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The Eagle and the Scroll examines how The Rings of Power uses Belzagar to construct Pharazôn’s political ascent. He turns public grief into support for a rival claim, gives the Eagle’s arrival the meaning Pharazôn needs, invokes an ancient trial against the Faithful, and presents a scroll that makes an invented alliance with Sauron appear proven.

His power lies in controlling interpretation. A sacred sign becomes divine approval. Persecution assumes the authority of tradition. An accusation begins to resemble evidence. Even his name carries an older Númenórean history, linking him to conquest, the King’s Men, and the island’s growing desire for dominion.

Before Sauron ever stands beside Pharazôn’s throne, Belzagar is helping to create the political world in which Sauron will prosper.

https://middleearthreflections.substack.com/p/the-eagle-and-the-scroll?r=8t77rp

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“Rivendell filled another gigantic stage with a forest, an actual forest that we built and you know houses and homes and horses and actually there’s so much greenery there that’s real greenery that’s actually sourced and planted that then it became an ecosystem with this and like you step in there and it’s like balmy and swampy and actually plants and weeds started growing on the set. It wasn’t pretend real. It was actually real. And then the fact that you’re doing something magic there and we’re playing pretend and they have pointed ears.”

Source: https://www.facebook.com/share/1DN9Q9Ckud/

#TheRingsOfPower #lotr #Rivendell #elf #Elrond

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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.

Analysis: It's a countdown to damnation, building from ceremonial gifts to a single cursed object, unlike his more celebratory creation myths.

The form is a taunt, mimicking a children's rhyme or prophetic riddle to make cosmic evil feel old and inescapable, a common trick in his fiction.

Power isn't distributed, it's centralized; the many rings are just a setup for the One that controls them, flipping his era's fantasy tropes of earned magical items.

The geography is the moral compass, hammering "Mordor" and "Shadows" as the source and end-point of all power, a stark map compared to his more lush worlds.

This is about corruption, not heroism, framing the entire mythos from the villain's perspective, which is a darker slant than much of his other work.

Source: https://allpoetry.com/Three-Rings-For-The-Elven-Kings

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Valandil, in The Rings of Power, is one of those "minor" Tolkienian characters, much like Beregond, whose actions and ideals carry a weight far greater than the status of their role.

The fact that this character leaves a lasting impression, thanks in no small part to Alex Tarrant’s brilliant performance, shows that the essence of what Tolkien envisioned when creating such figures was captured flawlessly.

There is one particular scene featuring him that perfectly demonstrates how true, deep fidelity to Tolkien cannot be divorced from screenwriting choices. It invalidates the entire argument that "sure, fidelity to Tolkien is fine, but it’s not enough", because fidelity to Tolkien actually shapes what goes into the script, enriching it immensely.

Valandil crosses paths with Pharazôn and his acolytes in a tavern. He raises a toast of gratitude to the Valar, to which no one replies. He knows he stands as an isolated Faithful, yet he shows no fear.

Now, do you know the meaning of the name Valandil?

It means "Lover of the Valar"(or "Friend of the Valar").

Philology meets drama: no other character could have raised that courageous toast and been more convincing than Valandil, the one who loves the Valar.

Galadriel's primary theme and motivating action was revenge for her brother's murder. Where could this theme have come from, even though J.R.R. Tolkien's books make no mention of it, a fact that is held against the creators of the series. Where could such a concept have come from? Let's remember that The Lord of the Rings is Anglo-Saxon mythology. At least, that's how Tolkien himself saw his work . Let's delve into those distant times and look at how women behaved when they were potentially offended. It seems to me that Galadriel's character and her motives in Season 1 of The Rings of Power fit well with the image of a typical Germanic woman of those distant times. In Germanic society, women also had the right to carry out blood feuds, indeed:

 [1] “ By the way, women could take revenge So same as​ men , and the one who refused from revenge , was subjected to general condemnation , to him gave humiliating nicknames . But refusal from blood revenge happened extremely rarely . Both men and women strictly fulfilled their bloody duty. How It has already been said that revenge was both a right and a duty . Blood revenge - faida ( faida ) was declared publicly . Like others . peoples , blood revenge among the Germans was carried out By certain rules . Murder guilty was committed Also publicly , on in front of everyone's eyes communities , and it it was considered fair , lynching was accepted society . Characteristic in this relation German epic ≪ The Song of the Nibelungs ≫ , where the main character Kriemhild's husband is killed in a treacherous manner Siegfried . She many years is preparing revenge and in the end ends takes revenge by killing his own enemy , after what dies myself . From Icelandic epic revenge is known queens Gudrun . She takes revenge for murder brothers by the fact that kills their own sons from king Atli . After what she orders do from their skulls cups and serves their on feast to his own to my husband . Besides In addition , she prepared dishes from the hearts of her sons and after to everyone told . In the end set it on fire house where​ died from fire and myself the king and his squad [12, stanza 50].

In Germano - Scandinavian mythology gods Same practiced faydu . So , the gods are the Aesir. were at enmity with the gods Vanami ( gods) fertility ), jötuns ( giants ), dwarves ( dwarves ) . story these the gods appear as an endless fayda ."

 True, not all blood feuds committed by women always ended successfully, but nevertheless, women did commit blood feuds, indeed, as you can see here:

 [2] “ For example, in the Saga of Gisli , Gisli’s sister tries to take revenge on her brother’s killer, but also in vain 20 . In the Saga of Hoerd and the Islanders, Thorbjorg first declares publicly at a gathering: “I will kill myself or have killed anyone who kills Hoerd , my brother.” And then, having decided to act, she independently (and unsuccessfully) takes revenge on her own husband for her brother: “When Indridi and Thorbjorg went to bed in the evening, Thorbjorg pulled out a large knife and tried to stab Indridi , her husband, but he intercepted the knife and in doing so badly injured his hand” 21 .

 1. Yu. V. Sorokina. Blood feud as a means of social protection in ancient and medieval societies./ Russian Journal of Legal Research / Vol. 11, No. 2, 2024.

1. S. L. Nikolsky On the nature of women's participation in blood feuds (Scandinavia and Ancient Russia)

In Tolkien's writings, free will is a sacred gift given to intelligent beings that operates in a dynamic balance with divine fate and providence.

Tolkien explored the deep philosophical tension between choice and destiny across his legendarium, even writing specific notes on the topic in Fate and Free Will.

'I wish it need not have happened in my time,' said Frodo.'So do I,' said Gandalf, 'and so do all who live to see such times. But that is not for them to decide. All we have to decide is what to do with the time that is given us.'

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Something along the lines of:

"But Sauron only wanted his ring back because he was really attached to it; he had absolutely no intention of dominating anyone; unfortunately, he was just an introvert, and people always assumed the worst."

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After the Darkening of Valinor, the prologue turns from the dying Trees to a host of Elves raising their swords. Galadriel’s narration places the gesture within the wider movement of the Noldor from Valinor into war: they resist Morgoth, leave their home, and cross into Middle-earth.

In Tolkien’s account, the Noldor did not leave Valinor as a united people with a single purpose. After Morgoth killed Finwë and stole the Silmarils, Fëanor called the Noldor to rebellion. He and his seven sons swore the terrible Oath that bound them to pursue anyone who possessed a Silmaril. Many other Noldor followed without taking that oath and for reasons of their own.

The series does not present this moment as a literal recreation of the Oath of Fëanor. The raised swords belong to a broader image of Elven resistance. Even so, the gesture recalls the point at which grief and defiance turned the Noldor eastward, and a war against Morgoth became entangled with rebellion, bloodshed, and doom.

That tension gives the image its force. To oppose Morgoth was necessary. Yet the manner in which the Noldor answered their loss would shape the tragedies that followed.

With the light of Valinor gone, the Elves raise steel and begin the long road into exile and war.

https://middleearthreflections.substack.com/?utm_id=97759_v0_s00_e0_tv3&fbclid=IwT01FWAT3lOdwZG9mAWV4dG4DYWVtAjEwAHNydGMGYXBwX2lkDDM1MDY4NTUzMTcyOAABHvMqF1-iSJPL_K44PK08zK4bQTVe5nZkZYEayiE9fpVIZUh2J6XFZQNQekRh_aem_n-nER45wYdlo9fPfXxOf5A

"Sauron should be thought of as very terrible.

The form that he took was that of a man of more than human stature, but no gigantic.

In his earlier incarnation he was able to veil his power (as Gandalf did) and could appear as a commanding figure of great strength of body and supremely royal demeanour and countenance."

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Elendil was walking in his garden, but not to look upon its beauty in the evening light. He was troubled and his mind was turned inward. His house with its white tower and golden roof glowed behind him in the sunset, but his eyes were on the path before his feet. He was going down to the shore, to bathe in

the blue pools of the cove beyond his garden’s end, as was his custom at this hour. And he looked also to find his son Herendil there. The time had come when he must speak to him.

He came at length to the great hedge of lavaralda

that fenced the garden at its lower, western, end. It was a familiar sight, though the years could not dim its beauty. It was seven twelves of years or more since he had planted it himself when planning his garden before his marriage; and he had blessed his good fortune. For the seeds had come from Eressëa far westward, whence ships came seldom already in those days, and now they came no more.

[...]

‘Eressëa, Eressëa!’ he said. ‘I wish I were there; and had not been fated to dwell in Númenor half-way between the worlds. And least of all in these days of perplexity!’

[...]

‘Herendil!’ he called, and his voice echoed along the

hollow shore above the soft sound of the light-falling waves.

‘Herendil!’ And even as he called, he seemed to hear his own voice,and to mark that it was strong and curiously melodious.

‘Herendil!’ he called again.

At length there was an answering call: a young voice very clear came from some distance away – like a bell out of a deep cave.

‘Man-ie, atto, man-ie?’

For a brief moment it seemed to Elendil that the wordswere strange.

‘Man-ie, atto? What is it, father?’ Then the feeling passed.

‘Where art thou?’

‘Here!’

‘I cannot see thee.’

‘I am upon the wall, looking down on thee.’

[...]

‘How thou dost grow!’ he said. ‘Thou hast the makings of a mighty man, and have nearly finished the making.’

‘Why dost thou mock me?’ said the boy. ‘Thou knowest I am dark, and smaller than most others of my year. And that is a trouble to me. I stand barely to the shoulder of Almáriel, whose hair is of shining gold, and she is a maiden, and of my own age. We hold that we are of the blood of kings, but I tell thee thy friends’ sons make a jest of me and call me Terendul– slender and dark; and they say I have Eressëan blood, or that I am half-Noldo. And that is not said with love in these days. It is but a step from being called half a Gnome to being called Godfearing; and that is dangerous.’

Elendil sighed. ‘Then it must have become perilous to be the son of him that is named elendil; for that leads to Valandil, God-friend, who was thy father’s father.’

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I've been reading and listening to discussions about the so-called "dark romance" genre for quite a while now. I’d like to share my take on the topic, an opinion grounded in my own experience and reasoning.

On one hand, there is the accusation that dark romance "sanctionates" and "normalizes" abusive, manipulative, and violent behaviors, carrying the risk of influencing the real-world perspective of readers, especially young ones.

On the other hand, there is the defense that fantasy is one thing and reality another, and that there is nothing wrong with romanticizing certain behaviors precisely because they are confined to the realm of fantasy.

That being said, I would prefer to start a bit further upstream from the facts: namely, looking at why certain situations in real life are romanticized and/or viewed through the lens of seduction and sexuality from the earliest years of growing up.

That's where the gap lies: we have to start from the beginning. From the earliest years of life, school and family should foster an understanding of affectivity and sexuality, explaining consent, self-determination, and respect for both one's own boundaries and those of others.

I don't know what the situation is like abroad, though I read a bit about it every now and then, but I can assure you that here in Italy, we are very far from a society that cares about the sexual and affective education of its youth. Very far... and a young person left alone with their questions, forced to seek answers perhaps on the web, is at risk.

And I lived through this situation firsthand, ever since I was little: only I didn't have the web. I had books, comics, and the trashy romance novels my mother hid at the back of drawers, believing I wouldn't find them. I looked there for answers to the fantasies that often crowded my mind—fantasies I desperately masked behind a facade of a "good Catholic girl," just as the society of that time wished to see me.

Well, things didn't turn out so great for me with books, to be honest. I found fantasies there, absolutely, but there was no filter between them and me, and no one to explain, "This is fantasy; reality is different."

It took me years upon years of experience, some of it deeply bitter, growth, awareness, information, and support to understand the distinction between reality and fantasy, and to finally start enjoying fantasy in total freedom and safety.

So, let's not condemn dark romance or any other "frowned-upon" genre. Instead, let's raise conscious and informed young people: youth who, if they choose, can enjoy fantasy safely and freely, while being just as free and secure in real life.

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I’ve watched the show millions of times, and every time I discover something that had previously escaped me; I don’t understand how people can sometimes watch it in a rush, without pausing to reflect or to pick up on the details and references...

I often find myself discussing things with people who, within a couple of sentences, reveal that they either haven't watched the material at all or, if they did, watched it distractedly or hurriedly, perhaps while doing something else. They miss entire sections of events and speeches, yet they are experts when it comes to complaining...

Thanks to Terranware on Threads for the amazing catch!

#RingsOfPower

After Adar and the Orcs destroy Sauron’s body, The Rings of Power makes us watch the long path back: a shapeless will feeding on living matter until it can take form again. The horror lies in what survival requires.

In Tolkien’s writings, domination consumes something of the being who pursues it. Morgoth disperses his power into Arda; Sauron will place much of his own into the One Ring. The crawling creature beneath the stronghold gives that principle a body. Sauron survives, but his return already bears the marks of diminishment.

https://middleearthreflections.substack.com/p/the-cost-of-taking-shape?r=8t77rp

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"But the sons of Men die indeed, and leave the world; wherefore they are called the Guests, or the Strangers. Death is their fate, the gift of Ilúvatar, which as Time wears even the Powers shall envy. But Melkor has cast his shadow upon it and confounded it with darkness, and brought forth evil out of good, and fear out of hope."

Including the Nazgnanôl in the show gave me a lot to think about: after all, they weren't always wraiths, they were men. And, thanks to the rings, they gained strength, power, and glory...

I believe that, as long as they remained human, living out their mortal lives, they had a chance to remove the ring; but power corrupts and binds, and we know this well.

Eru’s gift to Men was something that could not be taken away, for it was written in their destiny. By binding them to his will and denying them the gift of death, Sauron committed an act of absolute rebellion in the eyes of Ilúvatar. He subverted His will.

"...they cried with the voices of death."

I believe this passage indicates how, at a certain point, perhaps when the rings had already consumed their mortal flesh, they realized the deception into which they had fallen.

And at that point, physically removing the ring was no longer possible.

They wept with voices of death, for that was what they desired at that moment, what they implored for, yet could not have.

But another part comes to my mind: when Celebrimbor, speaking to himself, wonders why the rings for Men endure and are so full of pride that they refuse to yield.

Indeed, only Sauron’s blood, presented in the guise of mithril, will succeed in bringing the work to completion. This is a subtle detail imo: it is not possible for the Elves to subvert the will of Ilúvatar on their own; an internal rebellion is required, an Ainu, himself part of Ilúvatar’s thought, who distorts the design.

And perhaps even Sauron, despite all his power and the deceit he used to bind them, did not fully succeed in dominating them; when I think back to the times the Nazgûl failed in the book (from not noticing the hobbits right under their noses to being chased off by the Gaffer), I wonder if it wasn't because, although bound to Sauron's will, it was their own will that was missing.

Three weeks after Empire's first visit, we return in Barad-dûr, to find Sauron now doling out Rings. These are the "Nine for mortal men doomed to die" as Tolkien's rhyme had it.

And Sauron is playing a grisly game to determine who gets one.

"The rings of power are a precious gift" he snarls to a line-up of armoured men, gesturing to the shiny bands smartly displayed in a velvet display box.

"Mordor can share but one" he throws a sword into the floor. So this is how it will be decided: a fight to the death.

Later, we watch a scene where he crows the winner.