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I’m writing this for two reasons. Firstly, processing things in writing sometimes lets me stop obsessively thinking about them and actually get on with my life, which has been a major issue for me this past week. Second, people keep asking me what I think of the show and who I think The Stranger is (which I won’t actually be talking about here, but short answer is one of the Istari, probably Gandalf, which doesn’t make canonical/historical sense but does make narrative sense, though the Blue Wizards make historical/timeline sense, based on drafts/notes – phew!). Anyway, it is exhausting and anxiety-provoking to give the same thoughts to people across different parts of my life repeatedly, so I am putting it all in one place, though I would not count on this every week. So. Transitioning to the essay, which will be heavily footnoted, just like the Professor himself. I am not sorry.



Thoughts on Rings of Power: Episodes 1 and 2


Rings of Power (RoP) has proved to be a different story than most of us could have guessed, given the scant scaffolding provided on the First and Second Ages in the The Hobbit (TH), The Lord of the Rings (LotR), and the LotR Appendices, those sources show-creators actually have access to directly use. (Admittedly, info on the Second Age anywhere is sparse, per not only Tolkien’s own admission in Letters but fans’ own scouring of the texts and drafts for scraps of lore.) In this post, I want to talk about some of the things I loved and did not love about the first two episodes of this particular adaptation. I will try not to get super into the weeds with lore here, because most people who follow me in these spaces already understand how this adaptation changed major plot, character history, and historical points. Instead, I want to talk about (a) my personal experiences with RoP, including (i) pre-watching anxieties and beliefs and (ii) watching- and fandom-related joys; and (b) my ongoing and developing thoughts about (i) Silvan and Nandorin representation in the context of intra-elven relations in the larger legendarium and (ii) concepts of gender reflected in RoP design choices.



Personal Experience


First, I want to talk about how I prepared for this adaptation, which is that I acknowledged it, ignored it, and then went feral with excitement (and debilitating anxiety) about it, all within the course of a one-year period. Anyone who knows me in fandom probably knows that–when I have enough energy to consistently engage–I try very hard to make the Tolkien world a welcoming place for people. As someone who was a child/teen in online Tolkien fandom as Peter Jackson’s adaptations were coming out (yes, I discovered fanfiction perhaps way too early), I was quite traumatized by some older, lore-heavy fans who vehemently corrected–and sometimes even subtly mocked–me as I was working my way through the appendices, the Silmarillion, and Unfinished Tales. I am therefore very passionate about civility (within reason–I draw the line at supremacist nonsense) in fandom spaces. Ultimately, I never want rejection or belittling–subtle or outright–to be how people experience Tolkien fandom, or even scholarship: gatekeeping helps no one. (Insert boost for the new blog TolkienFandomAgainstGatekeeping!).


Still, while I did preach kindness and encouraged welcoming behavior in the year preceding the release, I nevertheless experienced a lot of change-related anxiety as a neurodivergent person preparing for the potential fandom-related change bound to happen in online Tolkien communities as we processed the new show; dealt with some people’s real (and, admittedly, sometimes scary) rage regarding–and disingenuous attempts to thus derail the success of the show due to–race and white supremacy; and, finally, prepared for the influx of fans to the open system of online fandom. I had to take a break from actively engaging with fandom because I could not handle the constant RoP-related emotional stimulus from all sides. However, when I saw the final RoP trailer, their sweeping vision of Middle-earth blew me away–my anxiety morphed into excitement by the end of those three minutes. I did not sleep the night before it came out, and I had to take off work the days after to emotionally recover from it.[1] (I unfortunately do not make the rules for how, when, and why my brain is overstimulated.)


Appreciated Moments


At this point, I will transition to a few things that I absolutely loved. This section is less critical and lore-heavy than the following ones, but we will start with a pseudo-lore moment I loved: the symbolism of the opening scene with Galadriel and the other children. While the show cannot talk about the Kinslayings–which is hugely problematic to me from an elven relations and politics perspective (more on that later)–this scene is very clearly an allusion to the Kinslaying at Alqualondë and the burning of the Telerin swan boats.[2] Whether these children who are harassing Galadriel are actually her Feanorian cousins or not, we cannot guess for certain, as we don’t have a clear birthdate for most of the younger Finweans.[3] (Further, if we think about it too hard, things get complicated and confusing very quickly.)[4] Still, it was a nice little homage to the parts of history the show is not allowed to talk about–I teared up due to the beauty of the setting combined with the lore it evoked, which is a very near and dear part of the legendarium to me. That being said, I think that opening scene made some of the lore choices that followed hurt all the more for those of us who did immediately understand the reference, as it alluded to an imminent complexity and nuance that, for me, the show ultimately did not–and, frankly, cannot–deliver. Still, I liked it. Mostly.


Next, I appreciated moments of the dwarven representation, and every single moment of the dwarven design. Having been introduced to LotR prior to Peter Jackson’s (PJ’s) adaptation, I latched onto a few characters at a young age and, for me–for some reason–that was Legolas and Gimli. Gimli in the books is rational yet passionate but, more than anything, he is silvertongued and poetic. As much as I love John Rhys-Davies’ performance in the PJ films, the writers made some mistakes in their choices regarding his role as, almost entirely, comic relief. The representation in the dwarves of Khazad-dum/Moria in this adaptation goes some way in repairing the lasting image of dwarves that took hold in fan communities following the PJ films. I found the opening scene–in which the dwarves challenged Elrond to a…show of strength?–a little hard to follow and a bit strange and othering given the show is told almost entirely from an elven point of view thus far, but I was overall pleased. I found Durin III and Disa likable, and the scene at the kitchen table went a long way to endearing Elrond’s character in this adaptation to me, while cementing Disa as an excellent original character in her own right. Overall, the design team blew me away with their conception of Khazad-dum. The ferns hanging off the side of the cliff inside the entrance illogically moved me to tears, and the dwarven ingenuity represented by the pulley-based elevator system felt very true to how I have always imagined dwarves. My only hope is that Celebrimbor and Narvi have some screentime. Elrond can't have everything.



Finally, like almost everyone, I enjoyed the Harfoots. [5] While I have heard a lot of commentary about how “hobbits weren’t supposed to be involved in the major events of the Second Age!!”, I also think it’s worth reminding the world that (a) hobbit-like folk were living in the Vales of Anduin by the Third Age, and it would be absolutely bonkers to think they never interacted with or minorly influenced characters who do have a “documented” role if they had been out and about earlier; (b) almost everything Tolkien wrote about history is written “within” his Secondary World, i.e., by one of the characters he imagined kept historical records and, thus, there is likely inherent narrative bias to what we do “know” about the Second Age; and (c) wood-elves were mostly only mentioned in the context of the Second Age in relation to Sindarin and Noldorin migration and expansion, but no one is complaining about Arondir. (Okay, they are, but they’re complaining about him for racist reasons, not simply because wood-elves exist in this telling.)


Oh, and the music! I am not the right person to talk about the music, but that–combined with the gorgeous design and setting–will keep me coming back for the rest of the season, regardless of what happens.




Nandorin-Silvan Elves, Intra-elven Relations, and the Related Significance of Omitted Elven History


Now, on to the critique. Let me start by saying: this section is heavily influenced by the utter bewilderment I have felt over the past year trying to understand how a show can be set in the Second Age without rights to most of the material of the First. What is the point in making a show when you cannot actually adapt the material realistically? While that is not the point of this section, it is hard for me to disentangle, so it feels only right to mention it.


Since I started writing this review, I came across Itariilles’ own excellent review on elves in the first two episodes of RoP. I recommend reading her piece as I will not be rehashing the points she made here regarding Galadriel’s character and motivation(s) or the complexity of casting an actor of color as a Silvan elf, with particular attention to her sections “Galadriel’s Motivations” and “Fantasy Racism Against Elves.” To understand more where some of the frustrations expressed by Itariiles, myself, and many other fans come from, I would further, and selfishly perhaps, recommend reading the section Consequences of Resettlement: The “Sindarizing” of the “Wild,” “Lesser” Elves by the Sindarin Princes and Noldorin Exiles of Beleriand in my linked paper here. Because I cannot write this section without at least mentioning elven ethnicity and lore, I do suggest refreshing your brain if you are not familiar with elven cultural groups across the Ages; and then proceed while keeping in mind the following: “Within Tolkien’s elven worlds, these [elven] hierarchies are governed by (a) proximity to Aman and the Valar and, within Middle-earth, (b) proximity to the Noldor, with the Nandor and then the Avari being most distant. Characteristic phrases used to describe the Silvan and Avari are ‘lesser Elves,’ ‘lesser Silvan race,’ ‘wild,’ ‘savage,’ ‘rude and rustic,’ and ‘more dangerous, less wise’” (...me, 2021). [6]


Itariiiles’ does an excellent job outlining why it is odd Silvan elves would be reporting to the High King Gil-galad at this point in Second Age history. She additionally reviews the complexity of the showrunners placing the Tirharad (the human people we see in the Southlands parts of the episode) under Elven dominion. She notes, “A line said by a Silvan soldier reasoning their station over the men of Tirharad as ‘descendants of those who served Morgoth' is uncomfortable as it plays into the established trope of South/Eastern men being inherently evil which links into Orientalist ideas of the East being perceived as fundamentally Other.” This is something I want to take a step further. In this adapted world in which, presumably, Silvan elves answer to the “higher” Noldor, what does it mean that the Silvan folk are being used to carry out what essentially amounts to Noldorin occupation of Mannish lands?


I have a few issues with this, and it has taken me a while to really pinpoint why, and I’m still not quite there on expressing it and do not expect to be until I have more data from the show. Still, the first thing that bothers me about this setup is that–in this adapted universe–the Silvans reporting to the High Noldor creates unique issues across multiple contexts:

  1. If we are fans of the traditional legendarium, this choice in the adaptation puts the Silvan in an even more more subservient context that Tolkien’s explicit and implicit language originally placed them (which is highly impressive); and
  2. It tells us that within the adapted universe, the Noldor use another ethnic group–one traditionally ranked less highly–to carry out suppression and oversight of a third ethnic group.

This approach has not been uncommon in colonial and neocolonial history and, certainly, utilizing another group of people to establish and maintain strategic governmental and military control is part and parcel of imperialism. While all elves–in the ethnic hierarchy of Middle-earth–may be ranked higher than Men (due to being valued as firstborn by Illuvatar) and, thus, this oppression is not exactly lateral, it is still using one group of people to manage another, while the person in charge essentially handles war, decisions, and paperwork elsewhere.

Of course, all of this whining and speculating could be blown out of the water by something I could never have expected in this RoP universe as the episodes progress–in that they go “on record” changing the history of these ethnic and racial groups, or they reveal that the Noldor are already integrated with the Silvan at this point–but my hopes are not high. Itariiiles’ point–one also made by a speaker on the RoP reaction panel at Oxonmoot, as well (Fernstrike, S.R. Westvik)–still is not insignificant: What does it mean that the only actor of color cast as an elf thus far is a Silvan working for the Noldor, while all the Noldor we have seen–in the first two episodes, at least–are white? We cannot escape the potential impact, as choices in the Secondary World/in-universe are inherently consumed by those of us in this Primary World we share.


My next issue with the flattening of elven history and culture centers on the Sindar, part of the Teleri group to which the Silvan also belong. As Sky Eventide asked in her reaction thread (featuring my highly articulate response):



So then: where are the Sindar at this time? And the “Sindarin Princes of the Silvan Elves”? Given the fact that Durin III is alive and Eregion and Celebrimbor aren’t wasted or strung up, respectively, we can guess a timeframe of a few hundred years for the show, during which the Sindar are certainly out and about, depending on the draft/source (Celeborn in Lindon, Oropher & co. already settling with the Silvan across the mountains). And it is not as if the Sindar are forbidden by copyright to be discussed: Though Doriath is destroyed by the Second Age, it and Thingol are still discussed in the LotR appendices; there is a paragraph exclusively dedicated to how the Sindar migrated and integrated with Silvans in the woods during the time Gil-galad is High King [7]; and Nimrodel’s story and associated Sindarin and Noldorin woes are mentioned in LotR. Certainly it is not unreasonable that all this is a storyline that will emerge throughout the season (or the next four, which could ostensibly cover thousands of years), but considering the placement of Silvans beneath Gil-galad at this time, I am wary. Should Thranduil emerge (as Oropher is not mentioned in LotR or the Appendices)–or Amroth or Celeborn (who all also have messy histories across various versions and drafts)–what shall happen? Will the Sindar be placed under the High King’s jurisdiction? Will the Silvans who are not already, apparently, ruled by Gil-galad be lumped in with them, under the High elves, as well?[8]


I can only hope there will be some thoughtful delineation of groups and meaningful and realistic group dynamics based on Elven history and–gasp–even informed by modern political science, social psychology, sociology, or migration studies. Even if the “why” is not immediately apparent in the show, interested viewers can easily look up the backstory and, thus, the show avoids unintentionally rewriting cultural histories (which, real history or not, is tiresome), a constant risk in stories with colonial and neocolonial settings/actors. Ultimately, my biggest concern as a person who thinks way too much about Elven ethnic hierarchy and social stratification is that instead of using the actual history of elven migration, conflict, and the long-lasting effects of the Kinslayings to explain the creation of differing elven realms, the very same effect will be attempted in another manner, i.e., by pinning a split from the Noldor as a personal flaw or choice of some yet unknown Telerin leader, or by having Silvans rebel against Gil-galad’s leadership and thereafter align themselves with certain Noldorin-type leaders (e.g., Galadriel and Celeborn) or Sindarin leaders with skeptical attitudes toward all things High Elven (e.g., Oropher Thranduil).[9] I can see these approaches making narrative sense based on some things that have already been set up in the first two episodes. However, I am still giving myself permission to be skeptical about it and to also just… not particularly like it.


Now, of course, all of this relates to that omitted Elven history, one genre of omission more glaring than all the rest: the flight of the Noldor, the Oath of Fëanor, and the three Kinslayings that followed. The inability of showrunners to incorporate, or even really reference, these events surrounding the Silmarils is disappointing. War is complicated and, to most sides, generally unjust for one reason or another, which is certainly something viewers can relate to. Furthermore, flawed characters are interesting, even if they are flawed because they participated in or failed to actively oppose actions most would now consider unthinkable. Still, the political intrigue and narrative arcs that facilitate this kind of in-universe justification of atrocity in fictional worlds has long been a compelling storyline in myth, religion, and fiction alike. Even Galadriel’s character could be complicated by acknowledging this complex history, or–given copyright limitations–at least creating some alternative scenario that evokes the same historical complexity that the entirety of the First Age embodies, pitting elf against elf against man against elf, all of which barely pales in comparison to The War of Wrath. Galadriel’s behavior in “The Noldor in Beleriand” chapter of the Silmarillion during her conversation with Melian of Doriath (about why the Noldor returned from Aman) lays the groundwork for the type of high political drama this show could evoke, regardless of copyright.[10]


Ultimately, while Tolkien is well-loved by many due to his skill–intentional or not–in creating morally ambiguous characters, perhaps the showrunners are not prepared to address such complexity on screen. As those of us in the Silmarillion fandom know, discussing the human–elf?–rights violations at Alqualondë, Doriath, and Sirion can be tetchy [11], and inviting such tension to a show in the midst of the political uproar surrounding its very existence may have been too much to expect. However, because so much of elven history and hierarchy is situated within splits and migrations directly associated with the story of the Silmarils, it does feel that we are being cheated–especially fans of the Telerin Sindar and Silvan–of the complex story the elves deserve.



This Section Was Supposed to Be: Gender in the Primary and Secondary Worlds of the Original Legendarium and the RoP Adaptation


In this section, I meant to define Primary and Secondary Worlds according to Tolkien’s definitions in “On Fairy Stories,” weave a pretty little tale, and then right-left-punch you with the historical, modern, and in-universe implications of the weird decisions the show made about women.[12] While there is a lot to be said about the racial and ethnic implications of costuming decisions, this post was going to specifically focus on gender, clothing, and gender-related roles in those first two episodes.[13] I was also going to discuss gender-related costuming and cultural-cult-religious implications in some of the other imagery here. (Rest assured, I am certain I am not the first person who did a double-take at that boat scene.) However…. I am tired, I have a project for my research supervisor due tomorrow, and I am not going to let something I love (Tolkien) give me a mental breakdown once again, so I am abandoning that original plan. Instead of a well-crafted section, allow me to ramble at you about gender and, canonically, why I think the elven women in Lindon are ridiculously designed.


Now.


Tolkien and his legendarium were never the height of gender equality and progressivism, but they were also not exactly the worst, if we ignore the fact that he didn’t particularly care for short-haired women wearing pants (Letters) and also that he thought–at least at one point–that elven woman would be pregnant (and thus secluded from larger society??) for 100 years (Nature of Middle-earth, 2021). (Yeah, that’s absolutely bonkers, I know.) However, the text most fans have relied on for years–and which is not directly contradicted in NoME–is “Laws and Customs of the Eldar,” or LaCE in fan parlance.[14] LaCE fairly explicitly describes the similarities and differences between elven men (neri in Quenya) and women (nissi in Quenya), as reported by an unknown Mannish loremaster. Tolkien (said loremaster) writes:


In all such things, not concerned with the bringing forth of children, the neri and nissi (that is, the men and women) of the Eldar are equal - unless it be in this (as they themselves say) that for the nissi the making of things new is for the most part shown in the forming of their children, so that invention and change is otherwise mostly brought about by the neri. There are, however, no matters which among the Eldar only a ner can think or do, or others with which only a nis is concerned. There are indeed some differences between the natural inclinations of neri and nissi, and other differences that have been established by custom (varying in place and in time, and in the several races of the Eldar). For instance, the arts of healing, and all that touches on the care of the body, are among all the Eldar most practised by the nissi; whereas it was the elven-men who bore arms at need. And the Eldar deemed that the dealing of death, even when lawful or under necessity, diminished the power of healing, and that the virtue of the nissi in this matter was due rather to their abstaining from hunting or war than to any special power that went with their womanhood. Indeed in dire straits or desperate defence, the nissi fought valiantly, and there was less difference in strength and speed between elven-men and elven-women that had not borne child than is seen among mortals. On the other hand many elven-men were great healers and skilled in the lore of living bodies, though such men abstained from hunting, and went not to war until the last need.


As for other matters, we may speak of the customs of the Noldor (of whom most is known in Middle-earth). Among the Noldor it may be seen that the making of bread is done mostly by women; and the making of the lembas is by ancient law reserved to them. Yet the cooking and preparing of other food is generally a task and pleasure of men. The nissi are more often skilled in the tending of fields and gardens, in playing upon instruments of music, and in the spinning, weaving, fashioning, and adornment of all threads and cloths; and in matters of lore they love most the histories of the Eldar and of the houses of the Noldor; and all matters of kinship and descent are held by them in memory. But the neri are more skilled as smiths and wrights, as carvers of wood and stone, and as jewellers. It is they for the most part who compose musics and make the instruments, or devise new ones; they are the chief poets and students of languages and inventors of words. Many of them delight in forestry and in the lore of the wild, seeking the friendship of all things that grow or live there in freedom. But all these things, and other matters of labour and play, or of deeper knowledge concerning being and the life of the World, may at different times be pursued by any among the Noldor, be they neri or nissi.


(Morgoth’s Ring, HoME 10).


So then, why does elven gender in RoP weird me out a little bit, Galadriel–and her complicated characterization–notwithstanding? (And, yes, it was necessary to include the full quote to only point out how much more ridiculous what follows is.)


This:



Why are all the attendants female? And why are they all dressed like this in the background? Where are the rest of the women? Are they locked away, pregnant? Did we take NoME that seriously?


Bizarre.



Conclusion


In the big scheme of things, I suppose I was mostly pleasantly surprised. It was entertaining to watch for the scenery, settings, and music; and I was moved to tears by some of the beautiful cinematography–I’ll continue to be giddy about the scenery and design whether I want to be or not. I also think it is very important that BIPOC were included in casting. However, I am not going to hold out on feeling the story of the Second Age was done justice. I will–forever and always–always be hung up on Silvan representation.[15] But, unless something truly egregious happens, for now I am okay with a mediocre and mildly frustrating storyline.



FOOTNOTES
1. I have still not recovered, so this will be a long 1.5 months.
2. Not to mention the boats she will oneday have in her own realm, in Lothlorien.
3. As Sky Eventide notes in her reaction thread on Twitter, the scene even includes one red-headed child, which may be harkening to Maedhros, though Amrod or Amras might be more realistic given I would expect Maedhros to be the ringleader of the band, were the red-headed child meant to be him.
4. See Itariilles’ piece and my own linked paper for more on this. It is confusing to think about in the show context because while Galadriel thinks the kinslaying are unfortunate and does not take an oath like Feanor and colleagues, she doesn’t think her Feanorian cousins are crazy for wanting to return to Middle-earth, though her motivations to return are different (yay colonialism). Again, see links.
5. Though an Irish Times article provides an interesting critique that, as an American many generations removed from Ireland, I would never have noticed. As someone who often complains about fandom’s jokes about wood-elf and Silvan culture/language as a stand-in for less cultured “hick” accents and cultures, the linked article really moved me and put these European-based English choices into perspective for me. And it also spoke to the odd feeling I got as I noticed that while watching, once again, an adaptation used different accents that are cultural- and class-marked in the ‘real world’ to sort of delineate place in Middle-earth.
6. And yes, some of this quoted language comes from material the show has explicit access to.
7. Keep in mind, this is only ONE version of Sindarin migration. Tolkien wrote more on this across his lifetime that is not reflected in the Appendices as published. See my linked paper for more on this.
8.  Dare I even ask if the show plans to somehow reference a group of elves like the Avari, given the showrunners’ interest in the Southlands thus far? I don’t know if my poor heart could handle the stress…
9.  Which conveniently echoes Oropher’s choice during part of the Last Alliance that left his people wildly diminished…
10. A political intrigue which we have seen snippets of, perhaps, with Elrond’s character–it’s just not a tension and positioning I can, yet, easily follow. I don’t ‘get’ this world well enough yet to do so.
11. I, too, have been guilty of this, as someone who spends way too much time thinking about the Sindar. While I am still very much opposed to atrocity crimes in our real world–obviously, it’s literally my job–I have come to see the issues of the Silmarils as more complex than I once did, taking into account cultural and political motivations for character behavior. (Though that has not stopped me from writing Sindarin accounts of the Kinslaying at Sirion to balance things out, “victors write history” and all that.) I have some patient acquaintances to thank for helping me develop a more complex view on Feanorian behavior in the First Age.
12. Do not judge me. I know nothing about boxing terms and I made that up.
13. Again, please read Itariiles’ piece (specifically the section “Neoclassical Aesthetic Given to the Noldor and its Unfortunate Implications”).
14. And, if you want to get really particular, one of the two drafts of LaCE is titled: “OF THE LAWS AND CUSTOMS AMONG THE ELDAR PERTAINING TO MARRIAGE AND OTHER MATTERS RELATED
THERETO: TOGETHER WITH THE STATUTE OF FINWE AND MIRIEL AND THE DEBATE OF THE VALAR AT ITS MAKING”...

15. And yes. I have lived through PJ’s TH. I will survive it again.

Acknowledgements: Thanks to my acquaintances from the Silmarillion Writers’ Guild/Dreamwidth for encouraging me to finish writing this after I became discouraged. And thanks to my new acquaintances at Alliance of Arda for being interested in what I have to say. I would have just stewed in my anxiety without outside prompting to write this silly little thing that I actually really wanted to write.

About me:  I think knowing where a writer is coming from is helpful and ethical for opinion pieces. I’ve been in love with Tolkien’s world since 1998, and I had a dual book and movie entry into online fandom in the early 2000s. I took a break from lurking in fandom (though my obsession with the lore continued on my own) from about 2010 to 2014, and then began posting my own fanwork online in 2015, though I didn’t dive back into active participation in the larger Tolkien fandom until around 2020. I identify as queer and white, though I have ancestors of color, and I am neurodivergent. I grew up in Appalachia (a cultural and geographic region of the United States), and I spent five years working in family violence and child maltreatment settings. I have studied Sociology/Anthropology (focus in queer studies, media studies) and elementary education (undergrad); Latino/a Studies, Intervention Science, Child Studies/Psychology (masters); and Human Development (ongoing PhD). My “real world” research focus is at the intersection of traumatic stress, human rights (migration and asylum), and child memory/cognition. (Also I love plants and my dog. Also I try very hard to temper my wood-elf biases, but it's been a decades long love affair, so there is only so much one can do.)



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