Amazon's Lord of the Rings Prequel

With Amazon's The Lord of the Rings having recently begun production in New Zealand (in early February), it felt like it was time to take a look at the show--what we know about the plot, the cast, and the people behind the scenes--to get a sense of what we'll see. I'm a huge Tolkien fan who enjoyed (with reservations) Peter Jackson's film adaptations of LOTR (not so much The Hobbit trilogy). I'm hopeful we'll get something fantastic from the show.

Amazon won a bidding war for the rights (vs Netflix) in 2017, paying a tidy 250 million for the IP. The Tolkien Estate retains limited veto rights over the series, something it did not have for the films (or video games). The rights Amazon purchased are confined to the Second Age, which makes sense to me (I don't think the First Age is filmable, and anything in the Third would be overshadowed by LOTR itself). Events and actions that Tolkien wrote about cannot be changed (it's less clear if anything beyond that can be). This means the predilections of Amazon's programming CEO Jennifer Salke don't matter as much as they normally would (so there are no concerns over whatever made her jettison Ryan Condal's Conan series--Condal is now working with George R. R. Martin on the Game of Thrones prequel for HBO--and the clusterfuck that is the The Wheel of Time). The cost of the investment also makes it less likely that we'll see the usual kind of executive meddling that ruins adaptations.

There's no official release date and the current filming is for contractual reasons (interrupted now due to the pandemic, shutting down March 15th): the plan was after the first two episodes were filmed there would be a 4-5 month hiatus before recommencing. This means that, unlike the second season of The Witcher, the halted production shouldn't impact overall plans, which should resume as intended in July or August. Optimistically we can hope for a fall, 2021 release.

Amazon has the option of making a spinoff show and I'm sure whatever that is will be built into the writing of the main series (what it could be remains unclear). The oft-bandied one billion dollar price tag for the show is believed to include both the purchase price and the cost over five seasons (which would make the cost per season 150 million, or 7.5 million per episode, assuming 20 episodes per season, which is lower than the MCU's Disney+ shows and on par with Game of Thrones). It's not clear if the show will have Mandalorian-sized half-hour episodes or the more standard Netflix/HBO format of close to an hour. If the former is the approach then the episode count is a bit deceiving as the overall programming total will be on par with a standard streaming show.

Plot

We know very little about the plot (I delve into guesses about the story below). The plan is for a five-season arc that will crescendo with the defeat of Sauron at the end of the Second Age. I've seen theories about the chronology within the series, but given that the leads (below) all have options for the entire run of the show, and given that humans (and Dwarves) aren't immortal (unlike the Elves), it suggests a late timeframe (we can, of course, get flashbacks to any part of the Second Age). These are the two most likely alternatives to how the show will approach its material:

• 1) Split the narrative's timelines (like The Witcher, but more coherently), beginning with the forging of the Rings and War of the Elves and Sauron, before jumping forward to the end of the Age (or, conversely, switching back and forth from the past to the present)
• 2) Beginning at the end of the Age and following the course of Sauron's capture, his winning over of Ar-Pharazon, the latter's folly and the destruction of Numenor, followed by the Last Alliance and the victory over Sauron

Everything that we've learned (which isn't much) suggests the second option is being followed. It's the least complicated and has the most obvious dramatic throughline (it also has the most written content to use).

A final note: those involved with the show say they will honour Peter Jackson's adaptations, but it's difficult to know how, as any of the characters shown (such as Elrond) were very different people thousands of years earlier. I think these comments were made just to make fans happy and, if anything, I'd prefer more faithful adaptations (the aesthetic, outside the square designs for Dwarves, I'm fine with).

Basics of Tolkien's Legendarium

Before we go forward, here's a brief refresher on the elements of Tolkien's mythology for those who aren't familiar or have forgotten (there are thankfully a ton of resources for fans to go to--wikis, videos, etc).

• The mythology is meant to be our pre-history--not in a scientific sense--there are no dinosaurs--but fitting within the framework of other real world mythologies. Ergo, this isn't like George R. R. Martin's Planetos for Game of Thrones, but like Robert E. Howard's Hyperboria (where Conan's stories take place)
• Eru Iluvatar is the Creator--Tolkien's stand-in for God (although, despite post-publication efforts, JRRT did not match his mythology very precisely with Catholicism); beyond creation, Eru's only relevant act within the lore is punishing the Numenoreans and re-shaping the world at the end of the Second Age (many of Tolkien's tragedies are attached to pride, whose results are always catastrophic)
• Beneath Eru are the Valar, god-like beings (including Morgoth/Melkor, the enemy of the First Age) who, after the First Age, rarely interact with the world; beneath the Valar are the Maiar, such as Sauron and Gandalf
• Elves are immortal, do not get sick, and do not age beyond a certain point; they are also called the Eldar or the First Born and may pass into the Undying Lands of Aman. Tolkien's Elves, despite endless imitation, remain unique. While like virtually all fantasy Elves they are pale, beautiful, and long lived, the Eldar were unusually tall, strong, and tended to be dark-haired (like Elrond or Arwen), with male and female having more similar physiques than Men (these aesthetic considerations probably don't matter to the show, but are worth pointing out)
• The Edain (such as Aragorn) are descendants of Men who befriended the Elves in the First Age and as a reward for assisting them in their war against Morgoth were given the island of Numenor and longer lives (living for 300-500 years); Men are divided up between the Numenoreans (those who aided the Elves), Middle Men (those who did not aid the Elves, but did not serve Sauron either), and Men of Darkness (who worshipped and served Sauron)
• Dwarves were made by Aule, one of the Valar (unlike the Elves and Men, who were made by Eru), although only Eru could give them life. Nearly all fantasy Dwarves have since imitated Tolkien's without much alteration--short, broad, hardy, long-lived (centuries), living underground, known for superior crafting and building
• Ents (and Entwives) exist in the Second Age, but we're told virtually nothing of their deeds
• Hobbits only impact the events of Middle-earth in the Third Age and, as such, seem out of the purview of the show (beyond, I suppose, cameos)
• Until the Third Age the world is flat, with the Undying Lands in the west
• Rings of Power: nineteen forged by Celebrimbor and other Elven smiths, assisted by a disguised Sauron who was revealed when he forged the One Ring; while these powerful objects are the focus of the Third Age, they impact the end of the Second as well
• 'Men' is the term Tolkien used to differentiate humans from the other races--I suspect the show will shy away from the term, but to keep the terminology consistent I'll use it here from time to time (when I do so, it will always be capitalized)

Key Events of the Second Age

c.500 - Sauron arises
600 - The first Numenorean ships sail to Middle-Earth
c.1000 - Sauron begins building Barad-dur
1075 - Ancalime becomes the first queen of Numenor
c.1500 - Rings of Power forged by Sauron and Celebrimbor
1566 - Telperien becomes the second queen of Numenor
c.1600 - One Ring forged; Barad-dur completed; Celebrimbor begins fighting Sauron; Glorfindel sent back to Middle Earth by the Valar
1693 - War of the Elves and Sauron
1695 - Elrond sent to assist Gil-galad
1697 - Celebrimbor dies
1700 - Numenor navy sent to assist the Elves (Sauron defeated)
2221 - Ringwraiths first appear
2526 - Vanimelde becomes the third queen of Numenor
2899 - Ar-Adunakhor is the first king to use Adunaic as his royal name
2900 - Teaching of Elvish prohibited
3100 - Usage of Elvish and visits by them prohibited
3119 - Birth of Elendil (forefather of Aragorn)
3177 - Civil War in Numenor
3261 - Sauron taken captive
3319 - Attempted assault on Aman; the world is changed and Numenor is sunk into the ocean
3428 - War of the Last Alliance of Men and Elves
3434 - Siege of Barad-dur begins; Oropher and Amdir killed
3440 - Anarion killed
3441 - Sauron slain by Isildur who takes the One Ring; deaths of Gil-galad and Elendil

These events have to happen as and when described if involved in the show's story. I'm less clear on what's considered canon--whether Tolkien's published, unfinished work 'counts' in this context, or if the show is only beholden to what is in The Silmarillon and The Lord of the Rings. I suspect all published writing is canon (even in the case of contradictions, which would allow the show to pick one or the other). These are the texts that discuss the Second Age (page citations from my books on hand, included for perspective on scope):

• References in The Lord of the Rings (particularly Appendix A, 1070-1074, and Appendix B, 1119-1121)
• "Akallabeth" chapter in The Silmarillon (309-339)
• "A Description of the Island of Numenor" in Unfinished Tales (165-171)
• "Aldarion and Erendis" in Unfinished Tales (173-212)
• "The Line of Elros: Kings of Numenor" in Unfinished Tales (218-224)
• "The History of Galadriel and Celeborn" in Unfinished Tales (234-240; 243-244)
• "The Fall of Numenor" in The Lost Road and Other Writings (11-35)
• "Akallabeth" and "Tal-Elmar" in The Peoples of Middle-earth (140-163; 422-437)

This may seem like a lot of material, but it's actually quite limited (particularly as much of it repeats and most of the focus is on the downfall of Numenor). The two diversions from the main focus are: "Tal-Elmar" (a brief, unfinished story about the native* inhabitants of Middle-earth, with an uncertain timeframe) and "Aldarion and Erendis" (about Aldarion's life). Both are unfinished stories, with the latter occurring long before the major events of the Second Age (c.700-c1100). There's some potential to use "Tal-Elmar," whose uncertainties and vagaries make it available.
*'Native' not in the absolute sense of the original inhabitants, because the Men who became Numenoreans arrived on the continent with them in the First Age; these people have simply never fought Morgoth and left Middle-earth (they are the Middle Men or Men of Darkness)

Significant Characters of the Second Age

1500-1700 (those who die are marked with an (X); bold are confirmed to appear in the series)

• Maia: Sauron (aka Annatar)
• Ringwraiths: Don't exist yet
• Elves: Gil-galad, Elrond, Celebrimbor (X), Cirdan, Celeborn (Galadriel, Glorfindel, Celebrian, Thranduil, Oropher, and Amdir were alive at this time, but it's not known how much they took part in the war against Sauron--it's reasonable to assume that most did)
• Men: Ciryatur, Tar-Surion (X), Tar-Minastir, Tar-Teleperien
• Dwarves: Durin III, who fought against Sauron
• Ents: Treebeard existed, but he is not known to have participated
• Tom Bombadil: existed, but didn't participate

3177+ (those who die are marked with an (X))

• Maia: Sauron (aka Annatar)
• Ringwraiths: Yes
• Elves: Gil-galad (X), Elrond, Glorfindel, Cirdan, Galadriel, Celeborn, Celebrian, Thranduil, Oropher (X), and Amdir (X)
• Men: Ar-Gimilzor (X), Tar-Palantir (X), Ar-Pharazon (X), Tar-Miriel (X), Gimilkhad (X), Amandil (X), Elendil (X), Anarion (X), Isildur
• Dwarves: Durin IV, his people fought against Sauron (unknown if he went himself)
• Ents: Treebeard existed, but he is not known to have participated
• Tom Bombadil: existed, but didn't participate

Below I've included art for the characters. In a few cases either none is to be found or what little there is doesn't fit the aesthetic (I left a blank to maintain the symmetry).


Sauron
Race: Maia
DOB: Before the creation of the world
Appearance: Until the Fall of Numenor he could put on a 'fair visage,' but afterwards cannot
The same kind of being that Gandalf or a Balrog is, but much stronger--likely the most powerful there ever was. He's the villain of the Second and Third Age, but plays a much more complicated role in the former, as he serves as the tempter of the Numenoreans. We know he's the central antagonist of the show.


Ringwraiths
Race: Men
DOB: Unknown, first appearing 2251
Bound to the Rings of Power, these Men appear after The War of the Elves and Sauron; Tolkien only ever named one (an Easterling named Khamul); three others were Numenoreans; the other five are a complete blank (they could be Dunlendings, Harradrim, etc). They will certainly appear, but unless we see the events of their formation they are unlikely to be true characters.


Celebrimbor
Race: Elf
DOB: pre-First Age
Appearance: I couldn't find an official description of him
King of Eregion; the master smith who was tricked by Sauron into forging the Rings of Power; he made the Elven Rings that Sauron could not control (two he gave to Gil-galad, who in turn gave one to Elrond, while the third went to Galadriel--Gil-galad's ring went to Cirdan in the Third Age who, in turn, gave it to Gandalf). He dies in the War of the Elves and Sauron.


Galadriel
Race: Elf
DOB: pre-First Age
Appearance: Tall (6'4), golden blond
Flaws: pride (as referenced in LOTR), but it's a small part of a wise character
Early in the Second Age she and her partner Celeborn lived in Lindon, within the realm of Gil-galad, which is where their daughter Celebrian was born (c.350-400). They then moved to Eregion (750), where they ruled in Gil-galad's name, and from there (1350) she and her daughter moved to Lorinand (later Lorien), which was ruled by King Amdir (Celeborn stayed behind). Galadriel opposed Annatar (Sauron)'s association with Celebrimbor's people, not trusting him, and she counselled him to hide the Elven Rings. We do not know if she directly participated in The War of the Elves and Sauron or The Last Alliance, although it's probable in both cases. After the first war she moved (with Celebrian and Celeborn) to Imladris, living with Elrond.


Celeborn
Race: Elf
DOB: pre-First Age
Appearance: Tall (6'4), silver hair
Flaws: his dislike of the Dwarves separated him from his wife and child for centuries (1350-1700)
Galadriel's husband; he was active in The War of the Elves and Sauron, but it's not specifically stated if he directly fought in The Last Alliance (one would presume that he did). He's given almost no deeds of his own within Tolkien's texts (the author was much more interested in Galadriel).


Celebrian
Race: Elf
DOB: c.350-400 Second Age
Appearance: No official description
The daughter of Galadriel and Celeborn; all the deeds specific to her occur in the Third Age (such as marrying Elrond), so the Second Age is a complete blank.


Gil-galad
Race: Elf
DOB: pre-First Age
Appearance: No official description
There's very little written about the High King of the Elves (acknowledged by both the Noldor and Sindarin Elves; Sam sings a little poem about him in LOTR, which I included below), but he fought Sauron in both conflicts and was known for his spear, Aeglos.

Gil-galad was an Elven-king.

Of him the harpers sadly sing;

the last whose realm was fair and free

between the Mountains and the Sea.

 His sword was long, his lance was keen.

His shining helm afar was seen;

the countless stars of heaven's field

were mirrored in his silver shield.

 But long ago he rode away,

and where he dwelleth none can say;

for into darkness fell his star

in Mordor where the shadows are.

Elrond
Race: Half-Elf
DOB: First Age
Appearance: Dark hair, grey eyes
His brother Elros founded the dynasty of the Numenoreans, choosing the fate of Men and mortality. Elrond was the captain and herald of Gil-galad, founding Rivendell (Imladris) during The War of the Elves and Sauron, choosing to reside there after the conflict (the first White Council was held there, which included he, Gil-galad, and Galadriel). Beyond fighting with the Last Alliance, little else is written of him in this Age. It's unknown if his future counsellor, Erestor (who appears in LOTR), was alive and associated with him at this time.


Glorfindel
Race: Elf
DOB: pre-First Age (died); sent back c.1600 Second Age
Appearance: Tall, long golden hair
Died heroically in the First Age and was sent back in the Second by the Valar to assist Middle-earth in its struggle against Sauron (much like the Wizards were in the Third Age). Tolkien does not detail his deeds at all in this Age, leaving it open to invention. Given when he was sent back, it's reasonable to assume he participated in both conflicts against Sauron.


Cirdan
Race: Elf
DOB: pre-First Age
Appearance: Tall, silver hair (a beard in the Third Age, but it's not clear he had that earlier)
In the Second Age he was friendly with the early Numenor mariners (Veantur and Aldarion); he (like Galadriel) was suspicious of Annatar (Sauron). He fought in both wars, but otherwise little is written about him (he urges Isildur to destroy the One Ring). It's uncertain if Galdor, who served him and appears in LOTR, was alive and had that association at this time.


Oropher
Race: Elf
DOB: pre-First Age
Appearance: None officially given
Flaws: pride and impatience
King of the Greenwood Elves who later migrated to Mirkwood; the father of Thranduil and grandfather of Legolas. Very little is written about him beyond his position and death.


Thranduil
Race: Elf
DOB: First Age
Appearance: Golden hair
King of the Elves of Mirkwood; father of Legolas; beyond fighting in the Last Alliance and inheriting his father's kingdom, his slate in the Second Age is blank.


Amdir
Race: Elf
DOB: pre-First Age
Appearance: None officially given
Flaws: pride and impatience

King of Lorinand (later Lorien); as with Oropher, very little is written about him beyond his position and death.

Tar-Surion
Race: Men (Numenor)
DOB: 1174
Appearance: None officially given
Ruler of Numenor (1394-1556), whose sisters refused the crown; his daughter Tar-Teleperien was the second queen of Numenor.


Tar-Teleperien
Race: Men (Numenor)
DOB: 1320
Appearance: None officially given
Daughter of Tar-Surion; ruler of Numenor (1556-1731); she refused to marry and was followed by her nephew. Her rule is part of a confusion within Tolkien's chronology as her rule conflicts with her successor (leaving it open to interpretation for the show, if they cover it).


Tar-Minastir
Race: Men (Numenor)
DOB: 1474
Appearance: None officially given
Ruler of Numenor (1731-1869); he sent the Numenorean navy to assist the Elves in The War of the Elves and Sauron in 1700 (you can see the confusing overlap in his and his aunt's rule); he's also known for having built a great tower to view the undying lands in the West.


Tar-Ciryatur
Race: Men (Numenor)
DOB: 1634
Appearance: None officially given
Son of Tar-Minastir, ruler of Numenor (1869-2029); most relevant for leading the Numenoreans who assisted the Elves in The War of the Elves and Sauron.


Durin III
Race: Dwarf
DOB: Unknown (Second Age)
Appearance: None officially given
King of Khazad-dum during The War of the Elves and Sauron; he fought against Sauron; given one of the Rings of Power (Celebrimbor is said to have given him this Ring, but that's not entirely clear in the lore).


Ar-Gimilzor
Race: Men (Numenor)
DOB: 2960
Appearance: None officially given
Ruler of Numenor (3102-3177); his importance is the persecution of those who supported the old ways (keeping their faith with the Valar); his wife Inzilbeth was a secret Elf-friend who passed on those values to her son, Tar-Palantir


Tar-Palantir
Race; Men (Numenor)
DOB: 3035
Appearance: None officially given
Son of Ar-Gimilzor and Inzilbeth, ruler of Numenor (3177-3255), who tried to bring his people back to the old ways. His daughter, Tar-Miriel, would have continued his policies had she been allowed.


Gimilkhad
Race; Men (Numenor)
DOB: 3044
Appearance: None officially given
Brother of Tar-Palantir and father of Ar-Pharazon, he opposed the old ways.


Ar-Pharazon
Race; Men (Numenor)
DOB: 3118
Appearance: "Of great beauty and strength" ("The History of the Akallabeth")
Final ruler of Numenor (3255-3319), he forcibly married Tar-Miriel and stole her throne; a prideful man, he brought Sauron back to Numenor in captivity. Sauron became his adviser and convinced him to invade the Undying Lands, which ultimately sealed his and Numenor's fate.


Tar-Miriel
Race; Men (Numenor)
DOB: 3117
Appearance: None officially given
Daughter of Tar-Palantir, she was forcibly married by Ar-Pharazon and lost her throne. She kept the faith with the Valar, but drowned when the world was changed.


Amandil
Race; Men (Numenor)
DOB: 3316
Appearance: None officially given
Father of Elendil and leader of those faithful to the old ways; he was childhood friends with Ar-Pharazon; he attempted, before the destruction of Numenor, to plead with the Valar to save it, perishing in doing so.


Elendil the Tall
Race; Men (Numenor)
DOB: 3119
Appearance: Tall (7'11), brown hair
Son of Amandil and father of Isildur and Anarion; he lead the ships that escaped Numenor prior to its destruction (bringing with him the Palantiri, the seeing stones, along with a seed of the White Tree). He founded the realms of Gondor and Arnor, as well as the city of Annuminas. He then fought in the Last Alliance against Sauron.


Isildur
Race; Men (Numenor)
DOB: 3209
Appearance: Tall (7'0), grey eyes, black hair
Eldest son of Elendil who ruled Gondor with his brother Anarion after the Fall of Numenor; his city was Minas Ithil. He stole the seed of the White Tree before the destruction of Numenor. In the Last Alliance, Isildur defeated Sauron by cutting off the One Ring, but he kept it (against council) and suffered for it.


Anarion
Race; Men (Numenor)
DOB: 3219
Appearance: None officially given
Son of Elendil and brother of Isildur; Anarion's city was Minas Anor; he died fighting with the Last Alliance.


Durin IV
Race; Dwarf
DOB: Unknown (Second Age)
Appearance: None officially given
Beyond fighting with the Last Alliance (or, at least, sending soldiers), nothing is said about him.


Treebeard
Race: Ent
DOB: pre-First Age
We're told nothing of his deeds at the time and it seems likely he did not participate in the wars (other than defending his forests and Ents when necessary). It's somewhat implied that the Entwives were destroyed at the end of this Age (in his Letters (#144) Tolkien suggested this happens in the war of the Last Alliance, but officially wanted their fate to remain unknown). The ambiguity means the show could use Ents and Entwives if they choose, but only in specific ways.

I included flaws for a few of the Elves since, by the Second Age, the pride and tension of the race had largely been erased by the tragedy and wars of the First Age. This means the Elves have had most of the usual levers of internal strife removed that writers would normally use to create drama (in this case their struggles must, for the most part, come externally).

Speaking of drama, from the known characters we're likely to see, Elendil, Isildur, Tar-Miriel, and Ar-Pharazon have the arcs most easily adapted to screen. They are at the forefront of dealing with Sauron and the Fall of Numenor, and the former pair rebuild in Middle-earth and lead the battle at the end of the Age.

Behind the Scenes Contributors

Showrunners
J. D. Payne and Patrick McKay have almost no experience (both were uncredited writers for Star Trek Beyond and are well-known in Hollywood circles for projects that were liked but not ultimately pursued)--it's likely that Jarzynski (see below) was behind hiring them because of the aforementioned work
Producers (EP=executive producer, CP=co-producer)
Lindsey Weber (EP) - most notable as working on Star Trek Beyond and 10 Cloverfield Lane
Bruce Richmond (EP) - his prior main credit being 1998's From the Earth to the Moon
Gene Kelly (EP) - best known as a producer on Westworld, Boardwalk Empire, and Band of Brothers
Belen Atienza (EP) - most notable for Jurassic Park: Fallen Kingdom (she's also the partner of director J. A. Bayona, who is directing the first two episodes)
J. A. Bayona (EP - best known for directing Jurassic Park: Fallen Kingdom (he'll also direct on the show)
Sharon Tal Yguado (EP) - best known as a producer on The Listener and Outcast
Ron Ames (CP) - best known as a producer on Star Trek Beyond and Bumblebee

Helen Shang (CP) - see under 'writers' below
Writers
Bryan Cogman - best known for Game of Thrones; also a consulting producer
Stephany Folsom - limited credits, the main one being the screenplay for Toy Story 4; also a consulting producer
Helen Shang - smattering of credits including 13 Reasons Why, Hawaii Five-0, and Hannibal; also listed as a co-producer
Gennifer Hutchison - best known for being a writer on Breaking Bad and Better Call Saul

Jason Cahill - scattered writing credits on Fringe, The Sopranos, ER, etc
Justin Doble - primarily known for Stranger Things (he also worked on Fringe)
Glenise Mullins - virtually no writing credits (dubbed a 'consulting writer'), but a long track record as an editor (most prominently on Kingdom, although she was unfortunately part of Terminator: Genisys)

We can see some connections here, as the showrunners and exec were familiar with Weber and Ames; we also have two former Fringe writers (Cahill and Doble), who are also connected to Jarzynski. The biggest name among the writers is clearly Cogman, not only by reputation but also because that rep is built via another fantasy IP. Hutchinson seems like the second biggest writer in the room. Unlike The Witcher there's a solid amount of prior fantasy (or at least fantasy-like) experience, although its a broad set of backgrounds (Folsom stands out as the oddest hire). This is also a small writers room--just seven people and, reading between the lines, Mullins isn't a 'full' member and Shang may not contribute equally either given her producer role. That's not necessarily bad, just interesting.

Consultants
Tom Shippey - Tolkien scholar; I've read two of Shippey's books (The Road to Middle-earth and J. R. R. Tolkien: Author of the Century) and highly recommend them for those interested in LOTR or Tolkien himself
John Howe - Tolkien artist; he also worked on The Lord of the Rings films (I prefer Alan Lee's art, but to each their own)

I think Shippey's impute is likely limited and he's there to make sure the lore remains consistent and to help settle contradictions that occur. Howe, on the other hand, is probably hands-on with the show's aesthetic.

Others

Casting Director: Theo Park - a lot of prior experience, mostly in film (none of which seems notable)

Amazon Studio Executive: Kevin Jarzynski

Jarzynski is yet another Bad Robot alumni, a group there's apparently no escape from (cf the Star Trek franchise (Kurtzman), Fox's dead X-Men franchise (Kinberg), the Alien franchise (Lindelof), etc). However, as I mentioned above, it's less likely we'll get executive interference at the usual levels because of the cost, awareness of the IP, and the veto power the estate retains.

Cast

We'll match actors to roles below, but first let's go over the talent (including one not in either photo who has been announced (Baldry), and another who was rumoured and is confirmed in the second photo above, Merrells). One thing to note: this is a more experienced cast than what Netflix rolled out for The Witcher (or Amazon is using for Wheel of Time), which means there are fewer concerns about performances (which puts less pressure on the writing). We are missing two actors to fill out the leading roles below (one is an older actress of colour, while the other is a male actor). We don't know if the Tolkien Estate can veto casting--I doubt it, although honouring the Jackson films presumably locks in the Elven aesthetic.

Simon Merrells (55) - British; has a long line of credits

Joseph Mawle (46) - British; a busy TV actor best known for his brief role in Game of Thrones; he suits his expected role (see below)

Daniel Weyman (43) - British; another busy TV actor who just finished three years on BBC's Silent Witness; all the fan-casting I've seen has him playing an Elven character due to his features

Dylan Smith (40s) - Canadian; a veteran actor

Nazanin Boniadi (40) - British-Iranian; veteran actress coming off a role on Starz's Counterpart

Tom Budge (38) - Australian; incredibly busy actor

Owain Arthur (37) - Welsh; he's referred to as a stage actor, but has extensive credits in television
Sophia Nomvete (30s) - British; stage actress who has no prior TV/film credits listed (someone reported she speaks Farsi--how relevant that could be I have no idea)

Ismael Cruz Cordova (33) - Puerto Rican; busy actor has one of my favourite credits (Sesame Street)

Robert Aramayo (27) - British; best known for his brief role in Game of Thrones

Ema Horvath (26) - American; limited credits for the young actress

Maxim Baldry (24) - British-Russian; a busy young actor who has a leading role

Morfydd Clark  (23) - Welsh; has worked a ton given her age
Megan Richards (early 20s) - British; a very new actress (this is her fourth role)

Charlie Vickers (20s) - British; similar profile as above

Markella Kavenagh (teen) - Australian; very busy given how recently she started acting; has dyed her hair (see the picture above), but she's likely wearing a wig in the show so we can't be sure if it's significant

Tyroe Muhafidin (14) - Australian; this is his first major acting gig

Most of the actors listed are from the UK and most have extensive credits (there are arguably only four inexperienced actors). What the list lacks is a big name--we don't have a Henry Cavill or Sean Bean--there's no specific talent for casual fans to gravitate too. This probably doesn't matter as much for this show as it does for lesser known IPs, although it's an interesting choice (I wonder how much cost factored into that decision).

Roles

What follows is the casting call that Amazon put out for the leads of the show--it uses code names, so don't get hung up on those as being the actual names for the characters. Four of these pseudonyms have had their actors revealed officially or by the trades and are in blue; the 'up to 6 options' refers to seasons; I'm assuming that the Elves will be played by Caucasian actors or those of mixed race who can pass as such (for reasons given above); the Numenoreans named above are also Caucasian, but not all Men in Numenor were (the Drug, related to the Druedain, lived there for a time, although they had departed before its end, cf "The Druedain" in Unfinished Tales). It appears, for now, that there are no leading Dwarven characters (we shouldn't expect Hobbits, as they don't enter the tales until the Third Age). I've highlighted in italics certain key elements in the character descriptions. I've included my guess for who the characters are below, as well as all the actors who fit the listed age range (keeping in mind that is sometimes ignored and things change--this list would have been sent out about a year ago). Series regulars listed: 19 (12 male, 7 female; no ethnicity specified or open: 9; Caucasian or it/mixed specified: 7; diverse specified: 3)

Oren, Series Regular, Male (40-60) - "This is a role for an established actor with some dramatic heft. A villain, who can also evoke a deep sense of pathos and wounded / fallen nobility. Must possess a certain degree of physicality. Should seem middle aged, though must also project a sense of timelessness. Joseph Mawle (Cast)"
Collectively assumed to be Sauron

Eldien, Series Regular, Female (20-30) Caucasian - "A unique and formidable young woman required for this complex role. Should be able to convincingly appear mid-20s, while also portraying a  timeless/eternal quality. Role also requires a strong physical component. Should be comfortable and adept with classical, heightened/quasi-Shakespearean language. Classical training a plus. TBA (Offer made)"
Morfydd Clark (revealed by Variety) who is playing Galadriel; the 'timeless' element is the most obvious giveaway that it's an Elvish character

Beldor, Series Regular, Male (20-24) - Male. Early 20s. "A dramatic role. Needs to emanate a sense of intelligence and political savvy, but also hold his own in quiet, emotionally intimate scene-work. Will often be the straight man in pairings with more out-sized personalities. Will also be action-oriented at times. Should seem optimistic and early 20s, though also possess a gravitas that belies a character who could be far older. Needs to be able to speak in a convincingly heightened rhetorical style (at times quasi-Shakespearean). Classical training a plus.  Will Poulter Scheduling conflicts saw him replaced by Robert Aramayo (Cast)"
When I first saw this, with the gravitas tag, I thought of Elrond, but given that this description and Neldor's (below) are virtually identical, I assumed the two were brothers and as there are no Elvish brothers noted in the Second Age, they must be Numenorean (given the tags and the mention of politics--the Elves don't really politick in the Second Age); as such, since this is the younger brother, I think he's Anarion. It's possible this could be an original role (I think he's too young to play Amandil with 'Neldor' as Ar-Pharazon), but assuming he is playing one of the heavies from the lore, it's where I'd land (I've seen theories that he's playing Elrond or Isildur)

Tyra, Series Regular, Female (16-25) - "A singular young lady needed for this delightful leading role with dramatic and comedic elements. Characterful. Should be able to play as a wide-eyed 15-17 year old, but with a strength and maturity beyond her years. Markella Kavenagh (Cast)"
Possibly a show-invention (Cole's love interest?), with a chance she's Celebrian (given the strength and maturity tag--something that seems more suited to an Elf given the 'beyond her years')

Neldor, Series Regular, Male (20-27) Caucasian - "A dramatic role for a young male actor. Needs to emanate a sense of intelligence and political savvy, but also hold his own in quiet, emotionally intimate scene-work. Will often be the straight-man in pairings with more out-sized personalities. Will also be action-oriented at times. Should seem optimistic and early 20s, though also possess a gravitas that belies a character who could be far older. Needs to be able to speak in a convincingly heightened rhetorical style (at times quasi-Shakespearean). Classical training a plus."
The description of Neldor is virtually identical to Beldor, other than their age range, making me think this is Isildur to be the brother of Beldor above. My guess is the part belongs to Vickers.
Actors who fit the category: Vickers, Baldry

Calenon, Series Regular, Male (35-45) - "Role for a classically trained leading man, who is equal parts soldier and lover; a ruggedly-handsome, brooding, Byronic hero. Must possess a certain degree of physicality. Character should seem mid 30s-40s, though also project a certain sense of agelessness. Needs to be able to speak in a convincingly heightened rhetorical style (at times quasi-Shakespearean) Appearance: Please submit all ethnicities."
Either an Elf or Numenorean from the characteristics, which could fit Glorfindel, but the 'lover' and all ethnicities doesn't fit; Celeborn is a lover (of Galadriel) and a bit tetchy for an Elf, but there's nothing said about a relationship; lack of family likely excludes Elendil, so I'm uncertain about what the role is. I think Arthur has the part (the physicality gives it to him over Budge, who would be the other choice), but it may be a show creation.
Actors who fit: Smith, Weyman, Budge, Arthur, Cordova

Galanion, Series Regular, Male - "series regular (up to 6 options) OR possibly recurring TBC [to be confirmed]. The character portrayed is in their late 40s early 50s A man of elegance and great gravitas. A leader of his people, wise and pragmatic to a fault. He isn't afraid to manipulate for the greater good. Looking for a classical leading man here. Should be comfortable and adept with classical, heightened/quasi-Shakespearean language. Classical training a plus. Appearance: Please submit all ethnicities."
My initial thought was Gil-galad because of his leadership and he's the only character listed that could be 'recurring' as opposed to regular. The 'all ethnicities' makes this less certain; descriptors suggest he's either Elvish or Numenorean; Merrells is my guess (he's the oldest known cast member and fits the requirements). There's a chance he could be an older Ar-Pharazon (given the 'manipulation' comment).
Actors who fit: Merrells, Smith, Weyman

Daric, Series Regular, Male (35-50) - "series regular (up to 6 options) An amazing leading role for a methodical, thoughtful & immersive actor. He vacillates between stubborn gravitas and a sense of sweetness and innocence. An enigmatic figure, he is initially curious, childlike, and very out of place from his surroundings but with a deep and primal sense of purpose that drives him underneath it all. This is a physical role expressive nonverbal abilities are going to be required."
My guess is Glorfindel because of the 'out of place' element (I'm not sure what to make of the nonverbal part); the characteristics strike me as Elvish;  I think this is Weyman, as I'm not sure the other choices could hit the 'out of place' element the same way.
Actors who fit: Smith, Weyman, Budge, Arthur, Cordova

Brac, Series Regular, Male (35-45) - "A rewarding role for a classically-trained, character actor. Actor must be equally comfortable playing as the irascible, cantankerous component of a dramatic duo, but also be able to perform straight drama in tear-jerking, emotionally charged scenarios. Should seem mid-30s-40s; will range in dramatic pairings as a best friend, a son, a husband and a father. Needs to be able to speak in a convincingly heightened rhetorical style (at times quasi-Shakespearean). TBA (Choice)"
Given the tags this is an Elf/Numenorean, and because of the familial relationships the first thought was Elendil (the father would be Amandil, the children Isildur and Anarion), but the tone of the character makes that association uncertain. I think this is Budge (the other option for him seems to be Brac, but I don't think he's the best fit for that).
Actors who fit: Smith, Weyman, Budge, Arthur, Cordova

Loda, Series Regular, Male - "series regular (up to 6 options). A fantastic role for a strong leading male actor in his late 40s/50s. Loda is earthy, deep, solid. Doesnt give his feelings away easily. Physically strong & fit. Powerful. Appearance: Caucasian TBD (Choices)"
Lack of Shakespearean tag suggests a human character, but I'm not clear which (possibly invented); none of the actors old enough for the role are obvious fits, so this could be the cast member we don't know. There's an outside chance this is Gil-galad.
Actors who fit: Merrells, Smith, Weyman

Cole, Series Regular, Male (18-22) - "series regular (up to 6 options). A young athletic male in his very early 20s, to play around 18. He has the weight of the world on his shoulders, so must feel an old soul. Troubled, but mercurial and charismatic. A great role. Appearance: Caucasian. TBA (Cast)"
The lack of a Shakespearean tag suggests a human character; in terms of the lore this sounds like Elendil best, but the rest doesn't fit; he might be Elrond. I think the role is Baldry's (who can pull off the younger look).
Actors who fit: Vickers, Baldry

Shay, Series Regular, Female (18-24) Caucasian - "series regular (up to 6 options) A physically strong, pragmatic, clever young woman. She is studious and ambitious. She can be serious but has a quick wit and a wry sense of humour. She has the ability to moderate any argument shes a peacekeeper and the lodestone for her family. Shes also deeply politically minded, which presents a particular challenge when the political leanings within her own family become increasingly divided..."
Lack of Shakespearean tag suggests a human character and the politics imply that this is Tar-Miriel (whose father, Tar-Palantir, kept the faith, but whose uncle, Gimilkhad, opposed it, and whose cousin, Ar-Pharazon, would forcibly marry and usurp her). I think this is Horvath's role (physicality suggests her over Richards, although the latter could fit studious element).
Actors who fit: Richards, Horvath

Hamsom, Series Regular, Male (44-50) - "Warm, charming, weathered. Kind, sad eyes. He's quietly suffering from an ailment he has to hide from his physically demanding travelling community. He puts on a brave face in public and keeps his physical suffering to himself. He does this with charm and a twinkle, concealing his sadness that his family has to cover for him. He loves his family and his strong, practical wife. Appearance: The character portrayed is Caucasian or of Mixed Ethnicity."
There are almost no human characters detailed who fits this, with the only possible exception being Tal-Elmar (described as fair skinned, unlike his brothers). Smith's weathered appearance puts him in this role for me, although Merrells could fit as well.
Actors who fit: Merrells, Smith

Cora, Series Regular, Female (38-42) - "series regular (up to 6 options) Practical, solid, earthy. A Matriarch under too much pressure she sweeps any problems under the rug. Her husband has health problems which could turn into an issue in their physically demanding travelling community and the pressure of this and their large family can make her seem dismissive and detached. In reality shes deeply loving. She leans too much on her oldest daughter and worries that shes dangerously curious about the world. She desperately wants a quiet life and doesnt want to be bothered with the drama of the outside world. Appearance: The character portrayed is Caucasian or of Mixed Ethnicity."
Clearly the wife of Hamsom above and while Tyra could fit the daughter mentioned, that seems unlikely given that she is extremely Caucasian and Cora could be mixed ethnicity. Boniadi seems like the obvious choice (Nomvete doesn't qualify as mixed), but she's a better fit for Kari below. I have to think this has gone to Richards, despite her age.
Actors who fit: Boniadi, (Nomvete), (Richards)

Eira, Series Regular, Female (35-45) - "A warm and maternal female actor required for this comedic/dramatic role. Singing ability a plus but not a requirement. TBA (Cast)"
No Shakespearean tagline suggests it's not an Elvish character and almost certainly a show-invention. Nomvete would be my choice here, although Richards has the look despite being younger.
Actors who fit: Boniadi, Nomvete, (Richards)

Aric, Series Regular, Male (30-40) - "A really charismatic male actor required for this dramatic leading role with comedic elements. Role has a significant physical component and calls for an actor with real range. TBA (Cast)"
No Shakespearean tag suggests a human character; possibly a show invention (none of the characters known from the lore fit the comedic element). The description is so sparse I'm unsure who has the role (as the youngest range of the more ambiguous male roles it leans towards Cordova, although Arthur also fits the physical element).
Actors who fit: Budge, Arthur, Cordova

Asta, Series Regular, Female - "A major role for a well-established & powerful female actor in her 50s/early 60s. A high-ranking lady - we are looking for someone with real stature here. She is mighty but reserved, also shows grace & humor. Series regular (up to 6 options) Appearance: The character portrayed is a diverse female."
Lack of Shakespearean tag suggests a human character and this is likely a show-invention (I don't think Inzilbeth could be portrayed by a diverse actress); 'well-established' and the age range eliminates all possible known female cast members. I'm assuming the character is a leader among one of the diverse communities within Middle-earth.
Actors who fit: none (yet)

Kari, Series Regular, Female (30-39) Diverse - "A strong and independent woman, a self-sufficient single mother to a teenage boy. She is beautiful, proud, clever, and charming. She is also her villages healer. At times gentle, but also at times fiery, especially when she feels wrongfully judged. She is torn between her son, her own people and the man with whom she is secretly in love an outsider to the village who the rest of the community may never accept... but possibly also the only person in her world with whom she could find real and lasting happiness. series regular (up to 6 options)"
All the evidence points to a non-Numenorean human character and a show invention. I believe Boniadi has this role. My guess is this simple villager has fallen in love with a Numenorean and is threatened either by Sauron or the aggressive faction from Numenor.
Actors who fit: Boniadi, Nomvete

Kyrin, Series Regular, Male (12-15) - "The son of a widower, Kyrin is a sweet, honorable kid who feels responsible for his mother. Curious about the world and frustrated by his small-town life. He's been forced to grow up fast in order to be the man of the house, but really he's still a teenager. Despite imperfect circumstances, he and his mum are a close-knit team and he can be suspicious of other people's intentions with her. Series regular (up to 6 options) Appearance: The character portrayed is a diverse male."
As above; this is clearly Kari's son and has to be played by Muhafidin. Actors this young are always a risk (child characters can be incredibly annoying if the performance and writing is anything less than excellent), but it remains to be seen how much the show leans on him.
Actors who fit: Muhafidin

Cast Conclusions

There are some safe interpretations we can make: the Hamson and Cora characters are a couple, while Kari is Kyrin's mother. From the descriptions I see nothing that suggests the Numenorean characters of the mid-Second Age (like Tar-Teleperien), making it likely we won't see the story of how Men become Ringwraiths. It's not entirely clear who is playing some of the iconic figures of the age, although not all of these characters will have leading roles.

It seems like Hamson etc represent either the 'common folk' or locals caught in the middle of the conflict (perhaps both). This would fill a gap, as the drama of Sauron and the Numenoreans is broadly understood. Less is said of the Elves, leaving room for the show to build that out (although there's no indication that they interfered with Numenor). We also know almost nothing about Sauron's supporters--his allies--which is another area the show could fill-in (the cast above doesn't make it obvious that it will).

The focus seems to be on Men rather than Elves, which makes sense as the drama at the end of the Age is related to them. I would expect a heavy emphasis on the internal tensions within Numenor, particularly between Ar-Pharazon and his faction versus Elendil and his. My guess is Galadriel (and the Elves) will serve a secondary function amidst that tension, working against Sauron's influence

Elendil, Isildur, and Anarion have unnamed wives in the lore who could be used in the show (the latter two also have four children, and three of Anarion's have no names), but there's not enough information above to be know if they are.

I'm a little concerned that the invented characters of Middle-earth will be stock, pathos-driven fodder--variations on the noble savage whose lives are cast into chaos by the powers that be (like a ship adrift in the ocean--powerless victims). Let's hope for something much more sophisticated. I would like to see those swayed by Sauron to join his forces--those who simply want power to those who want an end to the expansion of Numenorean holdings.

The Story

I believe it will begin around the time Ar-Pharazon comes to power, dealing with the conflict between the Faithful and the King's Men and a time when Sauron is still free. One of the problems is, since Elves are banned from Numenor, how to keep them involved in the story? The Faithful can still visit them, of course, but perhaps we'll see the Palantiri used as well to communicate with them.

Speaking of locations, I think the story will spend much of its time in a select number of settings (whether the showrunners will imitate the Game of Thrones intro to tell viewers where each episode is taking place or not, I have no idea). I expect most of the drama in Numenor to take place in its capital of Armenelos, with perhaps some time spent in Andunie (the seat of Amandil and Elendil). The Elves will largely be in Imladris (Elrond, Galadriel, Celeborn, and Celebrian are all known to be there at this time, and its likely Glorifindel is as well). Gil-galad is in the Grey Havens, but there's not much reason to be there otherwise, so if its used, I think it will be sparingly. We'll certainly see Sauron in Barad-dur, although that's likely not a place the show will spend much time in to begin with. For the humans who live in Middle-earth, I'd guess we'll get a Numenorean colony city (either Lond Daer, which is close to Imladris, or Pelargir, the home of the Faithful, or Umbar, which is the easiest place for diverse characters to appear). My guess is Kari's village will be near one of these places and is a setting likely to be destroyed in the show. The travelling group (Hamsom's) will be a way to add perspective to otherwise static locations (they may travel from Imladris to Lond Daer to Andunie and what have you).

A rough guess on the structure of the five season arc:

• Season One (3255-61): Ar-Pharazon's seizure of the throne and forced marriage to Tar-Miriel; explore the tension between the Faithful and the King's Men; establish the relationship of the Elves with Numenor; Sauron's growing threat; the season ends with Sauron's surrender and capture
• Season Two (3261-3316): Ar-Pharazon's corruption and the persecution of the Faithful in Numenor (in essence, the King's Men win); to end on a dramatic but hopeful note, we might see Amandil's mission to the Undying Lands (its failure perhaps held until the next season)
• Season Three (3316-3320): The Fall of Numenor and destruction of Sauron's fair form; Elendil's escape to Middle-earth
• Season Four (3320-3429): Recovery of the Numenoreans (establishment of the kingdoms of Arnor and Gondor); re-emergence of Sauron; the forging of the Last Alliance
• Season Five (3430-3441): The War of the Last Alliance, ending with the defeat of Sauron (Isildur's death in Gladden Fields takes place in the Third Age, so can't be covered)

Clearly some of these dramatic moments might be shifted here and there (or different points chosen--perhaps season two ends with Ar-Pharazon burning the White Tree, for example), but these are the large, dramatic incidents. What's not clear is the throughline for the invented characters who, in terms of meaningful actions, can at most serve as motivation (something not really required, but about all you can do when the major actions are set in stone). One thing Tolkien does better than most fantasy authors is refuse to give his characters happy endings--even when a character gets all that they want (Aragorn) that triumph creates its own tragedies (Arwen). If the show wants to follow in his footsteps, the invented characters could add additional tragic elements (characters attempting to do the right thing fail, like Amandil, or are punished for things out of their control, like Tar-Miriel), but I expect the writers won't quite have the nerve for that--television is, by and large, one big happy ending.

The Adaptation

We expect a battle between fans and a show/film when something is adapted, always over the faithfulness of said adaptation to the original work. This was almost unheard of 40-50 years ago, as it was expected that the transfer from one medium to another would necessitate major changes, but that's not longer the case. Part of why that assumption no longer holds is that the limitations of special effects for genre IP are largely gone. So what about 'the book is the book, the show is the show' (to quote George R. R. Martin's reflexive comment)? There are two overhanging elements I see repeated about this argument that boil down to the ethics of adaptation (how much do you owe to what made the IP successful) and the business of adaptation (what makes an adaptation successful). These issues are almost completely confined to genre entertainment (by which I mean sci-fi, fantasy, etc)--adaptations of historic events that are riddled with inaccuracies, along with shows ostensibly in the real world that vary from their source material, bother virtually no one. Why?

My theory is it's about audience investment. Most people watching a show or film about World War II have both minimal knowledge and interest in specifics--they simply want to be entertained (if they want to be informed, they watch a documentary). When it comes to standard fiction adaptations, the bar is also quite low, because the reader never has to invest in the world or the lore--its this world, so they can relax and just enjoy the ride (they don't need what's in front of them explained--New York is New York). To sum up, those kinds of shows/films are passive entertainment--there's no need or requirement to be actively invested in order to understand the lore and fully engage in the IP.

Genre entertainment doesn't work that way. You cannot sit down in front of The Witcher with no prior knowledge and enjoy it unless the show explains itself to you. The viewer has to actively participate to understand it, making it a more demanding form of entertainment. Why does this matter? Because the audience for the material is that much more invested--they've made the effort of digging into it, understanding its rules and functions. Executives, filmmakers, and showrunners don't often understand this difference and treat adapting A Wrinkle in Time or John Carter like it's no different than anything else. If there can be a rock and roll Shakespeare film, why can't a filmmaker do whatever they want with Dune?

Of course they can (and do) whatever they want, but why this causes problems is the fans expect the adapters make the same investment they did--to love the IP like they do. That also means that fans have spent a lot more energy being imaginatively involved with the IP--they've spent time thinking about it, discussing it, and debating it with their friends. These aren't the same kind of discussions as who should be with who in The Bachelor (a fun, disposable conversation)--these are often unanswerable issues that can carry on being discussed forever. Fans feel like experts and have a sense of ownership in a way that almost no one does about the latest James Patterson novel. Boiling it down: fans engage with genre entertainment in a unique way and this is reflected by their desire for adaptations to reward that investment.

I don't think there's an actual ethics issue in how something is adapted--you owe the original work nothing inherently and can do whatever you want with it--but there does seem to be a financial hit the further you move away from following the IP. Some think there's a political agenda when it comes to changes and, other than superficially, I don't think this is true. Injecting politics into something is perfectly fine when it's done within the context of the IP, but what tends to happen is hamfisted simplicity that doesn't fit. The fear of the latter is often what motivates fans--they know if the IP fails they are unlikely to see it again for a long time (if ever). With that said, we don't get the debate discussed this way and I think that's due to very cynical motivations from people on both sides--each eager to score points in a shouting match. To pick an obvious example that still rages: no one would care about Rian Johnson subverting expectations if he'd done it cleverly and within the lore. Take an example that works: the MCU used a poorly conceived and received comic version of Nick Fury and made him popular in the films. The argument isn't really about change itself, but how it's handled.

Back to the subject at hand, Amazon's series is in a strange space. It's adapting something that's barely a story--the Fall of Numenor isn't written in the narrative style of LOTR and doesn't have characters in the same way. It's much more like a history, and as such, outside of those characters who persist into The Hobbit and The Lord of the Rings, there's not a canonical approach to them. The onus is on Amazon to maintain the heightened style, lore, and aesthetic of Middle-earth--that's what fans of the IP will be looking for. This is another way of saying: it's very hard to argue 'Tar-Miriel wouldn't have behaved that way' given what little we know about the character.

It's unknown if the showrunners will faithfully follow the IP or not. The usual first-wave (and often only wave) of bickering is over identity politics that comes up with casting. Gender swaps, for the show, are impossible given the deal struck with the Tolkien Estate, but it's less clear if that applies to race swaps or inserting sexual orientation (it doesn't explicitly say Gil-galad is straight, for instance). Back to casting, for those unfamiliar with the ethnic landscape of this part of Middle-earth, it's envisioned as a pre-history for England (and adjacent Europe). Where we get definitive people of colour are with the Haradrim (who seem to echo the Middle East) south of Gondor (with distinctions being made between Near Harad and Far Harad, the latter seemingly cognate with sub-Saharan Africa); the Easterlings (a term used to describe a number of disparate groups, seemingly calqued on the diverse nomadic people of the Asian Steppe), who lived east of Rhun and Mordor. Some make special pleading to include the Dunlendings, but I think that's absurd (they are almost certainly meant to be the forefathers of the neolithic peoples of Europe). The Druedain are a different matter altogether and are people of colour. This brings us back to the question: will the show follow the lore? I have no idea. The only named individual from any of these overtly ethnic groups is Khamul, an Easterling who becomes the second most powerful of the Nazgul (behind the Witch-king of Angmar), otherwise it's a blank slate. It would be very easy for the show, if it wanted to include more diversity (where there's essentially none to begin with), to create characters from the places where such people are from--the Numenoreans visited everywhere, after all. There's nothing in the lore that prevents people of colour from contributing to the forces opposing Sauron, they simply can't take certain actions within the narrative (so an ally from Far Harad couldn't cut off the One Ring, but could be part of that battle). This dovetails back to my previous point that no one in their right mind objects to shows (or films) wanting to add diversity (of race or gender or sexuality), it's simply how it's done that gets people screaming at one another. I've always favoured creating characters where that identity is a core of who they are within the IP, rather than re-writing an existing one to include it.

To sum up: it's a by-rote element of modern storytelling to explore current issues in adaptations and I think that's laudable. The fear for fans is that bad writing will give us something bizarre and nonsensical (eg Yennefer's soliloquy and part of her character arc in The Witcher). To properly address an issue it needs to be woven into the tapestry of the entire narrative and fit within it, not just check off a box followed by rounds of glad-handing during the promotional tour. There's not much room for identify politics in Tolkien--the most obvious target would be gender, as men typically rule, but there's not a lot of meat on those bones given how bowdlerized the cultures are (Tar-Miriel's fate would be the clearest place to dive into that and if she's included, that makes for interesting drama and can draw distinctions between the King's Men and the Faithful). Faramir's speech about the Haradrim soldiers in Two Towers, among other things, makes it hard to indulge in the usual racial stereotypes (while one might quibble with the way the Edain divide up groups of Men, those divisions are based on actions rather than profile). At most you could get a sense of Numenorean superiority from the King's Men, used as a point of contrast between they and Faithful, but I'm not sure how far that takes the narrative (the less sympathetic Ar-Pharazon is, the less interesting his fall becomes). At any rate, we won't have any serious insight into this until we know more about the roles that have been cast and the story itself.

Relative Interest in the Show

The only other epic fantasy that's immediately on its way is Wheel of Time and we can quickly look at the relative interest in them via Google Trends (both come from Amazon):

It's to be expected that LOTR has generated more interest, as it's a better known IP, but in relative terms its also been much better received than the Rafe Judkins-helmed series. Both are (were) filming at the same time, but while interest in LOTR continues to grow, WoT has sank back to the low level it had before all its announcements (which is another way to say the limited interest is already gone).

Debunked Rumour

As I started putting this together a couple of weeks ago a rumour from One Ring came out saying the entire writer's room had been fired and Tom Shippey removed from production. Only a couple of fan sites were reporting it, but Youtubers who function on outrage pounced on it and churned out a large number of nonsensical videos ranting about it. As it turns out, the person who made the claim was completely and totally wrong and nothing has changed. What is happening, as mentioned above, is that the show was gearing up to go on its 4-5 month hiatus after shooting the first two episodes. The idea in general is absurd anyway, because of the enormous cost associated with the IP and the problems this would have caused, such a move could not be missed by the trades (it took me five minutes of research to debunk it--a bar too high for the aforementioned YTers).

This article is written by Peter Levi (@eyeonthesens)