There was definitely chemistry between the two i swear
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@lotrlila
There was definitely chemistry between the two i swear

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Do you remember the 21st night of September?
Tolkien published The Hobbit, a contender
For the worldβs best adventure, yay!
How it actually went:
This captures so elegantly everything I {and so many of you} have found in what I've seen so far with Amazon Rings of Power.
This critic hit all the right points for all the right reasons.
To date its the most relatable review I've read. I've highlighted my favorite parts.
β‘οΈ I'M NOT SAYING "DON'T WATCH ROP"
I'M NOT SAYING "YOU'RE WRONG IF YOU LIKE/LOVE IT"
I AM SAYING THAT THERE ARE LEGIT REASONS FANS LIKE ME DON'T LIKE IT THAT HAVE NOTHING TO DO WITH BEING RACIST.
THIS ARTICLE HIGHLIGHTS MOST OF THE PROBLEMS I HAVE WITH RINGS OF POWER.β¬ οΈ
By Ben Reinhard
Not a single character from Tolkienβs books is preserved intact, nor are any of the fundamental relationships preserved. Timelines, geography, and plot points are mangled beyond recognition. What we have instead is a slate of entirely new characters engaging in an entirely new plot; a handful of these newly forged characters are dignified by famous names cherry-picked from Tolkienβs book. Galadriel, Elrond, Gil-galad: the actors wear these names with all the sincerity, and all the credibility, of a child in a plastic Halloween mask. If I had to guess, I would say that the writersβ chief imaginative influences are (in order) HBOβsΒ Game of Thrones, the original Peter Jackson Trilogy, and Dungeons and Dragons-style role-playing games.Β
One could be forgiven for suspecting that neither writer had ever read Tolkienβs work. But if they did in fact readΒ The Lord of the Rings, they fundamentally misunderstood it: in their hands, Tolkienβs moral and imaginative universe is simply gutted. I have written at lengthΒ elsewhereΒ about the moral touchstones of Tolkienβs world: piety, gratitude, and humility. InΒ The Rings of Power, these virtues are absentβindeed, they are acknowledged only insofar as they are repeatedly rejected.
A few examples will have to serve. In Tolkienβs legendarium, the Elvesβ flight from Valinor in pursuit of Morgoth was an act of hubris and part of their original sin. InΒ Rings of PowerΒ it becomes an act of heroic βresistance.β Nori Brandyfootβthe showβs stand-in for Frodo Bagginsβrepeatedly transgresses the bounds set by her cautious, traditional elders; the actress portraying the character rejoices in her subversion of βHarfoot tradition.β The human single mother and the elven soldier engage in a forbidden romance to the dismay of their friends and superiors; indeed, the pair at one point run off together on adventureβhe deserting his post and she, her child. All these decisions are presented as sympathetic, praiseworthy, and meritorious. By contrast, every authority figure (Elf and Man, Dwarf and Hobbit) is shown to be deeply suspect if not radically flawed βavaricious, insecure, obtuse, or conniving. They are (almost) all driven by a naked self-interest.Β
The worst of all, however, comes in the showβs protagonist and chief dramatic focus, its reimagined Galadriel. Tolkienβs idealized vision of feminine beauty and graceβa vision, he admitted later, that may have been subconsciously rooted in his love for the Blessed Virginβhas become an arrogant Amazon obsessed hell-bent on revenge. This new characterββCommander Galadrielββis also one of the least likable protagonists ever committed to screen. She pursues vengeance against Sauron with single-minded purpose and a smothering self-righteousness. The orders of her king, the counsel of her friend, and the safety of her soldiers all count for nothing in comparison (the scene in which her platoon mutinies is, unintentionally, perhaps the most satisfying moment in the first two episodes). The writers attempt to atone for her obvious shortcomings by presenting Galadriel as the victim of a unique and unimaginable suffering (sheβs broken, you see!); in practice, this means the heroine repeatedly downplays othersβ pain to exalt her own. Perhaps we can forgive her for trauma-trumping the fancy lad Elrond in the security of the Elven capital, but when she does so with a shipwreck survivor facing imminent death by drowning or exposure or dehydration, it feels just a little bit much. My wise and long-suffering wife joined me in my screening of the show; she noted that precisely nothing about Galadriel would need to be changed to make her a convincing villain.Β
In this, she was certainly right: and I confess that I still struggle to process the transformation of the character. It is clear that the writers think they are making Galadriel more interesting; it is equally clear that they have succeeded only in making her worse in every possible way. Where does their destructive impiety come from? Were I to give full rein to my paranoid and conspiratorial tendencies, I would fret about the Luciferian images and undercurrents in the show: as when the showβs chief moral authority advises another that, in order to follow the true light, she must first touch the darkness; or when Galadriel turns away from the light of the Blessed Realm that she may pursue her quest of self-actualization; or when the Elvesβ fall from grace is presented as an act of virtue; or when a major and seemingly benevolent character arrives in Middle-Earth as a fallen star (we see him fall, like lightning, from the heavens). But surely these are merely the private concerns of an addle-brained academic. We pass them by, for now.
For now, let it be sufficient to say the show touches nothing that it does not debase: nothing that it fails to make shabby and sordid. Amazonβs Elves are, as Jacksonβs were, regrettably aloof and alien and cold; now they are also conniving and occasionally cruel. The Dwarven realm of Khazad-DΓ»m has all the majesty and dignity of a frat house on a football weekend. Menβall men, as far as I can tellβare presented as vulgar and suspicious and bigoted. The hobbits are unbearable yokels. Tolkien sought to enchant the world through fairy-story.Β The Rings of PowerΒ is, fundamentally, an exercise in disenchantment.
For all this, there is some good news: if the show fails to capture the spirit of Tolkien, it also failsβas evenΒ mainstreamΒ criticsΒ admitβas a show. The words of Shakespeareβs Philostrate can be easily applied to theΒ Rings: βin all the play / There is not one word apt, one player fitted.β Editing and pacing are poor; the special effects leave something to be desired; costumes and make-up look cheap and silly; there is yet no discernable plot. Characters are inconsistent: we first meet one leading childrenβchildrenβinto reckless danger; not long after she is praised by another for her unfailing sense of responsibility.Β
The dialogue is similarly reckless and clumsily executed, careening wildly between conflicting registers of speech. On the one hand, the characters frequently slip into frankly modern vocabulary and speech patterns. This is uncanny: the Elves, Dwarves, and Men of Middle-Earth should not sound like characters out of a modern soap opera. But perhaps even more jarring are the attempts at pseudo-Tolkienian archaism; these are usually about as convincing as the efforts of a costumed performer at a second-rate Renaissance fair. βIt is said the wine of victory is sweetest for those in whose bitter trials it was fermented.β I suppose it is. βEven stone cannot hide the mark of one whose very hand is flame unquenched.β Well, when you put it that way.
A gleeful essay could be written examining the showβs turgid dialogue. But it gets worse. The problems laid out above can be attributed to poor execution or insufficient art: writers striving after grand effects they are unable to achieve. But then there are the elements of the show that areβfor lack of any more precise termβjust plain dumb. Nomadic hunters wander about, carrying (for some reason) comically massive antlers on their backs. Proto-hobbits use lanterns filled with lightning bugs. Elrond and Durin share an elevator rideΒ in Moria (my wife, again: βIf theyβre going to show an elevator ride, they should at least lean into it and have soft jazz playing in the backgroundβ).Β Galadriel decides to swim an entire ocean.Β But if the show insults the intelligence of its audience, the audience has responded in kind: the showβs fan rating on Rotten Tomatoes sits currently at a dismal 37%. This lack of artistry is, paradoxically, all to the good. A more competently executed product might have become a staple of our cultural imagination and distorted a generationβs understanding of Tolkien. As it is, we have reason to hope that Jeff Bezosβs billion-dollar fan fiction will fail to leave any lasting mark.Β
And this brings me to the last of my first-blush impressions ofΒ Rings: not anger, not a sense of betrayal, but merely a weary sadness. It is, in the end, not terribly surprising that some filmmakers finally succeeded in turning Tolkienβs great work into dull, forgettable dreck: theyβve been trying for over half a century. Other popular intellectual propertiesβStar WarsΒ andΒ Star TrekΒ andΒ Harry Potterβhave been similarly exploited in recent years, ground into dust by the greed of the studios and pride of hack writers. And therein lies the sadness.Β The Lord of the RingsΒ was always different. It is, unlike the other franchises mentioned, a truly great work: one of the twentieth centuryβs few real works of genius. Moreover, for decades after its completion, Tolkienβs novel was treasured and guarded, first by Tolkien himself, and then by his son Christopher. But that is gone now: and we have every reason to expect thatΒ The Rings of PowerΒ will not be the last unscrupulous attempt to cash in on Tolkienβs legacy.
But this is the way of the works of men, a race doomed to mortality and decay. βIt is ever so with the things that Men begin,β says Gimli the Dwarf, βthere is a frost in Spring, or a blight in Summer, and they fail of their promise.β InΒ Leaf by NiggleβTolkienβs allegorical exploration of his life and artβthe professor imagined a future where his work was ignored and ultimately forgotten: the worldlings and men of affairs of Niggleβs town saw no use for his art and let it decay. In the real world, something very different has happened: the same people have transformed Tolkienβs works into an endlessly monetizable consumer product. I wonder which fate their creator would have preferred.
ByΒ Ben Reinhard
Ben Reinhard is an associate professor of English at Franciscan University of Steubenville. His new translation ofΒ BeowulfΒ is available from Cluny Press. He lives in Steubenville, Ohio with his wife and five children.
Rings of Power: Jeff Bezosβs Billion Dollar Anti-Tolkien Fan Fiction
Link to full review:
Whatever else Rings of Power may be, it is not Tolkien; nor is itβas the opening credits claimβbased on The Lord of the Rings and its append
I π you bofur

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Credit to whoever posted this lovely image on Pinterest first xx and OMG LOOK AT HIM BAHAHA
LOOK AT MY DARLINGS!! ππ
Tiny family
Omg this creator always seems to come up with the most brilliant and adorable artwork ever ππ
HAPPY NEW YEARS MY LOVELYS ILY ALL SM! ππ
Okay but this photo π©π©
credit to @chicotfp for this gorgeous manip! <33333
THANK YOU!! ππ

Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
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Okay but this photo π©π©
Thorin: Love isnβt real!
Dwalin: Youβre currently making a card for Bilbo.
Thorin: [pointing a hot glue gun at him] Youβre on thin fucking ice!
The heartache is real with these two π©π© also just spam liked basically all of this amazing creators thorin x Bilbo work π
Disney princess vibes
Just found this page and Iβm officially in love <33
Awww love them <3

Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
Free to watch β’ No registration required β’ HD streaming
AHHHH OMG LOOK AT HIM <3