10 Things Amazon’s “Lord Of The Rings” Should Never Do!

Yesterday I discussed the ten things that, in my opinion, Amazon Prime’s The Lord Of The Rings simply can’t do without: Blue Wizards, a cohesive tale of Galadriel and Celeborn, dark thematic material…these are the essential building blocks that Amazon can and should use to construct their unique take on Middle-earth. So how about the ten things that they should never do?

Well, before we get into the list, let me remind you all that Amazon’s series isn’t a straight-up adaptation of The Lord Of The Rings, the classic best-selling novel. Instead, it’s based on the tantalizing hints, references and scraps of unfinished stories about the Second Age of Middle-earth, a time period in the world’s history when Sauron, Dark Lord of Mordor, first rose to power with the help of the One Ring. That being said, Sauron isn’t the only thing you’ll find in this new adaptation that will be reminiscent of previous books, films and video games: characters like Galadriel, Elrond and Glorfindel will all presumably make appearances; locations like Rivendell, Mount Doom and Moria will be visited; events like the War of the Last Alliance and the forging of the Great Rings will be witnessed.

With that out of the way, let’s get to my list.

Lord Of The Rings Elves
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10: Sorrowful Elves. It’s important to remember that the Second Age ends about three-thousand years prior to Frodo Baggins’ quest at the very end of the Third Age. A lot of stuff happens in between those two points – including the events that cause the Elves to begin their slow decline into sorrow and grief. At the start of the Second Age, however, we should see the Elves in their heyday: a happy, peaceful people with a flourishing culture, working to rebuild after the traumas of the First Age. That means characters like Elrond, best known for being grim and dour, are going to be cheerful, bright and optimistic in the Amazon series; wise, experienced leaders like Galadriel will still be learning, growing, and making mistakes; aged, brooding wise men like Círdan…well, he’ll still be an aged, brooding wise man, but the rest of them will be different. This doesn’t necessarily mean that they should be singing “tra-la-la-la-lally,” but at the same time it doesn’t necessarily mean that they shouldn’t be, either.

Lord Of The Rings The Hobbit
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9: A Reliance On CGI. I’m flexible on this issue: on the one hand, I think CGI is an essential element in the making of any fantasy world, and particularly Middle-earth, and I definitely wouldn’t discourage Amazon from using it in many of the same ways Peter Jackson did in his original trilogy (to build fantastical locations, digitally construct armies, certain creatures, etc); but on the other hand, I’d counsel them not to rely on special effects as much as Jackson did with The Hobbit films – practical effects, real location shoots, physical props and sets: for the most part, these can do the job just as well as green-screens and digital wizardry.

Lord Of The Rings Sauron
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8: A Fully Evil Sauron. It would be almost ridiculously easy to depict Second Age Sauron as a purely evil character, but that’s not the Sauron I want to see. Tolkien wrote that, in the beginning, Sauron was a perfectionist, whose plans for Middle-earth were ambitious, but no more evil than those of any reformer’s. He eventually grew to be a tyrant, thinking that Elves and Men could only flourish if they relinquished their own free will and submitted to his rule. Sound familiar? Yeah, that’s because the Sauron of the Second Age has more in common with the Marvel Cinematic Universe’s trickster god Loki (one of the most popular villains there is) than with the flaming eye of Peter Jackson’s films. Sauron, in fact, tried to do good – but his fate had been decided long before, when he turned away from the teachings of Eru and began learning from the devilish Morgoth, whose evil teachings Sauron implemented in his own plans. Amazon could do some amazing things with that storyline.

Lord Of The Rings Eru
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7: Eru. Speaking of Eru, it’s about time I addressed him. In my last post, I said it would be a mistake to leave the Valar (Middle-earth’s pantheon of gods) out of the series, and I stand by that. But there’s one god I never want to see take a physical form in The Lord Of The Rings, and that’s Eru Ilúvatar, the One Above All. Eru is the highest, mightiest being in all of Tolkien’s legendarium – his song set all of history into motion; his plan is the divine plan, which cannot be undone by any design of Morgoth’s or Sauron’s; near the end of the Second Age, he intervenes one last time in the affairs of the world, reshaping the earth into a globe (it was flat previously), and sending the country of Númenor to the bottom of the sea. But though that means he’ll probably be brought up frequently in conversation, he shouldn’t ever be seen; at most, he should be a voice, but even that feels wrong. Eru is incomprehensible, on a plane of existence higher than any of our protagonists should be able to understand. Keep him offscreen. Leave the mystery intact.

Lord Of The Rings Middle-earth
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6: Whitewashing. The fantasy genre already has a problem with diversity – series like Game Of Thrones employ one or two people of color in lead roles over the course of several seasons, and the few exceptions to the rule, such as The Witcher, get viciously attacked by an online community that resorts to the same tired excuses for why people of color are simply unthinkable in worlds filled with dragons, elves, orcs and wizards: it’s unrealistic because fantasy worlds are Euro-centric and Europe obviously never had any racial diversity; race-bending white characters is wrong because people of color need to write their own stories if they want to see themselves represented in mainstream media (but whitewashing characters of color is somehow okay?); Tolkien came from a different time period, and the series should reflect that by not having people of color, who clearly didn’t exist forty years ago. The cast of Lord Of The Rings currently includes a handful of people of color – but only fifteen actors have been cast so far, and I hope to see the number increase as more come onboard the project. I want to see Amazon take advantage of the amazing opportunity they have, and use their platform to hire talent of many different ethnicities – not to mention genders, sexual orientations and ages.

Lord Of The Rings Gandalf
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5: Gandalf. Gandalf the Grey, along with his partners Saruman and Radagast, were both sent to Middle-earth in the Third Age: to be the enemies of Sauron in that age, and that age alone. They didn’t witness any of the events of the Second Age, and they had never fought Sauron before the attack on Dol Guldur as depicted in The Hobbit; if they had, Gandalf would likely have been able to recognize the One Ring immediately, and Saruman might never have been deceived by Sauron’s lies. Having them arrive earlier in the timeline would be a very bad move – yet people continue to mistakenly assume that Gandalf is either going to be a major character, or a female lead, of the upcoming series. To avoid further confusion, I hope Amazon gives the series an official title soon that differentiates it from The Lord Of The Rings, which immediately brings to mind images of Gandalf and hobbits.

Lord Of The Rings Hobbit
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4: Hobbits. Allow me to clarify: hobbits did exist in the Second Age, even though they are only recorded in the Third Age and later. But these hobbits (a) dwelt only in Wilderland east of the Misty Mountains, and not in the Shire, and (b) had no impact on Middle-earth’s history at this time. Most importantly, there should be no interaction between Sauron and the hobbits: he, above all others, should never hear of them or even be aware that they exist. Why? Because the whole reason Frodo’s quest succeeds in The Lord Of The Rings is because Sauron (like Smaug before him) had never dealt with hobbits before. They were the unforeseen heroes of the Third Age, who “suddenly became, by no wish of their own, both important and renowned, and troubled the counsels of the Wise and Great.” So, Amazon: if you want to throw in some hobbits, put them in at the very end of the entire series, during the disaster of the Gladden Fields, when such an appearance might make sense. No sword-wielding hobbit heroics in the Second Age, please.

Lord Of The Rings Game Of Thrones
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3: Game Of Thrones. Now, I’m not totally opposed to the series being more mature than the adaptations we’ve seen before: Tolkien’s world definitely isn’t grimdark or gritty, but the Second Age is a time of decadence, vice, violence and horrific evils (including, but not limited to, hundreds upon thousands of human sacrifices). So when I say I don’t want The Lord Of The Rings to be Game Of Thrones, I’m not necessarily saying it shouldn’t include violence (I refer you back to the human sacrifices), sexuality, and/or mature themes. I’m saying it should never revel in these things or use them for shock value, as Game Of Thrones was often accused of doing. So no, I don’t want to see violence against women used to subvert expectations; I don’t want to see nudity used to make exposition-heavy dialogue “more interesting” or whatever the excuse was; I don’t want to see fan-favorite characters get brutally murdered just to prove a cynical point. Tolkien’s world is one where hope survives even against immeasurable odds, where light endures in the darkest situations, where heroes are…for the most part…heroic. George R.R. Martin’s world is bleak, pessimistic, and, at least in the TV series, there is no end to its cycle of death, defeat and petty power struggles. That’s not bad: it’s just not Tolkien.

Lord Of The Rings Peter Jackson
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2: Incessant Callbacks. Often, a prequel to some successful film franchise (such as…oh I don’t know, The Hobbit) fails in part because it never tries to be its own thing: instead, with the help of callbacks, references and hints, it simply serves to remind viewers to go check out another, usually better, film or TV property that came before it. Using The Hobbit as an example: remember the really weird shout-out to Aragorn in The Battle Of The Five Armies that makes no sense, considering Aragorn was a ten year-old during the time of that film? Or how they refer to the recently drowned Master of Lake-town as being “half-way down the Anduin” when there’s no conceivable way he could ever have gotten there from the Lake of Esgaroth, as shown by their own maps? How about that bizarrely contrived scene where Legolas learns about Gimli sixty years before ever meeting him? These things serve no purpose in The Hobbit, except to remind us that, yes, we are still watching a prequel to The Lord Of The Rings, as hard as it is to believe. Amazon doesn’t need to make that mistake: focus on telling a good story first, then weave in some subtle foreshadowing or evocative parallels later (also, for the love of Eru, choose better callbacks: one reason why those in The Hobbit fail is because they’re calling back to the weirdest things – athelas? Peter Jackson’s carrot-eating cameo? Why were these things necessary?)

Lord Of The Rings
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1: Strictly Movie Canon. We know that Amazon wants to maintain some level of continuity with the classic Peter Jackson trilogy, and at one point they even approached Jackson – either for his help as a consultant, or simply for his blessing. It makes sense: Jackson defined Middle-earth with his award-winning, critically-acclaimed, hugely successful three-film magnum opus. He and his team are widely viewed as experts when it comes to worldbuilding of any kind. But there’s no need for Amazon to feel beholden to his specific vision of Middle-earth: while his is certainly the most iconic, it wasn’t the first, not will it be the last. Amazon should feel free to branch out, to use the books more frequently as source material than the movie, and along the way to establish their own unique take on Tolkien’s world. Let’s not forget: Peter Jackson has broken his own canon on occasion – Bilbo’s encounter with Gollum in the prologue of The Fellowship Of The Ring is completely different to the same scene in An Unexpected Journey: different actor, different scenery, set design, clothing design, everything. Amazon should be able to do that too.

So what do you think of my list? Do you disagree with my picks (it’s worth remembering that I’m a pretty positive person, so it was hard for me to even think of ten things I didn’t want to see)? Share your own thoughts, theories and opinions in the comments below!

10 Things Amazon’s “Lord Of The Rings” Needs To Succeed!

Yesterday, I laid out ten defining moments from the Second Age of Middle-earth that will probably comprise the backbone of the Amazon Prime The Lord Of The Rings series coming to streaming in the near future: the misleading title would have you believe that Amazon is simply adapting J.R.R. Tolkien’s iconic and beloved novels (and I’m sure Amazon is fine with that, if it lures you into watching their series), but this is anything but a retelling of the author’s most popular work. Instead, Amazon is going to be telling some of the less well-known stories from the depths of Middle-earth’s extensive history, specifically the Second Age.

But because J.R.R. Tolkien wrote so little about the Second Age, and so much of what he did write was only published posthumously by his son, many people don’t have a very clear idea of what to expect from the series, which is why, today, I’ve compiled a list of the top ten things that I want to see in The Lord Of The Rings. These aren’t necessarily things that will happen, but I feel that each one is a necessary element that would add whole new layers to our understanding of Middle-earth.

Lord Of The Rings Entwives
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10: The Ent And The Entwife. While it would obviously be a non-canonical answer to an age-old question, it’s about time we finally saw what happened to the mysterious Entwives after Sauron swept through their gardens with a destructive slash-and-burn policy, near the end of the Second Age. By the time of Frodo Baggins’s quest, these gardens had been deserted for so long they were only known as the Brown Lands: but in Amazon’s The Lord Of The Rings, we have a chance to see a flourishing Entish culture, maybe even some of the elusive Ent children that were so rare in later days. The Entwives passed on their agricultural knowledge to humans during the Second Age, giving them a narrative purpose (remember that one of the rumored main characters is said to be a farmer). As for what happens to them after Sauron attacks, well, that’s up to Amazon to decide: if they want to be really controversial, they could have them escape to the Land of Rhûn, backing up the claims of a recently uncovered map.

Lord Of The Rings Blue Wizards
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9: The Blue Wizards. This is a complicated subject. The two Blue Wizards are usually believed to have arrived on the shores of Middle-earth at the same time as their more well-known brethren – characters like Gandalf, Saruman and Radagast – and to have failed in their purpose, becoming servants of Sauron or founding mystic cults in lands like Harad and Rhûn. But one version of the story, written later in Tolkien’s life (and thus, by the generally-accepted laws of determining canon, the more accurate version), outlines a scenario where the Blue Wizards, individually named Alatar and Pallando (or Morinehtar and Rómestámo), entered Middle-earth during the Second Age, and journeyed far into the East and South, helping to disrupt Sauron’s plans and playing a crucial part in his defeat, both in the Second and Third Ages. In this version, they enter Middle-earth at about the same time as Glorfindel, a resurrected Elf of Gondolin sent back from death to aid in Elrond and Gil-galad’s defense of the citadel of Imladris (Rivendell). This is the version I want to see: while one of the two Wizards could potentially be corrupted by Sauron or otherwise fall from their higher purpose in the series, I’d like to see them depicted in a more heroic light – and since they’ll be journeying into lands more akin to the Middle East and Central Asia than Western Europe, I’d want to see them played by actors of color: specifically women of color, if that’s possible.

Lord Of The Rings Harad
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8: The Haradrim. In all of Tolkien’s legendarium, only two Haradrim are mentioned by name – and both come from the Second Age. Herumor and Fuinur were both Black Númenórean lords of Harad who fought alongside Sauron in the War of the Last Alliance. In the Amazon Prime series, we should see storylines – entire story arcs – set in the desert country, providing a welcome change from the more familiar lands of Eriador and Mordor, and giving us more racial diversity in Middle-earth. Helped by the subtle efforts of the Blue Wizards, we could see heroic Haradrim characters rise up against their villainous kings and resist Sauron’s influences.

Lord Of The Rings Galadriel
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7: Galadriel And Celeborn. Even Tolkien himself never came to a conclusion on how Galadriel and Celeborn met, what they did in the First Age, how they came to Middle-earth, or what they did when they got there. In the scraps of his unfinished tales, the two characters are constantly changing: at one point, they’re the parents of a son and daughter, but later they only had a daughter; sometimes Celeborn was a Telerin Elf, other times Sindarin; in some versions Galadriel rebelled against the Elf, but in others she left Valinor for different reasons. Amazon can’t adapt every variation on the same story. My suggestion is that, rather than try to stick to just one version of the tale, they’ll take all the best parts from many different versions and piece them together into one cohesive whole. Just so long as we see the Galadriel who was obsessed with Dwarves and the Celeborn who stayed behind in Eregion with Sauron rather than travel through the Dwarven city of Khazad-dûm, I’m good.

Lord Of The Rings Valar
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6: Valinor And Valar. Amazon will be limited by the restrictions placed upon them by the Tolkien Estate, but if they want to fully flesh out the ancient history of Middle-earth in a way it never has been before, they’d be wise to make it clear that a number of gods, demigods and angels inhabit the world of Arda. Even Peter Jackson hinted at this, during Gandalf’s rebirth. With the Númenóreans constantly praising Maiar like Uinen and Ossë, the Elves worshiping Varda, and the eagle messengers of Manwë showing up to forewarn people of impending doom, there are many opportunities to slip in references to these deities. As for Valinor, the Blessed Realm of the Valar, there’s no way to tell the story of the Fall of Númenór without seeing that far green country at least once, through the eyes of the would-be conqueror Ar-Pharazôn, just before he and his army get crushed under a mountain.

Lord Of The Rings Elf
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5: Different Elves. In previous adaptations of the Tolkien mythos, there haven’t been many obvious distinctions drawn between the different Elven cultures, but in the Second Age, such a distinction will be necessary with so many characters sharing the screen. The High Elves or Eldar are the ones we’ll probably be following most closely: after being forced to migrate en masse from their ruined homelands in Beleriand, the High Elves settle down in the vast lands of Middle-earth, often uprooting the defenseless Silvan Elves from their own homes. Silvan Elves whom we might see include Amroth, the Prince of Lórien; Nimrodel, a notable Lórien resident and inventor of the flet treehouse; and a young Thranduil then living in Amon Lanc (which would later be overrun by Sauron’s forces and turned into Dol Guldur) with his father, the proud king Oropher. Though the simmering resentment the Silvan Elves feel toward the High Elves never boils over into aggression in Tolkien’s works, there’s certainly room for Amazon to go there with their story: not only to give the Elves some interesting dynamics, but to parallel the similar situation between the Númenóreans and the Men of Middle-earth.

Lord Of The Rings Numenor
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4: Númenórean Imperialism. Tolkien himself went on the record as being anti-British Empire, and in his stories, imperialism is never viewed in a positive light: the Númenórean desire to rule over the “lesser” Men of Middle-earth during what was already the heyday of their power led them to ever bloodier, more brutal conquests that in turn led them straight to a watery end. To stay true to Tolkien, depicting the Númenóreans faithfully will require Amazon Prime to turn the initial heroes of the story into the villains, as the once peaceful culture devolves into an ambitious, power-hungry assortment of misguided kings and warmongering military leaders. It’s not going to be pretty.

Lord Of The Rings Ar-Pharazon
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3: The Refusal Of The Gift. One of the darkest – but most crucial – elements that Amazon will have to nail down in their series is the Númenórean society’s fear of death. In the beginning of the Second Age, the Men of Númenor are long-lived, surviving for hundreds of years and being given the ability to basically die whenever they feel like it, thus “giving up the gift” – that being the gift of death that was given to them by Eru, Middle-earth’s ultimate deity. But as the Second Age wanes and Númenor tries to extend its reach around the world, killing and pillaging in the process, these Men begin to grow jealous of the immortal Elves, and they become more obsessed with their own inevitable mortality than the years they have left to live. This is the volatile situation that Sauron the Deceiver will enter and masterfully manipulate to his own advantage – it’s critical that we understand why the Númenóreans would be so willing to listen to his lies.

Lord Of The Rings Middle-earth
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2: Aldarion And Erendis. There’s absolutely no better place to begin foreshadowing Númenor’s downfall than in the story of Aldarion and Erendis. One of the only complete stories from the Second Age that Tolkien ever wrote, this tragedy tells the complicated tale of a long-lived Númenórean Prince named Aldarion who falls in love with a woman, Erendis, whose lifespan is far shorter than his own. Aldarion disappears on voyages to Middle-earth that last for years, sometimes even decades, as he establishes colonies, starts wars, and fells entire forests for timber, caring little for his duties back at home. Erendis, meanwhile, after openly declaring herself to be hateful of the Sea and a foe of the Maia Uinen, is forced to watch and wait for her sea-faring husband, while precious time slips through her fingers, robbing her of the best years of her life. Not only does it shed light on the interesting gender dynamics of the Second Age, but, with just a little tinkering, it could become an effective prelude to all of Númenor’s later troubles, with Aldarion and Erendis representing both the imperialistic tendencies and the fear of death that would combine to bring about the empire’s downfall.

Lord Of The Rings Sauron
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1: The Lord Of The Rings. Confused? Well, don’t be, because what you might never have considered is that the title of the novel, which refers – obviously – to Sauron, is perhaps still just as fitting a title for the Amazon Prime series. After all, Sauron is going to be the prime antagonist of the show, and Amazon will give us an opportunity to finally see his true power. Throughout The Lord Of The Rings (the novel, not the series: I can see why using that title would be confusing), we’re told that Sauron reclaiming his One Ring would cause a second darkness, and give the Maia almost unlimited power – but in the Second Age, when Sauron did have the Ring and was still busy causing his first darkness, he was defeated (albeit temporarily) by one lucky guy with a broken sword. Amazon has a chance to show us, for the first time, what the Ring is actually capable of doing when bound around its dread master’s finger. I’m not saying I want to see the Lord of the Rings summon whirlwinds of fire or rain ruinous lightning down on his foes or anything…but no, actually, that’s exactly what I’m saying.

So what do you think? Would you care to see any of these ten things, or does it not matter to you what ends up in the series, so long as it’s good? Share your own thoughts, theories and opinions in the comments below!

10 Events That Will Define Amazon’s “Lord Of The Rings” Series!

With the coronavirus currently raging around the world and no end to the health crisis in sight, expect to see an increase in these sort of hypothetical think-pieces from my blog.

This is something I feel like I should have written about ages ago. But now, while we wait for production on Amazon’s The Lord Of The Rings streaming series to resume, we have to wonder: what will the series actually be about? Hint: it’s not The Lord Of The Rings – or, rather, it is, but not quite in the way you were probably expecting, if you haven’t been following along with every tidbit of news about the series.

You see, while Amazon Prime does have the rights to J.R.R. Tolkien’s most well-known and influential novel, that’s not what they’re choosing to adapt in their billion-dollar, five-season production. Instead, they’re rummaging around in the depths of Tolkien lore, in a little-known and oft-overlooked period of Middle-earth history: a time period known as the Second Age. The average audience member introduced to the Tolkien fandom through Peter Jackson’s movies probably doesn’t know this term, but they do know two major events that happened in the Second Age – namely, the forging of the One Ring, and the first defeat of Sauron the Dark Lord. Both events happened in rapid succession in the prologue to The Fellowship Of The Ring, but in Tolkien’s timeline there are more than a thousand years between those two things.

That’s why today we’ll be looking at ten events that shaped the Second Age and will likely define the series.

Amazon Lord Of The Rings
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10: Rebuilding After The First Age. Amazon Prime does not have the rights to adapt material from J.R.R. Tolkien’s posthumously published The Silmarillion, meaning they probably won’t be addressing too many events from the First Age of Middle-earth’s history, at least not in great detail. But they don’t really need to: the Second Age picks up right where the First left off, with all of Arda (basically, the entire world, of which Middle-earth is actually only a small piece) in ruins following the fall of Morgoth the Accursed and the destruction visited upon the earth’s surface by the trampling feet of the host of the Valar (Middle-earth’s pantheon of gods). Continents get pushed around, coastlines change, mountains crumble – just an average day in Arda. Assuming the series starts roughly around the beginning of the Second Age, it’ll have to cover several events that happen here: the migrations of Elves, Men and Dwarves across Middle-earth, the foundations of new cities and strongholds, and the establishment of empires such as Númenor, a star-shaped island kingdom given as a gift to Mankind by the Valar; Lindon, which becomes the chief dwelling-place of the High Elves under the rule of King Gil-galad; and Eregion, a small but hugely influential kingdom settled by Celebrimbor, last of the crafty Fëanorian Elves. Even if the series starts later in the Second Age, these events will still probably be covered in flashbacks.

Amazon Lord Of The Rings
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9: The Heyday Of Elves And Men. This is the time period during which we can probably expect a large part of the series to take place. Basically, what you need to remember about the Elves we’ll see living in Second Age in Middle-earth is that they chose to stay there. After the First Age, when the world was remade and Morgoth was undone, the Elves were offered a choice by the Valar: to repent for all their sins (which included killing some of their brethren and defying the will of the Valar) and return to the Blessed Realm of Valinor across the Western Sea, or to remain in Middle-earth. Some chose to head back home, but a lot decided to stay: the ones who stayed grew arrogant, and tried to prove to the Valar, in a way, that they could make Middle-earth just as blissful and peaceful as Valinor. This motivated Celebrimbor to welcome a stranger who came among his people claiming to be an emissary from the Valar who had taken pity on the Elves of Middle-earth. This stranger, going by the name of Annatar, Giver of Gifts, was welcomed into the kingdom of Eregion and quickly rose to power there. Meanwhile, in Númenor, human Men began to sail far and wide across the seas of Arda, settling in colonies along the coasts of Middle-earth and venturing even to the edge of the world. Something else to remember, for future reference: at this point in the timeline, the earth is flat. A flat, roughly circular disc just floating in the cosmos, minding its own business. So when I say the Númenóreans ventured to the edge of the world….I mean that literally.

Amazon Lord Of The Rings Sauron
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8: The Rings Of Power. Remember that stranger who showed up in Eregion? Yeah, well, it’s at this point in the timeline that he basically comes out and says what every Elf in Middle-earth has already been feeling: it’s time to radically redesign the balance of power in Arda. He and Celebrimbor work together to forge a set of Rings, each of which is imbued with terrible power. These Rings are given out to all the major players in Middle-earth: King Gil-galad gets one, Círdan the Shipwright gets one, the Lady Galadriel gets one; seven Dwarf-lord get one each; nine of the most powerful human sorcerers, kings and warriors get one each. But in secret, Annatar, Giver of Gifts, has been stealing Celebrimbor’s secrets to forge his own Ring – a master Ring, a Ring that will rule all the other Rings and bind them to his will. Oh wait, did I forget to mention that Annatar is actually Sauron the Dark Lord in disguise? Yeah, he totally is, and he’s intent on getting vengeance on the Valar for what they did to Morgoth, his master and mentor in the First Age. But when he puts on his One Ring and declares himself to be the Lord of the Rings, Celebrimbor senses his true purpose and hides all the other Rings, buying himself a little time.

Amazon Lord Of The Rings Celebrimbor
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7: The War Of The Elves And Sauron. Unfortunately for Celebrimbor, his quick action meant that the Three Rings given to the Elves were saved – but he himself was captured by Sauron during an attack on Eregion, tortured for that information until he died of exhaustion, and then was tied to a flagpole and carried like a banner into battle by Sauron’s armies of orcs. In the end, Celebrimbor only disclosed to Sauron the locations of the Seven and Nine Rings they had made, and Sauron took most of those at this point. For a long time afterwards, Sauron was at war with the Elves of Middle-earth, and this is where the series will be able to fit in some awesome battles: Gil-galad and his herald, Elrond, lead the main assault against Sauron, but they are joined by several others, including Círdan with his fleets of Elven ships; Galadriel and Celeborn, leading joint efforts from both sides of the Misty Mountains; the Dwarves of Khazad-dûm; and Glorfindel, a resurrected Elf from the First Age who is sent back to Middle-earth by the Valar to aid in the Elven Wars. But even with all of this aid, the Elves still would likely have been defeated, had not Númenor arrived just in time.

Amazon Lord Of The Rings Numenor
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6: The Decline Of Númenor. While the Elves are busy fighting Sauron in Middle-earth for centuries, the Men of Númenor are feeling the Dark Lord’s shadow from afar. At the height of their power, the Númenóreans were a naturally long-lived people, but as time went on their longevity began to wear away, even as they clung to it. In their heyday, they had welcomed Elves to their island paradise: even Elves who came from Valinor with gifts and wise advice. But now, they’re starting to wonder why only Elves were “blessed” with immortality, and their jealousy of Valinor grows until it becomes a disease. Amazon will need to get this exactly right: we need to feel that desperation that will drive the Númenóreans to madness and acts of blatant aggression; we need to see the terror in the eyes of their Kings, holding onto life even as they slip away; we need to smell the decay that creeps through their culture, foreshadowing what’s to come.

Amazon Lord Of The Rings Sauron
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5: Sauron In Númenor. When the Númenórean army arrives in Middle-earth, bringing an end to the war between Sauron and the Elves, Sauron realizes at once that he is outnumbered. But Sauron is cunning: pretending to be defeated, he willingly surrenders to the Númenórean king and commander, Ar-Pharazôn, and is subsequently taken back to Númenor to be a prisoner. Here, he pulls the same trick he used against the Elves: he promises Ar-Pharazôn his greatest desire – in this case, everlasting life. This, he claims, can only be won if Ar-Pharazôn musters the courage and the army to invade Valinor, the Blessed Realm of the Valar. Ar-Pharazôn, not known for being the brightest Edain in Arda, finally succumbs to his prisoner’s seduction, and allows Sauron to counsel him in every matter: when Sauron begins the building of his army, the King agrees to it; when Sauron builds a temple to Morgoth and starts practicing bloody human sacrifices there, the King agrees to it; when Sauron sends him off to his death, the King agrees to it, ignoring all the warnings of doomsday that the Valar send his way. He and his army do make it to Valinor, and they even set foot on the Blessed Realm’s shores – and then, in the greatest act of comeuppance ever, the Valar kill him and almost everyone else in Númenor by sending the island hurtling into the ocean abyss and burying Ar-Pharazôn under a mountain. Sauron is temporarily killed in the cataclysmic disaster, and he loses his ability to ever again take a human form.

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4: Gondor And Arnor. At this time, the world is remade again by the Valar, and becomes a globe. Oddly, the only effect this has on the Middle-earth map, aside from the complete disappearance of Númenor, is changing one island in the Bay of Belfalas. Coincidentally, it’s in this bay that the next chapter of the Second Age begins, as this is where one small group of battered ships arrives after a long and arduous journey by sea, manned by the Númenórean prince, Isildur, and his brother. Their father, Elendil, gets washed ashore in the far north of Middle-earth. At these two points on the map, these men set up two kingdoms: Gondor in the south, and Arnor in the north. These kingdoms become one vast empire in these last few years of the Second Age, and are united in opposing Sauron. Isildur builds the city of Minas Anor (later changed to Minas Tirith), and plants the sapling of the White Tree of Gondor there. The seven seeing stones, or palantíri, are placed in secure locations around Middle-earth. The tower of Orthanc in Isengard is built. With callbacks like these, who needs hobbits?

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3: The War Of The Last Alliance. Needless to say, Sauron isn’t done haranguing our heroes just yet. Gathering his forces for a final push, he leads his armies of corrupted Ringwraithes, orcs, and foul creatures into battle against the fledgling force of Gondor. But in this dark hour, Mankind does not stand alone. Elendil, King of Arnor, goes to Gil-galad and Elrond and requests their aid: they form a Last Alliance of Elves and Men, and lead their armies together into the south, relieving the siege of Gondor and eventually entering Mordor, Sauron’s dreadful realm. As they approach Mordor, they are joined by Elves out of Lórien and Greenwood, Dwarves from the Misty Mountains, and even Ents out of Fangorn Forest. There are several battles along the way, most notably on the plain of Dagorlad that would later become bogged down and renamed the Dead Marshes. In Mordor, the Last Alliance besieges Sauron’s fortress of Barad-dûr, which lasts for several years.

Amazon Lord Of The Rings Sauron
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2: The Fall Of Sauron. At last, Sauron breaks the siege, though not before many have died, including Isildur’s brother Anárion and Oropher, king of the Elves of Greenwood. The Dark Lord arrives on the battlefield wearing the One Ring he created, making him almost invulnerable – he drives the attacking armies back to the slopes of Mount Doom, and there, with the fiery heat of his hand, he kills Gil-galad and Elendil. But Isildur, Elendil’s son, takes up the hilt-shard of his father’s broken sword and deals the fatal blow to Sauron, cutting the One Ring from the Dark Lord’s finger. Sauron is vanquished, and his evil spirit flees, incorporeal and weakened. His armies are easily defeated. His Ringwraithes vanish from history. And the war is won. But Isildur refuses to listen to the counsel of Elrond and Círdan, who both advise him to destroy the Ring in the fires of Mount Doom. Instead, Isildur finds himself unable to get rid of the Ring, and holds onto it as a souvenir of his victory.

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1: The Disaster Of The Gladden Fields. This one is entirely up to the showrunners: it’s possible they’ll want to end the series on a more hopeful note, with the survivors of the war picking up the threads of their broken lives and moving on, and all that. And certainly there should be some happy endings – but at the same time, it would be deliciously exciting to end the entire series with the disaster of the Gladden Fields, something that was glimpsed briefly in The Fellowship Of The Ring. Isildur, returning home from the war, is attacked by a rogue band of orcs and killed – and the One Ring slips from his finger as he falls and drops into the River Anduin. Imagine it: Howard Shore’s familiar, eerie score closing out the final episode of the final season, as we watch the Ring settle into the mud at the river-bed, there to lie in wait for the next two and a half thousand years…

So what do you think of these ten events from the Second Age timeline? Will they define the series, or do you think the showrunners will focus their adaptation on a singular moment from the chronology, rather than trying to fit three-thousand years worth of story into just five seasons? Share your own thoughts, theories and opinions in the comments below!

Maxim Baldry To Star In “The Lord Of The Rings”!

Technically, I reported on this quite some time ago, back when Maxim Baldry’s name first came up in association with Amazon Prime’s long-awaited adaptation of the works of J.R.R. Tolkien, because, at the time, it seemed legit. However, as the months have crept by and we have begun to hear more information about the streaming series’ production and filming in New Zealand, Maxim Baldry’s name has been…let’s say, suspiciously absent from the conversation. To the point where it seemed like his casting had been a piece of misinformation (something that has plagued the Lord Of The Rings series since the beginning, with sites like TheOneRing.net often pushing hyperbolic and conjectural narratives about the series on their Twitter account).

Our fears were apparently confirmed when Baldry was left off an important cast list released by Amazon Prime themselves. A total of fifteen actors and actresses were officially cast and sent off to New Zealand to begin their strenuous physical training and start work on the series, including Robert Aramayo, Nazanin Boniadi, Markella Kavenagh, Morfydd Clark and others. But Baldry, whom, at the time, I and many other fans considered to be one of the main stars, was still nowhere to be seen. His social media gave no hint of any involvement (for comparison, most of the other confirmed stars have been using their social media to keep us up to date on their time in New Zealand, including sightseeing, hiking trips and visits to Lord Of The Rings trilogy locales such as the Hobbiton film set).

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And then last night, out of the blue – Maxim Baldry is onboard the Amazon Prime series, according to Deadline (who also broke the original story of his joining the cast). They have now acknowledged that their initial report was only partially accurate: while he has been circling the project for some time, only recently has he worked out a deal with Amazon and settled into what Deadline are calling “a lead role” – not to be confused with the lead, who is believed to be played by Robert Aramayo. This matches up with what Amazon Co-head of TV Vernon Sanders said about the series: that there were still “a few key roles to cast”.

As for who Maxim Baldry is playing, that’s an open question as of right now. But the British actor, best known for his work on Years And Years, seems to have a very important place in the series. And that’s why I’m returning to what I think was my original assumption, and putting out a guess that he’s playing Annatar the Giver of Gifts, one of the many forms of the shape-shifting villain Sauron, who you might remember from Peter Jackson’s trilogy as being a giant eye in the sky. Baldry’s slender build, delicate features and long mane of dark hair lend themselves naturally to the Dark Lord, who often disguised himself as an Elf during the Second Age of Middle-earth, when this series is set. Annatar, Sauron’s most iconic alter ego, was an Elven lord who claimed to have been sent from the realm of the gods to bring a message of reconstruction and reform to Middle-earth, only to deceive his victims into enslaving themselves to his will. If not Sauron, then my other fan-cast for Maxim Baldry would be the young and peaceful Elven King Gil-galad, leader of the Last Alliance of Elves and Men, and one of Sauron’s chief rivals during the Second Age.

Who do you think Maxim Baldry is playing, and why do you think it took him so long to get onboard with the series? Share your own thoughts, theories and opinions in the comments below!

Amazon’s “Lord Of The Rings” Sets Series Cast!

Amazon Prime has assembled a fellowship of talent worthy of the long, perilous journey to Middle-earth, and they have my sword, my bow, my axe, and anything else they need from me. I love them, I already adore them, and if by life or death I can protect them, then I will.

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The full series cast, revealed today in a series of social media posts from the streaming service (which, inconveniently, didn’t have photos attached, forcing me to look up each actor individually), will include: Robert Aramayo and Joseph Mawle, both from Game Of Thrones; Owain Arthur, a theater actor soon to appear in Disney’s The One And Only Ivan; Nazanin Boniadi of Bombshell and Hotel Mumbai; Tom Budge of The Pacific; Morfydd Clark of Dracula; Ismael Cruz Córdova of The Undoing; Ema Horvath of Like.Share.Follow; Markella Kavenagh of Picnic At Hanging Rock; Tyroe Muhafidin, a new actor on the scene; Sophia Nomvete and Megan Richards, both theater actresses; Dylan Smith, star of I Am The Night; Charlie Vickers of Medici: Master Of Florence; and finally Daniel Weyman, star of Great Expectations and The Happy Prince.

Notably absent from this comprehensive list is Maxim Baldry, who was previously reported to have joined the show in a lead role – I feel it’s safe to assume he is no longer part of the cast (or never was part of it to begin with), but it’s worth keeping an eye out for him later on. While this group of fifteen will surely be the series’ main cast, it’s probable that many more actors and actresses will be added as time goes on.

On the other hand, this cast is a big win for diversity in the fantasy genre: a number of these stars are people (and especially women) of color, and come from a multitude of cultural and ethnic backgrounds, making this probably the most diverse adaptation of J.R.R. Tolkien’s works yet.

We don’t yet know who’s playing who, as Amazon has yet to announce any character names: Morfydd Clark is, as previously reported, believed to be playing a younger version of Galadriel, while Robert Aramayo is playing a character known only as “Beldor”, and Markella Kavenagh has landed the role of “Tyra” – both of the latter names could be, and likely are, code-names for more well-known characters from the Tolkien mythos.

Obviously, there are a lot of names to go over here, and I might have to try and break them down individually at some point, because I’m sure Amazon has given us plenty of hints as to who these actors and actresses will be portraying. Already, the cogs in my brain are beginning to rotate – nay, spin – as I piece things together: is Mawle playing Sauron, or could it be the equally fine-featured Weyman? Is Córdova playing an original character, or is it only me who thinks he looks like Gil-galad? Speaking of which, have any of Tolkien’s roles been gender or race-bent? If so, can Boniadi please play Annatar?

So…what do you think? This is the cast, for better or worse: these are the men and women that we will walk alongside into the tumultuous Second Age of Middle-earth, and alongside whom we will (hopefully) spend a long, long time, weathering all the storms of Sauron, the betrayals of Númenor, and the wrath of the Valar. How do you feel, and who are you most excited to see onscreen for the first time? Share your own thoughts, theories and opinions in the comments below!

Amazon’s “Lord Of The Rings” Finds Its Galadriel!

We have breaking news from Amazon Prime’s upcoming Middle-earth streaming series that is bound to make every Tolkien fan sit up in their seats and take notice. The character of Galadriel has apparently been cast, and will have a significant role in their adaptation of J.R.R. Tolkien’s unpublished and posthumously published writings, which detail the ancient histories of Middle-earth. Galadriel, who appears prominently in Tolkien’s works as a military commander and authority figure, was inevitably going to be a lead character in the series, but the casting is shockingly unexpected.

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Morfydd Clark, a Welsh actress best known for her role in His Dark Materials, has apparently landed the coveted role of the immortal Elven lady portrayed by Cate Blanchett in Peter Jackson’s The Lord Of The Rings and The Hobbit trilogies. Clark bears a striking resemblance to the ethereal Australian actress in whose footsteps she will follow, giving us a clear indication that Amazon Prime is looking to establish continuity between their new series and Jackson’s classic films.

The character of Galadriel, whom we will meet at a crucial point in her long and complicated life, is best known for her grace, elegance and patient wisdom, founded on centuries of experience fighting wars against the forces of darkness: but Galadriel is not all about moral purity and Elven excellence – in the Second Age of Middle-earth, when the Amazon series is set to take place, Galadriel is still recovering from the traumas of an age-long battle against the first great evil, Morgoth, and is seeking a new dominion in the wide, unclaimed expanses of Middle-earth after having turned down the forgiveness of the Gods for her part in aiding a rebellion against divine wisdom. The Galadriel whom we will meet in the show is bold, headstrong, and brash – nothing like the cool, collected woman we see in the Third Age.

How do you feel about this exciting new development? Share your thoughts in the comments below!

Ema Horvath Joins Amazon’s “Lord Of The Rings”!

Actress Ema Horvath has joined the slowly assembling cast of Amazon Prime’s adaptation of the novels and unpublished writings of J.R.R. Tolkien, becoming only the fifth actor to do so – at the rate this is going, we should have a full cast sometime by the end of next year: but filming apparently begins in February, so the series’ casting directors might want to speed things up and stop searching relentlessly for hairy bikers and “wonderful noses”. All the wonderful noses in the world aren’t going to help a show that can’t pull together a main cast.

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Still, Horvath’s casting is at least a welcome sign of life from the project, which seems to randomly tumble into our newsfeeds every month or two with a sudden, startling announcement that makes us all sit up for twenty minutes before settling back into the long dark of Moria. Perhaps, if Amazon Prime could release some plot details, character names, or even a few pieces of concept art, we might have cause to get really excited: but these little unofficial news-stories are becoming increasingly infuriating as we’re forced to wait in silence for weeks in between, contenting ourselves with reading frustrating articles about all the things that the show could do wrong or “has” to get right (naming no names, of course).

Horvath herself is not likely to heighten our excitement or give outsiders a reason to get hyped: she’s a relatively obscure actress, with a small resume. I’m not certain which character she could be portraying onscreen, but I hope we might get an indication soon, as the show moves into production. I’d love it if Amazon could surprise us all and suddenly put out a big, detailed press release or something that all of us theorists could obsess over for a couple of weeks. That would be nice.

What do you think of the casting? Share your own thoughts, theories and opinions in the comments below!

Amazon Prime’s “Lord Of The Rings” – Main Characters Revealed?

As production begins on not one, but two seasons of Amazon Prime’s hugely ambitious prequel series to the classic novels of J.R.R. Tolkien, it can’t be long before the cast and characters are revealed to the public – so far, we only have four actors supposedly set to join the series’ ensemble cast, yet none of them have been officially confirmed by Amazon, and we still have no idea which characters (either from Tolkien’s expansive mythos or the showrunners’ imaginations) they might be playing. Today, though, some tantalizing new clues have leaked – not just about the holy quartet, as I’ve begun to call them, but also about a slew of new characters rumored to have prominent roles in the series. All of the following character names are presumably code-names put in place by Amazon to protect the secrets, and absolutely none of this is official.

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Firstly, the obvious, or least, unsurprising. Markella Kavenagh is rumored to be playing the inquisitive teenager Tyra, who is wise beyond her years and all that. We met her in those leaked audition tapes from a while back, remember her? At this point I’d be very surprised if Kavenagh doesn’t end up playing the Tyra character, considering how strong the rumors are – we do have a new tidbit of information about her: she is suspected to be both a dramatic and a comedic character.

Will Poulter is rumored to be playing Beldor, something I suspected: Beldor, a young, politically savvy protagonist, seems like he could very well be the young Lord Elrond of Imladris. The new hints suggest that Beldor will be paired up with more dramatic characters who will provide a stark contrast to his reserved, perhaps even solemn nature. Yep, sounds like Elrond to me. If not, I suspect he’s probably Elrond’s mentor Gil-galad.

Game Of Thrones‘ Joseph Mawle is still rumored to be a central antagonist for the series, though this new report is beginning to confirm our suspicions that his character, Oren, is in fact the deceiver Sauron. A personality “built around a wounded and fallen nobility”, who projects “a sense of timelessness” – those are basically the hallmarks of the fallen demigod Sauron, who turned away from the wisdom of the gods and chose to walk a path of darkness into ruin. It’s unclear whether Mawle will also portray the Dark Lord in his form as the Elven lord Annatar, or whether the character will take many different guises during the series’ run.

The protagonist is rumored to be a woman, the character Eldien, whose description is particularly interesting. Yet another timeless character, Eldien is “complex, unique and formidable”. Who else is complex, unique and formidable? The Elven lady Galadriel, a battle-hardened leader and warrior whose morals are much more gray in the Second Age of Middle-earth than they were later on in her long life – at the time this series takes place, Galadriel, like Sauron, has just rejected the mercy of the benevolent gods and has turned away from their guidance to seek glory and fortune in Middle-earth. I would be very happy if the spotlight is on Galadriel for at least the first season.

Now we move into the rest of the ensemble cast, briefly but vividly sketched out: there’s Neldor, who’s a “similar archetype” as the similarly named Beldor – Elrond’s twin brother, Elros, perhaps?

We have Brac, a character who provides the other half of a dramatic duo – described as “irascible and cantankerous”, Brac’s description isn’t really ringing any bells for me. I suppose he could be somebody like King Oropher of the Wood Elves – in which case, it would be funny if the other half of the duo was Beldor (if Beldor is Gil-galad). The only description we have of Oropher from Tolkien’s own works is that he disobeyed Gil-galad’s orders to halt during the War of the Last Alliance and ended up being killed in a reckless charge at the gates of Barad-dûr. That’s a possibility, but it’s more probable that Brac is a completely invented character.

Eira is next on the list – “a warm and maternal woman”. There’s not much to go on here.

Aric, whom we encountered in the audition tapes, is still on board to be a main character – or at least a series regular. His character, a charismatic rogue, was very well defined in the leaked dialogue, so I don’t feel like there’s too much new material to go over. I’m beginning to guess that Maxim Baldry, the last rumored cast member, is playing this character (not for any particular reason: just because).

Calenon is a “ruggedly-handsome” war hero. He’s also described as “brooding”, which is never a fun character trait. But there is a prominent Tolkien character who does nothing but brood, and that’s Celeborn, the husband of Galadriel. That’s as good a guess as any. Plus, it would be amusing to see Celeborn as a handsome heartthrob, since by the time of The Lord Of The Rings, he, well, isn’t.

As if on cue, we come to Loda, the “earthy” fellow who “doesn’t give his feelings away easily”. Yet another boringly unoriginal trope. Earthiness suggests a human character, though perhaps not a Númenórean (they seem more like lofty, spiritualistic types): so let’s mark Loda down as a possible man, maybe even a Wose of the Woods.

Kari, the next character on the list, is a deserter from the nearest Dungeons & Dungeon campaign, it seems. A “self-sufficient single mother”, she would seem to fit the bill for the character of Erendis, the Second Age’s most iconic unique female character, if not for the fact that she’s a “village healer with a secret”. If we really want to believe she’s Erendis, we could come up with theories that Amazon Prime is changing the story so that the proud Númenórean queen flees to the countryside to be alone with her daughter and there becomes a rural medic, hiding the shocking secret that her daughter is the heiress to the throne – but it’s somewhat more plausible, in my opinion, that she’s playing Tyra’s mother.

Hamson is one of the weirdest names on the list – whereas most of the code-names are vaguely archaic in a watered-down sort of way, Hamson sounds more Old English; more like a certain Hamfast Gamgee of the Shire, right down to the character description as a “loving family man with health issues”. But Hamfast Gamgee wasn’t born in the Second Age, and wouldn’t be born until many thousands of years later, so unless there’s some extreme timeline-muddling going on here, I very much doubt this character is a Gamgee, or even a hobbit in general. Hobbits probably existed in some form or another during the Second Age, but nobody knew about them. To keep continuity with Tolkien’s writings, it would be best if hobbits never showed up in the Amazon Primes series, or only appeared in the story’s peripheries. But in that case, I can’t imagine what or who Hamson is, and what’s he doing in this story.

Finally, there’s Cole, another “charismatic” character: this time, one who carries “the weight of the world” on his shoulders. That could be literally anyone in the Second Age, but for some reason I’m locking in my guess that this character is Celebrimbor, the Elven craftsman who designed the Rings of Power in a desperate attempt to try and rebuild Middle-earth in the image of paradise. He literally carries that burden and responsibility with him until he get killed in a particularly brutal way by Sauron during the Dark Lord’s war against the Elves.

There’s a lot here that could potentially be interesting, even engrossing, when executed. On paper, some of these character descriptions are bound to look a little off-putting to Tolkien purists – brooding heroes, charismatic rogues – but it’s better not to get too freaked out about any of this right now. The series is still very early on in its development, and no footage has yet been shot. Some (or all) of this is susceptible to change. Nonetheless, it’s fun to theorize about these things and wonder what it means for the series.

What do you think of the code-names and character traits? Do you agree with my assessments? Share your thoughts and theories in the comments below!

Amazon Prime’s “Lord Of The Rings” Renewed For Second Season!

With several months yet to go before filming even begins on the first season of Amazon Prime’s hugely ambitious adaptation of the works of J.R.R. Tolkien, the studio has already gone ahead and renewed the big-budgeted fantasy series for a second season. There are several new details in the Deadline article which broke the news, so allow me to ramble on about them with urgency and excitement. As you can probably imagine, I’m trembling with anticipation.

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First of all, we have the news that the second season of the series is already in the works – Jennifer Salke, the head of Amazon Studios, has confirmed that as we speak, the writer’s room for the series (which includes J.D. Payne, Patrick McKay, Gennifer Hutchison, Bryan Cogman, etc) is currently collaborating on writing the bulk of Season 2 scripts. As is noted in the article, this is really good news because it means that we, the audience, won’t have to wait that long between Seasons 1 and 2. In fact, at the speedy rate that things are going, we could expect to get the first two seasons almost back-to-back. My heart can’t take this.

Additionally, it has been revealed that after J.A. Bayona has finished filming the first two episodes of the series’ first season, the show will go on hiatus for four to five months, allowing time to review the footage and write more material for the second season before moving on with filming. In Deadline’s words: “By going on a longer than normal hiatus, LOTR will be ready with Season 2 scripts so it could possibly film some Season 2 footage during the Season 1 shoot, or even film the remainder of Season 1 and Season 2 back-to-back.” This is, of course, the same tactic that Peter Jackson used when directing his equally ambitious movie trilogy of Tolkien’s The Lord Of The Rings. Parallels. Parallels!

The article also notes that the majority of the series is expected to film outdoors, on location in New Zealand, as we suspected. That could mean a return to the practical-effects pioneered by Jackson in his movie trilogy, or it might indicate something else entirely (Deadline suggests that it’s because Tolkien loved the outdoors: I have no idea whether they’re right or not).

So there you have it! This is an extraordinary action by Amazon, as it seems to suggest complete confidence in the fledgling series, which has a long way to go before it gets off the ground. While we wait, leave your thoughts and opinions in the comments below!

Joseph Mawle Joins Amazon’s “Lord Of The Rings”!

Amazon Prime’s upcoming The Lord Of The Rings prequel series is thoroughly fascinating and occasionally bewildering: just the other day we discussed the intriguing case of the uncovered audition tapes for the series, which revealed what seemed to be the four leads of the eagerly-anticipated show. Now, a completely new character has popped up out of nowhere! I tell you, it’s been an exhilarating process covering the constant stream of news about this project – and we’re still only in the pre-production stage!

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Anyway, we’ve got a new casting announcement, and it’s already been getting a fair bit of attention: Joseph Mawle, an English actor best known for portraying Benjen Stark in just 6 (count ’em, 6) episodes of Game Of Thrones. Benjen was a minor character at best, and never did anything particularly memorable until rescuing Jon Snow from beyond the Wall in the seventh season. And yet this news is, as I said, stirring up the Tolkien community, with even platforms as well respected as The One Ring.net complaining about how the Amazon Prime series is already beginning to turn Lord Of The Rings into a carbon copy of Game Of Thrones, ignoring the wishes of Tolkien purists, etc, etc. I honestly don’t understand how that logic is even supposed to make sense – in my opinion, it would be like saying that Peter Jackson’s trilogy was turning into a carbon copy of Back To The Future Part II when they cast Elijah Wood, simply because Wood happened to have an insignificant role in the latter film (bet you didn’t know that).

Whether or not Amazon Prime is channeling Thrones for this project, let’s consider what we know about Mawle’s casting before jumping to conclusions. According to the trades, Mawle is taking on the role of “Oren”, one of the series’ main villains. Now, let’s face it: Oren, while it’s almost certainly another codename, sounds a good deal like Sauron, and there’s a strong possibility that Mawle will in fact be Amazon Prime’s Dark Lord (I feel like we’ve had this conversation many times already). He is the oldest cast-member to join the show so far, but still has distinctly Elven features, very much in line with men like Hugo Weaving or Lee Pace, who convincingly and brilliantly portrayed Elves in the previous Middle-earth films (and that Elvenesse is something Mawle will need, if he is to play Sauron, who should spend much of his time onscreen disguised as an Elf. Mawle is also a very good actor, which, you know, is also a bonus.

If you want my honest opinion (you probably do, if you’re reading this), I see Mawle as a better choice for the Witch-King of Angmar, whom we should expect to see in the series: with his long, gaunt features and thin frame, the actor seems like he could do a great job portraying the sorcerer in all his ancient, incorruptible glory, before his inevitable downfall into ruin. I mean that as a compliment, by the way.

So what do you think? Is this our Sauron? Or our Witch-King? Or somebody entirely different? Share your thoughts in the comments below!

Amazon’s “Lord Of The Rings” Auditions Reveal New Characters!

We’ve all been waiting hungrily for something, anything, to give us a deeper insight into Amazon Prime’s upcoming prequel to The Lord Of The Rings. So, when a bit of news drops that’s actually surprisingly revealing and at the very least full of stuff to talk about, the fact that it gets barely any coverage is…well, disappointing. But don’t fear – I am here, to tell you everything you need to know about the new characters we now know will populate Amazon Prime’s Middle-earth.

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We’ve understood for a rather long while that there are four major characters in the series who are going by the codenames Tyra, Eldien, Beldor and Aric. They’re generic fantasy names, and there’s no precedent for any of them in Tolkien’s own writings, so it’s possible (even likely) that they are just codenames, nothing more than that. But for a while, that was all we knew about any of these four leads: basic names that could have come out of any Fantasy Name Generator online. We were able to attach a gender to the name of Tyra, because Australian actress Markella Kavenagh was supposedly in talks to play that character. But now, we have new information about all four, due to some newly uncovered audition tapes for the series.

Before we break them down, remember that these scenes, like the Mirror of Galadriel, could be very unreliable guides. The dialogue being used in these actors’ auditions is complex enough that it could in fact be edited together from an actual version of the show’s script, but don’t count on it: while it might be an indication of the sort of material to expect from the series, it’s highly probable that we never see any of these scenes (or anything even remotely resembling these scenes) in the show – this sort of scene and dialogue is usually expressly written to give the auditioning actor a sense of the character they might be portraying, from personality to manner of speech. For instance, you’ll note that the character of Eldien and Beldor both have the same scene, but with very different dialogue. With all that said, you will join me, with bated breath, as we begin our first deep dive into Amazon Prime’s Middle-earth. The time is sometime in the Second Age, thousands of years before the events of either of Peter Jackson’s trilogies. The setting…well, we’ll discuss that as we go along.

All four audition tapes have been deleted, presumably by Amazon Prime’s bidding, but the wonderful folks over at Redanian Intelligence who uncovered the videos were able to transcribe them before their disappearance (and I was able to watch two of them as well).

The first two videos focused on the character of Tyra: the dialogue indicates that Tyra is an elf, with a compassionate nature, who also seems to be deeply insightful and/or gifted with some powers of foresight. She and another woman are riding in a wagon when they hit a man, who would appear to have been knocked unconscious by the blow: Tyra demands that they stop and help him, while her companion argues that, if they take him back to their home, “anything bad that happens as a result of it will be our fault”. Tyra, however, appears to have won the argument by the time the scene ends. There is one possible clue about the setting of this scene: references to wild bears and snow, which would presumably suggest that Tyra and her friend live somewhere in the forested north of Middle-earth, most likely in the kingdom of Lindon, where Gil-galad ruled the largest contingency of Elven-folk. And that raises an interesting point – who is this man that Tyra and her friend encounter, and what would happen if they brought him back to their home, or village? We know from Tolkien’s own writings that the Dark Lord Sauron entered Lindon in disguise sometime early in the Second Age: could he be this strange man? It seems unusual that he wouldn’t take the form of an Elf, however, when trying to infiltrate an Elven kingdom.

What we gather from this scene is that Tyra and her people are very rural Elves – they drive wagons, they live in a wild, dangerous part of Middle-earth, and, aside from Tyra herself, they appear to be wary and distrustful of strangers.

The second audition tape, also deleted, features Tyra in a different scene: here, she and a girl who is most likely her younger sister, find themselves lost in a dangerous place after an attempt to forage for berries in the woods leads to the girl losing her doll and straying away from Tyra’s care. It’s a sweet little scene, and it shows Tyra taking the lead in a difficult situation.

Again, the scene suggests a rural, woodsy setting. If I had to guess, I’d say Tyra is almost certainly a Silvan Elf, more akin to the Wood Elves of Mirkwood than the High Elves of the West. None of the characters in these two scenes use very archaic dialogue, as opposed to the third scene, which focuses on the character of Eldien.

Eldien is possibly the most interesting and complex of the four, based on the little we know of her personality. I was fortunate enough to see the video of Chloe Bremner’s audition for the role prior to its being taken down, and I thought Bremner did an okay job with the material. Eldien is in every way the opposite of Tyra: she is most likely a High Elf, and her vocabulary and philosophies are far more extensive than those of her rural co-star. In the scene, Eldien is approached by her longtime friend Beldor, perhaps at a banquet or after some kind of memorial ceremony for the Elves who died in the wars of the First Age. Eldien herself is a veteran of those wars, and bears with her an everlasting pain, much like Frodo’s at the end of The Lord Of The Rings. But while Frodo was granted the opportunity to pass into the West and find healing, Eldien is an Elf who rejected the West and is now being forced to pay the price, living out her life in the utter loneliness of Middle-earth. Beldor offers her a potent drink, but Eldien rejects it, saying that no wine can cure her sorrows. She speaks about “the nameless dark” (i.e. Morgoth, the great enemy of the First Age), and mentions having killed dragons in her time – note the plural: Eldien didn’t just get lucky and happen to kill a dragon once, she’s literally one of the greatest warriors in all of Middle-earth. But despite being so aware of evil, Eldien seems like she could be the perfect target for Sauron when he inevitably rises to power: in her desire to find healing and joy in Middle-earth, Eldien might be easily tricked into joining Sauron when he promises to rebuild the world, greater and more beautiful even than the Western lands of the gods. Like Sauron, she has ambition and seems driven by purpose. Unlike Sauron, though, she is a mother, something that is revealed at the end of the scene when Beldor tells her to go home: “if not for yourself…do it for your son”. Eldien grows angry and threatens to end their friendship if ever he uses her family against her again. Clearly, there’s tension between them, though it doesn’t seem to be romantic, which is a relief. Beldor, in fact, appears to be much younger than Eldien. He doesn’t recall the great wars against Morgoth, and Eldien tells him that he is blessed because, for him, evil is merely “pictures set in a glass of the cathedral windows” -an interesting comment, considering that cathedrals aren’t typically seen in Middle-earth: again, remember that all of this dialogue is probably fabricated – it’s just there to give a sense of the character.

And the sense that I get from the character of Eldien is that she’s a great, even legendary heroine, possibly on the level of Galadriel: or is it possible that she is, in fact, Galadriel? I know, I know, she references a son, and we all know Galadriel never had one: or did she? Tolkien himself revised and rewrote Galadriel’s backstory multiple times toward the end of his life, and in one version Galadriel was in fact the mother of Amroth, the prince of Lórien who would one day be immortalized in Legolas’ tragic ballad of Amroth and Nimrodel. I’m not saying this is the case here, but it is something worth noting.

Beldor’s version of the scene, acted rather less convincingly by Conor Fogarty, is confusing: Beldor approaches Eldien and tries to convince her to go into the West, as in the previous scene, but here his intentions seem sinister – he mentions that it is the will of “our chieftain” that Eldien must depart, and the pronouns he uses reveal that the chieftain is a woman, which is interesting. But neither he nor the chieftain have Eldien’s best interests at heart, it seems, since Beldor appears to be trying to get Eldien drunk – he tells her that he carelessly poured “fire ale” into her goblet, and as the scene ends Eldien asks him what he put into the drink: to which Beldor replies “Is it working?”. Suspicious! Is this a kidnapping that we’re witnessing in this scene? At first I suspected that Beldor could be the codename for Elrond, who fits the bill of being a High Elf warrior young enough not to have fought in the wars of the First Age but old enough to have a place of some importance in the early Second Age: but somehow I can’t imagine someone as wise as Elrond ever intentionally doing this to someone he considered a friend. The reference to a female chieftain is interesting, since it would appear to be Galadriel at first glance, meaning Eldien might not be a codename for the Lady of Lórien after all. Or is this chieftain a new, wholly original character created for the show?

Finally, we have Aric: a roguish, selfish trickster who is perfectly prepared to sacrifice anybody, even his own friends, to get himself out of a predicament. In his first sample scene, performed by Nick Hardcastle, Aric takes refuge with an unnamed woman who seems to have interacted with him before: the two are not on good terms, but could develop a friendship as time goes on, depending on how callous Aric really is – he certainly has no problems with deserting his own people to the whims of an unidentified but clearly unfriendly power. The woman tells him that he’s “monstrous”, and Aric simply replies that “there’s no room for mercy if one wants to survive”. He then turns the tables on her, asking her what her own choice will be: if she will cast him out or protect his secret in exchange for his own help. We don’t hear her answer, but it’s clear from the setting of the next scene that she agrees to help him.

We’ve gathered a lot of information about Aric already: he is the only one in the group of four who might be a human, and his storyline appears to take place during a time of warfare in Middle-earth: the people whom he betrays are refugees, “injured…a thousand miles from safety”. He speaks of soldiers, and hounds trained to hunt men. His demeanor suggests an antihero or ruffian: and everybody loves one of those.

Let’s take a look at the final scene. In this one, Aric and the same woman are traveling, and have just escaped a run-in with soldiers – but when Aric asks where the soldiers came from, his companion responds oddly: “There are many places in this world stranger than you can imagine, older than you ever visited”. Does this suggest that Aric and the woman might have run into non-human foes: orcs, perhaps, returning from the mountains to wreak havoc on Middle-earth? And how does his companion even know about them – unless she herself is not a human, but an Elf? Honestly, I can’t shake the feeling that her speech pattern strongly resembles that of Eldien, whom we already know might be forced to leave the safety of her Elven homelands: Aric himself is clearly wary of the woman, and asks her why she was “voluntarily separated from her squadron”. He also references the strength of her will and her pride, two things we can already establish that Eldien has in plenty; and he reprimands her for speaking in flowery language and not saying what she means – something that Elves are always being accused of in Tolkien’s works. Regardless of who she is, Aric’s own identity comes to light, at least a little, in this scene. He and the woman get to talking about “farlanders”, a strange term that might possibly refer to the Men of Númenor on their far-distant island in the Western Sea. These farlanders might not be great people, Aric seems to concede, but they aren’t the ones responsible for throwing him out of his home, leaving him with nothing. But he is resigned to his fate as an outcast, and he notes, as the scene ends, that he can’t do much about it without an army, anyway.

From this scene, we gain one or two details: firstly, Aric and his companion are on their way to a castle, though no reason for that destination is given. Aric notes that, even if they do reach the castle, his safety is not guaranteed, suggesting that he has a reputation as a troublemaker throughout Middle-earth. Who could he be? Is he, perhaps, Sauron in one of his many disguises, and is his companion then bringing him to one of the Elven refuges where Sauron fears he may be found out? Why, then, wouldn’t he simply try to kill this woman or turn her away from her determined course? If he is Sauron, then his tragic backstory is in fact a lie, though one with a grain of truth: he was thrown out of his home and left with nothing, by the decree of the gods. And it would be ironic if this were him paying no heed to the “farlanders” on their distant island, when Sauron would one day be responsible for bringing about the destruction of the island of Númenor and almost all its people.

In conclusion, we have four very interesting and unique characters here: Tyra, a lovable Silvan Elf who wants nothing more than to save lives and help people; Eldien, a High Elven warrior with poison in her heart, looking for peace in her time; Beldor, a loyal servant of his chieftain obliviously following orders, even if it means hurting a friend; and Aric, a rogue of unclear origins, moving through Middle-earth and leaving a trail of destruction wherever he walks.

I’m very interested to hear all your own theories about these four characters, and what you think of the dialogue and scenes. Share your thoughts in the comments below and keep your fingers crossed that Amazon Prime release some official news soon!

“The Lord Of The Rings: The Fellowship Of The Ring” Review!

Spoilers For The Lord Of The Rings Ahead!

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Happy Hobbit Day to all of my readers! Today, we celebrate the shared birthdays of hobbit heroes Frodo and Bilbo Baggins, chief protagonists of the fictional world of Middle-earth (you know, unless you’re counting the heroes of The Silmarillion, like Beren, Tuor, Húrin and Túrin, Lúthien Tinúviel, Eärendil, and so on). And because this is a movie blog, and not a book blog, I will be discussing The Lord Of The Rings movies rather than The Lord of the Rings novels in this post. Typically, I would only consider writing an extensively long post about a movie I disliked, but I have so much to say about these films, and so much of it is good (actually, almost all of it is good).

The Lord Of The Rings: The Fellowship Of The Ring, the first film in the classic trilogy, is the only one of the trilogy not to find a temporary home on Netflix this month, so you’ll have to purchase or rent it elsewhere if you want to watch it: here’s my review. I’m not going to be doing my usual hardcore fan-frenzy, where everything I write about the trilogy is unintelligible screaming, sobbing and wailing. Instead, I am going to write about the movie in a clear, concise way – with only a minimal amount of sobbing.

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To understand The Fellowship Of The Ring, and its place of pride in modern film history, you need to understand what it was at the time it first released in theaters on December 19th, 2001. Nothing like it had ever been done before – and to this day it is still regarded as a monumental achievement. When New Zealand native Peter Jackson, best known for low-budget horror films (and putting Kate Winslet on the map with Heavenly Creatures), was put in command of The Lord Of The Rings trilogy, outside viewers were almost unanimous in their condemnation of the undertaking. It seemed impossible that someone with such an uneven and unpredictable track record of small-scale hits and misses could possibly succeed in adapting English author J.R.R. Tolkien’s massive fantasy novel to the big screen: Jackson wasn’t merely being asked to direct a film; he was being asked to helm a trilogy of massive three-hour long movies, which had to be shot simultaneously in his thoroughly unprepared home country, with a combined budget of $281 million dollars: a trilogy that was already a huge gamble for New Line Cinemas, after a tiresome war with Miramax for the film rights.

But instead of bowing to the insane pressure, Jackson and his crew rose to the challenge, turning the sleepy city of Wellington into a movie-making capital; transforming a rag-tag ensemble cast into award-winning celebrities; developing groundbreaking technology that had only been dreamed of previously, in order to perfectly realize the fantasy world of Middle-earth onscreen. From 1997 to 2004, Jackson’s team struggled against unimaginable obstacles, such as studio interference, harsh weather conditions, miscasting, injuries, and even burning birthday-cakes, to bring the series to the screen: with a vast fanbase of Tolkien loyalists watching their every move, sometimes literally spying on their filming locations, Jackson’s team were expected to deliver a final product that was faithful enough to the source material, while also making the film accessible to general audiences. The payoff was beyond rewarding: when Fellowship Of The Ring premiered, it was an instant box-office, critical and pop culture sensation, becoming the fifth grossing film of all time for a while, garnering a 91% Certified Fresh rating on Rotten Tomatoes and universal acclaim from critics, and being recognized as one of the greatest and most influential films of all time. It also significantly impacted the economy of New Zealand and made the country a flourishing tourist destination, so it can put that on its resume as well. And, looking at the bigger picture, it reshaped the entire fantasy genre, whether on the screen or on the page, for years to come: all of the dozens of fantasy adaptations coming out in the next few years owe something to Peter Jackson – largely because of his unprecedented decision to make Middle-earth feel like historical fiction, fantasy is no longer synonymous with the cheesy, exaggerated sword-and-sorcery movies of the 80’s and 90’s, but is instead one of the most revered genres of art in Hollywood today, and one that continues to rake in mountains of cash: so much so that Amazon Prime Video is making their own prequel to the series, which will be a similarly-daunting, if rather more organized, task – with a budget nearing $1 billion dollars, that series is expected to be the most expensive show ever produced: another win for the Middle-earth franchise that all began with Fellowship.

So why did Fellowship strike a chord with viewers, soften the harsh hearts of critics, and unite almost all book purists and revisionists in a shared love for Jackson’s vision? Because it’s a great movie, that’s why.

Fellowship is based on a novel, one of the best ever written (in my very biased opinion), and hews closer to the source material than either of its sequels, or the Hobbit movies which followed later. In Fellowship, we can see Jackson, still hesitant about making major changes to book canon, using what he has and expanding upon it with truly incredible results: there are few of the wholly new characters and subplots that emerged later – rather, there are small additions to the lore, minor alterations, and some significant divergences that feel entirely at home in Tolkien’s world, nonetheless. There are missteps, and I’ll discuss them, but for the most part Fellowship doesn’t just resemble the classic 1954 novel, but its story structure is strongly evocative of a novel’s pacing, and layout. Let us examine: Fellowship, the movie, is essentially split into three parts, each roughly an hour long.

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The first hour of the film is slow, laced with a brooding suspense: it builds up a mystery of epic proportions, but makes it feel small-scale and intimate at first, allowing us just enough time to get to know our team of furry-footed hobbit protagonists in the warm, hazy environs of Hobbiton – before upping the ante and slowly weaving more and more high-stakes danger into the mix: the One Ring, just a glimpse of gold; the namedrop of Sauron; hints of the miserable creature Gollum (Andy Serkis); all of this while we’re supposedly just enjoying a birthday-party with Bilbo Baggins (Ian Holm) and his large family of nosy busybodies, rosy-cheeked gardeners and Proudfeet. But the mystery is constantly boiling up in the background: it grows in size, soon ensnaring Bilbo’s nephew Frodo (Elijah Wood). Suddenly, cheerful Hobbiton is no longer bright and sunny: the lighting shifts, becoming moody and atmospheric, almost reminiscent of film noir; or maybe that’s just the giant smoke-ring clouds drifting lazily through the air. Half an hour in, and Frodo is on the move, after learning that he possesses the weapon of the Enemy. The music shivers quietly with anticipation, foreshadowing grander themes to come. We meet Frodo’s friends, Sam (Sean Astin), Merry (Dominic Monaghan), and Pippin (Billy Boyd). The Black Rider appears in the Shire, and nearly catches Frodo as he feels the temptation of the Ring for the first time. The wizard Gandalf (Ian McKellen) is captured by his nemesis, Saruman (Christopher Lee), and imprisoned in a vast darkness speckled with the fires of burning trees and the glow of underground forges. Frodo and company arrive in the town of Bree, hoping to find Gandalf waiting: but all they find are strange, watchful men and tidings of the Black Riders that have arrived before them. This first hour concludes with two major events: Frodo putting on the Ring for the first time and seeing the Eye of Sauron, his enemy, wreathed in fire, piercing through mind and flesh – and his meeting, immediately after, with the hooded ranger Strider (Viggo Mortensen), who offers to help him: and then, ever so gracefully, eases into the next hour with Saruman’s monologue about creating an army worthy of Mordor, an army of orcs and gnashing steel; while, imprisoned on the tower above him, Gandalf seeks a way of escape. That first hour could be an entire movie in itself, it’s so well crafted: building the mystery, heightening the tension, constantly keeping our protagonists on their toes, uncertain and doubtful of their choices, is a brilliant move.

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In the second hour, the mystery moves to the back-burner: the Ring, having done what it needed to do, is largely hidden away now, ever present but concealed, a lurking threat – delaying the inevitable, Frodo keeps it out of sight, but in those rare moments where it is revealed, the results are disastrous: the Witch-King is made aware of it, and stabs Frodo, nearly killing him; Bilbo sees it in Rivendell for only a moment, and nearly attacks Frodo in a blind rage at seeing it worn by another; Boromir (Sean Bean) sees it twice, and handles it once, and that is enough to drive him into torment and madness; it nearly destroys the Council of Elrond. But while it is not less of a threat, it is less obvious than those presented by physical enemies: the second hour opens with the battle on Weathertop, and moves on through an epic fight at the fords of Bruinen to the high and lofty citadel of the Elven folk: nothing is simple anymore, and the hobbits are out of their element, surrounded by characters who are almost archetypes – Strider’s real name is revealed to be Aragorn, and he sheds his well-worn gear for more noble attire: we learn of his lineage, and his chivalrous romance with Arwen (Liv Tyler), the Evenstar of her people. Gandalf escapes from Saruman’s clutches, riding a literal eagle, and soars across panoramic mountains. The mood and atmosphere change again, and the world seems bathed in light – the music swells and exchanges the domestic for the grandiose. We move through landscapes straight out of a nature documentary, and into the vast caverns of the Dwarves, realized in vivid CGI. But in this huge world, it is Gandalf who brings us back down to earth as the second hour closes, in his whispered conversations with Frodo in the Mines of Moria, and his heroic self-sacrifice to save the rest of the Fellowship of the Ring. Frodo himself is nearly killed by a cave troll, an innocent and pitiful creature deluded by the Ring into attacking Frodo. This foreshadows events in the third hour rather perfectly.

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The third hour blends the suspense of the first with the epic action of the second, and delivers raw, emotional, character-driven drama: helpless after Gandalf’s fall, the Fellowship seeks refuge with the sorceress Galadriel (Cate Blanchett), but begin to split from within, as Boromir wishes to head back to his home country of Gondor – and it is now that the Ring suddenly reappears after its absence, haunting Frodo’s waking days and driving his friends mad with bewilderment: finally, when the Fellowship arrives at Amon Hen, it becomes too much for Boromir, who succumbs to the Ring’s allure and tries to take it from Frodo by force. Fleeing, Frodo stumbles in a blind panic, witnessing the devastating power he carries on a chain around his neck; he will destroy everything he loves, and everyone he cares about, if he does not act. Aragorn is almost tempted, and fights with his instincts for a few dreadful moments before letting Frodo go, and rejecting the Ring outright. At which point, I start crying, because this is when Boromir dies defending Merry and Pippin from Saruman’s orcs – the Chekhov’s gun that goes off with a fateful bang in the closing action sequence – and Frodo and Sam leave the Fellowship to continue the quest on their own. Hard choices have been made all around, the Fellowship is broken, hope is a faint glimmer on the edge of despair; and the movie is over.

There are minuscule flaws in those three hours of pure goodness, and they’re all nitpicks about diversions from book canon. For instance, something that constantly bothers me is the way that Barliman Butterbur looks over his shoulder at Aragorn when Frodo asks him about the strange man in the corner, instead of…(gets out battered copy of The Lord Of The Rings, flips to page 156)…“cocking an eye without turning his head.” Tolkien goes out of his way to mention that Butterbur doesn’t turn around, because Butterbur, the innkeeper, is already well aware of everybody in the place, who they are, and where they’re sitting, because he has to be. That’s the kind of thing that drives me insane in the movie. Nobody who hasn’t studied every page of the book would even notice this, but I have, so I do.

Anyway, the way that Jackson ratchets up the dramatic tension in this movie is insane, and the climax is rewarding and satisfying – and leaves you wanting more (thankfully, The Two Towers is just as, if not more, perfect in every imaginable way, shape or form). The choices he makes, centering the story around Frodo and his relationship with the Ring, giving both characters more agency in the story (for the Ring is a character), are brilliant. Even in that second hour, when Middle-earth suddenly expands from Hobbiton by the Water to a sprawling country of forests, mountains and scenic views, we are watching it almost always from Frodo’s point of view (the only real exceptions being Gandalf and Aragorn). And in Peter Jackson’s opinion, any scene in which the Ring is not the driving focus or at the very least an undercurrent is wasting time: which is why the hobbits’ whimsical escapades with Tom Bombadil in the Old Forest, a beloved part of the novel, was cut entirely from the films.

However, Jackson’s choice necessitated other changes to the source material, including one particularly controversial one: the characterization of Aragorn, one of the book’s noblest heroes. In Jackson’s films, in an effort to make Tolkien’s archetypal protagonist more sympathetic to mainstream audiences, and also to make the Ring even more powerful, Aragorn’s character is softened somewhat, and given a full character-arc – raised by the Elves under the care of Elrond (Hugo Weaving), Aragorn feels more at home with them than with his own people; weak, easily corruptible Men. In his veins runs the blood of Isildur, the man who fell victim to the Ring’s temptation thousands of years before and bound his descendants to the Ring’s fate – Aragorn’s distrust of himself, and his doubting of his own strength, is a key element of his character in the films, and it is what drives many of his actions: from his dangerous romance with Arwen, to his decision, at the end of the film, to resist the Ring and in so doing save both Frodo’s life and his own.

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Viggo Mortensen, thankfully, is a phenomenal method actor, and does a great job portraying the Ranger’s conflict. It is rather unfortunate that the screenwriters felt, going forward, that his character needed to be constantly elevated to the detriment of others, and, in The Hobbit, tried to copy-and-paste him over the character of Bard the Bowman. But it is understandable, when watching Fellowship, why they became so obsessed with him. I would even go so far as to say that Mortensen is the film’s MVP, bringing roguish charm, grace, dignity and his unique accent to every scene he’s in – he plays Aragorn’s internal conflict subtly, using small facial movements (and his wildly expressive eyes) to display unease.

Similar praise can be lavished on Elijah Wood and Ian McKellen, but not, unfortunately, Sean Astin: his portrayal of Samwise Gamgee is consistently one of my least-favorite things about the trilogy, unpopular opinion though that may be. Some of it may be attributable to Jackson’s directing, but Astin’s tendency to shout lines that don’t need to be shouted, or become exaggeratedly happy or sad, begins to make him look like a parody of the over-the-top animated Samwise in Ralph Bakshi’s 1970’s The Lord Of The Rings. He rescues himself in his final scenes with Frodo, but just barely.

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For the most part, the ensemble cast is very good: Sean Bean’s Boromir is sympathetic and pitiful; Holm, Weaving and Blanchett are endearing glorified cameos; Orlando Bloom as Legolas is decent, if a bit wooden; the only truly miscast character, in my opinion, is the Dwarf, Gimli. It’s not that John Rhys-Davies does a bad job in the role (how could he?), but the role itself should never have been tailored for an actor like him: in the novels, Gimli is proud, noble and mysterious until he begins to warm up to his traveling companions, and even afterwards he is still distinctly unusual to them, a bit of an underdog. In the movies, he’s brash, reckless and foolhardy, talks far too much, and is constantly the subject of unfriendly jokes (including the notorious “Nobody tosses a Dwarf!” punchline that continues to infuriate book purists to this day). If The Lord Of The Rings had been made after the Dwarf-centric The Hobbit, I think Jackson and his team would have been aware of this and would have cast someone more like Richard Armitage, their Thorin Oakenshield, in the role: but it was not, they did not, and we got Rhys-Davies.

The talent behind the camera deserves a special shout out. Peter Jackson, Fran Walsh, and Philippa Boyens put together an incredible, multi-faceted script that is true to the spirit of Tolkien’s work (despite the fact that neither Jackson nor Walsh had been fans of the book before starting the project) and makes for an excellent movie even viewed on its own. The film’s cinematography is absolutely brilliant – and Academy Award winning. Ngila Dickson’s costume department outfitted the Fellowship and their supporting cast perfectly (another special shout-out goes to Viggo, who insisted on wearing his Aragorn costume while hiking in the wilderness, sleeping in it, and even mending it to give it a more weathered look: did I mention he’s a method actor?). Weta Workshop designed countless weapons, prosthetics, miniatures, and props under the direction of Richard Taylor, and the now legendary craftsman Jens Hansen was commissioned to create the One Ring itself. Art directors John Howe and Alan Lee brought unique visions to the world-building of Middle-earth. Howard Shore composed a brilliant and emotional score for the film that is widely considered one of the greatest ever, while New-Age singer Enya lent her powerful vocals to the film’s iconic Elvish ballad, “May It Be”. The New Zealand government (both local and national) and army helped Jackson to build sets and gain access to filming locations, provided hundreds of extras, and later promoted the films with every available resource. The thought and care that went into every inch of film, fabric, concept art, set design, stunt-work, music and CGI is incredible.

And, while I’m busy writing this lengthy Oscar-acceptance speech for Peter Jackson, I may as well take a moment to honor the lasting legacy of J.R.R. Tolkien, the father of modern fantasy, whose story lives on through his novels, and through the succession of films, radio dramatizations, streaming shows and biopics that have followed. Say what you will about Peter Jackson’s decision to cut out Tom Bombadil, or give the Balrog wings, or the “dumbing down” of the author’s philosophical and pseudo-religious views, the truth is that his movie has taken Tolkien’s original message and spread it to an even wider audience. Sales of the novel skyrocketed in the wake of Fellowship‘s release. Tolkien became a household name for people who had never even considered reading one of his books.

Granted, there are still the poor, naive souls who think that Tolkien is “that guy who ripped off J.K. Rowling”, but it’s best to just ignore them.

"The Lord Of The Rings: The Fellowship Of The Ring" Review! 15
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Tolkien’s message in Fellowship is essentially the same from page to screen: he tells us that our lives are built around choices, especially hard and uncertain ones; choosing between right and wrong, between an easy way and a hard way, or worse, two difficult paths that lead to an unclear future. They are the choices we all make – the choice to adapt a 1,000 page novel into a three-part movie series, the choice to simply walk into Mordor with your gardener and a weapon of mass destruction, and….wait, you’re telling me you’ve never had to make those choices? Anyway, Fellowship is not a happy story, and it does not end happily for any of its heroes: sometimes, the choices we make have real, lasting consequences, and they’re not always good. But it is not an unhappy story either. It is about free will, and about the human privilege of being able to make decisions for ourselves: what a gift that is, that we take for granted! When Gandalf told Frodo, in the long dark of Moria, that “All we have to decide is what to do with the time that is given to us,” he spoke truly – we are granted a brief time on this earth to do something great, and to leave a legacy behind us. But choosing to do that is up to us.

And as for Peter Jackson? Well, he’s already done it.

Movie Rating: 10/10