Two seasons into Amazon’s multi-million dollar venture, The Rings of Power, it’s increasingly difficult to encounter a scene that subverts audience expectations. The seemingly perfect Halbrand, who aided Galadriel in the first season, turns out to be Sauron in disguise. Towns situated in the Southlands that seem unfamiliar in the grand scope of Middle Earth are eventually revealed to become Mordor. The “Stranger,” who arrives without any memory among a group of early Hobbits, remains enigmatic, though it is almost certain that he will transform into a well-known wizard from Tolkien’s lore by the onset of Season 2.
The Rings of Power is heavily characterized by an overwhelming sense of fate and predetermination. This aspect appears to be intentional, as the series, based on appendices from The Lord of the Rings curated by creators Patrick McKay and J.D. Payne, follows the rise of Sauron and the last alliance of elves and men at the conclusion of Middle Earth’s Second Age. Even if viewers are unfamiliar with all the specific terms, it’s clear that several plot points need to be covered: getting familiar with Sauron, understanding how he deceived the elves, witnessing the creation of the Rings of Power, and establishing the current conditions of the respective elf and human factions. Additionally, the series incorporates the pre-Hobbit characters known as Harfoots to fit in with the overarching narrative.
McKay and Payne exhibit a deep understanding of Tolkien’s mythology, providing a fair amount of enjoyment as they attempt to knit together the broader narrative. They ingeniously connect Mithril, the lore surrounding the Silmarils, and the greed that caused the dwarves’ downfall. However, much of the storyline is predictable from the outset, prompting the creators to engage in narrative strategies that stall the main characters’ development. The first season kicked off with impressive visuals and an ambitious cast, but momentum dwindled quickly. The show faced diminishing interest by obscuring the truth behind Charlie Vickers’s Halbrand character, despite viewers catching on to the twist early on. In the second season, Sauron reemerges disguised as the elven Annatar, a choice compounded by a questionable wig. Yet, Vickers’s performance remains subtly captivating, though the plot relies on implausible scenarios that prevent recognition from the elves.
At a distance, The Rings of Power has the elements of an exciting epic adventure. However, on a scene-by-scene basis, the show tends to be cautious and formulaic. The humor is largely absent, with the dwarves coming closest in moments where Owain Arthur’s Prince Durin lightly mocks Robert Aramayo’s Elrond. Still, the dialogue often feels overly ornate and sluggish. This might be indicative of Tolkien’s own style, but it could also be a downside to a narrative that focuses predominantly on nearly immortal beings. With Peter Jackson’s acclaimed film adaptations proving it’s possible to inject humor into the story without undermining its gravitas, fans of the franchise expect the same from this series. The most memorable moments in those films utilized quirky actions as a gateway into profound moments, unlike The Rings of Power, which often refrains from giving depth to its characters.
The show frequently remains stuck in broad narrative strokes, presenting moments of grandeur but often overshadowed by an overly dramatic score. While there are instances that satisfy certain fandom desires, such as the depiction of the Elves’ tree shining brightly reminiscent of the light in Valinor, many moments feel overly exaggerated. By comparison, the HBO series House of the Dragon, albeit dealing with a similarly predictable narrative, manages to create surprising character interactions within established history. While George R.R. Martin’s work starkly contrasts Tolkien’s, The Rings of Power could still learn from the way the former adapts character-driven scenes that enrich and deepen the narrative world.
Most of The Rings of Power’s exchanges feel utilitarian and filled with exposition. Tolkien’s writings are rich with metaphor, lore, and sung ballads, a nuance that seems absent here as characters deliver lines that feel too on-the-nose. As the second season unfolds, some improvement is evident, with storylines converging toward a climactic confrontation that allows previously isolated characters to meet. The show allocates its budget toward visually stunning battles and intricately choreographed fights, but it struggles with heavy-handed dialogue and overly obvious character reveals. This tendency takes up valuable space in a show that has so much of Middle Earth to explore, leaving many intriguing aspects of daily life and culture unexamined.
Ultimately, The Rings of Power lacks the imagination and texture that could elevate it beyond mere familiarity. Its main character, the Elf craftsman Celebrimbor, embodies this feel of redundancy as he strives to create the Rings of Power, attempting to capture the essence of the Silmarils—an endeavor that reflects a lack of originality and creativity.