadow Rising, Liandrin Guirale of the Black Ajah — an underground faction of the Aes Sedai made up of women sworn to the Dark — arrives in Tanchico on a mission to obtain the Domination Bands for the Dark One, with designated ‘Black Ajah hunters’ Nynaeve al’Meara and Elayne Trakand hot on her heels.
Nynaeve and Elayne have help in the books from the gleeman Thom Merrilin, the rat-catcher and reconnaissance man Juilin Sandar, ship-captain Bayle Domon, and Seanchan warrior Egeanin — but while two of those characters, Thom and Bayle, have shown up in the television adaptation, so far only Thom is confirmed to be returning for season three, and as for Juilin and Egeanin, we have no idea if they exist in this ‘Turning of the Wheel’. I feel pretty confident that the man in the black hat seen speaking to Nynaeve in one of the first look images released recently is either Juilin or a character based on Juilin. Egeanin, on the other hand, is someone I would have expected to see introduced in season two if she had made the cut. In place of these missing characters, the show is roping Mat Cauthon and Min Farshaw into the Tanchico subplot: a consequential (and controversial) change with many potential downsides and fewer immediately apparent upsides – except the fact that Mat gets a long-overdue costume change as a result. And on that note…
The Wheel Of Time‘s costume design has always been eclectic, reflecting how the world of Robert Jordan’s novels was pieced back together again after the catastrophic Breaking in its ancient past, with people having to build entirely new cultures by sharing freely what was left of the old. Even so, most of the cultures we’ve glimpsed in the show have had one or two prevailing real-world influences – Franco-Chinese in Cairhien, Andalusian in Ghealdan, South Asian in Arafel, Southeast Asian in Tear, etc. Tarabon as a whole may have a single real-world influence (in the books, I’d say it has a vaguely Eastern Mediterranean vibe), but the city of Tanchico is a melting pot, and this is apparent in its fashion, with its inconsistent silhouettes and panoply of fabrics. There’s only one rule in effect: regardless of age, class or gender, everyone wears veils or half-veils. Costume designer Sharon Gilham has outdone herself with the disguises being sported by the main characters — from Nynaeve’s uncharacteristic but oh-so-gorgeous red-and-gold pantsuit and beaded black eye-covering to Mat’s whole garish ensemble, a frilly maroon coat worn over a saffron-yellow shirt and a black lace veil adorned with flower appliqués.
Tanchico | nerdist.com
Less lavishly dressed, what appears to be a young Liandrin Guirale is shown cradling a baby at the foot of a statue that depicts a one-armed man in chains, with the a’dam collar around his neck. While it’s not confirmed to be Liandrin, she was canonically born in Tarabon, we know she’s going back there (so if ever there was a time for flashbacks to her origins it would be now), and it would also line up with the backstory invented for her character in the show; where she has a son from an arranged marriage she was forced into as a young girl. Perhaps this scene, or the longer sequence it’s part of, will show how Liandrin came to be recruited by the Black Ajah for love of her child…setting up the heel-turn I predict from her late in the season, when Nynaeve al’Meara, whom she regards almost like a second child, will be in danger (just a guess on my part, not a spoiler; Liandrin in the books is a very different character, with no redeeming qualities).
So that’s our first look at Tanchico. How does it compare to what you imagined from the books? As always, share your own thoughts, theories, and opinions, in the comments below!
MINOR SPOILERS FOR THE WHEEL OF TIME THROUGH BOOK FOUR: THE SHADOW RISING, AND POTENTIAL SPOILERS FOR THE WHEEL OF TIME SEASON THREE, AHEAD!
The best (and most criminally underrated) fantasy series on television, Amazon’s The Wheel Of Time, is returning for its third season in less than two months, and the streamer has dropped first-look images showcasing new locations and characters, key moments from the pages of Robert Jordan’s The Shadow Rising, and a wardrobe’s worth of bold, beautiful costumes designed by the absolute madwoman (complimentary) that is Sharon Gilham. Rand al’Thor and the rest of the Emond’s Field Five feature heavily, while characters like Alanna Mosvani and Liandrin Guirale are nowhere to be seen, indicative of the series-wide shift in focus away from the Aes Sedai (including Rosamund Pike’s Moiraine Damodred) onto the younger cast led by Josha Stradowski’s Rand, happening in season three. This shift, which doesn’t occur in the books because Rand is the clear protagonist from the get-go, is something some fans have eagerly anticipated and others have dreaded, and I am very interested to see if The Wheel Of Time can achieve a healthy balance. Let’s see what we can glean from the new images.
Rand, Perrin, and Mat | Twitter @TheWheelofTime
Rand, Perrin Aybara, and Mat Cauthon get together for drinks, something they haven’t had a chance to do since they left Emond’s Field in season one, episode one. This shot has to be from very early in the season, because the three boys’ storylines obviously haven’t yet diverged, with Rand heading off to the Aiel Waste, Perrin returning to Emond’s Field, and Mat apparently accompanying Nynaeve al’Meara and Elayne Trakand to the city of Tanchico. Based on the architecture, the setting is probably the city of Tar Valon, which tracks with what we know (from descriptions of footage shown at CCXP in Brazil) about one of the first major set-pieces in season three, a battle between the Aes Sedai and a mutinous contingent of Darkfriends led by Liandrin Guirale that moves from the White Tower out into the streets of Tar Valon.
Elayne and Aviendha | Twitter @TheWheelofTime
In what looks to me like the same tavern in Tar Valon, Elayne and the Aiel warrior Aviendha are seen sipping drinks and staring into each other’s eyes. This image immediately caught my eye for the simple fact that I’m queer, and like many queer readers, felt that there were definite undertones between these two characters even in the books, where Elayne and Aviendha come to regard each other as “first-sisters”, an Aiel term for two women who are not of the same mother but are as close as if they were kin. In Robert Jordan’s expansive world, there are a fair number of female characters one might be tempted to categorize as canonically queer characters, although unfortunately, nine times out of ten, I feel it would be more accurate to describe these characters as overtly heterosexual women thrust into homoerotic situations by their creator for no other reason than that he was a straight man who was not particularly subtle about his fetish for women making out with each other (that, and women being spanked: there’s so much spanking in The Wheel Of Time). So in spite of all the evidence that would seem to support queer interpretations of Elayne and Aviendha’s characters and relationship, I genuinely do not think Jordan himself thought of them as anything but straight.
That being said, the television adaptation has already canonized one relationship that was ambiguous in the books, between Moiraine and Siuan Sanche. Jordan wrote that the two women were ‘pillow-friends’ during their youth — the Wheel Of Time equivalent of saying they ‘experimented in college’ — referring to a practice amongst the isolated female Novices at the White Tower of finding comfort in same-sex partners: only, Jordan emphasizes, because there are no men around. It’s understood in the books that Novices are supposed to ‘mature’ out of desiring these same-sex relationships, with those who don’t often framed as having sinister motives. Moiraine and Siuan, however, are middle-aged women in the show, and their love is portrayed as just that, love, not a ‘phase’ either woman is looking to outgrow. There are also several other explicitly queer characters on the show, both male and female. So I have faith that fans of the “Avilayne” pairing will not be let down.
Lanfear | Twitter @TheWheelofTime
Although it’s hard to tell for certain where this shot of the Forsaken Lanfear fits into the timeline we’re piecing together, I’m going to put it here because the architecture in the background feels more like Tar Valon than any of the other locations we know we’ll be visiting in season three, and it would be very much in-character for Lanfear to stalk Rand while he’s out with friends. I’m gonna tell you my theory: Lanfear is keeping just enough distance between herself and Rand so as not to make her presence near him known to the other Forsaken who may be watching, but Rand notices her in this scene – and this is the moment she turns away, with an almost sorrowful expression on her face that says she could protect him from what’s coming, if he only let her back into his heart. By the time he reaches the door, she’ll have vanished, of course, leaving him shaken up. You can remind me come March if I was right or if this shot is from an entirely different scene.
Siuan Sanche | Twitter @TheWheelofTime
Siuan Sanche, the Amyrlin Seat of the Aes Sedai, throws out her arm and channels a complex weave using red and gold threads of the One Power in this image, which I feel pretty confident in saying is from the aforementioned battle with Liandrin and her cronies. The woman beside Siuan is Alanna (yes, I lied when I said she was nowhere to be seen, though to be fair, it is only a bit of her shoulder; but those gold epaulets are clearly the same ones she’s wearing in the teaser trailer, shown below). Siuan is channeling upwards in this shot, which leads me to believe that Liandrin is on the mezzanine encircling the round Hall of the Sitters, or has brought the roof down on their heads.
Alanna | youtube.comElayne, Egwene, and Nynaeve | Twitter @TheWheelofTime
This striking image of Elayne Trakand and Nynaeve al’Meara flanking Egwene al’Vere, all three on horseback and wearing impractical armor over luxurious gowns, can only be from one of the two Accepted Tests we haven’t yet seen, Egwene’s or Elayne, and I’m gonna take a wild guess and say it’s Egwene’s based on the fact that she’s front-and-center, and dressed as the Amyrlin Seat (Flames of Tar Valon are emblazoned on her armor and embroidered on her gown; she’s also wearing a ring identical to Siuan’s; the gemstone necklace is a curious accessory, unique to Egwene but with no immediately apparent symbolism). In the books, the last of the three alternate universes Egwene enters during her Accepted Test is one in which she is Amyrlin and must preside over the trial and gentling of Rand al’Thor, a captive of the Red Ajah.
The sense I’m getting from the show’s version, or at least from this still-frame, is that Egwene and her companions are hunting Rand themselves, and will engage him in battle. Whereas in the books, this stage of the Test is built around Egwene’s fear of Darkfriends amongst the Aes Sedai, I think the show will make her greatest fear the future that awaits Rand (not to mention the whole world), if she can’t figure out how to stop him from going mad like all male channelers before him: and to that end, I think Rand will kill the alternate universe versions of Elayne and/or Nynaeve in his madness, with Egwene narrowly escaping.
Rand and Lan | Twitter @TheWheelofTime
Next up, we see Rand practicing sword forms with Moiraine’s Warder, Lan Mandragoran — a scene from the first chapter of book two, The Great Hunt, that didn’t make it into season two, although Rand did pick up a few moves from an elderly blademaster in the city of Cairhien, and Lan taught him one of the better-known forms, ‘Cat Crosses The Courtyard’, before his audience with the Amyrlin Seat. Fans of their relationship will be pleased to have the sword training subplot picked up again, and hopefully afforded a little more time and space, in season three. This was one of two clips shown to the audience at CCXP (the other being a preview of the battle in Tar Valon), and descriptions of the footage place Moiraine and Egwene in the same scene, suggesting that this takes place during their journey from Tar Valon to the Aiel Waste.
(left to right) Bair, Melindhra, Lan, Rhuarc, Rand, and Moiraine | Twitter @TheWheelofTime
This reverse angle of the opening shot from the teaser trailer gives us our first look at several new characters from the Aiel Waste, including Nukâka Coster-Waldau as the Wise One Bair, Synnøve Macody Lund as the Malkieri refugee turned Maiden of the Spear Melindhra, and Björn Landberg as clan chief of the Taardad Aiel, Rhuarc. The teaser reveals that they’re looking out over Rhuidean, a city built shortly after the Breaking of the World, the ruins of which have been put to use by the Aiel as a testing ground for women training to become Wise Ones and men looking to become clan chiefs. The city is home to several ter’angreal, magical constructs with specific functions, including one that shows visions of possible directions a person’s life may take, and another that allows a person to relive historical events through the eyes of their ancestors. Rand’s journey to fulfil the prophecies of the Dragon Reborn will lead him through Rhuidean, while Moiraine will learn there what steps she must take to keep him alive until the Last Battle.
Rhuidean is widely regarded as one of the most memorable sequences in the entire fourteen-volume book series, and while I expect it to play out a bit differently in the show for a number of reasons (namely, the apparent absence of Mat Cauthon and the inclusion of Moiraine’s perspective), I hope what we get from the adaptation is similarly rich and immersive. The show has tried to simplify Robert Jordan’s complex magic system and worldbuilding for general audiences, but three seasons in, if you’re still watching, chances are you’re already invested in the story and won’t be turned off suddenly by an influx of new information.
Moiraine Damodred | Twitter @TheWheelofTime
Moiraine channels golden threads of the One Power into a glowing sphere, potentially a miniature version of one of the two enormous crystal balls that collectively form the ‘Choedan Kal’, a sa’angreal (an object that allows a channeler to channel more of the One Power than they would normally be able to). The Choedan Kal is the most powerful sa’angreal ever made, and requires two ter’angreal to unlock it, referred to as access keys. I suspect what we’re looking at in the image above is Moiraine attempting to unlock the Choedan Kal using just one of the keys, possibly during a confrontation with Lanfear or another of the Forsaken.
Morgase and Elaida | Twitter @TheWheelofTime
Queen Morgase Trakand of Andor and her Aes Sedai advisor Elaida do Avriny a’Roihan make their debut in this shot of the two entering the White Tower, presumably looking for Morgase’s daughter Elayne, who as far as they’re aware is still missing after being kidnapped from the Tower by Liandrin in season two and whisked away to Falme on the other side of the world. By the time they arrive, I fully expect Elayne to be long gone from Tar Valon, this time on a top-secret mission to the city of Tanchico, hunting Liandrin and her cabal of Darkfriends (more on that in a minute). The ensuing stand-off between Morgase and Siuan is only recounted after the fact in the books, but leads to Elayne giving Mat Cauthon a letter to take to her mother in the city of Caemlyn before she sets out again, which ends up being a surprisingly fun little subplot; not crucial by any means, so I won’t be shocked if it’s cut from the show, but what is crucial is the emergence of Mat’s luck (he’s essentially got the same powers as Marvel Comics’ Domino), through episodes like the quarterstaff fight with the Trakand boys, the chase across the rooftops of Tar Valon, and the encounter with Aludra the Illuminator, which are all part of this subplot.
Morgase’s advisor Elaida, an Aes Sedai of the increasingly powerful Red Ajah that oversees the systematic extermination of male channelers, is someone to keep an eye on – and not just because The Wheel Of Time was fortunate enough, speaking of luck, to nab Oscar-nominee Shohreh Aghdashloo for this role. Elaida is one of the most important characters in the entire series, a complex antagonist to Siuan Sanche who sees herself as the leader the Aes Sedai desperately need if they’re to defeat the Dark One at the Last Battle: because they’re sure as hell not going to rely on a male channeler like Rand al’Thor, not if Elaida has any say in the matter. The White Tower she’ll be returning to in the show, after years of living in Caemlyn, is one that will have just been rocked to its foundations by an attack from within. The Red Ajah, which Liandrin belonged to, will be eager to pin the blame on Siuan, but needs a charismatic representative with no connections to Liandrin to make the argument. There’s no better moment for Elaida to step in and fill that role.
Mat, Nynaeve, and Min | Twitter @TheWheelofTime
In the books, book three to be precise, Siuan assigns Egwene, Nynaeve, and Elayne with a top-secret mission: following Liandrin to the city of Tear, where (unbeknownst to Siuan) Liandrin is going to try and capture Rand with the help of the Forsaken Be’lal, who is disguised as a High Lord of Tear. Mat, as I mentioned, goes to Caemlyn to deliver Elayne’s letter to the Queen, but while there, learns that the girls are walking into a trap, and makes his way to Tear in the company of the gleeman Thom Merrilin. Liandrin ends up escaping to the city of Tanchico, where Nynaeve and Elayne continue their hunt for her in book four, The Shadow Rising, with Thom as their escort, while Egwene goes to the Aiel Waste with Rand. The television adaptation is, as far as I can tell, having Nynaeve and Elayne head straight to Tanchico from Tar Valon, bypassing Tear entirely, and Mat will be joining them – though whether from the outset of their adventure or, as in book three, after realizing that they’re in danger and coming to save them, remains to be seen. There’s a very strong chance that Tanchico is where we’ll be reunited with Thom, last seen on the show in season one and presumed dead by much of the general audience, but returning at long last for season three. And obviously but rather oddly, the seer Min Farshaw is here as well.
Tanchico is the capital city of the nation of Tarabon, which in recent years has been torn to pieces by a civil war instigated and prolonged by the Whitecloaks in neighboring Amadicia, who hope to destabilize the region (in the books, the reason why the Whitecloaks are in Falme is to try and set up another vassal state north of Tarabon with which to slowly blockade the larger nation into submission). Tarabon has two rulers, a male King and an elected female ‘Panarch’, who governs from a palace complex in the hills above Tanchico. This palace houses the world’s largest museum, containing relics dating back thousands of years to before the Breaking of the World – including several ter’angreal. Is one of these the object wrapped in cloth that Mat, Nynaeve and Min are seemingly looking to purchase or barter for in the image above? And who is the man they’re dealing with, anyway? My bet’s on Juilin Sandar, the rat-catcher whom the girls hire to spy for them in Tear.
Well, that’s everything. What I’m hoping to see from the next batch of images released by Amazon is our first look at what’s going on in the Two Rivers, along with some more new characters like Faile Bashere and Gawyn Trakand, and familiar faces like Thom Merrilin, Tam al’Thor, Liandrin Guirale, Moghedien, Verin Mathwin, Dain Bornhald, and Logain Ablar. How about you? Who or what got you most hyped out of these new images and who or what are you still hoping to see before season three arrives this coming March? Share your own thoughts, theories, and opinions, in the comments below!
MAJOR SPOILERS FOR THE WHEEL OF TIME SEASON TWO, EPISODES 1 – 6, AND BOOKS 1 – 3, AHEAD!
This piece was written during the 2023 SAG-AFTRA strike. Without the labor of the actors currently on strike, the series being covered here would not exist.
Nearly the entire ensemble cast of Amazon’s The Wheel Of Time are deserving of Emmy-award nominations and wins for their work in season two; and in a fair and just world, where awards-show voters actually respect the fantasy genre, they might have a chance. Realistically, it’s a long shot. Practically the entire cast of Game Of Thrones were nominated every year that the show was running, and still only Peter Dinklage ever took home a trophy for the role of Tyrion Lannister (four times, which in my opinion is simply egregious when Emilia Clarke, Lena Headey, and Maisie Williams were all right there). Thrones‘ critically-acclaimed spin-off House Of The Dragon and Amazon’s grandiose Lord Of The Rings prequel The Rings Of Power have eight and six Emmy nominations, respectively – neither of them for their qualified casts. So The Wheel Of Time, with its relatively smaller fanbase and cultural impact, definitely faces an uphill battle.
Egwene al’Vere | moviesr.net
But its arsenal includes at least five actors who stand a cut above the rest of their peers, who might actually have a chance at a nomination if Amazon campaigned them aggressively. We’re talking Oscar-nominee and Emmy-award winner Rosamund Pike (whose phenomenal performance in season one, made up of countless microexpressions and miniscule yet purposeful mannerisms, was quite frankly snubbed); Zoë Robins (who anchored the series’ best episode in her fragile depiction of rage and vulnerability), Peaky Blinders star Natasha O’Keeffe (who, besides being delectably monstrous in her role, also confidently models the costume department’s finest assortment of outfits, from ostentatious black leather to sophisticated pantsuits); Tony-award nominee Kate Fleetwood (who plays The Wheel Of Time‘s most complex character and has some of the best lines of dialogue), and of course, Madeleine Madden. It’s Madden, I think, who has the best shot, given the overwhelmingly positive reception from critics and audiences to episode six, Eyes Without Pity, which hinges on her intricate, multi-faceted portrayal of a woman beaten into believing she is less than human.
The episode opens with Madden’s Egwene al’Vere being dragged by a leash to the so-called “kennels” where the Seanchan keep damane (women who can channel the One Power), and that’s arguably the least of what she endures over the next hour of brutal psychological torture inflicted by her sul’dam, or handler. The golden collar placed around Egwene’s neck, called the a’dam, immediately restricts her from channeling except when her sul’dam permits it, and sends her into full-body spasms if she tries to hurt her sul’dam, or touch anything she intends to use as a weapon against her sul’dam. The a’dam – and by extension the damane – is controlled through a matching golden bracelet worn by the sul’dam, which also cannot be touched by the damane. The sul’dam seemingly never has to touch the One Power herself to manipulate its use by the damane under her control.
These rigid rules are clearly laid out and demonstrated for Egwene and the audience in an episode which masterfully expands on a single sentence in The Great Hunt, where Egwene recounts being unable to touch a pitcher of water for three days straight because she once thought of breaking it over her sul’dam’s head. Madden delineates every emotion that passes across Egwene’s bloodied face and through her trembling hands as she’s made to reach, again and again and again, for the pitcher, causing her to convulse in pain; the initial anger and sense of injustice at her situation, giving way to hopelessness and desperation, the wave of relief and even pride when she succeeds, followed by disgust at herself for feeling that, and worst of all the paralyzing doubt that maybe this is what she is, what she deserves to be, what she was meant to be. Egwene is unbreakable, so we’ve heard, but this episode tests that theory and utterly shatters the illusion that anyone can stay entirely sane and self-assured under this kind of ceaseless physical, mental, and emotional duress. The seed of doubt, allowed to germinate in a person’s mind, can break even the strongest and proudest – as is confirmed when we see Maigan (Sandy McDade), formerly of the Blue Ajah, now glass-eyed as she sits in her cell, emotionlessly repeating back to herself the rules of being a damane – and the Seanchan are particularly good at planting those seeds and nurturing them.
The scenes with Madden’s Egwene, heartwrenching as they are from her perspective, would be not much more than traumatic if her scene-partner – her sul’dam Renna (Xelia Mendes-Jones) – weren’t equally formidable and complex. Reading the books, I pictured Renna as just shy of stereotypical: nauseatingly bubbly, speaking down to Egwene in a cheerful American Southern accent, treating her as one might a miniature poodle. People like her exist, and they’re terrifying, but her dehumanization tactics are exaggerated to the point where it’s almost too easy to write her off as unrealistic. The television series did something ingenious with Renna, not by making us feel for her (never that; Renna is herself a victim of brainwashing as well as its perpetrator, but that by no means absolves her of guilt), but by showing us how her inhumanity is rooted in the most easily exploited human emotions – because she’s not merely coming from a place of callous disdain for Egwene, but of genuine disappointment in her for not understanding that the Seanchan just want her to serve her true purpose, and that she will be happy when she learns to be obedient.
The Seanchan rank high amongst author Robert Jordan’s most original creations, and the depiction of them in the adaptation – from their customs down to their costumes – is not lacking. If the Roman Empire were ruled by Texans from the future, that would be the Seanchan. Their High Lady Suroth (Karima McAdams) governs the captive city of Falme from a chaise lounge in the palace, where she entertains minor nobility by showing off the “exotic” Westlanders she’s reduced to the position of da’covale (essentially slaves) in her household, including Ingtar Shinowa (Gregg Chillingirian) and the Ogier Loial (Hammed Animashaun), the latter of whom she pulls out as a party trick, demanding that he sing for her…and not just any old song. Treesinging, the ability to manipulate the growth of plants and other living things with one’s voice, is a Talent now exclusive to the Ogier. This marks the first time we’ve seen Treesinging onscreen in live-action – though the animated Wheel Of Time: Origins shorts released alongside season one did briefly touch on it – and it’s mesmerizing both visually and sonically. Suroth, however, soon grows displeased with the attention being on Loial, and interrupts him with demeaning applause and shrill laughter.
Elsewhere in Falme, Nynaeve al’Meara (Zoë Robins) and Elayne Trakand (Ceara Coveney) lay low and investigate the secrets of the a’dam itself, working on a bracelet and collar stolen from the Seanchan by Ryma (Nyokabi Gethaiga), an undercover Aes Sedai of the Yellow Ajah who leaves a large and lasting impression in just a few minutes of screentime. Gethaiga has an extended action sequence near the end of the episode that is not only imaginatively choreographed, with Ryma reversing Yellow Ajah-specific Healing weaves to blind, burn, and break attacking sul’dam, but laced with some of the episode’s most poignant, quietly devastating moments, as she begs her injured Warder Basan (Bentley Kalu) to kill her before the Seanchan can get their hands on her; too late, ultimately, to prevent either his death or her collaring. Nynaeve, watching from the window of the safe-house where moments before Ryma helped her channel through her Block, is deeply affected (and perhaps inspired to join the Yellow Ajah herself one day?).
Ryma | Twitter @QuoteOfTheWheel
There’s a stark contrast between Ryma’s understanding approach to Nynaeve’s Block and how Aes Sedai at the White Tower pressured her to follow their methods, berated and beat her when those methods inevitably failed, and wrote her off as a lost cause because they ultimately decided they couldn’t mold her into what the Tower believes an Aes Sedai should be: cold, distant, aloof. From Liandrin Guirale (Kate Fleetwood), if nothing else, Nynaeve learned that the myth of Aes Sedai detachment from the world is just that, a myth, and that even the most seemingly heartless woman at the Tower only is the way she is because she was forced to leave behind something she loved. But the Tower in its current form is an unsustainable and self-destructive institution, rooted in exploitation and manipulation. Liandrin literally swore fealty to the Dark One because underneath her frigid exterior, she’s still human, and she can’t let go of her son, the only thing that’s ever been hers. But through encountering Ryma, Nynaeve may be realizing that there is another way forward, that this is not how the Aes Sedai have to operate, and in fact they cannot if they are to survive the upcoming Last Battle.
That brings us to Siuan Sanche (Sophie Okonedo), the current Amyrlin Seat, under whose reign the cracks in the Tower have only continued to spread, growing wider and deeper. Siuan has done her best to bridge the divides between conflicting Ajahs and assure her political opponents that she knows how to bring the Aes Sedai intact through this latest catastrophe, but it’s also been seven episodes since we last saw her fulfilling her duties as Amyrlin, and in that time the Tower has only fractured further. Aes Sedai sent unprepared to deal with the Seanchan threat, captured or killed; Accepted and Novices kidnapped on Tower grounds; rumors swirling of a secret eighth “Black Ajah” made up entirely of Aes Sedai sworn to the Dark; and all of it met with apathy from the Amyrlin and her administration. To be clear, I would not personally have written Siuan, one of my favorite characters in The Wheel Of Time, to be this removed from goings-on at the Tower, but I understand there was likely difficulty in getting the busy Okonedo back for season two, and her slim screentime then had to be narratively justified. We’ll get into my problems with Siuan’s (mis)characterization in my review of episode seven.
For the time being, I just wish we could have seen more of what Siuan was doing that necessitated her being away from the Tower for so long in-universe, because the “visit to Caemlyn” excuse has been used twice now, and even I, as a book reader, have no clue why Siuan would be spending more time in Caemlyn than in Tar Valon with the Last Battle imminent and the Dragon Reborn counting on her to rally support for him amongst the Aes Sedai. Queen Morgase, Elayne’s mother, is in Caemlyn at this early stage in the story, but more importantly, so is Elaida do Avriny a’Roihan of the Red Ajah, Morgase’s advisor and a future antagonist. Is it possible that Siuan is receiving advice from Elaida on matters related to the Dragon, behind Moiraine Damodred (Rosamund Pike)’s back? It would certainly explain her own hostile attitude towards both Moiraine and the Dragon, Rand al’Thor (Josha Stradowski), in episode seven, without removing her agency entirely; which would be the case if she were under Compulsion, say.
Moiraine, by now accustomed to giving Rand directions from the passenger seat of their little clown car, begrudgingly trades her preferred place at his side for the far less comfortable backseat in episode six, as Rand stops to pick up the Forsaken Lanfear (Natasha O’Keeffe) in the World of Dreams, trusting her judgment over Moiraine’s. There’s a fascinating push-and-pull dynamic between Moiraine and Lanfear, these two highly intelligent and calculating women; the one with Rand’s best interests (arguably) closer to heart never as effortlessly sincere-sounding as her (ostensibly) self-serving rival despite being bound to tell the truth at all times. It’s an interesting commentary on how women are expected to make themselves more “approachable” if they want to be listened to…but not too much so, or they’ll be demonized for it.
In the real world, Rand is mostly paired up with Dónal Finn as Mat Cauthon; the first time that Finn, who replaced Barney Harris, has shared substantial scenes with one of the main cast (although he had fantastic chemistry with Zoë Robins and Marcus Rutherford’s Perrin in the mirror-world). He and Stradowski are easily believable as lifelong friends, and their reunion is moving. Min (Kae Alexander), who by this point in the books has already resigned herself to falling in love with Rand because he’s ta’veren, is in close proximity and dissuades Mat from staying with Rand because of what she’s seen in her prophetic visions, but – oddly – doesn’t encounter Rand at all, meaning that general audiences will have gone another whole season not realizing they’re fated to be romantically involved. And I don’t know if they’ll meet again until season four, roughly halfway through what was initially planned to be an eight-season series.
I’m of the possibly controversial opinion that Rand and his first love Egwene are uniquely magnetized to each other, and I think it’s evident from their brief meeting in the World of Dreams, a meeting facilitated by Lanfear, that The Wheel Of Time always had its most powerful romance in this coupling of two characters that can never be together because the books put them on diverging paths. Even Lanfear herself can feel the electricity racing in the air as Rand and Egwene reach for each other across the very fabric of reality – the pained half-smile on her face betrays her stomach-turning realization in this moment that Rand’s heart will never be hers, that she’ll gladly make Egwene suffer for it, and that in so doing she’ll hurt Rand too.
Lanfear | winteriscoming.net
I have nothing else to add or reiterate except that the acting on this series really is phenomenal, and it’s not hyperbolic to say that several members of the main cast – Madeleine Madden most of all – deserve Emmy nominations, at least. I’m not expecting much (awards show voters being pretty notorious for watching very little television in general, much less high fantasy), particularly this year with the long gap between the second season’s release and awards season, but I remain hopeful that as The Wheel Of Time gradually gains popularity and becomes more mainstream, it will grow harder and harder for awards shows to justify shutting out the cast entirely. Either way, I’ll keep clamoring.
MINOR SPOILERS FOR THE WHEEL OF TIME, SEASON 2, EPISODES 1 – 3 AHEAD!
This piece was written during the 2023 WGA and SAG-AFTRA strikes. Without the labor of the writers and actors currently on strike, the series being covered here wouldn’t exist.
“The Wheel doesn’t want anything. It can’t. Any more than a river or the rain can want something. It’s people who want.”
Those words, spoken in The Wheel Of Time‘s first season by Moiraine Damodred (Rosamund Pike) in rebuttal to Logain Ablar (Álvaro Morte)’s whimpered insistence that the Wheel “wanted” him to be the Dragon and the carnage he left in his wake was therefore unavoidable, have never sat right with me, and I think I have finally found the words to explain why while mulling over the events of the second season’s second episode, Strangers And Friends, which brings each of the main characters to something of a turning-point in their respective arcs where they realize that all the “wanting” in the world will avail to nothing if the Wheel of Time never gives them opportunities to assert their agency in the first place, and the Pattern, the complex product of the Wheel’s endless turnings, is practically inescapable for those unlucky individuals called ta’veren who find themselves woven into positions where they are responsible for holding the Pattern intact through the duration of a crisis. Even if they were somehow able to make a choice of their own free will, they would never know, because the Wheel would simply course-correct and keep turning. The Wheel doesn’t want, it can’t, but it was set in motion for a purpose by its Creator, and it will serve that Creator’s purpose as long as it is not prevented from doing so by the Dark One.
Selene | polygon.com
For some, like Logain, fate has convenience as a shield, an excuse for dark deeds, but accepting foregone conclusions is not in our human nature, and most of us would become enraged or inconsolable if we could analyze our every action to discern which we made freely and which were made for us with the express purpose of guiding us to an end – and we don’t even live in a universe where a Wheel of cosmic proportions periodically requires something of us, at least not as far as we know. And maybe it’s for the best that we remain blissfully unaware of our metaphysical surroundings, because for Rand al’Thor (Josha Stradowski) it’s the knowing, as much as the impending madness brought on by channeling the tainted male half of the One Power, that has him on the verge of collapsing every day.
As Rand sees it, the Pattern should be done with him. He defeated the Dark One at the Eye of the World, and Moiraine let him leave so he could safely isolate himself from his friends before going mad and killing himself, as he was sure he would, sooner or later, when he first touched the True Source and felt the madness clawing into his head. And yet…five months later, he’s still alive, still mostly sane, and still haunted by recurring nightmares of the man he believed to be the Dark One, but was actually Ishamael (Fares Fares), strongest of the channelers derisively named Forsaken who served the Dark One before the Breaking of the World. The Rand we meet in episode two is one who is still just tentatively starting to accept that he might have been granted a few more months, weeks, or days in the world to do some good, and is now realizing he doesn’t want to work up the courage to face madness and death a second time. But the harder he fights to bring his powers under control, the more the madness grows within him. And no one can help him, not even the enigmatic innkeeper Selene (Natasha O’Keefe) who sidles up to him in his moments of doubt.
What Selene offers Rand, however, is the physical affection he desperately craves but wouldn’t dare to ask for from anyone he truly cares about. Although their arrangement is sexual in nature, it is not exactly a romance, and I’m surprised (but then again, not really) that some reviewers interpreted it as one when The Wheel Of Time goes to great lengths to make it evident that Rand is with Selene for reasons of his own, and vice versa. Now, there is a moment in episode two during a candid conversation between the two where something in Selene’s eyes suggests she’s disappointed in Rand when he admits he’s only with her to try and forget someone else, but she merely sighs and assures him that if that’s the way it has to be, then she’ll gladly help him to forget. She confesses to fantasizing he’s someone different as well, someone she wants to remember. Will we ever get clarification on that? Perhaps.
In the meantime, Rand begins working his way through the ranks of the caretaking staff at a depressingly decorated sanatorium in Cairhien that houses patients from all over the Westlands, including veterans of the local Aiel War and male channelers gentled by the Red Ajah. As we soon discover, it is also where Logain has been residing for the past several months; not at the White Tower, as in Robert Jordan’s books, which means the fan-favorite character may play a different role in the story going forward, but the explanation given in the show is that Logain comes from an exceptionally wealthy and influential family in Ghealdan (canonically accurate), and they arranged more comfortable accommodations for him to live out his last days, still watched day in and day out as Siuan vowed he would be, but free to swagger about the gardens and boast that he used to be a Dragon. Rand’s only hope for enduring the madness or avoiding it altogether now rests with Logain, certifiably a madman.
To my surprise, the tender scenes between Rand and an elderly patient at the sanatorium (played by Nasser Memarzia) did far more to engage me in his storyline than any amount of watching him grapple with the Power after leaving a generic bully lying bloodied in an alleyway, though I feel it’s a matter of personal preference and Stradowski being at his most convincing when his Rand has a faint remnant of his sweetly rugged former self to cling to and build around.
A Fade nailed to a door | moviesr.net
On the other side of the world, Perrin Aybara (Marcus Rutherford) is struggling to make sense of his own rare abilities, which manifest primarily as golden-tinted afterimages crowding any space where violence has been done and blood has been spilled, disorienting the somewhat squeamish young blacksmith. In the books it’s Rand, following the trail of Padan Fain, who comes upon a farmhouse in the land between Shienar and Cairhien, and stumbles into a looping vision of the previous occupants being slaughtered, while in the show, this moment has cleverly been repurposed for establishing Perrin’s wolf-senses, and the setting moved to the small village of Atuan’s Mill in Arad Doman that becomes the site of our protagonists’ first brutal skirmish with the Seanchan invaders introduced in the closing moments of season one.
It’s an excellently choreographed action sequence that uses to its advantage the diversity of fighting-styles and philosophies amongst its participants: Perrin is a follower of the pacifistic Way of the Leaf and reluctant to kill or hurt even his enemies for fear of becoming more wolf than man, while the Shienarans take great joy in combat and the Seanchan have a callous disregard for anyone occupying the land they believe to be rightfully theirs, matched only by their monstrous treatment of female channelers, whom they collar and leash like animals. These women, the damane, have had their agency stripped away from them and placed in the hands of women called sul’dam, who claim to be unable to wield the One Power themselves but can manipulate its use by others.
Outside the White Tower, channeling may still be dangerous for both women and men with the ability, but for someone as strong in the Power (and as strongly ta’veren) as Nynaeve al’Meara (Zoë Robins) or Egwene al’Vere (Madeleine Madden), none of the options before them are free of risk, because their options are limited at this point to what moves them both closer to becoming the most powerful and second-most powerful Aes Sedai, respectively, that the Tower has seen in a thousand years, something of which their teachers are eager to remind them at every opportunity – particularly Egwene, who understandably tires of hearing that her power is incomparable to Nynaeve’s, and that there’s no closing the gap. In need of a shoulder to cry on, she turns to the Tower’s newest Novice, Elayne Trakand (Ceara Coveney), the Daughter-Heir of Andor, who is true bestie material.
Elayne’s lofty titles are dropped into casual conversation with great weight, as if they should mean anything to the majority of non-book readers, who have no way of knowing yet, without a map to refer to, that Andor is the largest kingdom in the Westlands, encompassing the Two Rivers and a hundred other towns and cities, or that its current Queen, Morgase Trakand, was once a Novice at the Tower herself and is now attended by the powerful Red Aes Sedai Elaida do Avriny a’Roihan, soon to emerge as one of The Wheel Of Time‘s greatest antagonists. With the title of “Daughter-Heir” only vaguely defined and none of the political tensions between Andor and neighboring nations established, Elayne is likely just a princess to most viewers, but hopefully that changes if and when the show traces her familial connections to various other characters on the show. Regardless, she’s immediately endearing and cleverly written not to come off snobbish or entitled.
While Egwene and Elayne have sleepovers in each other’s rooms and sample strong alcoholic beverages brewed with the One Power via experimental weaves, Nynaeve has no one to turn to for shelter and thus finds herself coerced into taking a guided tour of the Tower’s seven Ajahs with Liandrin Guirale (Kate Fleetwood), who exploits their time together to try and make Nynaeve see the benefits of taking the Trial of the Arches, which all Novices must pass before being “raised” to Accepted and presented with a Great Serpent ring, albeit one bereft of the colored gemstone that Aes Sedai wear as a visual marker of their chosen Ajah. As Liandrin explains, with that disarming hint of genuine passion and pride in her voice, Accepted are permitted to learn from the Ajah of their choice – Healing from the Yellows, diplomacy from the Grays, spy-craft from the Blues, and so on. Sadly, our time with the different factions is limited to brief glimpses into the workings of the Yellow Ajah hospital, where Nynaeve discovers that the incurable illnesses of her village are easily treated in Tar Valon.
Egwene al’Vere and Elayne Trakand | Twitter @TheWheelOfTime
For Nynaeve, however, that’s the only time on the tour that’s not wasted. She has no interest in the Yellow Ajah as an organization, but the first time she ever consciously channeled was to Heal the Aes Sedai and Warders wounded, some almost mortally, by Logain in season one, and she channeled again to protect her friends in the Ways. Long before she knew what she could do, she was drawn to the life of a Wisdom, and never regretted sacrificing companionship for the privilege and honor of protecting the people she loves. The duties of the Yellow Ajah come closest to aligning with her own desires, and it’s only after seeing the work they do that Nynaeve starts seriously considering the Trial of the Arches. She makes up her mind after following Liandrin later that night (having clocked the Red sister stealing poisonous herbs from the hospital), and realizing that even the cold and emotionless Aes Sedai have people in their lives besides their equally enigmatic Warders they would do anything to protect.
Liandrin’s happens to be her son, a man about eighty or ninety years of age, whose long-overdue expiration she has staved off with toxins that Nynaeve warns her will only cause him more pain. We don’t know what the Tower would do about it if they found out, but we can reasonably assume (and Nynaeve certainly does) that a lot of Liandrin’s more…questionable choices are the result of trying to hide her precious boy and keep him alive as long as possible, at least until she finds something else worth living for. How far will Liandrin go for her son, and who will get hurt in the process? That question has been answered in the latest episode, but I wouldn’t dare spoil it for those who haven’t watched yet. The long, tumultuous, and often uncomfortable emotional journey viewers will take alongside Kate Fleetwood’s Liandrin, for whom you can’t help but feel a begrudging form of admiration and respect despite all the writing on the wall telling you not to trust a single word that leaves her permanently pursed lips, is something you must experience for yourself – and if, by the end of it, you don’t understand why I am adamant that Fleetwood deserves an Emmy nomination for her work here, well, I can’t change your wrong opinion but know that I will judge you for it.
Seemingly central to Liandrin’s schemes is Mat Cauthon (Dónal Finn), whom we learn has been imprisoned at the Tower for months now, but is digging an escape-route through the wall of his cell that eventually leads him to…an adjacent cell. Disappointing for him, but great for us viewers, because it facilitates a meeting between Finn’s Mat, who has a genuine warmth and sense of humor that Barney Harris, in my honest opinion, lacked, and Kae Alexander’s Min Farshaw, a charismatic bartender born with the unenviable ability to see pieces of the Pattern like images attached to people – sometimes cryptic, sometimes frighteningly clear. Mat has refreshingly little interest in learning his fate, however, and Min has no inclination to tell him what she sees; a vision of him stabbing Rand with the cursed dagger from Shadar Logoth, something that has no precedent in the books. Whether you interpret it as platonic, romantic, or playfully erotic, the palpable chemistry between these two is no joke (personally, I want them to kiss before the end of the season, but that’s just me).
Mat’s approach to life is to pretend he’s dodged the weavings of the Wheel of Time entirely, and to avoid looking too long at his own reflection, which would show him he’s bound up in threads of the Pattern as tightly as a fly in a spider’s web. The confidence he gains from thinking that only strengthens his resolve to escape the White Tower dungeons, but leaving the confines of his cell is exactly what the Wheel expects of him and has taken into account already. He can’t escape, not really; no one can. And if he and the other four ta’veren have it especially bad, they are not alone in feeling helpless. Moiraine, once the most self-assured character on the show, is trying to come to terms with the fact that, at this critical juncture, she’s expected to do something not in her nature and surrender to the will of the Wheel. She’s seen the threads that bind her; seen even further, all the way to the brink of the abyss where she’s being pulled, swiftly and inexorably. She’s prepared for that. What she can’t cope with is the thought of anyone being dragged down with her, because of her.
Verin Mathwin | nerdist.com
And thus we come to the most painful scene in the episode, in which Moiraine dismisses her Warder, al’Lan Mandragoran (Daniel Henney), after nearly twenty years of service. It’s for his own safety, which he can’t bring himself to comprehend through anger and frustration, but Moiraine doesn’t tell him that, or try to assure him of anything. She’s very much like Rand in that way. They are both extremely protective of the people they love, and see themselves as inherently unworthy of receiving that same love and protection in return because anyone close to them is in danger of being hurt, possibly by their own hand. When Moiraine tells Lan they “were never equals”, Lan interprets it one way but Moiraine, I think, phrased it as she did specifically so she could lead him to a conclusion at odds with the truth: that in her eyes, she was never deserving of his loyalty, because for as long as she’s known Lan her only purpose in life has been to serve and protect the Dragon Reborn, and, as was pointed out to her by the alarmingly perceptive Verin Mathwin (Meera Syal), there is no telling who she’ll have to hurt or kill to help the Dragon achieve his victory over the Dark One at the Last Battle. She knows she can’t bring herself to hurt Lan and that he would all too willingly sacrifice himself if it were ever necessary, so rejecting him is the only option left to her.
The unfortunate consequence of this choice is that it sets up an aimless subplot with Lan and Alanna Mosvani (Priyanka Bose), the Aes Sedai to whom Lan is handed for safekeeping like a parcel by Moiraine, that begs for a swift resolution. Alanna’s sensuality and apparent openness juxtaposed with Lan’s stoicism and silence could have provided insight into both their characters as well as entertainment, but I feel that The Wheel Of Time is perhaps focusing too hard on establishing Alanna before it has the need, or the ability to do anything particularly meaningful with her. Until Lan inevitably returns to Moiraine (and, short of killing him herself, which she will never do, there is nothing she can do or say to prevent that from happening one way or another, because the Wheel has willed it), this storyline was bound to drag – but we will discuss that in greater detail another time.
The philosophical questions raised in episode two are unlikely to be definitively answered in our lifetimes, much less in this season of The Wheel Of Time, but the speculative answers put forward in the pages of Jordan’s books offer arguably less comfort than the uncertainty we endure. In the world he envisioned, certain events must happen and ultimately will happen in every Age for as long as the Wheel keeps turning, but they cannot happen on their own, therefore requiring that the people statistically most likely to make the “right” choices are spun out into the Pattern at the “right” time to ensure said choices will be made, as anything else could potentially lead to the breaking of the Wheel and the dissolution of the Pattern.
This would be bad, we’re meant to understand, because no one’s choices would have any meaning then. But what meaning does a choice actually have, if the Wheel only allows those that either directly serve its goal or have no consequence, and can spin out ta’veren to “correct” the rest? What meaning is there in the Wheel itself, if it wants nothing, works toward nothing, achieves nothing in any Turning except its continued self-preservation? If humanity can never advance so far that all their progress can’t be reversed in the next Age, all their accomplishments reduced to the stuff of legends? If the so-called Last Battle between the Dragon and the Dark One only acts as a catalyst for further upheaval, and all the blood shed, all the tears spilled, all the sacrifices made by our protagonists, not only won’t prevent it from happening again, but rather, ensure it will? Is the promise of rebirth any comfort, if the world into which you’re reborn is still fighting the same war you fought in all your previous lives?
(left to right) Ingtar, Masema, Loial, and Uno | imdb.com
I don’t mean to burden my readers with these and other questions that keep me up at night wondering what Jordan potentially found soothing in this unique interpretation of the cosmos, and I’m not trying to parrot the Dark One’s own talking-points (breaking the Wheel is his only solution to everything, and while it sounds revolutionary on paper, in practice, it would achieve nothing), but these are questions which The Wheel Of Time‘s writers should spare some further thought, seeing as they’ve expanded on Jordan’s themes in countless ways already and always with a care and consideration for the essence of the source material coupled with a desire to be forward-thinking that makes me genuinely interested in what they have to say through the retelling of this particular story. I’m not saying the protagonists should necessarily break the Wheel by the end of the series; I just think there are a lot of shapes that time could take and something as simple as adjusting it to a…Straight Line of Time, for instance, would solve a lot of this world’s problems.
