#Sauron

[dreamyourselfxbackagain]

Look who just woke up- is that CHARLIE VICKERS? No, I must have been mistaken, that’s SAURON from LORD OF THE RINGS. I heard they are APPEARS 31 and stuck here just like everyone else. Even in the 20’s, he still give off a the road to hell is paved with good intentions, always wanting more, confidence that could kill, five steps ahead, the nightmare you tell your children about impression. But here, they are working as A POLITICIAN. They’re known to be quite CHARISMATIC & PATIENT, but have a tendency to be MANIPULATIVE & CRUEL on their bad days.

Gender/Pronouns : Male / he/him

How long have they been in Sydney : In his memories, 3 years. In reality, 2 months

Which suburb do they live in? Darling Point

Personality description : 

Strangers - he is a little cautious with strangers. He knows given his job people dislike him sometimes, but he won't try and be rude straight away. Often he will try and charm. He will definitely manipulate

Casual friends - He is still cautious, though a lot more relaxed. If he needs to manipulate them then he will, but for the most part he is at least pretending to just be a normal person

Loved ones - he has very few of those. Though he does try to be honest, more often it comes over as he can give them power, not always something they want.

Enemies - adding this one, because a lot of people aren't going to like him. He doesn't really care too much about that, if people need a villain he is happy to be it. If only because he knows now, no one really is going to listen to him.

Memories of their real life : 

The road to hell is paved with good intentions, and once upon a time a Maia named Mairon did have good intentions. Created by Eru, he was good and uncorrupted. However he wanted order and perfection, and soon realised the quickest way to archive this was by working with Morgoth. To begin with, keeping this a secret so he could gain information but before the end of The Years of the Lamps, his true intentions were revealed. Mairon was no more, instead he became Sauron.

Throughout the First Age Morgoth unleashed terror onto Middle Earth, with Sauron doing his bidding. During one battle, he picked up an insignia off a dead man. However after a defeat, he all but vanished. Morgoth was defeated, and Adar claimed he had killed Sauron due to his cruelty to the orcs.

Perhaps the story would have ended there. Sauron had indeed survived, but now lived under a fake name Halbrand, claiming to be a man running from orc attacks. He wanted to repent for what he had done, but also knew very few would believe him. It may have worked, if Galadriel had not ended up on the same raft.

They ended up on Númenor, where she learnt the insignia he carried belonged to the King of the South. He told her the truth, that he had found it on a dead man, however she didn't believe him. Meanwhile he became a blacksmith, his intent was to remain in Númenor, a peaceful life. But Adar was in the Southlands, and the thirst for revenge soon became overpowering. However when they did return, Galadriel prevent him from getting his revenge, believing Adar could tell her where Sauron was.

Míriel informed the people there that he was their long lost King, and suddenly a feeling he hadn't had in a long time came back. Power. If they were willing to give it to him so easily, perhaps it would be enough. But then Orodruin erupted and he was gravely injured. Whilst he wanted to stay and fight for the Southlands, Galadriel realised he would die from his wounds, and they left.

In Ost-in-Edhil he said something, phrases she had heard Adar use about Sauron, and she finally realised Halbrand was Sauron. After a confrontation he left, returning to the Southlands.

What was their fake life like:

Born into a normal family, it didn't even occur to Sauron to want for power. He was planning to spend his time as anyone in the 1900's would. Except a war broke out.

Like many his age, he ended up serving and it gave him a hatred for how the world was if this was what could happen. There was also horrors he saw out there. In his eyes, the world needed to change and likely the current one would need to burn for that to happen.

On returning, he opted to go into politics, starting at the bottom and slowly working his way up. He wanted to make the world better.

But then his memories came back, and suddenly he had centuries of memories. Had he been wrong before? With getting his memories back at the same time Mairon's thoughts were strong again, as were the ones of wanting redemption. Yet hadn't his point been proven here as well? The world cannot change unless it is broker first.

Optional, please pick at least three and interpret them however you wish ::

Location they work in: Parliament House

Theme Song: Gonna Know My Name - Diamond Dust

Quote: You don't know what I did, you don't know how I survived

[oftimeslostlongago]

welcome to london, SAURON! did anyone ever tell you that you look just like CHARLIE VICKERS? well, no matter, we hear that you are AGELESS and working as a JEWELLERY STORE OWNER. we also hear that you currently HAVE your memories from RINGS OF POWER/LORD OF THE RINGS and have a tendency to be CHARMING as well as MANIPULATIVE.

The road to hell is paved with good intentions, and once upon a time a Maia named Mairon did have good intentions. Created by Eru, he was good and uncorrupted. However he wanted order and perfection, and soon realised the quickest way to archive this was by working with Morgoth. Throughout the First Age Morgoth unleashed terror onto Middle Earth, with Sauron doing his bidding. During one battle, he picked up an insignia off a dead man. However after a defeat, he all but vanished. Morgoth was defeated, and Adar claimed he had killed Sauron due to his cruelty to the orcs. Perhaps the story would have ended there. Sauron had indeed survived, but now lived under a fake name Halbrand, claiming to be a man running from orc attacks. He wanted to repent for what he had done, but also knew very few would believe him. It may have worked, if Galadriel had not ended up on the same raft.

As the Second Age went on, Sauron hid for a while, waiting for people to forget about Morgoth, whilst he established himself in Mordor. He was even able to befriend some elves, using them to help create the Rings of Power. It had been a clever trick, but went wrong when Isildur stole the ring. For a while he lost his body, and he lay in wait until enough of his strength came back. He then became known as the Necromancer. He used an old name, the lidless eye, a symbol that spread throughout, including on top of his own fortress. And then the ring was found. Though he sent his forces to reclaim it, in the end the ring was destroyed, and his fortress fell. Though he wasn't killed, his power and physical form was gone.

Then he woke up in London in a physical body. One that appeared as a face he had used years before, Halbrand. He tends to use that name as even people from his own land don't really know it unlike some of his other names. Right now, he doesn't need to do anything, in his eyes man are doing as man always do and destroying themselves.

[nenyabusiness]

"Last Temptation"

After episode 4 and the possible flash-forward, I just need to talk about this soundtrack. We haven't heard it in the show yet, and I'm pretty sure we're going to have to wait until the season finale. Bear McCreary is a master at combining leitmotifs to musically represent a scene, and I truly believe that this is the track that will play during the inevitable confrontation between Sauron and Galadriel.

Spoilers ahead for potential predictions, because I'm breaking this fucker down.

We start out with a soft soprano humming the melody of "Where The Shadows Lie". For those who don't remember the full version from the first season, it's the one with lyrics:

Three rings for the Elven kings under the sky Seven for the dwarf lords in their halls of stone Nine for mortal men doomed to die One for the dark lord on his dark throne In the land of Mordor where the shadows lie One ring to rule them all, one ring to find them One ring to bring them all, and in the darkness bind them In the land of Mordor where the shadows lie

So far, we've already heard this melody quite a bit, since it's often played when something sinister and ring-related is going on. It also plays with a full symphonic orchestra during the Annatar reveal in he soundtrack called "Emissary at the Forge", which I'd personally say is actually Annatar's theme. I could go on a rant with that one to, but to put it briefly: We've got "Sauron" and "Where The Shadows Lie" played on Elven-coded instruments. Does it get more Annatar than that?

Okay. So. The scene opens with dark ring shenanigans and/or Annatar. It's dark. It has tension. It's the eerie calm before the storm.

At 0:40, the mood changes. We get strings, followed by male choir and sharp brass, leading us straight into Sauron's theme. It's not as chaotic as "Sauron" from season 1. We have a steady 4/4 rhythm compared to the whatever the hell is going on in the original theme. The core melody and the ostinato on the strings are unmistakable though. We're dealing with Sauron.

1:05 is where things start to escalate. We move between sharp female vocals and softer orchestral interludes that almost seem to fight each other, leading up to the magnificent 1:36. Galadriel's leitmotif on brass, with a note lowered just a half step to give it dissonance. If "Emissary At The Forge" is Elven-coded "Sauron", then this is Sauron-coded "Galadriel". It's not ethereal. It's not harmonic. It's intense, and I can't wait to see what Galadriel is actually doing here during this part. Fighting, most likely. Viciously.

After a brief breather, we reach 1:59 where Sauron's leitmotif returns, sung by a single soprano. No string ostinato. Just the main melody, performed with the same eerie vibe as "Where The Shadows Lie" in the intro. The orchestra builds, losing some dissonance as more instrument joins... and then we're suddenly back in a much more triumphant version of Galadriel's theme at 2:25. Something has shifted here. The dynamics are different. Maybe she's getting the upper hand? But here comes the kicker, Sauron's ace up his sleeve: Halbrand's theme.

A soft whisper of a dulcimer breaks free from the symphonic orchestra at 2:30, followed by a Nordic nyckelharpa at 2:35. There are hints of Halbrand's theme in other season 2 tracks too, but not like this. We're not just dealing with elements of Halbrand's theme here. This is Halbrand's theme, with the original instrumentalization. In episode 4, we catch a glimpse of Sauron in a flickering montage of images, looking almost exactly like he did during the battle in the Southlands. I strongly suspect that when we get to that scene, it's going to be backed up by this exact part of the soundtrack. It lasts for almost half a minute. The battle has been put on pause. Has Galadriel's feelings for the man she thought she knew caught up with her? Something emotional is happening here. Something that involves their time together, back when they were still allies.

At 2:56, the battle is on again. The sharp female choir is back, sounding even more erratic. More urgent. Galadriel's leitmotif returns, now with the right note but at doubled speed. She's retaliating.

The next major point happens at 3:47, where things suddenly go quiet. We shift into Sauron's leitmotif on soprano again, which transitions into Galadriel's, and then back to Sauron's. It's really, really smooth, and I can only applaud Bear for the execution. The themes should be incompatible, but nope, he makes it work.

At 4:53, something really interesting happens. Both "Sauron" and "Galadriel" have string ostinatos. Ostinatos are short, reoccurring melodies, and Bear often use them to back up the "main" motifs. At this time stamp, we're hearing a new ostinato that sounds an awful lot like Sauron's and Galadriel's combined. It's not as dissonant as Sauron's, but it's not as clean as Galadriel's either. I can still hear both in it, though. We're no longer just shifting back and forth between the soundtracks - they've actually merged. I have no clue what that means but I can't wait to find out. Is this her "Last Temptation"? Did he give her the same proposal again? Is she tempted?

The music builds again. At 5:27, we hear a short, explosive burst of Galadriel's theme on brass baked into an epic soundscape. Whatever it was that just happened, she's snapped out of it. She faced her temptation and turned it down. We hear the direct result of this at 5:39, where we get Sauron's theme sounding a lot more like the one from season 1 again. No more soft soprano. We're back to male choir. (I think it's worth mentioning that traditionally, male choir more evil-coded than female, so that's neat.)

If there was ever any doubt whether or not she resisted the temptation, we get a confirmation at 6:03. Galadriel's theme on harp, backed up by a soft female choir. She chose the light. Again.

The final half minute is orchestral, but the battle is over. There's peace. A touch of triumph, a touch of melancholy, but there's definitely peace.

Okay. I think I'm done. Bear is a genius so I'm sure there are even more easter eggs in there, but these are the ones I caught.

EDIT: During that final half minute, we actually get a bit of Elrond's theme. Is he the one who interrupts the altercation? Is that how the fight comes to an end? I'm really interested in seeing how that plays out. TLDR: Bear created a Sauron/Galadriel/Halbrand medley and I'm in awe.

[rebelrebelwrites]

My messy thoughts on season 2 (all three episodes) so far below the cut

- LOVE the way Sauron formed his body. Absolutely horrifying.

- Charlie Vickers is terrifying; other Sauron actor was good but his baby face didn’t help matters. I wish they’d just put a different wig on CV because DAMN; he unsettles masterfully. Could not keep my eyes off of him in episode 1. He was riveting.

- I do read Sauron’s intro in episode 1 as he was both genuinely considering or striving for repentance, but also the ultimate opportunist — stealing the king of the southlands mark, then all he does with Galadriel. Truly I think Sauron is better as the ultimate opportunist capable of great planning and machinations, but it’s not believable unless he’s handy at a pivot

- I realized that BOTH Sauron and Galadriel were mutinied against (which like, I don’t know how I didn’t think of that until seeing it because it’s not like we didn’t know generally what happened); more reason to believe that their connection was real and not deception. He meant the things he said in the forge scene on some level, and you cannot convince me otherwise

- Again, CV absolutely kills every scene/moment with Adar. The hatred and desire for revenge and scheming; it’s all palpable. Him and Sam H. also have electric chemistry. I greatly enjoyed all his scenes in Mordor in Ep 1

- I’m absolutely living for all of the angst even though it hurts. Elrond, Galadriel, GAL MISSING HER BOYFRIEND… (and being equally terrified of what she’s done/having let him in)

- THE FLASH TO THEIR MOMENT IN THE FOREST FROM UDUN WHEN GAL IS TRYING TO CONVINCE ELROND TO COME WITH HER! I died

- The lead-up to Annatar’s reveal was so good. Sauron is way too good at what he does.

- Okay the vision with celebrimbor plus whispers of Galadriel was great but I need more mind palace shenanigans ASAP

- This show is really gonna make me root for Isildur isn’t it (not like I wasn’t but I am enjoying seeing more of him, especially saving Berek. Horse girl at heart, just like his dad and descendant)

- Earien is making me mad but Valandil gave me LIFE

- poor Miriel. And Elendil. And Theo and Arondir 😭

- Charles Edwards is also doing wonderfully. I especially appreciated his subtlety in episode 3

- Disa and Durin are again faves. Love how Durin was immediately sus of Annatar

- I am very worried for Nori and Poppy but also I know they’re fine. It’s almost weird hearing The Stranger/Gandalf talk but I feel like they’re building to a confirmation with all the name stuff.

- Loving it so far but I want more Sauron and Galadriel and specifically them both SOON, pleeeeease (idk if we’re getting it but I can hope!)

There’s more but this is all I can coherently muster rn. Biggest disappointment? That we have to wait for the rest! 😆🫠🫠🫠

[wtslpod]

We don't want to brag, but this might be our highest level episode of the podcast yet. Rings of Power 2x06 "Where is He?" still has us thinking of analysis we want to add. But it's good we can't, because this episode is almost 2 hours long! Discussion preview above, and time stamps below the cut.

As usual, we're talking most about Númenor. We examine the beautiful tension expressed between Eärien, Elendil, and Míriel, as well as the implications of the Sea Trial for our beloved Queen of the Sea. Kat also gives a detailed thematic read of "The Mariner's Wife" from The Unfinished Tales, connecting Aldarion and Erendis' story to the conflicts we're seeing in Númenor. 

Then we gush about Disa and Durin. Wren gets super meta too, analyzing the big picture POV choices the writers are making, and introducing what she calls the "TROP as LeGuinian Tolkien" theory, discussing what Rings of Power understands about Frodo and Gollum. 

Listen through for some slick beats and fresh takes, wherever you get your podcasts.

twitter│instagram│buzzsprout│wtslpod@gmail.com

Time Stamps: 

00:00 - Intro, Visual Feasts, and Musical Moments 

12:18 - Sauron's Design (Beat) 

12:56 - Wonders of the World 

23:38 - Númenor Lo-Fi (Beat) 

24:25 - POV Character Breakdown Part One 

36:29 - "The Mariner's Wife" Thematic Read 

43:33 - Discussion of Eärien and Elendil 

49:52 - Discussion of Míriel  

52:57 - Discussion of Disa and Durin 

56:38 - Galadriel's Theme (Beat) 

57:20 - Discussion of Galadriel and Adar 

1:03:26 - POV Character Breakdown Part Two 

1:10:20 - Performance Awards

1:13:51 - Dialogue Dialogue 

1:15:44 - Critique of the Week 

1:19:20 - Sauron's Design 2 (Beat) 

1:20:06 - Themes 

1:22:48 - "LeGuinian Tolkien" and Discussion of Annatar and Celebrimbor 

1:33:46 - Questions and Speculations

[classicanalyzer]

Lord of the Rings: The Rings of Power Season 2 Premiere Thoughts

"I have walked through the dust and deserts of far-away lands, in search of an artist possessing the craft to save all Middle-Earth. A storm is coming, Celebrimbor. I can bring you the knowledge none other possesses. I can unlock your grandest abilities. And when our work is complete, never again will the world overlook you as the mere scion of Fëanor but forevermore revere you...The Lord of the Rings." Sauron/Annatar

Season 2 really improved on the aspects of S1 I found lacking. There are more connections to the lore of the Second Age and better writing in the stories from S1. The production design of this show has always looked amazing, but this season really nails it. The practical Orc designs is always great to see. What a great premiere.

Elven Kings Under the Sky

"Always, after a defeat... the shadow takes another shape and grows again. Morgoth is gone. Leaving us alone and disgraced. But today, a new age begins. Under me. Your new master. Sauron. And with a new age, I bring a new vision. A path to unconditional conquest. For I seek a new kind of power. Not of the flesh, but over flesh. A power of the unseen world. One we shall use to enslave the peoples of Middle-earth to our very will. Many Orcs will die. But out of the chaos, we will forge a new and perfect order. No longer will we be hunted as the demons who broke Middle-earth, but rather worshipped as the saviors who finally healed it. By bringing its peoples together, to rule them all as one!" Sauron

I find it funny how Sauron was this out-of-touch wannabe ruler who nonetheless shows why he's feared as he killed a treasonous Orc. This Sauron is a player who didn't invest any points into charisma lmao.

It says a lot about a being when freaking Orcs (one of the most famous examples of corrupted evil mooks) revolt against Sauron. I really like how this show makes you emphasize the Orcs and how Adar was a caring ruler for the Orcs and wanted the best for them. This is especially compared to Sauron who just outright told them they must obey him and they're a race who are meant to be hated.

It's fascinating to see how much the prologue of S2 parallels the prologue of S1 between Sauron and Galadriel. And of course, Sauron chose selfishness just as Diarmid, the kind old man, telling him that he can choose to be good each day until he's good all day. It also shows how Sauron once again loves to lie and twist the truth.

I really love Elrond for understandably being the only one to distrust the rings. I also like the strained relationship between Galadriel and the rest of the Elves even further, except this time they have to work with her since she's the one who got them into this mess. Also, that beautiful shot (the screenshot for this episode's thoughts) is an amazing piece of visual storytelling. It conveys a sense of underlying sadness for Círdan that I can feel.

The Three Elven Rings are finally used (Gil-Galad is a great singer ngl) and we will have to see the greater ramifications and consequences of their use.

The Stranger's deadpan snarker humor is pretty funny to see. I'm also glad Poppy is a part of the duo now, she and Nori have a pretty wholesome dynamic.

The orchestral reprisal of Wandering Day (Warning in the Words) is mesmerizing. It's such a great payoff and a heartwarming reminder that while Sadoc is gone, he continues to help his fellow Harfoots in death.

Where the Stars are Strange

"You are wise to fear this power, Elrond. But do not let that fear blind you to the ways it can be used for good. For it is not your enemy, that bear these rings...But your most trusted friends. If you believe they have strayed, do not abandon them, but rather open their eyes and guide them...Before the darkness spreads across Middle-earth, and blinds us all." Círdan.

I really love the updated intro for this show as the grain of sand shifts to the music. But now we see red grain as the darkness of Mordor (the red sand at one point "erupting") and Sauron begins to spread. It really sets the stage for the dark times ahead for Middle-earth. The logo is now less shiny and more rusted.

The opening for this episode is so chilling with Celebrimbor's impending death. I just wonder if the show is going to adapt Sauron's brutal killing of Celebrimbor and show his corpse if they adapt the Siege of the Grey Havens.

Durin IV and Dísa continue to be one of the sweetest and wholesome couples in Middle-earth and this show. I love how they support each other at Durin's lowest point. Seeing Khazad-dûm's lights dim is so chilling and it just further sets the ground for the eventual Durin's Bane to come. When Dísa and the singers fail to communicate with the mountain, it really shows how the darkness is beginning seep in everywhere.

Círdan has a great speech about how despite the origins of something with the potential for evil, it can be used for good...but that they must ever be vigilant, not let fear dominate them, and watch over their friends to ensure they stay on the right path.

I find it funny how Elrond agrees to help out Galadriel...but puts himself in charge of the mission. It shows how far their friendship had fallen and Elrond's distrust in Galadriel's ability to resist Sauron.

The Rhûn theme absolutely slaps so hard. It really captures the wonders of the desert really well.

Sauron knows exactly how to use his injuries to make himself sympathetic. He's a clever evil bastard alright.

At this point, the Stranger has to be Gandalf. I wonder who the Dark Wizard is tho. I hope the Dweller Acolyte gets more to do in this season.

The reveal of Annatar, the definition of the devil in angel's clothing, was so well done. He really knows presentation alright by making his entrance the most flashy dramatic reveal ever lol. I felt legit chills when he did a title drop with the Rings theme playing forbiddingly. The whole scene felt like a Renaissance painting come to life and at that point, I totally got how Annatar basically had Celebrimbor at his fingertips. The whole Annatar name reveal was so satisfying to hear.

The Eagle and the Sceptre

"And yet...the grief of Númenor is sacred to me. Your pain, a prayer within these walls. I hear your sorrow, and your anger. I share it. We have bloodied and been bloodied. But know this... We will find our course. Should there be another among us who feels moved to speak...firstly ask yourself this, for whom do you cry out? For those we have already buried? For your kingdom? Or for yourself?" Míriel

Nothing bad should happen to Berek, one of the best characters of the show haha. Also, Isildur fighting against Shelob is pretty cool. It says a lot about how he longs to go back home now...though given the episode, it may seem like he might not be able to go back home.

I really love Valandil standing up for the Queen and he's becoming one of my favorite side characters of the show. He represents the soldiers who know what it was like in the battle compared to the politicians who use their suffering and the deaths of their peers for their own persona selfish agenda. I really hope he survives Númenor's downfall.

Some of the rhetoric of the pro-Pharazôn faction echoes the sentiment of people post-WW1 of the pointlessness and/or failures of the war. And one such latter group would go on to create one of the most monstrous regimes in human history, just like how Pharazôn's reign as King will become one of the most monstrous regimes in Middle-earth history.

Elendil's relationship with Eärien is going to be fascinating going forward as the two seem to be on opposing sides. It's ironic how in the show, one of Elendil's children began the downfall of Númenor while his other child caused Sauron to live onto the Third Age.

I never thought I would see a wholesome Orc family nor hear heavy metal in Middle-earth and you love to see it. I find it absolutely hilarious that the hill troll is voiced by Gil-Gilad's actor (I wonder if Gil-Gilad and the hill troll will fight each other...that would be so funny).

I absolutely love how Durin IV becomes the first character of this season to realize Annatar's untrustworthy nature because he knew that Elrond would never compliment him like that. The fact Durin IV knew that speaks a lot about their friendship.

I knew smth was fishy about Estrid but for a split moment, I thought maybe she was alright.

I know the death of Bronwyn is due to her actress Nazanin Boniadi stepping away from the show, and it's such a gut punch to see Arondir and Theo revert a bit from their character growth as they both grieve. You can feel that Arondir wants to help Theo but Arondir's reversion back to stoicism to cope and Theo's grieving prevents the two from bonding further.

The story of how Isildur's mother died and how she saved her son's life at the cost of her own...and how Isildur didn't tell anyone because of his own guilt. I really love how Theo emphasized this story given how his mother just died and all the way back in S1, Theo already felt guilty for how the Southlands became Mordor. Isildur's motivations for wanting to do something worthy are now revealed to be his idea to make up for his mother's sacrifice.

Never mess with Ents. Nuff said.

It took a rewatch but I find it funny that the Eagle, a sign of a bad omen in Númenor, looked like it was trying to say "No you idiots don't put Pharazôn into power!" and then left when it became clear Numenor chose its fate. The music especially is incredibly chilling for one simple reason: the main theme of Númenor is still the same. There's a minor key shift but it's still the same theme used for Pharazôn. This really spells the end of Númenor even before the Island will inevitably sink. The red of the future that Pharazôn will lead Númernor is one of blood and horrors.

[zorosroronoas]

btw, someone replied to one of my rop posts that galadriel was responsible for sauron's 'awakening' when she reached forodwaith, & i was wondering where the fandom stood on that, bc i didn't get it from s2's intro scenes & i was wondering if i missed something.

like there's nothing to me that specifically states that sauron awakened when galadriel got there & i feel like they would make it more obvious. plus, either way, sauron was clearly bidding his time to reform himself & he would have done it sooner or later, the only difference is that galadriel would have returned to valinor by then.

idk i'm just not a fan of this whole 'galadriel is the source of all evil & she's directly responsible for sauron's return' thing. she helped him unknowingly yes, but he is a DECEIVER. he deceived her! it's like blaming celebrimbor for falling for annatar's deceipt. he knows how to play ppl, it's his whole shtick.

[southfarthing]

lotr soundtrack parts that make me lose it:

houses of healing intro

the bit that plays in the breaking of the fellowship when it's just sam's hand in the water

the bit that plays when merry and pippin see each other for the last time before shadowfax kicks off

the first part of the last debate. it's so grand but so doomed

the flute part towards the end of the houses of healing

(from the hobbit but the first ten seconds of mithril)

the beacons of course

when the string equivalent of the beat drops in the mouth of sauron

again but in the pelennor fields

heroic part in osgiliath invaded. looooove to daydream to it about faramir riding his horse like jaime lannister in front of his troops

all of theodred's funeral. eowyn's lament is like a thousand knives in my heart. and then gandalf consoling theoden who just breaks down......

opening of farewell dear bilbo

the start of the fellowship reunited

the fellowship reunited when they get back to the shire

...all 12 minutes of the fellowship reunited

the hobbit flute on the slopes of mount doom

the last march of the ents

let us risk a little more light!!! in moria

[letrune]

You know what annoys me in Harry Potter?

And let us imagine for a moment that the author is Hatsune Miku. That it is an adaptation of Neil Cicierega's Potter Puppet Pals. That Warner Bros is not holding the franchise with patents and trademarks well beyond the powers of even millionaires.

Ah, nice to imagine, isn't it? Still with me?

The books are wasted potential. Every new thing coming in helps to show how the magical world is as flawed and xenophobic as regular, mundane version of it. Slavery, segregation by "blood purity", racial segregation, magic supremacy and cishet white male magic supremacy, too.

And then a downtrotten guy shows up. He is a hero, has loads of cash and a fame beyond his age. You would think the dude from the literal closet would CHANGE THE SYSTEM. To push along a new, better, more liberated, more equal world. Maybe even prevent the next bad guy from rising by removing the key aspects that made him rise to power, like slavery, the segregations, the supremacist ideas, and so on. Even if just pushing it in a way.

You would think the main character would fix the system. You know why?

Because every fantasy story, even if by just getting the just and wise king or queen on the throne, does that. The Lord of the Rings does not end by blowing up Sauron. It goes on, the world has to be changed to prevent a new, different Sauron. We saw glimpes on how anyone, even the purest heart, could go down that path.

So why can't this boy who lives in a closet? It is WASTED POTENTIAL. Imagine the stories you can tell! Now that you got a better world coming, would the old jerks not hate it? Would some change? What new issues arise? It is a fantasy, so you can do whatever you want - and then go the Man in Black route and have the magical slowly dripped into the mundane. Or, again, as with the (comic book) Men in Black, we had shown how even the utopian parts get issues not seen before, all based on xenophobia, human folly, etc.

You make a status quo that sucks, and then GO AND CHANGE IT. The big bad in a bad system is not the guy with the biggest gun, but the system that fails.

Oh, sure, you can make a story about the cyclical nature of revolutions - and yes, a bloodless revolution is the best for the little people, but in fiction, we may have the bad guys represent issues. So, you can make a story where a revolution leads to another in the next cycle. But...

You have to change the bad systems. Say that some things may change. Even if it is just a new school being put forward in the end, with empathy, and two characters talking about how the world will change if they keep going on... You have to change. The utopian status quo is the only one what the audience may like to be returned to.

When Bilbo comes back to the Shire, it is almost the same, but Bilbo himself changed. It was a bit for the better, but not that much that new stories could not be told... and what he thought as the status quo is shown to have changed. He became more artistic. He wrote a book, inspired by his "miserable adventure"... and then, later, Tolkien slipped in the ring from the sequel. It was not in the original draft! The ending did not changed, but we had a plot hook.

Though, Tolkien already had given us all the potential in the story. He hinted at a bigger world.

So imagine Miku, writing a thing but then she does not develop the things. The potential goes wasted, and when it returns, it has this "stop nagging me, here, a stupid retcon for your stupid questions" thing. Potential squandered! Wasted! No wonder the fans would go to write their own, for better or worse.

I am so happy Hatsune Miku is a talented writer and not some woman slipping into right-wing hatred, akin to some dude who loves gold and the aesthetics of power, and having none of it in his tiny hands or something. That would be-

Oh. I just realised the intro to this rant. Well, now that the train is deralied, what is my point?

If you write a story with systemic issues, you should at least attempt to resolve some of them. You got slavery? Have the main character and their friends free slaves and ban slavery when they get the power to do so.

You got a sort of space cyborg wizard nazi movement? Your character has the potential to punch them in the face, alongside B. J. Blazkowicz and Captain America, WHILE ALSO breaking the systems the space cyborg wizard nazies rely on. In fact, it should be what you do, because while your heroes give the cool action scenes, they also show their intelligence and empathy by PREVENTING new space cyborg wizard nazies coming into existence and fixing the inequalities in the world.

Sure, it is not as cool to see Mr. Potter to write a new constitution about equal rights than seeing him in a wizard duel with wizard nazies, but you can have both. This is fantasy!

You can get the audience to believe that a man can fly, that a single guy can save the world by throwing a ring into a volcano, or that a boy living in a closet is a chosen one - letting them change the world for the better is not a stretch, it is catharsis! That is where the happy ending happens.

[trahald-the-burrower]

Sméagol and Frodo Music Video - Meet Me in the Woods

I made this as a tribute of Sméagol and Frodo's relationship. A lot of the time I am showing the similarities between them, how they went from living happy peaceful lives to being tormented by the Ring, having to leave their homes, seeing horrors, being overtaken by darkness.

Then they come together, and there is beauty and shared hurts and understanding... but they end up betraying each other.

Here it is on YouTube:

(More descriptive below if you want to know the meaning behind everything, I was very deliberate with the making of this music video:)

The intro: Frodo and Sméagol living peaceful lives. It's sad because this is what they lost. This shows ways they relate, part of what creates their understanding of one another.

I took a little journey to the unknown: Frodo's journey with the Ring. Traveling across Middle-Earth, to Mordor. Sméagol going to the Misty Mountains after being banished from family. Both leaving their peace and happiness because of the Ring. More showing why they understand one another.

I come back changed, I can feel it in my bones: Frodo returns to the Shire unable to fully heal. Sméagol begins his transformation. (If there was footage, I would have showed Sméagol returning home to his family, changed, but we didn't get that)

I fucked with forces that our eyes can't see: Sauron is the unseen force that they both are tormented by.

And now the darkness got a hold on me: Both succumbing to the power of the Ring.

Ooohh, ladadada: Sméagol chokes Déagol/Frodo puts a knife to Sam's throat.

Ooohh, ladadada: Frodo is tempted to put on the Ring/Sméagol puts on the Ring.

Similar experiences.

How long, baby, have I been away?: Sméagol at the edge of the mountains, having been banished from home.

It feels like ages, though you say it's only days: It's not been that long since Frodo left the Shire, but it feels so much longer.

There ain't language for the things I've seen, yeah: SméaGollum being violently tortured by orcs, by Sauron's Black Hand. Frodo witnessing the true forms of the Nazgul.

And the truth is stranger than my own worst dreams: Frodo sees the eye of Sauron once wearing the Ring. I'm sure that's stranger than any dream he's had, can't even think that sort of horrific thing up.

The truth is stranger than all my dreams: Same as above, they've faced horrors in the real life that are worse than I'm sure they could have imagined prior to the Ring. I showed both Frodo and Sméagol waking up from nightmares because I love the mirroring. That mirroring is peppered throughout the entire trilogy.

Oh, the darkness got a hold on me: The first time Frodo snaps at Sam, the darkness of the Ring beginning to poison him. Then the transition from Gollum to Sméagol.

They have practically the same exact experience.

I put the first chorus from Frodo's point of view.

I have seen what the darkness does: Frodo has indeed seen. Sméagollum is living proof. And he's experiencing it himself.

Say goodbye to who I was: Frodo is no longer that smiley Hobbit he once was.

I ain't never been away so long, don't look back them days are gone: Frodo weeps for his old life, weeps over the burden he now has. And he says don't look back, those days are gone. He has to let it go and move forward and destroy the Ring.

Follow me into the endless night: Frodo manipulatively leads Sméagol out of the Forbidden Pool...

I can bring your fears to life: ... resulting in Sméagol being captured by the men, to be beaten mercilessly. This was one of Sméagollum's biggest fears-- he needed protection, he trusted Frodo. Frodo said he'd look after him, and Frodo broke that promise. Betrayed by the only person he thought he could trust. The fear doesn't come just from being hurt, but from being betrayed by the only other person he had feelings for in over 500 years.

Show me yours, and I'll show you mine: A fear they both share -- the Ring.

Meet me in the woods tonight: I look at these particular lyrics as metaphorical more than literal, basically saying that all the lyrics that came before, is what he is offering. It's an invitation. "let us come together, meet me eye to eye. Let me see you, I'll let you see me, even if it will hurt us." So I used the footage of Frodo questioning Sméagol, Sméagol lowering his walls for Frodo. That very moment is THE MOMENT of their relationship. They were already bound, but that moment there is what sealed the deal. Frodo reminding Sméagol of who he is... Sméagol says his name for the first time in over 500 years...

Oooh, ladadada: ... and then Gollum speaks the name for the first time. Sssmmméagooolll.... He takes it over, and that moment Sméagol and Frodo shared is corrupted. All triggered by Frodo's betrayal.

Yeah, the truth is stranger than my own worst dreams: Frodo being sucked into Minas Morgal. Strange, horrific.

Oh, the darkness got a hold on me: The Ring takes Frodo over completely/Gollum is taken over and reaches for it.

The second chorus is from Sméagol's point of view.

I have seen what the darkness does, say goodbye to who I was: Sméagol knows what the darkness of the Ring did to him, what it turned him into, what it took from him.

I ain't never been away so long, don't look back them days are gone: been away from his home for so long, he looks back one more time, knowing he can never get back what he had, and then crawls into the cave, where he forgets.

Follow me into the endless night: Like Frodo lead him to get taken by the men, Sméagol leads Frodo to get taken by Shelob. It's a reciprocal act

I can bring your fears to life: Frodo's fear, being killed, unable to complete his mission, having the Ring stolen from him.

Show me yours, and I'll show you mine: Another of Frodo's fears -- being taken over by the Ring. Killing in the name of the Ring. That's why I showed Frodo choking Sméagol then stopping. And Sméagol's fear, the Ring being destroyed.

Meet me in the woods tonight: the same as how Frodo meant it. It's an offering, an invitation of coming together, whether it'll hurt them or not. And indeed it did.

Oooh, ladadada: Sméagol is taken over by Gollum. He can't allow the Ring to be destroyed.

Oooh, ladadada: Gollum attacks Frodo. Frodo chokes Gollum/Gollum chokes Frodo. Reciprocal, mirrored. Gollum's snarling face turns into Frodo's snarling face.

Oooh: They fight over the Ring, both their darkest selves. The last fight they'll have, the end to their relationship.

Meet me in the woods tonight, oooh: Flashbacks. Their offering, the invitation, their coming together, their bond, didn't only result in pain. Sméagol brings Frodo rabbits. They smile, they're happy together. Their was hope

Meet me in the woods tonight: And then it goes downhill. Frodo's perceived betrayal sets in motion a sequence of events that leads up to the end of their relationship. The rest of the song is "meet me in the woods tonight" repeated over and over. And I look at it as saying, "now the pain comes, it was in the offering"

Oh, meet me in the woods tonight: Sméagol's pain from the betrayal...

Oh, meet me in the woods tonight: Sméagol deciding to betray Frodo...

Oh, meet me in the woods tonight: Sméagol manipulating Frodo.

Then as the instrumentals fade out, we head back to Mordor, back to the present, where the two fall, and thus ends their relationship. Because, of course, poor Sméagollum fell. :(

[rei-ismyname]

SAURON (MARVEL) IS GLORIOUS Pt 1

Quick intro for those who aren't familiar - Sauron is the name chosen by the scientist Karl Lykos when he turned himself into a dinosaur. That's right, he's the guy who doesn't want to cure cancer because he's a Dino supremacist.

He must be so much fun to write. In addition to the who and what, he also has very strong opinions and a deep commitment to drama and histrionics. No time for Spider-Man's bullshit either.

Dude has crazy beef with birds in general but especially seagulls.

Lol, cowards. Also he rented that sailor suit and I'm so here for it.

See! I'd be pissed off too but I probably wouldn't be courting disaster by beefing with seagulls needlessly. No judgement though. After all, what's the worst that could happen from joining up with an ecoterrorist that can talk to animals/the Earth, and a small pink child that has to cause others pain to stay alive? Namor, apparently.

See? Best lines ever.

Sauron DGAF tho. He's always ready to throw hands, or claws, or wings.

More bird hatred, this time chickens. Also pictured - a love of sedition.

A good question, Curse! (The answer is yes, I'm pretty sure.) Sauron is clearly a purist where evolution is concerned, and maybe being unfair to birds that don't have access to Saurianization technology. Oh well, we stan a consistent and passionate king.

Next time, the hidden depths of Sauron and his quest for love.

[katurdayss]

Before I jump into it, I think it's important to note that I am by no means a Tolkien Purist. Peter Jackson biased? Sure, LOTR movies were my first intro into the world. However, I'm not loyal in the slightest bc Guillermo Del Toro's version of the Hobbit would have been amazing. So when I say that it was bugging me that The Rings of Power bugs me, trust its not because the show is not Jackson lead or Tolkien Canon.

I even went back and looked at the LOTR Appendices to better understand what the show could pull from. There is a lot of room to play with to be fair, as the Appendices covering the Second Age are more timeline than narrative story or anecdote. There are things I love about the show, mainly surrounding the dwarves and Durin, Disa and Elrond's friendship (the Sauron reveal was golden too).

I think in my rewatch though, I finally figured out that what bugs me about the show and it's that mostly, I find the writing to be somewhat lazy/very tropey. They don't even really try to put a new spin on old tried and true plot devices. I think we've an age where we've evolved TV narrative enough that more shows would nix playing up romantic ships just to pander to the crowd/studio, and wouldn't make fan service moments/story lines so obvious. Leave that to Marvel.

The writers could have done A LOT with the show now that I've been thinking about it, and Tolkien has a lot of great themes throughout his work they could have brought in. What's even more interesting is that some of his themes from the 3rd age seem to contradict his themes from the first age. How great would it have been to explore how the themes evolved over an age? (Example: a lot of the noblest of characters in the first age are very tall, but by the 3rd age it's the short of stature Hobbit that is placed as the hero.)

So to sum up this long post, it is my hope that the writing for the second season is a little bit more polished, because I do think The Rings of Power could be good. There have already been glimpses of that.

[issela-santina]

you guys since we got Aziraphale ascending back to heaven in the end of Good Omens 2 I believe it's only appropriate to begin season 3 with an eviscerating sequence of angelic Crowley's descent into fiery sulphuric hell

aka the transition point that lay somewhere between this

and this

better if the final shot of the intro before the opening credits is a closeup on Crowley tightly keeping his eyes shut as the pain flows through every fibre of his being

and as the world goes dark around him, his eyes burst open, revealing those venomous snake eyes that burn like it's fucking Sauron

it's the perfect opportunity to reference both The Lord Of The Rings and that one Doctor Who episode where 10 got possessed by an evil sun, in one fell swoop, pun intended

[technoturian]

I gave it a whole season with an open mind but Rings of Power is just... bad.

The writing is just bad. It’s all just so Intro To Creative Writing. I don’t even care about Middle Earth lore so I don’t mind any changes. What bothers me is if you’re going to adapt something and then change it, you’d better be changing it into something good. Instead, we got ALL the cliches. The fact that every episode I would guess the cliche line I was about to hear and then there it was, but I would still be stunned because I couldn’t believe they were THAT lazy, THAT obvious. I’m not exaggerating here, I literally made a joke several times and then one of the characters said the same thing but they were serious! The dialogue is flat. The characters are the most rote tropes. They think they have to spell everything out to their stupid audience (”You’re not Sauron! You’re the other one!”). They have the characters do random stuff or neglect to tell each other stuff not because it’s in character (lol) but because it makes a WHAM moment later (that falls flat because it’s so obvious).

Look, I’m pretty genre savvy, but I am not the only one who guessed how this all was going from several episodes ago. I knew it was Gandalf from episode one. I knew who was Sauron for several episodes. My mom is a big Tolkien nerd and kept saying “But that doesn’t make sense! Because in the lore-” and every week I had to remind her that these writers aren’t following lore and they don’t seem to care what makes sense, but they’re still easy to predict because of all the tropes and borrowed story beats.

The way they cut through travel made the world seem incredibly small. Then all the flip-flopping to drag things out because they’re bad at pacing; in Numenor, in the Southlands, with the dwarves, they decide things and then suddenly it’s undecided because they need more time. The absolutely garbage lines like “the elves are stealing your jobs” or “I’m GOOD”. The constant pulling of lines from the source material and putting them out of place, which is annoying for two reasons, first because it’s unearned but also because the stolen lines are the only good dialogue in this mess.

The casting of non-white actors in completely tokenistic roles. The fact that the harfoots are mostly white and are played by average sized actors. The fact that they have a few non-white actors and then cast white actors for their family members (Nori and her mom, the queen of Numenor and her dad) which just screams “we want it diverse, but not too diverse”.

And yes, Girlboss Galadriel who is peak perfomative feminism akin to W*nder Woman and She-H*lk, mass produced girl power with none of the depth or grit. Galadriel who is one-note in all of her motivation, who comes across as embarassingly stupid at times because it’s more important for her to be brash and stern. Writing out her husband in a random throwaway line because she couldn’t want to go out and fight while also being married or a mother (something so many weird defenders of this show seem to think means the opposite of what it is, like wanting her to be married and have a kid and still be out doing awesome things instead of becoming a tradwife is the ANTI-feminist view, and as if there’s a scarcity of single young action girls out there). The “I’ll never join you!” conversation with Sauron. Randomly just telling people to “trust her” instead of being like, “Yeah that was Sauron” so he can come back and screw stuff up later. Why? Why? Because they need her to, that’s why. But why, in-character would she do that? ~Don’t worry about it.~

Basically everything about badboy Halbrand, the Kylo Ren of Middle Earth. But especially his Jason Bourne moment in Numenor and the whole cringy “reluctant king” story. The one woman in town who wears color because she’s the Main Character. The sweet girl getting too close to Gandalf and he accidentally hurts her and she shies away. That may have been the worst one. Made me shout “I am not a gun!” because my goodness, these writers. They just steal everything. Every single twist was artlessly telegraphed and stolen from something better. A few times, this worked. The Stranger was predictable from the start, the dwarf storyline didn’t do anything particularly groundbreaking, Arondir’s star-crossed romance was incredibly bland. But the characters were fun to watch and the actors did well with the parts. It’s just unfortunate that, where a few of the characters managed to elevate the sea of cliches surrounding them, the majority just coasted on the surface.

This is giving me Star Wars Sequel vibes, even though I’m not a LotR fan like I am a Star Wars fan. It feels like plastic. It feels like they thought of everything but actually making a show worth watching. This show won’t be a classic, it’s just another revenue source. I don’t know if I would be this harsh if it were some small production and an original story. But for the money this cost, the fact that it’s so bland, so uninspired, so absolutely lazy is honestly insulting. I’ve seen so many lower budget fantasy stories with a hundred times more heart and brains than this. The bottom line is this: Amazon had all of the money to hire all the talent in the world and they’re giving us this??? The gall.

[chirpovs]

alright boys we’re back to reviews of rings of power

season 2 episode 1 hwfg

The Good

- Not mad at the aesthetics overall

- They do seem to have taken some advice with the elves hairstyles

- LOTR intro ring shot

- Okay I was sold on the elves song

The Bad

- Not sure I’m convinced that Sauron would have been duped by Adar

- It was really not clear that this was starting in the past??

- Galadriel’s characterisation is still bizarre to me and ngl Elrond’s is pretty weird too

- They really need to go back to the Peter Jackson school of lighting

The Ugly

- Elrond’s hair

- The rings

Other shit

- The eldar fading plot gets on my fuckin nerves still cause it makes no fucking sense

- I thought…. elves couldn’t grow beards???? My bad I looked it up and Cirdan does have one

- Galadriel and Elrond’s interactions are still so funny to me

- I know I said that I’m not convinced by Elrond’s characterisation, but also he’s my child

[danisnotonplacenta]

Back to my bullshit eurovision edition - my boyfriend comments on each of the semifinal performers:

Cyprus "oh look the men took their tops off"

Serbia "someone needs to give their fog machine steroids"

Lithuania "he's about to get kill billed"

Ireland "WHERE DID THEIR CLOTHES GO?!" (he took them) "NO BUT WHERE DID THEY GO?!"

Commentator break comments:

"Do you think her badge is a QR code?" - about brunette

"She's a Swedish Moira Rose" - about blonde

UK (he's got a bedazzled wrist brace) "it's the infinity gauntlet"

Ukraine "ooh joan of arc and moses" BONUS: "it's the circle of life"

Poland "lady gaga fights two saurons"

Croatia "Someone's seen our flag means death

Iceland "there's nothing wrong with it there's just nothing good with it" BONUS: "I've got nothing, except that she's assembled the triforce so good for her"

Germany (he's just doing Rag'N'Bone man) "Shag'N'Boone man" BONUS: (thats not a hand heart you're making a circle) "it goes in the square hole"

Slovenia "she's a fucking wet bandit"

Finland *as the pants descend from above* "CAST HIM IN DENIM"

*during Ryland and Scott's banter* (there's a fiddle holder in this one) "there was in the last one too"

Moldova "do you know whats in the middle of this performance? *in the most gleeful voice ever* TITTIES"

Sweden "i don't remember getting a strobe warning for this one"

Azerbaijan (what is he wearing) "he just finished playing the crystal maze leave him alone"

Australia *during the intro to australia* "they've hit the fucking pentagon!" BONUS: *when being spun around by a singer* "LET ME GO"

Portugal "they've stolen Slovenia's masks!"

Luxembourg "holy shit she's the black panther"