THEY SHALL NOT PASS!

From the day I first watched Peter Jackson’s “The Fellowship of the Ring,” I, like many others, was instantly captivated by high fantasy and all things Tolkien. Over the years, I encountered a few brave souls who had read “The Lord of the Rings” before the films existed, and I found the idea of tackling such a large volume daunting. However, I eventually read the trilogy, “The Hobbit,” and even the books published after Tolkien’s death. So, learning that Amazon was investing an unprecedented amount of money to create a fantasy show to rival the zeitgeist-defining “Game of Thrones” was thrilling.

Amazon’s deal with Tolkien’s estate, costing $250 million, allowed them to adapt the appendices of “The Lord of the Rings,” not the main story but the detailed backstory to the events of the novels. The showrunners reportedly pitched the project in fluent High Elvish, demonstrating their deep passion for Middle-earth. Amazon promised a series faithful to the material, but as first-time showrunners, they seemed to have taken creative liberties to appeal to a broad audience. This strategy makes sense given the vast sums of money invested and the competitive streaming market targeting a global audience.

The casting reflects this global perspective, aiming for mass appeal across diverse demographics. Amazon also uses the show as a platform to promote its social values, ensuring that it checks certain boxes for inclusivity and sensitivity. Each episode’s script was likely carefully evaluated to avoid any trace of exploitation, old-world values of colonialism or imperialism, or negative racial and cultural stereotypes.

Payne and McKay, in their first credited roles, have undertaken the colossal task of bridging the Second Age references found in Tolkien’s appendices with original material. The result is a narrative tapestry that weaves together the forging of the Rings of Power, the rise of the Dark Lord Sauron, the fall of Númenor, and the last alliance between Elves and Men. This is not merely a continuation of Peter Jackson’s film trilogies but a fresh, yet familiar, exploration of Tolkien’s world.

From its inception, “The Rings of Power” was destined to be monumental. With Amazon’s acquisition of the television rights in November 2017, the commitment to a five-season arc valued at over $1 billion set the stage for the most expensive television series ever produced. This audacious investment reflects not only the financial stakes but also the immense pressure to deliver a series worthy of Tolkien’s legacy.

Despite its stunning production design, epic musical score, and some great set pieces, “The Rings of Power” falls flat compared to Jackson’s trilogy. The first season is laden with scenes of characters talking rather than action or peril. The fact that the show isn’t based on a particular Tolkien story but is instead an original narrative by Amazon’s creatives makes it feel like an amateur attempt at fan fiction.

For all the money spent, Amazon could have adapted Terry Brooks’ “Sword of Shannara,” which might have been more entertaining. The first season focuses on the forging of the Rings of Power, but without any dramatic use or theft of the rings. We’re not even at that point yet. The series aims to cover events from the creation of the rings to the final stand-off between the alliance of men and elves (where are the dwarfs and eagles?) and Sauron, but we already know the ending from the original trilogy.

This prequel issue makes it hard to invest in the story because we already know the ring’s fate. With the absurd amount of money spent, Amazon had the option to adapt other great stories from Tolkien’s catalog, like the epic love story of “Beren and Lúthien,” the tragic tale of “The Children of Húrin,” or the epic fall of Gondolin. These would have made excellent screen adaptations with self-contained narratives and interconnected events and characters far more interesting than anything Amazon could create.

It’s a personal preference, but I don’t particularly like it when other authors play in the sandbox of another’s work unless they make it their own. This series has too many cooks spoiling the broth, lacking a singular, coherent vision. Despite this, I enjoyed it, even though much of the material felt derivative, and many scenes were either silly or boring. The visual effects were superb, but it lacked a standout, all-out-awesome episode to seal the deal.

Hopefully, season two will raise the stakes. A good fantasy show needs compelling heroes and villains. While shades of Gandalf the Grey are welcome, the audience needs characters to love and hate.