“The Rings of Power,” the new and outrageously expensive prequel to J. R. R. Tolkien’s “The Lord of the Rings” saga, features slow-motion scenes of horses galloping along beaches, creatures with nasty teeth, and plenty of quality sword fights.
” prequel, which began airing eleven days before “The Rings of Power” arrived and which shares with Tolkien’s saga that romanticized, old-timey formula “of the,” conjuring visions of tunic-clad people prancing in sunny dells. Both of the new series are backstories, and both are medieval-style fantasies that take full advantage of the love modern folk have for the imaginings of the European past. George R. R.
In this age of intellectual property über alles, it was perhaps inevitable that Amazon and HBO would end up on a collision course. It’s a bit unfortunate; both shows suffer by comparison. “House of the Dragon” makes “The Rings of Power” seem sexless and low on jokes, whereas the latter makes the former’s landscapes and battle scenes look cheap beside its wild mountain ranges and glorious ocean scenes.
Tolkien, for all his world-building prowess, had a tendency to flatten communities into sets of certain traits, which makes the attempt to imagine his world in contemporary racial terms particularly awkward. There is a value attached to the individual lives of elves, for instance—on account of their longevity, and also, perhaps, their seemingly congenital seriousness—that is not equalled by those of the Harfoots, the tiny, cheerful ancestors of the hobbits.
The villain in “The Rings of Power,” Adar, is—like the plot and many of the other characters—new. Eventually, the showrunners J. D. Payne and Patrick McKay, the show’s narrative will arc toward the creation of the ring we know and love; though there’s been little obvious sign of that connection yet, Adar’s début drips with signifiers. His underlings, the monstrous orcs, have been capturing humans and elves in Middle-earth and forcing them to dig strange tunnels in the earth.
Tolkien was a professor of medieval studies, and the style in which he wrote his “histories” of Arda reflects that. During the early medieval period in what is now Great Britain, people seem to have had a sense of history that was more concerned with echoes and recurrences within timeless mythic cycles than with history in the modern sense.
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