After two seasons, Amazon’s significant investment in The Rings of Power reveals a narrative that often conforms to expectations rather than subverts them. Characters like Halbrand, who initially seemed heroic alongside Galadriel, were later unveiled as Sauron in disguise. Locations that appear innocuous in the Southlands are ultimately revealed to be integral to the creation of Mordor. Even the mysterious “Stranger” is teased with an identity transformation into a well-known wizard from Tolkien’s lore as the second season begins.
The series is defined by a sense of predestination, which is arguably a deliberate storytelling choice. Based on the appendices of The Lord of the Rings, the show explores Sauron’s rise and the alliance of elves and men during the Second Age of Middle Earth. For viewers, even those unfamiliar with the detailed lore, there’s a clear emphasis on key plot points: understanding Sauron, witnessing his manipulation of the elves, witnessing the creation of the Rings of Power, and following the lesser-known Harfoots.
Creators Patrick McKay and J.D. Payne exhibit a strong understanding of Tolkien’s expansive mythology, cleverly linking elements like Mithril to the legendary Silmarils, despite lacking the rights to fully explore The Silmarillion. However, as the plot unfolds, the narrative becomes predictable, with the first season quickly losing momentum. The prolonged concealment of Halbrand’s true identity became tedious, and by the second season, Sauron reappears as the elven Annatar, wearing an unconvincing wig while still managing to evade recognition from knowledgeable elves.
The Rings of Power boasts the potential for a captivating adventure, yet individual scenes often feel formulaic and lacking spontaneity. Humor is rarely present, with the dwarves offering the closest moments of levity, but the writing is often dense and unyielding. Unlike Peter Jackson’s film trilogy, which expertly balanced humor with weighty themes, this series struggles to achieve a similar tone. Instead of connecting through small, funny moments, the series relies on broader strokes that lack the same impact.
The show sometimes delivers visually stunning moments, such as the glowing Elves’ tree reminiscent of Valinor, although these scenes are often accompanied by an overpowering musical score. In contrast to HBO’s House of the Dragon, which managed to introduce surprising character developments amidst predetermined narratives, The Rings of Power seems restrained, with characters rarely engaging in spontaneous, dynamic exchanges.
Dialogue throughout The Rings of Power tends to be straightforward and expository, simplifying Tolkien’s intricate world of metaphor, lore, and language. Characters hardly reflect on their places within the larger mythos of Middle Earth, reducing the richness of the story to mundane statements about production increases or cryptic reassurances of their innocence.
Despite some criticisms, the second season does improve, gradually weaving together various plotlines toward an impending confrontation, allowing disparate characters to come together. The significant budget allocated to the series is apparent in the larger battle sequences and a well-crafted duel between Galadriel and Sauron. Nonetheless, the series continues to struggle with excessive monologues and overly obvious character reveals. This tendency detracts from the vastness of the Middle Earth universe, leaving many intriguing facets unexplored.
The Rings of Power, while familiar and methodical, lacks the creativity and depth that could elevate it beyond being a mere retelling. Its narrative mirrors the plight of Celebrimbor, the elf craftsman, who attempts to create the Rings of Power with Mithril, reflecting something akin to the lost light of Valinor. The series thus becomes a replication of Tolkien’s original works, diminishing its originality and creativity.