Amazon acquired the television rights for The Lord of the Rings from the Tolkien Estate in November 2017, making a five-season production commitment worth at least US$1 billion. This would make it the most expensive television series ever made. Payne and McKay were hired in July 2018 for their first credited roles. Their story bridges Second Age references in the appendices with original material, developed in consultation with the estate and Tolkien lore experts. Per Amazon's deal with the estate, the series is not a continuation of Peter Jackson's The Lord of the Rings (2001–2003) and The Hobbit (2012–2014) film trilogies. Despite this, the producers intended to evoke the films using similar production design, younger versions of film characters, and a main theme by Howard Shore who composed the music for both trilogies. Bear McCreary composed the series' original score.
A large international cast was hired and filming for the eight-episode first season took place in New Zealand, where the films were produced, from February 2020 to August 2021. This included a production break of several months due to the COVID-19 pandemic. Amazon moved production for future seasons to the United Kingdom. Filming for the second season took place there from October 2022 to June 2023, finishing amid the 2023 Writers Guild of America strike. Work on a potential third season has begun.
The Lord of the Rings: The Rings of Power premiered on September 1, 2022. The first season was released through October and was the most-watched of any Prime Video original series according to Amazon. It received generally positive reviews from critics, particularly for its visuals and designs, but there were criticisms for the writing and pacing. The second season was released from August to October 2024. It has been met with lower viewership than the first season and a similar critical response.
Premise
Set thousands of years before the novels The Hobbit (1937) and The Lord of the Rings (1954–55) by J. R. R. Tolkien, the series is based on the author's history of Middle-earth. It begins during a time of relative peace and covers the major events of Middle-earth's Second Age: the forging of the Rings of Power, the rise of the Dark Lord Sauron, the fall of the island kingdom of Númenor, and the last alliance between Elves and Men.[1] These events take place over thousands of years in Tolkien's works but are condensed for the series.[2]
Morfydd Clark as Galadriel: An Elven warrior who believes evil is returning to Middle-earth.[2] She is given the Ring of Power Nenya in the second season.[3]
Lenny Henry as Sadoc Burrows: The leader of the nomadic, secretive Harfoots,[4] precursors to the diminutive Hobbits from The Hobbit and The Lord of the Rings[2][5]
Sara Zwangobani as Marigold Brandyfoot: A Harfoot and Nori's stepmother[6]
Dylan Smith as Largo Brandyfoot: A Harfoot and Nori's father[6]
Markella Kavenagh as Elanor "Nori" Brandyfoot: A Harfoot with a "yearning for adventure",[7][8] and a curiosity of the unknown.[9] She travels with the Stranger in the second season.[10]
Megan Richards as Poppy Proudfellow: An orphaned Harfoot and Nori's best friend,[4] who travels with Nori and the Stranger in the second season[11]
Robert Aramayo as Elrond: A half-Elven politician.[2] As a half-Elf, Elrond had the choice to remain immortal or live a mortal life. He chose to be immortal while his brother Elros chose to be mortal.[7]
Benjamin Walker as Gil-galad: The High King of the Elves who rules from the realm of Lindon.[12] Walker highlighted the character's "odd gift of foresight. [He can] feel the pulse of evil rising."[7]
Nazanin Boniadi as Bronwyn: A human healer and single mother who owns an apothecary in the Southlands. She is in love with the Elf Arondir.[2] Boniadi chose not to return after the first season.[14]
Tyroe Muhafidin as Theo: Bronwyn's son,[15] who discovers a broken sword that is the key to turning the Southlands into the dark land of Mordor[16]
Charles Edwards as Celebrimbor: The Elven-smith who forges the Rings of Power.[2] He is the greatest Elvish craftsmen since his grandfather Fëanor. Edwards described the character as vain and ambitious.[10]
Daniel Weyman as Gandalf: One of the Istari (Wizards) who falls from the sky in a flaming meteor and befriends Nori.[17] Initially known as "The Stranger", he is revealed to be Gandalf in the second-season finale.[18][19]
Charlie Vickers as Sauron: The former lieutenant of the Dark Lord Morgoth who disguises himself as the human Halbrand and the Elf Annatar, the "Lord of Gifts", to deceive the people of Middle-earth[21][22]
Sophia Nomvete as Disa: Durin IV's wife and the princess of Khazad-dûm.[2] Arthur described the two characters as "the power couple of Middle-earth".[20]
Lloyd Owen as Elendil: A sailor from the island kingdom of Númenor and Isildur's father who will eventually be a leader in the last alliance between Elves and Men[23]
Maxim Baldry as Isildur: Elendil's son who will eventually become a warrior and king.[2] The writers wanted to adapt Isildur's story in a way that ended in tragedy rather than foolishness.[13]
Ema Horvath as Eärien: Elendil's daughter and Isildur's sister who joins the Númenórean Builder's Guild[25]
Leon Wadham as Kemen: Pharazôn's son.[23] Wadham said the character was the privileged child of a powerful parent.[26]
Ciarán Hinds as the Dark Wizard: One of the Istari who has been corrupted.[27][28] The showrunners denied speculation that he is Saruman due to that character's corruption not coming until later in Tolkien's history.[19][28]
Peter Mullan as Durin III: The king of Khazad-dûm,[29] who falls into madness in the second season after being given a Ring of Power[10]
Production
This section summarizes the series' production. For more details on the production of each season, see: production of season 1 and season 2
Development
In July 2017, a lawsuit was settled between Warner Bros., the studio behind Peter Jackson's The Lord of the Rings (2001–2003) and The Hobbit (2012–2014) film trilogies, and the estate of author J. R. R. Tolkien upon whose books those films were based. With the two sides "on better terms", they began offering the rights to a potential television series based on Tolkien's The Lord of the Rings (1954–55) to several outlets, including Amazon, Netflix, and HBO,[30] with a starting price of US$200 million.[2] HBO pitched a remake of the Lord of the Rings films which the estate was not interested in. Netflix pitched multiple connected series focusing on characters such as Aragorn and Gandalf which "completely freaked out the estate". Amazon did not pitch a specific story but promised to work closely with the estate to "protect Tolkien's legacy", which the estate felt they were unable to do with previous adaptations.[31] Amazon emerged as the frontrunner by September 2017 and entered negotiations.[32][33] Uncommonly for programming developments, Amazon CEO Jeff Bezos was personally involved with the negotiations.[33] Bezos was a personal fan of The Lord of the Rings,[2] and had previously given Amazon Studios a mandate to develop an ambitious fantasy series of comparable scale to HBO's Game of Thrones (2011–2019).[30]
On November 13, 2017, Amazon acquired the global television rights for close to US$250 million. Industry commentators described this amount—before any production costs and without any creative talent attached to the project—as "insane",[30] although some considered the project to be more of a reputational risk for Amazon than a financial one due to Bezos's wealth.[2] Amazon's streaming service Amazon Prime Video gave a multi-season commitment to the series that was believed to be for five seasons, with the possibility of a spin-off series as well. Despite this, Prime Video had to give a formal greenlight to future seasons before work could begin on them.[34] The budget was expected to be in the range of US$100–150 million per season, and was likely to eventually exceed US$1 billion which would make it the most expensive television series ever made.[30][32]Warner Bros. Television was not involved in the project because Amazon Studios wanted to produce it themselves. Amazon was working with the Tolkien Estate, the Tolkien Trust, HarperCollins, and New Line Cinema. New Line, the Warner Bros. division that produced the films,[30] was reportedly included to allow the use of material from the films in the series.[32] The estate imposed creative restrictions on the series,[30][35] and the deal stipulated that production begin within two years.[32]
The first season was reported in May 2018 to be focusing on a young Aragorn.[36] Jennifer Salke, the head of Amazon Studios, said a month later that the deal for the series had only just been officially completed.[37] The studio met more than 30 potential writers,[38] including the Russo brothers and Anthony McCarten,[31] and asked for story pitches based on anything in Tolkien's The Hobbit (1937), The Lord of the Rings, and its appendices. These included prequel stories focused on characters such as Aragorn, Gimli, and Gandalf.[39][40]J. D. Payne and Patrick McKay pitched a series that explored the major events of Middle-earth's Second Age, thousands of years before The Lord of the Rings, including the forging of the Rings of Power, the rise of the Dark Lord Sauron, the fall of the island kingdom of Númenor, and the last alliance between Elves and Men.[13] These events were covered in a five-minute prologue in the Lord of the Rings films,[41] and the pair wanted to expand this into "50 hours of television".[2] Unlike the other writers being interviewed, Payne and McKay had only done unproduced or uncredited writing. They were championed to Amazon by director J. J. Abrams who worked with them on an unproduced Star Trek film,[2][31] and were hired to develop the series in July 2018.[42] Payne said their pitch felt like "an amazing, untold story" that was "worthy of Tolkien",[39] and McKay added, "We didn't want to do a side thing. A spinoff or the origin story of something else. We wanted to find a huge Tolkienian mega epic, and Amazon" agreed.[43]
Jackson said in December 2018 that he and his film producing partners would read some scripts for the series and offer notes on them, but he later stated that this did not happen. Amazon explained that the deal to acquire the television rights for The Lord of the Rings required them to keep the series distinct from Jackson's films, and Tolkien's estate were reportedly against Jackson's involvement in the project.[44] Payne and McKay were confirmed as showrunners and executive producers in July 2019, when the project's full creative team was revealed.[45][46] Additional executive producers included Lindsey Weber, Callum Greene, J. A. Bayona, Belén Atienza, Justin Doble, Jason Cahill, Gennifer Hutchison, Bruce Richmond, and Sharon Tal Yguado.[45][46][47] Prime Video officially ordered a second season in November 2019,[34] and announced the series' full title, The Lord of the Rings: The Rings of Power, in January 2022. Payne and McKay felt the title could "live on the spine of a book next to J. R. R. Tolkien's other classics".[1] By the end of February 2024, Payne and McKay had started outlining the story for a third season.[48] It had not been officially ordered by the end of August, when the showrunners were asked if they had any contingency plans should Amazon decide to end the series before their five-season plan was complete. McKay stated, "We're not anticipating that. We're making our show and going all the way."[49] Amazon was reported in early September to be committed to the five-season plan following the second season's premiere.[50]
Writing
The Lord of the Rings and The Hobbit are set during the Third Age of Middle-earth, while the First and Second Ages are primarily explored in The Silmarillion (1977), Unfinished Tales (1980), and The History of Middle-earth (1983–1996). Because Amazon only acquired the television rights to The Lord of the Rings and The Hobbit, the writers had to identify all of the references to the Second Age in those books and create a story that bridged those passages. These are mostly in the appendices of The Lord of the Rings.[13] The estate was prepared to veto any changes from Tolkien's established narrative,[35] including anything that contradicted what he wrote in other works.[13] The writers were free to add characters or details,[35] and worked with the estate and Tolkien lore experts to ensure these were "Tolkienian".[13] They referenced letters that Tolkien wrote about his mythology for additional context on the setting and characters.[13][51]Simon Tolkien, a novelist and the grandson of J. R. R. Tolkien, consulted on the series and helped develop its story and character arcs. He is credited as a "series consultant".[52]
Payne and McKay knew the series was expected to run for five seasons and were able to plan elements of the final season, including the final shot, while working on the first.[53] The Second Age takes place over thousands of years in Tolkien's history; the writers were concerned that human characters would be frequently dying due to their relatively short lifespans, and that key humans from the end of the Second Age would not be introduced until late in the series. They considered using non-linear storytelling to solve this issue, but felt that would prevent the audience from emotionally investing in the series. Instead, they compressed the timeline so all the major events of the Second Age take place within a short period of time.[2][54] The Tolkien estate approved this change, as long as the major events still took place in the same order as in Tolkien's history,[2][55] and the showrunners felt they were still respecting the "spirit and feeling" of Tolkien's writings despite this change.[54] They structured the series so each season would be built around several "major tentpole moments" from the Second Age.[56]
Because they were unable to adapt dialogue from Tolkien's Second Age stories, the writers attempted to repurpose dialogue that they did have access to.[13] Leith McPherson returned from the Hobbit films as dialect coach and guided the use of Tolkien's fictional languages in the series. She established different dialects for each culture of Middle-earth.[57][58]:46 After the series was revealed to have hired Jennifer Ward-Lealand as an intimacy coordinator, Tolkien fans expressed concern that it would include Game of Thrones-style graphic sex and violence.[59] Payne and McKay said this would not be the case and the series would be family-friendly. They hoped to evoke the tone of Tolkien's books, which can be "intense, sometimes quite political, sometimes quite sophisticated—but it's also heartwarming and life-affirming and optimistic."[2] They felt it was important to embrace the hope and earnestness in Tolkien's works,[60] and said they did not want to be influenced by modern politics, aspiring to tell a timeless story that matched Tolkien's own intention to create a mythology that would always be applicable.[54]
The showrunners disagreed with suggestions that the series was only "vaguely connected" to Tolkien's writings. McKay said they felt it was "deeply, deeply connected" and a "story we're stewarding that was here before us and was waiting in those books" to be told.[61] A disclaimer is featured in the series' end credits stating that some elements are "inspired by, though not contained in, the original source material".[62]
Boniadi chose not to return for the second season and her character Bronwyn was not recast.[14] In early December 2022, Sam Hazeldine was revealed to have replaced Joseph Mawle in the role of Adar for the second season. Amazon also announced the casting of Gabriel Akuwudike, Yasen "Zates" Atour, Ben Daniels, Amelia Kenworthy, Nia Towle, and Nicholas Woodeson.[70] Daniels portrays Círdan, a character that briefly appeared in the films.[71][72] A week later, Amazon further announced the casting of Oliver Alvin-Wilson, Stuart Bowman, Gavi Singh Chera, William Chubb, Kevin Eldon, Will Keen, Selina Lo, and Calam Lynch.[73] Amazon announced the casting of Ciarán Hinds, Rory Kinnear, and Tanya Moodie in March 2023.[74] The second-season finale reveals that Weyman is portraying an earlier version of Gandalf in the series.[19]
Design
Illustrator John Howe, one of the main conceptual designers on the film trilogies, returned to work on the series. He said in August 2019 that it would remain faithful to the films' designs.[75] In August 2022, Amazon explained that the deal with Tolkien's estate required the company to keep the series distinct from Jackson's films,[44] though the showrunners still intended for it to be visually consistent with them.[13] Also returning from Jackson's films to work on the series were costume designer Kate Hawley and special effects company Wētā Workshop.[13][76] Wētā provided props, weapons, prosthetics, and more for the first season.[77]
Rick Heinrichs was initially announced as production designer,[46] but was soon replaced by Ramsey Avery.[78] The showrunners gave Avery several "guideposts" when he joined the series: they wanted the series to feel like a real world that the characters lived in rather than a fantasy world; as many of the sets needed to be built for real as possible, using visual effects only when necessary; the audience should be able to easily identify the different cultures of Middle-earth; and the series had to be true to Tolkien.[79] A "war room" was assembled where the design language for each culture was defined.[80] The series' designs reflect that it is set thousands of years earlier than the films and depicts a "golden age" of Middle-earth.[78] Avery and Hawley did not return for the second season.[81][82] They were replaced by Kristian Milsted and Luca Mosca, respectively.[83]
Filming
In June 2018, Salke said the series could be produced in New Zealand, where the film trilogies were made, but Amazon was also willing to shoot in other countries as long as they could "provide those locations in a really authentic way, because we want it to look incredible".[63] Amazon confirmed in September 2019 that filming for the first season would take place in New Zealand.[84]Scotland had also been considered as a location.[85][86] Filming for the season began in Auckland in February 2020,[64][87] with J. A. Bayona directing the first two episodes.[88] Production was placed on hold in mid-March due to the COVID-19 pandemic,[89] and this shutdown segued into an already planned production break that allowed footage from the first two episodes to be reviewed and writing on the second season to begin.[90] Filming resumed at the end of September.[91]Wayne Che Yip and Charlotte Brändström directed the rest of the season's episodes.[92][93] Around a third of filming took place on location around New Zealand.[76] Production for the first season officially wrapped on August 2, 2021.[94]
The week after filming ended for the first season, Amazon announced that it was moving production of the series to the United Kingdom starting with the second season. Factors that played a role in the change included Amazon already heavily investing in UK studio space for other productions as well as New Zealand's restrictive pandemic-era border policies.[95] Tolkien's estate also wanted the series to be filmed in the UK since Tolkien was inspired by locations there when writing his books.[96] Pre-production for the second season was expected to begin in the UK in the second quarter of 2022,[97] taking place concurrently with post-production for the first season which was continuing in New Zealand until June 2022.[95] Filming on the second season began on October 3,[98] with Brändström, Sanaa Hamri, and Louise Hooper directing.[99] Filming took place primarily at Bray Film Studios and Bovingdon Airfield outside of London,[97] with location filming around the UK and in the Canary Islands.[100][101] Production for the season wrapped in June 2023,[81] amid the 2023 Writers Guild of America strike.[102]
Visual effects
Amazon provided unlimited cloud-based storage for the production, allowing all technical data and footage to be accessible to anyone working on the series around the world. It was the first production to be completely cloud-based,[103] which became crucial during the COVID-19 pandemic.[104] The primary visual effects vendors for the first season were Wētā FX, returning from Jackson's films, and Industrial Light & Magic (ILM).[105] All the vendors were overseen by visual effects supervisor Jason Smith.[106] The season's effects include characters appearing at different sizes,[106] augmented environments,[107] fantasy creatures,[108] and magic.[109]
Title sequence
The opening title sequence was directed by Katrina Crawford and Mark Bashore of the creative studio Plains of Yonder. They did not see any material from the series when starting work and instead took inspiration from Tolkien.[110] Based on the author's creation story in which the world is created from music, the pair suggested the title sequence be "built from the world of sound".[111] They investigated cymatics, using a homemade Chladni plate and slow motion footage to test what shapes could be formed with sand particles by the vibrations of sounds such as Gregorian chants, Angelic music, rock and roll, and whale calls.[110][112] For the final sequence, Crawford and Bashore used a 2 feet (0.61m) wide rig and programmed tones to create basic patterns such as diamonds and swirls. These were filmed practically,[111][112] and then the Plains of Yonder visual effects team attempted to replicate the "flawed, wild motion" of the real photography for shots that feature iconography from Tolkien's writings, including the Two Trees of Valinor; the eight-pointed star associated with the character Fëanor; different parts of Middle-earth's geography; and each set of the Rings of Power—nine human rings, seven Dwarven rings, three Elven rings, and the One Ring.[110][111][113] The sequence took seven months to complete.[110]
Howard Shore, the composer for the Lord of the Rings and Hobbit films, was reported to be in discussions with Amazon about working on the series in September 2020. He was said to be interested in developing musical themes but not necessarily composing the entire score.[114] Shore was confirmed to be in talks for the series a year later,[115] when composer Bear McCreary was reported to be involved as well.[114] Their hiring was officially announced in July 2022, with McCreary composing the score and Shore writing the main title theme.[116] McCreary was contractually prohibited from quoting any themes that Shore wrote for the films.[117] He said the series was a "once-in-a-lifetime opportunity" to work on such an ambitious score, and he hoped to create a "continuity of concept" between the series and Shore's work on the films. He wrote more than 15 new themes for the series.[118]
Marketing
Marketing for the first season in Cologne, Germany
Early promotional work for the series on social media used several maps of Middle-earth's Second Age, as well as excerpts from the novel The Lord of the Rings.[35][119] These maps were designed and created by illustrator John Howe and overseen by Tolkien scholar Tom Shippey to ensure they were accurate to Tolkien's works.[119] Howe and Shippey spent a lot of time working on the maps, which were based on maps of Númenor during the Second Age as well as maps of the Third Age that were created by Tolkien's son Christopher. Despite their efforts, HarperCollins received complaints from fans shortly after the maps were released online regarding two mistakes that were made on them.[75]
Amazon considered the reveal of the series' title in January 2022 to be crucial as the beginning the series' marketing campaign. Instead of just using visual effects, the studio released an announcement video in which the letters of the title are physically cast from molten metal while an excerpt of the "Ring Verse" from The Lord of the Rings is read in voiceover. The video was directed by Klaus Obermeyer, who worked with special effects supervisor Lee Nelson under advisement by veteran special effects supervisor Douglas Trumbull.[120] They filmed the video with foundryman Landon Ryan in late 2021 in Los Angeles, after experimenting with different combinations of metals, sparkler dust, argon pours, and liquid hydrogen. The final metal was a mixture of bronze and aluminum which was poured into molds of compressed sand that could be used multiple times. The pouring was filmed at 5,000 frames per second with a Phantom Flex4K camera so it could be shown in ultra-slow motion.[121] For the final title card, the forged letters were inscribed with Elvish writing and placed on a large piece of redwood. Staff from the Tolkien fan website TheOneRing.net and entertainment journalists were invited by Amazon to watch the filming of the video.[120][121] Prologue Films provided previsualization for the sequence as well as compositing and additional visual effects. They recreated the final title card digitally, taking care to maintain the "integrity of the live action shots and lighting".[122]
A new book chronicling the events of Middle-earth's Second Age was announced in June 2022. Titled The Fall of Númenor, it was compiled and edited by Tolkien scholar Brian Sibley from J. R. R. and Christopher Tolkien's writings about the Second Age. The book features new illustrations by Alan Lee. It was published in November 2022 to capitalize on new interest in the topic arising from the first season's release.[123] Similarly, a new edition of Tolkien's poetry collection The Adventures of Tom Bombadil (1962) was released in August 2024 to coincide with the second season's release.[124]
Release
The Lord of the Rings: The Rings of Power premiered on Prime Video in the United States on September 1, 2022.[125] Episodes are released in more than 240 countries and territories at the same time as the US.[125][126]
Reception
This section summarizes the series' reception. For more details on the reception to each season, see: reception of season 1 and season 2
Viewership
Amazon announced that The Rings of Power had been watched by 25 million viewers globally in the first 24 hours that the first two episodes were available on Prime Video, the service's biggest premiere ever. This was the first time Amazon had publicly stated viewership data for Prime Video and the company did not specify how much of an episode a user needed to watch for them to count as a viewer.[127] By December 2022 the series had been watched by more than 100 million viewers globally and was Prime Video's most watched series ever. Sanders called it "a tremendous success",[128] and explained that, in addition to viewership, the company measured its success based on new signups to Prime Video and impacts on other areas of business such as retail and music;[49] for example, Sanders said the first season led to spikes in the sales of Tolkien's books.[128] In April 2023, Kim Masters at The Hollywood Reporter reported that the first season was only finished by 37 percent of its initial US viewers and 45 percent of international viewers. Salke said attempts to paint the series as less than a success did not reflect Amazon's internal discussions.[129] In October 2024, she said the season had been watched by more than 150 million viewers,[130] and it was still the most-watched season on Prime Video globally.[50]
Third-party analytics companies estimated that there was a significant drop in interest from the premiere episodes of the first season to those of the second, with Samba TV and Luminate both calculating around half as much viewership for the second season's premiere compared to the first's.[131][132] Amazon said the second season was watched by 40 million viewers globally in its first 11 days of release, making it one of the top five most watched television seasons on Prime Video in that timeframe,[133] and this had increased to 55 million viewers ahead of the season finale. The company expected more "growth and momentum" for the season over time.[130]James Hibberd of The Hollywood Reporter said Amazon's "spin" on the season's initial viewership was that a drop was inevitable due to how high the first season's numbers were.[50]
Critical response
Critical response of The Lord of the Rings: The Rings of Power
The review aggregator website Rotten Tomatoes calculated that 83% of 491 critics reviews for the first season were positive and the average rating was 8 out of 10. The website's critics consensus reads, "It may not yet be the One Show to Rule Them All, but The Rings of Power enchants with its opulent presentation and deeply-felt rendering of Middle-earth."[134]Metacritic assigned a weighted average score of 71 out of 100 based on 40 reviews, indicating a "generally favorable" response.[135] Particular praise went to the visuals and designs, while the overall structure, slow pacing, and reliance on mystery box–style storytelling were criticized.[138]
For the second season, Rotten Tomatoes calculated that 84% of 168 critics reviews were positive and the average rating was 7.25 out of 10. The website's critics consensus reads, "The Rings of Power's sophomore season discovers new virtues while retaining some of its predecessor's vices, overall making for a more kinetic journey through Tolkien's world."[136] Metacritic assigned a score of 67 out of 100 based on 25 reviews, again indicating a "generally favorable" response.[137] Critics broadly felt that the series' production value remained high in the second season, with praise for the visuals, design work, and McCreary's score. The season was also seen to be more confident in its storytelling than the first, though some critics said the series still had pacing issues and too many storylines.[139][140][141]
Audience response
The series' early marketing led to a "cacophony" of online fan discourse, including concerns about accuracy to Tolkien.[142] After it premiered, the audience rating on Rotten Tomatoes was considerably lower than the critics rating. This was partially attributed to review bombing for "perceived cultural or political issues", but also to fan concerns about the story, acting, and pacing.[143] These online responses were analyzed and discussed,[144][145][146] with particular coverage going to complaints about the casting of non-white actors.[142][147][148] Many commentators characterized this backlash as being racist.[149] Amazon did a study with thousands of audience members to get insight into their thoughts on each episode of the first season.[150] The day after the second season premiered, its audience rating on Rotten Tomatoes was nearly double that of the first season.[139] Sanders said the second season had not faced the same "racist hostility" as the first and Amazon found the majority of viewers to be open minded, engaged with the series, and not following an "agenda that's separate from the show itself".[151]
The first season of the American fantasy television series The Lord of the Rings: The Rings of Power is based on J. R. R. Tolkien's history of Middle-earth, primarily material from the appendices of the novel The Lord of the Rings (1954–55). Set thousands of years before the novel in Middle-earth's Second Age, the series begins in a time of relative peace and follows various characters as they face the re-emergence of darkness. The season includes a mystery about the whereabouts of the Dark Lord Sauron and concludes with the forging of the first Rings of Power. It was produced by Amazon Studios in association with New Line Cinema and with J. D. Payne and Patrick McKay as showrunners.
The second season of the American fantasy television series The Lord of the Rings: The Rings of Power is based on J. R. R. Tolkien's history of Middle-earth, primarily material from the appendices of the novel The Lord of the Rings (1954–55). Set thousands of years before the novel in Middle-earth's Second Age, the season depicts the rise of the Dark Lord Sauron and his plan to deceive the Elves into creating more Rings of Power that he can use to dominate the free peoples of Middle-earth. The story builds up to the climactic Siege of Eregion. The season was produced by Amazon MGM Studios in association with New Line Cinema and with J. D. Payne and Patrick McKay as showrunners.
"A Shadow of the Past" is the first episode of the first season and series premiere of the American fantasy television series The Lord of the Rings: The Rings of Power. The series is based on J. R. R. Tolkien's history of Middle-earth, primarily material from the appendices of the novel The Lord of the Rings (1954–55). The episode is set thousands of years before the novel in Middle-earth's Second Age. It was written by showrunners J. D. Payne and Patrick McKay, and directed by J. A. Bayona.
The music of the American fantasy television series The Lord of the Rings: The Rings of Power is primarily composed by Bear McCreary. The series is based on J. R. R. Tolkien's history of Middle-earth, primarily material from the appendices of the novel The Lord of the Rings (1954–55). It is set thousands of years before the novel and depicts the major events of Middle-earth's Second Age. The series was developed by J. D. Payne and Patrick McKay for the streaming service Amazon Prime Video.
"Adrift" is the second episode of the first season of the American fantasy television series The Lord of the Rings: The Rings of Power. The series is based on J. R. R. Tolkien's history of Middle-earth, primarily material from the appendices of the novel The Lord of the Rings (1954–55). Set thousands of years before the novel in Middle-earth's Second Age, the episode introduces the Dwarven kingdom of Khazad-dûm. It was written by Gennifer Hutchison and directed by J. A. Bayona.
"Adar" is the third episode of the first season of the American fantasy television series The Lord of the Rings: The Rings of Power. The series is based on J. R. R. Tolkien's history of Middle-earth, primarily material from the appendices of the novel The Lord of the Rings (1954–55). Set thousands of years before the novel in Middle-earth's Second Age, the episode introduces the island kingdom of Númenor. It was written by Jason Cahill and Justin Doble, and directed by Wayne Che Yip.
"The Great Wave" is the fourth episode of the first season of the American fantasy television series The Lord of the Rings: The Rings of Power. The series is based on J. R. R. Tolkien's history of Middle-earth, primarily material from the appendices of the novel The Lord of the Rings (1954–55). The episode is set thousands of years before the novel in Middle-earth's Second Age. It was written by Stephany Folsom and showrunners J. D. Payne and Patrick McKay, and directed by Wayne Che Yip.
"Partings" is the fifth episode of the first season of the American fantasy television series The Lord of the Rings: The Rings of Power. The series is based on J. R. R. Tolkien's history of Middle-earth, primarily material from the appendices of the novel The Lord of the Rings (1954–55). Set thousands of years before the novel in Middle-earth's Second Age, the episode shows several groups preparing for conflict with emerging evil forces. It was written by Justin Doble and directed by Wayne Che Yip.
"Udûn" is the sixth episode of the first season of the American fantasy television series The Lord of the Rings: The Rings of Power. The series is based on J. R. R. Tolkien's history of Middle-earth, primarily material from the appendices of the novel The Lord of the Rings (1954–55). The episode is set thousands of years before the novel in Middle-earth's Second Age. It was written by Nicholas Adams, Justin Doble, and showrunners J. D. Payne and Patrick McKay, and directed by Charlotte Brändström.
"The Eye" is the seventh episode of the first season of the American fantasy television series The Lord of the Rings: The Rings of Power. The series is based on J. R. R. Tolkien's history of Middle-earth, primarily material from the appendices of the novel The Lord of the Rings (1954–55). Set thousands of years before the novel in Middle-earth's Second Age, the episode explores the aftermath of the volcanic eruption in the previous episode. It was written by Jason Cahill and directed by Charlotte Brändström.
"Alloyed" is the eighth and final episode of the first season of the American fantasy television series The Lord of the Rings: The Rings of Power. The series is based on J. R. R. Tolkien's history of Middle-earth, primarily material from the appendices of the novel The Lord of the Rings (1954–55). The episode is set thousands of years before the novel in Middle-earth's Second Age. It was written by Gennifer Hutchison and showrunners J. D. Payne and Patrick McKay, and directed by Wayne Che Yip.
"Elven Kings Under the Sky" is the first episode of the second season of the American fantasy television series The Lord of the Rings: The Rings of Power. The series is based on J. R. R. Tolkien's history of Middle-earth, primarily material from the appendices of the novel The Lord of the Rings (1954–55). Set thousands of years before the novel in Middle-earth's Second Age, the episode shows the Elves' reactions to their Rings of Power. It was written by Gennifer Hutchison and directed by Charlotte Brändström.
"Where the Stars are Strange" is the second episode of the second season of the American fantasy television series The Lord of the Rings: The Rings of Power. The series is based on J. R. R. Tolkien's history of Middle-earth, primarily material from the appendices of the novel The Lord of the Rings (1954–55). The episode is set thousands of years before the novel in Middle-earth's Second Age. It was written by Jason Cahill and directed by Charlotte Brändström and Louise Hooper.
"The Eagle and the Sceptre" is the third episode of the second season of the American fantasy television series The Lord of the Rings: The Rings of Power. The series is based on J. R. R. Tolkien's history of Middle-earth, primarily material from the appendices of the novel The Lord of the Rings (1954–55). Set thousands of years before the novel in Middle-earth's Second Age, the episode focuses on characters from Númenor. It was written by Helen Shang and directed by Louise Hooper and Charlotte Brändström.
"Eldest" is the fourth episode of the second season of the American fantasy television series The Lord of the Rings: The Rings of Power. The series is based on J. R. R. Tolkien's history of Middle-earth, primarily material from the appendices of the novel The Lord of the Rings (1954–55). Set thousands of years before the novel in Middle-earth's Second Age, the episode introduces the character Tom Bombadil. It was written by Glenise Mullins and directed by Louise Hooper and Sanaa Hamri.
"Halls of Stone" is the fifth episode of the second season of the American fantasy television series The Lord of the Rings: The Rings of Power. The series is based on J. R. R. Tolkien's history of Middle-earth, primarily material from the appendices of the novel The Lord of the Rings (1954–55). Set thousands of years before the novel in Middle-earth's Second Age, the episode shows the Dwarves' reactions to their Rings of Power. It was written by Nicholas Adams and directed by Louise Hooper and Sanaa Hamri.
"Where Is He?" is the sixth episode of the second season of the American fantasy television series The Lord of the Rings: The Rings of Power. The series is based on J. R. R. Tolkien's history of Middle-earth, primarily material from the appendices of the novel The Lord of the Rings (1954–55). Set thousands of years before the novel in Middle-earth's Second Age, the episode builds up to the climactic events of the season. It was written by Justin Doble and directed by Sanaa Hamri.
"Doomed to Die" is the seventh episode of the second season of the American fantasy television series The Lord of the Rings: The Rings of Power. The series is based on J. R. R. Tolkien's history of Middle-earth, primarily material from the appendices of the novel The Lord of the Rings (1954–55). The episode is set thousands of years before the novel in Middle-earth's Second Age. It was written by showrunners J. D. Payne and Patrick McKay, and Justin Doble, and directed by Charlotte Brändström.
"Shadow and Flame" is the eighth and final episode of the second season of the American fantasy television series The Lord of the Rings: The Rings of Power. The series is based on J. R. R. Tolkien's history of Middle-earth, primarily material from the appendices of the novel The Lord of the Rings (1954–55). The episode is set thousands of years before the novel in Middle-earth's Second Age. It was written by showrunners J. D. Payne and Patrick McKay, and directed by Charlotte Brändström.
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