The ‘The Rings of Power’ sophomore season finale offers a sweeping, if often uneven, climax to what is arguably the most visually spectacular TV series in recent memory.
The Rings of Power’s second season finale may not have satisfied Tolkien aficionados or satisfactorily addressed every unanswered question, but it did achieve something far more significant: it gave the program a sense of being a living, breathing chronicle of Middle-earth rather than a billion-dollar gamble. What began as a slick, haphazard attempt to bring Tolkien’s world back to life has developed into something richer, bolder, and unexpectedly self-assured. The outcome is nothing short of an epic crescendo, as the showrunners appear to have embraced the ridiculous scope and boundless lore of the source material after a first season that felt like it was tiptoeing around its own grandiosity.
The conclusion demonstrates how this season’s sophomore run has corrected many of the bland criticisms from its debut. Season one felt like a gilded cage even though it had all the makings of a major TV extravaganza, including sprawling landscapes, flawlessly polished CGI, and, of course, the weight of Tolkien’s legacy crashing down like an anvil. Gorgeous, yet in some ways constrained by its anticipations. But the series appears to be freed from such restraints with a small prod from a genuinely kind Dark Lord.
Once peripheral characters and subplots come together to enhance the program’s main themes, particularly those about power, corruption, and the temptation to do evil. Although there is still work to be done, the outcome is a story that makes more sense.
Sauron’s shadow luckily grows even wider in this season. “The Great Deceiver,” played by Charlie Vickers, is the epitome of slow-burn villainy: a charming master manipulator with an incredibly convincing exterior. Charles Edwards’s Celebrimbor, who stands in stark contrast to him, is a visionary driven by faith and ambition but unaware of the tightening noose around him. A heartbreaking pas de deux of trust and treachery, their sequences pair Vickers’ eerie grace with Edwards’ nuanced unravelling. The revelation of Sauron’s true nature is not a gut punch; rather, it is a season-long blade that slowly approaches the jugular. When combined, they transform The Rings of Power into a personal, psychological drama with grand consequences.
The anticipated spectacle is provided by the expansive, action-packed finale, in which the series excels over almost all of its fantasy rivals. The sights in this conclusion are amazing, whether it be the thunderous battle with Durin’s Bane deep within Khazaddûm or the shimmering glow of the wartorn Eregion. Nevertheless, the story maintains an emotional core despite the burning swords and collapsing fortifications, thanks to Prince Durin IV (Owain Arthur) and his touching, if fleeting, bond with his father, King Durin III. Amidst the threat of Balrog and mithril mines, their tenuous kinship, shaped by duty and obstinate pride, brought humanity to the situation.
Where so many new endeavours hedge their bets, striving to ground their creative imaginations in brutal realism, The Rings of Power revels in the brilliant splendour of Middle Earth. From the glistening lights of Valinor to the perilous light refracting off molten mithril in a way that makes you feel the weight of history being produced, it begs us to marvel at the sheer majesty of it all. There’s a purity to this universe, a refusal to dilute the wonder for the sake of prestige. The grandeur never wanes, not even when the plot falters.
And this is when the program shines. The Rings of Power delivers a return to the awe that fantasy once commanded, even though it might not be for everyone, especially for those who yearn for the tonal gritty feel of possibly Westeros. It challenges us, in a way, to recall what it was like to lose oneself in a world where the forces of good and evil are still fighting for control, with all of its beauty, danger, and enigma.
After all of its successes, the program is still having trouble with some of its weaker aspects. The arc of the Harfoots, who were mainly ignored at the climax, seems to have been added on to give some light-hearted moments to the otherwise depressing setting, and they still appear unconnected to the main story. It comes as no surprise that there might not be many more of them in the seasons.
Sam Hazeldine’s Adar had a fantastic finale that looked lyrical, but it also left us with the regretful realisation that we would not be seeing any more of his wonderful turn. However, we were at least treated to a corny “GrandElf” namedrop in exchange for a revelation that was much too apparent to have kept us waiting for this long.
It is evident as season two draws to an end that The Rings of Power has moved past the errors of its debut season. It is bolder to fully embrace the vast mythos of Middle Earth and more certain in its character arcs and storytelling. The program is forging a new path, even though Peter Jackson’s movies may never entirely vanish from view. Once more, Middle Earth is a land of wonder, peril, and irresistible attraction. And we have nothing but love for it.