Review by C.J. Bunce
In the first season of Prime Video’s much-anticipated, record-setting big-budget series The Lord of the Rings: The Rings of Power, viewers had to put aside the films. The first season looked like television and the story played out like TV. That’s not the case in the stunning second season, a season that is every bit as riveting as Peter Jackson’s The Lord of the Rings: The Fellowship of the Ring and The Two Towers, and at times even on par or better than The Return of the King. The playing pieces were introduced, arranged, and set up in the first season, but like The Empire Strikes Back was to Star Wars, Season 2 provides all the action, intrigue, passion, and conflict–all the things that create the drama of an epic second act. But it’s a sequel season much better than the first, something that finally, firmly places the series as something as worthy as Peter Jackson’s–and J.R.R. Tolkien’s–visions.
After the first season who would have guessed the giant character of this season would be Sam Hazeldine’s layered, unpredictable antagonist Adar? His performance is the single thespian effort of the series that should be called out for an Emmy. He is the only thoughtful, strategically driven character, the only character who–unthinkably–has good intentions, and a drive to protect those peoples he cares about–the Uruk. In eight episodes his character has the biggest character arc, the most heavy lifting of any character. And Hazeldine’s skill at balancing good and bad all comes together to create the most powerful moment of the season in the eighth episode.
Most intriguing is the development of the future, ancient, king, Maxim Baldry’s Isildur, who gets to share in the best fantasy romance of the season, with new character Estrid, played by Nia Towle. Their storyline also makes room for one of the first season’s best characters–Ismael Cruz Cordova’s Arondir, as he returns for many heroic sequences.
Although the series, the writers, and the directors maintain the momentum nearly all season long, the least of the action follows Daniel Weyman’s Stranger and his search for Markella Kavenagh’s Nori and Megan Richards’ Poppy. Even less can be found in bland Game of Thrones-esque political machinations at Númenor. Making up for that are the Dwarves, especially Sophia Nomvete’s Princess Disa and her persistence at driving her husband to confront his father. Owain Arthur’s Durin’s scenes with his father the King, played by Peter Mullan, are gut-wrenching as the King is enveloped in the pull and manipulation of his ring. The King’s downfall mirrors the decline of the late Bernard Hill’s Theoden King in the movies, and a final episode scene with Mullan mimics one monstrous scene we will see with a different outcome later in the movies, but it provides a visual viewers will not forget.
The second season starts a bit slowly, but makes up for it in one of the best episodes of fantasy TV yet. Episode 4, “Eldest,” features a “Return of the King” foreshadowing plot that sees the appearance of Tolkien’s memorable Ents, voiced by two notable genre actors, Jim Broadbent as Snaggleroot and Olivia Williams as Winterbloom. Many beats in the episode mirror those in The Two Towers, including an attack on Eregion that conjures the siege on Minas Tirith.
But what about the story’s leads? They are what viewers will learn to be not one but two Lords of the Rings: Charles Edward’s Lord Celebrimbor, Greatest of Elven Smiths, who is under the glamour of the other “lord,” Charlie Vickers’ Annatar aka Sauron. Edwards is a bit of a combination of Bill Nighy and Matt Smith, a performer who is exceptional when he is quiet and able to steal every scene especially toward season’s end. Vickers at points may make you wonder if anyone considered Michael Fassbender or Tom Hiddleston for the role–Vickers projects a similar steely villainy. No, they probably would have distracted from the story. Edwards and Vickers keep up a strange duel that works and lasts all season long.
The other leads are the high Elves. Morfydd Clark is perfect again as Galadriel, somehow more powerful than Cate Blanchett’s later version of the character. But her role is not all that surprising–her fate is known to the audience so the stakes are lower for her. The same goes for Robert Aramayo’s Elrond and Benjamin Walker’s High King, yet viewers will feel the crush of empathy for Elrond as he tries to keep literally all of Middle-earth on the right and good path–a path without the rings, one fated not to be. With so many characters and so many locations, it’s easy to forget Cynthia Addai-Robinson’s Queen Míriel and Lloyd Owen’s loyal Elendil. Elendil is left in the background this season, save for one goosebump-inducing scene with Narsil, the sword that becomes key to the outcome of The Lord of the Rings. Míriel gets some heroic moments, yet somehow they are downplayed compared to the rest of the season’s action and drama.
Unlike Peter Jackson’s films, the series does not have a takeaway, memorable theme. But composer Bear McCreary delivers in surprising places when it counts, like a haunting flute just as Galadriel is hanging in the balance, to remind us of something of her coming future many, many years ahead. Fans will be desperately wanting some character themes for the more familiar characters from Howard Shore’s stunning movie scores, which does not come to pass, but perhaps McCreary is waiting for the end of the next season, although he hints at future themes as Gandalf comes into his own. As for the costumes, Luca Mosca’s updates to the opening season’s thousands of suits of armor, gowns, uniforms–and whatever those Orcs are wearin–is back on par with Richard Taylor and Ngila Dickson’s costumes from the original film trilogy.
The rings themselves? Oddly enough they don’t really do anything all that magical this season. So it’s that much more exciting that the season is so successful in so many ways. More visual, and more gripping, are appearances of Morgoth’s crown in a clever way, and the quiet return of the staff of Gandalf. A palantir comes and goes with only a hint of its future, which is probably a good thing to save for later. Why the focus on props? Fantasy and talismans go hand-in-hand, and this season we see very strikingly the return of New Zealand’s Weta and its brilliant creations and artisanry.
Rory Kinnear makes a great, jovial and congenial Tom Bombadil, a nice preview character for the solitary wizard Radagast, who would be lovely to see introduced in the next season. And as wizards go, Ciarán Hinds turns in another fantastic performance in a long and distinguished career, this time as Saruman, and he’s the perfect match for the late Christopher Lee, who will play the role later in the movies.
So give creators Patrick McKay and John D. Payne a hand for coming back this season with something better. Much better, Unlike last year, this season is every bit as epic as The Fellowship of the Ring and The Two Towers. It’s one of fantasy TV’s best-ever efforts, nearly approaching the magic of the most fantastical of them all, The Dark Crystal: Age of Resistance. In fact it’s the best fantasy series, best prequel, and best spin-off since that series. Amazon Studios’ billion dollar bet turns out to be a good one, both with so many great performances and with all the giant, practical, lavish sets in lieu of something like Disney’s Volume technology. You can tell the difference. And it probably goes without saying, but this season runs circles around The Hobbit movies, too. The finale episode is as good as it gets–in TV or film.
It’s at the top of the year’s best TV series, a true TV event. The entire eight episodes of The Lord of the Rings: Rings of Power are now streaming on Prime Video.
